Tag Archives: WBAI

HOLIDAY GREETINGS FROM DUCHESS, “A CHRISTMAS COMPROMISE,” (December 17, 2015)

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The wonderful vocal trio DUCHESS mixes sharp wit, sweet sentiment, and uplifting swing.  Thanks to Amy Cervini, Hilary Gardner, and Melissa Stylianou for this restorative holiday song, A CHRISTMAS COMPROMISE, originally performed by “the bird and the bee.”  You can’t see him, but the invaluable Michael Cabe is at the piano.

It’s the one song I know of that addresses the potentially stressful situation where one partner wants all the Christmas accoutrements and the other one comes from another tradition — Doin’ the Uptown Inter-faith, as the Mills Blue Rhythm Band called it in 1933 on a disc never released.

This nifty performance comes from their set at a benefit for WBAI’s David Kenney and his long-running radio show, EVERYTHING OLD IS NEW AGAIN, an evening at the Metropolitan Room, December 17, 2015.

If you weren’t there on the 17th — and the room was full of the trio’s fans — you can follow these members of the nobility here or here to find out their schedule here and abroad.

Wishing you holidays where all the necessary compromises are joyous, enacted to the sound of lovely music.

May your happiness increase!

DICK, DOUG, BIX, DICK (AND JOE SULLIVAN)

Jazz-lovers owe Dick Sudhalter a great deal for his hot, lyrical playing, his elegantly-written research, and his long-time devotion to artistic causes we hold dear.  Whether as an jazz historian, biographer of Bix and of Hoagy, a member of the Classic Jazz Quartet a/k/a/ The Bourgeois Scum, as a radio broadcaster (WBAI, “Bix and Beyond”), or as a bandleader, he has left his mark.  This list is far from comprehensive: Dick is someone whose generosities have touched us all. 

As you should know, after a stroke he suffered in 2003, he is quite ill with Multiple Systems Atrophy.  The picture of him at the top of this page is from a 2006 benefit held in his honor.  His medical care costs a great deal.  This post is to publicize the latest effort to raise more — but a Hot Jazz Treat is involved.   

That Treat is a two-disc set of rare recordings made during Bix Beiderbecke’s short lifetime by musicians vividly influenced by his playing — one disc of American performances, one of European ones.  Many of the recordings were unfamiliar to me.  Some have never been on CD, some are previously unknown, unissued takes.  Visit http://bixography.com/BixInfluenceFinal.html for details.  All proceeds from the sale of this set — reasonably priced and well-documented — go to defray Dick’s medical costs.   

Doug Ramsey is a well-regarded jazz writer and critic of long standing, someone whose enthusiasms are always expressed in thoughtful words.  I found out about this set on Doug’s blog, “Rifftides,” (http://www.artsjournal.com/rifftides, where jazz is central but far from the only subject he and his expert writers touch upon. 

There, under the heading of “Correspondence: About Wellstood,” on August 8, Doug posted letters from Toronto broadcaster Ted O’Reilly and Dave Frishberg on the subject of Dick Wellstood . . . and told of young Dick encountering his hero, Joe Sullivan, after searching earnestly.  I won’t spoil the story but will add two Wellstood anecdotes of my own.  (Sudhalter and Wellstood were one-half of the aforementioned CJQ, a memorably eccentric group, whose music has been collected on a Jazzology CD set.) 

I didn’t get to see Wellstood enough in New York City, even though he played often at Hanratty’s, but one Sunday afternoon gig in 1972 sticks in my mind.  Bassist and singer Red Balaban led sessions at Your Father’s Mustache (on the site of the old Nick’s), where peanut shells and sawdust crunched beneath our feet.  One Sunday, the band was a pre-Soprano Summit gathering: Bob Wilber and Kenny Davern on clarinets and sopranos, with Dick Rath on trombone, Wellstood, Balaban, and drummer Buzzy Drootin.  Before the first set began, Dick Rath, modest and genial, saw Vic Dickenson heading into the hall, trombone case in hand, and said something like, “I’m going to step down now!” and gave the place in the middle of the two horns to Vic, staying to revel in the music as a spectator. 

Through the afternoon, Wellstood made that badly-tuned piano sing out — whether he was embellishing a medium-tempo melody or in full stride.  One set ended with a fast “Sweet Georgia Brown,” and in the middle of his second chorus, Wellstood did the key-changing trick that Tatum liked on “Tea for Two,” but his harmonies were wilder and weirder, memorably so.  I didn’t know how he returned to the familiar parade of sevenths in time, but he did.  To begin another set, Wellstood and Davern began with an intentionally droopy, whining rendition of “Somewhere My Love” as if for a tea dance on a particularly timid cruise.  Drootin, someone I’d never thought of as a satirist, added intentionally dull snare-drum rolls.  Jazz loves to poke fun at dance-band conventions, and this was a hilarious live example.  Wellstood died in 1987, far too young, and we miss him. 

Whether satiric or exploratory, impassioned or funky, jazz lifts our souls, and its players have earned our thanks and more.  I hope you’ll investigate the Bix-influenced CD set as a way of giving something back to Richard M. Sudhalter, hot cornetist and stylish writer, who’s given us so much.