月別アーカイブ: 2016年3月

Hugues Panassié(1)

March 21.2016

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Last week I posted about Teddy Weatherford.

This week, I want to post about Hugues Panassié who invited him to France.

The Hot Club de France is a French organization of jazz fans.

Member dedicated to the promotion of “traditional” jazz, swing, and blues.

In 1931 the club was founded in Paris by Hugues Panassié and Charles Delaunay and others.

At the time they began promoting concerts for ‘the Quintette du Hot Club de France’.

Unfortunately Hugues Panassié and Charles Delaunay had a different opinion about ‘Bebop’ revolution in jazz.

Charles Delaunay believed the new be-bop style,and Hugues Panassié contended that be-bop was not jazz.

In 1947 the club was split into two camps.

But both men accomplished a great amount of work before spliting in their club.

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Teddy Weatherford(2) In India

March 20.2016

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Teddy Weatherford became the house pianist of the Grand Hotel in Calcutta.

Where he made radio broadcasts for the U. S. Armed Forces Radio Service.

Jimmy Witherspoon belonged in his band.

Unfortunatley Teddy Weatherford died of cholera in Calcutta, aged 41.

About the music activities of his India era, please refer to the Web that would be helpful.

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Teddy Weatherford(1) In Shanghai

March 19.2016

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Inside of the Canidrome 1930s with Buck Clayton performing

I want to post an unforgettable pianist in Shanghai jazz scene in those days.

Teddy Weatherford was born Pocahontas,on 11 October 1903.

From 1915 through 1920 he lived in New Orleans, Louisiana, where he learned to play jazz piano.

He moved to Chicago, where he worked with Louis Armstrong and Johnny Dodds.

At that time Earl Hines was impressed in his stride piano.

In 1926 he toured Shanghai as the pianist in Jack Carter’s Orchestra.

Eight years later, Buck Clayton hired him to play at the Canidrome ballroom in Shanghai.

Buck Clayton was a leader of the “Harlem Gentlemen” in Shanghai.

A 1935 guidebook in Shanghai listed Buck Clayton and Teddy Weatherford as the main jazz attraction at the Canidrome.

In 1935 Buck Clayton and other members left Shanghai and returned home via Japan.

However, he only lived in Shanghai.

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Buck Clayton and his Harlem gentlemen posing in the Canidrome 1930sHugues Panassié

Two years later Hugues Panassie  who was a famous jazz critic in France invited him to Paris.

He played in the Paris World Exposition.

He recorded seven songs in the Swing label.

After he returned to Shanghai,he made a voyage to Culcutta for the Second Sino-Japanese War.

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Midge Williams(2)

March 18.2016

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In August 1934, the Williams Quartette returned to California.

But Midge’s brother Charles died by a gun accident.

By the summer of 1936, Williams moved to New York, and performed on Rudy Vallee’s radio show.

In 1937 she organized her band, Midge Williams and Her Jazz Jesters.

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I took notice of her accompanists.

Members of the Jazz Jesters included John Kirby, Frankie Newton, Buster Bailey, and Charlie Shavers.

Member of John Kirby sextet accompanied her.

In 1938 she joined the Louis Armstrong orchestra, and toured with him across the country.

Regrettably she did not make recordings with Armstrong.

In 1941 she left the Louis Armstrong orchestra.

On January 9, 1952 she died from tuberculosis, at the age of 36.

 

Midge Williams(1) First recording in Japan

March 17.2016

Unfortunately her activity period was shorter.

However, Japanese jazz fan will not forget her.

She was recording debut in 1934 in Japan. It was two years ago to record in  United States.

Midge Williams and three of her brothers formed a singing and dancing group.

The group was called the Williams Quartette.

After their performance in Shanghai in 1933,they stayed about six months in Japan.

They gave a performance at Imperial Hotel and Florida Dance Hall in Tokyo.

February 1934 before returning,Midge Williams recorded five songs Nippon Columbia.

Before her recording in Japan,November 1933 Billie Holiday first recorded with Benny Goodman Orchestra.

At that time the records of Ella Fitzgerald and Billie Holiday did not released.

Five songs are the following.[1934.2.14〜26]

‘St.Louis Blues’,’ Bye-Bye-Blues’,’ Paradise’,’ Dinah’,’ Lazybones’ 

She sang jazz songs in both English and Japanese.

The first half of the song was Japanese lyrics , and the second half was original English lyrics.

Kobun Nogawa advised Nippon Colombia and cooperated to her recording,and translated Diana in Japanese.

Carmen McRae(2)

March 15.2017

I want to write story of avid her’s fans who were in Osaka.

When she appeared in a jazz club ,an enthusiastic fan brought many records to her dressinng room.

He had about 50 pieces that she was released ever.

She was deeply impressed by his enthusiasm.

She was hugging him for awhile,and did not separate from him.

At the second stage ,she was seeing his face all the time

After her stage,she signed to all the records until the time of last train should she ride.

Maybe, she would been conscious of enthusiasm of Japanese fans.

 

Carmen McRae(1)

March 14.2016

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Today,I had listened to my favorite broadcast.

Then,I decided today’s theme, I focus on the cover .

She was a pianist at the time debut.

I introduce her rare recording in Japanese live house.

This album made a recording by Japan Victor record.

She had been hired an exclusive pianist at her live performance.

Japanese producer had been planning her album.

Unfortunatly, when he heard her Japan tour, he did not evaluate her pianist.

Consequently,he planed exceptional recording without exclusive pianist.

But against his planning , she refused to contract the recording.

Her manager also said: “She can not have to accept such a planning.

By some chance,there is a need for enough practice time to her.

Her work should be recorded in a studio than live performance.”

He claimed the enthusiasm of her devotee in Japan.

Fortunatly she became interested in the planning by Japanese enthusiasm.

She had accepted her performance style that had not been more than 30 years in Japan.

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Masaaki Awamura (2)粟村政昭

March 13, 2016

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My mother’s parents had managed a wholesaling medicine in Osaka.

They had deal with Awamura clinic at Asashiobashi in Osaka.

My mother’s young brother was the sales staff of his clinic.

Some years ago, I asked to my uncle about Doctor Awamura.

My uncle said:”he was in quiet doctor,and he always read a foreign book.”

Awamura clinic was closed ,then my uncle had not met with the doctor.

When I was high school, I have heard his voice from late-night jazz program in FM Osaka.

I rememberd Mr.Awamura’s voice was small, but I can not remember the content of the program.

Because I was a jazz beginner, I could not understand content of the program.

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His record commentary statement has been supported from the avid jazz fan even now.

He had a strict opinion on jazz record of Japan.

Below, please enjoy the ’Awamura tune’ [粟村節].
“I can not praise the value of this work,because I do not interest the work of jazzman of Japan.

If we discusse a Jazz on a global level,I admire only Toshiko Akiyoshi.

From a long time ago and even now,’she is a woman with guts ‘.”

“Even at the point in time in 1972,the author is stubborn jazz fan.

Accordingly,I can not evaluate jazz record of Japan.

I listened Joe Bushukin and Buck Clayton for the first time in a long time.

I increasingly the decision to stick to hold my opinions.”

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Masaaki Awamura (1)粟村政昭

March 12.2016

March 12, 2016
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Photo from “Swing Journal” in Japan.

In 1933 he was born in Osaka,and graduated from the Kyoto University School of Medicine.

 

He was a member of the Modern Jazz Institute of Kyoto University.

From the early 1960s to 1981, he continued the critic activities around the magazine “Swing Journal” .

Sadly,He died about three years ago.

But although after his death, his article and commentary of album are popular in Japanese jazz record collectors.

Maybe,he looked over jazz historical point, and evaluated frankly musicians performance.

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About Keynote records,he was edited about 35 years ago than Mr. Koyama.

He reissued 15 sheets from Keynote master tapes, and I purchased all 15 sheets.

Illustrated by Munehiro Uchimichi,Cover designed by Heyq

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Significant recording had been released in this series, ‘Press on Keynote’ .

About this record, please refer to my post ‘Harry Lim (2)’.Go here

I had been became fond of so called ‘neutral jazz’ from listenning Keynote recording.

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