Tag Archives: Reginald Foresythe

TELL MARIE KONDO: THIS SPARKS JOY! REGINALD FORESYTHE, 1935

Maybe everyone has already repented of their Marie Kondo-obsession (I hope you didn’t throw out something or someone you now miss terribly) but I thought of her criterion for keeping an object: did it “spark joy” or not?  The music that follows does for me.

If people recognize Foresythe at all, it might be from his compositions recorded by others — SERENADE TO A WEALTHY WIDOW by Fats Waller, DEEP FOREST by Earl Hines, less so for his own orchestral work which looks forward to the Alec Wilder Octet and perhaps backwards to Spike Hughes’ 1933 compositions.  He was a truly fascinating individual, as I’ve learned from Terry Brown’s splendid biographical essay, the first part of which is published        here.  I haven’t been able to find the second part online.

Some months ago, I saw this intriguing 78 rpm disc for sale on a record colletors’ site — at a pleasingly affordable price — and holding to the philosophical principle of “What could possibly go wrong?” I bought it, played it, and was instantly smitten.

I’d heard and seen the New York Jazz Repertory Company in 1974 and onwards reproduce Louis’ solos scored by Dick Hyman for three trumpets; Earl Hines had recorded BEAU KOO JACK in 1929, and there are numerous examples of homages to famous solos — particularly Bix’s — recorded years later, but this is a wonderfully unusual homage — six reeds, three rhythm, playing every note of Louis’s solo on CHINATOWN (personnel thanks to Gary Turetsky): REGINALD FORESYTHE and His Orchestra: Cyril Clarke, Dick Savage (cl), Jimmy Watson, Harry Carr (as), Eddie Farge (ts), J. L. Brenchley (bsn), Reginald Foresythe (p, a), Don Stuteley (b), Jack Simpson (dr). London 19 July 1935:

Jon De Lucia was also taken with this record, and has promised to write it out for saxophone ensemble: I look forward to the day when I can hear it live. Until then, spin this more than once and enjoy the joy-sparks: more fun than bare shelves and empty clothes-hangers, no?

May your happiness increase!

A PASTORAL DREAM: BRYAN WRIGHT PLAYS REGINALD FORESYTHE

I’ve known Bryan Wright (or Bryan S. Wright, if we are to be formal) as the wearer of many hats: musical scholar, record collector,  recording engineer, guiding genius of his own Rivermont Records.  That would be enough of a curriculum vitae for several people or several lifetimes.  But my list needs to be opened up to include Bryan as a sensitive, thoughtful pianist and composer.

I had some wonderful opportunities to hear Bryan in those roles at the Scott Joplin International Ragtime Festival (May 31-June 2) in Sedalia, Missouri.

I was particularly taken with one piece that Bryan not only played but offered to us as a kind of surprise gift: THROUGH THE TREES, by the imaginative composer and pianist Reginald Foresythe (1907-58).  Before I heard Bryan’s performance, I knew Foresythe as the composer of DEEP FOREST, and of several bouncy compositions with eccentric titles: SERENADE TO A WEALTHY WIDOW and DODGING A DIVORCEE.  Brief research reminded me that he had also composed the song I associate with Mister Strong, HE’S A SON OF THE SOUTH.  But the first two compositions seem to me to herald the unusual mood pieces that Raymond Scott and Alec Wilder created a few years later.  I was not prepared for THROUGH THE TREES.

Before I proceed, I must point out that our ability to hear this piece is also due to the generosity of the British scholar-collector-sound restorer Nick Dellow, who is a deep student of Foresythe and made the sheet music of this otherwise unknown and unrecorded piece available to Bryan — and Bryan’s wife Yuko made the excellent video of Bryan at play.

I told Bryan that I thought of this music as both embodying and bringing peace.

Isn’t that just lovely, as a composition and a performance?

Should you want to hear more of the tender, ruminative Foresythe, I offer this:

Both of these compositions are too large and spacious to fit into stylistic compartments, and for that I (and I think you) should be glad. Thank you, Bryan, Yuko, Nick, and Reginald Foresythe.

May your happiness increase!

 

xxxxx

DAN MORGENSTERN, AMONG FRIENDS: DICK WELLSTOOD, BUZZY DROOTIN, GEORGE WEIN, MOREY FELD, ZUTTY SINGLETON, WILD BILL DAVISON, and a few words about TESCH, (April 21, 2017)

Here’s another opportunity to hear some priceless stories from the man who was there, with eyes, ears, and heart open — our friend and hero Dan Morgenstern, at home on April 21, 2017, speaking of the people he knew and admired.  I’ve shared previous interview segments here and here.

And here’s more: Dick Wellstood covering fires for the local newspaper, Lester Young auditioning the new pianist:

and on a wide range of memorable people.  (After I’d shut the camera off, I mentioned the Singletons’ dog, Bringdown — whom Dan had also encountered. Perhaps the next interview segment should be devoted to Famous Jazz Pets?)

What’s the moral?  Nothing new, I think.  When people pass into spirit, they never “die” as long as they are remembered with affection, as Dan does here. And the living — that’s us, with luck — have a responsibility to keep the memories fresh, by telling stories and making sure those stories don’t vanish.  If you have a story-teller in your bunch, and the stories don’t have to be about jazz, place your iPhone in front of Grandma and ask her to tell what made her love Grandpa so. (Big Joe Turner had his own answer, which you can inquire about.)

Bless Mister Morgenstern — not only for keeping the memories alive, but for sharing them with us so beautifully.  There’s more to come.

May your happiness increase!