Tag Archives: Zutty Singleton

DAN MORGENSTERN REMEMBERS, CONTINUED (July 8, 2017)

Our good fortune continues.  “Tell us a story, Dan?” we ask, and he kindly obliges.  And his stories have the virtue of being candid, genuine, and they are never to show himself off.  A rare fellow, that Mister Morgenstern is.

Here are a few more segments from my July 2017 interlude with Dan. In the first, he recalls the great clarinetist, improviser, and man Frank Chace, with glances at Bob Wright, Wayne Jones, Harriet Choice, Bill Priestley, Pee Wee Russell, Mary Russell, Nick’s, Louis Prima, Wild Bill Davison, Art Hodes, Frank Teschemacher, Eddie Condon, and Zutty Singleton:

Here, Dan speaks of Nat Hentoff, Martin Williams, Whitney Balliett, Charles Edward Smith — with stories about George Wein, Stan Getz, Art Tatum, Sidney Bechet:

and a little more, about “jazz critics,” including Larry Kart, Stanley Dance, Helen Oakley Dance, and a little loving comment about Bunny Berigan:

If the creeks don’t rise, Dan and I will meet again this month.  And this time I hope we will get to talk of Cecil Scott and other luminaries, memorable in their own ways.

May your happiness increase!

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“THE MOST BEAUTIFUL TOGETHERNESS WE HAVE”: DAN MORGENSTERN RECALLS TONY PARENTI, HARRY JAMES, HERSCHEL EVANS, BOB CASEY, ROBERT CLAIRMONT (April 20, 2017)

Here are several more interview segments from Dan Morgenstern (the second series).  What an honor to be permitted to capture Dan’s generosity and insights.

Here, Dan speaks of the great (and now nearly forgotten) clarinetist and bandleader Tony Parenti:

Here’s some music from Tony, Ralph Sutton, and George Wettling:

And a little “digression,” so tenderly revealing, with the characters being Harry James and Herschel Evans — maybe two minutes in the recording studio, but a short example of great kindness:

The man pictured below might not be familiar — Robert Clairmont — but he is obviously a fascinating figure, someone Dan knew:

And here’s Dan’s recollection — by way of great string bassist Bob Casey:

In honor of Mister Casey and young Mister Morgenstern, buying his first jazz records in Denmark:

The music played at W.C. Handy’s April 1928 Carnegie Hall concert, made possible by Robert Clairmont, as listed on the BIXOGRAPHY Forum, thanks to the research of Albert Haim.  I had not heard of Clairmont before this, but he gave Handy $4000 — a large sum of money — to finance that concert, where James P. Johnson’s YAMEKRAW was given its premiere, Fats Waller at the piano.

(Internet research, that funny thing, identifies Clairmont as “poet” and “Wall Street investor,” an unusual pairing.)  I also found this brief biographical sketch:

ROBERT CLAIRMONT, poet, was born in 1902 in Pittsburgh, Pennsylvania, where he grew up. He attended the University of Pittsburgh and Columbia University. Clairmont is author of Quintillions, Star in the West, and Forever X; and the first volume of the series Poets of Today (1938) is given to his work. He was editor of the periodical New Cow of Greenwich Village and, in the early 1950’s, of the poetry magazine Pegasus.

And . . . because I find it irresistible, here is one of Clairmont’s poems for children, THE ANSWERS, later set to music by Alec Wilder:

The Answers

“When did the world begin and how?”
I asked a lamb, a goat, a cow:

“What’s it all about and why?”
I asked a hog as he went by:

“Where will the whole thing end, and when?”
I asked a duck, a goose and a hen:

And I copied all the answers too,
A quack, a honk, an oink, a moo.

Here’s an inscription from Handy to his friend and benefactor:

“Togetherness” and kindness: Tony Parenti making spaghetti for Buck Clayton and teaching him the new / old repertoire; Harry James helping Herschel Evans out at that Lionel Hampton record date; Robert Clairmont saving a man’s life and then making it possible for W.C. Handy to have a Carnegie Hall concert; Dan Morgenstern’s uncountable gifts, which continue as I write this.

May your happiness increase!

DAN MORGENSTERN, AMONG FRIENDS: DICK WELLSTOOD, BUZZY DROOTIN, GEORGE WEIN, MOREY FELD, ZUTTY SINGLETON, WILD BILL DAVISON, and a few words about TESCH, (April 21, 2017)

Here’s another opportunity to hear some priceless stories from the man who was there, with eyes, ears, and heart open — our friend and hero Dan Morgenstern, at home on April 21, 2017, speaking of the people he knew and admired.  I’ve shared previous interview segments here and here.

And here’s more: Dick Wellstood covering fires for the local newspaper, Lester Young auditioning the new pianist:

and on a wide range of memorable people.  (After I’d shut the camera off, I mentioned the Singletons’ dog, Bringdown — whom Dan had also encountered. Perhaps the next interview segment should be devoted to Famous Jazz Pets?)

What’s the moral?  Nothing new, I think.  When people pass into spirit, they never “die” as long as they are remembered with affection, as Dan does here. And the living — that’s us, with luck — have a responsibility to keep the memories fresh, by telling stories and making sure those stories don’t vanish.  If you have a story-teller in your bunch, and the stories don’t have to be about jazz, place your iPhone in front of Grandma and ask her to tell what made her love Grandpa so. (Big Joe Turner had his own answer, which you can inquire about.)

Bless Mister Morgenstern — not only for keeping the memories alive, but for sharing them with us so beautifully.  There’s more to come.

May your happiness increase!

“THANK YOU . . . FOR THAT”: LIPS PAGE, CENTER STAGE (1944)

The advertisement shows that musicians were always trying to make an extra few dollars, and it also offers some unusual pictures of one of my heroes, Hot Lips Page, someone who couldn’t help swinging, no matter what the context.

Lips and Eddie Condon admired each other tremendously as people who could play Hot without any artifice, and the moments when Lips performed at Eddie’s concerts are magical.  (Dan Morgenstern had the wondrous experience of seeing Lips sit in at Eddie’s club on Tuesday nights, something I can only imagine.) These cosmic collaborations took place not only at the 1944 Town Hall and Ritz Theatre concerts but on the television series, “Eddie Condon’s Floor Show” of 1948-50.  Photographs show a trio performance by Lips, James P. Johnson, and Zutty Singleton, which I wouldn’t mind hearing.  And before anyone writes in to inquire about the kinescopes of the Floor Show, I am afraid that they no longer exist, unless duplicate and triplicate sets were made.  I feel your pain: it’s been mine for decades.

But we do have uplifting evidence (a recording I’ve loved for forty years).

To call that a live performance would be a gross understatement.  It’s from a June 24, 1944 broadcast at Town Hall in New York City.  Supporting Lips are Bobby Hackett, Max Kaminsky, Pee Wee Russell, Ernie Caceres, Gene Schroeder, Eddie Condon, Bob Haggart, Joe Grauso.  I admire Haggart’s powerful support, but for me Lips is the whole show.  Yes, there is some admiration for Louis evident, but Lips is playing Lips, and you could ask any trumpet player what a heroic accomplishment his playing is, chorus upon chorus, each one building on the predecessor so when the performance ends, one has the sense of a completed creation rather than a series of phrase-length ideas offered to us.  Marc Caparone, who knows about such things from experience, calls Lips “Atlas,” and although that name might not have sold colas (“Royal Crown Cola . . . when you feel the weight of the world on your shoulders,” perhaps?) it’s more than accurate.

One more piece of jazz minutiae.  The opening phrase of Lips’ CHINATOWN solo, the fanfare over Grauso’s drums, a syncopated bounce back and forth over two notes, sounds familiar because it’s the device Lester used to begin the issued take of SHOE SHINE BOY.  I suspect it was in the air in Kansas City, and (not surprisingly) I think it probably appears on a Louis recording c. 1927.  You are free to disagree in the privacy of your own homes, but Louis seems to be the root of all good things.

But back to Mister Page Play CHINATOWN again.  It’s monumental.

May your happiness increase!

SHE’S SWEET. SHE’S FROM SAVANNAH.

savannah

Fats Waller, Andy Razaf, and Shelton Brooks wrote this song in 1929 for the revue CONNIE’S HOT CHOCOLATES.  I’ve read that Fats sold the rights to this and nearly 20 other songs to Irving Mills for $500 — a fortune in those days, but nothing compared to the money Mills made from that bundle.  Alas.

But back to the theme. To some, it’s not the most memorable composition — melody, rhythm, or lyrics — but I love it ardently because of the music its inspired, and because I always imagine a line of nimble chorus girls dancing to it. Like many of Fats’ most memorable tunes, it relies greatly on repeated melodic phrases moved around over the harmonies — simple to annotate but not as simple to create.

Here are four recordings from 1929, in chronological order, and a later masterpiece.  Consider the delightful possibilities.

The first ever: Louis Armstrong And His Orchestra: Louis Armstrong, trumpet, vocal; Homer Hobson, trumpet; Fred Robinson, trombone; Jimmy Strong, clarinet; Bert Curry, Crawford Wethington, alto saxophone; Carroll Dickerson, violin, conductor; Gene Anderson, piano; Mancy Carr, banjo; Pete Briggs, tuba; Zutty Singleton, drums.  New York, July 22, 1929.  (I think the intuitive relationship between Louis and Zutty — the latter on bock-a-de-bock cymbals and solidly thudding accents) foreshadows that of Louis and Big Sid. July 22, 1929:

Irving Mills’ Hotsy Totsy Gang.  Mannie Klein, Phil Napoleon, trumpet; Miff Mole, trombone; possibly Arnold Brilhart, clarinet, alto; Larry Binyon, tenor saxophone; possibly Arthur Schutt, piano; unknown banjo, guitar; Joe Tarto, tuba; Chauncey Morehouse, drums; Lilian Morton, vocal.  July 31, 1929:

I wonder what else can be known about Lilian Morton, aside from the two sides she made for Parlophone, THAT’S MY MAMMY and AFTER MY LAUGHTER CAME TEARS (accompaniment unknown) and that in 1926, she was praised in a tiny notice in The Scranton Republican from Scranton, Pennsylvania, as “Broadway’s well known singing comedienne … a peppery singer of the original type,” with “a splendid voice.”  She sounds very good on this recording.

Here’s the non-vocal version (made for the European market) with Miss Morton’s place taken by a duet for Arthur Schutt (perhaps?) and wonderful drumming by Chauncey Morehouse.  Praise to Larry Binyon, too:

And for the Lilian Morton completists in the viewing audience, the other Fats song — a good one! — from the same score, with Miss Morton’s vocal:

The originator, Fats Waller, at the piano, August 2, 1929:

And an utterly remarkable recording of SUE by Fess Williams and his Royal Flush Orchestra, September 20, 1929.  The Louis and Mills recordings seem to use the same stock arrangement, but this recording is notable for a slap-tongue clarinet solo after the last eight bars, completely satisfying vaudeville singing from the leader, wondrous piano by Hank Duncan, and delightful trumpet work from either Temple or Brown.  Fess Williams, clarinet, alto, vocal, leader; George Temple, trumpet; John Brown, trumpet, vocal; David “Jelly” James, trombone; Ralph Brown, Felix Gregory, alto saxophone; Perry Smith, clarinet, tenor, vocal; Henry “Hank” Duncan, piano; Ollie Blackwell or Andy Pendleton, banjo; Emanuel Casamore, tuba; Ralph Bedell, drums, vocal:

and one of the most endearing recordings I know — in its own way evoking Louis and Fats together in the persons of Ruby Braff, cornet; Dick Hyman, piano; July 2, 1994:

May your happiness increase!

IN THE GARDEN, WHERE MELODIES GROW: FELIX LEMERLE, MURRAY WALL, DORON TIROSH, with YARDEN PAZ and YOAV TRIFMAN (Part Two): Sunday, August 21, 2016

It was an immense pleasure to be part of this experience with Felix Lemerle, Murray Wall, and Doron Tirosh, if only from behind the camera, and the first part has been met with a great deal of enthusiasm, I think properly.

FELIX photograph

Here’s the second: four more performances by Felix Lemerle, guitar; Murray Wall, string bass; Doron Tirosh, with guests Yarden Paz, alto saxophone, and Yoav Trifman, on the closing MARMADUKE.

Four more beauties:

Murray Wall’s brilliant, gentle exploration of I GOT IT BAD (with a dropped piece of cutlery early in the first chorus — for once, not my fault):

One of my favorite rhythm ballads — I hear Joe Thomas singing and playing it — IT’S THE TALK OF THE TOWN:

An extraordinary song, which Felix thanks Tal Ronen for, DEEP NIGHT:

And a closing Charlie Parker line, with Youngbloods Yarden Paz, alto saxophone, and Yoav Trifman, trombone, joining in, MARMADUKE:

I look forward to the surprises Felix Lemerle and friends will bring next time.

May your happiness increase!

IN THE GARDEN, WHERE MELODIES GROW: FELIX LEMERLE, MURRAY WALL, DORON TIROSH (Part One): Sunday, August 21, 2016

FELIX photograph

Young Felix Lemerle — guitarist, teacher, composer — swings easily and with a natural grace, has a deep repertoire of memorable songs, has a real respect for melody and interesting harmonies that don’t distort the original, and gets a lovely sound from his guitar.  He’s not a reactionary who’s devoted his life to copying old records, so he sounds happily like himself, and in his hands the guitar is an electrified wooden sculpture that beams love to us.  And his playing breathes, as he creates a graceful balance between sound and silence. You can find out more about Felix here.

I had my first-ever opportunity to hear him on the closing performance at The Ear Inn on Sunday, August 20, but he was playing on a guitar not his own (an obstacle to most musicians, although I would not have known this through what I heard).  I asked Felix — who is as gracious a being as he is a player — to let me know when he had a gig of his own.  And a week later, he played an afternoon session at Romagna Ready 2 Go on Bleecker Street in New York’s Greenwich Village — the food and ambiance were lovely — with sensitive, intuitive musicians: drummer Doron Tirosh and the wonderful bassist Murray Wall.  And two guests, in the second part.

A few words about Murray and about Doron.  Murray is soft-spoken and light-hearted, but his music resonates long after he has packed his bass.  His playing reminds me of Jonathan Swift’s definition of the ideal writing style: “the natural words in the natural order.” In Murray’s soft, wise playing, there is a floating cushion of exquisite notes, fascinating harmonies, and fine time.  He never plays an ugly note or phrase.

I had known nothing of Doron except for the few words of praise from Felix. And I confess that youthful drummers new to me arouse anxiety. I become Worried Elder: “Young man, are you planning to strike that ride cymbal with those wooden sticks?  Why, and how, and how often?”  But Doron and I bonded over dehydration and exhaustion, and I knew he came in peace.  When he began to play, my spirits rose even higher, because he is a melodic drummer in the great tradition of the Masters, of Dodds, Singleton, and Catlett.  Before each number, Felix would tell Doron the name of the song, and I could see from their expressions that they knew the melody and the lyrics as well.

One anecdote says worlds about Felix.  After I heard him play one song at the Ear Inn and was greatly impressed, I went on Facebook (it is 2016, after all) and said so . . . and the musicians who responded with enthusiasm nearly shut Facebook down.

Here are four very rewarding performances from the first half of the afternoon. Four more will follow.

HOW ABOUT YOU?:

I’M PUTTING ALL MY EGGS IN ONE BASKET:

LULLABY IN RHYTHM:

WILL YOU STILL BE MINE?:

(Felix thanks the very fine Tal Ronen for introducing him to BASKET and to DEEP NIGHT, which will appear in the sequel.  We thank Tal, too, here at JAZZ LIVES.)

Now that you’ve seen the videos, you understand that I do not overpraise Felix, Doron, or Murray.  And the horticultural reference of my title might become clearer, since the back room of the restaurant, their “garden,” has a glass roof — charming, even when I would look up and see the rain.  I know the plants were happier and bushier when the trio had finished than they’d been at the start. Music does that, especially music of this caliber.

May your happiness increase!