Old Records On Line

It's been a while...

Tue, 11 Mar 2008 23:35:00 +0000

Heeeyyyy, I realize it's been some time since I posted to the podcast. However, it wasn't entirely due to negligence. I am pleased to announce that http://seventyeightrpm.com is now up and running, kind of, and I'm presently transferring material from this podcast to the new digs. The plan for the time being is to keep this one going and I will continue my posts here. Meanwhile I'll be copying the content over to the new site. We'll keep this up at least until seventyeightrpm.com is brought up to date. To mark the occasion, I am finally going to post the flip side to the very first posting on this site. That is, Hoagland Howard "Hoagy" Carmichael's "Huggin' and Chalkin'" which was the reverse to his "I May Be Wrong, But I Think You're Wonderful" which was posted back in November last year. This was in fact the A-side of that disc and was a number one hit. Personally, I think this song is pretty clumsy and off the mark, but we're all about thoroughness here so enjoy. Decca 23675, 1946

Anthonomus grandis

Sat, 23 Feb 2008 14:12:00 +0000

One of many perennial Southern US preoccupations, the boll weevil, is celebrated here in this well known tune from Fats Domino, ‘Bo Weevil’. Like cotton, grits, and the county sheriff, this small but very destructive agricultural pest casts a long shadow across Dixie culture. The boll weevil is a quarter inch long beetle which nearly destroyed the US cotton industry in the 1920s. It is not native to the United States and is thought to have migrated here from Mexico, where it originally fed on undomesticated varieties of the cotton plant. It was first identified in North America in 1892. By the early 1920s the infestation was traveling at speeds of up to 160 miles per year. In a 1939 interview, Mose Austin recalled his employer stubbornly refusing to switch crops, planting cotton each year out of sheer defiance to the weevil onslaught: “De cotton come up and started to growin', and, suh, befo' de middle of May I looks down one day and sees de boll weevil settin' up dere in de top of dem little cotton stalks waitin' for de squares to fo'm. So all dat gewano us hauled and put down in 1922 made nuttin' but a crop of boll weevils.” The adult boll weevil enters a state of dormancy during the winter months. They begin to emerge from this hibernation in early spring. Mature females insert their eggs in the cotton bolls (the pods, hence the name) or squares. Over a ten to twelve day period, the female will lay approximately 200 eggs, one single egg to each individual pod. The eggs hatch in under a week’s time and the larvae then begin to feed on the host cotton boll. After 10 days at the larval stage the weevil arrives at its intermediary pupal stage, it is at this point that the insect removes itself from the host plant and becomes ambulatory. The pupal stage lasts about five days after which the weevils become adults, ready to mate and lay more eggs and continue to consume the cotton plants. The entire life cycle lasts about three weeks and under good conditions, a single summer can produce as many as ten generations of weevils. Early, post WWII, measures at controlling the boll weevil included the use of such harmful pesticides as DDT. While pesticides are still commonly employed to control weevil populations, more recent measures include the introduction of predatory insects like fire ants and parasitic wasps. The tune “Bo Weevil” hit number 35 on the pop chart and number 5 on the R&B in 1956. This isn’t by a long shot the only tune to light-heartedly commemorate this plague which ruined the lives of countless people from the Southwest to the mid-Atlantic. Perhaps it has something to do with the fact that the brunt of the losses was shouldered by the white landowning population. Songs about the boll weevil tended to reflect the perspective of poor white and black workers who saw little of the profits from ‘King Cotton’. They may have viewed this incredibly prolific nuisance as something of an equalizer in a semi-feudal society which persisted well into the 20th century. Mose Austin’s account seems to echo this sentiment. Imperial 5375, 1957 http://memory.loc.gov/ammem/today/dec11.html

Puttin’ the L.A. in Laffs…

Thu, 14 Feb 2008 21:05:00 +0000

I don’t know about you but it sounds to me like Vernon Green is about to crack up on every line of his delivery of the open love letter, spoken at the middle of this song. “Edna” is the Medallions’ predictable love ballad backing their single “Speedin’”. Hey, these guys clearly like a good laugh and it’s nice to hear that someone like Green maintained a lifelong sense of humor though as a child he was stricken by polio which left him crippled. Their record label, DooTone, was no stranger to the lighter side of things since the bulk of their output by the end of the 1950s was comedy acts. The most notable artist from their catalog was a young “Chitlin' Circuit” comedian from the Watts neighborhood of LA, named Redd Foxx (DooTone records’ headquarters was also located in Watts). DooTone put out a ton Foxx records, many of which were repackaged versions of earlier releases and this more or less kept the label going in its later years. Redd Foxx, real name John Elroy Sanford, specialized in a raunchy party style of of humor that catered to a black audience. As we all know, he would later portray the character Fred Sanford in the 70s sitcom “Sanford and Son”. Fred Sanford was in fact the name of both Foxx’s father and his older brother. Though his records were a cash cow for DooTone records up until the early 70s when the label went out of business, Foxx and DooTone owner, Dootsie Williams, had a falling out in 1963 which led to Frank Sinatra buying out his contract in 1967. Another DooTone claim to fame was its discovery of another legendary Los Angeles doo-wop act, the Penguins, releasing their eternal classic, Earth Angel, in 1954. DooTone 364, 1955 http://en.wikipedia.org/wiki/Chitlin'_circuit

Fo’ shizzle!

Fri, 08 Feb 2008 10:59:00 +0000

Sticking true to form, the Medallions present us with another ‘fast car’ side A vs. ‘slow girl’ side B disc, with this release “Speedin’” & “Edna”. Their records also demonstrate clearly that Vernon Green and company take neither of these subjects very seriously. More vying for the role of Court Jesters than Crown Princes; the Medallions show off a penchant for goofball humor and raucous theatrics which would be later emulated by another Los Angeles group, the Coasters. Another interesting characteristic is their use of onomatopoeia and gibberish when the English language fails them with its structural limitations. Here, with “Speedin’”, as with all of their car oriented songs, group members takes turns vocalizing the squealing brakes, cracked cylinder heads and judgmentally impaired passengers with equal gusto. On the other hand, as can be seen in the earlier post regarding their ballad “the Letter”*, Mr. Green was capable of evoking such Ur-language terminologies as “‘pulpitudes’ of love” and “sweet words of ‘pizmotality’” while pitching woo in a spoken recitation delivered with an almost John Candy-ish lack of sincerity. Much like the chorus of sound effects, the spoken love letter is a very predictable element in the Medallions’ formulaic love ballad. The fact that the Medallions seemed to be rewriting same two songs over and over is part of their charm, but it’s also what made them seem a bit one dimensional when compared with a hugely successful act like the Coasters. It should also be said that the Medallions did not have one of the greatest song writing teams in pop history working behind them, the way the Coasters had Jerry Lieber and Mike Stoller. The names Lieber & Stoller may not be as commonly discussed as say Lennon and McCartney but they loom just as large when one considers the impact that they had on the formative years of Rock music. In addition to the Coasters, they were the song writing team behind Elvis Presley and as producers they were mentors to Phil Spector. These guys wrote "Stand By Me" with Ben E. King and produced the Drifters and wrote "Kansas City" and "Love Potion #9" and they played an important role in Atlantic Records' ascent as the primary R&B label. DooTone 364, 1955

Girls and Cars and Jive Talkin'

Thu, 07 Feb 2008 00:40:00 +0000

The ballad, “The Letter” is the flip side for the Medallions initial offering “Buick 59”, and it was a moderate R&B hit in its own right. This coupling of a love ballad backing a tune about fast cars also laid down a formula which the Medallions would use indiscriminately in their future releases as we will see later with “Speedin’” & “Edna” or “Coupe De Ville Baby” & “The Telegram”. This, of course, is the oldest formula in the Rock n’ Roll play book, and it should come as no surprise that it worked like gangbusters. This tune is also notable for the nonsense line “the pulpitudes of love” which was interpreted by rock star Steve Miller as “the pompitudes of love” in his hit “The Joker”: “Some people call me the space cowboy. / Yeah! Some call me the gangster of love. / Some people call me Maurice, / Cause I speak of the pompitudes of love.” Medallions vocalist and song writer, Vernon Green, manages to muster an additional neologism in this tune when speaks of “sweet words of pizmotality”. DooTone 347, 1954

Car of the Future: Buick 59

Thu, 07 Feb 2008 00:33:00 +0000

“Buick 59” (1954) was the first release from the Medallions on the LA based DooTone record label. The Medallions were formed at the behest of DooTone founder and namesake, Walter “Dootsie” Williams, when he discovered the group’s front man, Vernon Green. Williams was apparently so impressed with Green’s singing that he urged him to put together a vocal group so he could get them into the studio. The title “Buick 59” is a take on the R&B hit “Rocket 69”, though without the sexual innuendo. When Dootsie Williams formed his record label in 1949, it was operated it out of his home in the Watts area of Los Angeles. Eventually, the growing business forced Williams and his family to leave the house and relocate. It was originally named Blue Records and renamed it DooTone in 1951. Later, in 1957, he again changed name of the label to Dooto in order to avoid a lawsuit from Duo-Tone records. DooTone 347, 1954

Lost in Neverland

Sat, 02 Feb 2008 14:49:00 +0000

The Yellow Jackets were a studio jazz orchestra led by drummer and percussionist, Justin Ring, for the Okeh label. This recording of the song “Peter Pan (I Love You)” by Robert King and Ray Henderson is from mid-1924. Great stuff even though I can’t find any more information on it. My favorite part is the piano break with the chimes (glockenspiel?) behind it. Everyone’s got to love a good cymbal choke too. One may remark at the lack of drumming on this recording of a band led by a drummer and there are two primary reasons for this. Firstly, in 1924, recording technology was simply not very good at picking up the drums. This was one year before the advent of electric recording, which is essentially recording with the use of a microphone to electrically amplify the audio signal which provided much greater sound fidelity. Prior to this, the band would stand around a horn that was affixed to a lathe which cut the master disc. Amplification was thus achieved largely in the same fashion as a doctor’s stethoscope or an old fashioned hearing aid. Due to the technical, physical and practical limitations associated with this set up, the early 20s jazz drummer tended to limit himself to blocks, chimes, snare and of course the choke cymbal. Through these conventions, a studio jazz drumming style evolved which was in many ways distinct from that of live performance. Along the way various other sound effects turn up such as car horns, gongs and whistles. Dynamic considerations amongst the remaining performers were worked out by careful arrangement of their positions in the room around the recording apparatus to provide a good ‘mix’ and also careful arrangement of the score; notice how the band drops out for the piano break mistakes and all (the piano is another notoriously problematic instrument for early recordings). It should be mentioned that there is also a distinct possibility that a lot of the playing, perhaps snare, maybe brushes, just isn’t getting picked up on the recording. The music director may have opted to leave out a lot of drums because of inherent limitations in their primitive recording setup, but doesn’t say that the primitive recording setup didn’t leave out a lot of the drums. This is in fact a pretty common issue with these old recordings and only underscores the problems that these early sound engineers encountered. Another reason for the understated drumming is that the drums did not serve the same role in the early days of jazz and pop as they do now. The bass might be said to have been the primary rhythmic instrument in the teens and twenties as far as indicating the pulse of the music. ‘Bass’ in those days referred to both tuba and string bass and a professional ‘bassist’ was expected to play both. The bass drum often shared this purpose doubling the bassist’s rhythms, but it was difficult to record well with the equipment of the day. So, while its use may have been common used live performance, it is largely omitted from studio recordings. Meanwhile, the banjo covered a lot of the territory now thought to be the domain of the high hat and snare, complementing the bass’s 4-beat. On the other hand, though drums were not completely removed from keeping the beat in early jazz, they were often used simply for sonic embellishments and rhythmic emphasis. Consider all the cymbal chokes on this record as an illustration of this attitude toward the drums. So how does a drummer wind up leading a band? Justin Ring (1876-1963) was essentially an old hand from the earliest days of the recording industry. He was a classically trained pianist, percussionist and conductor and was essentially working for hire as the arranger and music director for this Yellow Jackets Orchestra which was a house band for Okeh records. They were formed with the objective of creating music in the ‘hot’ style and turning a nice profit in process. Justin Ring was an experienced and trusted figure in the business; and business was pretty much what the Yellow Jackets were all about. Ring also recorded extensively with such notable early jazz figures as violinist Joe Venuti, guitarist Eddie Lang and blues guitarist Lonnie Johnson (see the entries about Georgia White from Dec 2, 2007 for more about Johnson) Okeh 40278, 1924

Up in Smoke

Sun, 03 Feb 2008 00:10:00 +0000

Here is Justin Ring with the Yellow Jackets again, this time performing “Because They All Love You” written by Tommie Malie and Jack Little. Jack Little (AKA Little Jack Little) was born in London, England and moved to the US while still a young child. He started his music career while at medical school in Iowa when he formed a successful touring band. He contributed songs to several film soundtracks and was married to the actress Lila Leeds. Ms. Leeds was notably busted for marijuana possession along with Robert Mitchum in 1948, which landed her a few months in jail. After her release, she starred in the marijuana exploitation film “Wild Weed” (1949). She was otherwise unable to revive her acting career. Jack Little committed suicide in 1956, apparently after being diagnosed with hepatitis. “Because They All Love You” was featured in the London musical comedy “Honeymoon Girl”. Okeh 40278, 1924

That is why they call me Rolf!: Two early female piano celebrities

Mon, 28 Jan 2008 09:59:00 +0000

“Petite Valse” was written in 1898 by the Venezuelan born composer, concert pianist and opera singer, María Teresa Carreño García de Sena. This piano miniature also goes by the title “Mi Teresita”, 'Teresita' referring to Carreno’s daughter, Teresa Tagliapietra, to whom this is piece is dedicated. Teresa Carreno was born in 1853 in Caracas, Venezuela and her family moved to the United States when she was a very young. By the age of 8 she performed her debut at Irving Hall and in 1863, at the age of 10 she performed at the White House for President Abraham Lincoln. This short, introspective and quietly syncopated dance miniature provides a nice foil to the reverse side of this disc, Debussy’s “Feux d’Artifice” and its dramatic exposition of modern tendencies. Carreno’s romantic sentimentality and maternal instincts are conveyed just as accurately as Debussy’s objective of spectacle. The uneven rhythms suggesting perhaps the uncertain motions of a young aristocratic girl attempting a new ballet routine. Elly Ney (1882-1968) performs on this 1927 recording. Ms. Ney was in fact compared to Teresa Carreno early in her career. Prior to Ney, it was Carreno who reigned as queen of the concert pianists. Ney quickly established her own identity, surpassing the reputation of any woman preceding her on the instrument. She studied under Emile von Sauer, Teodor Leszetycki and Clara Schumann among other icons of the time and developed a noticeably physical manner of playing, capable of drawing out very lyrical qualities in her performance while still exploiting the fundamentally percussive aspects of the instrument. Ms. Ney was born in Düsseldorf, Germany and grew up in Bonn; she joined the Nazi Party in 1937 and she was clearly an enthusiastic advocate of their political beliefs including their anti-Semitic campaigns. On an ironic note, her first important distinction (at the age of 16), was as recipient of the highly coveted Mendelssohn Prize. Her performances were banned for a period after WWII and her legacy has been obscured ever since. She is also a direct descendant of Marshal Michel Ney of France, the military commander in the French Revolutionary and Napoleonic Wars. Marhsal Ney was one of the original 18 Marshals appointed by Napoleon I. After Napoleon’s fall he was arrested and sent before the firing squad. Known by his soldiers as ‘Le Brave des Braves’ (Bravest of the Brave), he is reported to have refused a blindfold and called the order to fire in his own execution. Brunswick 15094, 1927

Ka-boom

Sun, 27 Jan 2008 18:16:00 +0000

"Feux d’artifice" is French for fireworks. And a piece of music flaunting this not so uncommon title should be expected to be in the form of a relatively short, pyrotechnical showcase of virtuosity. In this case, it is an offering from Claude Debussy (1862-1918), the last work in the first volume of his Preludes for solo piano. Debussy’s early modernism is also up for display in his “Feux d’artifice” (1910) of which the concert pianist Alfred Cortot (1877-1962) suggested was “a completely atonal composition”. Cortot continues in his reaction to this music: “The impression of novelty is further enhanced by the extremely fragmented and amorphous nature of its form and thematic material. This is not to say, however, that the piece does not evoke specific images: The slumbering smoke of Bengal candles emitting single sparks, the crackling of rockets, the gradual parabolic descent of stars, the whirring of Catherine wheels, the blinding radiance of brightly-coloured bouquets, everything that sparkles and shines in the night, the entire magic of light is contained in this music.” This recording is from 1927 by Elly Ney, one of the most highly regarded woman pianists of her day. Brunswick 15094, 1927

Connecting the Spots: the Ink Spots Chronicles

Sat, 26 Jan 2008 13:57:00 +0000

The Ink Spots were formed in Indianapolis, IN, in the early 1930s with original members: Orville “Hoppy” Jones (bass), Ivory “Deek” Watson (tenor), Jerry Daniels (tenor), and Charlie Fuqua (baritone). Jerry Daniels left the group in 1936 and he was replaced with Bill Kenny. This lineup carried on for a while until 1943 when Charlie Fuqua was drafted into the army to be replaced by Bernie Mackey. In 1944 Hoppy Jones collapsed on stage and died shortly thereafter, the cause of death was identified as a brain hemorrhage. He was replaced by Cliff Givens. That same year, Deek Watson left the group, apparently the result of an ongoing dispute between himself and Bill Kenny. Watson went on to form the vocal group the Brown Dots. His tenor was replaced by Billy "Butterball" Bowen. Cliff Givens’ tenure with the group did not last very long and he was replaced by Bill Kenny’s twin brother Herb in mid-1945. At approximately the same time Bernie Mackey left the group and was replaced by Huey Long. Bernie Mac ousted by the Kingfish! Anyhow, Charlie Fuqua returned from the Army in 1945 and reclaimed his spot from Huey Long and the ship was righted again for a few years. In 1951, Herb Kenny leaves to be replaced by Adriel McDonald. In 1952, Butterball Bowen is replaced by Teddy Williams. Charlie Fuqua also left the group in 1952 and soon after formed a competing Ink Spots group. He was replaced by Jimmy Cannady. Cannady was with the group only very briefly and he was succeeded by Everett Barksdale. Actually I might have this whole Cannady-Barksdale thing backwards. Around the same time Teddy Williams leaves the group to be replaced by Ernie Brown. Ernie Brown was subsequently replaced by Henry Braswell in 1954. That covers the Ink Spots lineage; I could go on since the Ink Spots still go on and perform to this day, though nothing past the last group amendment mentioned in this article really constitutes a credible “Ink Spots” line up. Apparently, Huey Long is still with us at 103 and so is the much younger Henry Braswell. Everyone else mentioned in this article has by now already entered his name in the ledger. Our song here is “I Never Had a Dream Come True” by Allan Roberts and Doris Fisher. Ms. Fisher also composed the popular song “You Always Hurt the One You Love” and is the daughter of Fred Fisher, a very well known songwriter the writer from the Tin Pan Alley era who wrote “Peg O’ My Heart” among many other famous tunes. The ever changing lineup of this group makes me think of the infinite wheel: http://www.infinitewheel.com/infinite_wheel.html Decca 23615, 1946

The Ink Spots: Chapter 1

Fri, 25 Jan 2008 13:44:00 +0000

The Ink Spots are one of, if not the most influential vocal acts in American popular music. They were formed in 1938 in Indianapolis, IN, furthering the Midwestern claim as sire to the R&B vocal act. I’ve got a lot of Ink Spots records to cover so I won’t get too involved with the subject in one article. The Ink Spots were originally a raucous jive act much in the manner of Cab Calloway or Louis Jordan. However, it was through the mellowed jazz ballad that they found their success on the Billboard charts and managed to cross over to a large mainstream audience. There is a story that the name ‘Ink Spots’ originates from them brainstorming for a name for their act with their manager. After a string of rejects, their manager’s pen ran dry and as he shook it four blots struck the blotter. Eureka! and all that BS. Who knows, maybe it’s true. It sure doesn’t sound like a true story. A more believable tale is that they changed their name from ‘King, Jack and Jester’ at the request, or perhaps demand, of bandleader Paul Whiteman in order to avoid confusion with his own group the King’s Jesters. Not that this story in any way contradicts the former. The track that we have here is “To Each His Own”, music by Jay Livingston and lyrics by Ray Evans. The song was first recorded by Eddy Howard in 1946, peaking at number one on the Billboard chart. This Ink Spots version was the second recording of the song released later that same year, also peaking at number one. Everything you ever wanted to know about the Ink Spots that can be known is here: http://inkspots.ca/ Decca 23615, 1946

Passport: Going Places with the Charlie Parker Orchestra

Wed, 23 Jan 2008 22:33:00 +0000

Flipside to “Visa”, Charlie Parker’s “Passport” presents a nice follow-up B-side. The personnel on this one is reduced from the septet on side A. Returning to action behind Bird are Kenny Dorham, trumpet; Al Haig, piano; Tommy Potter, bass; and Max Roach on the drums. The trombone and bongos (Tommy Turk and Vidal Belado respectively) don’t make it to the reverse. These recordings represent samples from the heyday of an immensely important collaboration in jazz music. Parker’s relationship with Dizzy Gillespie was essentially the catalyst that established Bebop as the dominant jazz form. However, it was Parker’s work in collaboration with producer Norman Granz that created the recordings and ‘sound’ for which Parker is widely recognized. 1949, the year of this recording, is probably the high point of their work together and the year in which we see Parker step into the spotlight of the jazz vanguard, and he’s arguably still there now. Also from the 1949 vintage are the sessions where we find Parker backed by a rhythm section (Stan Freeman, piano; Ray Brown, bass; and Buddy Rich, drums) and a Haydn era styled chamber orchestra which included Mitch Miller on the oboe. These sessions can be looked upon as the first artifacts of the Third Stream movement where we find a fusion of classical forms and performance sensibilities into the jazz idiom. These sessions are both typical and exemplary of the innovative arrangement and orchestration ideas that we find in Parker’s work with Granz. Norman Granz would later found the Verve and Pablo record labels. He was of East European Jewish descent and an extremely outspoken advocate of civil rights for blacks in the United States. Among many anecdotal incidents involving Granz, we find him in 1955, getting in trouble with the law for personally removing the 'Negro' and 'White' placards which demarcated the segregated theater where he was promoting a concert. He was also known for paying equal salary to white and black musicians, not to mention paying wages above the industry standard. http://www.jazzhouse.org/gone/lastpost2.php3?edit=1006801514

Bad pun about a “bird” showing his “visa” to “fly” someplace

Mon, 21 Jan 2008 20:13:00 +0000

A classic orchestration technique from the days of Charlie Parker’s ascent was the doubling of Bird’s alto melody with a muted trumpet. This bright shadow is one part of the cool, classically proportioned elegance behind the be-bop sound at its zenith. It’s this sound that Dizzy Gillespie and Parker rode to the dizzying heights of commercial success and from which Bird would later tragically plummet. This recording of Parker’s original composition, “Visa”, has the trumpet of Kenny Dorham handling this detail work. Dorham was one of the great sidemen from the bebop movement who went on to perform with the Jazz Messengers and the Max Roach Quintet. His star status, however, never shone very bright since he was a figure who was constantly overshadowed by the greatness of those with whom he associated. He died in 1972 of kidney failure at the age of 48, cutting short a purposeful if not high profile career. Here, Dorham, gets a twelve bar solo after Bird, then followed by Tommy Turk on trombone, and a nice piano break by Al Haig. The remainder of the rhythm section on this recording is Tommy Potter, bass; Vidal Belado, bongos and Max Roach on the drums. Have you ever heard the stories of Parker showing to sessions and gigs with plastic toy saxophone when he was teetering on the edge? Here’s the make; it was a German made instrument, perhaps manufactured as an inexpensive student model but not exactly a toy. Ornette Coleman has also used one of these: http://www.xs4all.nl/~lexlub/chroma-tic_eng/grafton/index.htm

Ill-Bill: Illinois Jacquet II

Sat, 19 Jan 2008 20:00:00 +0000

As part of the president’s inauguration ceremony in 1993, Illinois Jacquet joined fellow tenor saxophonist, Bill Clinton in an interpretation of the “C-Jam Blues” on the White House lawn; a musical event in presidential politics bookended by “Don’t Stop (Thinking about tomorrow)” and Al Gore's “Taking Care of Business”, but not quite sealing the deal. This was a big event in the launch to the Clintons' extended dance mix honeymoon housewarming party that seemed to carry into 1994 when everyone had to go back work with a big hangover. I could be wrong, but the Blues we have here is in F, another very manageable key for the horn players. Not that anyone at this recording session would have needed a crutch, the future former President (and perhaps soon to be first mate) wasn’t even born yet. This recording actually took place in January of the same year as Clinton’s birth. It is not Jacquet who gets the spotlight in “Jacquet’s Blues”, which moreso features Emmett Berry’s trumpet trading off solos with Jacquet and piping in a short cadenza at the end for a tastefully understated finale. Savoy 651, 1946

Blame Game: Illinois Jacquet I

Wed, 16 Jan 2008 23:34:00 +0000

Jean-Baptiste “Illinois” Jacquet (1922-2004) was a tenor saxophonist best remembered for his solo on Lionel Hampton’s 1942 recording of “Flying Home”. This recording and his fiery solo in particular are considered by some to be among the many early annunciations of the advent of Rock and Roll. Jacquet’s mother was Sioux and his father Creole; he was born on Halloween 1922 in Broussard, LA. His father Gilbert Jacquet was a bandleader and the younger Jacquet would on occasion sit in with his father’s band on alto sax. His nickname “Illinois” was derived from the name of the Indian tribe “Illiniwek” and thought, when he was christened with it, to mean ‘strong men’ but it in fact means something along the lines of 'they who speak normal'. “Illinois” in the cases of both Mr. Jacquet and the US state is a deformation of the pronunciation originating from the early French settlers of the area. The University of Illinois at Urbana-Champagne, uses Chief Illiniwek as the mascot for their intercollegiate sports programs. This has been the subject of protest from some groups of the South Dakota Sioux tribes. In 1940 Illinois Jacquet met Lionel Hampton through his acquaintance with Nat King Cole, and by 1942, at the age 19, he was blowing the famous solo passage that would launch his name. After leaving Hampton’s orchestra, Jacquet began playing with Cab Calloway and would appear with Calloway’s band backing up Lena Horne in the motion picture ‘Stormy Weather’. Though “Flying Home” had imparted Jacquet with a reputation for ‘blowing’, as those in the sax world like to call the approach, he also had a strong lyrical side and was at least equally, if not more, at home with the nuances of a ballad. Both faces of this disc are prime examples of this sometimes overlooked quality in his playing. This side, Side-A “Don’t Blame Me”, features a band of Emmett Berry on trumpet; Fred Green, guitar; Bill Doggett, piano; John Simmons, Bass; and Shad Wilson on the drums. The song was popular tune from 1933 written by Jimmy McHugh (music) and Dorothy Fields (lyrics). Here are the lyrics to this song for those of you who are interested; as sung in Nat King Cole’s 1958 version: Don't blame me For falling in love with you. I'm under your spell But how can I help it? Don't blame me. Can't you see When you do the things you do If I can't conceal The thrill that I'm feeling, Don't blame me. I can't help it If that doggone moon above Makes me want Someone like you to love. Blame your kiss As sweet as a kiss can be, And blame all your charms That melt in my arms, But don't blame me. (Interlude) Blame your kiss As sweet as a kiss can be, And blame all your charms That melt in my arms, But don't blame me. (Interlude) Blame all your charms That melt in my arms, But don't blame me. And then there's this: http://www.break.com/index/blame-halo-3.html Savoy 651, 1946

The Spaniels, the Beatles, and the Rise and Fall of Vee-Jay Records

Mon, 14 Jan 2008 17:34:00 +0000

(Pictured from left to right: James Bracken, Ewart Abner, Vivian Carter, and Calvin Carter) “Don’cha Go”: this offering from Do Wop pioneers, the Spaniels, was apparently recorded on February 19, 1955 but there’s some question about this because of missing information from Vee Jay Records’ studio log. Tenor saxophonist, Red Holloway, led the house band on this date instead of Al Smith who normally filled this duty. Another well storied vocal group, the Dells, also recorded on this date, producing two tracks of their own. When “Don’cha Go” was released, it was issued as the B side to “Do Wah” which was actually recorded two years earlier but withheld, presumably due to low expectations. In addition to Pookie Hudson’s incredible voice as the lead, one thing you’ve got to love about any Spaniels recording is Gerald Gregory’s innovative bass vocals, which while threading a counter-melody to Hudson’s lead serve up an additional, vocalized, instrumental part: like an extra string bass or a baritone sax. Vee Jay records was founded in 1953 in Gary, IN by Vivian Carter and her future husband James C. Bracken; the name of the label was taken from their first initials. Vee Jay was the largest, most successful black owned record label prior to Motown. Vivian Carter initially got into the radio business in 1948 after winning a talent contest which awarded a DJ spot on Chicago radio station WGES. She eventually came back to her hometown of Gary and landed spots with the local stations WWCA and then WGRY. By 1950, she and Bracken had opened up a record store called ‘Vivian’s’ where they specialized in the same black audience material that Vivian was spinning on the radio. Well aware by now of the promotional strength behind Vivian’s influence over the airwaves, the couple (it seems like they have been a couple for several years at this point) established Vee Jay records in 1953 signing as their first acts, the Spaniels and blues guitarist Jimmy Reed. A third name in the Vee Jay administration was Vivian’s bother Calvin Carter who served as the labels A&R man. From here until the mid-60s, Vivian, James, Calvin and later Sid McCoy and Ewart Abner (who would eventually become president of the company) proceeded to assemble one of the most unbelievable catalogs ever held by an independently owned record label. Actually, it’s Calvin who was the real engine behind their talent surplus which extended across a wide range of genres. In gospel he was responsible for signing the Staple Singers and the Original Five Blind Boys. In blues he got Jimmy Reed and John Lee Hooker. R&B: Gene Chandler (Duke of Earl), Jerry Butler, the Spaniels and the Dells. Curtis Mayfield, as a member of the Impressions, did his first recordings with Vee Jay. In 1961 Carter, signed the Four Seasons as a very successful white act working with Vee Jay. In 1958, Sid McCoy would join the label handling A&R for their jazz division. He would go on to sign: Gene Ammons, Wynton Kelly, Lee Morgan, Paul Chambers and Wayne Shorter to name a few. The biggest deal, as it turns out, was in 1962 after the British label EMI approached its US interest, Capitol Records, with a few acts that it wished to introduce to the American market. Though owned by EMI, Capitol acted fairly autonomously in its business decisions and had the option to refuse material from the parent company. Among the acts that Capitol turned down was the Beatles. Thus, the opportunity to introduce the Fab Four to the US was passed on to Vee Jay, which was by now getting noticed as an important entity in the American music industry. They released the singles: “Love Me Do”; “Please Please Me”; and “From Me to You”. Unfortunately this was the beginning of the end. Vee Jay was experiencing an explosion of sales independent of, but simultaneous to their signing the Beatles, and it doesn’t look like they were prepared to make the jump. It’s not completely clear what caused Vee Jay’s collapse but a certain amount of blame has been directed at Ewart Abner, who at this time was acting as the president. Amid complaints from the Four Seasons thir royalty payments, word got out that Vee Jay was in financial straits. at Vee Jay was not keeping up with theTaking this as their cue, EMI sought to retract all of their contracts from Vee Jay. Obviously prompted by the unforeseen success of the Beatles, EMI wanted to redirect US control of this profitable act back to their subsidiary, Capitol. Abner, under fire from accusations of shoddy bookkeeping and mismanagement resigned and the Brackens returned to the helm of Vee Jay’s day to day management. This wasn’t enough, if it made any difference at all. It seems like Vee Jay was an organization which always operated as a small business, whether under the guidance of Abner or the Brackens, and did not have the wherewithal to make the transition from a small business to a big business. They were also in no position to defend themselves against a powerful company like EMI's decision that it had had a change of heart. In late 1963, when Vivian and James released the LP ‘Introducing the Beatles’, culled from material that they may have felt some legal entitlement to (though pretty similar in scope to Capitol's ‘Meet the Beatles’) they were issued a cease and desist order from the EMI lawyers. Vee Jay filed for Chapter 11 bankruptcy in 1966 amid a torrent of litigation and after hemorrhaging much of their most lucrative talent to bigger players. And there you have it, a brief synopsis of another lost legend. What about the Spaniels?-the first of the many impressive jewels in the crown worn by one of the great stories in American pop music. Besides, we gave them a discussion in the last post about side-A. Check this site for a more in depth look at the Vee Jay legacy and to get a better understanding of all the great shit this little record company from Gary was responsible for: http://www.vee-jay.net/ For something even more in depth, check this: http://hubcap.clemson.edu/~campber/veejay.html Vee-Jay 131, 1955

What a Howl! Pookie Hudson and the Spaniels

Sat, 12 Jan 2008 16:04:00 +0000

Thornton James “Pookie” Hudson passed away from cancer on January 17, 2007. He was the lead vocalist and composer for the classic Do Wop group, the Spaniels. His best known song was “Goodnight, Sweetheart” which hit number five on the R & B chart in 1954. As was common practice back in those days, a “whitened” version of this promising tune was needed to pass on to the public at large and to break it on the national chart. This was served up by the McGuire Sisters, and their version made it to number seven on the national chart and for some time was probably perceived as the original. Meanwhile, the Spaniels cut was relegated to black radio only, until the early 1970s when the original was featured on the soundtrack to 'American Graffiti'. Apparently, Alan Freed refused to play any Spaniels records as a result of being deservedly refused a writing credit on “Goodnight, Sweetheart”, which may have been sought as a form of compensation. Though, throughout the mid-50s their name was easily found on the R&B charts, the track provided here, Do Wah, was not a successful effort. Maybe not a chart-breaker, but a nice tune nonetheless with its sparse instrumentation, bass vocalizing, and dark, mid-tempo rumba mood. It may have just been a little too heady for the 1955 top 40. Forming in 1952 amongst a group of high school friends in Gary, IN, the Spaniels were one of the first successful R&B vocal acts to emerge from the Midwest. The impetus for their getting together was to perform in a school talent show as Pookie Hudson and the Hudsonaires. They soon changed their name to the Spaniels and were one of the first two acts to sign with Vee Jay records when it launched in the spring of 1953, the other act was guitarist Jimmy Reed. Vee Jay is historically notable as the most successful black owned record label prior to Motown. The original Spaniels were: Ernest Warren (first tenor), Opal Courtney, Jr. (baritone), Willie Jackson (second tenor), and Gerald Gregory (bass) and Hudson as the lead. Among Hudson’s many reputed innovations was the practice of using a separate microphone as the lead man while the rest of the group shared a second microphone. Perhaps an innovation in the fine art of hogging the spotlight, but there never seemed to be any dispute that Hudson was the star of the show. He was the most talented among a group of pretty talented musicians and it may have run in the family considering he was cousins with both Josephine Baker and Fats Waller. In any case, he is looked upon as the first true front man of the vocal groups. He also wrote or co-wrote most of the group’s material, another anomaly for his day. The B side to this was a cut called “Don’cha Go”, more on that and the Vee Jay records story coming soon. Here they are, past their prime, but still sounding good: http://www.youtube.com/watch?v=1xADs9uY1EI&NR=1 Vee-Jay 131, 1955

Esau and Jacob of Accordionland: Pietro and Guido Deiro

Wed, 02 Jan 2008 14:58:00 +0000

Pietro Deiro performing “Danube Waves” (Onde del Danube) by Iosef Ivanovici (1845-1902) who can claim the singular distinction of being known as the Romanian Johann Strauss. This piece is also known as the “Anniversary Song” and is the only work for which he is known today. Ivanovici was a successful composer and bandleader in his day having written over 350 waltzes and assorted dance tunes. Guido Deiro (1886-1950), Pietro’s older brother was the first star of the accordion. He was a huge hit with the Vaudeville stage and was married to Mae West. He made the first recordings on wax cylinder, and he performed the first radio broadcast. Prior to Guido, the only accordion instruments to be found on the United States were the button types without the piano keyboard, an instrument which he instructed his younger brother how to play. Guido also wrote the song “Kismet” which was featured in the musical of the same name. His career, however, ended abruptly with the Great Depression. Pietro Deiro, on the other hand was not only an important artist, but a shrewd businessman who remained successful even during the depression years. He established a publishing house specializing in accordion music and was the first president of the American Accordionists Association (AAA). He very opportunistically capitalized on his family name siphoning off some of his brother’s reputation and proclaiming himself to be the Il “Papa di Fisarmonica” (daddy of the accordion) in spite his brother’s list of firsts (and the fact that Guido taught him the instrument). This ultimately led to a rift between the two brothers that lasted until near the end of their lives. The Deiro brothers were born in Italy in the village of Salto Canavese (near Turin in Piedmont). Pietro moved to the US in 1907 and worked in the coal mines in the Seattle area. Guido joined his brother in the states in 1908 having already established himself as a performing artist in Europe. Columbia A1477, 1913

He's Baaack!: Early Accordion Wiz, Pietro Deiro

Tue, 01 Jan 2008 13:32:00 +0000

This 1913 recording of “Ritorno di Pietro” (Pietro’s Return) was one of the best selling records for one of the most successful artists of the accordion. Pietro Deiro (1888-1954) is considered by many to be the father of the accordion in the United States. While it is his brother, Guido, who first performed the “piano accordion” (with a keyboard for the right hand) in the US and made the first inroads for the instrument, it may be said that it was Pietro who showed more ambitious ideas for popularizing the instrument. He was also clearly a better businessman and self-promoter. This piece is one of hundred’s of Pietro’s original compositions which, along with his arrangements, serve as a cornerstone for the accordion repertoire. Columbia A1477, 1913

“Oh...she's as harmless as one of those stuffed birds”

Sat, 22 Dec 2007 00:31:00 +0000

“Pal of My Cradle Days”…Those of you who are interested in pondering the psychology of a momma’s boy, listen to this three minute guilt trip; the soundtrack to extended family situations across the Western Hemisphere. I know I might hear it for all this somewhere along the line, but this song displays all the traits of a healthy mother-child relationship that we find in the ‘Manchurian Candidate’ or the first few seasons of the ‘Sopranos’. That said, this tune definitely had more staying power than its flip side, “Who’s Taking Care of the Caretaker’s Daughter?” performed by Earl and Bell, as it has maintained its currency with the likes of Jimmy Roselli and Ann Breen and the contemporary Irish folk circuit. I suspect this tune has turned up a lot at weddings and funerals too. Speaking of longevity and funerals, the vocalist on this cut, Irving Kaufman’s career spanned over 60 years from 1914 until his death in the mid-70's. He was contemporary with the likes of Al Jolson and Eddie Cantor yet managed to perform much later on with Tiny Tim. Dan Lieberfeld performs the piano accompaniment on this record. “Pal of My Cradle Days” was written by Marshall Montgomery (words) and Al Piantadosi (music) in 1925 and was first performed Franklyn Baur. Vocalion 15041, 1925

TCOB

Fri, 21 Dec 2007 19:33:00 +0000

Earl and Bell seem to have been popular enough to have made a handful of film appearances. I think they recorded an early version of “I’m Looking over a Four Leaf Clover” (if not the first). Unfortunately, I’m having trouble digging up much info on these guys. They were a vocal duo that used a lot of Hawaiian style guitar for accompaniment, or ukulele on a few recordings. Cool sounding old novelty pop with a tendency toward the exotic. But sorry, I don’t have much else to report on Earl and Bell. For this song, “Who Takes Care of the Caretaker's Daughter?” on the other hand, I can provide a couple more notes. This was a number that was included in the George and Ira Gershwin musical comedy, “Lady Be Good” from 1923, but the song was written by Chick Endor and Paul Specht. The Gershwins probably hired or licensed this song from Endor and Specht as an expedient for its situation in the drama (or maybe somebody just liked it), this isn't unusual for musicals from this era. "Lady Be Good" also featured the popular Gershwin brothers originals: title song “Lady Be Good”, and “Fascinating Rhythm”. Not to mention, the original cast starred brother and sister, Fred and Adele Astaire. Besides this 1925 recording from Earl and Bell, popular versions of this song were also performed by Cliff “Ukulele Ike” Edwards (also in 1925) and Bobby Darrin. Ukulele Ike (1895-1971) is known for developing the vocal technique of “effin” in which the performer imitates the sound of a kazoo (or muted trumpet) with his voice. This is considered by some to be an early relative to ‘scat’ singing. In 1940 Ike was also the voice for Jiminy Cricket in the Disney animated feature “Pinocchio” for which he won an Oscar for his performance of “When You Wish upon a Star”. Check out a great early jazz website for more on Ukulele Ike including sound files: http://www.redhotjazz.com/cliffedwards.html Vocalion 15041, 1925

The Lion of Judah and the Queen of Denial

Fri, 21 Dec 2007 19:14:00 +0000

Egyptian Ella was written in 1931 by Walter Doyle and first performed by Ted Weems and his Orchestra. Milt Herth obviously saw this novelty song as a nice venue to show off two of his trademarks: the exotic new sounds of the Hammond organ (introduced in 1934- this recording is from 1938), and his flair for writing novel arrangements for his small combo of organ, piano, drums and sometimes, as we have here, guitar. The other really nice thing here is the piano break by the legendary stride player Willie “The Lion” Smith. Really, there’s great piano playing throughout as Smith and Herth trade off each other nicely. And on guitar we have Teddy Bunn, one of the important early single note style acoustic players. He gets a solo after the piano break. The drummer is O’Neill Spencer who played with the John Kirby Sextet and later with Louis Armstrong’s Orchestra. Spencer died in 1944 at the age of 33 of tuberculosis. The song is about a dancing girl who gets too fat and gets fired from her dancing gig. In order to take her mind off losing her job (and her boyfriend) she plans a vacation to Egypt unaware that they love their women big over there. Now, gaining a new perspective on life and couple more pounds, she’s in no hurry to come home. I’m giving this synopsis because the Herth recording drops the first few verses that explain this “back story”. Now, how about a few words on the biography of Willie “The Lion” Smith. Willie the Lion was born in 1894 in Goshen NY and his family moved to Newark NJ in 1901. His parents were mixed, his father being light skinned black man who was half Jewish and his mother being Spanish, Mohawk and black. His parents split up when he was very young and when they moved to Newark, his mother remarried changing his name from William Henry Joseph Bonaparte Bertholoff to William H. Smith. Early on Willie seems to embrace his Jewish ancestry, he learns Hebrew from a local Rabbi and has his Bar Mitzvah in 1907. He plays around the area: Newark, New York City, Atlantic City; until the mid-teens when he enlists in the army. In Atlantic City he replaces Eubie Blake as the house pianist at Kelly’s Lounge. In 1916 he marries Blanche Merrill (nee Howard) a white woman who was also a musician and song writer. They separate within the year, though never actually getting a divorce. During their marriage, Smith was the only black man living in their Newark apartment building. Also in 1916, Willie enlists in the US Army, 92nd Division, 153rd Negro Brigade, 350th Field Artillery ("the Black Devils"). The US declared war on Germany in 1917 and he apparently earned his nickname “The Lion” for the exceptional valor that he displayed on the battlefield. After the armistice, he stays on in France for about a year playing piano in dancehalls. When he returns to New York, a decorated veteran, his career takes off as he and James P. Johnson and Fats Waller become known as the “Big 3”, the hottest pianists in the city and Princes of Jazz Age New York. They are admired by and influential on such important young artists as Duke Ellington, Artie Shaw, and George Gershwin and are frequent guests at white society engagements throughout the 20’s. Smith performs with some of the earliest integrated groups during the early 30's. A big part of the reason Willie the Lion didn’t achieve the same lasting recognition as his contemporaries, (Blake, Johnson and, Waller), was because he made relatively few solo recordings and likewise, was rarely the front man in any of his ensemble projects. And it seems like he preferred it this way, through the 30’s and 40’s he followed the path of a formidably talented sideman, highly regarded among his peers, but not making many inroads with the public at large. In 1944, he is said to have become Cantor for an African-American synagogue in Harlem, which may suggest where his priorities lay. Willie the Lion died in 1973. An interesting life for an interesting and important figure in the jazz world highlighting the variables of race and racial identity which cannot be avoided when you talk about jazz, or any other form of American music. Take the information in Willie's bio with a grain of salt because he is the source for most of it and one of the things stride pianists have in common is a predilection for "Tall Tales" (the others are smoking fat cigars, and sporting bowler derbies). Here’s a guy doing a pretty wicked version of this song on the ukulele: http://www.youtube.com/watch?v=z_Jt25_Na3k Decca 1868, 1938

My Three Suns

Sat, 22 Dec 2007 14:23:00 +0000

As the original trio, The Three Suns were brothers Al Nevins on guitar, Morty Nevins on accordion (and the chimes here) and their cousin Art Dunn on the organ (and vocals). There were several incarnations of this group and its lineup expanded and contracted over the years not unlike the fluctuations of a Red Giant or pulsar. These guys were also Mamie Eisenhower’s favorite group, an interesting choice for the former first lady. She clearly understood that the space-race will need music. The early use of the Hammond organ; the novel instrumentation; and the spare arrangements show some strong links to Milt Herth’s organ jazz group from the 30’s*. I think there's more than a little of 'jazz' accordionist, Lawrence Welk's, influence here as well. The Three Suns were a popular and long lived ensemble constantly updating their sound with a variety of instrumental configurations well into the 60’s, where we find them having evolved to full on space-age bachelor pad fare. They recorded dozens of albums over this long stretch, but their 1944 single “Twilight Time” was their first major success. This number, “How Many Hearts Have You Broken?” was the B-side to “Twilight Time” and actually rose higher on the charts that year. It was written in 1943 by Marty Symes (lyrics) and Al Kaufman (music). Stan Kenton also got on the charts in 1944 with a version of this tune. Here’s a pretty cool website dedicated to the Three Suns: http://www.tothcorp.com/threesuns/HomeNav.html Hit 7092, 1944 *http://oldrecordsonline.mypodcast.com/2007/12/The_Original_Hammond_Eggs_Milt_Herth-65314.html