Tag Archives: Sidney Catlett

HEROES WITH FOUNTAIN PENS AND MUSICAL INSTRUMENTS

The eBay seller jgautographs continues to delight and astonish.  They (she? he?) have several thousand items for sale as I write this, for auction or at a fixed price, and even if the later items are unusual yet unsigned photographs, what they have to show us is plenty, from Jacquelie Kennedy Onassis’ stationery, a Playbill signed by Arthur Miller (DEATH OF A SALESMAN, of course), Joey Heatherton, Eleanor Roosevelt, Robert Redford, Marjorie Kinnan Rawlings, Frederick Douglass, Stephen Sondheim, and more.  When people signed their name in cursive, and often before ballpoint pens were ubiquitous.

And did I mention they have jazz autographs for sale?  I remarked upon such wonders here and here about ten days ago.  I’ll leave it to you to search the thousands of items, but here are some of very definite jazz interest.  (This time, the seller is not showing the reverse of these signatures, as (s)he did earlier, so there is a slight air of mystery to these offerings.  But someone was hip.)

There must still be thousands of Tommy Dorsey signatures still circulating, but this one’s unusual: did TD sign it for a family friend, or for someone who asked what his middle name was?  I’ve not seen another like it, and the flourishes mark it as authentic.

Coleman Hawkins had gorgeous handwriting, which does not surprise me.  I have no idea if the signature and photograph are contemporaneous, though:

Someone who worked on and off with Hawk, including time in the Fletcher Henderson band and reunions in the 1956-7 period, my hero, Henry “Red” Allen:

and a signature rarely seen, Leon “Chu” Berry — also from the time when musicians not only signed their name but said what instrument they played:

So far, this post has been silent, but it would be cruel to not include the two small-group sides that bring together Hawk, Red, and Chu — under the leadership of Spike Hughes in 1933 (also including Sidney Catlett, Lawrence Lucie, Wayman Carver, Benny Carter, and Dicky Wells — truly all-star!

HOW COME YOU DO ME LIKE YOU DO?

SWEET SUE, JUST YOU (with a glorious Carver flute chorus):

Back to Chu Berry . . . he was playing in Cab Calloway’s band at the end of his life; in the trombone section was Tyree Glenn, who lived much longer (I saw him with Louis):

A star of that orchestra and a star in his own right, trumpeter Jonah Jones:

Here’s BROADWAY HOLDOVER, originally issued on the Staff label under Milt Hinton’s name, featuring Jonah, Tyree, Al Gibson, Dave Rivera, and J.C. Heard:

Our autograph collector friend also made it to a club where Pete Brown was playing — again, another signature rarely seen:

Pete, Tyree, Hilton Jefferson, Jerry Jerome, and Bernie Leighton join Joe Thomas for one of my favorite records, the Keynote YOU CAN DEPEND ON ME:

And (exciting for me) our collector made a trip to Nick’s in Greenwich Village, from whence the signatures of Pee Wee Russell and Miff Mole came.  Now, two musicians from the same schools of thought — the short-lived Rod Cless:

and trumpet hero Sterling Bose:

and because they have been so rare, here are the four sides by the Rod Cless Quartet with Bose, James P. Johnson, and Pops Foster on the Black and White label — I am told that the Black and White sides will be a Mosaic box set, which is fine news.  Here’s HAVE YOU EVER FELT THAT WAY? (with verse):

MAKE ME A PALLET ON THE FLOOR:

FROGGY MOORE:

and James P., brilliantly, on I KNOW THAT YOU KNOW:

If I could play clarinet, I would like to sound like Cless.

And a postscript of a personal nature: the auction ended a few minutes ago.  I bid on the Cless, the Pete Brown, the Bose, and on a whim (because I knew it would go for a high price) the Chu Berry.  Chu went for nearly $171; someone beat me by a dollar for Sterling Bose, but my bids — not exorbitant — won the Cless and Pete.  When they come in the mail, I envision a frame with Pee Wee, Rod, and Pete.  It will give me pleasure, and some years from now, it will give someone else pleasure also.

May your happiness increase!

“ARE YOU READY? THEN JUMP STEADY!”

This seems not only an invitation to the dance but to a way of life.

Since staring at the label can only take us so far, here are the sounds:

That 1940 recording proves that Louis’ maligned Decca band had by this time was a first-rate swing band, as well as a swinging dance band.  Hear how Sidney Catlett understood Louis as few ever did, and Big Sid knew how to express his personality without insisting on being the whole show, a lesson many people can still learn.  If personnel listings are accurate, this band was, in addition to Louis, Bernard Flood, Shelton Hemphill, Henry “Red” Allen, Wilbur DeParis, George Washington, J.C. Higginbotham, Rupert Cole, Charlie Holmes, Joe Garland, Bingie Madison, Luis Russell, Lee Blair, Pops Foster, and Sidney Catlett — a powerful gliding group full of friends from the Luis Russell band of 1929-30.

That would be a post in itself — Louis and Jack Palmer writing a jovial novelty tune that also is a wonderful swing record, showing us why Harlem audiences so enjoyed the band as well as its leader.

Palmer, also, is crucial here: he, Cab Calloway, and Frank Froeba had created THE JUMPIN’ JIVE (whose refrain is “Hep hep hep”) in 1939 — first recorded by a Lionel Hampton small group, and it was a substantial hit.  Whether Palmer found Louis or the reverse, HEP CATS’ BALL (which was not a hit) seems a Louis-enhanced version of the same idea: you can have a wonderful time in Harlem if you know the way uptown.  Almost eighty years later, I wonder how many people spoke this way, and for how long, but it doesn’t perplex me.

But there’s more here than a fine Louis Armstrong performance that gets little to no attention.  How about two?  How about some comparative listening?

This great surprise came into my field of vision just a day ago — thanks to Javier Soria Laso, who found it and sent it to Ricky Riccardi on Facebook, which is where I encountered it:

Louis Armstrong at WABC

As the site-writer points out, Louis and the band recorded this on March 14, 1940, for Decca, and played it on the air three days later.  Mills Music (still run by Irving Mills?) used a service that recorded performances of Mills-owned compositions off the air . . . for their archives or for purposes I don’t, at this remove, understand.  But the result is a treasure.  The conventional wisdom is that live performances are longer than 78 rpm recordings, but the airshot is almost twenty seconds shorter.  The tempo is faster, and it is less restrained — hear Louis’ ad lib comments, including “I mean it!”, there is a splendid break by J.C. Higginbotham, still at the peak of his shouting powers, and we can hear the little variations within the arrangement, with a great deal of delicious Catlett embellishment, encouragement, and joy.

Airshots of Louis before World War Two are not plentiful, or at least that used to be the case before selections from the Fleischmann’s Yeast programs were issued on CD, and the late Gosta Hagglof’s collection of Cotton Club airshots on the Ambassador label — a disc I am proud to have written the notes for.  But who knew that HEP CATS’ BALL would emerge and be so rewarding?

Incidentally, Ricky Riccardi’s second volume on Louis, covering this period, called I’VE GOT A HEART FULL OF RHYTHM, will be published in 2020.  I’ve read an early version and it is characteristic Riccardi: warm, enthusiastic, and full of new information.

While I was shuttling back from one recording to another, I did as we all do — a little online research, and found some relevant trivia.  1697 Broadway, as Google Images tells me, is now home to the Ed Sullivan Theater, Angelo’s Pizza, and various unidentified offices.  Here’s what it looked like in mid-1936, when HELP YOURSELF ran at the Popular Price Theatre of the Federal Theatre Project.  I regret I can’t take you inside the building at that time to show you what Ace Recording looked like in 1940; you will have to imagine:

NEW YORK – JULY 1: Exterior of the Manhattan Theatre at 1697 Broadway at West 53rd Street, New York, NY. It later becomes The Ed Sullivan Theater. Image dated July 1, 1936. (Photo by CBS via Getty Images)

It’s a foxy hop.  Meet me there!  (“There” is problematic.  The original Cotton Club had been in Harlem, but it was segregated — providing Black entertainment for Whites only.  By the time Louis was broadcasting for CBS “from the Cotton Club,” it had moved downtown to Broadway and 48th Street and was no longer segregated, but it closed in 1940.  So go the glories of hepdom.)

May your happiness increase!

“BIG T’S JAZZ”: RELICS OF JACK TEAGARDEN, 1928-64

This post is for my dear friend, the fine young trombonist Joe McDonough, who worships at the Teagarden shrine.  A few days ago, I began to collect orts, fragments, and holy relics (from the treasure house of eBay and elsewhere) for him, and for you.  Along with Louis, Sid Catlett, and Teddy Wilson, Jack was one of my earliest jazz heroes — and he remains one, memorably.  Wonderful pieces of paper follow below, but no tribute to Jack could be silent.  Although there are many versions of his hits in his discography, he made more superb recordings than many other players and singers.  Here’s one of his late masterpieces, a sad song that reveals Jack as a compelling actor in addition to everything else.  The trumpet is by Don Goldie:

and an early one, with support from Vic Berton and frolics from Joe Venuti:

and since we can, here’s another take (who knows at this point which is the master and the alternate?):

And the 1954 LOVER, with an astonishing cast: Jack, Ruby Braff, Sol Yaged, Lucky Thompson, Denzil Best, Milt Hinton, Kenny Kersey, Sidney Gross:

An early favorite of mine, the 1947 AUNt HAGAR’S BLUES, with beautiful work from Eddie Condon, Wild Bill Davison, and Pee Wee Russell:

And now, some pieces of paper.  Remarkable ones!

Pages from an orchestral score for SUMMERTIME (title written in by Jack):

and

and

and

and

and

The seller of some of these treasures has a pleasing explanation, which I offer in full:

This is the score for Jack TEAGARDEN, when he performed in bands and orchestras, throughout the 1930s and 1940s. Jack TEAGARDEN was known as the jazz singer and jazz trombonist, who was an innovator at both. He was famous for playing trombone with the best – Paul WHITEMAN, the Dorseys, Louie Armstrong, etc., etc.

Teagarden’s wife, Addie was a great personal friend, throughout the 1980s. She shared some of Jack’s personal effects, including this historic and valuable score for “Summertime”, which Jack actually used in studio and on stage. This is a genuine original score. What a great piece of jazz and musical history.

Jack’s part on trombone is designated (in a small rectangle), on each of six, large, hand-written score sheets from Los Angeles and San Bernardino, California. The front of the sheets, when closed, has the words, Summer time, which have been doodled, by Jack.

I will be selling other TEAGARDEN and Louis Armstrong memorabilia, over the next year.

Weldon Leo “Jack” Teagarden (August 20, 1905 – January 15, 1964) was a jazz trombonist and singer. According to critic Scott Yannow of Allmusic, Teagarden was the preeminent American jazz trombone player before the bebop era of the 1940s and “one of the best jazz singers too”.[1] Teagarden’s early career was as a sideman with the likes of Tommy Dorsey, Paul Whiteman and lifelong friend Louis Armstrong before branching out as a bandleader in 1939 and specializing in New Orleans Jazz-style jazz until his death.

At my age (77), I am beginning to sell a lifelong, eclectic, collection of unique artwork. I enjoyed this great collection. Now, it’s time to share it with others.

Is it “Milly” or “Willy”?  Jack wished her or him the best of everything:

In 1936 and perhaps 1937, Jack was one-third of a small band aptly called THE THREE T’s.  Here’s a page from a fan’s autograph book (selling for 449.95 or thereabouts on eBay):

in 1940, Jack either played a Martin trombone or advertised one, or both:

Some years later, the Belgian label issued BOOGIE WOOGIE by Jack — which is from his 1944 transcription sessions:

And this is a Billboard ad for that same or similar band:

At the end of the Swing Era, when big bands were dissolving and throwing their leaders into deep debt, Jack got telegrams, at least one decidedly unfriendly:

and

and

Jack inscribed this photograph to the Chicago photographer Nat Silberman:

and the newspaper advertisement for Jack’s last gig, at the Dream Room in New Orleans — where Connie Jones was with him:

At the end of the trail, Jack’s headstone with its very moving inscription, although I wonder if those sweet moving words were his idea:

May your happiness increase!

FIRST AMONG EQUALS: BOB WILBER AND FRIENDS, 1975

Bob Wilber with the superb drummer Bernard Flegar, after their gig in Bülach, Switzerland, June 11th 2005.

Oh, when Bob Wilber moved on we lost a kind, intense, brilliant musical sparkplug, someone who —  like Sidney Catlett, Nat Cole, Milt Hinton, and Bobby Hackett among others — made everyone not only play better but want to play better.  a phenomenon I have witnessed for myself.  A true catalyst.

YouTube has a good deal of video evidence of Bob’s superpowers, but here are two instances especially dear to my heart.  Unfortunately, I didn’t have a video camera for all the times I marveled at him in the Seventies and beyond.

Here is or are ten minutes from the Nice Jazz Festival of July 1975.  The session wouldn’t have been the same without Bob.

And here‘s more music from that same year, with two editions of The World’s Greatest Jazz Band.

Finally, here is the post I published on August 6 to say something about the large hole in the universe Bob left when he moved on.  I won’t say he left the temporal for the celestial, because he was always the latter: romantic, energized, surprising.

May your happiness increase!

MR. WILBER, THE SAGE

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.

Rare photographs and music from 1947 here.

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.

May your happiness increase!  

“A STRENGTH OF SOUND”: CLINT BAKER EXPLAINS (AND PLAYS) THE NEW YORK TROMBONE SCHOOL: (Stomptime, April 30, 2019)

Clint Baker, tbn.

I know someone who can both Do and Teach: my friend and jazz hero above.

When Clint and I were on the STOMPTIME cruise last April and May, we had free time in the afternoons, and (because of my pleasure in video-interviewing others, including Dan Morgenstern, Mike Hashim, and Kim Cusack) I asked Clint if he wanted to sit for my camera.  He was graciously enthusiastic, and because of our recent conversations, he chose to talk about a school of trombonists, working in New York in the early part of the last century, who aren’t praised or noticed as much as they should be.

So here is a beautiful swinging lesson from Professor Baker, the first portion examining the work(s) of Arthur Pryor, Charlie Irvis, Charlie Green, Miff Mole, and the overarching influence of Louis Armstrong:

Here Clint finishes the tale of Charlie Green, considers the work(s) of Jimmy Harrison, Jack Teagarden, Bennie Morton, the “vocal style,” and that influential Louis fellow:

The world of J.C. Higginbotham, with side-trips to Henry “Red” Allen and Luis Russell, Bill Harris, Kid Ory, Honore Dutrey, Preston Jackson, and more:

and finally, a portrait of Sandy Williams, with comments on Sidney Bechet, Bunk Johnson, Jack Teagarden, Chick Webb, and Tommy Dorsey:

Any good classroom presentation asks the students to do some research on their own, in their own ways.  Clint has pointed to many recorded examples in his hour-plus interview / conversation.  I offer a sampling below; for the rest, you are on your own . . . a lifetime of joyous study awaits.

Arthur Pryor’s 1901 masterpiece, THE BLUE BELLS OF SCOTLAND:

A recording that always is heralded for the brilliance of Louis and Bechet, rightly.  But listen to Charlie Irvis all the way through, who’s astonishing:

Charlie Green on the Henderson “Dixie Stompers” CLAP HANDS, HERE COMES CHARLEY:

“Big” Green with Louis, for HOBO, YOU CAN’T RIDE THIS TRAIN:

and, because it’s so rewarding, the other take (which sounds like their first try):

Lawrence Brown showing the Pryor influence on the Ellington SHEIK (YouTube doesn’t offer the 1940 Fargo dance date version, yet) — with a later solo by someone we didn’t speak of, Joe “Tricky Sam” Nanton:

Jimmy Harrison on the “Chocolate Dandies” DEE BLUES:

Cross-fertilization: Jack Teagarden on RIDIN’ BUT WALKIN’:

Bennie Morton, on Don Redman’s 1931 I GOT RHYTHM, with a glorious trio:

J.C. Higginbotham, Henry “Red” Allen, and Pops Foster — with the 1929 Luis Russell band, for JERSEY LIGHTNING:

Higgy, Red, and Cecil Scott, 1935, with ROLL ALONG, PRAIRIE MOON:

Preston Jackson, explosively, on Jimmie Noone’s 1940 NEW ORLEANS HOP SCOP BLUES:

Sandy Williams with Bunk and Bechet, UP IN SIDNEY’S FLAT:

Sandy with Bechet, Sidney De Paris, Sidney Catlett, OLD MAN BLUES:

and Sandy on Chick Webb’s DIPSY DOODLE:

A wonderful postscript: Dan Morgenstern recalling Sandy Williams at a 2017 interview, as well as the kindness of Bennie Morton, and a James P. Johnson story:

But my question is this, “Clint, what shall we talk about next?  I can’t wait . . . and I know I have company.”

May your happiness increase!

SIDNEY, THREE WAYS (with LOUIS and ARVELL)

Care for a hot eBay link?

 

 

This photograph was on sale a day ago — its price varied from $809 to — but it may have been sold.  Here’s what the seller said:

Louis Armstrong & Sidney Catlett “Big Sid” Signed 8 x 10 Photo RCA Building

This Autographed Signed Press Photo is and Estate Find.

This Press Photo has printing that reads,

SIDNEY CATLETT — LOUIS ARMSTRONG’S
Sensational Drummer Getting off a Few
Hot Licks with “SATCHMO” Himself

Direction
JOE GLASER
R C A Building 30 Rockefeller Plaza
New York N.Y.

It is signed, (in green ink)

To My ‘Pluto Pal”
To Lou Gottlieb
Louis Armstrong

In blue, possibly black ink, it is also signed,

My boy, Who is this guy, Milton Berle. Big Sid

and this is the rear.  I don’t know if this date refers to when the photo was acquired or when it was signed, and perhaps the two signatures were done at different times.

 

The seller adds:

I, personally, found it in my mother’s garage. She lived in El Cerrito, California.

For reference LOU GOTTLIEB, was a member of the music trio, The Limeliters, lived in El Cerrito, and was a Huge Fan of Louis Armstrong which is why he had the signed photo. My mother received a folder of some of Gottlieb’s papers in which this photo was included.

“Pluto Pal” does not refer to the Disney character or to astronomy, but rather to Louis’ pharmaceutical pleasure in “Pluto Water.”  You could look it up.  Perhaps Lou Gottlieb had learned the secret to health from Louis.  What the Milton Berle connection is might remain a mystery.

And here’s another treasure:

 

 

 

 

 

 

 

 

I no longer have the details on the second page — clearly from an autograph book — but the seller wrote that it was from 1949 in New York City, when Arvell and Sidney were a propulsive team in Louis’ All-Stars.

And one of the finest jazz recordings ever: STEAK FACE (dedicated to Louis’ Boston Terrier, “General,” but also a medium blues to show off Sidney amidst Louis, Jack Teagarden, Barney Bigard, Dick Cary, and Arvell Shaw) from the 1947 concert at Symphony Hall:

May your happiness increase!