It’s been a while since we had some jazz here: and who better to provide it than my old chum Michael Steinman, who writes the following at his bog, Jazz Lives:
I arrived back in New York late last night. With no offense to my fellow urbanites and suburbanites, the word that would describe my return is RELUCTANTLY. Unfortunately, I couldn’t muster up the good cheer of this Hero as imagined in a beautiful drawing by Thomas B. Allen
Even in enhanced stereo (!) Louis looks young and healthy.
But it will take a while for me to look close to that. The Beloved is 3000 miles away. My apartment has serious water damage . . . precious objects became damp, musty — some can’t be repaired. I feel as if spiritual mildew is creeping up on me, which is not something that responds to ordinary curative methods. While I was slumping around the apartment, wondering what else had been ruined and whether I could ever find everything, I knew I needed serious help of a medical kind.
I called on my own medical group and they rushed to my aid. They are Doctors Warren, Dubin, Caparone, Barnhart, Barrett, Shaw, Cavera, Reynolds, and Reynolds:
I apologize for the swooping camerawork but I was trying to create closeups without a tripod, and I think I was so happy that my hand possibly couldn’t remain steady. Somewhere, Fats Waller and Bing Crosby smile approvingly, too.
This always makes me feel better, and I will now play it again while I do other domestic chores.
May your happiness increase!
The death of Lauren Bacall (pictured above with husband Humphrey Bogart leading a 1947 march against McCarthy’s witch hunt of leftists and liberals) robs us of the last great star from Hollwood’s ‘golden age’ and a brave liberal – in the best sense of the word. She described herself to TV host Larry King, in 2005, as “anti-Republican and a liberal. The L-word. Being a liberal is the best thing on earth you can be. You are welcoming to everyone when you’re a liberal. You do not have a small mind.”
I can’t resist the opportunity to show you a clip of Bacall in her first film, Howard Hawks’ 1944 ‘To Have And Have Not’, in which she sings the Hoagy Carmichael/Johnny Mercer number ‘How Little We Know’, accompanied by Hoagy himself at the piano. For many years it was thought that Bacall’s singing was dubbed by the young Andy Williams, but Hawks confirmed (in Joseph McBride’s book ‘Hawks on Hawks’) that although Williams’ voice was recorded, it was not used because he (Hawks) decided Bacall’s voice was good enough.
The late Robin Williams was, by all accounts, a good guy. He was certainly on our side:
He was … “a friend and partisan of all good causes, always ready to circulate a petition, help out a collection or get up a protest meeting to demand that wrongs be righted. The good causes, then as now, were mostly unpopular ones, and he nearly always found himself in the minority, on the side of the under-dogs who couldn’t do him any good in the tough game of making money and getting ahead. He had to pay for that […] but it couldn’t be helped. [He] was made that way, and I don’t think it ever entered his head to do otherwise or live otherwise than he did.
“That’s just about all there is to tell of him. But I thought [...], that’s a great deal. Carl Sandberg said it in this way: ‘These are the heroes then – among the plain people – Heroes, did you say? And why not? They gave all they’ve got and ask no questions and take what comes to them and what more do you want?’ “ – James P.Cannon (The Militant, June 1947)
I’ve just heard that Tom Cashman is dead.
His daughter, Ruth, got in contact to say:
My dad died yesterday. Though he had differences [...] he considered you all comrades.
We will send round details of the funeral once it has been arranged.
“For forty-three years of my conscious life I have remained a revolutionist; for forty-two of them I have fought under the banner of Marxism. If I had to begin all over again I would of course try and avoid this or that mistake, but the main course of my life would remain unchanged. I shall die a proletarian revolutionist, a Marxist, a dialectical materialist, and, consequently, an irreconcilable atheist. My faith in the communist future of mankind is not less ardent, indeed it is firmer today, than it was in the days of my youth…”
Leon Trotsky — the Last Testament of Leon Trotsky, Mexico, 27 February 1940
Tom had been ill with a brain tumour for a couple of years, so at one level his death is not a shock.
But Tom’s mental and physical strength meant that he’d hung on for much longer than would normally have been the case.
Not necessarily a good or merciful thing, but there we are.
I’ll write more about Tom shortly.
But for now, I’d just like to say:
He was about the finest and most principled person I ever knew.
He introduced me to real socialist politics.
He understood the interaction between trade unionism and socialist politics.
He – together with Graham Stevenson, who had completely different politics – devised the plan that kept union organisation intact on London buses after privatisation.
He was the voice of political sophistication and Marxism on the T&G -going into -Unite Executive, while he was on there.
Best wishes and solidarity to Ruth, Johnnie and all Tom’s friends, comrades and family.
I’ll write more soon.
From Ham & High:
Music without frontiers, a music and culinary event at St Peter’s church to promote Israeli/Palestinian unity, has been organised by Anna Marks, Violeta Barrena and Muna
A joint Israeli and Arab fundraiser promoting Muslim and Jewish unity is set to take place at a church following what organisers say is a rising number of “hateful online posts” about the conflict in Gaza.
Music Without Frontiers, takes place on Saturday at St Peter’s Church in Belsize Square, and will feature the music of Arab, Jewish and Christian musicians, with a buffet of Arab and Israeli cuisine.
Organisers Anna Marks, 24, Violeta Barrena, 28, and Muna Ileiwat hope the fundraiser will “bring communities together” and stop “the spread of hate”.
Ms Barrena, a musician from Greencroft Gardens, West Hampstead, said: “We both saw hateful posts about the situation in Gaza getting worse and worse so wanted to do something to help spread understanding and unity. The worst thing we can do in this situation is to create more hate. The best thing to do is help the victims of this terrible conflict.
All money raised will go to Médecins Sans Frontières (MSF). Tickets cost £10 (£15 inc. food and drink) and can be bought at violetaviolin.com
An incredibly moving cry for peace and simple human solidarity with the people of Gaza, from an Israeli citizen:
“I call on the Israeli government to put an end to this bloodshed now … this is not a video game … there are only losers … Israeli society is losing its tolerance and becoming a mob…”
Nice to know he really was a good guy (is that Nina Simone he’s holding hands with?)
Kathy Stobart and her band in the early 1950s
Jazz can be proud of its anti-racist traditions and of how, from the early twentieth century, black and white musicians defied racism in order to work together to make great music. Jazz played a major role in the US civil rights movement and – long before the Brooklyn Dodgers signed Jackie Robinson for the 1946 season – helped convince white America that black people were at least their equals, and had an awful lot to contribute to the American Way Of Life, if only given the chance.
Jazz’s record on sexism and women’s rights is less honourable. Until quite recently, women were scarcely tolerated in jazz, and even then only as fans, hangers-on and singers. The few female instrumentalists that there were in the 1930s, 40s and 50s on the US scene tended to be treated with condescension or (as with pianist Mary Lou Williams, whose talent could not be denied), as novelties if not downright freaks.
The situation for British women jazz musicians was just as bad until very recently, which makes it only right and proper that we now remember the tenor sax player Kathy Stobart, who died on 6 July aged 89. Kathy was a pioneer, having started professionally in the 1940s when she ran her own band and worked for top bandleaders like Vic Lewis and Ted Heath. In 1957 she caused a minor sensation when she stepped in for Jimmy Skidmore (who was ill) with the Humphrey Lyttelton Band and recorded a highly-regarded album, Kath Meets Humph.
Humph held Kathy in high regard, describing her sax playing as having “a huge booming sound, imbued with total originality and a commanding presence.” Kathy joined Humph’s band as a regular member between 1969 and 1978, and then re-joined for 12 years from 1992. She set a precedent: after Kathy left, Humph hired two other female sax players, Karen Sharpe and Jo Fooks, both of whom have spoken of Kathy as a major inspiration and role model.
Kathy’s second husband, the trumpeter Bert Courtley, died in 1969, leaving Kathy a single parent, and she took up music teaching to supplement her income. By all accounts she was a “natural” and in 2000 she tutored Judi Dench in the rudiments of sax playing for her role in Alan Plater’s TV play The Last of the Blonde Bombshells.
Kathy, like a lot of the best female jazz players, would frequently be described by critics and fans, as playing “like a man”. The description didn’t please Kathy, who once commented: “It’s supposed to be the ultimate compliment, but I wouldn’t apply it to myself. I’ve got a good pair of lungs on me and I’ve got well matured emotions. I play like me.”
Guardian obit here
Singer Jimmy Scott died Thursday morning at his home in Las Vegas at age 88, according to his booking agent, Jean-Pierre Leduc. Scott’s death was a result of complications from Kallmann’s syndrome, a lifelong affliction that prevented his body from maturing through puberty.
Scott was labeled Little Jimmy Scott by bandleader Lionel Hampton in the late 1940s. Hampton also delivered the first of many professional slights in 1949 when he left Scott’s name off on an early hit, “Everybody’s Somebody’s Fool.”
Scott’s career seemed promising after he left Hampton’s orchestra. He recorded for various independent labels and toured with a revue run by dancer Estelle “Caledonia” Young that included R&B singer Big Maybelle and comedian Redd Foxx.
Throughout the early ’50s and ’60s, Scott recorded for various indie labels including Savoy, where he was under the tight control of owner Herman Lubinsky.
According to Scott’s 2002 autobiography, The Life of Jimmy Scott (written with David Ritz), Lubinsky halted production of a 1963 album that was personally supervised by Scott fan Ray Charles for his own Tangerine label. Lubinsky used legal proceedings to halt distribution, claiming Scott was under contract to Savoy. The album was eventually rescued and released in 2003 and has been widely hailed as one of the great jazz vocal albums.
The experience of having his album shelved — not to mention the hardships he experienced being misidentified as a woman, accused of drug addiction and harassed about his sexual identity because of his voice — took a toll and Scott left the music business, moving back to his native Cleveland and becoming a hotel clerk.
Despite his absence, Scott maintained friends and fans in the music business, including legendary R&B producer Doc Pomus, who requested that Scott sing at his 1991 funeral. A record executive in attendance heard the performance and signed him to a record contract on the spot, kick-starting Scott’s second act. This time adulation came rushing in, resulting in a string of albums that received both popular and critical acclaim. He even appeared in the final episode of the singular TV hit Twin Peaks.
For most of his nearly nine decades Scott’s life and art were affected by loss: first his mother’s death when he was 13, then the personal slights and missed opportunities in his fractured career and decades of anonymity away from the record business. In 2000, The New York Times called him “perhaps the most unjustly ignored American singer of the 20th century.”
And yet in a late-career interview Scott was philosophical about the bad breaks he had caught along the way. “I’ve learned that music is such a healer,” he said. “As long as I could sing my songs, I wasn’t as angry about what had happened, about being shoved back for this or shoved back for the other. I’m a singer, and I never lost sight of that.”