Hot Lips Page never let the flame go out. Two 1941 views (eBay, of course):
and the other side:
Lips with Artie Shaw:
and the rear:
Here he is in 1951, with Tyree Glenn, Paul Quinichette, Kenny Kersey, Danny Barker, Walter Page, and Sonny Greer at a jam session organized and recorded by Rudi Blesh:
and in 1952, with Andre Reweillotty’s band in Belgium:
and with Peanuts Hucko, Cutty Cutshall, Ralph Sutton. Catch Lips’ four choruses, beginning at 2:13. No wonder Marc Caparone calls Lips “Atlas”:
and THE DEVIL’S KISS, which soars over Massenet’s ELEGIE:
The splendid people at jgautographs (on eBay) have reached into the apparently bottomless treasure chest and come up with an assortment of photographs for sale. The auction has a time limit, so don’t (as we say) dither.
Bill, Kenny, and Bob, also riding the range, although dressed like city slickers.
Question: what do Bobby Hackett, George Barnes, Flip Phillips, Bob Wilber, Bud Freeman, Connie Jones, Max Kaminsky, Joe Venuti, Lou Stein, Joe Wilder, Zoot Sims, Ralph Sutton, Kenny Davern, Dick Wellstood, Scott Hamilton, Milt Hinton, Bucky and John Pizzarelli, Greg Cohen, Dick Hyman, Urbie Green, Trummy Young, Vic Dickenson, Hank Jones, Bob Haggart, Dick Cathcart, Jess Stacy, Joe Bushkin, Dave McKenna, John Best, Franz Jackson, Wild Bill Davison, Butch Miles, Jack Lesberg, Dick Johnson, Bob Havens, and a few others have in common . . . . aside from their musical glories?
Urbie, the one, the only.
Answer: They were all caught in performance by Al White and his roving camera (many of them at Dick Gibson’s Colorado jazz parties) — asked to sign the photos — the ones I’ve seen have all been inscribed to Al — and these 8 x 10″ black and white beauties are now being offered at the site above.
In 2000, Al and Ralph Sutton’s biographer James D. Schacter created a large-format book, JAZZ PARTY, with over a hundred of these inscribed photographs, but that book is now out of print, although copies can be found.
Al started life as an amateur drummer and jazz fan, then put on concerts and parties in Arkansas . . . . and at some point began to specialize in candid shots of the musicians he admired.
The noble Dick Cathcart.
The photographs offered on eBay have, for me, a special resonance. For a moment in time, Bobby or Urbie had to touch this piece of paper to sign it, so they are beautiful artifacts or relics or what you will.
I’ve been running out of wall space for some time now (and it would be disrespectful as well as damp to start hanging photographs in the bathroom) so the field is clear for you to visually admire and place bids, even though I might be tempted in two days and twenty-something hours.
I thought you might like some jazz-party-jazz, so here is the priceless 1977 color film (102 minutes) of the Dick Gibson party, “The Great Rocky Mountain Jazz Party,” featuring everyone:
LANDSCAPE WITH BUSHES, Ivana Falconi Allen, 2020. In a private collection.
The little world we know as jazz has moved so quickly in its hundred-plus years that sometimes it seems precariously balanced between the beloved Living and the heroic Dead. I can go out in New York City to hear people I admire tremendously blow breath through horns and out of mouths, to make music right in front of me. But at times jazz seems like a well-tended graveyard, with death announcements hitting me between the eyes every morning, adding to the great graveyard where Buster, Bessie, Billie, Bean, Brownie, Blanton, Ben, Bix, Big Sid, and Bunny are buried.
Where the music I am about to present — thanks to our great friend “Davey Tough” — fits in this formulation is a large charming paradox. I do not think any of the players on this transcription disc, recorded before my birth, are alive in 2020. But their music is resoundingly alive, and their ability to make a shining personal statement in sixteen bars, a time span of under thirty seconds, is marvelous. Their names are announced, and you can read more on the label.
What’s the moral?
Emulate our great heroes, by doing something so well that when our bodies have said, “All right, that’s enough!” our selves live on.
And like “Davey Tough,” share your joys generously.
And a postscript: if you don’t know the artwork of the endearingly imaginative Ivana Falconi Allen, you are missing work as sharply realized and as delightful as any jazz solo you cherish. Here is her website, full of sweet shocks.
This sign is catnip to me and to other cats — so much so that we were standing in line (in a drizzle) outside of Mezzrow long before the Powers would open the door. But our perseverance was well rewarded, that night of September 16, when Jon-Erik Kellso, trumpet; Rossano Sportiello, piano; Tal Ronen, string bass, got together for a vibrant imaginative session. Here are a few highlights.
Rossano’s musical beverage, TEA FOR TWO:
Honoring Fathahood, MONDAY DATE:
ALL THE THINGS YOU ARE (featuring Tal):
I’M CRAZY ‘BOUT MY BABY, echoing not only Fats but also Ruby and Ralph:
Rossano’s marriage of Sammy Cahn, Saul Chaplin, and Fred Chopin, in SHOE SHINE BOY / Waltz, Opus 69, No. 1:
And Jon-Erik’s suggestion that we not leave, STICK AROUND:
Brilliant solo voices, rewarding thoughtful ensemble interplay. Yes, it happened.
You wouldn’t imagine that the serious man (second from left in the photograph, holding a corner of the check) could inspire such joy, but it’s true. That fellow is my friend and friend to many, Manfred “Mannie” Selchow, jazz concert promoter, jazz scholar, enthusiast, and so much more. He even has his own Wikipedia page that gives his birthdate, his work history, and more — but it also says that he has organized more than thirty concert tours of Germany that have resulted in many joyous concerts and CDs from them (released on the Nagel-Heyer label) featuring Ralph Sutton, Marty Grosz, Harry Allen, Randy Sandke, Eddie Erickson, Menno Daams, Jon-Erik Kellso, Dan Barrett, Kenny Davern, Bob Wilber, Mark Shane, Rossano Sportiello, and hundreds more.
I first met Manfred through the mail: he had published a small but fascinating bio-discography of one of his great heroes, Edmond Hall (whom he heard in 1955 when Ed came to Germany with Louis). Eager as always, I wrote him to let him know about some Hall I’d heard that he hadn’t. We began corresponding and traded many tapes. The slim monograph grew into a huge beautiful book, PROFOUNDLY BLUE, and Manfred then began working on an even more expansively detailed one about Vic Dickenson, DING! DING! which I am proud to have been a small part of. In 2007, I visited him in his hometown for a weekend of music; I came over again in April 2016 for “Jazz im Rathaus,” which takes place in Imhove. This 2016 concert weekend was in celebration not only of thirty years of wonderful music, but of Manfred’s eightieth birthday.
The concert weekend was marvelous, full of music from the people you see below and others, including Nicki Parrott, Stephanie Trick, and Paolo Alderighi. However, one of the most satisfying interludes of the weekend took place near the end — a JATP-themed set led by Matthias Seuffert. And Matthias, who has excellent ideas, had this one: to play a blues for Mannie. Now, often “Blues for [insert name here]” is elegiac, since the subject has died. Happily, this isn’t the case. What it is, is a medium-tempo, rocking, cliche-free evocation of the old days made new — honoring our friend Mannie. The players are Bernard Flegar, drums; Niels Unbehagen, piano; Helge Lorenz, guitar; Nico Gastreich, string bass; Bert Boeren, trombone; Engelbert Wrobel, Matthias Seuffert, reeds; Menno Daams, Enrico Tomasso, trumpet. What a groove!
I think the world — in its perilous state — needs blues like this (homeopathically) to drive away the real ones we face, and this nearly ten-minute example of singular individuals working together lovingly in swing for a common purpose is a good model for all of us. Thanks to the always-inspiring Mannie for all he’s done and continues to do.
P.S. This post was originally prepared for the faithful readers and listeners shortly after the music was performed, but technical difficulties of a rather tedious sort interfered . . . and now you can see what we all saw a few years back. Thanks for holding, as they say in telephone conversations. And if Manfred is still somewhat computer-averse, I hope someone will share this post with him.
Days gone by: December 1946, Wilber, Dick Wellstood, Johnny Glasel, Charlie Trager, Eddie Phyfe. Photograph by William P. Gottlieb.
Robert Sage Wilber, born in 1928, who never played an ugly or graceless note in his life, has left us. I first heard him on recordings more than fifty years ago, and saw him in person first in 1970 with the World’s Greatest Jazz Band. He was a magnificently consistent player — his time, his intonation, his creativity, his vital force, his melodic lyricism — and one of the world’s most versatile. He didn’t care to be “innovative” in the best modern way, but kept refining his art, the art of Louis and Bechet and Teddy Wilson, every time he played.
People who didn’t quite understand his masteries (the plural is intentional) thought of him as derivative, whatever that means, but even when he was playing SONG OF SONGS in the Bechet manner or WARM VALLEY for the Rabbit, he was recognizably himself: passionate and exact at the same time, a model of how to do it. And if you appreciate the jazz lineage, a man who performed with Baby Dodds, Tommy Benford, Kaiser Marshall, Joe Thomas, Sidney Catlett, Billy Strayhorn, Eddie Condon, Vic Dickenson, Ruby Braff, Ralph Sutton, Cliff Leeman . . . so deeply connected to the past while remaining fiercely active, has moved to another neighborhood. I send my condolences to his wife, the singer Pug Horton, and his family.
I was extremely fortunate to cross paths with Bob — not only as an admiring spectator of Soprano Summit, where he and Kenny Davern were equally matched — but as an admiring jazz journalist and videographer. He was not worried about what I captured: he was confident in himself and he trusted that the music would carry him. Here are some glimpses of the Sage in action, in music and in speech.
A session with David Ostwald’s Gully Low Jazz Band (2010) and Daryl Sherman here.
Two parts of an intimate session at Smalls in 2012 with Ehud Asherie and Pug Horton as well here and here.
And a particular prize: a two-part 2015 interview session (thanks to Pug!) here and here.
More than a decade ago, when I began this blog, I worked hard to keep away from the temptations of necrology — my joke is that I didn’t want it to be JAZZ DIES — but if I didn’t write and post something about Robert Sage Wilber, I’d never forgive myself. We will keep on admiring and missing him as long as there is music.
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.
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 . . .
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.
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.
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 Archiveat 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.
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.
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.
I have no intention of detailing my trips to Trader Joe’s and Macy’s. To do so would bore even the most fervent reader of JAZZ LIVES. But yesterday, I went to one of the three thrift stores I favor. There I found a new chamois L.L. Bean shirt, a blue glass soap dish, both much desired . . . and two records.
One is yet another posthumous Glenn Miller reunion, recorded 1958 for Enoch Light’s Grand Award label (GA 33-207). The orchestra is conducted by trombonist Bobby Byrne, and the personnel is wonderfully authentic: Dale “Mickey” McMickle, Bobby Hackett, Bernie Privin, Steve Lipkins, trumpet; Bobby Byrne, Al Mastren, Frank D’Annolfo, Harry DiVito, trombone; Jimmy Abato, Peanuts Hucko, Hank Freeman, Tex Beneke, Al Klink, Mannie Thaler, reeds; Lou Stein, piano; Carmen Mastren, guitar; Trigger Alpert, string bass; Maurice Purtill, drums. They play MOONLIGHT SERENADE, LITTLE BROWN JUG, TUXEDO JUNCTION, STAR DUST, STRING OF PEARLS, SUNRISE SERENADE, JOHNSON RAG, RHAPSODY IN BLUE, AMERICAN PATROL, ADIOS, ALICE BLUE GOWN. The sleeve says the recording is monaural, but the disc is true stereo.
As a deep Hackett fancier, I can report that he offers interesting variations on his STRING OF PEARLS solo. I am amused to note that since he was presumably still under contract to Capitol Records, although his name is listed in the personnel, the notes are very quiet about his presence: “Here again you hear a famous trumpet soloist take his famous solo on A String of Pearls — but this time in high fidelity!”
It is indeed high fidelity; the arrangements are expertly played, and there are solo spots as there were on the originals.
Here’s A STRING OF PEARLS (a diligent YouTube searcher can find more):
But there’s more. And I’m not even talking about the soap dish.
I’ve passed this record by several times — one can’t buy everything at once — but now I didn’t. It’s Bing, with Bob Scobey, Frank Beach, trumpet; Abe Lincoln, trombone; Matty Matlock, clarinet; Dave Harris, tenor; Ralph Sutton, piano; Clancy Hayes, guitar; Red Callendar, string bass; Nick Fatool, drums, recorded in Los Angeles in February 1957. The songs are a delicious collation of old-time favorites and Bing is in fine form — as is the band. DREAM A LITTLE DREAM OF ME / SOME SUNNY DAY / I’M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER / TELL ME / EXACTLY LIKE YOU / LET A SMILE BE YOUR UMBRELLA / MAMA LOVES PAPA / DOWN AMONG THE SHELTERING PALMS / LAST NIGHT ON THE BACK PORCH / ALONG THE WAY TO WAIKIKI / WHISPERING / MACK THE KNIFE. Scobey is particularly fine, and glimpses of Lincoln and Fatool are always life-enhancing. (A collector’s perhaps silly side-note: the previous owner paid $18 for the record at a New York City record shop.)
And here’s the music. How easy and rich it sounds.
I know that the Crosby recording was issued on CD, but the thrill of finding both these records by surprise (amidst banjo discs, Andy Williams records, and other items) is not to be sniffed at. Each disc cost slightly more than a dollar. Good value.
Someone who loved “Dixieland” may have died, or at least no longer uses or owns a turntable, and the records now cheer another listener. I left behind an anonymous record by “the New Orleanians” and the Project 3 issue of Bobby Hackett and Vic Dickenson, called THIS IS MY BAG — which I already have. Let others get wonderful surprises, too. Music is meant to be heard, not hoarded.
Everyone who follows jazz devotedly has theories about why some musicians become Stars and others remain Obscure. It clearly isn’t artistic quality, as one could find out quickly by playing recordings of famous and neglected artists. No, other factors interfere.
In that wonderfully uplifting sub-genre known as Harlem stride piano, the pantheon seems to have room for only one man, Fats Waller. His fame is well-deserved: his genial embellishments, his rhythmic drive, his delicious pianistic surprises. But we also have to consider the effect of Fats as a Personality (many recordings and some film appearances) and a Composer. (In the jazz mythology, he is also remembered as a joyous Dionysiac child who died young — elements that stick in our minds.) Willie “the Lion” Smith seems a collection of delightful eccentricities — melodies, derby hat, cigar, scraps of Yiddish, an elegant braggadocio. In our time, pianists Dick Wellstood, Ralph Sutton, Don Ewell, and their current counterparts have (or had) the advantage of being accessible.
But what of the man who came first (leaving aside Eubie Blake and Luckey Roberts), Fats’ teacher, James P. Johnson? He was not a Personality; the one or two times he sings on record he seems uncomfortable; a quiet man, almost shy, he did not thrust himself forward. It would seem that he didn’t record sufficiently, but the discographies prove otherwise. Wellstood once said in print that James P.’s recordings didn’t always document his greatness — although for those of us who didn’t see and hear James P. at all, that would be a moot point.
Mosaic Records, blessedly, has seen fit to put Wellstood’s casual assertion to the test.
This box set will be available in mid-December; it offers the usual Mosaic largesse spread over six CDs; rare material (eleven sides not previously issued), beautiful photographs; a lengthy essay by Dr. Scott Brown, James P.’s biographer, familiar material in the best sound.
And should some worry about six CDs of stride piano, fear not: we hear James P. accompanying blues and pop singers (including Bessie Smith, Ida Cox, Clara Smith, and Ethel Waters) and as a sideman in bands that include Frank Newton, Jabbo Smith, Clarence Williams, Garvin Bushell, Louis Metcalf, Fats Waller, Cootie Williams, Arthur Whetsel, King Oliver, Jimmy Archey, Teddy Bunn, Lonnie Johnson, Roy Smeck, Tommy Ladnier, Sidney DeParis, Mezz Mezzrow, John Kirby, Cozy Cole, Sidney Catlett, Henry “Red” Allen, J. C. Higginbotham, Gene Sedric, Al Casey, Hot Lips Page, Charlie Christian, Ed Hall, and others.
Here‘s the discography, for those who (like myself) find listings of music we are going to hear very enticing. And if you haven’t heard James P. recently — someone Thelonious Monk admired — scroll down on this Mosaic page andlisten.
My holiday shopping list is now complete — my gift to myself, I mean.
I know I am a very fortunate mortal, and am reminded of this every moment. One of the more tangible reminders for me is the Evergreen Jazz Festival in the Colorado city of the same name, happening very soon — July 25-27, in fact. Here is the link which tells you all the exciting necessary details. Tickets are still available. Plane flights are still possible. There is going to be so much lovely hot and sweet music that I know I won’t get to more than a small percentage of it.
The Festival is arranged so that each band plays eight sets over three days in five venues (is there a math major in the house?) ranging from intimate to large, with room for energetic swing dancing.
I’m looking forward to seeing and hearing artists whose music I admire greatly:
JAMES DAPOGNY’S CHICAGO JAZZ BAND (with Jon-Erik Kellso, Kim Cusack, Russ Whitman, Chris Smith, Rod McDonald, Pete Siers)
“IVORY & GOLD”: JEFF and ANNE BARNHART
BIG MAMA SUE (I know her as Sue Kroninger, and she’ll be joined by Eddie Erickson,, and Chris Calabrese)
PETER ECKLUND TRIO
and some bands new to me that come highly recommended:
AFTER MIDNIGHT (reminiscent of the Goodman Sextet)
QUEEN CITY JAZZ BAND with Wende Harston
BOGALUSA STRUTTERS
JONI JANAK and CENTERPIECE JAZZ
HOT TOMATOES DANCE ORCHESTRA
YOUR FATHER’S MUSTACHE BAND
If we’ve never met or if we have, come say hello! I love meeting my readers in person. I will be wearing brightly colored clothing; I will be intent and silent and beaming behind a video camera . . . while the music is playing. Otherwise I admit to a great deal of speech. Anyway, it would be lovely to meet more JAZZ LIVES friends in the mountains of Colorado.
The heroes and the people we cherish forever don’t always have their names written in huge capital letters. But we know who they are.
One of them was the drummer, artist, raconteur, dear friend and gracious man Michael Burgevin. We lost him — abruptly, of a sudden heart attack — on June 17, 2014. If you look in Tom Lord’s discography, the listing of official recordings MB (how he signed his emails — a man with things to do!) made is brief, but that is in no way a measure of his effect, his swing, his sweet presence.
MB and Cornelius, 2001, by Penny Haddad
I had met Mike in 1973, in New York City, and although we were out of touch for about twenty years, he was always in my thoughts as someone I was grateful to.
Because I miss him and admire him — first as a musician, then as a generous friend, then as a thinker who knows and feels the truth — what follows below is the leisurely narrative of my friend MB. The dates are fuzzy, my feelings sharply realized.
When I met him in 1973, I was a college student, deeply involved in jazz, without much money to spend on it. But I read in The New Yorker that there was a little bar / restaurant on East 34th Street, Brew’s, that featured live hot jazz.
You can read more about Brew’s here — on a blog called LOST CITY — with MB’s comments.
I read the names of Max Kaminsky and Jack Fine. I didn’t know about Jimmy Andrews, piano, and Mike Burgevin, drums. But when I saw a listing that advertised “trumpeter Joe Thomas,” I began to pay attention.
Joe Thomas remains one of the great subtle players in the swing idiom, recording with Benny Carter, Ed Hall, Don Byas, Sidney Catlett, Art Tatum, Claude Hopkins, and many other luminaries: he was one of Harry Lim’s favorite players and gets a good deal of exposure on Keynote Records.
I worried that my trip to Brew’s would turn out to be a jazz mirage; how could one of my heroes be playing in a club just ten minutes from Penn Station? “Joe Thomas” is a very plain name, but I got myself out of my suburban nest, brought my cassette recorder (of course) and came to Brew’s. When I came in the door, the sounds told me I was in the right place. Not only was Joe on the stand, instantly recognizable, but he had Rudy Powell and Herb Hall with him; Jimmy Andrews was striding sweetly and quietly.
The man behind the drums was tall, elegantly dressed. His hairline receding, he looked a little like a youthful Bing Crosby without his hat on. And he sounded as if he’d gone to the magic well of Swing: without copying them, I heard evocations of Dave Tough and George Wettling, of Sidney Catlett and Zutty Singleton: a light, swinging, effortless beat. Quietly intent but restrained, with not too much flash and self-dramatization. He didn’t play anything that would have been out of place on a Commodore 78 but it seemed fresh, not a collection of learned gestures and responses. I can hear his hi-hat and rimshots as I write this, his brushes on the snare drum. He was leading the band, but he let the men on the stand direct traffic: in retrospect, he was a true Condonite, letting the music blossom as it would.
I was shy then, but I got my courage together and spoke to him — I must have seemed an unusual apparition, a college student breathless with enthusiasm about swing drumming and especially about Sidney Catlett. I had just purchased the three records (from England) of the complete 1944 Metropolitan Opera House Jam Session, and I asked Mr. Burgevin if he had them or would like a tape of that concert. He hadn’t known of this music (like many musicians, he loved hearing new things but wasn’t an obsessive collector himself). And so we arranged something: perhaps I asked him for a copy of the records he had made with Doc Cheatham.
That night, Joe Thomas took a solo on a set-ending CRAZY RHYTHM, and although Joe is no longer with us, and the performance is now forty years away, I can hum the beginning of his solo, upon request. To say the music I heard that night made an impression is putting it mildly.
Memory is treacherous, but what I remember next is being invited to the apartment he and his wife Patty — Patricia Doyle, if we are being formal — shared on East 33rd Street in an apartment building called The Byron. At some point MB persuaded me to stop calling him “Mr. Burgevin,” and I was made welcome. And often. I had been brought up to be polite, but I blush to think of how many meals I ate in their apartment, how long I stayed, how much time I spent there.
Often MB was at work on a piece of commercial art in his little studio, wedged in a corner: I played the records he had or the ones I had just bought for him. Louis, Bing, Condon, stride piano, Billie, Bud Freeman and his Chicagoans, Dave Tough, Lee Wiley, Mildred Bailey. We had much to talk about, and I learned to hear more under his gentle tutelage. We didn’t speak of anything deep: I don’t think I knew how at that time, skating over the surface of my life, moving from one small triumph or failure to the next. But we admired J. Fred Coots’ YOU WENT TO MY HEAD and other beauties.
(I cringe now to think that MB and Patty might have liked to be left in peace a little more. I wonder how many meals were stretched to include a hungry guest. When, in this century, I apologized to MB and Patty for my late-adolescent oblivious gaucheries, they said they remembered nothing of the sort. I take this as a great kindness.)
Chicken cacciatore, Dave Tough, a feisty little terrier named Rex, are all inextricably combined in my mind. I can see that rectangular apartment now. MB lent me records and books, tapes and other music-related treasures, and in general made his house mine, open-handedly and open-heartedly.
In ways I didn’t verbalize then, I felt his kindness, although I didn’t at the time understand how powerfully protective the umbrella was. It was all subtle, never dramatic. One thing MB encouraged me to do was to bring recording equipment along to gigs he was playing. And (again in this century) he told me this story that I had not been aware of while it was happening. One night at Brew’s, the musicians were MB, the Welsh pianist Dill Jones, and Kenny Davern, then alternating between clarinet and soprano saxophone. Blithely, I came in, said hello to MB, and began setting up my reel-to-reel recorder. Davern turned to MB and said — out of my hearing, but referring to me, “WHAT is THAT?” and MB told Kenny to calm down, that I was a friend, not to worry about me. As a result, Kenny, with some polite irascibility, showed me where to set up my microphone for better results. Now I know that he would have just as energetically told me where the microphone could be placed, but for MB’s quiet willingness to protect his young friend, myself.
In the next two years, I was able to hear Joe Thomas, Doc Cheatham, Al Hall, Al Casey, Vic Dickenson (at length), Ruby Braff, Sam Margolis, Wayne Wright, Red Richards, Dick Wellstood, Susannah McCorkle, Norman Simmons, and a dozen others at close range. MB shared his tape library with me, so I heard him as a glowing, uplifting presence with Herman Autrey, Bobby Gordon, Benny Morton, Bobby Hackett, and others. He delighted especially in the sounds of Fats Waller and his Rhythm, and took every advantage possible to get together with Jimmy Andrews, Al Casey, Herman Autrey, and Rudy Powell to recapture some of that jovial spirit.
MB told stories of spending time with Vic Dickenson, of how Bobby Hackett insisted he play sticks, not brushes, behind him, of meeting Pee Wee Russell late in the latter’s life, and a favorite anecdote of an early encounter with Cliff Leeman at Condon’s, in the eraly Fifties, when MB was on leave from the Merchant Marine (I think): he had come into Condon’s and was listening to the band, which then took a break. Leeman stepped down from the drums and MB asked politely if he could sit in with the intermission players — Steve Lacy on soprano saxophone and Ralph Sutton, piano. Leeman, always tart, said to MB, “Whaddaya want to do with the drums? Fuck ’em all up?” but he let MB play.
Here is a photograph of Michael Burgevin, young, jamming on board the USS IOWA, circa 1955-7:
My friendly contact stopped abruptly when MB had a heart attack. I was terrified of going to a hospital to visit anyone (I have said earlier in the piece that I was young, perhaps far too young). Before I could muster the maturity to visit him, he and Patty seemed, as if in a snap of the fingers, to flee the city for points unknown upstate. I wondered about him in those years, heard his music, and thought of him with love — but we had drifted apart.
We reconnected around 1997, and I am sure I can’t take credit for it, for I felt guilty for my emotional lapses. I think that Vic Diekenson drew us together once again, through the research Manfred Selchow was doing for his book, and MB got in touch with me when he planned to come down to New York City to play on a Monday night with the Grove Street Stompers at Arthur’s Tavern. Once before, he had played with that group. I don’t know who else was in the band, but I recorded a version of HINDUSTAN that had MB stretching out for a long solo in the manner of STEAK FACE.
I didn’t have sufficient opportunities to video-capture MB at play in this century, although there are examples of him on YouTube with his concert presentation of three men at drumsets “drumatiCymbalism” — but here is a 2009 video he made to promote his concerts and his paintings. It seems odd to hear him gently trying to get gigs, but it is a good all-around picture of Michael Burgevin, his sound (solo and in an ensemble with Warren Vache, Dan Block, Harry Allen, Howard Alden, and others) and it gives glimpses of his paintings:
A few years ago, MB seriously mastered the computer and moved from writing letters to writing emails, and we stayed in contact, sometimes several times a week, that way. I sent him music and jazz arcana, and we had deep philosophical conversations — the ones I had not been ready for in the early Seventies. I hadn’t known that he had become a Jehovah’s Witness (as had Trummy Young and, perhaps to a lesser extent, Joe Thomas and Babe Matthews) but our discussions were fervent, even when we were gently disagreeing about our views of the world. Recently he burst forth of Facebook, and had a delighted time sharing photographs of his friends from the old days.
If Ricky Riccardi posted some new Louis / Sidney Catlett on his blog, I forwarded it to MB, and we shared our joy and excitement often. A few years ago, he came down to New York City to meet the Beloved, and he and our mutual friend Romy Ashby had lunch together. MB was beautifully dressed and as always sweetly gallant.
It was foolish of me to think we would always have our email conversations, or another meeting in person, but we never want the people we love to move to another neighborhood of existence. I know he read JAZZ LIVES and delighted in the videos and photographs of the men and women we both revered. That thought gave and continues to give me pleasure.
He wrote a little self-portrait more than a decade ago: As a child was riveted by marching band drums in firemen’s parades on Long Island. Born with rhythm! Given a pair of drumsticks at age seven and a 1920’s style trap set at age 15 and began his professional career playing weekends at Stanbrook Resort in Dutchess Co. (NYS) Played with bands in high school and at Bard College. Strongly influenced by his uncle George Adams’ jazz collection of 78’s (rpm records). Studied drums in Pine Plains High School (1950’s) and later under Richard Horowitz percussionist with the Metropolitan Opera Symphony Orchestra (1970’s). Studied (and uses) many of the early African tribal rhythms- Dinka, Bini, Malinke, Bakwiri, Watusi. About 10 years away from music working as a freelance commercial artist and graphic designer. Returned to drumming in 1968. Spent many nights sitting in at famed Jazz clubs Jimmy Ryan’s on 57th Street and Eddie Condon’s 55th St. There met legends Zutty Singleton, Freddie Moore, and Morey Feld often subbing for them. Lived in Manhattan. Worked steadily at Ryan’s with Max Kaminsky’s band. Also became friends with George Wettling, Cliff Leeman and Jo Jones. Worked full time with almost all the titans of small band jazz during this period of time (late 1960’s through 1980’s) including Roy Eldridge, “Wild Bill” Davison, “Doc” Cheatham, Bobby Hackett, Claude Hopkins, Bobby Gordon, Marian and Jimmy McPartland. Toured Canada & USA with Davison’s Jazz Giants. Made Bainbridge, NY, situated on the beautiful Susquehanna River, a permanent residence in the 1990’s. Traveled to NYC for many engagements. Connected with Al Hamme, professor of Jazz Studies at SUNY Binghamton, playing several concerts there. Since 2001 has been producing Jazz concerts in the 100-year-old, Historic Town Hall Theatre in Bainbridge, featuring world-class jazz personalities: Kenny Davern, Warren Vaché, Peter Ecklund, James Chirillo, Joe Cohn, Howard Alden, Harry Allen, Joel Forbes, Phil Flanigan, Dan Block and many, many others.
Why do I write so much about this man?
Michael Burgevin seems to me to be the embodiment of kind generosity. Near me, as I write, I have a little 1933 autograph book full of inscriptions of jazz musicians that he bought and gave to me. Invaluable, like its owner.
But MB’s giving was more than the passing on of objects: he gave of himself so freely, whether he was behind the drum set or just sharing ideas and feelings. Reading these words, I hope his warmth and gentle nature comes through, his enthusiasm for Nature and for human nature, for the deep rhythms of the world and the way a good jazz ensemble could make us feel even more that life was the greatest privilege imaginable. A deeply spiritual man, he preached the most sustaining gospel without saying a word.
I have a story I can only call mystical to share. Yesterday, on the morning of the 17th, I was writing a blogpost — which you can read here. I had indulged myself in the techno-primitive activity of video-recording a spinning record so that I could share the sounds on JAZZ LIVES. It was a slow blues featuring, among others, Joe Thomas and Pee Wee Russell, two of MB’s and my heroes. Through the open window, the softer passages had an oddly delightful counterpoint of birdsong, something you can hear on my video. I was not thinking about MB while I was videoing — I was holding my breath, listening to music and birdsong mixed — but now I think that strange unearthly yet everyday combination may have been some part of MB’s leaving this earthly realm — music from the hearts of men now no longer with us overlaid by the songs of the birds, conversing joyously.
Patty, Michael’s wife, tells me that the funeral will be Friday, June 20, at the C.H. Landers Funeral Home in Sidney, New York (the place name is appropriate for those who understand): the visitation at noon, the service at 1 PM. Landers is on 21 Main Street, Sidney, New York 13838. (607) 563-3545.
Adieu for now, Michael Burgevin. Kind friend, lovely generous man, beautiful musician. Born January 10, 1936. Made the transition June 17, 2014.
It seems odd to close this remembrance in the usual way — but someone like MB increases my happiness, even in sadness, that I will continue as I always have. May you, too, have people like him in your life, and — more importantly — may you be one of the loving Elders to others, and older brother or sister or friend who shelters someone who might not, at the time, even recognize the love he or she is being shown.
I’m very excited to be going to the 2014 Evergreen Jazz Festival — that’s Evergreen, Colorado, near the end of July. The last time I visited that state was also for rewarding jazz — I have fond memories of Sunnie Sutton’s Rocky Mountain Jazz Party — so my mind automatically associates Colorado with good music and new friends.
The Festival is arranged so that each band plays eight sets over three days in five venues (I can’t do the math; perhaps some of you can) ranging from intimate to large, with room for energetic swing dancing.
I’m looking forward to seeing and hearing some artists whose music I admire greatly:
JAMES DAPOGNY’S CHICAGO JAZZ BAND (with Jon-Erik Kellso, Kim Cusack, Russ Whitman, Chris Smith, Rod McDonald, Pete Siers)
“IVORY & GOLD”: JEFF AND ANNE BARNHART
BIG MAMA SUE (I know her as Sue Kroninger, and she’ll be joined by Eddie Erickson, Chris Calabrese, and Clint Baker)
PETER ECKLUND TRIO
and some bands new to me that come highly recommended:
AFTER MIDNIGHT (reminiscent of the Goodman Sextet)
QUEEN CITY JAZZ BAND with Wende Harston
BOGALUSA STRUTTERS
JONI JANAK and CENTERPIECE JAZZ
HOT TOMATOES DANCE ORCHESTRA
YOUR FATHER’S MUSTACHE BAND
Filmmaker Franklin Clay made a very expert video of the 2012 Festival that you can see here. Although the 2014 lineup is different, the video shows what the Festival feels like better than ten thousand words would.
And here’s Jenney Coberly’s film of the 2011 festival:
Elsewhere on the Festival site, there is appealing news for those people trying to hold on to their dollars until the eagle grins: discounts apply to tickets ordered before May 31, so the race is indeed to the swift. (You need not be swift to attend the Festival: I see there is a shuttle between venues.)
I will say more about this as the calendar pages fall off the wall, but I wanted to tell JAZZ LIVES readers about good times sure to come.
That’s written on the back of this snapshot — originally taken by drummer Walt Gifford, later held by jazz enthusiast Joe Boughton:
I am assuming that it was taken in the Boston area, but Wettling is the main attraction. In the great tradition, Wettling played drums for the band — caring more for that than for any extended solo, although his four-bar breaks at the end of Eddie Condon recordings (Commodore, Decca, and Columbia) are justly famous. He wasn’t as dramatic as some of his more celebrated peers, but any group that had Wettling in the rhythm section could relax, secure that the tempo would be steady, that every accent or sound would make sense as a complementary part of the whole.
Here are two samples of George at work — atypically visible as well — along with Wild Bill Davison, Billy Butterfield, Cutty Cutshall, Vic Dickenson, Ed Hall, Willie “the Lion” Smith, Al Hall, and Eddie himself — from a 1964 television program:
and
and — nearly a quarter-century earlier, sounds only:
and
If you follow the recordings he left behind — with Bunny Berigan, Artie Shaw, Benny Goodman, Bud Freeman, Fats Waller, Joe Sullivan, Hot Lips Page, Lou McGarity, Pee Wee Russell, Bobby Hackett, Lee Wiley, Louis Armstrong, Chu Berry, Teddy Wilson, Muggsy Spanier, Jess Stacy, Frank Teschemacher, Frank Melrose, Boyce Brown, Paul Mares, Omer Simeon, Wingy Manone, Jimmy McPartland, Joe Marsala, Red Norvo, Mildred Bailey, Pete Brown, Jack Teagarden, Joe Bushkin, Willie “the Lion” Smith, Paul Whiteman, Coleman Hawkins, Max Kaminsky, Danny Polo, Herman Chittison, Joe Thomas, Mezz Mezzrow, Benny Carter, Miff Mole, Brad Gowans, Marty Marsala, George Brunis, Ed Hall, Wild Bill Davison, Rod Cless, James P. Johnson, Yank Lawson, Jerry Jerome, Billy Butterfield, Una Mae Carlisle, Dick Cary, Benny Morton, Jonah Jones, Errol Garner, Billie Holiday, Bujie Centobie, Red McKenzie, Chuck Wayne, Lucky Thompson, Ella Fitzgerald, Jo Stafford, Martha Tilton, Connee Boswell, Sidney Bechet, Frank Newton, Bing Crosby, Art Hodes, Doc Evans, Bob Wilber, Tony Parenti, Charlie Parker, Ralph Sutton, Barbara Lea, Vic Dickenson, Ruby Braff, Kenny Kersey, Frank Signorelli, Milt Hinton, George Duvivier, Urbie Green, Marian McPartland, Stuff Smith, Big Joe Turner, Buck Clayton, Claude Hopkins, Nat Pierce, Jimmy Jones, Marty Napoleon, Buster Bailey, Shorty Baker, Tyree Glenn, Kenny Davern, and many others — you will always hear rewarding music.
Stride piano, beautifully performed, is amazing. For one, there is the simple athleticism required. Try keeping your left hand moving (on a table) at a typical Waller tempo for three minutes without letting the tempo drop or accelerate. And movement in itself isn’t enough; the keyboard is more than a snare-drum head.
But it’s not simply a matter of pounding out single notes and chords (widely-spaced) in the left hand. The best stride players understand that the form has within it the potential to become mechanical, so they create rhythmic tension between bass and treble; they vary dynamics; they add shade and light through chord voicings.
It’s rather like writing a sonnet: that iambic pentameter, those fourteen lines, that set rhyme scheme can be a prison or its apparent limitations can inspire the most dazzling creativity.
And stride duets are even more intense, more precarious: when they come off splendidly, it is beyond remarkable art and precision.
We are fortunate that even after the great stride triumvirate — Waller, James P., and the Lion — left us, there were many successors (think of Wellstood, Ewell, Sutton in the recent past) and there is a wonderfully creative gang of striders, here and globally, who continue to delight.
The form stretches across the generations. In the Stride Summits held in Walnut Creek and San Francisco at the end of August 2013, concerts invented and sustained by Mike Lipskin, we had Stephanie Trick and Dick Hyman, separated by six decades . . . with Mike, Clint Baker, and Paul Mehling, nestled happily in the chronological middle.
Mike Lipskin — known to most as someone who learned from the Lion, from Eubie Blake, and many other elders, a fine pianist, singer, composer, and wit — is also a diligent musical thinker, so his concerts don’t degenerate into Fast and Loud. These three concerts were beautifully planned and the music was varied throughout.
The Beloved and I saw all three concerts (August 24-25) and enjoyed every note. I was able to bring my camera to the Lesher Arts Center and although I recorded them from one side of the stage, then the other, “waiting in the wings” has never been such a pleasure.
Here is a handful of keys (and, yes, that is the first song) from these happy stride nights that didn’t take place uptown in Harlem some time in 1936 — but in our century.
Fats’s early showpiece, HANDFUL OF KEYS, by Dick and Mike:
Eubie Blake’s TROUBLESOME IVORIES, by Stephanie, who tames the keyboard with grace:
Rocking the house in a different way with BOOGIE WOOGIE STOMP by Stephanie and friends (who couldn’t stop themselves from joining in):
Serene and mystical — the early Gershwin theme, LULLABY, by Dick:
Pastoral ruminations in 3 / 4, with Fats’ JITTERBUG WALTZ, by Dick:
A tribute to James P. Johnson, the worthy patriarch, with OLD-FASHIONED LOVE / KEEP OFF THE GRASS, by Stephanie and Mike:
Pete Johnson’s DEATH RAY BOOGIE (inspired by early science fiction, films, or comic books, I wonder?), by Stephanie:
And something truly “ancient,” Cole Porter’s IT’S ALL RIGHT WITH ME, by Mike and Dick:
It was all right — and more — with three audiences, I assure you.
Did you miss these concerts? You might have, since they were sold out very quickly.
But there’s good news. “Mark it down,” as Billie said on MISS BROWN TO YOU.
There will be another Stride Summit at the positively gorgeous Filoli on August 10, 2014. It is not too early to plan for this ecstatic happening.
P.S. Dinah Lee also sang beautifully at the three concerts. Sadly, the technical limitations of my camera prevented her from being shown off as she should be. But there will be videos of Dinah to come!
We love the music we have — the wooden boxes of phonograph records and cassettes, the wall shelves of CDs, the iPods with thousands of songs. But our hearts beat faster for those things imagined but not realized. Poring over discographies, we breathe faster when reading of unissued takes, the performances rumored to exist, acetates held by someone in another country, the film footage . . .
But thanks to Lorenz Yeung and Fernando Ortiz de Urbana (I’ve had the good fortune to meet the latter in person) are a few bite-sized bits of one kind of Holy Grail: http://jazzontherecord.blogspot.com/
(Fernando’s blog, EASY DOES IT, is a wonderful cornucopia on its own.)
Who assembled this I do not know. It is a tribute to Sidney Bechet, who well deserves such honors. But obviously someone followed Bechet around in 1949, on his penultimate visit to the United States. And Bechet appeared a number of times on television (think of it!) in the States — most often, I believe, on the Eddie Condon Floor Show oon WPIX.
It’s always heartwarming to be able to praise Mr. Condon, so allow me a few sentences. Whenever he could (later with the help of his wife Phyllis and the publicist Ernie Anderson) he looked for venues where his music could be played — in mixed bands on Fifty-Second Street, at the Park Lane Hotel, at Town Hall, the Ritz Theatre, and Carnegie Hall, several incarnations of his own club . . . on records, radio broadcasts, transcriptions for the servicemen and women . . . and television.
The Floor Show was his rewarding pioneering television series, broadcast between 1948 and 1950 on WPIX-TV. It brought together the best jazz players and singers — Louis Armstrong, Sidney Catlett, Jack Teagarden, Lee Wiley, Billie Holiday, Earl Hines, Pee Wee Russell, Woody Herman, Buddy Rich, Hot Lips Page, Count Basie, Bobby Hackett, Buzzy Drootin, Ralph Sutton — alongside Rosemary Clooney and tap-dancer Teddy Hale, and fifty or so other luminaries.
Eddie was wise enough to understand that the human ear and psyche would wilt on a steady unremitting diet of Hot, so in his club there was an intermission solo pianist; there were ballad medleys, slow blues, medium-tempo pop tunes, as well as RIVERBOAT SHUFFLE.
And his understanding of “show,” of variety, developed in the visual world of early television — hot numbers interspersed with slow ballads, sweet singing, tap dancing, and more. (I’ve seen a still photograph of what must have been a perfect jazz trio: Hot Lips Page, James P. Johnson, and Zutty Singleton. Pardon me while I rhapsodize silently.)
Some small portion of the music survives on vinyl issues on the Queen-Disc label and in the collectors’ underground trading world, but we know that the kinescopes made at the time — films of the programs — no longer exist. I have this on very solid authority, unless there were multiple sets made.
However . . . this YouTube surprise package has color silent footage of Sidney with Cliff Jackson, Kid Ory, Muggsy Spanier, Teddy Hale, Peanuts Hucko, possibly Kansas Fields, Gene Schroeder, Buddy Rich, Chubby Jackson, George Wettling, and another saxophonist named Charlie Parker.
You will have to watch the video several times to fully appreciate all its great gifts, including shots of Bechet acting in several French films, occasionally at the stove or battling an over-assertive shirt dickey.
About the television footage: I imagine that someone who loved Bechet followed him onto the soundstage with a movie camera (the kinescopes would have had sound and been in black and white) — blessings on this intrepid soul and those who saved the footage and shared it with us. (I’ve written to Lorenz Yeung, the poster, to ask the source of the Condon material; he generously told me that it was part of a Bechet CD package he bought in Australia, a bonus CD (!) I’m also quite amazed that none of the orinthologists have noticed this — and it’s been on YouTube since 2011. Research! In color!)
The question, is, of course, “What else is out there?” And the answer is unfathomable. But all things are possible.
My personal Holy Grail might no longer exist. I can’t remember where I heard or read this story, but Ernie Anderson knew a fellow in the advertising trade, quite wealthy, whose son loved jazz. Father wanted to give his son a present, and asked Ernie to set up a recording session for the boy: Ernie assembled Bobby Hackett, Sidney Catlett, and the fine pianist Harry Gibson (later Harry “the Hipster” Gibson), had them record some music, had the records pressed in perhaps one set, and I assume the boy was terrifically pleased. But where are those records now?
Readers are invited to submit their own versions of the jazz Holy Grail . . . we could start with the airshots of the King Oliver band with Lester Young in it and go from there.
Thanks to Lorenz Yeung, Fernando, to David J. Weiner, Maggie Condon, Loren Schoenberg, Dan Morgenstern, and to Sidney Bechet (of course): the soundtrack is DANS LES RUE D’ANTIBES.
And the award for BEST SEARCH ENGINE TERM of February 2013 goes to . . . .the envelope, please . . . .
fats waller , hew york, meatballs, ralph sutton
Make up your own story — a late-night Italian feast in “hew york,” by Mr. Waller, later recreated by Mr. Sutton?
And the award for LEAST ATTRACTIVE PRURIENT INTEREST IN THE DEAD for February 2013 goes to . . . . the envelope, please . . . .
billie holiday naked pictures
Perhaps a long period of recovery in the fresh air might be prescribed for that writer? (For myself, I would like all the people who are fascinated by “Billie Holiday” — and the quotation marks are accurate — to listen to her recordings. Nothing else.)
