Tag Archives: The Ed Sullivan Show

SUNDAY-NIGHT LEVITATION: YANK LAWSON, BOB HAGGART, RALPH SUTTON, BUD FREEMAN, BOB WILBER, BILLY BUTTERFIELD, GUS JOHNSON, LOU McGARITY, CARL FONTANA (April 20, 1969, “The Ed Sullivan Show”)

What follows is, to me, a thrilling four minutes and some seconds: it caused me a good deal of excitement two days ago. Never mind that the people in charge mis-titled the second of two songs, and that the applause, appearing at moments unrelated to what is going on musically, was surely generated by flashing APPLAUSE signs to a willing audience; never mind that Dick Gibson’s name for this wondrous assemblage — yes, “The World’s Greatest Jazz Band” — made many listeners want to puncture the PR balloon.

Here are Yank Lawson, Billy Butterfield, trumpet; Lou McGarity, Carl Fontana, trombone; Bob Wilber, clarinet; Bud Freeman, tenor saxophone; Ralph Sutton, piano; Bob Haggart, string bass; Gus Johnson, drums. (By the time I’d encountered the band, on June 21, 1970, in Town Hall, New York City, the trombone section was Vic Dickenson and Eddie Hubble, monumentally.)

I hope that the Ed Sullivan Show people uncover more than four minutes, although the two performances — a Lawson / Butterfield BABY, WON’T YOU PLEASE COME HOME? and their rollicking chart on UP, UP, AND AWAY — are spectacular. In concert, we didn’t see the two trumpets (in impassioned conversation) at this close range, and, my goodness! — to see Lou McGarity in color is a delight I never thought I’d have.

To think that this was once beamed into American homes on an ordinary Sunday night, in between the comedians making mother-in-law jokes, Topo Gigio or Senor Wences, high-energy pop singers . . . it dazzles. Watch it once, and then again. All the people who did bad impressions of Ed Sullivan, well, they never made music like this happen:

Thank you, Ed; thank you, Dick Gibson; thank you, incendiary creators.

UP, UP, AND AWAY! for sure.

May your happiness increase!

“LIVELY UPBEAT MUSIC CONTINUES”: JO JONES and ILLINOIS JACQUET on TELELVSION, JULY 10, 1949 — and PEARL BAILEY and HOT LIPS PAGE, OCTOBER 4, 1949.

For the past year, the YouTube channel The Ed Sullivan Show has been issuing video performances from Ed’s long run on broadcast television, 1948 to 1971. The selections include Louis, the Everly Brothers, Mort Sahl, Richard Pryor, and a multitude of stars from every genre. Sullivan was particularly even-handed about having African-American artists on his show, which is a great gift to us. In this case, we get to see Jo Jones at his explosive accurate fiery best — from two angles — while Illinois Jacquet performs his great hit, FLYING HOME. It amuses me to watch this and consider how nervous Elvis Presley made Ed — if this isn’t a Doinysiac ecstasy on nationwide television, I don’t know what is. It’s frankly astonishing. Watch and marvel.

And as if that were not enough . . . here are Pearl Bailey and Hot Lips Page, performing BABY, IT’S COLD OUTSIDE — their hit record — on October 4, 1949:

If anyone wants to complain about the implications of the song, go right ahead — but not here. And if someone else wants to note imperfections in Lips’ delivery of the lines, I invite you to, but (as before) not here. Lips, like Jo, is one of my deities, and anything less than rapturous gratitude strikes me as heresy. I exercise my imperial right to leave such comments in the dark.

Hot Lips Page on nationwide television! (Although a clip exists where Lips plays trumpet, it hasn’t been made accessible, so let us savor these minutes.)

I am so delighted that these video performances survived and are being shared with us. Please subscribe to the YouTube channel so the people in charge know there is an eager audience and will offer us more head-spinning surprises.

May your happiness increase!

SUNDAY NIGHTS AT EIGHT (July 10, 2011)

In the Fifties and Sixties, Sunday night at eight o’clock meant The Ed Sullivan Show — Asian acrobats, stand-up comedians, Phil Ford and Mimi Hines, the Beatles, Duke Ellington, Louis Armstrong, Benny Goodman, Totie Fields, Sophie Tucker, Barbra Streisand, and more.

I no longer have a television set, and almost all the people on that list are now performing on The Other Side.  But there’s something that draws me even more strongly on Sunday nights at eight o’clock.  If you’ve been reading JAZZ LIVES, you might have guessed . . . . it’s The EarRegulars at The Ear Inn (or The Famous Ear) at 326 Spring Street, Soho, New York City.

July 10, 2011, at The Ear Inn was especially good — or should I say typically uplifting.  And I have a certain bittersweet exultation about that evening, which I will explain at the end of this post.

The EarRegulars that night were Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; John Allred, trombone; Nicki Parrott, bass.  Old friends and a stellar group, in tune with each other — great soloists but also deeply attentive ensemble players.  I am already heroically impressed by Jon-Erik and Matt, but John’s easy range and melodic playing gets better every time I hear him, and Nicki’s speaking eloquence is ever more impressive.

I felt as if I was among friends — not only the musicians, but Jackie Kellso, Victor Villar-Hauser, John Rogers, Peter Collins, and Peter Jung . . . !

The first set was a lovely mix of “traditional” and “modern,” but I’ll let my readers decide where the boundary lines — if they still exist — can be seen.

The Ear Inn has never gone in for Lapsang Souchong or cucumber sandwiches, but we came close enough with the Jazz Age paean to romance, WHEN I TAKE MY SUGAR TO TEA:

An improvisation on I WANT TO BE HAPPY changes from 1947 or thereabouts, retitled MOVE (is it by Denzil Best?):

Two Italian ladies were celebrating a birthday at a table near the band, so PANAMA (with all its strains intact and a habanera beat) made room for HAPPY BIRTHDAY, seamlessly and hilariously:

Then, a collection of boppish lines on SWEET GEORGIA BROWN chords — DIG (by either Miles Davis or Sonny Rollins) and BRIGHT MISSISSIPPI (by Monk):

And a song I associate with Coleman Hawkins, Benny Carter, and Richard M. Sudhalter, PARDON ME, PRETTY BABY:

Then it was time for the special guests — as if the ensemble wasn’t heated, subtle, and special enough!  Chris Flory came in and took over the electric guitar, while Matt brought out his fine-toned acoustic; Nick Hempton came in on saxophone, for a Basie classic followed by more BABY songs.

First, NINE-TWENTY SPECIAL:

I FOUND A NEW BABY:

Then, Don Redman’s wooing lament, GEE, BABY, AIN’T I GOOD TO YOU?:

Corin Stiggall took over for Nicki Parrott, and Tamar Korn had a wonderful time with the sweetly sad BLUE, TURNING GREY OVER YOU.  Catch Matt’s own version of Eddie Lang:

Nicki came back in for the last song of the night, LOVER, COME BACK TO ME:

The bittersweet pleasure of this July 10 evening is purely personal: the Beloved and I embark this week for a long stay in California, where we will meet and hear some of our friends and heroes: Marc Caparone and Dawn Lambeth, and nascent cultural critic James Arden Caparone; Rae Ann Berry, Clint Baker, Jeff and Barbara Hamilton, Katie Cavera, Hal Smith, Dan Barrett, Ralf Reynolds, John Reynolds, and I hope many more . . . as well as exploring the Golden State.  But The Ear Inn will have to wait until early September . . . anyone with a video camera want to step in?  No audition required!  Or — much simpler — go and enjoy for yourselves in my stead.