月別アーカイブ: 2017年4月

The biographies of “Bass clarinet” heroes(4)

April 30.2017

Photo courtesy by livoon

The contribution of Eric Dolphy in bass clarinet is immeasurable.

James Carter,who is one of the most admired saxophonists of his generation, is is talking about Eric Dolphy.

Photo above of James Carter by courtesy of Discogs

“For me, hearing Dolphy play the bass clarinet on ‘God Bless the Child,’” Carter says, “was as potent as hearing Coleman Hawkins play the tenor saxophone on ‘Body and Soul.’”

Just as Hawkins’ 1939 solo launched hundreds of tenor sax careers, Dolphy’s 1961 solo has launched, well, not hundreds but dozens of bass clarinet careers.

He featured the bass clarinet on a repeatedly recorded tour-de-force solo version of ‘God Bless the Child.’

John Surman also played bass clarinet.

Unfortunately I do not have materials to post about him.

In addition among the noted players picking up the instrument are Don Byron, Louis Sclavis, Marty Ehrlich, Mark Turner and Chris Potter.

photo above of Louis Sclavis
by courtesy of Alchelton

Eric Dolphy のベース・クラリネットへの貢献は計り知れません。
James CarterはEric Dolphy について次のように語っています。

「Eric Dolphyによる「God Bless the Child」のベースクラリネットソロを聞いた時「Coleman Hawkinsによる「Body and Soul」のテナー・サクソフォンソロと同等の力強さを感じた」

Coleman Hawkinsの1939年のソロ(Body and Soul)によってジャズにおけるテナーサックスが確立されたのと同様に、Dolphyの1961年のソロはジャズにおけるベースクラリネットの地位を確立した。
Eric Dolphy は”Tour-de-force” という曲でベースクラリネットソロを何度も録音しました。
John Surmanについては私はあまり詳しくありません。
現在、この楽器においてはDon Byron, Louis Sclavis, Marty Ehrlich, Mark Turner and Chris Potterらが注目の奏者です。

Here is Eric Dolphy plays “Take the A Train”.

Here is Todd Marcus Quartet with Don Byron play “Epistrophy”.

The biographies of “Bass clarinet” heroes(3)

April 29.2017

Photo by London Jazz Collector

Today, I want to introduce three bass clarinetists.

Buddy Defranco recorded an album on bass clarinet of all blues tunes.

The album is called Blues Bag.

Photo above of Buddy DeFranco, Red Norvo, Beryl Booker, Leonard Feather, Billie Holiday, Louis McCay by courtesy of Pinterest(1954)

I found an intersting article,”Buddy de Franco: A Bass Oddity”.Go here

He plays his bass clarinet like he usually does his clarinet.

Herbie Mann also recorded an album in 1957 exclusively on bass clarinet.

The album was titled “Great Ideas of Western Mann” and probably the first album of jazz.

He recorded entirely on bass clarinet.

Photo above of Joe Temperley by courtesy of BBC News Services

Joe Temperley also played bass clarinet occasionally.

In the 1970s following the death of Harry Carney, his glorious baritone saxophone sound anchored the Duke Ellington Orchestra.

Unfortunately he died in New York City on 11 May 2016, aged 86.

So next month I would like to post about his contributes.

今日、3人のベースクラリネット奏者を紹介します。
Buddy Defrancoもベースクラリネットを演奏しています。
最近、このアルバムについて興味あるブログを見つけました。
こちらをクリックして下さい。
彼は楽器の違いを意識させないような演奏をしています。
Herbie Mann もリバーサイドレーベルにベースクラリネットのみでアルバムを録音しています。
Joe Temperley はHarry Carneyの死後、Duke Ellington Orchestraのバリトンサックスを担当していました。時折ベースクラリネットを演奏しています。
彼は昨年の5月に亡くなりました。彼の貢献については、1周忌になる来月に改めて投稿したいと思います。

Here is Buddy DeFranco plays “Blues Bag “ and “Rain dance”.
Buddy DeFranco (cl, bass cl),Freddy Hill (tp) ,Lee Morgan (tp), Curtis Fuller (tb), Victor Feldman (p, vib) ,Victor Sproles (b) Art Blakey (ds)
December 1 & 3, 1964

Here is Herbie Mann Quintet play “Get Out Of Town”.
Herbie Mann (bcl),Jack Sheldon( tp), Jimmy Rowles (p), Buddy Clark(b), Mel Lewis(ds) July 3, 1957.

Here is Joe Temperley plays “Single Petal of the Rose”.

The biographies of “Bass clarinet” heroes(2)

April 28.2017

Photo above of (from left),Quentin Jackson, Harry Carney and Britt Woodman
courtesy by Pinterst

Yesterday I posted about Omer Simeon.

Today I would like to introduce Harry Carney.

As another historical side note, Harry Carney also played bass clarinet with Duke Ellington.

Harry Carney was born April 1, 1910 in Boston, Massachusetts.

His virtuosity on the baritone saxophone influenced generations of subsequent players.

He also performed on clarinet and bass clarinet, as well as alto saxophone in the early years of his career.

When he began to play alto saxophone His idle was Johnny Hodges.

Also he was influenced by Buster Bailey and Don Murray and Coleman Hawkins and Adrian Rollini.

Photo above of Don Murray by courtesy of The Pop of Yestercentury

About his idles, I quoted his speaking from HARRY CARNEY’S ADMIRATION SOCIETY

My first influences [on clarinet] were Buster Bailey with Fletcher Henderson, and Don Murray with Jean Goldkette. As a brash kid, I always wanted to play faster than anyone on clarinet, and both Buster and Don Murray were great technicians. Too bad I didn’t stick with them! Perhaps I’d be a clarinetist today. Buster has always sounded to me like a perfect man for the symphony, and on those up-tempo numbers with Fletcher Henderson he always showed what a well-schooled musician he was.

After playing a variety of gigs in New York City at the age of 17, Carney joined Ellington in Boston in 1927.

Harry Carney focused mainly on the baritone saxophone for the remainder of his career, doubling bass clarinet, and less frequently clarinet.

Barney Bigard was the featured clarinetist with Ellington from 1928-1942.

Occasionally he took a solo on clarinet.

Photo courtesy by Visual discography of Billie Holiday

In addition he played clarinet with Teddy Wilson’s Brunswick sessions with Billie Holiday.

So Harry Carney performed a rare bass clarinet solo with Duke Ellington in 1934.

“Saddest Tale” was a rare recording of Duke’s voice, along with Harry’s bass clarinet.

Photo above of Harry Carney

今日はHarry Carneyを紹介したいと思います。Harry CarneyはDuke Ellington楽団でbass clarinetを吹いた録音を残しています。彼のclarinet演奏に影響を与えた先輩については下記に引用します。

「私の最初の影響は、Buster Bailey と Jean Goldkette楽団でのDon Murray でした。私はいつもクラリネットを誰よりも速く吹きたいと思っていました。
Buster Bailey は常に完璧で Fletcher Henderson楽団でのアップテンポ・ナンバーはミュージシャンにはとても参考になる演奏です。」

1928-1942年、Ellington楽団のクラリネット奏者はBarney Bigardでした。
しかし、Harry Carneyも時にはクラリネットソロを演奏していました。
特筆すべき録音としてBillie HolidayとのTeddy WilsonのBrunswickセッションでクラリネットで参加しています。
又、Ellington楽団 で録音された“ Saddest Tale” はDukeの朗読とHarryのbass clarinetが貴重です。
この録音は3枚組セットで聞いていました。この時代の日本のレコード会社は凄い。

the commentary by Stanley Dance,Japanese translation by 野口久光

Here is Duke Ellington with Harry Carney play “Saddest Tale”.

Here is It’s Teddy Wilson with Billie Holiday play “It’s like reaching for the Moon”.(1936)
Jonah jones(tp), Harry Carney(clarinet), Lawrence Lucie(g), John Kirby(b),Cozy Cole (ds)

The biographies of “Bass clarinet” heroes(1)

April 27.2017

Bass clarinet appeared  in jazz bands in the early nineteenth century.

First we need to talk about Omer Simeon.

Omer Simeon was the most important bass clarinetist because he had played one of the earliest jazz bass clarinet solo.

Photo above of Omer Simeon by courtesy of Jazz Lives(July 6, 2013)

Omer Victor Simeon was born  21 July 1902 in New Orleans, Louisiana.

He learned clarinet from the New Orleans master Lorenzo Tio, Jr., and started playing professionally in 1920.

Please refer to about Lorenzo Tio, Jr. Go here

In 1926 he began playing with Jelly Roll Morton, and made some recordings with Morton’s Red Hot Peppers and smaller groups.

Photo above of Jelly Roll Morton by Image Ownership: Public Domain

The Red Hot Peppers are as hot as the best King Oliver and Louis Armstrong recordings, while the colors and subtlety of tone are as good as the bands of Bix and Tram.

Omer Simeon took the clarinet part for the very first set, recorded in Chicago on September 15, 1926.

Morton instructed Simeon to switch from clarinet to bassclarinet.

So “Someday Sweetheart” had one of the earliest jazz bass clarinet solo by Omer Simeon.

Omer’s tone is much more beautiful than many post-bop bass clarinet solos.

Louis Armstrong standing beside King Oliver. Photo courtesy of neajazzintheschools.org.

Bass clarinetは19世紀初めにジャズ界に登場した楽器です。
Omer Simeonは最初にBass clarinetのソロを演奏した。
Omer Simeonは1902年7月21日ルイジアナ州ニューオーリンズで生まれた。
彼はLorenzo Tio,Jr.からクラリネットを学びました。
彼の師匠Lorenzo Tio、Jrについてはこちらをクリックして下さい。
1926年、彼はJelly Roll Mortonに出会い、歴史的な録音に参加しました。
Jelly Roll Mortonは”Someday Sweetheart”の録音に際し、ClarinetからBass clarinetへの切り替えを指示しました。
Simeonの音色はバップ以降のBass clarinet奏者の音色より遥かに美しいです。
Jelly Roll Morton and Red Hot Peppers の演奏はKing OliverやLouis Armstrongらの録音と比較しても劣っておらず、音色やアンサンブルはBix and Tram バンドと同等レベルでした。

Here is Jelly Roll Morton and Red Hot Peppers “Someday Sweetheart”.
Victor 20405-A matrix 37254-2

Here is Jelly Roll Morton and Red Hot Peppers “Someday Sweetheart”.
disc BRS 1001 matrix 37254-3

“Christopher Columbus”(2)

April 26.2017

photo above of Horace Henderson by courtesy of Discos

Leon Chu Berry had developed a saxophone riff that became the prototype of the “Christopher Columbus”.

Then Horace apparently submitted a version crediting himself and Berry as co-composers.

Then Joe Davis, who was publisher in Chicago, published the arrangement under the names of Leon Berry as sole composer.

d72e83c036c3ac4f465d79daf0793975

photo above of Horace Henderson by courtesy of pinterest.

So Horace Henderson received no official credit.

Unfortunately Fletcher Henderson had often caused some problem with his works.

Fletcher Henderson himself remains a shadowy figure in those days.

His attitude was also cold to his brother.

Walter C.Allen wrote about their money matter, “Fletcher got $100, but poor Horace got NOTHING.”

Andy Kirk And His Orchestra

Andy Kirk And His Orchestra pose for a studio group portrait, with Pha Terrell and Mary Lou Williams sitting at the piano, in 1940 in the United States. (Photo by Gilles Petard/Redferns)

Nevertheless several bands and record companies recognized the potential of “Christopher Columbus”.

Within a five-month span of 1936, thirteen bands recorded the piece on ten different labels, including one each in Paris and London.

Five of those recordings ranked among the best-selling records of 1936
(by Henderson, Andy Kirk, Benny Goodman, Teddy Wilson, and Louis “King” Garcia).

teddy-wilson-christopher-columbus-a-rhythm-cocktail-brunswick-78

Photo by 45worlds.com

In those days Fletcher Henderson had earned $2,000 for one night.

Horace Henderson played a key role in putting the arrangement on paper.

Currently the name of Horace Henderson seems to have been forgotten.

I guess Horace Henderson has been underestimated in Jazz History.

“Christopher Columbus”の原型はChu Berryのサックスリフでした。
その後、Horace HendersonはChu Berryを共同の作編曲者として出版社に申請しました。しかし出版社はHorace Hendersonを作編曲者として認めなかった。
兄Fletcher Hendersonも弟に冷たくこの曲についての報酬を払っていない。
この曲の成立について裏話が多いですが、他のバンドやレコード会社の評価は高かった。
1936年には、13バンドが録音し、その内5曲がベストセラーになっています。
当時、兄Fletcher Hendersonは一晩に2,000ドル以上の報酬を稼いだ。
弟Horace Hendersonは編曲者として兄を支えていました。
現在、Horace Hendersonの名前はジャズし史では忘れられた存在になってしましました。彼はもっと評価されていいジャズマンであると思います。

Here is Andy Kirk and his band Play “Christopher Columbus”.

Here is Henry Red Allen and Kid Ory play “Christopher Columbus”.

Here is Teddy Wilson plays “Christopher Columbus”.

Here is The Ink Spots sing “Christopher Columbus”.

Here is Fletcher Henderson play “Christopher Columbus” (1938)

 

“Christopher Columbus”(1)

April 25.2017

Photo by Discogs

Last week I introduced “Christopher Columbus” of Fletcher Henderson at Osaka Jazz listening Club.

Recently I found an intersting article about “Christopher Columbus”.

I referred to this article.Go here

“Christopher Columbus” became more closely associated with Fretcher Henderson in particular.

This tune became a hit record for Henderson’s band.

It is noteworthy that it became Henderson’s theme song.

Also the sound of this tune was the signal for the last performance.

According to Walter C.Allen, the tune originated as a “bawdy song” called “Cristoforo Columbo.”

I guess that the characteristics of the original song have been successfully expressed by Fats Waller.

Photo above of Fats Waller by Wikipedia

Fletcher’s band began playing an arrangement at the Grand Terrace in Chicago.

But this “Henderson” tune became better known and better played in Benny Goodman’s band.

In those days Benny Goodman noticed the splendor of this song.

Benny Goodman soon picked up the arrangement and played across town at the Congress Hotel.

It was incorporated into Jimmy Mundy’s arrangement of ”Sing, Sing, Sing” for Benny Goodman’s band.

So this riff is one of the most popular tunes from the swing era.

Then Fletcher asked Horace to prepare a stock arrangement based on the version Fletcher’s band was playing at the Grand Terrace.

Meanwhile, bandleader Jimmie Lunceford claimed that the tune’s original riff developed within his own band.

Photo above of Jimmie Lunceford And His Orchestra
by courtesy of Alchetron

先週、ジャズ例会で Fletcher Henderson の “Christopher Columbus”を紹介しました。
最近 “Christopher Columbus”について興味深い記事を見つけました。
私はこの記事を参照しました。こちらをクリックして下さい。
「Christopher Columbus」はステージで最後の曲を演奏する時の合図にもなりました。
Fletcher Hendersonの伝記作家であるWalter C.Allenによると、原曲は「Cristoforo Columbo」と呼ばれる「淫声、春歌、春歌」として作曲されたそうです。
Fats Wallerが歌っているのを聞くと原曲の意味が理解できるような気がします。
Fletcher Henderson楽団はシカゴの Grand Terraceで演奏していました。
しかし、この曲はBenny Goodman楽団により人気曲となりました。
当時Benny Goodmanはすぐにこの曲の素晴らしさに気づきました。
Benny Goodmanは同じシカゴのCongress Hotelで演奏し始めました。
又、Jimmy Mundy編曲により「Sing,Sing,Sing」の挿入リフとしても採用されました。
その後Fletcher Hendersonは弟Horace Hendersonに楽団の演奏をストックアレンジとして編曲するように依頼しました。
一方、Jimmie Luncefordは、この曲のオリジナルリフは自分の楽団で演奏していたと主張しました。(続く)

Here is Fletcher Henderson orchestra play “Christopher Columbus”.(1936)

Here is Benny Goodman and his band play “Christopher Columbus”.

Here is Fats Waller & His Rhythm play “Christopher Columbus” (1936)

Herbie Hall

April 24.2017

Photo above of Herbie Hall by courtesy of University of Missouri Digital Libraries

Yesterday there was an interesting project at the Osaka Jazz Listening Club.

The theme was “Brother and sister competitions in the jazz world”.

Isao Takemura(竹村功氏),who is an older than me, introduced Herbie Hall who was younger brother of Edmond Hall.

Edmond Hall is one of the best clarinet players in jazz history.

Photo above of Edmond Hall from Wikipedia

Their father, also Edward, played the clarinet in the Onward Brass Band.

The Hall brothers, Robert, Edmond, and Herbert, all became clarinetist.

UnfortunatelyI there are few materials as well about Herbie Hall.

Because his older brother was too very great clarinetist.

Fortunately we can listen to his performance on YouTube.

I will reprint Mr. Takemura’s the selection of music.

I am happy to learn from some veteran jazz fans a lot of things.

昨日開催された大阪ジャズ同好会リスニング会で面白い企画がありました。
持ち寄りコーナーテーマ『ジャズ界の兄弟姉妹競演」
私より年配の竹村功氏がHerbie Hall(Edmond Hallの弟)を紹介されました。
Edmond Hall はジャズ史上最高のクラリンネット奏者の一人です。
しかし、弟について調べましたが資料がほとんどありませんでした。
幸いにも彼の演奏がYouTubeで聞けます。
以下、竹村氏の紹介された曲を転載させて頂きます。
私にとってベテランジャズファンに教えて頂く事が多くとても楽しいです。

『ジャズ界の兄弟姉妹競演」担当 竹村 功氏

あまり知られてないのですが、エドモンド・ホールに、弟のクラリネット奏者でハーバート(ハービー)・ホールがいます。弟のハービー・ホールを聴いてもらいます。

1. Undecided (4:42) (Aug. 1958)
Herbie Hall(cl),Buck Clayton(tp),Vic Dickenson(tb), Hal Singer(ts), Al Williams(p),Danny Baker(g), Gene Ramey(b),Marquis Foarter(ds)
「Vic Dickensonernie」から

兄のエドモンド・ホールとの、珍しい共演です。
2. Lover (4:13) (June, 1959)
Edmond Hall(cl), Omer Simeon(cl),Herbert Hall(Cl) Jimmy Raney(g), Richard Cary(p), AI Hall(b), Jimmy Crawford(ds)
「Runpus On Rampart Street」から

エドモンド・ホールの楽しい演奏を聴いて下さい。
3. Petite Fleur  (4:03) (Dec, 1958)
Edmond Hall(cl), Ellis Larkins(p),Milt Hinton(b), Jimmy Crawford(ds)
「Petite Fleur」から

Here is Herbie Hall and Sammy Price and His Blusicians play “Louisiana Lament”.
Sammy Price (p) Emmett Berry (t) George Stevenson (tb) Herbie Hall (cl) Pops Foster (b) Freddie Moore (ds) 1955/10/20, Paris

Here is Edmond Hall plays “Petite Fleur”.(1958)

Here is Herbie Hall’s rare clip(1983)

Art Hodes(5)

April 22.2017

Photo by OKMusic

This week I have posted about Art Hodes.

Hodes’ name is all but forgotten today.

Also Art Hodes very rarely ever mentioned in some jazz history books.

Fortunately my friend in Facebook have provided me with a rare photos.

Mr.seya who is 78 rpm record collector, provided me with valuable dates about Art Hodes.

For five years in the 1940’s, he edited a monthly magazine, The Jazz Record, and ran a jazz record label.

Photo above of Jazz Record 78rpm by courtesy of Mr.Seya

Photo above of Jazz Record 78rpm by courtesy of Mr.Seya

Here is label image of Hodes Columbia Quintet and Art Hodes Jazz Record Six.

And it is a rare color image of Art Hodes and Baby Dodds.

Even an amateur article like me can post valuable materials thanks to Facebook.

Photo above a rare color image of Art and Baby Dodds by courtesy Mr.Seya

今週私はArt Hodesについて投稿しました。
Art Hodes の名前は今日のジャズファンには忘れられた存在になったと思われます。
又、ジャズ関連の書籍でも彼についてはあまり言及されていません。
幸いにもSPレコードコレクターである瀬谷徹氏がFacebookをご覧になっておられ、昨日Art Hodesに関する貴重な資料を提供して頂きました。
私のような素人の記事でも、Facebookのおかげで貴重な資料を掲載出来た事がとても嬉しいです。
瀬谷氏から提供された貴重な写真をご覧下さい。

Here is Art Hodes and J.C. Higginbotham play “Someday Sweetheart “(1968).

Here is Bud Freeman and Art Hodes on Jazz Alley part 2

Art Hodes(4)

April 21.2017

Photo above of Art Hodes by courtesy of William Gottlieb/Library of Congress.

Since post war,Bebop jazz style began to mainstream.

So older style jazz players had struggled to find job.

Fortunately Art Hodes  was a success in jazz businesses.

He had one of the very first record companies to be owned by a jazz artist.

Needless to say he  first recorded in The Jazz Record.

The Jazz Record label produced 22 works from five recording sessions during the1940-1947 period.

In addition he edited a monthly magazine during 1943-1947.

Hodes went on to edit The Jazz Record for five years.

Also he became the host of a jazz radio program on WNYC in the 1940’s.

Because he was very skillful in his speaking.

Cow Cow’ Davenport and Art Hodes with WNYC jazz host
by courtesy of WNYC

Last week WNYC published his show as an archive.Go here

He later returned to Chicago, where he remained active as a performer, educator and writer.

In the 1960s he appeared in the TV series Jazz Alley and toured in Europe in the 1980s.

Art Hodes recorded frequently during the 1970s and ’80s, and was widely recognized as one of the last survivors of Chicago jazz.

Art Hodes died in 1993 at the age of 89.

There is a funny clip on YouTube by piano duet play with his wife.

戦後はBebopがジャズの主流になり、古いスタイルのプレイヤーは苦労しました。
しかし、Art Hodesはジャズビジネスで成功した人物です。
彼はレコード会社を保有し、ジャズ月刊誌も編集していました。
又、話術が巧みであったことから、ジャズラジオ番組のホストにもなりました。
先週、WNYCが彼が出演した番組をHPに公開しました。こちらをクリックして下さい。
1960年代にシカゴのテレビ局でジャズシリーズ番組「Jazz Alley 」のメインとして活躍しました。
1970年代と80年代においても、彼は積極的にレコーディングしました。
1993年、シカゴ・ジャズの最後の生存者であったArt Hodesは89歳で永眠しました。
彼の奥さんとのピアノ連弾による映像がYouTubeにありました。

Here is Art Hodes with J.C. Higginbotham play on Jazz Alley.(1969)

Here is Art Hodes with Jimmy McPartland and Pee Wee Russell plays “China Boy”. (1968)

Here is Art Hodes and his wife Jan Hodes play a single piano duet “Pinetop’s “Boogie Woogie””.(1987)

Art Hodes(3)

April 20.2017

Art Hodes made some Dixieland recordings for Blue Note during 1944-1945.

He led nine sessions for Blue Note label.

Many top jazz players joined BlueNote recordings.

Photo above of Max Kaminsky by Library of Congress

Below, I will list participating players.

Max Kaminsky and Wild Bill Davison;  Ray Conniff, Sandy Williams, Vic Dickenson; Rod Cless, Edmond Hall, Mezz Mezzrow, Omer Simeon, and Albert Nicholas; Sidney Bechet;Bob Haggart, Israel Crosby, Pops Foster, Baby Dodds, among others.

The music overall is generally straightforward Dixieland with plenty of exciting ensembles and hot solos.

These records are still available for purchase in second hand market.

I own only a part of this series.

All records can be checked on this site.Go here

Also all these recordings have been reissued on a Mosaic box set.

I will introduce my favorite record.

For me who can not buy expensive original records, the Japanese edition series were my treasured items.

I had bought well Japanese edition series,and had read Mr.Yamato’s commentary many times.

Blue Note Records Discography: 1939-1944 Go here

Art HodesはBlue NoteレコードにDixielandのレコーデイングを行いました。
多くのトラッドプレーヤーがBlueNote録音に参加しました。
以下、参加プレイヤーをリストアップします。(中略)
こちらのwebsitesで10インチレコードの写真が確認できます。ここをクリックして下さい。
これらは10インチレコードですが現在でも中古市場で購入可能です。
又、Mosaicからも発売されました。
最後に私の大好きな日本盤を紹介します。
高価なオリジナル10インチレコードを買うことができない私にとって、日本盤の再発シリーズは私の貴重品でした。
故大和明氏の解説文を何度も読んでいました。

Here is Art Hodes’ Blue Note recordings〜Out of the Black Room