A LOT OF LIST’NIN’ TO DO ∽ MR. COLE PORTER’s GONE 50 YEARS AGO

cole-porter-1945-1He was a genius. That’s easy to say ’bout someone who wrote 300 songs in the beginning of his career, songs, no one remembers today:

From “Jeri Southern Meets Cole Porter”, “Which?”

For Cole Porter it was just fun, big fun to write a song ev’ry day. Maybe he was always “So In Love”?

Kenny Dorham (tp) Harold Land (ts) Amos Trice (p) Clarence Jones (b) Joe Peters (d) – NYC, July 8, 1960

I don’t know, ’cause I haven’t met the man. — Cole Porter fell off a horse in 1937, and the horse fell on his legs, and from this moment on he painfully said goodbye ev’ry time ’till the day came when he had to say it for real: October 15, 1964.

 

Jeri Southern meets Cole Porter - frontThe world lost a musical genius on this very day; and the world was brutal to the man, to the ever so elegant, the witty, the sparkling, the sarcastic, the adventurous Mr. Cole Porter, to Mr. Great American Songbook, I’d rather say, or Mr. Jazz Age, Mr. … “What Is This Thing Called Love?”

Artie Shaw & His Orchestra, NYC, September 27, 1938:

Hey, Mr. Porter – wherever you are at the moment – I just wanna thank your for the wonderful music you gave to this unworthy world, the beautiful music & inspiring lyrics you gave to us.

You’re certainly not “Ev’rything I Love” (I’m more into chicks, ya know) ;) …anyway, here it comes, one of the most beautiful songs you ever wrote: “Ev’rything I Love”.

Glenn Miller & His Orchestra, Ray Eberle sings it on November 3, 1941:

Bill Evans (p) Chuck Israels (b) Paul Motian (d) – June 5, 1962:

– And now, we say goodbye, and that a lot of times ’till the day’ll come when we have to say it for real.

Ev’ry Time We Say Goodbye – Maxine Sullivan & Teddy Wilson, 1945 & Ev’ry Time We Say Goodbye – Peggy Mann & Benny Goodman (cl) Red Norvo (vib) Teddy Wilson (p) Sid Weiss (b) Morey Feld (d) – 1945.

John Coltrane (ss) McCoy Tyner (p) Steve Davis (b) Elvin Jones (d) – NYC, October 26, 1960:

Posted in Anniversary, Cole Porter, Invented Truths & Actual Happenings, It's been a ball!, It's gonna be a ball, Jazz History Lecture, Jazz Stories & Tales, Jazz Stories & Tales, Invented Truths & Actual Happenings, Obituary, October, Poetry, Portrait, The Roaring Twenties, Tongue In Cheek | Tagged , , , , , , | Leave a comment

INDIVIDUALISMUS auf die Spitze getrieben, oder: DER ANTIKE BLECHDECKEL — ORANGE BLOSSOM LANE (1941) & ORANGE COLORED SKY (1950)

Bittere_Orangenmarmelade_DeckelUnd was hat das mit Jazz zu tun? Eigentlich gar nichts. Aber mit zwei Jazztiteln, die das Wort “Orange” enthalten.

Ab und zu kaufe ich KOO Orangenmarmelade aus Südafrika. Sie enthält weniger Zucker, und schmeckt – in kleinen Streicheinheiten (sic!) genossen – sehr gut auf Toastbrot mit leicht gesalzener Butter.

Früher hatten die Dosen noch einen Blechdeckel, der – aus welchen Gründen auch immer – vor ein paar Jahren einem öden, schmucklosen Plastikdeckel weichen musste. — Ich hasse derlei Verschlimmbesserungen.

Zum Glück besitze ich noch einen der alten Blechdeckel; und es ist das Größte, den Plastikdeckel in die gelbe Tonne zu befördern und den alten Blechdeckel auf die Marmeladendose zu setzen.

Wahrscheinlich bin ich der einzige Mensch in NRW – oder gar in ganz Deutschland? – oder in Europa? – Who knows? -, der noch diesen Blechdeckel besitzt.

Deswegen: Es lebe der Individualismus! — Nieder mit der Uniformität!

– Und jetzt zum orangenen Jazz:


“Orange Blossom Lane”GlennMiller_Complete_Vol_7, gesungen von Ray Eberle, begleitet von Glenn Miller & His Orchestra; die Aufnahme stammt vom 03. September 1941, und Jerry Gray war der Arrangeur.

Pete-Rugolo-007

 

 

 

 

 

“Orange Colored Sky”, gesungen von Nat ‘King’ Cole, begleitet von Stan Kenton & His Orchestra; die Aufnahme entstand irgendwann in den 50ern, Pete Rugolo war der Arrangeur.

Viel Vergnügen … auch mit der wunderbar bitteren Orangenmarmelade ;)

P.S. — Die Scans sind von mir.

Bittere_Orangenmarmelade_Dose

 

Posted in Blogging is swell!, Dedication, Delikatessen...LOLL., Etymology, Exoticism, Glenn Miller, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jerry Gray, Madness, Nat "King" Cole, Pete Rugolo, Ray Eberle, Stan Kenton, Swing Era, Tongue In Cheek | Tagged , , , , ,

Freitag, den 29. August 2014 20:00 Uhr: Die drei Wünsche der Jazzmusiker

Die drei Wünsche der Jazzmusiker

Freitag, den 29. August 2014 20:00 Uhr

Jazzgeschichten aus der Jazzgeschichte

140829-Jazzgeschichten-4

Eine ungewöhnliche Kombination von Musik und Text: Jazzgeschichten aus der Jazzgeschichte

Warum Billie Holiday Angst vor Streichern hat, Miles Davis Papierschnipsel zur Probe mitbringt, warum Üben nicht hilft und Komponieren wie Sex ist…
Bestimmen Sie, was gelesen wird, gewinnen Sie etwas, äußern Sie drei Wünsche und erleben Sie Musik vom Feinsten!

Markus Quabeck: Kontrabass
Bruno Leicht: Trompete
Holger Schwab: Stimme

Eintritt 12 €
zu reservieren unter:
Freiraum 0221 / 823 12 40

FREIRAUM e.V., Gottesweg 116a, 50939 Köln
Tel 0221 / 823 12 40, Fax 0221 / 222 11 63
Öffnungszeiten: Di-Do 11:00 – 13:00 + 16:00 – 18:00 Uhr
Sa 12:00 – 14:00 Uhr und während der Veranstaltungen

 

Posted in August, Invented Truths & Actual Happenings, It's gonna be a ball, Jazz History Lecture, Jazz Stories & Tales, Jazz Stories & Tales, Invented Truths & Actual Happenings, Miles Davis, Pannonica de Koenigswarter, Swing Era, The Roaring Twenties | Tagged , , , , , , ,

ARE YOU IN THE MOOD FOR “JUMPY NERVES”? — Wingy Manone & His Orchestra, featuring Leon “Chu” Berry — 1939

WingyManone_TheLeftyA long, and rather frustrating search is over, dear swingin’ folks –

OK, I really tried everything for completing a strictly-from-vinyl-to-CD album, entitled:

From “Tar Paper Stomp” To “In The Mood” – The Chronology Of A Classic Jazz Hit – 1930 – 1966

Alas, I couldn’t find an untampered, non-echoed version of Wingy Manone’s “Jumpy Nerves” a.k.a. “Tar Paper Stomp” a.k.a. “Hot And Anxious” a.k.a. “There’s Rhythm In Harlem” a.k.a. “Hot String Beans” a.k.a. “In The Mood” on any RCA-LP, featuring this very track (I kept #3, because “JN” is the only echoed track on this LP, the others are untouched):

1. The RCA Victor Encyclopedia Of Recorded Jazz – Vol. 8SONY DSC

 

 

 

2. RCA – Jazz Stars Series – Vol. 1wingy_manone-jazz_star_serie_no.18_-_16_original_recordings

 

 

 

3. Leon “Chew” (sic!) Berry with Wingy Manone & His Orchestra – The Original (sic!) Victor Recordingsleon_chew_berry-chew._choo._chu___co

 

 

 

4. The Indispensable Chu Berry – Jazz Tribune – RCAMI0001841786

 

 

 

5. Great Jazz Brass – RCA CamdenR-3067753-1315046787

 

 

 

OK, I finally gave it up, and was short before ordering the very rare and out-of-print Mosaic-CD box Classic Chu Berry – The Columbia & Victor Sessions; alas, and sorry: But *NO*, no f…… way, just too expensive!

Following an inspiration, I began to search for “Jumpy Nerves” at ieBuy, and voila!

Now, hear this, and feel free to clickety-click on the beautiful HMV-label from 1943, and listen to the most authentic, the only untampered version of “Jumpy Nerves” on a black disc, as it was recorded by Wingy Manone & His Orchestra in New York City, on April 26, 1939:

Wingy Manone (tp, vo) Buster Bailey (cl) Chu Berry (ts) Conrad Lanoue (p) Zeb Julian (g) Jules Cassard (b) Cozy Cole (dm).

– The rest is great history *)

WingyManone_JumpyNerves_Label

 

*) That’s how the album looks like:

01 1930-08-28 Tar Paper Stomp aka Wingy’s StompBlues – Wingy Manone 3:13
02 1931-03-19 Hot And Anxious – Fletcher Henderson 3:24
03 1932-07-28 Hot And Anxious – Don Redman 2:52
04 1935-07-09 There’s Rhythm In Harlem – Mills Blue Rhythm Band 3:13
05 1938-02-17 In The Mood – Edgar Hayes 3:15
06 1938-03-16 Hot String Beans – Joe Marsala 2:58
07 1938-12-18 In The Mood (Fast version) – Artie Shaw 2:51
08 1939-04-26 Jumpy Nerves – Wingy Manone & Chu Berry 2:49
09 1939-07-26 In The Mood (Extended ‘live’ version, Glen Island Casino) – Glenn Miller 4:50
10 1939-08-01 In The Mood (Studio, RCA Victor Bluebird) – Glenn Miller 3:38
11 1940-01-18 In The Mood – Teddy Wilson 2:49
12 1940-01-31 In The Mood (‘Live’) – Gene Krupa 6:16
13 1940-03-25 In The Mood (‘Live’) – Bob Crosby 3:08
14 1940-04-13 In The Mood (‘Live’) – Benny Goodman 2:20
15 1941-11 In The Mood (Soundtrack) – Glenn Miller 3:22
16 1941-11-22 In The Mood (‘Live’, Sunset Serenade) – Glenn Miller 4:00
17 1944-11 In The Mood – Glenn Miller AAFB 6:03
18 1954-01-01 In The Mood – Duke Ellington 6:01
19 1964-03-10 In The Mood – Harry James 2:24

 

Posted in Anniversary, August, Chu Berry, Dedication, Delikatessen...LOLL., Etymology, Glenn Miller, It's been a ball!, It's gonna be a ball, Jazz History Lecture, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jive, Swing Era, Trumpet, Victory, Wingy Manone | Tagged , , , , , , ,

THE HAWK I LOVE — Coleman Hawkins in 1943: “CRAZY RHYTHM” & “HOW DEEP IS THE OCEAN”

ClassicTenors-LP-aHi there, swingin’ folks –

In the light of a recent article at Michael Steinman’s “Jazz Lives”, I think it’s about time to write something new, closely connected to this very entry.

‘Round twenty years ago, I went to a meanwhile long gone Cologne record store and finally found one of my favorite LP’s:

CLASSIC TENORS – COLEMAN HAWKINS & LESTER YOUNG with some of the greatest sounds, Coleman Hawkins has ever waxed. To a lesser extend would this be true also for Pres’ tracks on this splendidly produced disc with a fold-out cover.

Here we go with “Crazy Rhythm”, featuring Coleman Hawkins (ts) Eddie Heywood (p) Oscar Pettiford (b) and Shelly Manne (d) — December 23, 1943.

But not enough! — The inside of the cover shows two original autographs, one by Hawk, and the other one by trumpeter Bill Coleman who was living in Europe at the time when the former owner of the LP presumably brought the vinyl to a concert, then went backstage for getting it signed by the two greats.

“How Deep Is The Ocean” features Coleman Hawkins as the only soloist, furthermore, Bill Coleman (tp) Andy Fitzgerald (cl) Ellis Larkins (p) Al Casey (g) once again Oscar Pettiford (b) & Shelly Manne (d) — December 8, 1943.

– And here they are, both autographs:

CH_BC_signatures

– Discographical addendum:

COLEMAN HAWKINS & HIS ORCHESTRA: Bill Coleman (tp) Andy Fitzgerald (cl) Coleman Hawkins (ts) Ellis Larkins (p) Al Casey (g) Oscar Pettiford (b) Shelly Manne (d).
WOR Studios, NYC, December 8, 1943: “Voodte”, “How Deep Is The Ocean”, “Hawkins’ Barrel-House” & “Stumpy”.

Note: Some shellack copies list the last track as “Stompy”.

COLEMAN HAWKINS’ SWING FOUR: Coleman Hawkins (ts) Eddie Heywood (p) Oscar Pettiford (b) Shelly Manne (d).

WOR Studios, NYC, December 23, 1943: “Crazy Rhythm”, “Get Happy”, “The Man I Love”, “Sweet Lorraine”.

Both sessions for Signature Records were supervised by Bob Thiele.

P.S. — You’re missing *THE* timeless classic, the hymn of modern swing, you’re missing the “The Man I Love”?

Here it is (feel free to click on the pictured label): hawkin_cole_maniloves_101b

Posted in Bill Coleman, Blogging is swell!, Coleman Hawkins, George Gershwin, It's been a ball!, Jazz History Lecture, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jive, Saxophone, Trumpet, World War II | Tagged , , , , , , | 1 Comment

Repost In The Light Of A Quite Enjoyable Time Travel ;) — RE: old cassette tapes ∼ BRUNO LEICHT’s BEGINNINGS … as a JAZZ COLLECTOR

Preface #1, which can be found in full length at Rifftides:

“Radio was the tiny stream it all began with. Then came other technical means for reproducing, proliferating, amplifying sound, and the stream became an enormous river.

If in the past people would listen to music out of love for music, nowadays it roars everywhere and all the time, “regardless whether we want to hear it,” it roars from loudspeakers, in cars, in restaurants, in elevators, in the streets, in waiting rooms, in gyms, in the earpieces of Walkmans, music rewritten, reorchestrated, abridged, and stretched out, fragments of rock, of jazz, of opera, a flood of everything jumbled together so that we don’t know who composed it (music become noise is anonymous), so that we can’t tell beginning from end (music become noise has no form): sewage-water music in which music is dying.”

By Milan Kundera, Ignorance

Preface #2:

Today’s “radio” has almost nothing to do with the great experience of real “listening” to music, to a political reportage, or to a sports event in the early days of the medium.

I was lucky, because for me, radio was still a horn of plenty, then, in the mid to late 1970’s when I started diggin’ jazz.

This changed very soon, let’s say, it started to change radically in the mid-1980’s, when the first commercial TV stations went on the air.

This post is about my very first experiences I had with radio, with jazz on the radio in particular.

Blog owner’s note: I’m definitely *not* talking about internet radio, which is not *the* radio as others and I understand it: Streaming sounds in bits & bytes can’t substitute a full-frequency stereo signal; never ever!

Here’s my comment to the subject, I’ve posted at Rifftides as I “composed” this article (it’s for the readers who would like to stay here for a little while):

When I turned on the radio between 1978 to 1985, it was inspiring & informative, which was all I needed for my musical learning progress. I recorded loads of 1-hour jazz musicians’ profiles on tapes, on cassettes, to be precise.

On the 10th anniversary of Duke Ellington’s death, young folks like me had the chance to find at least a dozen broadcasts covering not only his whole recording career from 1924 to 1974, but they were also focussing on specific aspects of his work:

“The Duke Ellington Suites”, “The DE Small Bands”, “The DE Carnegie Hall Concerts”, “DE As A Pianist”, etc. — In Germany’s radio culture of the 21st Century, this would hardly be possible.

Particularly jazz radio is mostly about the newest release by X, Y, or Z, but it doesn’t care for “education” anymore; to find something of jazz historical content is almost impossible, and if there are such kind of “old fashioned” jazz broadcasts, they would be aired long after midnight; just as if they would like to hide those precious sounds (the great big bands are filed under “easy listening”, to name just one of hundreds of misinterpretations).

The very same goes for New Music, or anything which would be off the mainstream, or subculture, or only “too inconvenient for the average listener”.

And the worst is: They don’t give a damn. It’s almost impossible to find a common theme: Everything is cut down to digestible nibbles à la “No! Don’t let us overtax the listener.”

Maybe I’m sounding too pessimistic, too emotional perhaps? Well, music is about emotion, it should not degenerate to “Muzak”.

Every time I’m visiting the dentist of my trust, he is turning off the radio. Why? Because I told him he would lose a patient if he wouldn’t turn off that crappy “Radio Köln” station.

Especially as a trumpeter you need an able, a focused dentist, who is not distracted by annoying commercials which are always louder than the actual “music”.

Here now, the unaltered original thread from April 4, 2011:

Dear swingin’ folks –

This post could be all about Margie, alas it won’t. — My first experience with Margie occurred when I was in the tender age of 15. I got a cassette recorder for Christmas, or was it my birthday? I don’t remember.

It might have been the year 1978, the 40th anniversary of the famous Carnegie Hall Concert, January 16, 1938.

What I remember, is, that I had a portable radio too. I’d put the tape recorder with the inbuilt microphone close to the radio speaker and pushed the ‘record’ button as soon as I heard big band swing in the Süddeutscher Rundfunk.

Among them very first jazz sounds I had recorded this way, was a broadcast, a quite short radio portrait on Benny Goodman. One of the featured tunes was … yeah, you got it! It was my beloved Margie, played in a great big swinging way by Benny Goodman & His Orchestra! — Harry James – whom I didn’t know then – soloed on trumpet.

The sound of the cassette was below Lo-Fi. To be honest: it was a torture to listen to it. But it was all I had. And I listened to it over and over, again and again. Blog owner’s note: a sample of the original tape can be heard on the below playlist.

That’s how those cassettes looked like in the late 1970’s:

After some bad experiences with the FerroSuper formate, I changed to Chromdioxid cassettes like this:

The tunes were: Riffin’ At The Ritz (Benny plays lead alto sax), Margie, Russian Lullaby and a version of King Porter Stomp I got crazy over since I couldn’t find it anywhere until a friend of mine, one of the moderators of BBT, gave me the clue: it was recorded for the soundtrack to The Benny Goodman Story. But my search for the original sounds of that broadcast is another story and will be told later.

I still have that very tape. And I still love that tune, I still love Margie. Maybe, one day I’ll play the definitive version ;) Maybe!

I’ll let you know, and so: stay tuned!

BREW’s FIRST BEE GEE, or: A reconstructed radio portrait of Benny Goodman

Posted in Benny Goodman, Blogging is swell!, Dedication, Delikatessen...LOLL., Duke Ellington, Invented Truths & Actual Happenings, It's been a ball!, It's gonna be a ball, Jazz History Lecture, Jazz Stories & Tales, Jazz Stories & Tales, Invented Truths & Actual Happenings, Madness, Sabina, Summer 1983 | Tagged , , ,

BREW LITE’s NINE O’CLOCK BEER BOYS — ‘Live’ @ NUNK MUSIC RECORD STORE, Cologne, June 7, 2014

Band_Personnel

6-7-2014_BREW-LITE-S-NINE-O-CLOCK-BEER-BOYS-FLYER

Posted in Anniversary, Barney Bigard, Birthday Party, Blogging is swell!, Blues, Clarinet, Dedication, Delikatessen...LOLL., Duke Ellington, Exoticism, It's been a ball!, It's gonna be a ball, Jazz Rhumba, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jimmy Blanton, Johnny Hodges, June, Obituary, Portrait, Rex Stewart, Saxophone, Swing Era, Tongue In Cheek, Trumpet | Tagged , , , , , , , , ,