Tag Archives: Sammy Price

A TRIUMPH: “LESTER’S BLUES – RED LABEL: HOMMAGE TO LESTER YOUNG AND THE BASIE-ITES” (2018)

A Preface:

I came to this band through their Facebook page and was thrilled by their sound.  When I noticed the great reed played David Lukacs (whose CD DREAM CITY I have praised here) was one of the two tenor saxophonists (he also plays clarinet) I asked him to put me in touch with saxophonist / leader Tom Callens.  A few days ago, a neat package arrived; I extracted both the CD and vinyl issue, slid the former into the player, played it three times in a row, and was uplifted each time. It has also become the soundtrack to this post, appropriately.

Several Relevant Illustrations:

This is the band’s website, where you will see their video of the recording of DICKIE’S DREAM.  I encourage you to click on it, or visit the video here:

Here’s TICKLE-TOE, a legal stimulant:

and a seductive live version of THE GOON DRAG. It’s also on the record, but the live version shows that their magic comes from inspiration:

Emulation, not Repetition (I):

LESTER’S BLUES is the wonderful embodiment of ideas (to be explicated below) for which Tom Callens may take credit.  The repertoire springs from Lester’s recordings of about a decade, with nods to Count Basie, Billie Holiday, but also Lester’s Aladdin period, his Keynote sessions, and the aforementioned GOON DRAG, originally a Sammy Price recording for Decca. The titles will make this even clearer: KING PORTER STOMP / ONE O’CLOCK JUMP / EASY LIVING / LESTER’S BE-BOP BOOGIE / SIX CATS AND A PRINCE / MY MAN / THE GOON DRAG / SHOE SHINE BOY / AD LIB BLUES / TICKLE-TOE / SUN SHOWERS / DICKIE’S DREAM.

The Repeater Pencil (II):

There’s evocation and freedom, soulfully balanced, throughout.  Lester said he didn’t want to be a “repeater pencil” (my musings on that here and here — the second post has the pleasure of my hero Dan Morgenstern correcting me).

Lester urged musicians to “be original,” to “sing your own song,” so I think he would be pleased by LESTER’S BLUES because it evokes him but does not copy.  The band is not Supersax, nor is it Lester’s Greatest Hits, nor is it The Chronological Lester.  What a relief.  But there’s no thin “innovation,” no playing MY MAN with a Second Line drum beat, nor is it “what would happen if Lester had played GIANT STEPS or THAT’S A PLENTY?”  Another relief.

The Musicians, Being Original (III):

Thus Delphine Gardin understands Billie but sounds pleasingly like herself (a self who knows the records but also knows the futility of mimicking them); ONE O’CLOCK JUMP is based on the small group Basie had ten years after Lester left; drummer Frederik Van den Berghe does not restrict himself to Jo Jones’ hi-hat; David Lukacs and Tom Callens know Lester’s solos but — except in the case of SHOE SHINE BOY — use them as suggestions rather than strictures.  And there are warm traces of Herschel Evans and later reed players here as well.  Singing EVENIN’, Tom Callens bows to Jimmy Rushing but is himself; pianist Luk Vermeir gracefully cuts a path around just-like-the-Count cliches.  Trumpeter Hans Bossuyt has an estimable wildness that breaks out of the Buck Clayton mold; Sam Gerstmans has a beautiful lower-register sound that Walter Page would praise, but he’s heard other players; guitarists Victor Da Costa and Bart Vervaeck swing their own glorious ways.

A First Inducement to Purchase (IV):

Thus, even if you know every performance on this disc by heart; if you can hum Lester’s solos on both takes of Billie’s WHEN YOU’RE SMILING, you will find this recording a series of small warming surprises that, listened to several times, become inevitable and memorable.  And the band is a band — there are beautifully “right” ensemble passages, jammed or written — thus the recording is more than a series of great solos over a rhythm section.  Tom is responsible for all the arrangements, which are varied and delightful.

Technical Data (V):

It’s no small thing that its recorded sound is lovely, the result of old-fashioned technology that still rewards us.  Callens’ liner note — more about that in a minute — is memorable in its rejection of all the digitalia that makes some sessions sound so cold: “Recorded live in one-takes (no edits), in one room with the band centered around two main microphones, mixed straight to analog 1/4″ tape on a two-track MCI 1H-110 machine.  No external effects other than compression were used during tracking.  The tapes were edited the old-school way — cutting and splicing — to prepare for mastering.”  More technical details await interested readers on the LP sleeve.

What it Means, and it Means a Great Deal (VI):

I rarely quote from liner notes except when I’ve written them (!) but Tom’s notes are so quietly fervent and wise that I share them without editing.  They give insights not primarily into the music of the band but the souls of its musicians and the soulful impulse behind its birth.  I don’t exaggerate.

You could say that the members of Lester’s Blues are from the MTV generation: born in a wealthy, predominantly white Western country in the eighties: raised on FM radio hits, as well as underground music like grunge, hip hop, drum’n’bass, triphop, witnessing the change from analog technology like wired phones, television, radio, cassettes, and vinyl to the digital age of computers, compact discs, mp3s, wireless technology, and the internet.  As we grew up, we saw the general ‘dehumanization’ of our world, as the disappearance of religion gave way to even great reliance on machines, the rise of tools for quantification and efficiency made out societies market-and-performance-driven, and the unrelenting blare of media left us in constant chaos and fragmentation.

As a result, the people around us are seeking authenticity, both externally and mentally, subconsciously feeling that they have lost something.  People are looking for connection.  You see it everywhere in specialist, handcrafted bicycles, clothes and beer; in yoga and meditation practices; in the return of past pop culture styles of dance, fashion, music, graphics and videos; in homegrown vegetables, local produce and slow food; in the desire for an original identity through particular choices of dress, tattoos, hobbies, language . . .

Most of our generation-X musicians went to the jazz conservatory and primarily learned the language of bebop and the idioms / styles that followed.  To be sure, that syllabus didn’t include any lessons on ‘connection’. . . After this education, we were thrown into the real world to start honing our craft, possibly playing different genres of music, by choice or financial necessity.  Such was, and still is, my path.  Over the year, I became aware that I was missing something deeper.  It led me to music that could connect to the soul: something healing or even spiritual.  I listened to classical and world music, often religious music, or particular singer-songwriters, gospel, and blues.

In the middle of all of this, I discovered the music of Lester ‘Prez’ Young.  I have kept on listening to him and his peers over the years.  It eventually dawned on me just how deeply his expression could reach me, on many levels, and so much emotion.  I am convinced that this music is one of the strongest, timeless projections in human nature, universally understood, and I get confirmation of that whenever I meet another Lester fan.  It touches me in more ways than I can describe.  It is music in which you feel that every musician is equally important, where everyone’s contributions melt into a single voice.  It has its unpredictabilities and imperfections.  It can be strange and weird, happy, vibrant, fast, slow . . . just like real life or nature.  It is, of course, technically impressive, yet at the same time it reaches an equally (if not more) impressive emotional level, sending shivers up your spine, making it a rare example of both technical prowess and emotional intelligence.

After a moment of deep introspection somewhere in 2016, it came to me that playing this music with people I love and respect professionally was something that I had to do, like a calling.  To study and share that music and its language-fabric, bringing it to life on stage and creating a moment where everybody would come together, right there in the present.  To look for surprises, to try and  have a coherent musical dialogue devoid of excess, to be open to our humanness, with all its quirks, inventiveness, and humor.  In sum: to search for another way of living the music than what we have become used or programmed to do.

This way of seeing things makes every step – the concert, rehearsal, recording – a life-learning experience.  We have already gained so much from being close to the music of Young, Basie, and their peers. Even if Lester Young may hesitate to see us playing his music and emulating his style – he used to say, ‘You got to be original, man!’ – I think we are paying in our own small way a tribute to his always-searching, life-respecting, irreverent yet humble, freedom-seeking being.  That’s what I see in this music, and hope you can see it, too.

After Such Knowledge, What Action? (VII):

Here (on Bandcamp) you can buy a “vinyl” 12″ long-playing record with a lovely Savoy label, or a CD, or download the music digitally.  Another digital version can be purchased through Amazon here and through Apple Music here.

(Other sites offer the music, but JAZZ LIVES doesn’t endorse other streaming music platforms that take advantage of musicians; if you want to exploit creators, you’ll have to find your own paths.)

This is extraordinary uplifting music, and it swings like mad.  Who deserves a copy more than you, Faithful Reader?

May your happiness increase!

TAKE IT FROM THEM: NEVILLE DICKIE and DANNY COOTS PLAY FATS WALLER (Scott Joplin International Ragtime Festival; Sedalia, Missouri; May 31, 2018)

One of the great pleasures of the 2018 Scott Joplin International Ragtime Festival was their Fats Waller tribute concert — guess who was second row center with camera and tripod as his date?  I will share videos of the Holland-Coots Quintet playing and singing superbly, but first, something rich and rare, the opportunity to hear Neville Dickie in person.  I’ve heard him on recordings for years, but how he plays!  Steady, swinging, inventive, and without cliche.

Some pianists who want to be Wallerizing go from one learned four-bar motif to the next, but not Neville, who has so wonderfully internalized all kinds of piano playing that they long ago became him, as natural as speech.  Eloquent, witty speech, I might add.

Some might think, “What’s a drummer doing up there with that pianist?” but when the drummer is Danny Coots, it’s impudent to ask that question, because Danny adds so much and listens so deeply.  And there is a long tradition of Piano and Traps.  I thought immediately of James P. Johnson and Eddie Dougherty, of Frank Melrose and Tommy Taylor, of Donald Lambert and Howard Kadison, of Willie “the Lion” Smith and Jo Jones, of Sammy Price and Sidney Catlett, of Pete Johnson, Albert Ammons, and Jimmy Hoskins . . . and I am sure that there are other teams I have left out here.

Danny’s tap-dancer’s breaks may catch your ear (how expert!) but his steady color-filled but subtle support is what I admire even more.  He’s always paying attention, which is no small thing no matter what instrument you play.  In life.

Here are the four selections this inspired duo performed at the concert: only one of them a familiar Waller composition, which is also very refreshing.  Need I point out how rewarding these compact performances are — they are all almost the length of a 12″ 78 but they never feel squeezed or rushed.  Medium tempos, too.

A NEW KIND OF A MAN WITH A NEW KIND OF LOVE comes, as Neville says, from a piano roll — but this rendition has none of the familiar rhythmic stiffness that some reverent pianists now think necessary:

TAKE IT FROM ME (I’M TAKIN’ TO YOU) has slightly formulaic lyrics by Stanley Adams, but it’s a very cheerful melody.  I knew it first from the 1931 Leo Reisman version with Lee Wiley and Bubber Miley, which is a wondrous combination.  But Neville and Danny have the same jovial spirit.  And they play the verse!  Catch how they move the rhythms around from a very subtle rolling bass to a light-hearted 4/4 with Danny accenting in 2 now and again:

Then, the one recognized classic, thanks to Louis and a thousand others, I’VE GOT A FEELING I’M FALLING.  Neville, who certainly knows how to talk to audiences, is a very amusing raconteur in addition to everything else.  And the feeling I get when he and Danny go from the rather oratorical reading of the verse into tempo!

Finally (alas!) there’s CONCENTRATIN’ (ON YOU) which I know from recordings by the peerless Mildred Bailey and Connie (not yet Connee) Boswell: I can hear their versions in my mind’s ear.  But Neville and Danny have joined those aural memories for me:

What a pair!  Mr. Waller approves.  As do I.  As did the audience.

May your happiness increase!

I CALL ON MICHAEL HASHIM, PART TWO (July 19, 2017)

Because he is justifiably one of the most busy musicians I know, it was hard to find a time when saxophone master and master raconteur Michael Hashim and I could sit down and talk at leisure.  And because Michael is so busy gigging, it was hard to find a photograph of him without a horn attached to him, but I did.  (I love the dashing color palette here.)

Michael and I had a long afternoon’s conversation last July, the first two segments of which I posted here.

Now, throwing caution to the winds — or another apt cliche — I offer the four remaining segments of our talk.  And, as you’ll hear, Michael is one of those rare creatures who can speak beautifully, extemporaneously, without hesitation: lovely long sentences, full of information, feeling, and wit, come tumbling out.  A master of improvised prose as well as one of improvised music.

Three.  In which Michael speaks so well and affectionately of Jimmy Rowles — the pianist, the man, and the artist — with side-glances at Robert Mitchum, Henry Mancini, and The Fifth Dimension, Tommy Flanagan, Phyllis Diller, Benny Carter, Michael’s own recording with Rowles, Ray Brown, and some comments on race:

Four.  In which Michael tells anecdotes of encounters with heroes in New York, saxophonist Pony Poindexter, trombonist Benny Morton, as well as jazz clubs Eddie Condon’s and Jimmy Ryan’s, with memories of Red Balaban, Jo Jones, Bobby Pratt, Tony Bennett, Joe Muranyi, Artie Baker, Roy Eldridge, Scott Hamilton, Lou Donaldson, Freddie Freeloader, and others:

Five.  In which Michael remembers not only individual musicians but the feeling and understanding of their art that they embodied, including Cab Calloway, the Widespread Depression Orchestra, Eddie Barefield, Sammy Price, Jerry Potter, Earle Warren, Phil Schaap,Toots Mondello, Percy France, Doc Cheatham, Scott Robinson, Roy Eldridge, Ornette Coleman, Cecil Taylor, Lester Bowie, Haywood Henry:

Six. In which Michael lovingly speaks of the importance of the drums and remembers memorable percussionists and the players surrounding them, including Buddy Rich, Philly Joe Jones, Eddie Locke, Ray Mosca, Oliver Jackson, with a special pause for the master Jo Jones, for Sonny Greer, Johnny Blowers, Brooks Kerr, Russell Procope, Harold Ashby, Aaron Bell, Sidney Bechet, Charlie Irvis, Bubber Miley, Elmer Snowden, Freddie Moore, Eddy Davis, Kenny Washington, Billy Higgins, Wynton Marsalis, Branford Marsalis, George Butler, Jazz at Lincoln Center, Joe Henderson:

What an afternoon it was, and what a person Michael Hashim is.

May your happiness increase!

BOOGIN! (with INFINITE VARIETY)

A little gift of music — three minutes of Sammy Price and Sidney Catlett playing a boogie-woogie blues in July 1945:

To me, this is not simply piano, drums, and the blues.  It is a small glowing exercise in bringing infinite variety into what could otherwise be a closed form. Listen to the textures — the varied and ever-shifting sound of Sidney’s drums alongside the piano, the shifting rhythms he and Sammy set up and move through, the varied harmonies and melodies.  Of course, listened to casually from another room, “it’s just boogie-woogie.”  But that would be so limiting, so unjust to the rich textures heard here.

And Sammy and Sidney did not set out to make a classic; they had time at the end of a King Jazz record session and decided to play some blues: this is what they casually and splendidly created.

This post is for my departed friend Michael Burgevin, who loved this record. And for Carl Sonny Leyland, who is deeply in the music and creates it infallibly: he understands!

May your happiness increase!

THE CHAMBER MUSIC SOCIETY OF LOWER STOCKTON STREET: PROFESSORS GROSZ, OAKLEY, and VENTRESCO (August 17, 2014: Part Two)

This music gives me such pleasure that I am reposting both halves of the performance, and my original prelude:
A long time ago, when I was a college student listening to string trios, quartets, and quintets, I was told that the great groups were Thibaud-Cortot-Casals, the Budapest Quartet and Friends, the Guarneri Quartet (whom I saw several times in concert). But while I was learning my Brahms, Schubert, Haydn, Mozart, Dvorak, and others, I was getting deeper into small-group jazz.  And it occurred to me often that the inspired interplay I heard in the “Trout” or the “American” was no different from a record of Sammy Price and Sidney Catlett boogieing their way through a blues, or the Edmond Hall Celeste Quartet, the Goodman Trio, Jimmie Noone’s Apex Club Orchestra, the Basie rhythm section.  And in person I saw Soprano Summit, Al and Zoot, Bobby and Vic, the Braff-Barnes Quartet, the EarRegulars, and many others.
All this is long prelude to say that inspiring chamber music takes many forms. In jazz, it is always incredibly uplifting to see a very small group of musicians do two or three things at once — create communal variations out of their shared knowledge and conventions AND go their own brave ways. Courage, joy, playfulness, and beauty.
Here is some very recent evidence that stirring chamber-jazz sessions are happening all around us, with some of the finest players.  This one brought together East and West — East being Professor Grosz (Chicago, New York, and Philadelphia) and West being Professors Oakley and Ventresco from the San Francisco Bay Area.  No music stands, just swing and on-the-spot frolicking. Acoustic splendor, with two very different approaches to the guitar — in solo and accompaniment — and with Leon’s very heartfelt cornet shining a light for us all to follow. (Highlights from the 2014 Marty Grosz West Coast Tour, for the historians in the audience.)
SONG OF THE WANDERER:
SHOE SHINE BOY:
I’M CONFESSIN’:
JOE LOUIS STOMP:
CRAIG’s LOWDOWN BLUES:
And here are three more performances from the second half.  The sky had grown darker outside and thus the interior lighting needed help.  The visual image is less sharp but the music remains exquisite.
S’WONDERFUL:
A very mellow KEEPIN’ OUT OF MISCHIEF NOW:
FROM MONDAY ON, a sweet conversation all the way through, with Mister Grosz bursting in to song:
May your happiness increase!

THE CHAMBER MUSIC SOCIETY OF LOWER STOCKTON STREET: PROFESSORS GROSZ, OAKLEY, and VENTRESCO (August 17, 2014: Part One)

A long time ago, when I was a college student listening to string trios, quartets, and quintets, I was told that the great groups were Thibaud-Cortot-Casals, the Budapest Quartet and Friends, the Guarneri Quartet (whom I saw several times in concert). But while I was learning my Brahms, Schubert, Haydn, Mozart, Dvorak, and others, I was getting deeper into small-group jazz.  And it occurred to me often that the inspired interplay I heard in the “Trout” or the “American” was no different from a record of Sammy Price and Sidney Catlett boogieing their way through a blues, or the Edmond Hall Celeste Quartet, the Goodman Trio, Jimmie Noone’s Apex Club Orchestra, the Basie rhythm section.  And in person I saw Soprano Summit, Al and Zoot, Bobby and Vic, the Braff-Barnes Quartet, the EarRegulars, and many others.
All this is long prelude to say that inspiring chamber music takes many forms. In jazz, it is always incredibly uplifting to see a very small group of musicians do two or three things at once — create communal variations out of their shared knowledge and conventions AND go their own brave ways. Courage, joy, playfulness, and beauty.
Here is some very recent evidence that stirring chamber-jazz sessions are happening all around us, with some of the finest players.  This one brought together East and West — East being Professor Grosz (Chicago, New York, and Philadelphia) and West being Professors Oakley and Ventresco from the San Francisco Bay Area.  No music stands, just swing and on-the-spot frolicking. Acoustic splendor, with two very different approaches to the guitar — in solo and accompaniment — and with Leon’s very heartfelt cornet shining a light for us all to follow. (Highlights from the 2014 Marty Grosz West Coast Tour, for the historians in the audience.)
SONG OF THE WANDERER:
SHOE SHINE BOY:
I’M CONFESSIN’:
JOE LOUIS STOMP:
CRAIG’s LOWDOWN BLUES:
Three more performances from the second half (after a quiet intermission) will be offered in the near future.
May your happiness increase!

A FEW CHORUSES AGO

The Nice Jazz Festival, 1948.  Henry Goodwin, trumpet; Robert Sage Wilber, clarinet / soprano saxophone; Jimmy Archey, trombone; Pops Foster, string bass; Sammy Price, piano; Mezz Mezzrow, clarinet.  Not photographed: Baby Dodds, drums.

Mezzrow Band

Happily, Mr. Wilber — then the baby of the band — is still with us, playing, recording, and traveling. Music keeps you young. Thanks to Pug Horton for providing this glimpse of the past, only sixty-six years ago.

May your happiness increase!