Soulful Horn

Bennie Green's beautiful tone and affinity for the blues made him the perfect foil for the pyrotechnic style of pal Sonny Stitt. Here he jokes with Sonny at a 1960 Argo session in Chicago. Photo by Don Bronstein

Bennie Green was a member of  Earl Hines' swinging orchestra when Dizzy Gillespie, Charlie Parker, Billy Eckstine and Sarah Vaughn also happen to be in the band. A Chicago native and DuSable High School graduate, Bennie later joined Charlie Ventura's "bop for the people" outfit and put the lessons he learned in sessions at Dizzy's house to good use. A solid improviser, Green's playing might be thought of as a link between the fluid swing style of Trummy Young and the ear-opening articulations of modernist J.J. Johnson. But Bennie's style, while exhibiting the superior technique and facility required of bop players, remains rooted in the fundamentals of the blues.

This record proves that point.

Recorded for Bethlehem December 1960, "Hornful of Soul" teams Bennie up with underrated tenorist Jimmy Forrest and alto player Lem Davis (who provides a nice original composition). Mal Waldron, a steady-working session man at the time, plays on a number of the selections and also contributes an original. His familiar ostinato-style soloing offers an interesting contrast to the bluesy work of the horn players.

A word about Jimmy Forrest. He had a big hit with a vamp blues called "Night Train," which many heard as a none-to-subtle reworking of Ellington's "Happy Go Lucky Local." His career seemed to falter following that early success, but he issued a number solid records on Prestige and later teamed up with Al Grey, recording some marvelous sides with that former Basie sideman. Jimmy seemed to have an affinity for trombonists. He's in excellent form here with Bennie.

The Bethlehem label, by the way, was issuing jazz sides willy-nilly around this time. Just why is a mystery, but many of them have since become classics. The company folded several years later, and when they did their catalog contained talents as diverse as Ruby Braff, Jerri Southern, Herbie Nichols and Charles Mingus. Some of Coltrane's formative work was documented on Bethlehem.

Where did I find this record? Back in the early '70s, I worked in a record store to earn rent money while I was in college. My store was part of a chain – Discount Records it was, owned by CBS – but our competition down the street was a locally-owned platter shop. They had a great selection of cut-outs there, and one day a truckload of deleted Bethlehem sides appeared. "Hornful of Soul" was one that caught my eye, and I laid down 69 cents plus tax to take it home. I've been digging it ever since, and now you can, too.

As always, these titles were ripped from the original vinyl with only a slight cleaning up of minor pops and clicks.

Hornful of Soul, Bethlehem BX 4019
Bennie Green, tbn; Jimmy Forrest, ts; Skip Hall, org; Wyatt Ruther, b; Art Taylor, d.
1, 5, 6: Add Lem Davis, as; Mal Waldron, p, replaces Hall.
New York, NY; December 1960

1. Summertime
2. Groove One (Green)
3. Lowland-ism (Babs Gonsales)
4. Dibblin' and Dabblin' (Babs Gonsales)
5. Foolish Heart
6. Indiana
7. Catwalk (Waldron)
8. Dee Dee (Lem Davis) 

Find it here: http://www.mediafire.com/?t89ftbdv384t6p7

Jazz Funny Papers

What better way to sell horns than with a few good pictures, just like in the Sunday funnies? John Birks' career in panels, that outstanding Martin artist. Ad from Metronome Magazine

By the end of the forties, Dizzy Gillespie was the embodiment of modern music. The "king of bebop," he was the toast of the jazz trades with his big band, his JATP appearances and his antics. The Martin instrument company enlisted him in its roster of star trumpet players, and in 1949 featured him in a comic strip bio ad. Here it is, the first and last time (to my knowledge) a jazz artist got the graphic treatment. Note that Diz and "a few others" created bop at Minton's – did anyone say Charlie Parker? By the way, who the heck is Frank Fairfax?

Chicago Jazz

"Chicago Jazz," a 1952 rareity on Decca, looked like this had happened to it when I found it a rain-soaked carton of disco singles at the Revere Drive-in Flea Market north of Beantown a decade ago. I'll never understand why some folks seem to get real pleasure out of mistreating records. Photo illustration by Gems of Jazz

The recordings that I post here on Gems are, as frequent visitors know, ripped from the original vinyl or shellac. I try not to fool with the sound beyond getting rid of the most egregious pops and clicks. That's not to say that the sound is funky on these offerings – quite the opposite. If you've availed yourself of any of them, I think you'll agree they pass muster sonically.

That said, this latest upload is an exception.

"Chicago Jazz," an LP issued from 78 rpm discs that were released by Decca in April 1940, attempts to recreate jazz from the post-King Oliver period when a bunch of high school kids – white kids – adapted Papa Joe's New Orleans-style jazz to their own purposes. Called the Austin High Gang, these roustabouts adored the two-beat ensemble style that was played at the Lincoln Gardens on Chicago's South Side. They were truants with a single purpose – to play music like the King and his protege, Louis Armstrong.

By 1939, the Chicago style of jazz propagated by the Austin High crew was old hat, yesterday's news. But a young producer and jazz fan, George Avakian, felt that contemporary audiences needed to hear it in all its glory. So he organized a series of sessions for the Decca label specifically to recreate its hoary style. His efforts not only resulted in a fine series of jazz recordings, they also sparked a minor revolution in the jazz industry.

Seeing that there was a burgeoning market for classic jazz styles and historic recordings, Columbia, Victor and other record companies began reissue programs. Soon discs that long unavailable – fabulous sides by Armstrong, Oliver, Ellington, Jellyroll Morton and countless others – could again be found in local record stores.

This is the record album (or at least the LP version) that started it all. And as such, it's a natural candidate for a Gems posting.

Trouble is, the LP is in horrible – and I mean horrible – condition. It's something I would never have dreamed of uploading here. Until a bit of serendipity intervened, that is.

I recently acquired a nearly complete set of Jazz Information magazines. This publication was short-lived – around for only two years – but it is credited with being one of the first music publications to concern itself exclusively with jazz (Down Beat was more of a pop music rag at the time). It is usually credited to Ralph J. Gleason, later the influential critic for the San Francisco Chronicle and jazz publications, but it really was the brainchild of one Eugene Williams (Gleason was relegated to an associate editor after half a dozen issues).

In one of the issues of JI was a lengthy review of the sides waxed for the "Chicago Jazz" album. When I saw that, I decided I had to post the LP, scratches be damned! Here's the complete JI review from April 1940:

I've done considerable work to clean up the record's pitiful sound and though there are crackles here and there, one can now hear the music clearly. And great playing it is – especially the Bix-like trumpet work of Jimmy McPartland and the unusual alto sound of Boyce Brown, a stylist without antecedent (at least, to these ears). If you're in downloading doubt, here's a sample of the quality you'll get (Jimmy McPartland's "Sugar"):

Chicago Jazz, Decca DL 8029

Full personnels, dates are icluded in download.

Eddie Condon and His Chicagoans

New York, NY; August 11, 1939
1. Nobody's Sweetheart

2. Friar's Point Shuffle

3. There'll Be Some Changes Made

4. Someday Sweetheart

Jimmy McPartland and His Orchestra

Chicago, IL; October 10, 1939

5. China Boy

6. Jazz Me Blues

7. Sugar

8. The World Is Waiting for the Sunrise

George Wettling's Chicago Rhythm Kings

New York, NY; January 16, 1940

9. Bugle Call Rag

10. Sister Kate

11. Darktown Strutter's Ball

12. I Found a New Baby

Find it here: http://www.mediafire.com/download/yuqn6idopb49h98/Chicago_Jazz.rar

Tone Groove

Lucky Thompson always had marvelous tone, a quality that made him instantly recognizable as a soloist. Could his reed's patented parallel tone grooves have been the secret? This ad from a 1957 edition of Jazz Today would have us believe it was so.

Whatever the case, here's Lucky demonstrating that tone on Triumph 904, a side recorded in New York in 1950 with Pritchard Chessman and Shahib Shihab on reeds, Ray Copeland on trumpet, trombonist Ted Kelly and a rhythm section of Ed Swanston, Peck Morrison and Al Walker on piano, bass and drums. Its title is "Coolin' for Collins," a dedication by Lucky to a local DJ. As always, this music was ripped from the (srcatchy) original 78.

Two Charlies

In a 1951 edition of Metronome magazine, King took out a two-page ad featuring two stars of jazz who used their product. The "Two Charlies" at the top of the spread refers to Bird, seen here, and tenorist Charlie Ventura who was featured on the facing page. But we know Bird also played the bigger horn. Whether it was a King is anybody's guess. Photo by Gems of Jazz 

The king of the alto saxophone played a King. So proclaims this ad from an old Metronome magazine. Of course, jazz fans know that Bird's horn was often a thing of the moment – if not a King, than any alto that was available, including – once in Toronto – a white plastic marching band horn. It didn't seem to matter what Charlie Parker used to play his music – the result was always the same. Genius.

But Bird didn't always play alto. With Earl Hines in 1942 he held down the tenor chair. To disguise his sound for contractual reasons, he also played the bigger horn on a date with Miles Davis in 1953 for Prestige. And here's Bird at an unknown club date some fifteen months before his tragic passing, soloing on tenor.

Two Charlies indeed!

Charlie Parker was playing tenor on this gig, probably from late 1953 in New York City. The photo appeared in the February 1954 edition of Metronome magazine, accompanying a squibb about a recent rerelease of some of his Dial material. Wonder whose horn it was? Photo probably by Bob Parent 

Sims Swings Sambas

A journeyman tenor player who, according to those who know, never played a false note. John "Zoot" Sims in the '70s, about a decade after he recorded for Colpix. Unknown photographer 

I never thought much of Zoot Sims in my early days of collecting, mostly because I'd never really heard him. There were no records available, or very few anyway. I was into Archie Shepp, Coltrane, Booker Ervin, Dolphy and Ornette – the avant garde. Their LPs were hard to find too, but Zoot was all but invisible when it came vinyl. In the early '70s anyway.

But later on – much later on – I met and got to know some dedicated veterans of the jazz life, and to a man they all worshipped Mr. Sims. One in particular, a tenor player who had worked in Lionel Hampton's big band and maybe in Kenton's too, never went anywhere without his case of Zoot records. This guy – Milt Hissler was his name – never really lived anywhere, camping in hotels mostly, on the road constantly, everything he owned fitting into several neatly packed suitcases. But he took the trouble to have Sims with him always. A real testament.

What inspired Zoot Sims' colleagues to hold him in such high regard? I suppose it was because of his selfless dedication to his art form, and to the unmatched quality and consistency of his work. A disciple of the President, Zoot was no "repeater pencil." His interpretation of Lester's laconic, endlessly inventive Kansas City choruses was his own. And because he was no enigma, more approachable than Lester could ever be, he attracted a following of those who would be like Basie's star soloist but who lacked the requisite talent (and that would be nearly everybody).

In the early '60s, an unknown kid named Paul Winter sold a lot of Columbia records with jazz in a style from Brazil called "bossa nova." Stan Getz picked up its cool, sophisticated slink and hit big on the pop charts with "Girl from Ipanema" in 1964. In between, Zoot Sims was enlisted in an effort to sell the "new beat" to jazz fans by a non-jazz label called Colpix.

An imprint of Columbia Pictures, Colpix featured pop artists, many of whom worked for the parent company in movies or on TV. The label's jazz output, though often of high quality, was minimal, and sales may have suffered due to somewhat indifferent jacket graphics and liner notes. But in August of 1962, Colpix invested heavily in a session by Zoot Sims, and the results were excellent. Classic Zoot: melodic, flawlessly executed and swinging.

Here are Vols. 1 and 2 of "New Beat Bossa Nova," a Zoot Sims release featuring arrangements by Manny Albam and Al Cohn (Zoot's musical alter-ego). Guitarist Jim Hall isn't mentioned on the front covers, but he deserves second billing – the albums feature him as much as they do Zoot. One LP consists of Brazilian originals, the other of familiar jazz and pop numbers given the samba treatment. Note that Zoot pays tribute to Lester with an unlikely bossa treatment of Prez's "Tickle Toe."

As always, these tunes were ripped from the original LPs with no enhancement other than a light cleaning up of minor surface noise.

New Beat Bossa Nova, Colpix CP 435

Zoot Sims, ts; Jim Hall, g; Spencer Sinatra, pic, fl, al fl; Phil Woods, cl; Gene Quill, cl, b cl; Ronnie Odrich, fl, cl; Kenny Burrell, g; Art Davis, b; Sol Gubin, Ted Sommer, Willie Rodriguez, perc; Manny Albam, Al Cohn, arr.
New York, NY; August 20, 1962

1. Recado Bossa Nova, Pt. 1

2. Recado Bossa Nova, Pt. 2
3. Cano Canoe
4. Contando a Orquestra
5. Ciume
6. Maria Ninguen
7. Sem Saudades de Voce
8. Barquinho de Papel 

New Beat Bossa Nova, Vol. 2, Colpix CP 437
Zoot Sims, ts; Jim Hall, g; Jerry Sanfino, fl; Spencer Sinatra, pic, fl, al fl; Phil Bodner, fl; Sol Schlinger, b cl; Ronnie Odrich, fl, cl; Barry Galbraith, g; Milt Hinton, b; Sol Gubin, Ted Sommer, Willie Rodriguez, Tommy Lopez, perc; Manny Albam, Al Cohn, arr.
New York, NY; August 1962

9. Bernie's Tune

10. Poquito Cantando

11. Tickle Toe

12. Lonesome Road

13. Instant Samba

14. They Call the Wind Maria

15. Lover Come Back to Me

16. Nature Boy

17. Reaching for the Moon

18. Don't Fool with Love

Find it here: http://www.mediafire.com/?uj86i0yyb44znlv

Jukebox Jazz: Tenors

The year is 1953, it's July and it's hot in New York City. Especially in your third-floor walk-up aprtment in a Harlem brownstone at 129th and Fifth Avenue. Too hot to even hang out on the stoop. So you stroll four blocks down to 125 and slide into the Lenox Lounge around the corner. They've got air-conditioning, cold beer and, best of all, a hot jukebox. The sides aren't the latest, and they're a little worse for wear – especially the hits – but each one jumps more than the last. You drop a nickle in the slot, punch up A-12, and straddle a stool at the bar as the opening chords to "Robbin's Nest" fill the room. That feels better!

I've been collecting 78 rpm records since about 1970, and sometimes I like to think of them in context. Like the scenario above. Perhaps one or two of these sides actually was in a jukebox in a joint in Harlem, or on South Central, or Cottage Groove and Indiana. So, since the warm months are coming up, I thought it might be nice to assemble a set of lounge-type sides for your summer listening. Each tune features a tenor player – though not always as the leader. They all come from the decade 1944 to 1953, so they mostly qualify as bop-inflected jump blues, precursors to rock 'n' roll. There are some stellar moments, like Lucky Thompson's accompaniment to Lips Page's vocalizing and Georgie Auld's soprano work on "Heaven." And then there's 26-year-old Billy Taylor comping with an organ player while John Hardee takes a chorus – unusual to say the least!

Some of these recordings are available elsewhere, but most are not. You can find the McVeas and Jacquets if you look, but the Ben Webster sides (actually a Tony Scott date) are real rarities (they feature Sarah Vaughan and Dizzy Gillespie). So you may decide this jukebox set is worth your downloading efforts. When the temperature hits 90 degrees, they may be just hot enough to cool things down.

As always, these tunes have been ripped from the original discs with only a bit of sound cleaning. Be forewarned that there is some surface noise.

(Personnel, dates and labels are included with the download.)

Illinois Jacquet
1. Robbin’s Nest
2. Jacquet’s Mood
3. Blow, Illinois, Blow
4. Illinois Blows the
5. Jacquet Bounce
6. Jumpin’ at Apollo
7. Jacquet in the Box
8. Jacquet and Coat

Georgie Auld
9. Airmail Special
10. Here Comes Heaven Again

Lucky Thompson
11. The Lady in Bed
12. It Ain’t Like That
13. Gee, Baby, Ain’t I Good to You?

Ben Webster
14. All Too Soon
15. Ten Lessons with Timothy

John Hardee
16. Take the A Train
17. The Bug

Eddie Lockjaw Davis
18. Chihuahua
19. I Only Have Eyes for You

Jack McVea
20. Don’t Blame Me
21. O-kay for Baby
22. Play It Over
23. My Business Is C.O.D.

Find it here: http://www.mediafire.com/download/bw5humdjklh9en5/Jazz_Jukebox_Tenors.rar

Jack McVea and his jumping band, including drummer Rabon Tarrant (next to Jack who is opening the bus door), about to embark on a tour to promote their Black & White hit, "Open the Door Richard." Photo from "Harlem of the West: Fillmore Jazz Era"