Last Cent

I'm challenging myself to see how many I can share this month, and Red Nichols is always a good choice (courtesy of a fellow collector). "Overrated in Europe in the early '30s when his records (but not those of his black contemporaries) were widely available and then later underrated and often unfairly called a Bix imitator, Red Nichols was actually one of the finest cornetists to emerge from the '20s. An expert improviser whose emotional depth did not reach as deep as Bix or Louis Armstrong, Nichols was in many ways a hustler, participating in as many recording sessions (often under pseudonyms) as any other horn player of the era, cutting sessions as Red Nichols & His Five Pennies, the Arkansas Travelers, the Red Heads, the Louisiana Rhythm Kings, and the Charleston Chasers, among others, usually with similar personnel. Nichols studied cornet with his father, a college music teacher. After moving from Utah to New York in 1923, Nichols, an excellent sight-reader who could always be relied upon to add a bit of jazz to a dance band recording, quickly became in great demand. His own sessions at first featured trombonist Miff Mole and Jimmy Dorsey on alto and clarinet, playing advanced music that utilized unusual intervals, whole-tone scales, and often the timpani of Vic Berton along with hot ensembles. Later on in the decade his sidemen included such young greats as Benny Goodman, Glenn Miller, Jack Teagarden, Pee Wee Russell, Joe Venuti, Eddie Lang, Adrian Rollini, Gene Krupa, and the wonderful mellophone specialist Dudley Fosdick, among others; their version of "Ida" was a surprise hit.

Although still using the main name of the Five Pennies, Nichols' bands were often quite a bit larger, and by 1929 he was alternating sessions featuring bigger commercial orchestras with small combos. At first Nichols weathered the Depression well with work in shows, but by 1932 his long string of recordings came to an end. He headed a so-so swing band up until 1942, left music for a couple of years, and for a few months in 1944 was with Glen Gray's Casa Loma Orchestra. Later that year he re-formed the Five Pennies as a Dixieland sextet and, particularly after bass saxophonist Joe Rushton became a permanent member, it was one of the finer traditional jazz bands of the next 20 years. Nichols recorded several memorable hot versions of "Battle Hymn of the Republic," the best being in 1959. That same year a highly enjoyable if rather fictional Hollywood movie called The Five Pennies (and featuring Nichols' cornet solos and Danny Kaye's acting) made Red into a national celebrity at the twilight of his long career. Nichols' earlier sessions have been reissued in piecemeal fashion during the digital era, with later albums remaining unavailable." (Allmusic.com). Enjoy! +

Tracks

01 - Indiana
02 - Dinah
03 - On The Alamo
04 - Sally, Won't You Come Back
05 - It Had To Be You
06 - I'll See You In My Dreams
07 - Some Of These Days
08 - That Da Da Strain
09 - Basin Street Blues
10 - Last Cent
11 - Rose Of Washington Square
12 - I May Be Wrong
13 - The New Yorkers
14 - They Didn't Believe Me
15 - Wait For The Happy Ending
16 - Can't We Be Friends
17 - Nobody Knows
18 - Smiles
19 - Marianne
20 - Get Happy
21 - Somebody To Love Me

Crazy People

Back to the roots of this blog, at long last another selection completely dedicated to Chick Bullock. At one point I had skipped 1932 entirely due to a move, so that is where this and the next two posts (covering at least another fifty tunes) will focus. To get things in chrono(lo)gical order, the first track is from Bullock's final recording session of 1931, on December 24. From there we go to January 12, with a song recorded more than three weeks prior to the Boswell Sisters' version. The girls make an appearance on one track, so listen closely. Most of these tracks were released as Chick Bullock and His Levee Loungers, with some exceptions that are noted in the tags, along with the record labels and number. Recording dates are below (which covers what I have through April 19, 1932). Most of these are from my own 78s, but a handful are courtesy of other collectors who have generously shared their collections with me. I've given each of these a listen, compared my original rips with post-restoration versions, and opted to back down on the editing on the theory that perhaps my ears aren't the best judge. On one track I noticed that the cleaned version had obscured some of the instrumentation, so hiss & static is back. Enjoy! +

Tracks

24 December 1931
01. She Didn't Say Yes

12 January 1932
1.   Was That The Human Thing To Do?
2.   How Long Will It Last

13 January
3.   Can't We Talk It Over

14 January
4.   You're My Everything
5.   Of Thee I Sing
6.   Who Cares?

5 February
7.   Kiss Me Goodnight

24 February
8.   Sing A New Song
9.   Stop The Sun, Stop The Moon
10. Soft Lights And Sweet Music
11. Let's Have Another Cup Of Coffee

29 February
12. Keepin' Out Of Mischief Now
13. I Know You're Lying, But I Love It

8 March
14. Somebody Loves You
15. You're Dancing On My Heart
16. Everything Must Have An Ending

14 March
17. You're The One
18. If It Ain't Love

15 March
19. I Can't Believe That It's You
20. Lawd, You Made The Night Too Long

26 March
21. California Medley, Part 2

31 March
22. My Gal Sal
23. Darktown Strutters Ball

4 April
24. I'd Rather Be A Beggar With You
25. My Extraordinary Girl
26. When The Lights Are Soft And Low
27. I'm So Alone With The Crowd

19 April
28. Crazy People

Si Sabes Que Te Quiero

Since I missed all of February, the first month in more than 4 years that I failed to at least post one selection, this month will be chock-full in comparison. Although this blog prefers music from the Prohibition era and on into the 1940s, one thing it is not is North-America centric. Some fantastic music came from beyond US borders. And I love Latin American music. With that, here is Miguelito Valdes who was famous worldwide.

Miguelito began his musical career in the Sexteto Habanero Infantil, where he played, variously, the guitar, tres, double bass, timbal and sometimes sang. Soon, his capability as a singer was realized, and from that moment he was constantly in demand. After a brief spell with María Teresa Vera's Sexteto Occidente, he was one of the founding members of the Septeto Jóvenes del Cayo in 1929. In 1933 he moved to the charanga of Ismael Díaz, and then to the Charanga Gris, directed by the pianist and composer Armando Valdés Torres, and to the Orquesta Habana, directed by Estanislao Serviá.

In 1934 he made his first journey abroad, to Panama, and on his return joined the Orquesta Hermanos Castro, which was a leading band of the day. He was their lead singer until 1936. In 1937 he joined a group of top musicians who formed the Orquesta Casino de la Playa. He was now perhaps the top singer in Cuba, on the verge of international fame. In 1939 the La Playa toured South and Central America, and started a series of recordings for RCA Victor which would make them famous throughout the world.

In 1940 Valdés briefly joined the Orquesta Riverside (another of the big Cuban bands) before emigrating to New York, which became his home base for the rest of his career. In New York City he worked for Orquesta Siboney de Alberto Iznaga, Xavier Cugat, Tito Rodríguez and Machito. He directed his own orchestra for a few years, and made some successful recordings with it in 1949/50. He appeared in a number of films, and was known as "Mr. Babalú" after his performance of Marguerita Lecuona's Babalú. Miguelito recorded this number with three top orchestras: Casino de la Playa in Havana, and Xavier Cugat and Machito in New York. He recorded with the renowned band Conjunto Sonora Matancera in 1951, 1977 and 1978.

Miguelito was regarded as one of the greatest soneros and guaracheros in Cuban music. Although non-African, his interpretation of Afro-Cuban lyrics was remarkable. Numbers he composed include Mondongo, Rumba rumbero, Loco de amor, Los tambores, Oh, mi tambó, Bongó, Dolor cobarde. He died from a heart attack during a performance in Bogotá. (from Wiki). Enjoy! +




Tracks

01 - Pa' La Risuena
02 - Los Venecianos
03 - El Manisero
04 - Tu
05 - Elube Chango
06 - El Reino De Tus Ojos
07 - No Hay Como Nadie Como Tu
08 - Los Componedores
09 - Yo Son Macua
10 - Jose Isabel
11 - La Bata De Olla
12 - Si Sabes Que Te Quiero
13 - Adios Africa
14 - La Conga Negra
15 - El Perro Y El Gato
16 - Yo 'Ta Namora
17 - La Cancion Del Guajiro
18 - Funfunando
19 - Mi Comparsa
20 - Dejate Enganar
21 - La Conga De Quirina

I'm Goin' Huntin'

It's time to get back to some real good Prohibition-era music to kick of the year, and one of the best is Johnny Dodds. Dodds and his younger brother, drummer Baby Dodds are well known. However, pianist Jimmy Blythe is usually overlooked despite performing on a lot of recordings during the twenties. The sides presented here include some alternative takes, and Louis Armstrong makes a cornet appearance on four tracks. Full info is in the scans. "Johnny Dodds was one of the greatest clarinetist of the 1920's. Although both Jimmie Noone and Sidney Bechet had better technique, Dodds had a very soulful, bluesy style of playing that was often emotionally powerful. He was a master of the New Orleans' ensemble style of collective improvisation. He didn't have the flash of Louis Armstrong, but often provided the perfect environment for Armstrong to shine. He worked with most of the major Hot Jazz bands of the era. Dodds was in Kid Ory's band in New Orleans from 1912 to 1919. He played on riverboats with Fate Marable in 1917 and moved to Chicago in 1921 to play with King Oliver. Johnny and his brother Baby Dodds were an important part of Louis Armstrong's classic Hot Five and Hot Seven recordings for Okeh. During the 1920's he also recorded with Oliver's Creole Jazz Band, Jelly Roll Morton and on most of Lil Hardin-Armstrong's sessions. Unlike many of his famous contemporaries, Dodds and his brother stayed in Chicago and were pretty much forgotten as Jazz moved East to New York in the Thirties. He recorded several records under his own name in the Twenties, often with Natty Dominique on trumpet, and worked regularly at Kelly's Stables from 1924 to 1930. Dodds continued to play and record in Chicago throughout the Thirties, and also ran a cab company with his brothers." (redhotjazz.com). Enjoy! +

Tracks

01 - Little Bits
02 - Struggling
03 - Struggling
04 - Easy Come Easy Go Blues
05 - The Blues Stampede
06 - I'm Goin' Huntin'
07 - If You Want To Be My Sugar Papa
08 - Bohunkus Blues
09 - Idle Hour Special
10 - 47th Street Stomp
11 - 47th Street Stomp
12 - Buddy Burton's Jazz
13 - Messin' Around - Take 1
14 - Messin' Around - Take 2
15 - Adams Apple
16 - Ape Man
17 - Your Folks
18 - Weary Way Blues
19 - Poutin' Papa
20 - Hot Stuff
21 - Have Mercy!
22 - My Baby
23 - Oriental Man

Barrel House Stomp

What can I say, it's been another busy month. Which is good considering that it is summer and people travel. Squeaking one in before the end of the month, and making sure that there is at least some continuity here, I offer some more Chicago jazz. This series is very well done (John R.T. Davies), and you can't beat the liner notes (Brian Rust). The music selection is good, though I do wonder if we need three takes of the same tune. That's strictly for purists, while I think most people would be satisfied with another handful of tunes. Regardless, it's good listening. The tunes span a period between December 1927 and January 1930, with musicians including Red McKenzie, Eddie Condon, Frank Teschemacher, Bud Freeman, Gene Krupa, Mezz Mezzrow, Bud Freeman and other usual suspects. Good stuff for the new year's celebrations. Scans included. And to all who enjoy the music here, have a great 2013! Enjoy! +

Tracks

01. McKenzie & Condon's Chicagoans - Sugar
02. McKenzie & Condon's Chicagoans - China Boy
03. McKenzie & Condon's Chicagoans - Nobody's Sweetheart
04. McKenzie & Condon's Chicagoans - Liza
05. Charles Pierce & His Orchestra - Bull Frog Blues
06. Charles Pierce & His Orchestra - China Boy
07. Charles Pierce & His Orchestra - Jazz Me Blues - Take 3
08. Charles Pierce & His Orchestra - Sister Kate - Take 4
09. Charles Pierce & His Orchestra - Jazz Me Blues - Take 5
10. Charles Pierce & His Orchestra - Sister Kate - Take 7
11. Charles Pierce & His Orchestra - Nobody's Sweetheart
12. Chicago Rhythm Kings - There'll Be Some Changes Made
13. Chicago Rhythm Kings - I've Found A New Baby
14. Jungle Kings - Friars Point Shuffle
15. Jungle Kings - Darktown Strutters' Ball
16. Frank Teschemacher's Chicagoans - Jazz Me Blues
17. Louisiana Rhythm Kings - Baby, Won't You Please Come Home
18. Elmer Schoebel & His Friars Society Orchestra - Copenhagen
19. Elmer Schoebel & His Friars Society Orchestra - Prince Of Wails
20. The Cellar Boys - Wailing Blues - Take A
21. The Cellar Boys - Wailing Blues - Take B
22. The Cellar Boys - Barrel House Stomp - Take A
23. The Cellar Boys - Barrel House Stomp - Take B
24. The Cellar Boys - Barrel House Stomp - Take C

Pagin' The Devil

It's been another hectic month, what with all the holidays here and there, some travel, work, etc., but I hope to be more active here in the next few months. As it's a rather gray and questionable day out there, and I face the prospect of commuting at least an hour or more through an inevitable oncoming storm, I figured something with some bounce is in order. One of the best to bounce was Lester Young. From Allmusic,com, "This is the first leg of the Lester Young story, covering his exciting years as Count Basie's star tenor saxophonist and master of the metal clarinet. Opening with Young's very first appearances on record in 1936, the compilation boasts several vivid selections by the Count Basie Orchestra, examples of the gentle, relaxed intimacy of Billie Holiday and Pres with Teddy Wilson's band, and several outstanding instrumental small-group jams either led by or simply graced with the presence of Lester Young. These include the famous Kansas City Five and Six on the Commodore label, the Benny Goodman Sextet ("without Goodman" but with Charlie Christian), and various masterworks originally issued on both the Savoy and Keynote labels. There's no real adherence to a strict chronology -- the producers of this compilation were obviously aiming for playback textural ambience rather than concise sequential context. After wading into the cream of Young's work from the early '40s, the focus abruptly lurches back to the late '30s with vintage stomps and swing by Basie's orchestra and the Kansas City Six. Here, then, is a good introduction to Lester Young as he sounded in his prime. The only glaring fault occurs in the enclosed discography; the drummer on "Sometimes I'm Happy" and "Afternoon of a Basie-ite," recorded for Harry Lim's Keynote label in December of 1943, was Sidney Cattlet, not Jo Jones." Scan of the discography is at the bottom of the post. Enjoy! +

Tracks

01. Shoe Shine Boy
02. Lady Be Good
03. Roseland Shuffle
04. Swinging The Blues
05. Taxi War Dance
06. This Year's Kisses
07. I'll Never Be The Same
08. I've Found A New Baby
09. Lester Leaps In
10. Ad Lib Blues
11. Sometimes I'm Happy
12. Afternoon Of A Basie-Ite
13. Lester Leaps Again
14. I Got Rhythm
15. Four O'Clock Drag
16. Jo-Jo
17. I Don't Stand The Ghost Of A Chance With You
18. Blue Lester
19. Jump, Lester, Jump
20. Texas Shuffle
21. I Ain't Got Nobody (And There's Nobody Cares For Me)
22. I Want A Little Girl
23. Pagin' The Devil
24. Twelfth Street Rag