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.
Tuesday February 17 is Mardi Gras and here’s some appropriate music to honour New Orleans (which deserves honouring as it heroically recovers from Katrina):
Louis Armstrong plays Hoagy Carmichael’s tune ‘Jubilee’, first of all at the head of a parade (admittedly, not a New Orleans parade) in the 1937 Mae West film Every Day’s A Holiday:
… and then on the famous January 1938 recording:
This also gives me an excuse to bring you the late Richard M. Sudhalter’s marvellous, descriptive, jazz writing (from his 2003 book Stardust Melody: The Life of Hoagy Carmichael):
Armstrong recorded “Jubilee” for Decca on January 12, 1938, backed by Luis Russell’s orchestra, and his performance stands out for a great jazzman’s ability to ennoble an otherwise pedestrian song through majesty of conception and execution. After making short (if enjoyable) work of Adams’s generic “let’s all have a good time” lyric, Louis points his Selmer trumpet to the heavens and, lofted atop Paul Barbarin’s drumming, rides “Jubilee” into high orbit.
He spends one chorus paraphrasing the melody over band riffs, then intones complementary replies as Russell’s horns punch out the melody in the second. Taking over at the bridge, he works into a final soaring, transcendent high concert F. The balance and wisdom of these seventy-four bars defy explanation or analysis: what divine intuition dictated that he hold the concert G in bar 26 of the final chorus (corresponding to the word “of” in the phrase “carnival of joy”) for three and one half beats, rather than the gone-in-a-blink eighth note assigned to it by the lyric, before landing emphatically on the F for “joy”? Only a peerless aesthetic sense could have understood the effect of that move, one among many, on the emotional density of its phrase. The word “genius”, so devalued in this age of inflated superlatives, surely finds its rightful application in such details.”
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.
A child was born in La Place, Louisiana on 25 December 1886: Edward “Kid” Ory, the Grand Daddy of all jazz trombonists.
Here he is in 1945 with his Creole Jazz Band, playing ‘Maryland, My Maryland’ (aka Christmas Tree, O Tannenbaum, The Red Flag, etc):
Mutt Carey (trumpet); Darnell Howard (clarinet); Buster Wilson (piano); Bud Scott (guitar); Ed Garland (bass); Minor Hall (drums).
H/t: Hal Smith
I met up with my old friend Norman Field yesterday, and – as is invariably the case with this extraordinary autodidact – had a wonderful time. The conversation ranged from nineteenth century European history, to contemporary jazz-scene gossip and Birmingham local history. Along the way we touched upon Thatcher and the Falklands war, the arranging skills of Fud Livingston and the reason(s) why Paul Whiteman and his Orchestra left Victor records and joined Columbia 1928.
Norman is (was?) a fantastic clarinet and sax player but has now – for reasons best known to himself and which I would not presume to cross-examine him over – more or less given up playing in public. Suffice to say that people who know about hot jazz (Keith Nichols, Scott Robinson, Richard Pite, to name but three) regard him as a master and oracle. Scott Robinson, having heard Norman play at the Whitley Bay classic jazz festival a few years ago, described him as a “f****n’ genius.”
I should add that Norman made me a clear plastic 78 rpm record (of Jimmy McPartland with the Original Wolverines) in the course of our meeting!
Norman’s commitment to serious jazz research is demonstrated by this article, from his website. It’s reproduced here with his permission:
Louis Armstrong’s ‘Cornet Chop Suey’ (1926): What key is it in?
Above: Armstrong’s Hot Five
By Norman Field
This article could not have been written without the generous help of Michael Kieffer, to whom many thanks. Other acknowledgements will be found at the foot of the text.
Over the years, I had occasionally heard that some doubt existed as to the correct key for Louis Armstrong’s tune of this name. The doubt specifically concerned the original version of it, which he had recorded with the Hot Five for OKeh early in 1926. This problem had apparently been around for some years. It had been discussed in the correspondence columns of Jazz magazines; possibly articles had been written about it, and it had certainly been talked about quite a bit. I understood that well known trumpet players had gone into the problem, and that, surprisingly, there was still no general agreement.
A few years ago, I became interested in selecting the correct pitch for early Jazz and dance band records, and found that by applying a few simple tests, it was – usually – possible to be fairly sure of the correct speed at which to play a 78 rpm record, so that it would come out at the correct pitch.
However, these tests were only valid for Jazz and dance records made in the U.S.A. and Britain in the 1920s through to about the mid-1930s; and even then, only when the band included a piano. It primarily rested with the piano, of course, and the assumption that this would be tuned to a standard pitch. I asked the late John R.T. Davies, the doyen of 78 rpm record restorers, whether this assumption was acceptable. He agreed strongly, pointing out that the major record companies (Victor, HMV, Columbia, Brunswick, Vocalion, Odeon, OKeh &c.) were large concerns, recording the most prominent international artistes, and the use of first-class pianos was to be expected, and therefore, for pitching purposes, that assumption was valid, tenable; indeed, unavoidable.
Of course, there are instances of ‘below-par’ pianos to be found on some Jazz and dance records of this period. However, these are probably pianos that are simply rather out of tune (with themselves), and sound ‘ploingy’ as a result. This is quite a different thing from the piano being tuned to the wrong pitch altogether. (See appendix 1.)
So in general our assumption that the pianos are tuned to standard pitch is valid as a starting point. In any case, if for example, a piano had been allowed to become very flat in pitch, it would be difficult for wind instruments – the clarinet in particular – to ‘get down’ to the pitch of the piano without becoming out of tune with itself. And if a piano had somehow been tuned very sharp, a clarinet would simply not be able to get up to that pitch at all. Overall, the statement: ‘Pianos in recording locations, whether permanent or temporary, were, in general, tuned to standard pitch’ is a reasonable one, and likely to be true far more often than not.
And what actually is this standard pitch? As far as the U.S.A. goes, the note A (the one above middle C on the piano) should be 440 Hz, usually written as A=440. And the standard pitch used in Britain for orchestral and dance music at that time (circa 1900 – 1945) was A=439, a fairly trivial difference, so that the same tests can be used pretty safely for both countries. (See appendix 2.)
As for other countries, and other styles of music, and indeed those artists and ensembles in the U.S.A. and Britain not using a piano, the application of ‘The General Rule Of The Piano’ must – in the first instance – be assumed to be inapplicable and, consequently, conclusions from it non-viable. I am not qualified to comment further on these musics; but certainly commend those who may be interested in them to pursue their own researches on these fascinating topics. Perhaps they will be able to derive some simple tests to help ensure correct pitching of old 78 recordings of e.g. a Javanese gamelin orchestra, or a Cantonese instrumental ensemble? After all, the correct pitching of any and every ‘78 rpm’ record is an essential part of properly preserving, for posterity, the information contained on it.
About three years ago, I heard of the existence of a CD set of early Louis Armstrong classics that included the 1926 Hot Five ‘Cornet Chop Suey’ twice. Once in the key of E flat; and also in the key of F. This was because, in the opinion of the compilers of the set, there was still no general consensus on which key it was in. To include it, therefore, in both keys was certainly very commendable. But I was puzzled that a record could be attributed to two keys so much as a tone apart. Not merely a semitone, but a whole tone: really a very large interval! In theory at least, it should have been fairly easy to decide which was the true one. The trumpet players who disagreed on the key of the piece may have (I don’t know…) played the tune over on their trumpets (or cornets) in both keys. And then used, as a basis for their conclusion, the fingering of their horns indicating one key rather than the other because one key ‘fell more naturally under the fingers’ than the other. At least, I assume that this is what they did. If my assumption is correct, then I have to say that that approach might at times be deceptive. As a clarinet player, time and time again, I have tried to find out exactly what Johnny Dodds or Don Murray played on their clarinets back in the 1920s, and the more I learn, the more I distrust what seems logical on the surface. Also, as the decades pass, it becomes ever more difficult to even attempt to analyse the ‘mindset’ of a 1920s virtuoso player. Certainly, Dodds and Murray were both virtusosi of the clarinet. They could play anything they mentally conceived… and usually did so. Perhaps intuitively, they ‘eliminated the instrument from the equation’: the music that appeared in their consciousness was the music that straightway sounded in the club or the ballroom in which they were playing. There was no intervention of any ‘problem of execution’ on their instrument. If – as I suspect – they (along with most other top musicians) did this, they were rather in advance of their time. They did not need to read treatises on the psychology of musicianship, the bulk of which have proliferated in the last 50 years. They just did it anyway.
If Dodds & Murray could do that, how much more could Louis Armstrong do it? Louis, from his first startling appearances on disc in 1923, was manifestly a very special case. On this basis, Louis’s cornet fingering patterns, I thought, might be rather unsusceptible to logical analysis. I’d found exactly the same in trying to play Dodds’s clarinet solo on ‘Potato Head Blues’ by the Hot Seven on a clarinet in C, in case he was playing one of those, instead of the normal B flat clarinet. Both fingerings, I found, were pretty equally plausible. Read the rest of this entry »
Above: the only known film of Snoozer, with his ‘Snoozer’s Telephone Blues’ dubbed
I’ve been vaguely aware for some years, of a legendary jazz guitarist called Snoozer Quinn. I knew from something I’d read, that he was highly regarded by fellow musicians in the 1920’s and 30’s, but didn’t record much until he was – literally – on his death bed in a TB sanitorium in the late 1940’s, when someone brought in a portable recording machine and asked him to play into it.
Some of these recordings have been available on the internet for a while, but not the complete set and not on CD. Now, Mike Dine’s 504 Records has put out all 12 of these death-bed recordings known to exist, on a CD called ‘The Magic Of Snoozer Quinn’.
Here are the very detailed and knowledgeable CD booklet-notes by Charlie Crump:
Snoozer Quinn was a classic example of a musician’s musician.
Born Elvin McIntosh Quinn in McComb, Mississippi on October 18th 1906, he was a child prodigy, learning to play mandolin and violin by the age of seven, before taking up the guitar which was to become his instrument of choice.
After the family moved to Bogalusa, La, he became a professional musician, playing with the family band before going on the road at the age of seventeen with bands led by Jack Wilrich and later Mart Britt. He first met Johnny Wiggs in 1924 when he joined Peck Kelly’s Texas based band, then playing in Shreveport, La. Returnin to Bogalusa, Snoozer was picked up by Wingy Mannone who was putting together a New Orleans style band for a gig at Bob White and Eddie Connors Somerset Club in San Antonio, Texas. Joe Mannone’s New Orleans Rhythm Band consisted of Wingy Mannone (tpt), Don Ellis (sax), Charles ‘Pee Wee’ Russell (clt), Joe Lamar (pno), Snoozer Quinn (gtr), Joe ‘Hooknose’ Loycano (bs), Clause Humphries (ds), the job lasted three months.
From late 1925 to 1928 he played in the New Orleans area where he was heard at an after hours jam session by members of the Paul Whiteman Orchestra, including Bix Beiderbecke and Frank Trumbauer, then playing at the St. Charles Theatre in October 1928. Trumbauer was so impressed with Snoozer’s playing that he took him to Paul Whiteman’s room so that he could hear him play. Johnny Wiggs recalled that one of Snoozer’s tricks was to play pizzicato and hold the chord with one hand and shoot out the other to shake your hand. He did this to Whiteman while playing ‘Tiger Rag’. Whiteman was so knocked out by this that he immediately offered Snoozer a job, and he played with the Whiteman organisation until around mid-April 1929.
As far as recordings were concerned this move did not do much to enhance Snoozer’s career, as he only appeared on two, or possibly three, over the Whiteman period. At the end of his stay with Whiteman he appeared on Bing Crosby’s first session to be issued under his own name and on a session, rejected at the time, by (singer) Bee Palmer which included Frank Trumbauer and an inaudible Bix Beiderbecke and has only recently seen the light of day as a CD issue (and on youtube). Discographies also list him as appearing on the Columbia issue of the Mason-Dixie Orchestra, a Frank Trumbauer group, shortly after leaving Whiteman. His only other recordings were a rejected session for Victor in San Antonio in May 1928 and ten titles with another guitarist as accompanist to Jimmie Davis on ten country styled tracks in May 1931.
After the Jimmie Davis period he played with Earl Crumb’s Band in New Orleans over a long period in the early 1930’s and continued to work in the South until the end of his playing career was brought about by failing health at the end of that decade.
However, he started playing regularly again by the mid-1940’s, including a long spell with Earl Crumb’s Band at the Beverly Gardens Restaurant on Jefferson Highway in New Orleans. One of Snoozer’s last appearances was at the New Orleans Jazz Foundation Concert in April 1948.
Advanced tuberculosis caused him to be confined to a sanatorium for the last few years of his life. Effectively that would have meant the end of Snoozer’s music had it not been for Johnny Wiggs, who had maintained contact with him over the years and considered his music of sufficient importance to justify a further attempt to preserve Snoozer’s guitar work. Although he had spent over 20 years as a teacher of mechanical drawing and had only recently started playing again, Wiggs took his cornet, a portable recording machine and blanks to the sanatorium where Snoozer was a patient. The twelve tracks presented here, some of which have Wiggs added on cornet, are those recorded at the time. Four of the titles were issued privately by Johnny Wiggs on two 78rpm records on his Wiggs Inc. label and are included in this set which represents all those that were recorded at that time.
Given the circumstances of the recording the results are remarkably good, with only one track showing any sign of groove damage.
The exact dates of the recordings are unknown but they fall between the dates of Snoozer’s entry to the Sanatorium in 1948 and his death in 1949.
* H/t: Jason Hill (for bringing my attention to the youtube film)
* ‘The Magic Of Snoozer Quinn’ is available from 504 Records, 20 Clifton Road, Welling, Kent, DA16 1QA, England. Tel: 020 8303 9719
* Lots more on Snoozer, here
* Finally, I hope it goes without saying, but I’ll say it anyway: I have no commercial interest in this CD.
Extreme weather and flooding having become a highly-charged political issue in the UK. So I thought Bessie Smith’s blues (superbly accompanied by pianist James P. Johnson) about the flooding of New Orleans in 1927 might be appropriate:
This is dedicated to all the people of the ‘Somerset Levels’ who’ve had to suffer so much over the past weeks. I’d also like to dedicate it to Lord Chris Smith of the Environmental Agency, a decent man whose monumentally inept handling of the situation and lack of PR skills are making it increasingly likely that he’s going to be made the scapegoat for this fiasco.
But, for now, let’s just enjoy Bessie’s incredible voice…
Us old jazzers love discussing the perennial question of the ‘hottest’ record of all time. Alyn Shipton at Radio 3’s Jazz Record Requests has asked for suggestions. The definition of ‘hot’ in this context is (like the word ‘swing’ or indeed ‘jazz’) not at all easy to pin down. But we know it when we hear it. It doesn’t necessarily just mean ‘up-tempo,’ though a brisk pace is usually a requirement. It’s to do with intensity, drive and raw excitement.
Philip Larkin reckoned that Louis Armstrong’s 1929 recording of St. Louis Blues was the Hottest Record Of All Time, and I’m inclined to agree. But leaving that aside, what other contenders are there?
I’d put forward Hello Lola by the Mound City Blue Blowers (1929), Bugle Call Rag by the Billy Banks Rhythmakers (1932), That’s A’ Plenty by Wild Bill Davison (1943), and this (which I’ve suggested to Alyn and should be played on JRR this Saturday):
Any excuse to run a clip of the great Mr Armstrong. This is from the 1936 Bing Crosby movie ‘Pennies From Heaven.’ Behind the masks the band includes Lionel Hampton on drums and Joe Sullivan on piano:
Scary, isn’t it?
What’s this? Two music posts in succession!
Well, thanks to ‘Perfessor M. Figg’ at The Pop Of Yestercentury I’ve just realised that one of my favourite 1930s/40s bandleaders, Bob Crosby, was born 100 years ago today. The ‘Perfessor’ pays a fine tribute, analysing the Crosby Orchestra’s 1938 rendition of ‘Diga Diga Doo’ with evident knowledge and appreciation.
I’ll take this opportunity to share their 1942 record of ‘Vultee Special’ featuring Yank Lawson on trumpet, Floyd O’Brien on trombone and Jess Stacy on piano:
Bob was Bing’s younger brother and was only the titular head of the Orchestra: in reality it was a co-operative, run by its members and devoted to playing jazz rather than simply aiming at the hit parade. The late Richard Sudhalter wrote a fine appreciation of the Bob Crosby Orchestra in his 1999 book Lost Chords:
“Above all,” Bob Haggart recalled, “we were like a family. We worked together, socialised together. Thought musically together. Most other bands — well, to tell the truth, we didn’t pay much attention to what everybody else was doing. To us most of the time, they just sounded as if they were trying to steal from one another.”
Meet that wonder of the musical 1930s, the Bob Crosby Orchestra. In the whole colorful decade there wasn’t another band like it, and in certain ways there may not have been another nearly so good.
For chronicler George T. Simon, they were an ensemble “with tremendous spirit, one filled with men who believed thoroughly in the kind of music they were playing and, what’s more, who respected and admired one another as musicians and as people.”
Few bands, however brilliant, approached that degree of unanimity with any consistency. It extends beyond mere skill, beyond originality — even beyond a leader or arranger’s inspired vision. Neither Goodman’s virtuosity nor the faultless precision of his orchestras ever quite transformed their efforts into the expression of a single collective will. Artie Shaw came closer, his various bands driven by the strength and singularity of his vision: but Shaw’s musicians remained his employees. Much the same could be said even for Red Norvo’s extraordinary 1937 band, breathing, whispering, exulting as extensions of both its leader’s xylophone sound and Eddie Sauter’s ensemble concept.
The Crosby orchestra had an extra dimension. It lives in such words as “ensemble,” when describing tightly knit group acting, or “team,” in the finest athletic sense; the idea of a collective entity, each component interacting constantly and creatively with the others to shape, to determine the whole. Gesalt, a single consciousness compounded of many.
In that rarified context only the Duke Ellington Orchestra comes to mind as in any way comparable. But an Ellington orchestra, any Ellington Orchestra, assumed its finished shape through the leader’s (and often Billy Strayhorn’s) codification of an ongoing fusion and fission among its individual members. The Crosby orchestra, by contrast, began with unanimous, shared dedication to a single stylistic ideal. its name, most often popularly (and imperfectly) identified, was “Dixieland.” But the word fails to describe either a stylistic predisposition or a rhythmic foundation, not to mention a wide palette of orchestral color and texture.
Better by far, and more accurate, to remember that the band led by Bing Crosby’s younger brother was built around a core of New Orleans musicians, whose shared background and affinity determined its musical direction.
Historically, New Orleans jazzmen away from home shared a bond, a camaraderie, that seemed to transcend class, education, politics, even race. Meeting in New York, Chicago, or Los Angeles, they were often simply homeboys together, carrying their environment with them in a way that seemed to render differences among them irrelevant, or at least secondary. It may be that way with musicians from St. Louis, Boston, or San Antonio, but not to that degree: and on the evidence it’s anything but that with New Yorkers.
Crescent City jazzmen seemed to recognise one another, even gravitate toward one another’s company both on and off the stand. When clarinettist Joe Darensbourg, a Creole, says of guitarist Hilton “Nappy” Lamare, a white, “if everybody was like Nappy Lamare this would be an awfully nice world,” he’s talking New Orleans. The sight of Eddie Miller and Kid Ory crawfishing together in a stream on the outskirts of Los Angeles says less about race relations or social ecumenism in jazz than about their shared home town and its ways.
In this connection the Bob Crosby band has a strong cognate, perhaps even a forebear, in the great Luis Russell Orchestra of 1929-30. Henry “Red” Allen on trumpet, bassist George “Pops” Foster, drummer Paul Barbarin, and clarinettist Albert Nicholas had known each other back home, and they were at the heart, musically and socially, of an extraordinary band. Others, such as Russell himself (born in Panama but raised in New Orleans), Georgia-born trombonist J.C. Higginbotham, and Bostonian saxophonist Charlie Holmes, quickly got (as the title of one of their best records put it) “Feelin’ The Spirit.”
Like the Russell band, the Crosby unit had New Orleans musicians — Lamare, drummer Ray Bauduc, tenor saxophonist Eddie Miller, and, slightly later, clarinetist Irving Fazola — at its core, alongside a cadre of avid fellow-travellers, among them Long Islander Haggart, Kentucky-born clarinetist Julian “Matty” Matlock, and Missourian John “Yank” Lawson on trumpet.
As with the Russell band, Crosby’s men were never in any doubt or disagreement about what they wanted to play and how they would do it. Even with a slightly larger instrumentation than Russell’s, they were doing what they’d known “down home.” In this connection, all the Miller-Lamare banter about “po’ boy” sandwiches and other local delights that opens the Crosby record of “Way Down Yonder in New Orleans” tells its own affectionate story. As the guitarist put it in a 1940 interview, “white musicians as well as the colored seem to have the right ideas down there.”
Whatever it was, and by whatever name its music was known, the band had sparkle, spontaneity, and lift and left a legacy of distinctive records, which have easily withstood the shifting winds of musical fashion.