LET’s START THE YEAR WITH SOME GREAT BIG JAZZ BY … ‘Little Jazz’ Roy Eldridge (1911-1989) — (Some Links added, 01-10-2015)

RoyEldridge_1937This is what I sent to a couple of friends and to my trumpet students: “Bruno’s New Year’s Compilation”, featuring ‘Little Jazz’ Roy Eldridge with Gene Krupa & His Orchestra, Anita O’Day, and some more obscure tracks with Roy as sideman from 1936 to 1950:

Roy ‘Little Jazz’ Eldridge with Gene Krupa – Studio & ‘Live’ Recordings – 1936-1942

Gene Krupa’s Swing Band:BennyGoodman_TheComplete_Vol_2

Gene Krupa (d) Roy Eldridge (tp) Benny Goodman (cl) Chu Berry (ts) Jess Stacy (p) Allen Reuss (g) Israel Crosby (b) Helen Ward (voc) – Chicago, February 29, 1936

01 I Hope Gabriel Likes My Music
02 Mutiny In The Parlor (Helen Ward, voc)
03 I’m Gonna Clap My Hands (Helen Ward, voc)
03 Swing Is Here

BennyGoodman_Gang_1936

GeneKrupa_DrumminMan_CBS-Box_frontGene Krupa & His Orchestra:

04 Let Me Off Uptown (Anita O’Day & Roy Eldridge, voc; alternate)
05 Let Me Off Uptown (Anita O’Day & Roy Eldridge, voc; master) – New York, May 8, 1941
06 Kick It (Anita O’Day, voc; studio) – New York, June 5, 1941
07 Rockin’ Chair (‘Live’)RoyEldridge_TheKrupaYears_1941-1942_SIdeman-1940_a
08 Kick It (‘Live’) – June 7, 1941
09 Tunin’ Up (Studio; original shellack)
RoyEldridge_EarlyYears_CBS_a10 Rockin’ Chair (Studio; alternate)
11 Rockin’ Chair (Studio; master) – New York, July 2, 1941
12 Tunin’ Up (‘Live’)
13 Let Me Off Uptown (Anita O’Day & Roy Eldridge, voc; ‘live’) – September 17, 1941

14 Thanks For The Boogie Ride (Anita O’Day, voc) – January 17, 1942
15 12th Street Rag
16 One O’Clock Jump (‘Live’) – March 18, 1942Little-Jazz_Roy-Eldridge_1940-s
17 Embraceable You (Roy Eldridge, tp) – March 20, 1942
18 Drum Boogie (Anita O’Day, voc; spliced_’live’) – Part 1, unknown date; part 2, August 24, 1942

Roy ‘Little Jazz’ Eldridge – Miscellaneous Tracks – Sideman Years

FreddieRich_Bandleader_1898-1956Freddie Rich & His Orchestra

01 ‘Till We Meet Again
02 A House With A Little Red Barn (Rosemary Calvin, voc)
03 I’m Forever Blowing Bubbles
04 How High The Moon (Rosemary Calvin, voc) – Benny Carter (as & arr); NYC, February 14, 1940

RosemaryCalvin

GeneKrupa_AnitaODay_1942Gene Krupa & His Orchestra:

05 Starburst (Theme) into Tunin’ Up
06 Alreet (Anita O’Day, voc)
07 Ball Of Fire (‘Live’) – NYC, Spring 1941
08 After You’ve Gone (Alternate)
09 After You’ve Gone (Master) – NYC, June 5, 1941

10 Gary Cooper Is Searching For Slang And Is Finding ‘The Drum- & The Match-Boogie’ Instead (Martha Tilton, voc; from the screwball comedy “Ball Of Fire”, 1941) – Hollywood, Autumn 1941

BarbaraStanwyck_GaryCooper_BallOfFire_Still
11 Skylark (Anita O’Day, voc)
12 Bolero At The Savoy (Anita O’Day, voc)
13 Thanks For The Boogie Ride (Anita O’Day, voc) – New York, November 25, 1941RoyEldridge_bw

14 Ball Of Fire (Alternate)
15 Ball Of Fire (Master) – New York, December 29, 1941

Boyd Raeburn & His Orchestra:

16 A Night In Tunisia (Roy Eldridge, tp; Tommy Pederson, tb) – Radio transcription “Hotel Lincoln”, New York, March 27 & April 3, 1944
->>>—-> JazzTube-Link

RoyEldridge_ReadsBenny Goodman & His Orchestra:

17 Darktown Strutter’s Ball (1944-version; ‘live’)

Gene Krupa & His Orchestra:

18 After You’ve Gone (‘Live’-1949) ->>>—> JazzTube-Link

 

King David & His Little Jazz:

Roy Eldridge (tp) Benny Vasseur (tb) Albert Ferreri (ts) William Boucaya (bars) Raymond Fol (p) Barney Spieler (b) Robert Barnet (d).

19 I Remember Harlem – Paris, October 28, 1950RoyEldridge_TheManyFacesOfJazz-Vol-9_a

Now, why did I compile all those recordings in this manner? The nucleus, so to speak, is this one LP: “Roy Eldridge – The Krupa Years 1941-42 – Sideman 1940″. I always loved it, but I – as you meanwhile know me – hated it at the same time.

It’s because its careless structure: A wild mix of dates, many tunes are off-pitch, and the last four tracks seem to serve as a filler to make the LP a bit longer.

The first thing was to bring the Eldridge-Krupa tracks in chronological order. Then I corrected the pitches and smoothened the spliced tunes a little (no cuts of course, but correcting pitch-changes in between them).Tunin' Up

Then I added the wonderful session with the 1936-tracks, and the studio versions (they are on the great twofer “Drummin’ Man”), together with alternates from another CBS twofer (Roy Eldridge – The Early Years), and voilà:

— The 1st album was complete :)

BennyCarter_1940The 2nd album starts with the four 1940-studio tracks by the Freddie Rich Orchestra, the girl-vocalist, Miss Rosemary Calvin (she sang with Vaughn Monroe), a quite restrained sounding Roy, and Benny Carter who penned some of the arrangements. This was obviously just a routine gig for the two, and they are strictly improvising, err, by the book.

 

Roy & Gene %22Tunin' Up%22The next three tracks are with the Krupa Gang, with Anita, and a weirdly (loaded?) sounding “Little Jazz” (if he was soloing at “Fire Ball” at all?). — Then some of the great hits, and a couple of tracks with Roy, messing up both, the 1944-Goodman-aggregation, and the 1949-Krupa bop-band.

The most obscure track is the probably first recorded version of “A Night In Tunisia” while Roy was meeting Raeburn.

— By the way: The scene from “Fire Ball”, when Miss Stanwyck is entering the stage for the 2nd time, and Roy’s missing in the trumpet section, has been described as a racial thing. — I think it’s not that easy to tell.

RoyEldridge_WebDownload

If you’d listen closely at “Match-Boogie”, you will hear guitar, bass & a muted trumpet … guess who’s *NOT* missing? — I think, Roy either went to the toilet, or he just was directed towards the table for preparing the “Match-Boogie” scene. — OK, we don’t see him; but he’s audible. — The “official” reason why we don’t see him? They told him he was too tall, and so he had to stay in the background … Aha! And Mr. Cooper (6′ 3″/ 1,91 m) was obviously too small ;)

It’s a pity that there are not too many live-recordings with the 1941-42 Krupa band; but the few tracks are full of joy, swing, and jazzy creativity: A very explosive bandleader and his top brass man at their peaks. — Wow!GeneKrupa_bw

The last track on the 2nd album, “I REMEMBER HARLEM”, is telling us the tale of a little black jazz trumpeter who made it big time, but who was struggling for justice during his whole life.

We all know the stories about a crying Roy Eldridge in Gene’s brass section after racist hotel managers had told him to use the backstage door for getting on the band stand, despite his protest that he would be on the poster at the main entrance.

— Hey, that’s all over, he made it anyway, and that victoriously!

RoyEldridge-Blows-Colorized

 
P.S. — Although this is mainly a text-post, I will nevertheless add some links to music & videos later on. — Stay tuned!
Posted in Anita O'Day, Benny Goodman, Big Band Vocalist, Blogging is swell!, Chu Berry, Delikatessen...LOLL., Gene Krupa, It's been a ball!, It's gonna be a ball, Jazz History Lecture, Jazz in Paris, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jive, Madness, Roy Eldridge, Swing Era, Trumpet | Tagged , , , , , , , , , , , , , , , , , , ,

BREW wishes ALL of YOU a HAPPY JIVE into & through TWO-ZERO-ONE-FIVE !!!

P.S. — Here’s the original “WALLER JIVE”/ “HALLELUJAH” medley by Thomas ‘Fats’ Waller, and without any brassy, err, “enhancements” by yours truly:

Posted in Anniversary, Birthday Party, Blogging is swell!, Dedication, Delikatessen...LOLL., Invented Truths & Actual Happenings, It's been a ball!, It's gonna be a ball, January, Jazz Stories & Tales, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jive, Madness, Much snow, Obituary, Poetry, Tongue In Cheek, Trumpet, Winter | Tagged , , , , , , , , , ,

Another eternal repost: CHRISTMAS JAZZ from SWING to BOP — BREW’s ULTIMATE SEASONAL PLAYLIST

Have yourself a…
MERRY, HAPPILY SWINGIN’, COOL & PEACEFUL CHRISTMAS, dear folks!

By the way:

— NONE of the tracks on the below playlist could be found on the pictured album.
— ALL of them have been taken from various LP’s in my collection.
— EACH of them is a classic, and…
… — MOST of them are very jazzy interpretations of timeless American Christmas Carols, compiled for your listening pleasure by yours truly swingin’,

Brew

CHRISTMAS JAZZ FROM SWING TO BOP — PLAYLIST

Credits:

01 Swingin’ Them Jingle Bells — Thomas ‘Fats’ Waller & His Rhythm, 1936
02 Santa Claus Is Coming To Town — Tommy Dorsey with Edythe Wright, 1935
03 Jingle Bells — Benny Goodman & His Orchestra, 1935
04 Jingle Bells — Glenn Miller with Marion Hutton, Ernie Caceres, Tex Beneke, Ray  Eberle & The Modernaires, another early “modal” trumpet solo, this time by Billy May, 1941
05 Let It Snow — Woody Herman with Sonny Berman & Bill Harris, 1945
06 The Christmas Song — Nat ‘King’ Cole Trio, 1946
07 Announcement
08 Half Nelson
09 White Christmas
10 Little Willie Leaps — Charlie Parker Quintet, Royal Roost, NYC, Christmas broadcast from December 25, 1948
11 Santa Claus Is Coming To Town — Paul Bley with Charles Mingus & Art Blakey, 1953
12 The Christmas Song — Mel Tormé at the Crescendo, 1954
13 Greensleeves — Bill Smith with Jim Hall, Monty Budwig & Shelly Manne, 1959
14 Jingle Bells #1 — Duke Ellington & His Orchestra, 1961
15 The Christmas Song — Bud Powell (vocal & solo piano), Paris, 1961
16 Blue X-Mas (To Whom It May Concern) — Bob Dorough with the Miles Davis Sextet, 1962
17 Jingle Bells #2 — Duke Ellington & His Orchestra, 1962
18 The Christmas Song — Dexter Gordon Quartet, 1970

Blowing Christmas Kiss

Posted in Bob Dorough, Bud Powell, Charlie Parker, Christmas, Delikatessen...LOLL., Duke Ellington, Edythe Wright, Exoticism, Glenn Miller, It's gonna be a ball, Jazz Stories & Tales, Invented Truths & Actual Happenings, Jive, Madness, Much snow, Santa Claus, Swing Era, The Modernaires, Tommy Dorsey, Woody Herman, World War II | Tagged , , , , , , , , , ,

HAPPY 85th ANNIVERSARY, MR. CHET BAKER !!!

user2259_pic148100_1276206427In Düsseldorf’s commons (Uni Mensa in German), in 1986, Chet arrived one hour delayed. He was announced there with his fine trio, featuring guitarist Philip Catherine and bassist Jean Louis Rassinfosse who played a half-acoustic bass.

The George Adams-Don Pullen Quartet – which was supposed to do their set after Chet – did the first half of the concert. This was power jazz with the wonderful Danny Richmond on drums and Cameron Brown on bass. I only remember their energy.

Then came Chet … in sandals, looking like a monk, to put it nicely. He blew a few notes into the mike, stopped abruptly, put the mike to his mouth and then he yelled, in a sudden outburst: “It’s too loud!” — I don’t know what the engineer behind the desk did, but it was obviously okay then and the concert began.

It was great! What a sound, what an inspiring evening. The forceful, almost violent jazz of George Adams was soon forgotten, it just had squibbed into the air. Do I remember particular tunes? Yes, only one: Chet’s interesting, kinda funky version of Cole Porter’s Love For Sale. But what I clearly remember was an all in all good mood when I left the place of the event.

One year later, in Cologne’s now demolished jazz club Subway: Chet was supposed to do two evenings there. This time with a quartet, he only performed on the second, the Saturday night gig.

I don’t know exactly who was in there but I guess it were those guys: Harold Danko on piano, Rocky Knauer on bass, and John Engels was behind the drums.

The band seemed to be stoned which didn’t seem to bother Chet. He was more worried about his horn which apparently didn’t work properly. There he sat, helplessly pushing the jammed valves, then he eventually grabbed the mike and asked something like:

“Some trumpet player around?” I was seated right in front of him and said: “Yes!” Since the great Chet Baker intended to play on my trumpet, I fetched it from the checkroom and handed it over to him.

He took it, looked at it, and counted: “One, two, three, four!” into a very fast and boppish Conception, George Shearing’s masterpiece, a tune as closely connected to Miles Davis as it was to Chet Baker.

He played it in the key of C, that’s what I remember. After the last note, Chet waved my trumpet over his head, smiled at me in a sardonic way while he was pretending to bung the horn in some corner. I was quite shocked, but of course got the joke in the same second. This was my first real instrument, a Getzen Capri but with a little hole in the middle tube.

What do I remember yet? He played the rest of the concert on his own horn and … kept my valve oil. When I arrived later at home I found it gone. Chet Baker, a thief!

During the break, I talked to him a little bit, a short chat with Chet so to speak, and asked him if he had time for giving me a mornings lesson. He only said: “That would be kinda lesson!” …I was satisfied.

Then I talked to pianist Harold Danko. I had brought sheet music to the concert, one of my own compositions in the style of Chet, unaware of the fact that he was a lousy sight reader. Mr. Danko understood my request for plugging an own tune; but then he told me that Chet hardly even played new tunes of his own band members because he was simply too lazy for doing rehearsals. And so I took my sheet and just enjoyed the second set.

Well, of course a very moving and tearfully sung My Funny Valentine, Chet’s silent announcement that this would be his last concert in Cologne, and again a very fast number in the key of C, Charlie Parker’s Cool Blues. This time with Chet’s complete solo and not the edited version from the concert with Bird’s quintet in the University of Oregon, on November 5, 1953, where a moron had just chopped off Chet’s solo; and so we can only hear brief glimpses with Chet during a couple of chase chorusses with Shelly Manne.

Now, the title of my tune which would have fit perfectly to Chet’s style: Out Of The Window …I called it that way because I was leaning out of the window when that very line came into my prophetic mind.

I’m a bit sad that Chet Baker never got to know any of my compositions. But you can believe me: I’m very relieved at the very same time that he never played that one!

CB_Berlin_47_1P.S. #1 — Influences on Chet Baker – A superficial overview

I’m not completely sure about Chet’s musical roots, but I’m certain that he had listened a lot to the big bands, to the “Great American Songbook” as delivered by Tommy Dorsey, or Glenn Miller.

Harry James was one of his influences too. One can hear that on his early recordings with Gerry Mulligan’s quartet. He still had quite a vibrato there.

His main influence was of course Miles Davis, but technically and rhythmically he was definitely inspired by Charlie Parker whose harmonic and melodic language he had quasi eaten up.

Many folks claim that Chet lacked technique. The same fellows, mostly critics, also say that about Miles. But I, as an enthused trumpet colleague, can tell you: Both guys had chops and knew how to handle their horns! — Miles and Chet reflected the new style, a certain coolness which stemmed directly from Lester Young who was another big influence.

P.S. #2 — Chet has the last word with a complete concert video. That’s how I remember him: Strong, direct & humorous.

Enjoy!

ⓒ Bruno Leicht

Cologne, May 13, 2008
(Edited & updated by the author on May 14, 2013; and on December 23, 2014)

CB_YCh_ed

Posted in Anniversary, Chet Baker, Christmas, Dedication, Jazz Stories & Tales, Invented Truths & Actual Happenings, Richard Twardzik, Trumpet, Winter | Tagged , , , , , , , , , , , , , , ,

GLENN MILLER, MISSING FOR 70 YEARS SINCE DECEMBER 15, 1944…

BrewLitesFiveYule-Ites…and therefore we, BREW LITE’s FIVE YULE-ITES, remembered Glenn on December 15, 2012 with a brand new version of Harry Warren’s “I Know Why”.

— Here now, the unaltered rest of the article:

In case you’re in Cologne, feel free to visit our Yuletide concert at “Die Eule”. Tell the cabdriver destination “Bay-In-Valley”, at the Southend of the City ;)

GloriaBrentFor all fans of the wonderful Army Air Force Band, here’s an unknown, and comparatively peaceful little gem for you, a complete BBC Broadcast (or rather what remained of it; as Glenn said: ‘Another half hour next week…’) from September 1944.

It features two splendid vocals, one by British actress and songstress Gloria Brent, the other by Johnny Desmond with the Crew Chiefs. The latter deliver a new tune by Jerry Gray, entitled “All’s Well Mademoiselle”, with a quote of La Marseillaise inserted (linked with one of the key-scenes of a very famous flick).

Glenn_and_Gloria

Enjoy my little tribute to the Major.

Nevertheless: Don’t be too Millerish!JohnnyDesmond

Yours truly,
Brew

Major Glenn Miller & The Army Air Force Band, BBC Broadcast from September 7, 1944

AAFB_live_1944_shot

Here’s a P.S. for jazz historians:

88380. The American Band Of The A.E.F.. September 7, 1944. BBC. The first tune is, “Body and Soul.”

The program includes the first broadcast of, “All’s Well, Mademoiselle.”

Glenn Miller and The American Band Of The AEF, The Crew Chiefs, Johnny Desmond, Mel Powell, Gloria Brent (vocal). 24:35. Audio condition: Good to very good. Incomplete.”

Quoted from HERE; and when I’ve found the rest of the broadcast, this article will be updated… I seem to recall that I have “Body And Soul” from this broadcast in my collection :)

GlennMiller_conducting_AAFB

->>>—> UPDATE <—<<<-

1. I found “Body And Soul” from another broadcast and added it to the playlist. It’s now track #1.

2. —

Posted in Anniversary, Christmas, Glenn Miller, Harry Warren, Invented Truths & Actual Happenings, Jazz Adaptation, Jazz Stories & Tales, Obituary, Sabina, Swing Era, World War II | Tagged , , , , , , , , , , | 2 Comments

Complete for the first time: CHARLIE PARKER’s “BARBADOS”, ‘Live’ in Paris, May 1949

Charlie-Parker-Bird-In-Paris-361402Anyone who knows the LP-version (pictured) will love this: ‘Cause it’s the very first time you can listen to this version of “BARBADOS” with all four theme statements by the Charlie Parker Quintet, and without some distortions due to the limitations of the private off-the-air recording in 1949.

Now, it’s also in the correct pitch ;)

Charlie Parker (as) Kenny Dorham (tp) Al Haig (p) Tommy Potter (b) Max Roach (d) – Salle Pleyel, Paris, France, May 8-15, 1949:

AlHaig-MaxRoach-CharlieParker-Paris-1949

Posted in All American Rhythm Section, Charlie Parker, Dedication, Exoticism, Jazz in Paris, May, Salle Pleyel, Saxophone | Tagged , , , , , , , ,

LET’S TAKE THE WESELSKY-TRAIN — SOLIDARITY-POST FOR THE GDL (German Engineers Union)

25744880-p-590_450Ich find’s immer gut, wenn einer wider den Stachel löckt. — Wir leben halt nicht im Sommermärchenland, wie man uns schon 2006 weismachen wollte … und alle – leider auch ich – sind drauf reingefallen; es gibt aber harte Fakten, die man schon immer nachlesen konnte, wenn man sie wissen wollte:

Entwicklung der Reallöhne in Deutschland

Und es wird immer so weiter gehen, weil “wir Deutsche” uns immer wieder gerne sedieren lassen, von Merkel & Co., von “denen”, die ihre Schäfchen längst im Trockenen haben, und die ihre Pfründe mit Klauen und Zähnen verteidigen werden.

Und das hat nichts mit Neiddebatte zu tun; es hat etwas mit den Seilschaften in diesem Land zu tun, die auch ich immer wieder am eigenen Leib erfahren durfte.

Warum wohl werden in den öffentlich-unredlichen Medien immer wieder dieselben Figuren herumgereicht? Mal isses der “Alibi-Geissler”, der den Standpunkt des “kleinen Mannes” einnimmt, mal sind es Politclowns wie Gysi, Lafontaine & Blüm, die sich selbst immer so eloquent in Pose setzen … mal sehen, wie’s hier in 10 Jahren aussieht.

Ich bin gespannt, ob die “Daddel-Gesellschaft” (iPhone etc.) dann aufgewacht ist? — Es ist nie zu spät, auf die Straße zu gehen. Die GDL macht’s vor. Und das ist gut so.

Wo hab’ ich das mal gelesen? — Zitat: “In der DDR geht es zu, wie in einer Pilzzucht: Sobald sich ein Kopf zu weit vorwagt, wird er abgehackt.”

Das lässt sich Eins-zu-Eins auf die Hetzkampagne von der “BLÖD”-“Zeitung”, dem neuen “Stürmer”, übertragen. Ich verstehe nicht, warum es dieses elende Schmierblatt überhaupt noch gibt. Schließlich haben dessen Schmierfinken, die sich “Journalisten” nennen, bereits viele Leute in den Tod getrieben; siehe die tragische Geschichte eines Helden meiner Kindheit, der Selbstmord von Raimund Harmstorf.

Alleine deswegen werde ich diese Dreckschleuder nicht mal mit ‘ner Kneifzange anfassen:

R.I.P. Raimund Harmstorf

Und jetzt die dazu passende Musik: Revolutionär und aufrüttelnd. Genießt es!

Posted in GDL, Solidarität, Streik, Unabhängigkeit, Vielfalt | Tagged , ,