Tag Archives: STAR DUST

“MANHANDLING,” or IMPROVISATIONS ON THE FAMILIAR (January 31, 1944)

Time matters. Pulse matters.  And in music, a tempo even slightly slower or slightly faster makes a substantial difference in how a familiar piece of music comes across to us. Through decades of performance, we are used to hearing Carmichael’s STAR DUST — or STARDUST, if you prefer — as a dreamy, haunting ballad, although it didn’t begin its recorded life that way in 1927. But improvisers take chances. . . .it is as if your favorite sixtyish uncle dyed his white hair bright blue just to see what it would look like, and it looked fine.

Two bold takers-of-chances were the Chicago pianist Oro “Tut” Soper and drummer Baby Dodds, who recorded several duets for the Steiner-Davis label (the creation of John Steiner, revered jazz scholar and collector, and Hugh Davis) in early 1944, at the home of pianist Jack Gardner.

A wonderfully detailed survey, by Robert Pruter, Robert L. Campbell, Konrad Nowakowski, and Tom Kelly, of that label and the stories behind the recordings can be found here, and the two photographs in this posting come from that site.  But most important is the musical evidence: Tut Soper showing his radical exuberance and playfulness, by taking this ballad — and ballad it was, by 1944 — and treating it much as Earl Hines did LOVE ME TONIGHT, a melody to be explored, a song to be swung:

Here’s some fascinating commentary on this side and its fellows, from the site noted above.  (Was violinist Elmer Fearn “Mr. Fearn” of OKeh Records?  It isn’t a common name.)

Pianist Tut Soper was born Oro M. Soper on April 9, 1910. In the early 1920s, Soper made a record on OKeh with a group of kids, all 13 and under, called The Five Baby Shieks. Besides Soper on piano, they included Art Elefson on drums, Howard Snyder on sax, and Elmer Fearn on violin. By the late 1920s he was a regular in Chicago clubs, despite being underaged, and performing with Bunny Berigan, Wingy Mannone, Boyd Brown, and Floyd Town. After years of playing in bands, in the late 1930s Soper went solo, introduced vocals to his repertoire, and played in such clubs as the legendary Three Deuces (222 North State).

By the war years, Soper could be found in the Randolph Street nightclub district. He was playing around the corner from Randolph Street at the Capitol Lounge on State when his S D recordings were made. Steiner and Davis teamed Soper up with Dodds in pianist Jack Gardner’s apartment for the session. Gardner owned a particularly fine piano, which is why the session was held in his place, at 102 East Bellevue, a basement apartment located in the same complex as John Steiner’s. Jazz fans tend to revel in improvisation, and Down Beat columnist George Hoefer loved the idea at how “impromptu” the recording was, as Soper and Dodds had never met before, and had to feel each other out in the recording process.

Down Beat reviewer John Lucas—who tended to give favorable reviews to his collector colleagues’ product—cited these releases as “some of the finest jazz piano waxed in many years.” He raved about each one of the songs, and concluded, “The rip-rattling drum accompaniment provided by the one and only Baby Dodds simply could not be touched by anyone else. If Soper is super, Dodds is at once devastating, dynamic, and droll!”

In a lengthy review published in the October 1944 issue of The Jazz Record, George Avakian gave effusive praise to S D 5000 and 5001. “Picture Earl Hines in the full flower of his wildest period, playing as though it were his last chance to explode through with vital ideas of earth-shaking consequence. This is Tut Soper; an exciting, intensely live pianist whose work doesn’t merely “send” you the way many agitated instrumentalists can—it reaches out, grabs you by the throat, and shakes and chokes hell out of you” (p. 3). Avakian contrasted Soper’s genuineness and avoidance of clichés with the mannerisms of “the present-day frantic clique,” into which he went so far as to lump “such hopeless musicians as Lionel Hampton, Art Tatum, Roy Eldridge, Dizzy Gillespie, and a whole string of trumpet players, electric guitar virtuosos, and Hazel Scotts” (p. 3). Out of the four, Avakian declared that “[t]he originals—Oronics and It’s a Ramble—are my pet sides, displaying Tut’s talents in two tempos and two moods, both nonetheless full of his overall excitement. The first is sheer panic, but good; the Ramble is reflective and rather interestingly developed from the melodic view. The others are Soper franticizations of Thou Swell and Star Dust, and the tunes improve under his manhandling.” (p. 3.) Of Dodds’ contributions, Avakian complained (p. 11) that the drummer “loses much of his subtlety” on Oronics, but praised him for his rapport with Soper elswhere on the session.

John Chilton described Soper as one of the leading pianists in Chicago, and credited him with working with Bud Freeman, Wild Bill Davison, Boyce Brown, Bud Jacobson, and Eddie Wiggins, among others. In the early 1950s, Soper worked in California with Muggsy Spanier and Marty Marsala. He toured with Eddie Condon in 1960.

Soper in his later years worked mostly as an insurance salesman for the Chicago Motor Club. He died in March 1987. His obit described him as a former jazz pianist, who had played for 50 years in “some of Chicago’s most famous jazz clubs and with the bands of Gene Krupa and Bud Freeman.”

Soper sources: M/Sgt. George Avakian, “Records—Old and New,” The Jazz Record, October 1944, pp. 3, 11; George Hoefer Jr., “The Hot Box,” Down Beat, 15 June 1944; [John Lucas] “Diggin’ The Discs,” Down Beat, 15 July 1944, p. 8; Catherine Jacobson, “Oro ‘Tut’ Soper,” Jazz Vol. 1, No. 10 (December 1943): 8-9; “Oro Soper” [Obit], Chicago Tribune, March 24, 1987; Tom Lord, The Jazz Discography, Volume 21 (West Vancouver, B.C.: Lord’s Music, 1999): S1057.

STAR DUST — shaken and stirred, manhandled and franticized — remains undamaged, and we are grateful to Tut and Baby for their emotional fervor and technique.

May your happiness increase!

“OH, MEMORY! ” MARC CAPARONE, JACOB ZIMMERMAN, STEVE PIKAL, BRIAN HOLLAND, DANNY COOTS at MONTEREY (March 1, 2019)

 

The star dust of a song.

Great artists know that passion without control is nothing.  Together, they scrape the clouds.

Here are Marc Caparone, cornet; Jacob Zimmerman, clarinet and alto; Brian Holland, piano; Steve Pikal, string bass; Danny Coots, drums, the Holland-Coots Jazz Quintet, recorded live at the Jazz Bash by the Bay on March 2, 2019, playing Hoagy Carmichael’s STAR DUST:

Hearing that performance, one can talk or think of Bunny Berigan, Louis Armstrong, Artie Shaw, and many others.  But for once, let us celebrate  Caparone, Zimmerman, Pikal, Holland, Coots: people who understand how difficult it is to create Beauty and then do it, in front of our eyes, time after time. Those moments when the dancer and the dance are one: so rare, so compelling.

May your happiness increase!

WHEN BEAUTY VISITS, YOU KNOW IT: “STARDUST” by MARC CAPARONE, JOHN REYNOLDS, CLINT BAKER, RALF RAYNOLDS, KATIE CAVERA (Sacramento Music Festival, May 26, 2012)

I had tears in my eyes when I witnessed this music being created in front of us for the first time, and its lovely power hasn’t diminished.

Thank you, Marc, John, Clint, Ralf, and Katie, for being yourselves and for allowing the great lyrical heroes we so revere to live through you.

May your happiness increase.