Tag Archives: Red Allen

STREET FOOD, AN EXOTIC HONEYMOON, EXUBERANT DANCE, 1936

If you asked me to give an overview of jazz and popular music in 1936, I might summon up Stuff Smith, Billie Holiday, Fats Waller, Benny Goodman, Duke Ellington, Louis Armstrong, Putney Dandridge, Fletcher Henderson, Teddy Hill, Gene Krupa, Fifty-Second Street, Red Allen, Art Tatum, Bob Howard, Mildred Bailey, Jones-Smith, Incorporated, Teddy Wilson, and twenty others.  It would be a little after THE MUSIC GOES ROUND AND ROUND but just right for I’SE A-MUGGIN’, CHRISTOPHER COLUMBUS, and RHYTHM IN MY NURSERY RHYMES, perhaps DINNER FOR ONE, PLEASE JAMES.

But in even broader strokes, this was the early triumph of the Swing Era, dominated by well-rehearsed bands, using intricate arrangements for dancers.  But art, however you define it, is never homogeneous: while Joyce and Woolf were exploding the conventions of narrative, many traditional linear novels were published and read.  In jazz, we know that Max Roach and Baby Dodds were on the same radio broadcast in most congenial fashion.  And in the very late Fifties, Herbie Nichols, Steve Lacy, Ed Allen, and Cecil Scott were all gigging in New York City simultaneously.

These musings come about because of Briscoe Draper’s posting on Facebook of a song I’d never heard, LITTLE SANDWICH WAGON, which delights me.  It features the clarinet playing of Arnett Nelson, someone I’ve heard about from one of my other teachers, Sammut of Malta — whose expert playing has nothing to do with the elegant playing of Benny and Artie, so much in fashion in 1936.  These tracks were issued under the all-inclusive but unspecific name “Chicago Rhythm Kings,” which jazz fans will recognize as a nom-de-disque for young white Chicagoans in 1928.

Here is the recording data, edited from Tom Lord.  Steve Abrams suggests that Guy Kelly is the trumpeter, but I feel that the player we hear is less assured.  And is the pianist Black Bob or Jimmy Blythe?  I do not know, nor are such matters my focus.

Lord notes: prob. Alfred Bell (cnt) Roy Palmer (tb) Arnett Nelson (cl,vcl) prob. Black Bob (p) prob John Lindsay (b) Jimmy Bertrand (d).  Chicago, March 11, 1936: YOU BATTLE-HEAD BEETLE- HEAD Vocalion 3208 / IT’S TOO BAD (WHEN THE SISTERS START TRUCKIN’ AROUND) in two takes; Voc 3208.
Same personnel but unknown (as-1) added.  Chicago, April 3, 1936: SHANGHAI HONEYMOON Bluebird 6371 / LITTLE SANDWICH WAGON (same, unknown vocalist).

Because Steve Abrams has generously made available his 78 transfer of IT’S TOO BAD / YOU BATTLE-HEAD, I have included that as well as the YouTube transfers, which might be from the RST CD collection.  (There are pitch and sonic differences: I would assume that the 78 transfer is a more trustworthy source, but such waters are deep and dark.)

I invite you to turn away from the news and immerse yourself in a different world, thanks to these “Hot Dance with Vocal Chorus” records.  I’ll have some listening comments at the end.

and the 78 version:

Flip it over, as they used to say:

This seems the same take as the 78, unless they followed the routines closely:

If you are enamored of SHANGHAI HONEYMOON, there are many versions with vocal refrains and ostentatious “Chinese” cliches.  However, Ray Skjelbred and his Cubs have performed this opus — you can find it on YouTube — with its ethnic-racial tendencies tamed, and a duet by Ray and Katie Cavera (also on the Jazzology CD, GREETINGS FROM CHICAGO):

and my new favorite ditty, which I hope to hear Dave Stuckey sing when we meet again (although that is a suggestion rather than an order — greetings, Pappy!):

Depending on how deeply you have steeped yourself in the music of the period, you may hear many different things.
First, the material itself is cheerfully homemade: except for SHANGHAI, the songs are composed by the players, and they are miles away from Rodgers and Hart or Arlen and Koehler.  That is not to condescend, for listeners respond strongly to campfire songs as well as poetry, but BEETLE and TOO BAD seem more enthusiastic than expert: the end-rhymes are inexact, and occasionally the lyrics and music do not fit neatly.  They are set-pieces for an audience who wanted to party: the “you’re a fool for getting so drunk” song; the “let’s celebrate wild action on the dance floor” song — reminiscent of a contemporaneous Tampa Red blues — especially because the Chicago blues records of this period employed many of the same musicians.  I hear echoes of MAMA DON’T ALLOW and HOW’M I DOIN’ as well as YOU RASCAL YOU.
LITTLE SANDWICH WAGON aspires to be one of those songs mingling love and the bill of fare (think WHEN LOVE DROPPED IN TO TEA) but it doesn’t get there; the composer(s) are more focused on what’s for sale than in a Billy Wilder meet-cute with someone’s hamburger being shared by thrifty lovers.  (I hear echoes of ACE IN THE HOLE in the first strain.)
SHANGHAI HONEYMOON is the most “professional” song of the four, possibly going back to 1927, and whether Lester Melrose had anything to do with writing it or simply required a portion of the royalties in exchange for getting it published, played, and recorded, I do not know, but the three other songs did not have any currency outside of this record date, where HONEYMOON did.  I have seen no sheet music for the other songs.
Second, these recordings are stylistically earlier than 1936 (no offense meant there either); rather than being “streamlined,” “innovative,” or “harmonically forward-looking,” they happily live in the musical world that Dick Wellstood called “grease and funk,” with TOO BAD and BEETLE sounding, to me, like Saturday-night-party music.  The closest parallel in jazz is the long series of Clarence Williams recordings, but these sides are genuine crossover music before the name ever emerged, with sideways connections to blues and roots music.
And this is understandable, given the histories of the players: for most of them, this was their last recording session, and some of them had been recording since 1921 or 1923.  I delight in Arnett Nelson’s wildly opinionated clarinet — “I have something to say and I have to say it loudly and right now,” and the powerful rhythm section. But we are miles away from the Benny Goodman Quartet, Toto.  I also have a special affection for the rather sweetly amateurish singer on SANDWICH: was he someone’s relative or friend?  (I wonder what the significance of “He didn’t serve no rice” is.  An easy rhyme for “nice,” or are there deeper meanings?
Finally, I wonder how these record dates came to be.  In New York, Williams made no records between 1935 and 1937, and his 1934 sides for the Decca “Sepia Series” were issued as the “Alabama Jug Band.” Did a Vocalion recording executive in Chicago perceive that this band — of known reliable musicians who were also appearing on blues records — should be given the chance to make two sides of their own compositions with the hope of a jukebox hit?  Musicians recorded such sessions with little preparation; they were paid scale.  It would not have cost Vocalion much, but clearly the records did not make a stir.  Did Nelson or someone else in the band take the test pressings over to the Victor studios and request a date in April?
I have stayed away from discussing race in this post, but I will suggest that a 1936 record buyer would recognize these four sides as being performed and aimed at a “colored” audience, to use the description of the times.  Yet I know Bluebird (by which I mean Victor) also used the “Chicago Rhythm Kings” name to issue a record or records by what I believe are white orchestras.
All this must, I think, remain mysterious.  What we have is rollicking, enthusiastic hot music played by Chicago veterans.  Thank goodness for records, and particularly for odd, cheerful ones like these four.
May your happiness increase!

THEY’RE EASY TO DANCE TO! (Part One): HAL SMITH’S “ON THE LEVEE JAZZ BAND” at the EVERGREEN JAZZ FESTIVAL (Evergreen, Colorado, July 26, 2019)

Find your Capezios, please.  JAZZ LIVES will wait.

Hal Smith’s “On the Levee Jazz Band” is delightfully subversive in its own way.

Its members are formally dressed in the way that jazz musicians used to be (Coleman Hawkins would never have gone to a gig or a recording session in a tight blue polo shirt with a band name on the left pectoral).  They are devoted to the later music of Kid Ory (which, to some, might paint them as an old-fashioned New Orleans jazz repertory ensemble).  Thus, they can seem scholarly rather than rambunctious (Hal, aside from being one of the half-dozen best jazz drummers, is a scholar of the music who can tell you what the band name means, to take just one example).

BUT.  Let us not be fooled by surfaces.

OTL, as I occasionally call them, is one of the best small swing units now playing.  They don’t copy old records; their music is uplifting dance music, and swing dancers have a wonderful time with it.  The band rocks; they are informal but expert; their solos soar and their ensembles groove.

Their secret, which no one whispers aloud, is that they are closer to a Buck Clayton Jam Session than to a Bill Russell American Music shellac disc.  And in this they are true to the source: Ory kept up with the times; he loved to swing, and he loved to create music for dancing.  But you need not take my word for it.

I captured three of the band’s sets at the Evergreen Jazz Festival, and this one is particularly dear to my heart because it is music for swing dancers.  In 1959, more or less, the Kid and trumpeter Henry “Red” Allen, old pals from New Orleans, made recordings and gave European concerts which drew on a swing repertoire somewhat looser than the stereotype.  Not “Dixieland” or “trad” in their essence, these records captured a particular musical ambiance where disparate personalities were free to roam.  The Verve records were particular pleasures of my adolescence, so to hear Hal and the OTL play those swinging songs was a joy, not only for me, but for the dancers.

I should point out here that the band at Evergeen was made up of Ben Polcer, trumpet, vocal; Joe Goldberg, clarinet; guest star Clint Baker, trombone, vocal; Kris Tokarski, piano; Alex Belhaj, guitar; Joshua Gouzy, string bass; Hal Smith, drums, leader.  American Popular Songbook, too — two Gershwins, two Wallers!  (But — just between us — these are very familiar tunes which have been overdone in less subtle hands.  Hear how the OTL makes them soar, with what easy lilting motion.)

And here’s a nod to Bill Basie and the golden days, LADY BE GOOD:

The Fats classic, done at a nice tempo, AIN’T MISBEHAVIN’:

Yes, I GOT RHYTHM, played au naturel, at a sweet Thirties bounce:

and HONEYSUCKLE ROSE, again, made new by a splendid tempo:

This music transcends categories.  And as such, it is transcendent.

May your happiness increase!

CHARLIE PARKER in SWEDEN (1950): “$3000 or BEST OFFER (FREE SHIPPING)” / KID ORY and RED ALLEN in DENMARK (1959)

Bird went to Sweden, and here’s singular proof.  The eBay link is here and here are some impressive photographs of the holy relic:

and

and

and

and

and

and some aural evidence also:

Kid Ory and Henry “Red” Allen toured Europe in 1959: here, a Danish collector got the band’s autographs:

and this is the link.

The band did more than sign autographs!  Pay close attention to Henry Red in his late, musing phase:

May your happiness increase!

SPICY DELICIOUS MUSIC: THE DORO WAT JAZZ BAND

Doro Wat is the national Ethiopian dish, a spicy chicken stew.  I recall eating it in Oakland, California.  Exhibit A:

but there’s also Exhibit B, 49 minutes and 52 seconds of spicy music:

and the back cover:

You need read no more.  Listen!

The band is slightly more than a year old, and it’s a wonder: T Werk Thomson, string bass; John Rodli, guitar; David Boeddinghaus, piano; Tom Fischer, alto saxophone; Charlie Halloran, trombone; James Evans, C-melody saxophone, clarinet, vocal; Ben Polcer, trumpet, vocal.  The beautiful recording was done by John Dixon at the Spotted Cat; the singular typography is by SEEK1 and TOPMOB!.

And the repertoire — which tells an educated listener how wise and deep this hot band is: JUBILESTA / OH, PETER / AUNT HAGAR’S BLUES / JAMAICA SHOUT / POTATO HEAD BLUES / TIGHT LIKE THIS /  BUGLE CALL RAG / RUMBA NEGRO (Latin) / RUMBA NEGRO (Swing) / IF I WERE YOU / SAN / OLD FASHIONED LOVE / BLUE BLOOD BLUES.  Just to point out the forbears, how about Ellington, Red Allen, the Rhythmakers, Bennie Moten, Teddy Wilson, James P., Mister Jelly Lord, Louis.  And there’s a delightful freedom in their homages: this music comes from the heart, not from someone’s imposed notion of what “trad” or “New Orleans jazz” is.  It’s free-flowing and glorious.

Here’s T Werk’s own narrative about the birth of a band, verbatim from Facebook:

February 23 at 10:51am ·
About one year ago I got a call from John Rodli asking me if I wanted to play a gig with him at Three Muses on Friday night. I said something along the lines of “Duh, Idiot. Totally down.” Being Rodli, he didn’t book anybody for the gig and asked me to just throw something together last minute. That first gig had Ben Polcer, James Evans, Rodli, and myself on it. After that gig we immediately realized that we had something totally killer going on here. Once we locked down a weekly gig at Three Muses is when this band really took shape. We were able to add two of the most bad ass musicians I know to fill out the band’s lineup. Charlie Halloran and David Boeddinghaus (🛥🏠). With that killer lineup already rolling we had to add Tom Fischer on reeds as well because we’re all totally insane. After playing for a few months we realized that it was time to make a CD. In November we booked off two days to make a record not realizing that we would only need the first 3 hours and 8 minutes of the first day to record the whole thing. As a musician, going into a studio and coming out three hours later with a killer product is one of the best feelings you can have. That being said, we now have our first record available for purchase! A huge shout out goes to John A Dixon for absolutely CRUSHING the art work. Seek 1 & Top MOB for slaying the lettering and Sophie Lee Lowry and the staff at Three Muses for letting us have Three Muses as our homebase week after week. Keep an eye out for a CD release party coming up really soon. Until then you can purchase digital downloads of the album from band camp or through the Louisiana Music Factory later on today. Of course we will also have this CD for sale tonight at Three Muses from 9-12.
I’ve never been so proud to have my name on a record as I am with this one. Polcer, James, Charlie, 🛥🏠, Fischer and Rodli are the best musicians to work with and we get to do it every week. LET’S DO SHOTS!!

I’d say it a little differently: this recording makes me bounce with happiness.  The rhythm section is a thing of joy, and the soloists know how to speak in their own voices and to join as a choir — the goal of having a deeply melodic satisfying good time.  I keep getting stuck on the first track, that growly piece of Thirties Ellingtonia, JUBILESTA.  But I keep on playing this disc.  And you’ll notice I’m not explicating the music: if I had to do that, I’d despair of my audience.  You’ll hear just how fine DORO WAT is very quickly.  It’s restorative music that I’d like everyone to hear.

And from another angle: I was on a wobbly barstool at The Ear Inn last week, talking with my dear friend Doug Pomeroy, and I said, “You know, THIS is a Golden Age right now.”  DORO WAT is very convincing proof.  Thank you, kind wild creators.

May your happiness increase!

“IT SURE SOUNDS GOOD TO ME”: WHEN IT’S SWINGTIME IN SAN DIEGO (PART TWO) with KRIS TOKARSKI, JONATHAN DOYLE, HAL SMITH, LARRY SCALA, NOBU OZAKI, and KATIE CAVERA (Nov. 25, 2017)

Yes, the very thing: Kris Tokarski, piano; Hal Smith, drums; Jonathan Doyle, clarinet and tenor saxophone; Larry Scala, guitar; Nobu Ozaki, string bass, with guest star Katie Cavera, guitar / vocals.  Recorded November 25, 2017.

No one is truly that shade of purple in real life (aside from children’s television) but they played beautifully, ignoring the vagaries of stage lighting.  For the first part of this set, including CRAZY RHYTHM, IDA, THERE’LL BE SOME CHANGES MADE, I MUST HAVE THAT MAN, and I NEVER KNEW, please click here.

Now the second helping.

Here’s Katie to sing one of her (and our) favorites, I’LL BET YOU TELL THAT TO ALL THE GIRLS — a Twenties phrase brought back a decade later in this 1936 song by Charlie Tobias and Sam H. Stept, which I first learned through Henry “Red” Allen’s recording of it, where (as was the custom) he couldn’t change the gender of the lyrics.  They fit Katie better:

SOMEBODY LOVES ME, with a delicate reading of the verse by Kris, solo:

This is surely a swing (and swinging) band, but my goodness, how they can play a ballad.  Case in point, I SURRENDER, DEAR:

and the set concludes with the Twenties classic, SOMEBODY STOLE MY GAL:

What a great band!  I look forward to seeing them at other festivals, and I hear that PBS, NPR, and the BBC are all ears, too.

May your happiness increase!

DAN MORGENSTERN CELEBRATES CECIL SCOTT, DICK KATZ, AND NANCY HARROW (Sept. 29, 2017)

I won’t go on at length about my good fortune — having Dan Morgenstern patiently sit and tell wonderful stories to my camera so that you can all delight in his warmth, his first-hand experience, and his beautifully articulated love for the music and the musicians . . . but here are two interview segments from my most recent visit, September 29, 2017.

The first, a belated celebration of reedman and splendid figure CECIL SCOTT:

Here’s Cecil in a 1935 Oscar Micheaux film, MURDER IN HARLEM:

and one of my favorite recordings ever, Red Allen’s ROLL ALONG, PRAIRIE MOON (with Cecil and J.C. Higginbotham):

Here are Dan’s affectionate memories of someone who was much loved and is not, I fear, well-known today, pianist / composer DICK KATZ and the very much with-us NANCY HARROW:

On a personal note or two: I am more involved in this video than I usually am, and I hope our conversation bothers no one.  On the subject of conversation . . . as soon as I’d shut the camera off, I said to Dan, awe-struck, “YOU KNOW Nancy Harrow?” and through the kindness of Daryl Sherman and Dan, Nancy and I have met and exchanged compliments and gratitudes — a great blessing.

But back to DICK KATZ.  Here is Dick playing THERE WILL NEVER BE ANOTHER YOU:

and THREE LITTLE WORDS:

and with Nancy Harrow on a very touching rendition of IF YOU WERE MINE (I need no excuse to recommend Nancy to you):

Dan Morgenstern says, “Dick was a dear man.”  Dan Morgenstern is a dear man.

May your happiness increase!

“NO CHARGE FOR TABLES”: MR. ARNOLD GOES DOWNTOWN, HEARS JAZZ

The Stuyvesant Casino, Second Avenue and Ninth Street, visually:

And audibly:

One of the nicest parts of having JAZZ LIVES is that generous like-minded people want to share.  I received an email from Mr. Madison Arnold some time back, with this photo-enclosure, a Bob Maltz postcard from 1950, autographed by James P. Johnson, Joe Sullivan, Gene Sedric, Hot Lips Page, Jimmy Archey.  To the left, Tony Spargo and Pops Foster.  Below, that Sidney Bechet fellow:

I was one of the steady jazz loving week-end customers at the Central Plaza and Stuyvesant Casino from around 1950 to 1952 and got these post cards weekly. This is the only one I kept. I started when I was still in Erasmus Hall H.S. (they didn’t card in those days). My favorites were Bechet & Wild Bill but I loved them all. Among my memories: I helped Pops Foster put his bass in a cab one night and we went to the Riviera on Sheridan Sq., Red Allen pulled me up on stage once and we sang “The Saints Go Marching In” together. I became friendly with Baby Dodds and invited him over for dinner one evening to our apartment in Brooklyn. I also visited his place in Harlem. I have a Xmas card he sent me, written, I think, by his lady friend as I don’t think he could write. My personal Louis Armstrong stories are even better! (at least to me). He was a wonderful guy.

You can imagine that I asked Mr. Arnold to tell all.  And he did:

First time I met him was Xmas time 1949. I had just bought a Louie 78 at Big Joe’s record store on W.46th St. I’m walking down B’way and I’m shocked to see Louie walking up B’way.  I remember shouting “Satchmo” and the 2 of us walked, with our arms around each other, uptown to the Capitol Theatre where he was playing. I was so excited, I almost broke my record showing it to him. He invited me to visit him in his dressing room someday. A few days later, with a friend of mine, we bought tickets for a matinee show at the Capitol (75 cents?). I remember that, besides Louie and his group, Jerry Lewis’s father performed some comic stuff. Anyway, after the show, we went to the stage door and I told the door man that Louie invited me to come up. He phoned up to his room, got the OK and up we went. Louie was resting in a cot and the first thing I noticed was the Star of David hanging from his neck and thought, can’t be, he can’t be Jewish! I have no idea what we said but, coming from school, I had my note book which had his picture pasted on the inside cover. He signed it (green ink) and it hangs on my wall today along with a second one he signed at another time.

The second time was my graduation night from H.S. We were having a marshmallow roast on the beach at Coney Island when I remember saying, “Satchmo’s playing at Bop City. Let’s go.” About 5 or 6 of us took the subway and ended up at Bop City on, I believe, 47th and B’way. I told Louie who we were and he made an announcement, the exact words I still remember: “There’s a buncha kids just graduated from Erasmus High School and I’d like to dedicate my next number to them.” He put his horn to his lips and blew Auld Lang Syne ending by skat singing,”old acquaintance, be forgot baba ba doo zip, yeah” all the time looking at me (us).  A great musician and a warm wonderful person.

Louis, as we know, remains a warm wonderful person.  But right next to him is Mr. Arnold, so generous to us all.

May your happiness increase!