The ONLY song for today. Dorham (1924 – ’72) was a somewhat neglected figure, whose misfortune was to have emerged just as Gillespie, Brown and Davis were stealing the scene. But on a good day (as here) he was their equal. A lovely version of a great song:
When I was a lad first getting into jazz I wanted a copy of Eddie Condon’s biography, ‘We Called It Music’, which I’d heard was an informative and entertaining read: but how to get my hands on a copy? The old memory’s not all it might be these days, so I cannot recall how I got the idea, but somehow I learned that a jazz trumpeter called John Chilton ran a bookshop in Bloomsbury, London and so I sent the shop a book token I’d been given, with a note asking if they had a second-hand copy. The book arrived a few days later, plus a friendly note from John and postal order for the change I was owed! That was my only direct dealing with John Chilton, who has died aged 83.
I did, however, get to hear John play on several occasions, starting with a Sunday lunchtime session at a rather grotty pub in Clerkenwell called the New Merlin’s Cave, and then at a number of rather more prestigious venues where his Feetwarmers were backing George Melly. In fact, the Feetwarmers became Melly’s backing group and John his de facto road manager and musical director from the mid-70’s until the early 2000’s.
But John had a parallel career as a jazz historian and writer. His seminal ‘Who’s Who Of Jazz’ was described by Phillip Larkin as “one of the essential jazz books” and his biographies of Coleman Hawkins, Louis Jordan, Sidney Bechet and (together with Max Jones) Louis Armstrong won many awards and remain indispensable works on their subjects.
He also happened to be, by all accounts, a very decent and generous human being – well, he did, after all, send me that postal order.
Revisiting his ‘Who’s Who Of Jazz’ for the first time in a while, I’ve just noticed this forward by one Johnny Simmen of Zurich., which I think stands as a good, brief, epitaph:
“Rex Stewart, Bill Coleman, and Buck Clayton were the first to mention the name of John Chilton to me. They all said that he was a fine trumpeter and led a good band. ‘That boy is amazing’, Rex told me, ‘and I mean it’, he said, emphaising the point. Later on, when Bill and Buck expressed similarly flattering opinions, I concluded that Chilton had to be a pretty exceptional musician. I finally managed to hear a few of his solos and realised at once that they had not exaggerated one bit.
“Some time later, I received a letter from England, turning the envelope I saw to my surprise that the sender’s name was John Chilton. Perhaps he wanted me to investigate the possibilities of an engagement in Switzerland? No, there was no mention of this, but John – he had received my address from Bill Coleman – that he was in the process of writing a dictionary of American jazz musicians, from the very beginning up to the inclusion of musicians born before 1920. He asked if I had any information on doubtful points.
“From the tenor of the letter, I could tell at once that John is as deeply involved in the history of jazz and the men who play ‘the real thing’ as he is in his playing and arranging. Having gradually got fed up with phoney ‘jazz journalists’ over the years, I was glad to find out that John Chilton is an entirely different proposition. He has the ability, perseverence, and enthusiasm to tackle and finish such a demanding work. It is my opinion that this is one of the truly valuable books on jazz musicians. It is the work of a musician whose knowledge of jazz and love and devotion to ‘the cause’ is unsurpassed.”
Below: John on trumpet with the Bruce Turner Jump Band in 1961 (the still picture shows trombonist Johnny Mumford):
NB: Telegraph obit, here
My favourite Christmas record:
Fats and the boys recorded this in Chicago on November 29 1936: they’d obviously begun celebrating a wee bit early.
Best wishes to all readers.
Normal service here at Shiraz will be resumed shortly.
Frank Sinatra was born 100 years ago today.
He wasn’t the 20th century’s greatest singer: that accolade must go to either Enrico Caruso or Bing Crosby (or, maybe, Louis Armstrong).
But he was the first real pop star.
Despite stints with Harry James (his first band leader) and Tommy Dorsey (of whom Sinatra said something like, “He tought me everything about how to phrase a song”), Frank was never, really, a jazz singer. But this session with vibist Red Norvo, is probably the closest that Sinatra came to singing jazz:
Richard Williams in the Guardian: A Very Long Retirement
Ian Penman in the London Review Of Books: Swoonatara
Ludovic Hunter-Tilney in the Financial Times: Sinatra’s Way
Gary Giddins (always worth reading) on Jazz singers in general
The great jazz composer and arranger Billy Strayhorn was born 100 years ago, today.
He joined the staff of Duke Ellington in 1939 and wrote the Duke’s signature tune ‘Take The A-Train’:
…note tenorist Paul Gonsalves, clearly out of it.
Strayhorn joined the Duke, initially, as a lyric-writer and had already written the music and lyrics to the remarkable song ‘Lush Life’:
Strayhorn died of blood cancer in 1967, but kept composing and arranging from his hospital bed right to the end. Shortly after Strayhorn’s death, his boss and friend Duke Ellington (and the Ellington Orchestra) made an album called …And His Mother Called Him Bill; the final track was the Duke himself, alone at the piano for most of the time (then joined by Harry Carney on baritone sax), playing Strayhorn’s composition ‘Lotus Blossom’:
I’m ashamed to admit that I came late to Phil Woods and have only been listening intently to his superb playing since news of his death, aged 83, came through earlier this week.
He played his final gig on September 4th using an oxygen mask and, before the final number announced that due to emphysema, he was retiring with immediate effect. Due to his extensive work as a session man on pop records, many people who are not particularly into jazz, will have heard his playing without knowing it: he plays the sax solo on Billy Joel’s Just The Way You Are, for instance.
But it is as one of the greatest of post-Parker altoists that he will be properly remembered. Here he is on a live recording from 1976 (‘Live From the Showboat’), in truly magisterial form on ‘Cheek To Cheek’, a difficult song not obviously suited to jazz improvisation – but Woods makes it all sound so easy:
Phil Woods (alto) with Harry Leahey, guitar Mike Melillo, piano Steve Gilmore, drums
H/t: Pete Neighbour, who wrote on facebook, “This is one of ‘THE’ Phil Woods tracks… I remember playing this endlessly when I first got it on vinyl; desperately trying to get somewhere near this masterful performance – and failing dismally I hasten to add. My mind struggling with the harmonic complexities that Phil found in this standard….. desperately trying not to copy…but wanting… so, so wanting to be influenced and to let some of his genius seep through my playing. Today, with everyone seemingly accorded ‘superstar status’ to listen to this brings home the meaning of true musical genius. I know all this sounds ‘gushing’……..but….if it does…..I don’t care!”
Ten years on from Katrina, and New Orleans is still recovering. Great progress has been made (no thanks to the wretched initial response from the federal government under Bush), but it’s been uneven and problems remain – not least in working class black areas like the Lower Ninth Ward.
Trumpeter Jon-Erik Kellso, though based in New York, has long regarded NO has his spiritual home:
“I was there playing at the Satchmo Summer Fest right before the hurricane … and then again at Jazz Fest (the New Orleans Jazz and Heritage Festival), nine months after the hurricane. A dear friend took me on a reality tour, from the ‘blue roofs,’ protective blue tarps on wind-damaged roofs, to the devastation of whole neighborhoods totalled by the flooding. The Ninth Ward looked like a war-ravaged ghost town. It broke my heart to see my beloved New Orleans in such a state’ (quoted by Michael Steinman, of the most excellent Jazz Lives blog, in his notes to Jon-Erik’s fantastic 2007 Arbors CD Blue Roof Blues – A Love Letter To New Orleans).
Now Jon-Erik has released a new CD/album celebrating the Crescent City’s partial recovery: it was recorded in NO in April and as well as Jon-Eric, features his New York pal, guitarist and vocalist Matt Munisteri and two New Orleanians – clarinetist Evan Christopher and bassist Kerry Lewis. The album is entitled In The Land Of Beginning Again, and Jon-Eric writes of the title:
“Why ‘In The Land Of Beginning Again?’ Louis Armstrong spoke of playing this song regularly in his early days as a member of Fate Marable’s band on a Mississippi Riverboat. It was their closing theme. This wistful, seldom-heard song is a fitting theme for this album … as it reflects New Orleans’ resiliency. It is a huge relief to see how this unique and wonderful Gulf Coast city has bounced back and reinvented itself since ‘the storm.’ It seems my hometown of Detroit is now being talked about as another ‘land of beginning again,’ with its ‘keep on keepin’ on spirit.”
NB: I have no commercial interest in this CD (on the Jazzology label), but can personally recommend it. As well as the fantastic music by Jon-Erik, Evan, Matt and Kerry, it comes with notes by the A.J Liebling of jazz writing, Michael Steinman and cover art by Cécile McLorin Salvant – a fine vocalist who turns out to be an equally excellent graphic artist.
Yevgeniy Zhuravel interviews Kirill Medvedev (above), a Moscow-based poet, translator, and activist. He is the founder of the Arkady Kots band.
YZ: Can you tell a bit about yourself and how did you became a leftist? It seems that in Russia till recently it was not a common political choice.
KM: I became a self-conscious leftist at the beginning of the 2000s. There is a rather typical scenario for that generation of the Russian left, which emerged mostly from the Soviet intelligentsia of different levels of prosperity. Many of us were still able to spend our childhood under still rather comfortable conditions, so we were able to absorb the humanistic code of the Soviet intelligentsia, and then suddenly found ourselves in the historical hole of the 90s, when this code turned out to be not only redundant, but simply made survival difficult. Some of our parents had believed that shock therapy and total privatisation are the necessary stages on the way to democracy, others voted for the failed Communist Party, and some became quickly disappointed and depoliticised. The new left emerged from this trauma, but not out of a desire for revanche, but with the feeling that both nostalgia for Soviet times and jolly anti-Sovietism, which brought most of the intelligentsia to support Putin, are dead ends; that if one wants to be a citizen and a political subject, some hard work is required in order to build a new political culture and environment. Sometime during 2003-2004, I started getting an idea that maybe this thankless job—being part of the left—is not the worst way to spend the next decade or two.
YZ: The band that you are a part of is called Arkadiy Kots, after the Russian translator of “The Internationale”. Who are the people in the band, why this particular name was chosen and what musical and political traditions do you follow?
KM: The name seemed to be appropriate because Kots was simultaneously a poet, a translator, an activist and a sociologist; he wrote a study on the Belgian unions from the beginning of the 20th century. Such synthesis is interesting to us. Oleg Zhuravlev, with whom we founded the group, is a well-known young sociologist, member of the “Public Sociology Lab” collective, which does research on the recent protests in Russia and Ukraine. They just published a book in Russia, which will be released in Holland soon. Nikolay Oleynikov is a member of the renowned art-group “What has to be done?”(Chto Delat?). His work is related to antifascism and gender problems. In fact, in the Free Marxist Press, we published his collection “Sex of the Oppressed”, the discussions of sex and politics. If Oleg brings to the group the spirit of research, Nikolaj the spirit of militant queer carnival. Anya Petrovich and Misha Griboedov are more professionally connected to music: they are practically the musical directors of the group, fighting, for example, with my horrible unprofessionalism. Gosha Komarov, an activist of the Worker’s Platforms, which unites the most workerist (proletarian) part of the left radicals, is a multi-instrumentalist. This is the backbone of the group, we are all convinced communists, but, as it happens, we occasionally end up playing with people who do not share our views, which gives us some openness and a chance not to turn into a sect.
We translate a lot to Russian – from Woody Guthrie and Pete Seeger to old Italian anarchist songs. We write songs based on poems of Russian poets and write our own: “Be Involved in Political Struggle”, “It is not shameful to be a worker” etc., which hide uneasy reflections about our own political subjectivity.
Overall we try to juxtapose maximised aesthetic openness with a clear political message, to get out of the boundaries of the radical left, subcultural milieu. Right now we are working on an album devoted to the history of the worker’s movements, from Luddites to Zhanaozen, with a support of Confederation of Labour of Russia, whose congress we recently opened with our Russian versions of songs “Bread and Roses” and “Power in a Union”, and gave a concert after the end of it.
YZ:You started the Free Marxist Press publishing house back in 2008. How did it evolve? What did you print recently and what are the plans?
KM: It all had started with samizdat (DIY?) books – “Why I am a Marxist?” by Ernest Mandel, Pasolini’s “Communist Party – to the Youth”, “Marxism and Feminism” by Marcuse etc. Later on we started making small press runs at print shops. Producing a book from A to Z—translation, formatting, cover design, printing, binding, distribution – for me personally was an important experience, though a little bit exotic, mixing the spirit of completely unalienated creative work a la William Morris, on the one hand, and the productionism of the 20s, on the other. Being engaged in the material production of a book one gets into a very special relationships with a text which it contains. Read the rest of this entry »
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 »
BB King, 1925-2015
“[H]is instrumental virtuosity and the seamless interaction between the liquid, vocal tone he conjured from the numerous Gibson semi-acoustic guitars that have borne the nickname “Lucille” over the past six-and-a-half decades and his warm, chesty singing (“First I sing and then Lucille sings”) was only one part of the reason for his pre-eminence not only in his chosen field of the blues but in the broader expanse of the past musical century’s popular mainstream. BB King was also one of the planet’s consummate entertainers; his expansive stage presence, enveloping generosity of spirit, patent willingness to drive himself into the ground for his audiences and ability to put virtually any crowd at their ease took him from the backbreaking labour and harsh racism of the rural Southern states to the biggest stages of the world’s capital cities” -From the excellent appreciation by Charles Shaar Murray in today’s Guardian.
The Thrill Is Gone (probably his most famous recording):
…and here’s a live version of my personal favourite Three O’ Clock Blues: