September in the Rain, with Dinah Washington

September 1, 2017 at 2:23 pm (jazz, love, music, posted by JD, Sheer joy, song, Soul, The blues)

There’s only one song for today (and, indeed, for this month), and only one singer:

Dinah Washington was one of the few black jazz/R&B singers to break into the mainstream US hit parade: in 1959, she had her first top ten pop hit, with a version of “What a Diff’rence a Day Made“,[11] which made Number 4 on the US pop chart. Her band at that time included arranger Belford Hendricks, with Kenny Burrell (guitar), Joe Zawinul (piano), and Panama Francis (drums). She followed it up with a version of Irving Gordon‘s “Unforgettable“, and then two highly successful duets in 1960 with Brook Benton, “Baby (You’ve Got What It Takes)” (No. 5 Pop, No. 1 R&B) and “A Rockin’ Good Way (To Mess Around and Fall in Love)” (No. 7 Pop, No. 1 R&B). Her last big hit was “September in the Rain” in 1961 (No. 23 Pop, No. 5 R&B).[10]

Early on the morning of December 14, 1963, Washington’s seventh husband, football great Dick “Night Train” Lane, went to sleep with his wife, and awoke later to find her slumped over and not responsive. Doctor B. C. Ross came to the scene to pronounce her dead.[7] An autopsy later showed a lethal combination of secobarbital and amobarbital, which contributed to her death at the age of 39. She is buried in the Burr Oak Cemetery in Alsip, Illinois (Wikipedia).

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The lovely, gentle, sad but joyous jazz star: Lester Young

August 26, 2017 at 7:11 pm (jazz, Jim D, love, song, The blues, tragedy)


Above: Pres bursts into jazz immortality in 1936

Pres, or Prez (“The President of all Saxophone Players”, so named by Billie Holiday), died in New York on 15 March 1959. He was born in Woodville Mississippi on 27 August 1909, so perhaps that happier anniversary should be Lester Young Day.

“Lester was a dancer, a dreamer, a master of time and its secrets. Foremost among them: equilibrium. He never stumbles on the tightrope of swing, of tension and relaxation held in perfect ying-yang balance. He is a juggler, a high-wire artist without a net, a diver, a gambler, a gamboler.

The discoveries, the clear profundities of late Lester have been little understood. Some of his languor, no doubt, was the result of the need for conservation of energy. But what he made of this necessity! He was indeed a mother of invention….

“Long live gentle Lester, who loved life despite what it had done to him, and who never stopped reaching out, gifts in hand. To hell with those who call your strength weakness because you turned the pain inward, upon yourself rather than others, and offer simplistic explanations for your singular fate. Perhaps they envy you your immortality” – Dan Morgenstern, in ‘A Lester Young Reader’, edited by Lewis Porter, pub: Smithsonian, 1991.

I’ve posted this clip of Lester’s final encounter with his platonic love, Billie Holiday, several times before. But there may still be people who haven’t seen it. Watch Billie’s face as Pres (the second soloist, following Ben Webster) struggles through his slightly strained, but beautifully-constructed solo: it’s pure love in its most refined and intense manifestation; a couple of years after this 1957 TV show (on which Lester was not booked to appear, but turned up nevertheless) both Billie and Lester would be dead:

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Louis Armstrong and ‘La Vie En Rose’

June 26, 2015 at 8:40 pm (France, good people, jazz, love, music, poetry, posted by JD, song)

My good friend Ricky Ricardi, archivist of the Louis Armstrong House Museum in Queens, NYC, commemorates the 65th anniversary of Louis’ recording of ‘La Vie En Rose’ (from Ricky’s blog ‘The Wonderful World Of Louis Armstrong’):

65 Years of “La Vie En Rose”

Louis Armstrong with Sy Oliver’s Orchestra
Recorded June 26, 1950
Track Time 3: 26
Written by Mack David, Edith Piaf and Louiguy (Louis Gugliemi)
Recorded in New York City
Louis Armstrong, trumpet, vocal; Melvin Solomon, Bernie Privin, Paul Webster, trumpet; Morton Bullman, trombone; Hymie Schertzer, Milt Yaner, alto saxophone; Art Drelinger, Bill Holcombe, tenor saxohpne; Earl Hines, piano; Everett Barksdale, guitar; George Duvivier, bass; Johnny Blowers, drums; Sy Oliver, arranger, conductor
Originally released on Decca 37113
Currently available on CD: It’s on “Satchmo Serenades” and about a thousand compilations.
Available on Itunes? Yes.

65 years ago today, Louis Armstrong tapped into his French side by recording two songs he’d perform for the rest of his career: “La Vie En Rose” and “C’est Si Bon.” What follows is a slightly updated version of my original 2010 posting on “La Vie En Rose” and I’ll be back in a few days with a fresh look at “C’est Si Bon.” Enjoy!

*************************
For the last couple of decades, “What a Wonderful World” easily wins the title of the most ubiquitous Louis Armstrong recording, being used in a countless amount of films, television commercials and high school reports (just check YouTube). But “La Vie En Rose” is definitely a close second. According to Imdb.com, it’s been used in at least eight major motion pictures since 1994, most notably in the Pixar classic “Wall-E,” as well as television shows, commercials, you name it. And anyone who has spent three minutes and 26 seconds in its presence can easily understand the phenomenon. You’d have to have the heart of the Tin Man (pre-Oz) to not be moved by it.

Of course, the song truly belongs to Edith Piaf, the legendary French singer who co-wrote it and made it famous to the point where a documentary and a feature film about her life each bear the title “La Vie En Rose.” Piaf apparently wrote the song in 1946 and sat on it for a while before she finally gave it a go in public, where it was received tremendously. In 1948, she sang her original French lyrics on a recording that was picked up in the United States by George Avakian of Columbia Records. I’ll let George tell the story, as he eloquently did in the liner notes to an Armstrong boxed set on the Hip-O label, “An American Original”:

“That same year, Edith Piaf took New York by storm an me by surprise. I was doubling as International and Pop Album director at Columbia in those days, and when Piaf’s manager told me she was coming back to New York despite a cool reception the first time ’round, I asked our Paris affiliate to send me samples of her interim releases so that I could try to choose something which might appeal to the American public. I recognized one melody as ‘You’re Too Dangerous, Cheire,’ a failed pop tune I had liked a couple of years earlier. The label said ‘La Vie En Rose,’ and the impassioned French lyric was far superior to wishy-washy English words I knew. We gave it a shot and to everyone’s astonishment but ‘Ay-deet’s,’ it sold a million copies.”

For those who aren’t familiar with it, hear’s Piaf’s original French version, courtesy of YouTube:

As of today, multiple YouTube versions have amassed over 20 million views, a testament to the lasting power of Piaf and that song in particular. But who is in second place? Ol’ Pops with just over 19 million views himself. As Avakian added, “Of the countless cover versions that followed, Louis’ was easily the best, and he never stopped singing it.” Read the rest of this entry »

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A Great Day for the Irish (from Judy Garland!)

May 23, 2015 at 11:52 pm (civil rights, gay, Human rights, Ireland, LGBT, love, posted by JD)

Somehow, this seems entirely appropriate:

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“What will survive of us is love.”

February 14, 2015 at 12:58 am (love, poetry, posted by JD)

A suitable poem for Valentine’s Day from that unlikely romantic, Mr P. Larkin.

An Arundel Tomb

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Feelin’ Good with Henry ‘Red’ Allen

January 2, 2015 at 6:27 pm (jazz, love, music, New Orleans, posted by JD, Sheer joy)

I can think of no more bracing, positive and life-affirming start to 2015 than this magnificent performance by Henry ‘Red’ Allen, recorded live in 1965 with a quartet that included pianist Sammy Price:

Almost unbelievably, Red had just two years to live when he recorded this, the high point of a late-period revival in his musical and personal fortunes.

Philip Larkin wrote: “There was always something unusual about Allen’s playing: even at the start he tended to sound like Armstrong in a distorting mirror, and by the end of his life an Allen solo was a brooding, gobbling, stretched, telegraphic thing of half-notes and quarter-tones, while an Allen vocal sounded like a man with a bad conscience talking in his sleep.” I trust it’s obvious that Mr Larkin meant all that approvingly.

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Goodwill and love: Louis and Jackson play and sing ‘Rockin’ Chair’

December 20, 2014 at 4:27 pm (Christmas, humanism, jazz, Jim D, love, music)

At this time of year, those of us without Christian religious convictions attempt to make the best of things by celebrating goodwill and love towards all humanity. For those of us in the jazz community, nothing can express this better than Mr Jackson Tea and his old friend Louis singing and playing ‘Rockin’ Chair’: the affection – indeed, love in the truest, platonic, sense – is obvious. It transcends all racial, cultural and other artificial divisions of humanity.

This 1957 TV performance is as near as we’ll ever get to a film of the legendary New York Town Hall performance of ten years earlier: Bobby Hackett (cornet) and Peanuts Hucko (clarinet) are once again present, which is just great; but Jackson and Louis are the timeless stars – wondrous then, now and forever:

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Anita O’Day: That Old Feeling

November 17, 2014 at 1:30 am (jazz, Jim D, love, song)

I saw you last night…

I saw you last night and got that old feeling
When you came in sight, I got that old feeling
The moment that you danced by I felt a thrill
And when you caught my eye my heart stood still

Once again I seemed to feel that old yearning
Then I knew the spark of love was still burning
There’ll be no new romance for me, it’s foolish to start
‘Cause that old feeling is still in my heart

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Tom Cashman’s funeral

August 11, 2014 at 3:54 pm (good people, love, posted by JD, RIP, secularism, socialism, solidarity, unions, Unite the union, workers)

Hi all,

Please forward on to union brothers and sisters.

Thanks,

Ruth Cashman

Dear Friends, Comrades and Family,

As you know, Tom died on the afternoon of Tuesday 5 August 2014. The funeral will be held at  Clandon Wood Natural Burial Reserve, at 2pm on Thursday 14th August (details of how to get there below). It will be a secular celebration, followed by a natural burial, in the woodland. The reception will be held at the Fox and Hounds, Surbiton from approximately 5 p.m

Dress however you feel most appropriate, please bear in mind the burial will take place in woodland, so you should wear shoes which are relatively easy to walk in. 

Flowers: We ask that if you would like to bring / send flowers, they be hand-tied rather than wreaths (no plastic, please). Tom was not a man who would have been hugely concerned with his own funeral but would have approved of flowers; if you would prefer to recognise the occasion in another way, you might like to make a donation to Keep Our NHS Public or the Doncaster Care UK strikers, as Tom was passionately committed to public healthcare and we appreciate all that the health professionals did for him toward the end of his life. 
 
Thank you to everybody who has already contacted us to send love, solidarity and support, it really is appreciated. 

With love and solidarity, 

 Johnnie Byrne and the Cashman Family

If you have any questions, please email ruthycashman@gmail.com

Getting to Clandon Wood Natural Burial Reserve

By Car

Clandon Wood Natural Burial Reserve,
Epsom Road,
West Clandon,
Guildford
Surrey
Set Sat Nav to Epsom Road, GU4 7TT

Parking available at the Burial Reserve

Click here for map

By Public Transport

Train

Nearest train station is Clandon, which is served by trains from London Waterloo and Guildford.

Bus

478 GUILDFORD to LEATHERHEAD – Operated by Reptons Coaches
462 / 463 GUILDFORD to WOKING – Operated by Arriva
479 / 489 GUILDFORD to EPSOM – Operated by Excetera

It is a thirty minute walk from Clandon Station to the burial ground, unless you prefer to walk we will be arranging to collect people from The Onslow Arms, a pub on The Steet, West Clandon, very close to the station. Click here for map of The Onlow Arms

Getting to the reception at Fox and Hounds.

By Car

60 Portsmouth Rd
Surbiton
KT6 4HS

Click here for a map of the Fox and Hounds

Parking: Small car park at rear of pub, free street parking from 4pm locally, if both are full there are a number of local public car parks.

We hope to arrange to drive, all or most people travelling by public transport, to the reception. Please speak to Alastair, on the day, if you have space in your car.

By Public Transport:

Nearest train station is Surbiton (5 mins walk), trains run direct from Clandon.

Click here for a map of the walk from Surbiton station to the Fox and Hounds 

We hope to arrange to drive, all or most people travelling by public transport, to the reception. Please speak to Alastair, on the day, if you do not have a car.

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Milt Hinton: lessons in bass playing – and kindness

July 4, 2014 at 3:31 pm (humanism, jazz, love, posted by JD, Sheer joy)

I’d intended to post something at the end of last month, on the occasion of what would have been his 104th birthday, about the great jazz bassist Milt ‘The Judge’ Hinton (June 23 1910 – Dec 19 2000); but for one reason and another I  didn’t get round to it.

Anyway in the Youtube video below Milt gives a lesson in jazz bass playing. And below that is a heart-warming story from fellow-bassist Bob Cranshaw, via my pal Michael Steinman at Jazz Lives.


Michael Steinman writes: The extraordinary pianist Ethan Iverson (of The Bad Plus) has a superb blog called DO THE MATH, and most recently he has offered a lengthy, lively conversation with string bassist Bob Cranshaw here. This story seized me.

BC:  Milt Hinton was one of the first bass players that I heard. This was before TV. I heard him on the radio. I think he was my biggest influence. When I heard him play, the shit was swinging so hard that the radio was about to jump off the table. I went to my father, and I said, “I want to play that.”

I have a story about Milt when I came to New York. I had been in New York maybe a few months, and I was on 48th and Broadway. I was on my way to rehearsal with somebody and I had a bag on my bass that was raggedy and about to fall off, but I couldn’t afford anything else. I was walking down to the rehearsal and this gentleman dressed with a tie stopped me on the street. He said, “Hi. What’s your name?” I said, “Bob Cranshaw.” He said, “Are you a professional bassist?” I said, “Yes, sir.” He said, “I’m Milt Hinton.” I said, “Oh, shit.” It was like meeting God. Here’s my mentor.

He took me into Manny’s and he bought me a bass case on the spot.

EI:  Really? Hadn’t even heard you play a note?

BC:  Took me and bought me a bass case right there. He said as a professional, I couldn’t be walking around with a bag like that. What I teach in my method and my thought of music is, I say, “The Milt Hinton Method,” because when I came, I followed Milt around. I used to just go. They were doing a lot of recording. They were recording all day. I would just go to the date and I would sit on the side. I didn’t want to disturb anybody, but just to watch him. What I got from watching him was when – it could be 50 musicians – when The Judge walked into the room, you could feel the energy. Everybody was talking. That was the kind of guy he was. That was the life. He was my biggest, my most wonderful influence, was watching The Judge. When I started to play, when I started to work with Joe Williams and so forth, Milt did all the record dates. He was part of the rhythm section with Osie Johnson and a couple other guys. I would go to the dates and just watch him because I was working with Joe and I was going to have to play the same music the next week. I said, “I might as well get it from the horse’s mouth. Let me get the first thing and then I have a better understanding of what I need to play when we go out on the road with Joe Williams.”

I followed Milt’s career all the way to the point where I used to call him every Sunday. I’d say, “Judge, I just want me blessing,” just to talk to him and so forth. One Sunday I called, and his wife said, “The Judge is at a club meeting.” I’m saying, “He’s almost 90 years old. What kind of club meeting? What could he be into now?” There was a club called the Friendly Fifties that are in New York and I’m a member now. I joined following his thing. It was what guys like Jonah Jones and a bunch of the older guys put together, this club, so that the wives could be more together when they were traveling. These were the early days. I became part of the Friendly Fifties, and I wrote an article for Allegro at the union about all of these famous guys that were part of this club that nobody had any idea it existed.

I love the rest of the stories — because Milt in person was the embodiment of Wise Joy — but it is the little anecdote of the bass case that catches me and will not subside into a Nice Anecdote about One of My Heroes. You will notice that Milt didn’t lecture the young man about how wrong he was; he didn’t sell him a case and ask for money to be paid back; he was serious but gently fixed what was wrong with loving alacrity.

We all praise Kindness as a virtue.  We try to be Kind.  But how many of us would have made it so vibrantly alive as Milt did?  Kindness in Action.

Several years ago, I wrote a post I am still proud of: I called it What Would Louis Do?.

Meaning Louis no disrespect, I would like to propose the quiet religion of Hintonism. Nothing new except the name. Doing good without asking for recompense. Taking good care of a stranger.

When we lie down in bed at night, we could ask ourselves, “Did I do my Milt today?”  If we did, fine.  We could try to do several Milts the next day, and ever onwards.  We might have less money, but we’d be surrounded by love and that love would surely be immortal.  Just a thought.

May your happiness increase!

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