THE WORLD’S GREATEST JAZZ BAND: YANK LAWSON, BOB HAGGART, GUS JOHNSON, DICK WELLSTOOD, BOB WILBER, BUD FREEMAN, SONNY RUSSO, BENNIE MORTON, MAXINE SULLIVAN // AL KLINK, PEANUTS HUCKO, GEORGE MASSO, RALPH SUTTON, BOBBY ROSENGARDEN (1975)

I wouldn’t have known of these programs (now shared with us on the Musikladen YouTube channel) except for my good friend, the fine drummer Bernard Flegar.  They are rich and delicious.

The WGJB lasted from the late Sixties (when they were a development of the Nine / Ten Greats of Jazz, sponsored by Dick Gibson) to 1978.  In some ways, they were both a touring assemblage of gifted veteran players — I believe Robert Sage Wilber, known to his friends worldwide as Bob, is the sole survivor — and a versatile band that echoed the best of the Bob Crosby units, big and small.  The WGJB came in for a good deal of sneering because of their hyperbolic title, which was Gibson’s idea, not the musicians’, but from the perspective of 2019, they were great, no questions asked.  And they weren’t just a collection of soloists, each taking a turn playing jazz chestnuts (although JAZZ ME BLUES was often on the program); Haggart’s arrangements were splendid evocations of a Swing Era big band with plenty of room, and the WGJB brought its own down-home / Fifty-Second Street energy to current pop tunes (I remember their UP, UP, AND AWAY with delight).  And they played the blues.

I remember them with substantial fondness, because the second jazz concert I went to (the first was Louis in 1967, which is starting at the apex) was held in Town Hall, with Gibson as host, probably in 1970, and it featured the WGJB — Vic Dickenson and Eddie Hubble on trombones — and a small group with Al and Zoot, possibly Joe Newman, where they performed THE RED DOOR and MOTORING ALONG, titles no one would forget, and Gibson told his anecdote of the white deer.

These two programs seem to have been sophisticated television offerings: multi-camera perspectives with a great deal of editing from one camera to the other, and beginnings and endings that suggest that these were not finished products.  The absence of an audience — or their audible presence — on the first program seems odd, but I don’t mind the quiet.  The WGJB could certainly add its own charging exuberance — hear the final ensemble of CALIFORNIA, HERE I COME — that few bands have matched.

The first program features co-leaders Yank Lawson, trumpet; Bob Haggart, string bass, arrangements; Billy Butterfield, trumpet; Bob Wilber, clarinet, soprano; Bud Freeman, tenor saxophone; Bennie Morton, trombone; Sonny Russo, trombone; Dick Wellstood, piano; Gus Johnson, drums; Maxine Sullivan, guest vocalist, and the songs performed are BLUES / MERCY, MERCY, MERCY / DOODLE DOO DOO / THE EEL (featuring its composer, Bud Freeman) / THAT’S A PLENTY (featuring Bob Wilber and Dick Wellstood) / A HUNDRED YEARS FROM TODAY (featuring Maxine Sullivan) / THE LADY IS A TRAMP (Maxine) / SOUTH RAMPART STREET PARADE/ MY INSPIRATION (closing theme) //:

And here’s another forty-five minute program, presumably aired October 17 of the same year, with certain personnel changes — this time there’s an audience but the band is also dressed with great casualness: Ralph Sutton, piano; Al Klink, tenor saxophone; Peanuts Hucko, clarinet; Bobby Rosengarden, drums; George Masso and Sonny Russo, trombones; Lawson, Haggart, Butterfield, and Maxine, performing AT THE JAZZ BAND BALL / BASIN STREET BLUES (featuring Masso) / CALIFORNIA, HERE I COME (featuring Sutton) / BABY, WON’T YOU PLEASE COME HOME (featuring Lawson and Butterfield) / LIMEHOUSE BLUES (featuring Russo and Masso) / HARLEM BUTTERFLY / EV’RY TIME (featuring Maxine Sullivan) / ST. LOUIS BLUES / STAR DUST (featuring Klink) / RUNNIN’ WILD (featuring Hucko) / BIG NOISE FROM WINNETKA (featuring Haggart and Rosengarden) / SOUTH RAMPART STREET PARADE / MY INSPIRATION //:

The repertoire for the longer program is more familiar, with few surprises, but that band could roar as well as play pretty ballads and its own version of Thirties funk.  What unexpected treasures these programs are.

May your happiness increase!

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STATE OF THE ART: DALTON RIDENHOUR and EVAN ARNTZEN (Scott Joplin International Ragtime Festival, Sedalia, Missouri: June 2, 2018)

Dalton Ridenhour, photograph by Aidan Grant

Duet playing in any genre is difficult — making two into one while keeping the individuals’ individualities afloat.  Improvised duet playing, as you can imagine, might be the most wonderful soaring dance of all but it is fraught with the possibility of disaster.  Can we agree on a tempo?  Is one of us rushing or dragging?  Do we agree on the changes?  Do we play the tag at the end of every chorus?  Do we change key for the final chorus?  Or, as Vic Dickenson said, “How do you want to distribute the bounces?”

Evan Arntzen, photograph by Tim Cheeney

But I am sure that some of my most enthralling moments have been as an open-mouthed spectator at some duets: Louis Armstrong and Earl Hines or Buck Washington, Al Cohn and Jimmie Rowles; Ruby Braff and Ellis Larkins; Ruby and Dick Hyman; Vic and Ralph Sutton; Eddie Lang and Lonnie Johnson; Zoot Sims and Bucky Pizzarelli, Andrew Oliver and David Horniblow, Marc Caparone and Ray Skjelbred . . . . and and and.  Now I add to that list the two fellows photographed above . . . on the basis of two songs in concert.

Here are two lovely examples of how improvised duet playing — by two people, expert and intuitive — can touch our hearts while we marvel at the risks taken and the immense rewards.  Pianist Dalton Ridenhour was playing a solo set at the Scott Joplin International Ragtime Festival in Sedalia, Missouri, and gave us a surprise by inviting his colleague and neighbor, clarinetist Evan Arntzen, to the stage for a dozen memorable minutes.

The tender and evocative THAT OLD FEELING:

The song I call CHANGES MADE (and then someone insists that THERE’LL BE SOME CHANGES MADE is the properly pious title . . . . what-ever):

I dream of a venue and an occasion where Dalton and Evan could play as long as they wanted . . .

May your happiness increase!

OF COURSE, THEY WEREN’T “TRAINED SINGERS”!

Anna Moffo, one of my mother’s favorite sopranos: my definition of a “trained singer.”

Everyone of us has pet theories: there’s a secret way to fold fitted sheets; day-old bagels, toasted, are better than fresh, and so on.  You, no doubt, have yours.

One of mine that is relevant to JAZZ LIVES is that often, singers who never sing because they are busy playing are the best singers of all.  I don’t mean those who are clearly identified as singers — Louis, Jelly, Teagarden, Cleo Brown — but those instrumentalists who have recorded once or twice only.  So I assembled a host of my favorites, leaving out scat choruses.  Some recordings were inaccessible: Sid Catlett’s OUT OF MY WAY, Basie’s HARVARD BLUES (where he, not Jimmy, takes the vocal) Ed Hall’s ALL I GOT WAS SYMPATHY — but this is, I hope, a pleasing, perhaps odd offering.  I present them in no particular order, except for Lester being the last, because that recording so touches me.

James P. Johnson, 1944 (with Frank Newton, Al Casey, Pops Foster, Eddie Dougherty).  The story is that Alan Lomax thought that James P. was a blues pianist when he interviewed him for the Library of Congress — and compelled him to sing this.  I don’t know: James P. is having a good time:

Coleman Hawkins, 1936, highly impassioned (when was he not?):

Vic Dickenson, crooning in 1931 with the Luis Russell Orchestra:

Vic — nearly fifty years later — singing his own composition with Ralph Sutton:

Benny Carter, aiming for Bing and having a dear good time in the process, 1933.  (This has been one of my favorite records since 1974.  Catch Benny’s trumpet solo and clarinet solo.  And Sid Catlett pleases.)  Those clever lyrics aren’t easy to sing at that tempo: ask Dan Barrett:

And another helping of Benny-does-Bing, gliding upwards into those notes.  Another favorite:

Yes, Art Tatum could sing the blues.  Uptown, 1941:

I save this for last, because it leaves me in tears.  Lester Young, 1941, and since this is the only copy of a much-played acetate, there’s a lot of surface noise.  Be patient and listen deeply:

Little is known about that recording, but I remember learning that one side of it was a dub of SHOE SHINE BOY by Jones-Smith, Inc., and this — a current pop tune with glee-club embroideries — was the other.  It’s been surmised that this was a demo disc for Lester’s new small band that he hoped to make flourish after leaving Basie.  Some of the sadness, to me, is that the attempt worked poorly, and although Lester loved to sing, there is only one other recording (the 1953 IT TAKES TWO TO TANGO) that exists.

These singers go right to my heart.

May your happiness increase!

GENEROSITIES from MISTER McGOWN: “DAVEY TOUGH” on YOUTUBE

I’ve been collecting jazz records as long as I’ve been fascinated by the music.  When I began, so much of the music I craved was not easily available, so I turned to other collectors for assistance, trading items back and forth with those who were generous.  I have benefited so much from the kindness of collectors, some of whom who have moved on and others who are reading this post.  And I cherish most those who are open-handed.  I think of John L. Fell, Bill Coverdale, Bob Hilbert, Bill Gallagher among the departed: the living people know who they are and know how I value them.

One of the open-handed folks I celebrate is collector, discographer, and scholar Sonny McGown.  An amiable erudite fellow, he doesn’t feel compelled to show off his knowledge or point out that his records are better than yours.

On this 2015 podcast, Sonny, in conversation with “spun counterguy,” tells of becoming a jazz-loving record collector here.  It’s an entertaining interlude with good stories (among other subjects, DON’T BE THAT WAY and POP-CORN MAN) and musical excerpts.

Sonny is fully versed in 78s and 45s, and he understands the power technology has to make generosity easy, to share precious music.  The word “broadcast” is apt here: one collector sending another a cassette, mp3, or burned CD is casting very small bits of bread on the waters.

About four months ago, he created his own YouTube channel, “Davey Tough”  — and although it doesn’t yet have a large audience by YouTube standards, I am counting on this blogpost to remedy that.  Sonny has been quietly offering rare music, well-annotated, one surprise after another.  How about Goodman, Jack Teagarden, the aforementioned Dave Tough, Peanuts Hucko, Ray McKinley, Yank Lawson, Helen Ward, Dick Wellstood, Kenny Davern, Soprano Summit, Joe Marsala, Lou McGarity, Bobby Gordon, Charlie Byrd, Tommy Gwaltney, Clancy Hayes, Ralph Sutton, Wild Bill Davison, and other luminaries.  And surprises!  Some are from truly rare non-commercial records, others from even rarer tapes of live performances in clubs and at jazz parties.

I’ll start with the one performance that I already knew, because it is so much fun: clarinetists Ernie Caceres, Joe Marsala, Pee Wee Russell, playing the blues at a 1944 Eddie Condon concert — backed by Gene Schroeder, Bob Haggart, and Gene Krupa (with Bobby Hackett audible at the end):

Notice, please, unlike so much on YouTube, this is factually correct, in good sound, with an appropriate photograph.

Here’s a real rarity: Dave Tough as a most uplifting member of Joe Marsala’s very swinging mid-1941 band, more compact than the norm, certainly with Joe’s wife, Adele Girard on harp, and plausibly brother Marty on trumpet:

And another performance by the Marsala band with Adele and Dave prominent:

Backwards into the past, in this case 1933, not the familiar version of AIN’T ‘CHA GLAD, although we know the arrangement by heart:

and, finally, backwards into the more recent past, for Pee Wee Russell and Charlie Byrd at Blues Alley in Washington, D.C., from December 1957:

These are but a few of Sonny’s treasures.  I resist the temptation to rhapsodize both about the sound of Dick McDonough and about Pee Wee, free to explore without restrictions, but you will find even more delights.  I encourage readers to dive in and to applaud these good works by spreading the word.

And thank you, Mister McGown.

May your happiness increase!

MONK ROWE’S TREASURE CHEST

Marian McPartland and Monk Rowe, photo by Val DeVisser

A the end of the preceding century, while many of us were standing at Tower Records, considering which CD to buy, Monk Rowe — musician and scholar — was busy doing good work in the land of jazz.

Monk is a modest fellow, so he will probably protest all this praise aimed at him and say, “It’s not me . . . it’s the Filius Jazz Archive at Hamilton College,” but he will have to put up with the adulation for the time being.  Monk’s ongoing gift to is a series of video interviews done with jazz artists and luminaries from 1995 on.  More than 300 interviews have been conducted, and they are appearing — almost daily — on the Archive’s YouTube channel.  Most of the interviews run an hour, which is a wonderful visit with people you and I haven’t had the opportunity for such sustained conversations with.

I confess that I have been slow in alerting JAZZ LIVES’ readers to this magic toybox, because I feared for the collective health.  The interviews are wonderfully informative in a low-key, friendly way — Rowe does not obsess over musicological details but is interested in letting the artist speak — and they are devilishly addictive.  I’ve lost hours in front of the computer because of them, so don’t say I didn’t warn you.

And the interview subjects often are people who have not been fussed over in public — at all or in such gratifying ways.  Here are a dozen names: Manny Albam, Eddie Bert, Bill Charlap, Benny Waters, Keith Ingham, Jackie Cain and Roy Kral, Sherrie Maricle, Stanley Kay, Grover Mitchell, Rossano Sportiello, Ron Carter — and those interviews have been posted on YouTube in the past month.  Let that sink in.

Here’s Monk himself — in under two minutes — introducing the channel.  You can see how low-key and amiably focused he is.  He mentions the book that he co-authored, drawn from the interviews: I’ve written about it here.

Here are several interviews that will fascinate JAZZ LIVES’ readers.  prepare to be entranced, amused, moved, informed.

Monk talks to Tom Baker — someone we miss seriously — in 1997: it amuses me that this interview was recorded in a corner of the Hotel Athenaeum at Chautauqua, New York — the fabled home of Jazz at Chautauqua:

and the illustrious Marty Grosz in 1995:

Kenny Davern, Part One, in conversation with Dr. Michael Woods:

and Part Two:

and “just one more,” Nicki Parrott in 2010:

Set aside a few weeks: this is much more rewarding than several semesters deep in the Jazz Studies curriculum, I assure you.  And I haven’t even included Helen and Stanley Dance, Vi Redd, Ruth Brown, Jean Bach, Jerry Jerome, Chubby and Duffy Jackson, Ralph Sutton, Bob Wilber, Joe Wilder, Sweets Edison . . . . that you can do for yourself.

May your happiness increase!

“THE MOST BEAUTIFUL TOGETHERNESS WE HAVE”: DAN MORGENSTERN RECALLS TONY PARENTI, HARRY JAMES, HERSCHEL EVANS, BOB CASEY, ROBERT CLAIRMONT (April 20, 2017)

Here are several more interview segments from Dan Morgenstern (the second series).  What an honor to be permitted to capture Dan’s generosity and insights.

Here, Dan speaks of the great (and now nearly forgotten) clarinetist and bandleader Tony Parenti:

Here’s some music from Tony, Ralph Sutton, and George Wettling:

And a little “digression,” so tenderly revealing, with the characters being Harry James and Herschel Evans — maybe two minutes in the recording studio, but a short example of great kindness:

The man pictured below might not be familiar — Robert Clairmont — but he is obviously a fascinating figure, someone Dan knew:

And here’s Dan’s recollection — by way of great string bassist Bob Casey:

In honor of Mister Casey and young Mister Morgenstern, buying his first jazz records in Denmark:

The music played at W.C. Handy’s April 1928 Carnegie Hall concert, made possible by Robert Clairmont, as listed on the BIXOGRAPHY Forum, thanks to the research of Albert Haim.  I had not heard of Clairmont before this, but he gave Handy $4000 — a large sum of money — to finance that concert, where James P. Johnson’s YAMEKRAW was given its premiere, Fats Waller at the piano.

(Internet research, that funny thing, identifies Clairmont as “poet” and “Wall Street investor,” an unusual pairing.)  I also found this brief biographical sketch:

ROBERT CLAIRMONT, poet, was born in 1902 in Pittsburgh, Pennsylvania, where he grew up. He attended the University of Pittsburgh and Columbia University. Clairmont is author of Quintillions, Star in the West, and Forever X; and the first volume of the series Poets of Today (1938) is given to his work. He was editor of the periodical New Cow of Greenwich Village and, in the early 1950’s, of the poetry magazine Pegasus.

And . . . because I find it irresistible, here is one of Clairmont’s poems for children, THE ANSWERS, later set to music by Alec Wilder:

The Answers

“When did the world begin and how?”
I asked a lamb, a goat, a cow:

“What’s it all about and why?”
I asked a hog as he went by:

“Where will the whole thing end, and when?”
I asked a duck, a goose and a hen:

And I copied all the answers too,
A quack, a honk, an oink, a moo.

Here’s an inscription from Handy to his friend and benefactor:

“Togetherness” and kindness: Tony Parenti making spaghetti for Buck Clayton and teaching him the new / old repertoire; Harry James helping Herschel Evans out at that Lionel Hampton record date; Robert Clairmont saving a man’s life and then making it possible for W.C. Handy to have a Carnegie Hall concert; Dan Morgenstern’s uncountable gifts, which continue as I write this.

May your happiness increase!

BLOWINGLY, 1951

As part of my continuing quest to make the world more aware of Oran Thaddeus Page — known to those who know as Lips or Hot Lips, here is SWEET SUE, recorded at a session organized by Rudi Blesh in New York City on February 10, 1951, with Lips, Tyree Glenn, trombone; Burnie [or “Burney”?] Peacock, clarinet, alto saxophone; Paul Quinichette, tenor saxophone; Kenny Kersey and Dan Burley, piano; Danny Barker, guitar; Walter Page, string bass; Sonny Greer, drums.  Some of the shorter tracks from what was eventually issued as JAMMIN’ AT RUDI’S came out on Circle 78s; the most recent official CD issue is on the Jazzology label (JCD 262) with five tracks from this 1951 date, and a good deal of it — circuitously — has found its way to YouTube.  (Blesh had sponsored an earlier, more “traditional” session with Conrad Janis, Bob Wilber, Ralph Sutton, Eubie Blake, and others, so this was JAMMIN’ No. 2.)  Thanks to Jon-Erik Kellso for reminding me to revisit this session, a few weeks ago.

I’ve always been fascinated by this session because it successfully replicates the feel of an actual jam session — in good sound — with musicians who didn’t usually work together.  Some of them did play gigs as members of Hot Lips Page’s little band of the time, but others seem assembled as former Swing Era stars who were no longer working with big bands: Page (Basie); Greer (Ellington); Barker and Glenn (Calloway); Kersey (Kirk and others), Peacock (Calloway, Basie).  I suspect that these musicians, for Blesh, were perilously “modern,” and I admire him for venturing into unusual territory.  Peacock, for me, was the least-known of the bunch: here is a Wikipedia entry with some possibly verifiable facts.

But there is a wonderful looseness, a let’s-start-this-and-see-if-we-can-get-out-of-it-safely feel to this performance, that speaks to familiar repertoire and no charts in sight.  I suspect Blesh might have even encouraged this as “authentic” and frowned on head-arrangement riffs and backgrounds, something Lips and the others created masterfully as a matter of course.  What else do we hear?  A nicely unhurried tempo, the tender expressiveness of Lips’ lead in the first chorus (a sweet conversational approach), Greer rattling and commenting all through; the sounds Lips got with his plunger — an emphasis on pure sound — before Quinichette dances in, Lester-airy; the powerful motion of Walter Page’s bass in duet with Danny Barker’s single-string solo.  Then the contrast between Lips, apparently at full power, alternating with Greer, before Tyree peaceably returns us to the melody.  How beautifully individualistic his sound is!  A more familiar Barker chordal solo (again, with impressionistic support from Walter Page and Sonny) before Lips returns, as if to say, “You thought I was piling it on before?  Hear THIS!”  Pure drama, and it — like the Jerry Newman recordings and a MUSKRAT RAMBLE recorded in Philadelphia (issued on a Jerry Valburn recording years ago) — shows Lips’ intuitive understanding of dynamics, and even more, the dramatic construction of a large-scale solo.

Never mind that the YouTube picture makes Walter Page the leader of the session and that the cover picture is of his own orchestra, decades ago.  We live in strange times.

And here is more tangible evidence of Mr. Page’s gracious spirit, if you didn’t hear it coming through those notes — a thank-you note to (I am assuming) some Swedish friends:

This emerged on eBay a week ago, and the lucky owner ventured much more money for it than I was willing to spend (the imaginary grandchildren tell me they need sneakers) but you can see it here for free.  I know it’s authentic because of the way Lips made his capital L (he went to school when “penmanship” was still part of your report card) and, for better or worse, “Lip’s” as part of his signature.  I’ve also seen an autograph where Lips — enthusiastically, I assume, signed VERY BLOWINGLY above his name.

SWEET SUE, to me, equals VERY BLOWINGLY by all.  And it didn’t cost $103.56.

May your happiness increase!