Tag Archives: SHOE SHINE BOY

“ADMIT ONE”: LOUIS ARMSTRONG and his N.B.C. ORCHESTRA at PORT ARTHUR, TEXAS, November 15, 1940.

Yes, July 4th!

I found this holy relic for sale on eBay. Do I have to say how much I would have given to be there? But alas, my parents had not even met. So there goes that dream. It is, of course, only a piece of paper. But Louis’ big band did broadcast between 1939-43, and some extraordinarily rare and fine music was preserved for us — and issued on a CD on the Ambassador label, Volume 10 of their Armstrong series, the gift of the late Gosta Hagglof to all lovers of hot music.

So in honor of Louis and in honor of his birthday (let’s not argue about the date this year, please) I have extracted two very lively and different performances. Alas, neither is from the Port Arthur dance, but they are by his remarkable big band — with him remarkably out in front, showing the way, as he continues to do.

This composition by Joe Garland got the dancers on the floor and kept them there. The band for this performance is Louis Armstrong, trumpet, vocal; Shelton Hemphill, Bernard Flood, Henry “Red” Allen, trumpet; Wilbur deParis, George Washington, J.C. Higginbotham, trombone; Charlie Holmes, Rupert Cole, alto saxophone; Bingie Madison, clarinet, tenor saxophone; Joe Garland, bass sax, reeds, arranger; Luis Russell, piano; Lee Blair, guitar; Pops Foster, string bass; Sidney Catlett, drums. Cotton Club, New York City, March 22, 1940. Listen for Sidney Catlett catching every detail in the arrangement, Garland on bass saxophone, Red Allen on trumpet — further evidence that Red wasn’t “buried” in Louis’ band — and the sound of the respective sections, well-rehearsed, before Bingie Madison’s clarinet and Louis’ entrance, his sound so recognizable, then the duet with Sidney, electrifying:

and a lovely performance (missing the cadenza at the end) of a song written for Louis in 1936 by Sammy Cahn and Saul Chaplin, SHOE SHINE BOY. The band’s personnel had changed: Louis Armstrong, trumpet, vocal; Frank Galbreath, Shelton Hemphill, Bernard Flood, trumpet; George Washington, James Whitney, Henderson Chambers, trombone; Rupert Cole, Carl Frye, alto saxophone; Prince Robinson, clarinet, tenor saxophone; Joe Garland, reeds, arranger; Luis Russell, piano; Lawrence Lucie, guitar; John Simmons, string bass; Sidney Catlett, drums. Casa Manana, Culver City, California, April 1, 1942. Hear the tenderness in Louis’ voice (and the sweet inspired trumpet obbligato behind his singing), again with Catlett’s heroic support. The incomplete recording catches me by surprise, but I can imagine the notes that follow and hope you can also:

Bless Louis, and his orchestras, and the unknown recordists. The dancers, too. To me, every day is Louis’ birthday. I hope for you also.

May your happiness increase!

“EVERY DAY’S A WORKING DAY FOR YOU”

How do you recognize wealthy people?  They go on vacation with more possessions than they can carry, and they hire someone to do the work for them.

“Red cap” or “redcap,” now archaic, dates back to when people traveled by train, when suitcases did not have wheels, so passengers would need help with their luggage, and would summon a railway porter.

Here is a 1983 news story, “The Top Redcap,” which explains it in greater depth.  I believe that the redcaps were hard-working men of color who may not have been treated well by affluent passengers.  One of the sadnesses of this life is that people who perform low-status jobs become servants and are thus invisible.

If you wonder at the photographs — figurines carrying suitcases and golf clubs, my intent is not to demean these diligent laborers, but these objects turned up online, described as “REDCAP W/ LUGGAGE, STANDARD GAUGE MODEL TRAIN PLATFORM FIGURE, NEW/REPRODUCTION” — produced for people who wanted the landscape of their model train layout to be realistic.  “Look.  Servants, too!”

The description reads: “This is a Standard Gauge figure of a redcap/train porter carrying luggage. It is a reproduction cast in tin from a Lionel antique original and is hand-painted by Leddy & Slack. Lionel’s six-piece set #550 of Standard Gauge figures was manufactured from 1932-1936. The redcap is 3″ tall and wears a dark gray uniform. The suitcase in his left hand is detachable. . . . Suitcases are also available separately to replace a lost piece of luggage on an old figure; please inquire.”  It’s significant that this piece of miniature art dates from 1932-36.

But JAZZ LIVES has not turned into a cultural studies explication of Lionel train figures.  It’s all a prelude to the music, which touches us through the decades.

In 1937, Louis Armstrong and Ken Hecht collaborated on a song, RED CAP.  Everyone, including me, thinks the Hecht referred to was BEN — he’s even credited in the Mosaic set — but it’s  KEN.  See below for Dan Morgenstern’s correction.

Louis had traveled coast-to-coast many times by 1937, so he had first-hand experience of the amiable fellows who helped you and your bags off the train.  Ricky Riccardi, my brother-in-Louis, told me something I hadn’t known, that Louis refused to put his name on songs he had no part in writing.  But there’s an even stronger story behind RED CAP.

Louis grew up in poverty, knew what it was like to hunt through garbage cans for food, was contemptuous of the “lazy,” and held hard work for a goal as the greatest good.  He also was generous, and I would bet that when Louis and his band came into town, he was a hero to the red caps and more.

A year before RED CAP, Louis had a great hit with SHOE SHINE BOY, by Sammy Cahn and Saul Chaplin (Cahn wrote about Louis in his autobiography, and I posted this cameo in 2009).  If you don’t know the song, or know it only through the instrumental versions by Count Basie, Lester Young, and Jo Jones, listen to this touching December 1935 performance:

So: a song celebrating the working man (or child) invisible to the higher classes, directed at him (as in “you” rather than “he”) and predicting a hopeful future, upward economic mobility.  As you’ll hear, RED CAP has one extra touch that SHOE SHINE BOY doesn’t: it ends with the notion that the man working so hard hustlin’ and bustlin’ other people’s suitcases will someday be able to take a vacation and call for a red cap as well.  A dream worth dreaming!

It’s easy to imagine the dialogue between Louis and Hecht about writing a song in praise of the unseen but invaluable red caps, no matter who started the conversation. Louis usually worked with Horace Gerlach,  but you are free to let your imagination wander as to the genesis of RED CAP.

My imagination wanders to this wonderful 2003 performance now accessible on YouTube, from Scott Robinson’s eloquent spacious Louis tribute.  Here Scott plays C-melody saxophone alongside another hero, Mark Shane, irresistible both as pianist and singer:

and from five years ago (can it be that long?), our friend Daryl Sherman, vocal and piano; Scott, taragoto; Harvie S, string bass:

And the Master comes last:

I write these words a few days before Labor Day — thus “Perhaps some day you may be shouting, ‘Red Cap!’ too!” — has much hopeful significance to me: people’s dreams can still become realities.

And this, a gift from the Big Dipper, which says so much:

THIS JUST IN, from Dan Morgenstern, whom I trust!

Alas, I too thought how wonderful that Louis and Ben Hecht, of whom I was and still am a great fan, should have collaborated, and on a theme fitting with Hecht’s ideology . But I was not convinced that Ben and Louis had ever been connected. Sure enough, the Red Cap lyric is by KEN Hecht, writer of special material for many comedians and such entertainers as Belle Baker and Rose Marie. None of his other songs is near Red Cap. As for Ben, his most famous work is the play “The Front Page” a big 1928 Broadway hit twice filmed with success, first with the same title and later as “His Girl Friday” with which anyone at all into vintage films will know. Hecht’s partner was Charles Macarthur with whom he screenplayed “Scarface”, “Twentieth Century”, “Nothing Sacred” and, for Noel Coward’s first major film role, “The Coward”, all that plus making the twosome major league screenwriter. Hecht was one of the major advocates for the creation of Israel, among other causes. His 1926 novel “Count Bruga” is a sui generis satire that should be rediscovered. I don’t know if he was a Louis fan but glad this brought him up. His dates are 1894-1964.

AND a wonderful postscript, just in, from the wise Paige VanVorst:

One of my longtime idols, Natty Dominique, who’s on as many classic jazz records as Bix (As Wayne Jones used to say, “but they don’t buy them for Natty’s playing”), worked much of his life as a redcap at Chicago’s Midway Airport. People loved him, and he told stories of the early days of jazz to the people he served. He had a very nice retirement- he had a nice apartment with everything he needed, a wife who was an excellent creole cook, and he’d tell you it was all from his work as a redcap.

May your happiness increase!

“EVERY NICKEL HELPS A LOT” (THREE VERSIONS)

Sammy Cahn, Saul Chaplin, 1936 — written for Mr. Strong:

Four Boys and a Guitar:

Lester Young, Count Basie, Carl Smith, Walter Page, Jo Jones:

EVERY NICKEL HELPS A LOT!  ALL MONEY COLLECTED GOES TO THE MUSICIANS.

 https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQAS

LOUIS, SIDNEY, RICKY (1949 and 2009)

Gather round, children.

First, this blogpost exists because of the generosity of Ricky Riccardi.  September 8 is his birthday, but he’s given us the second of two extraordinary gifts. 

The first was a blogpost featuring a rare recording — running six minutes — of Louis Armstrong and the All-Stars (that’s Jack Teagarden, Barney Bigard, Earl Hines, Arvell Shaw, and Sidney Catlett) in New Orleans, 1949, performing SHOE SHINE BOY.  I won’t take anything away from Ricky’s extraordinary post on the subject, except to say that this version of SHOE SHINE BOY is an unrivaled masterpiece, even for Louis — with superbly tender singing. 

http://dippermouth.blogspot.com/2009/09/shoe-shine-boy.html

Today, he came back with another treasure from the same concert — a positively explosive ROYAL GARDEN BLUES with Sidney Catlett in violently swinging form.  I urge all my readers to savor this music, but — as the saying goes — don’t try this at home.  Sidney’s accents are much more than loud; they’re perfectly placed explosions, each with its own timbre, to encourage the soloist, to make a point in the ensemble, to give an encouraging push.  Percussionists who didn’t understand the rationale behind such playing simply took it as an excuse to play solos behind the horns.  Nay, nay.  But listen for yourself — to the spaces Sidney leaves as well as the glorious clamor he makes! 

http://dippermouth.blogspot.com/2009/09/one-hot-garden.html

Happy Birthday to Ricky, giver of gifts!