Tag Archives: Sidney DeParis

JAMES P. JOHNSON’S “BLUE MIZZ,” PLUS VIC DICKENSON

I’ve loved the 1943-44 recordings by the Blue Note Jazzmen since I first heard them in the early Seventies.  Here’s James P. Johnson’s pensive yet dramatic composition, BLUE MIZZ, from 1944 — with the personnel listed on the label.  I’ve kept this link even though the disc has serious skips:

Thanks to friend and swing star Michael Gamble, here’s a link that doesn’t skip:

And here’s a holy relic just spotted a few minutes ago on eBay.  The seller (link      here) is asking slightly more than eighty-five dollars for the disc, which is not within my budget at the moment (is it too boastful to say that I have two Vic autographs, one that he signed for me?) . . . but I thought you would like to see the combination of sound, object, and the touch of a hero’s hand:

Bless the artists who made these sounds, and let us not forget a single one.

May your happiness increase!

A postscript: I created this posting about ninety minutes ago: someone bought the record described above, which makes me feel quite good . . . Vic devotees are reading JAZZ LIVES!  Also — the race IS to the swift.  Twenty-four hours later, I realized that the disc might have been bought by someone who’s never read this blog — but the illusion of my connecting the cosmic dots is one I will hang on to a little longer.

CONTRITION OR VENGEANCE? RICKY ALEXANDER, DAN BLOCK, ADAM MOEZINIA, DANIEL DUKE, CHRIS GELB at CAFE BOHEMIA (Nov. 22, 2019)

I think WHO’S SORRY NOW? (note the absence of the question mark on the original sheet music above) is a classic Vengeance Song (think of GOODY GOODY and I WANNA BE AROUND as other examples): “You had your way / Now you must pay” is clear enough.  Instrumentally, it simply swings along. It seems, to my untutored ears, to be a song nakedly based on the arpeggiations of the harmonies beneath, but I may be misinformed.  It’s also one of the most durable songs — used in the films THREE LITTLE WORDS and the Marx Brothers’ A NIGHT IN CASABLANCA — before being made a tremendous hit some twenty-five years after its original issue by Connie Francis.  Someone said that she was reluctant to record it, that her father urged her to do it, and it was her greatest hit.)

Jazz musicians loved it as well: Red Nichols, the Rhythmakers, Frank Newton, Bob Crosby, Lee Wiley, Sidney DeParis, Wild Bill Davison, Harry James, Benny Goodman, Benny Carter, Eddie Heywood, Woody Herman, Buck Clayton, Sidney Bechet, Paul Barbarin, George Lewis, Big Bill Broonzy, Archie Semple, Charlie Barnet, Raymond Burke, Rosy McHargue, Oscar Aleman, the Six-and-Seventh-Eighths String Band, Kid Ory, Teddy Wilson, Earl Hines, Miff Mole, Hank D’Amico, Teddi King, Kid Thomas, Bob Scobey, Franz Jackson, Chris Barber, Matty Matlock, Bob Havens, Ella Fitzgerald, Armand Hug, Cliff Jackson, Ken Colyer, Jimmy Witherspoon, Jonah Jones, Capt. John Handy, Jimmy Rushing, Tony Parenti, Claude Hopkins, Jimmy Shirley, Bud Freeman, Ab Most, Benny Waters, Peanuts Hucko, Billy Butterfield, Kenny Davern, Humphrey Lyttelton, Bill Dillard, New Orleans Rascals, Barbara Lea, Allan Vache, Paris Washboard, Bob Wilber, Lionel Ferbos, Rosemary Clooney, Rossano Sportiello, Paolo Alderighi, Vince Giordano, Michael Gamble . . . (I know.  I looked in Tom Lord’s online discography and got carried away.)

Almost a hundred years after its publication, the song still has an enduring freshness, especially when it’s approached by jazz musicians who want to swing it.  Here’s wonderful evidence from Cafe Bohemia (have you been?) at 15 Barrow Street, Greenwich Village, New York, one flight down — on November 22, 2019: Ricky Alexander, tenor saxophone; Chris Gelb, drums; Daniel Duke, string bass; Adam Moezinia, guitar, and special guest Dan Block, tenor saxophone:

That was the penultimate song of the evening: if you haven’t heard / watched the closing STARDUST, you might want to set aside a brief time for an immersion in Beauty here.  And I will be posting more from this session soon, as well as other delights from Cafe Bohemia. (Have you been?)

May your happiness increase!

TO L.G.

Leonard Gaskin, Eddie South, Allen Tinney, 1947.

Leonard Gaskin, Eddie South, Allen Tinney, 1947.

The string bassist Leonard Gaskin (1920-2009) could and did play with anyone: from Forties bop small groups (including Bird, Miles, Max, Cecil Payne, J.J., and more), to Billie and Connee, to Louis Armstrong to Eddie Condon to pickup groups of all shapes and sizes.  Like Milt Hinton, he was steady, reliable, with a beautiful big sound that fit any ensemble: backing Odetta, Solomon Burke, Earl Hines, Butterbeans and Susie, as well as LaVern Baker, Cecil Scott, Ruby Braff, Kenny Burrell, young Bob Dylan, and Big Maybelle too.

Here is Peter Vacher’s characteristically fine obituary for Leonard.  (I’d like Peter to write mine, but we have yet to work out the details.)

And if you type in “Leonard Gaskin” on YouTube, you can hear more than two hundred performances.

Leonard was the nominal leader of a few “Dixieland” sessions for the Prestige label in 1961.  Another, led by trumpeter Sidney DeParis, was called DIXIELAND HITS COUNTRY AND WESTERN (draw the imagined cover for yourself) with Kenny Davern, Benny Morton, Charlie Queener, Lee Blair, Herbie Lovelle. . . . from whence this sly gem comes:

Here is a loving tribute to Leonard from the singer Seina — it will explain itself:

And since anything even remotely connected with Miles Davis is judged important by a large percentage of jazz listeners, I offer the very Lestorian FOR ADULTS ONLY from February 1953, with Al Cohn (tenor, arranger) Zoot Sims (tenor) John Lewis (piano) Leonard (bass) Kenny Clarke (drums):

and from another musical world, the 1950 poem in praise of awareness, from a Hot Lips Page date, where Lips and Leonard are joined by Jimmy Buxton (tb) Vincent Bair-Bey (as) Ray Abrams (ts) Earl Knight (p) Herbie Lovelle (d) Janie Mickens (vcl):

Now, why am I writing about Mr. Gaskin at this moment?

Sometimes I feel that the cosmos tells me, gently, what or whom to write about — people or artistic creations to celebrate.  I don’t say this as a great puff of ego, that the cosmos has JAZZ LIVES uppermost in its consciousness, but there is a reason for this post.

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Recently, I was in one of my favorite thrift stores, Savers, and of course I wandered to the records.  Great quantities — wearying numbers — of the usual, and then I spotted the 1958 record above.  I’d owned it at one time: a Condon session with Rex Stewart, Herb Hall, Bud Freeman, Cutty Cutshall, Gene Schroeder, Eddie, Leonard, and George Wettling, distinguished by a number of songs associated with the ODJB. (A completely uncredited Dick Cary is audible, and I am fairly sure he would have sketched out lead sheets and spare charts for the unfamiliar songs.) An interesting band, but not the apex of Fifties Condonia.

I debated: did I need this hot artifact.  Then I turned it over, and decided that I did, indeed.

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I suspect that signature is later than 1958, but the real autographs are usually not in the most perfect calligraphy.  And, as always, when a record turns up at a thrift store, I wonder, “Did Grandpa have to move?  Did the folks’ turntable give out?  What’s the story?”

I won’t know, but it gently pushed me to celebrate Leonard Gaskin.

And for those who dote on detail, I’d donated some items to this Savers, and so the record was discounted: I think I paid seventy-two cents.  Too good to ignore.

May your happiness increase!

WHAT SID DID (December 18, 1943)

SIDNEY CATLETT with WIRE BRUSHES

Sidney Catlett, that is.  Big Sid.  Completely himself and completely irreplaceable.  And here’s COQUETTE by the Edmond Hall Sextet on Commodore — Ed on clarinet, Emmett Berry, trumpet; Vic Dickenson, trombone; Eddie Heywood, piano; Billy Taylor, string bass; Sid, drums, on December 18, 1943.

After Heywood’s ornamental solo introduction, which sounds as if the band is heading towards I WOULD DO MOST ANYTHING FOR YOU, Sid lays down powerful yet unadorned support for the first sixteen bars, yet he and Emmett have an empathic conversation on the bridge, Sid catching every flourish with an appropriate accent.  More of that to come, but note the upwards Louis-hosanna with which Emmett ends his solo (Joe Thomas loved this motif also) and Sid’s perfectly eloquent commentary, urging the Brother on.  His drumming has an orchestral awareness, as if the full band plus Heywood’s leaves and vines is dense enough as it is, and what it needs is support.  But when it’s simply Emmett and himself and the rhythm section, Sid comes to the fore.

The timbre of the second chorus is lighter: Ed Hall dipping, gliding, and soaring, with quiet ascending figures from Emmett and Vic, then quiet humming.  So Sid’s backing, although strong, is also lighter.  Hall, in his own way, was both potent and ornate, so Sid stays in the background again.

The gorgeous dialogue between Emmett and Sid in the third chorus (from 1:44 on) has mesmerized me for thirty years and more.  One can call it telepathy (as one is tempted to do when hearing Sid, Sidney DeParis, and Vic on the Blue Note sides of the same period); one can say that Emmett’s solo on COQUETTE was a solo that he had perfected and returned so — you choose — but these forty-five seconds are a model of how to play a searing open-horn chorus, full of space and intensity, and how to accompany it with strength but restraint, varying one’s sound throughout.  Even when Sid shifts into his highest gear with the rimshots in the second half of the chorus, the effect is never mechanical, never repetitive: rather each accent has its own flavor, its own particular bounce.  It’s an incredibly inspiring interlude.  And the final chorus is looser but not disorderly — exultant, rather, with Sid again (on hi-hat now, with accents) holding up the world on his shoulders at 2:40 until the end.  He isn’t obtrusive, but it’s impossible to ignore him.

Here’s another video of COQUETTE, this time taking the source material from a well-loved 78 copy:

I confess that I think about Louis fairly constantly, with Sid a close second — marveling at them both.  An idle late-evening search on eBay turned up this odd treasure, something I did not need to buy but wanted to have as another mental picture.  It’s the cardboard album for a 1946 four-song session under Sid’s leadership for Manor Records, with Pete Johnson, Jimmy Shirley, Lockjaw Davis, Bill Gooden, Gene Ramey.  Because of the boogie-woogie format and the piano / organ combination, the four sides have a rather compressed effect.

s-l1600

What one of the original 78s looked like.

SID Humoresque BoogieUnfortunately, no one as of yet has put this music on YouTube, so you’ll have to do your own searching.  (The sides were issued on CD on the Classics CD devoted to Sidney.)

I present the cardboard artifact here as one of the very few times that Sidney would have seen his own name on an album — although he’d seen his name on many labels, even a few sessions as a leader.  Sid recorded from 1929 to 1950; he lived from 1910 to 1951.  Not enough, I say — but so generous a gift to us all.  “Good deal,” as he often said.

May your happiness increase!

ONCE RARE, NOW HERE: LOU McGARITY and FRIENDS, 1955

 LOU McGARITY ArgoTrombonist and very occasional violinist and singer Lou McGarity, who died in 1971, was both reliable and inspiring.  I think I first heard him on recordings with Eddie Condon, with Lawson-Haggart, and with a wild 1941 Goodman band that included Mel Powell, Billy Butterfield, and Sidney Catlett, who gave McGarity the most extravagant backing.  Lou was a delightful presence, someone who could electrify a performance with a shouting yet controlled eight bars.  I also gather from his discography that he was an expert section player and reader, for many of his sessions have him surrounded by other trombonists.  But Lou very rarely got to lead a session on his own aside from two late-Fifties ones.
He traveled in very fast company, though, as in this gathering at the Ertegun party, held at the Turkish Embassy in 1940.  (Photo by William P. Gottlieb):
LOU McGARITY Turkish Embassy 1940
Let us have a long pause to imagine what that band sounded like, and to lament that it wasn’t recorded.
But onwards to 1955.  I imagine that someone at M-G-M, not the most jazzy of labels, decided that it would be a good idea to have some “Dixieland” to compete with the product that other labels were making money on.  I don’t know who arranged this session (Leroy Holmes? Hal Mooney?) but McGarity was an unusual choice: a thorough professional with fifteen years’ experience, however with no name recognition as a leader.  Was he chosen as nominal leader because he wasn’t under contract to any other label or leader?  And, to make the session more interesting, the four titles are all “originals,” suggesting that M-G-M wanted to publish the compositions themselves or, at the very least, pay no royalties for (let us say) MUSKRAT RAMBLE.  I’d guess that the compositions and arrangements were by the very talented Bill Stegmeyer.
LOU McGARITY EP
Most of the personnel here is connected, on one hand, to Eddie Condon sessions of the Fifties, on the other to the Lawson-Haggart Jazz Band. There’s Lou, Yank Lawson, both Peanuts Hucko and Bill Stegmeyer on reeds, Gene Schroeder, Jack Lesberg, and Cliff Leeman.  And here’s the music.  I say gently that it is more professional than explosive, but I delight in hearing it, and hope you will too.
MOBILE MAMA:

NEW ORLEANS NIGHTMARE:

BANDANNA:

BIRMINGHAM SHUFFLE (not SUFFLE as labeled here):

A mystery solved, with pleasing results.

May your happiness increase!

I’M GETTING MY BONUS IN STRIDE: JAMES P. FOR THE HOLIDAYS

Everyone who follows jazz devotedly has theories about why some musicians become Stars and others remain Obscure.  It clearly isn’t artistic quality, as one could find out quickly by playing recordings of famous and neglected artists. No, other factors interfere.

In that wonderfully uplifting sub-genre known as Harlem stride piano, the pantheon seems to have room for only one man, Fats Waller.  His fame is well-deserved: his genial embellishments, his rhythmic drive, his delicious pianistic surprises.  But we also have to consider the effect of Fats as a Personality (many recordings and some film appearances) and a Composer.  (In the jazz mythology, he is also remembered as a joyous Dionysiac child who died young — elements that stick in our minds.) Willie “the Lion” Smith seems a collection of delightful eccentricities — melodies, derby hat, cigar, scraps of Yiddish, an elegant braggadocio.  In our time, pianists Dick Wellstood, Ralph Sutton, Don Ewell, and their current counterparts have (or had) the advantage of being accessible.

But what of the man who came first (leaving aside Eubie Blake and Luckey Roberts), Fats’ teacher, James P. Johnson?  He was not a Personality; the one or two times he sings on record he seems uncomfortable; a quiet man, almost shy, he did not thrust himself forward.  It would seem that he didn’t record sufficiently, but the discographies prove otherwise.  Wellstood once said in print that James P.’s recordings didn’t always document his greatness — although for those of us who didn’t see and hear James P. at all, that would be a moot point.

Mosaic Records, blessedly, has seen fit to put Wellstood’s casual assertion to the test.

JAMES P. Mosaic

This box set will be available in mid-December; it offers the usual Mosaic largesse spread over six CDs; rare material (eleven sides not previously issued), beautiful photographs; a lengthy essay by Dr. Scott Brown, James P.’s biographer, familiar material in the best sound.

And should some worry about six CDs of stride piano, fear not: we hear James P. accompanying blues and pop singers (including Bessie Smith, Ida Cox, Clara Smith, and Ethel Waters) and as a sideman in bands that include Frank Newton, Jabbo Smith, Clarence Williams, Garvin Bushell, Louis Metcalf, Fats Waller, Cootie Williams, Arthur Whetsel, King Oliver, Jimmy Archey, Teddy Bunn, Lonnie Johnson, Roy Smeck, Tommy Ladnier, Sidney DeParis, Mezz Mezzrow, John Kirby, Cozy Cole, Sidney Catlett, Henry “Red” Allen, J. C. Higginbotham, Gene Sedric, Al Casey, Hot Lips Page, Charlie Christian, Ed Hall, and others.

Here‘s the discography, for those who (like myself) find listings of music we are going to hear very enticing.  And if you haven’t heard James P. recently — someone Thelonious Monk admired — scroll down on this Mosaic page and listen.

My holiday shopping list is now complete — my gift to myself, I mean.

May your happiness increase!

QUIETLY ACCOMPLISHED: CHRIS BARBER’S “JAZZ ME BLUES”

The biographies of jazz musicians often follow a predictable path, from Mother at the organ or Dad’s 78s, precocious talent, hours of rigorous training, encounters with older professionals, early gigs, and then success.  If the musician is stable and fortunate, the narrative quiets down to a series of gigs and concerts; if the subject is tragic, the pages darken: alcohol, drugs, abusive relationships, auto accident, major illness, premature death.

The jazz eminences who have written autobiographies (excepting Billie Holiday and Anita O’Day, although I am sure some readers will add to that list) have been the more fortunate ones, and their books depict elders looking back on friendships and triumphs.  Often the narrator is justly proud, and his / her singular personality is a strong consistent presence.

Trombonist and bandleader Chris Barber, born in 1930, continues to have a wonderful career — one that began with “traditional jazz” and stretched the definition to include different music incorporated into his own.  He’s played and recorded for more than sixty years with British jazz legends Ben Cohen, Ottilie Patterson, Ken Colyer, Acker Bilk, Pat Halcox, Lonnie Donegan, Monty Sunshine, Bruce Turner, Ian Wheeler, Beryl Bryden; with American stars Sister Rosetta Tharpe, Louis Jordan, Ed Hall, Ray Nance, Albert Nicholas, Joe Darensbourg, Sonny Terry, Brownie McGhee, Cecil Scott, Don Frye, Floyd Casey, Ed Allen, Sidney deParis, Hank Duncan, Wild Bill Davis, Russell Procope, Dr. John, Big Bill Broonzy, John Lewis and George Lewis, Clarence Williams, Aretha Franklin, Count Basie, Sam Theard, Jack Teagarden, Ornette Coleman, Scott LaFaro, the Preservation Hall Jazz Band . . .so the reader who opens a Barber autobiography hopes for good stories.

But this long list of names isn’t all there is to JAZZ ME BLUES (written with the very capable help of Alyn Shipton . . . Barber says in his acknowledgments that they first talked about this book in 1982) — published this year by Equinox in their Popular Music History series.

Barber follows the usual chronological path from his early encounter with jazz to becoming an international eminence. However, it took me about thirty-five pages (the book is 172 long) to settle in to JAZZ ME BLUES because of his distinctive personality.

He isn’t forceful or self-absorbed, telling us of the wonderful thing he did next. Barber comes across as a quietly modest man who has no need for us to admire him. Chronicling his life, he is so placidly matter-of-fact that it might take readers by surprise. But once we do, the absence of self-congratulation is refreshing, as if we were introduced to a very talented person who had been brought up to think self-praise was vulgar.

An interval for music.  First, STEAMBOAT BILL and HIGH SOCIETY from the Fifties:

GOIN’ HOME BLUES from 2013:

Aside from its subject’s remarkably modest approach to his own life, JAZZ ME BLUES has two great pleasures.  One is Barber’s unwillingness to stay neatly in the style that had brought him success. Beginning in the Sixties, his band takes on different shadings while not abandoning the music he loves: he brings in electric guitarist John Slaughter, altoist Joe Harriott, organist Brian Auger; he works and records with blues and gospel legends; he plays extended compositions. Again, since Barber speaks about these events with polite restraint, one must estimate the emotional effect of being booed by British traditionalist fans who wanted “their” music to stay the same. Barber is not making changes to woo a larger audience or to stay in the public eye, but because he is genuinely interested in adding other flavorings to a familiar dish. He is a determined seeker, and he grows more intriguing in his quests.

The other pleasure I alluded to at the start, delightful first-hand anecdotes. Readers deprived of their own contact with their heroes always want to know what the great men and women were like, and JAZZ ME BLUES — although never mean-spirited in its quick sketches — is a banquet here. Not only do we hear about Sonny Boy Williamson and Zutty Singleton (the latter saying he is most happy in a band without a piano because pianists all “lose time”) but about Van Morrison, George Harrison (who likes the 1930 BARNACLE BILL THE SAILOR) and colleagues Lennon and McCartney; we read of Howlin’ Wolf saying grace quietly and sweetly before a meal. Trumpeter Ed Allen tells Barber that he always used to learn the songs for Clarence Williams record dates in the taxi on the way to the studio.

And Barber has been in the right place at the right time. When he comes to America, he sits in at Condon’s. After an uneventful beginning, “. . . suddenly the rhythm section started to swing. I looked round and Eddie had picked up his guitar and joined in. From then on, with him there, every tempo was just right, and everything swung. His presence was subtle, but it made the world of difference. I knew what a fine player he could be, as, when the band had appeared at the Royal Festival Hall in 1957. I’d gone along to their late night concert. The thing that sticks in my memory from that night was Eddie taking a half-chorus solo on a tune in the ballad medley. It was just perfect, and with the tuning of his four-string tenor guitar it had a very distinctive sound. It reminded me of Carmen Mastren, who was a true virtuoso.”

JAZZ ME BLUES is an engaging portrait of a continuing life in jazz (with rare photographs, a selective discography, and an index). It is available in North America exclusively through ISD ($34.95 hardcover): ISD, 70 Enterprise Drive, Suite 2, Bristol, CT 00610: orders@isdistribution.com.

May your happiness increase!

THE HARLEM UPROAR HOUSE, 1937-8

Last week, the Beloved and I were in a highly-recommended multi-dealer antique store in Sebastopol, California, picking up this, commenting on that.  Happily we don’t “need” to buy everything, so we aren’t faced with housefuls of antiques.

A dull brown folder about the size of a ten-disc 78 record album caught my eye.  It contained more than a hundred matchbook covers glued to black scrapbook pages.

Its owner, I am guessing, had been a traveling salesman or the like in the late Thirties and early Forties — a cosmopolitan fellow, eating fried chicken in Utah, having drinks in Buffalo.  Some of the matchbooks were clearly early World War Two, urging the holder to do something that would take a whack at Hitler.

Many of the covers featured mildly naughty illustrations: the one at top wasn’t the most enticing, but it did stop me in my survey.  It wasn’t just the scantily clad young woman or the pun on Roosevelt’s New Deal, but I remembered the “Harlem Uproar House,” paradoxically located seventy-five blocks south in midtown, as a place with serious jazz connections.

Late in 1937, Milton “Mezz” Mezzrow, a man with large dreams, rehearsed and led a mixed jazz band — Caucasian and African-American players, which he modestly called the DISCIPLES OF SWING.  I don’t  have my copy of REALLY THE BLUES nearby, but I recall the band had Frank Newton, Sidney deParis, Zutty Singleton, Gene Sedric, George Lugg, Willie “the Lion” Smith, Elmer James, and perhaps Happy Caldwell in its ranks.  But the world — even the sophisticated Broadway audience — was unwilling to countenance black and white playing together, and swastikas painted on the club ended the engagement in a week.  (It’s painful to recall, but New York was full of such sentiment: the potato farms on Long Island made room for meetings of the German-American Bund, and “America First” was part of the current dialogue.)

I wanted to offer JAZZ LIVES readers their own “nude deal,” and some online research was enlightening.  When you went to the Harlem Uproar House, there was a minimum charge of $1.00 after 10:00 PM; the drink menu started at fifty cents and went up to ten dollars for a quart of champagne.  A shrimp cocktail was fifty cents; broiled Maine lobster $1.50.

This wooden postcard obviously dates from the same time as the matchbook:

I found two other images at the blog of the Auburn Avenue Research Library on African American Culture and History (101 Auburn Avenue NE, Atlanta GA 30303-2503,
404.730.4001.  Archives Division – ext. 200.  http://www.afpls.org/aarl)

http://aarlarchives.blogspot.com/2010/10/treasures-from-vertical-files-harlem.html

I note that the blue image suggests that the club offers A NEW DEAL IN NIGHT LIFE, a more well-behaved advertisement suggesting that you and your girl could go there and swing out — especially if she is so beautifully dressed.  Did NEW DEAL replace NUDE DEAL, or the reverse?  My fashion-conscious readers can tell me the name of her outfit; the dance historians among my readers can no doubt identify the swing dance they are doing.

Aside from imagining how Mezz’s band sounded and wishing for a menu with 1937 prices, this is where my research came to an end.  More information, anyone?  and if anyone has any airchecks of the Disciples of Swing, those wouldn’t do us any harm, would they?  Although I have dark imaginings that Mezz took most of the solo space or at least he played along with the other improvisers, as was his habit.  Oh well.  Anyone who even envisioned a band with Frank Newton and Zutty Singleton in it can be forgiven a great deal.

O RARE JAMES P. JOHNSON!

The world still hasn’t quite caught up to James Price Johnson, ambitious composer, eminent pianist, generous mentor and teacher. 

How about CHARLESTON or ONE HOUR, MULE WALK  or YAMEKRAW? 

He  lifted up every band he played in, and as a stride progenitor, he lived up to his announcement that he could create “a trick a minute” at the keyboard.  And through his loving paternal care of one Thomas Waller, we have generations of pianists who thank him and sing his praises. 

James P. doesn’t get the attention his works or his playing merit.  But eBay has a few more exhibits for sale and for delighted contemplation.  Printed music, not records — harking back to a time when every household had a piano and someone reasonably competent to make it sing and shout.

Early in his career, James P. (who studied the classical repertoire and took many of his “tricks” from it) had ambitions — always frustrated — to write and perform longer works.  Many have been unearthed and recorded after his death, but EBONY DREAMS (1928) is new to me.  I’d love to hear what a real pianist could do with this music: if I bought it, it would simply reproach me, unplayed, from the piano:

And here’s something more popular and less intimidating — a song from a 1932 musical.  I’ve heard Marty Grosz sing it (as THERE GOES MY HEADACHE) and it’s entertaining although not hugely memorable.  But I’d never seen the sheet music for this show before:

And just to keep this post from being too dry a trip into the world of paper ephemera, here’s something for the ears.  Here’s James P. with Sidney DeParis, Vic Dickenson, Ben Webster, Jimmy Arthur Shirley, John Simmons, and Sidney Catlett, performing AFTER YOU’VE GONE for Blue Note.  Listen to his ringing solo chorus and the fine, spare comping he gives the soloists:

You see I don’t mean my title to be taken lightly!

STRIDE INTO GENEROSITY: EVERY DOLLAR GOES TO THE MUSICIANS

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

PAPER, NOT EPHEMERAL

This piece of paper comes from the collection of Boston jazz aficionado Samuel Prescott, and it’s an absolute Who’s Who of jazz stars who came through that city in the Forties.  The Prescott papers (and discs) are now held by the University of New Hampshire Library, and they took good care of this piece of paper, crowded with signatures of great men and women:

On the back (invisible at the moment) is the autograph of one Duke Ellington.  And here are the names that the librarians found: a good pastime for a rainy day with a magnifying glass: 

Earl ‘Fatha’ Hines (twice).  Al Morgan.  Pete Brown.  Joe Battaglia (piano).  Shirley Mhore (vocal).  Gene Sedric.  Art Hodes.  Vic Dickenson.  J. C. Higginbotham.  Roy Eldridge.  Erskine Hawkins (twice).  Joe Marsala.  Adele Girard.  Jimmy Shirley.  Jess Stacy.  Ev Schwarz (pian0).  John Kirby.  James P. Johnson.  Edmond Hall.  Louis Armstrong.  Billy Kyle.  Bob Wilber.  Frankie Newton.  Willie ‘Bunk’ Johnson (twice).  Baby Dodds.  Johnny Windhurst.  Johnny Field (bass).  Sparky Tomasetti.  Jack Teagarden.  Dick Wellstood.  Pops Foster.  Sidney Bechet.  Sandy J. Williams.  Jimmy Archey.  Howey ‘Peacoo’ Gadboys.  Sidney de Paris.  Rex Stewart.  ‘Wild’ Bill Davison.  Pleasant Joseph.  Henry ‘Red’ Allen.  Milton ‘Mezz’ Mezzrow.  Pee Wee Russell.  Don Kirkpatrick.  Max Kaminsky.  Paul Watson.  Bob Guy.  Charlie Holmes.

Amazing, no?

“BEAUTY IS TRUTH,” SAY THE BLUE NOTE JAZZMEN

A friend who is new to the music gently asked me by email, “Hey, Michael, what’s all the fuss you’re making about this Sidney Catlett?”  And it’s a valid question deserving an answer.  But the best way to answer it is not through words, but through the experience.  Thanks to “cdbpdx” on YouTube, here’s a 1943 recording of ROYAL GARDEN BLUES by Edmond Hall’s Blue Note Jazzmen.  Let their names never be erased: Sidney deParis, Vic Dickenson, Ed Hall, James P. Johnson, Jimmy Arthur Shirley, Israel Crosby, Sidney Catlett.  If you’d want to understand what Sidney is doing — playfully and with the utmost art — listen to the little conversations he has with the ensemble (both as part of it and joyously commenting on the good time everyone’s having) urging, encouraging, applauding — especially alongside the solos of deParis and Vic. 

I don’t mean to give my readers homework, but someday soon, listen to this recording twice with all your attention: once in its glorious complete beauty, then for Sidney Catlett himself.  Jubilation indeed.  And everyone on this recording is dead, but like Keats’s urn, they transcend mere mortality: this music is alive!

WHO REMEMBERS ROD CLESS?

Many of the greatest artists make their creations sound simple.  Think of Bing Crosby, Joe Thomas, Benny Morton, Count Basie.

Clarinetist Rod Cless belongs to their ranks, but seems a forgotten man.

And he deserves better.

In the ensembles, he has some of the daredevil quality one associates with Pee Wee Russell and Frank Teschmacher, diving-off-the-high-board descents from a quavering note.  But the rough edges are smoothed down, the vibrato more songful, less fierce.

In his solos, Cless sounds like someone who knows the beauty of the clarinet’s low register, the virtues of thoughtful space.  He takes his time.  He has something to convey, and it can’t be hurried; it needs a kind of plaintive candor.

And although his harmony is not abstruse, his phrases more regular than abrupt, what he has to tell us sounds familiar only because so many players coming after him have absorbed his message without even being entirely aware of it.

I hear the influence of Jimmie Noone in the full, round lower register, as well as touches of deep New Orleans blues.  But also — even though there are no phrases copied from the master, it is not hard to hear the ghostly influence of Bix in Cless’s soulful restraint.

Here are three more sides with Hodes from a 1942 Decca date with an illustrious personnel that didn’t otherwise gather in the studios: Sidney DeParis, trumpet; Brad Gowans, valve-trombone; Cless; Hodes; Condon; Earl Murphy, bass; Zutty Singleton, drums.

LIBERTY INN DRAG, another slow blues, where Cless gets only a chorus, but the rest of the band is so fine:

On a sprightly INDIANA, Cless sounds at his most Russelian.  Both he and Gowans play wonderful ensemble embroideries in the opening and closing choruses (the sound of Condon’s guitar thoughout is a special pleasure, as are Zutty’s drums behind Hodes):

GEORGIA CAKE WALK (also known as AT A GEORGIA CAMP MEETING) reminds of how well Sidney DeParis played in these settings.  A floating Hodes interlude leads into one of those Cless statements that seem perfectly simple until one listens closely:

Who was Cless?  Much of what I’ve learned comes from the biography by Bob Najouks to be found on http://www.kcck.org/iowa_jazz_connections.php.  I’ve added some details from other surveys written by Eugene Chadbourne (whose account is to be found on the fine ON THIS DAY IN JAZZ AGE MUSIC site):

Cless was born in 1907 in Lennox, Iowa.  He was a fine athlete and accomplished clarinetist who also doubled on saxophone.  The start of his enlightenment seems to have been a six-week engagement that Bix Beiderbecke and the Wolverine Orchestra played in Riverview Park Ballroom in Des Moines in 1925: Cless came every night.

Frank Teschmacher, the brilliant young Chicagoan, befriended Cless, and Cless came to Chicago two years later as a professional musician — an intimate of Eddie Condon and Bud Freeman (Cless married Freeman’s sister).  I’ve read that Cless played in the Varsity Five, a hot band much admired at Iowa State University, but do not know if he attended college there.

In Chicago, both Tesch and Cless worked with Charles Pierce, whose name is on a number of famous hot recordings of that period.  He toured with Frank Quartrell’s band and visited New Orleans for the first time.  (Did he hear Raymond Burke and Johnny Wiggs, and did they talk about Bix?  One wonders.)

Returning to Chicago, he worked with trumpeter Louis Panico at the Wig Wam Club and found employment in reed section of dance orchestras.  He also made extra money teaching clarinet.

He may have gained the most attention as a member of Muggsy Spanier’s Ragtime Band in 1939 — that band had an extended run at the Hotel Sherman in Chicago (where they played opposite Fats Waller and his Rhythm) and were enough of a sensation to make sixteen sides for the Bluebird label.  (A CD reissue of this material, with alternate takes, brings the total to 24.)

After Spanier disbanded the Ragtime Band, Cless worked with Wild Bill Davison, Art Hodes, Ed Farley, Marty Marsala, George Brunis, and Bobby Hackett.

But Cless’s marriage failed, and his drinking grew heavier.  Walking home from the last night of a job at the Pied Piper (where he played alongside his friend Max Kaminsky) in December 1944, Cless fell over the balcony of his apartment building and died four days later at 37.  In his autobiography, Kaminsky blamed himself for not walking Cless home — even though Cless insisted that he could make it himself.

Here’s an extended solo by Cless on the Hodes-led FAREWELL BLUES, for Art’s short-lived Jazz Record label.  The casual listener may hear in it only variations on familiar arpeggiated patterns, with suggestions of Johnny Dodds, but there’s more:

And to conclude (for this post), here’s something quite atypical — JAZZ ME BLUES by Frank Teschmacher’s Chicagoans, recorded in April 1928.  Tesch plays clarinet and alto; Cless plays alto; Mezz Mezzrow is on tenor saxophone; the rhythm section is Joe Sullivan, Jim Lanigan, Eddie Condon, and Gene Krupa.  This track comes from www.redhotjazz.com: http://www.redhotjazz.com/ftc.html.

Those fascinated by the sound of Rod Cless can find several more examples on YouTube — where a number of the Bluebird sides from 1939 by Muggsy Spanier and his Ragtime Band — are available.

Cless also turns up on a singularly relaxed session for Commodore which features Kaminsky, valve trombonist Frank Orchard, and James P. Johnson.  Nearly the same band — with Willie “the Lion” Smith on piano recorded for Decca and for Black and White.

And in Cless’s last year, ironically, he had his only opportunity to lead a record session — for the Black and White label, featuring James P., Stirling Bose, and Pops Foster.  Those four sides were once available on a Pickwick anthology CD.

Eight others (plus a few alternate takes) by a 1940 Hodes group called the CHICAGO RHYTHM KINGS (pictured at top) — one session featuring Marty Marsala, Cless, Hodes, Earl Murphy, and Jack Goss on guitar; four trio sides with Cless, Hodes, and Murphy (originally recorded by Bob Thiele and several of the trio sides reissued on Doctor Jazz) are difficult to find (the last complete issue of the issued takes was a 10″ Riverside lp, which is now fifty-five years ago).

More accessible are the recordings Hodes made for his own short-lived Jazz Record label, which have been reissued on a Jazzology CD.  (One of the ironies is that Hodes admired Cless greatly and used him on record dates whenever possible, which is a great blessing — although many Hodes recordings have extended outings from their leader, sometimes restricting the other members of the band in their solos on a 78 issue.)

I plan to return to Cless as a subject in a future post, although from a different angle.  I hope to interview one of the elder members of the jazz tribe, someone who actually took lessons from Cless in the early Forties.  Until then, I suggest that Cless is worth close and repeated listenings.

NOVEMBER 12, 1943 AND MORE

eBay, so irresistible:

From November 12, 1943: Cab Calloway, Quentin Jackson, Illinois Jacquet, Hilton Jefferson, Jonah Jones, Shad Collins, and two signatures I can’t figure out.  I’d buy it for Shad, Quentin, and Hilton:

And there’s an autograph from that Parker fellow — called “Bird.”  Heard of him?

Finally, the underrated but Hot trumpeter Sidney DeParis — signing his portrait on the cover of Art Hodes’s JAZZ RECORD magazine:

Serious temptation lurks in eBay at the intersection of “Entertainment Memorabilia” and “Jazz.”

SIDNEY CATLETT AT 100

A  jazz blog like this one might easily become necrological– mourning the deaths of musicians and jazz scholars or sadly celebrating players who have been dead a long time.  It’s a battle to tear one’s eyes away from the rear-view mirror and focus on the present.  But since I do not expect to see the celebrations for Big Sid Catlett’s two-hundredth birthday, readers will forgive me. 

Sidney Catlett was born on January 17, 1910 and died before I was born.  I don’t believe in “the best,” but Big Sid might well be The Master — at least Max Roach thought so, as did Jo Jones.  Beyond legend, there is the recorded evidence: he could play propulsively and eloquently with Benny Goodman, Louis Armstrong, Charlie Parker, Don Byas, James P. Johnson, Sidney Bechet, Mildred Bailey, Art Tatum, Oscar Pettiford, Buck Clayton, Ben Webster . . . and those are only the recorded performances I can call to mind.

Ruby Braff remembered that when he listened to Louis Armstrong’s records with their creator, Louis said to him, “There’s that Catlett again!  Seems like he was on every swinging record I ever made.” 

But being versatile, in itself, is not enough: many musicians have been versatile without being particularly distinguished.  What made Sidney Catlett so special? 

For one thing, his instantly recognizable beat.  Even simply keeping time — using one of his seemingly numberless varieties of wire-brush sweep or playing the hi-hat — his time is identifiable.  Whitney Balliett, who first helped me to listen so closely to Sid, noted that Catlett played a fraction ahead of the beat — many drummers find the best and sit right down on it — but Sid’s time seemed to urge the band forward in the most jubilant way, although he didn’t ever rush.

Along with that beat there is his gallery — or galaxy — of sounds.  His drums sound alive.  The snap of his closed hi-hat.  The seductive come-with-me of his brushwork.  The thump of his tom-toms.  The masterful NOW! of a Catlett rimshot.  Drummers of the Forties and beyond tried to copy him and some came close to capturing the broadest outlines of his style — J.C. Heard for one — but their sounds are somehow flatter, narrower, more monochromatic.  So his sound is immediately identifiable — dance music, no matter what the context. 

As with all the great artists, much of Sidney’s mastery is not just in what he did — but what he wisely chose not to do. 

Many drummers, then and now, play at the same volume as the horns.  Sidney knew how to play very softly — which made his thundering climaxes so impressive.  Some drummers insist on filling up all the spaces.  Or they accent every note, enthusiastically but unthinkingly.  The result gets tiresome before a chorus is over, rather like a forest of exclamation marks or someone with a point to make who emphasizes every word. 

Sidney knew when not to play, when not to dramatize, when not to continue the pattern.  There were exceptions: I think of Lou McGarity’s bridges on Benny Goodman records, where Sidney, either enjoying McGarity’s exuberance or wanting to push him along, drives the rhythm section along with relentless accents that could fell a sequoia.  But Catlett understood space and variety, and surprise.  He was a great dramatist behind his drums. 

So his percussive world sounds undated — springy, elegant, and funky.  The listener says, “That’s Big Sid!” but that awareness isn’t because Catlett thrusts himself to the forefront; rather, it was because he makes his fellow musicians sound better than they themselves thought possible.

I’ve been admiring his playing for as long as I can remember — one of my earliest musical experiences was hearing Louis’s RCA Victor TOWN HALL CONCERT PLUS, and delighting in the way Sid pushed everyone along on AIN’T MISBEHAVIN’.  Later, I heard him with the Blue Note Jazzmen and every jazz group I could find.  But he continues to amaze.

“Amaze?” you say.    

As an experiment, take any record on which Sid plays a particularly engaging, swinging part (that would be ALL of them) and listen to it once.  Admire the sounds he makes, the comments he provides, the support he gives to the band.  Then, play it again, and try to anticipate his shifts, his accents.  Experienced listeners will be able to divine some of the general motions — here, Sid will shift to the hi-hat; here’s a break coming up.  But if you try to play his accents along with him, it’s nearly impossible.  Sid’s pulsing work, his amazing accompaniment, is never rote.  I would suggest ROYAL GARDEN BLUES by Edmond Hall and the Blue Note Jazzmen — his playing is stirring, as is his work on the recently discovered 1945 Town Hall concert with Bird and Diz. 

His music is amazingly generous.  He lived a very short life and his recorded career is only slightly over two decades.  But he gave so much to his fellow musicians and to us that it seems as if he played more — and at a higher level — than the musicians who lived longer.

And he mastered the problem of being a forceful individualist while serving the community with every breath.  A question of Ego, if you will.  Catlett shouts for joy, but he does it so the band is even more joyous as a result.   

He died backstage at a concert, his arms around Helen Humes, telling her a funny story.  An admirable death, I think.  A a life well-lived. 

Jim Denham, on his fine blog, SHIRAZ SOCIALIST, has just written a tribute to Sidney: http://shirazsocialist.wordpress.com/2010/01/16/big-sid-b17-jan-1910-d25-march-1951/

Ricky Riccardi really understands the majesty of Sidney: http://dippermouth.blogspot.com/2010/01/celebrate-big-sid-catletts-centennial.html

And, or those seeking legal ecstasy, there’s a live ROYAL GARDEN BLUES from 1948:

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

Ricky also sent this from British jazz drummer John Petters — information about BBC radio programs about Sidney:

 Here are two programmes about this sensational musician this Saturday:
The Late Paul Barnes @ 23:00 on BBC Cambrideshire, Essex, Kent, Norfolk, Northampton, Suffolk & Three Counties. (Paul celebrates the
Django Reinhardt Centenary next week)

The live link on line will be:
http://www.bbc.co.uk/iplayer/playlive/bbc_radio_norfolk/

and from Sunday until the following Saturday on Iplayer:
http://www.bbc.co.uk/programmes/p002mhdx

And Alyn Shipton discusses Big Sid with drummer Richard Pite on ‘Jazz Library’ on BBC Radio 3 at 16:00 on Saturday. This is from the Radio 3 website:
http://www.bbc.co.uk/programmes/b00ps0sk

The show will be on the BBC iplayer following the broadcast

Big Sid Catlett was arguably one of the most naturally talented percussionists in jazz history. To celebrate Catlett’s centenary in January 2010, Alyn Shipton is joined by drum expert Richard Pite to pick the highlights of a recorded catalogue that includes work with the swing orchestras of Fletcher Henderson and Benny Goodman, the modern jazz of Charlie Parker and Dizzy Gillespie, and the original Louis Armstrong All Stars.

Big Sid Catlett – born 17 January 1910, Evansville, Indiana, USA, died 25 March 1951.

Coda: A word or two about the audio-visual aids.  The Drumerworld video (posted on YouTube, of course) brings together Sidney’s three main filmed appearances (leaving aside JAMMIN’ THE BLUES) — two quickly-made films from 1946-7, SEPIA CINDERELLA and BOY! WHAT A GIRL, with a guest shot by one Gene Krupa, as well as a Soundie of YOU RASCAL YOU by Louis.  I treasure these film clips but find that they need to be absorbed on two levels.  Since musicians were required to pre-record their music and then mimic playing it for the camera, what one hears and what one sees are always slightly out of step . . . so one must be able to adapt to this.  But the games Sidney and Charlie Shavers play . . . !  I have also liberally seasoned this blogpost with what might seem an odd phenomenon: YouTube videos of famous jazz records a-spinning.  For those who did not grow up with vinyl or shellac records, what could be more dull?  But I find it nostalgic in the best way — because I spent so many hours of my childhood and youth staring at the spinning label in a kind of happy trance while the music poured out of the speakers . . . very life-enhancing, and a way of getting Sidney’s sound into this post.

“HOTTER THAN THE DEVIL’S KITCHEN”

Simmer 2009 006jelly 14 july 1927 ad

The advertisement above comes from July 1927, and it speaks for itself, euphorically. 

Here are three photographs taken at Jelly Roll Morton’s 1939 Victor date.  Their source is an incomparable UK jazz site which offers more information about Morton than you would encounter elsewhere: http://www.doctorjazz.co.uk.

jelly1939 1

I see Sidney DeParis (trumpet), Zutty Singleton (drums), half of a trombonist (Claude Jones?), Morton at the piano, Bernard Addison (guitar), and a singularly wonderful reed section of Sidney Bechet (soprano), Albert Nicholas (clarinet), and Happy Caldwell (tenor).

jelly1939 2

Here’s one I hadn’t seen before — Jelly with two music lovers who would go on to create jazz treasures: young Harry Lim (left) who would begin the majestic series of Keynote recordings in a few years, and Steve Smith, whose HRS Records would feature Bechet, Muggsy Spanier, Joe Thomas, Johnny Hodges, and other bright lights.

In the photo below, I imagine Harry Lim thinking, “This looks like fun.  I could do this, too!”  As he did.   jelly1939 3

All of this pleasant rumination was sparked by a purchase I made yesterday in an antiques / collectables store on Warren Street in Hudson, New York, that has mountains of records for sale — mostly Fifties and Sixties rock and pop, but there are the vestiges of a large jazz vinyl collection.  Most of it appeals to me for sentimental reasons: “I had that record,” goes through my mind as I flip through the browsers.  But I encountered a half-dozen 78s — a Kenton Capitol, Ellington’s Victor I GOT IT BAD / THE CHOCOLATE SHAKE, two of the red-label Columbia Bessie Smith reissues, and this beauty, close to mint condition:

Tomatoes  Jelly Roll 003

“Dance Orchestra,” if you needed to be told.

Tomatoes  Jelly Roll 004

The records aren’t expensive, so there was never a question in my mind about taking this one home.  When I finished looking at the records (there are always more than I can bear to go through), I walked towards the friendly woman proprietor, who saw what she was dealing with — a happy man trying to keep his pleasure within bounds — and she grinned, “YOU’VE found a treasure, haven’t you?!”  I assume that my emotions showed on my face. 

And, just to show how everything connects, at the top of the page is a genuine Red Hot Pepper that the Beloved grew in her extraordinarily bountiful container garden.  “Hotter than the Devil’s kitchen” describes the experience of eating it most precisely.