Tag Archives: Hugues Panassie

Art Hodes(2)

April 19.2017

Pictured above: Art Hodes, left, with Pete Johnson on piano, Red Allen on trumpet, Lou McGarity on trombone and Lester Young on tenor sax by Wikipedia

In 1938 Art Hodes left Chicago for New York,  where he performed frequently in the clubs on West 52d Street.

Eventually he stayed for 12 years in New York.

Photo above of Joe Marsala from Library of Congress

In New York he played first with the bands of Joe Marsala and Mezz Mezzrow.

A year ago I was writing about Mezz Mezzrow in the Panassie sessions.

Photo above of Mezz Mezzrow, James P. Johnson, Hughes Panassie, Tommy Ladnier at the Victor studios by courtesy of TEDDY BUNN(JAZZ LIVES)

If you have time please read my past post,”Hugues Panassie(3).”Go here

The story goes back to the main subject.

Then Art Hodes played with the best of the New York jazz musicians.

Also he played and recorded with many of the finest musicians associated with New Orleans and Dixieland Jazz such as Sidney Bechet, Albert Nicholas, Wild Bill Davison, and Vic Dickenson.

In 1939 Hodes recorded a handful of piano solos for his own record company.

The following year he recorded the Art Hodes Blue Three for the Signature label with his long-time colleague Rod Cless on clarinet.

Photo above of Rod Cless by courtesy of alcherton.com

Photo above of Signature’s 78rpm by courtesy of Mr.Seya

The following year he recorded the Art Hodes Blue Three for the Signature label with his long-time colleague Rod Cless on clarinet.

1938年、Art Hodesはニューヨークに移り、52dストリートにあったクラブで頻繁に演奏していました。結局彼はニューヨークで計12年間住んでいたことになります。ニューヨークではJoe MarsalaとMezz Mezzrowのバンドで演奏していました。

一年前、私はMezz Mezzrowについて興味深い話を書いていました。時間があれば私の過去の記事 “Hugues Panassie(3)”をお読み下さい。こちらをクリックして下さい。

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その後、Art Hodesはニューヨークのミュージックシーンで活躍しました。又、Sidney Bechet, Albert Nicholas, Wild Bill Davison, and Vic Dickenson.など、当時最高のミュージシャンの多くと共演し、レコーデイングしました。1939年、Hodesは自身のレコード会社のためピアノソロ演奏を録音しました。翌年、彼はクラリネット奏者Rod Clessと共にSignatureレーベルにレコーデイングしました。上の写真はSPレコードコレクターの瀬谷氏から貴重な写真をお借りしたものです。

Here is The Albert Nicholas and Art Hodes Quartet (The New Orleans-Chicago Connection).

Here is Art Hodes and Barney Bigard play “Caravan (Jazz Alley 1968)”.

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Charles Delaunay(1)

I post about the Charles Delaunay today.

As I wrote on Monday blog was a founding member of the FHC.

He evaluated the bop revolution in jazz unlike Hugues Panassie.

I think his achievements are next three.

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First,he promoted ‘the Quintette du Hot Club de France’ with Django Reinhardt and Stephane Grappelli.

 

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Photo above Sidney Bechet

Second,in 1948 he founded the record label Disques Vogue.

This company recorded local musicians such as Django, and American performers such as Sidney Bechet.

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Third,he was author of the famous ‘New Hot Discography’.

About this book I will post tomorrow.

Here is The Quintette du Hot Club de France play “The Sheik of Araby”.(1937)

 

Hugues Panassie(3)

March 23.2016

ladnier

Photo above of Tommy Ladnier

In 1938, Hugues Panassie  was invited to RCA for real jazz recording.

Hugues Panassie supervised four-recording session 17 songs.

Initially, he wished to record with Louis Armstrong.

However at that time Louis Armstrong had been entered into an exclusive contract with other company.

He gave up a recording with Louis, and decided to record with Tommy Ladnier.

But at that time Tommy Ladnier’s whereabouts was unknown.

He postponed recording to look for Tommy Ladnier.

He and Mezz Mezzrow were looked for Tommy in Harlem.

At last they grabbed a clue about Tommy’s address from a man playing in billiard.

After three days, Tommy visited Mezz Mezzrow’ home.

Tommy Ladnier had emigrated to Newburgh a few years ago from New York.

Tommy lived in peace and quiet while teaching personal guidance of trumpet.

Their performance was ‘typical of New Orleans style’.

Hugues Panassie  indicated the strength and charm of New Orleans ensemble that had been forgotten  at the time of 1938.

1938年、Hugues PanassieはアメリカRCAに招かれ、計17曲を監修しました。
当初、彼はLouis Armstrongの演奏を録音することを希望した。
しかし、当時Louis Armstrongは他社と専属契約を結んでいた為。Louis Armstrongとの録音を断念し、Tommy Ladnierの演奏を録音することを決定した。しかし、その当時、Tommy Ladnierの所在は不明であった。
彼はTommy Ladnierの所在を探すために録音を延期しました。
彼とMezz Mezzrow はTommyを探すため、Harlemを歩き回りました。
最終的に彼らはビリヤードをしている男からTommyの住んでいる場所の手がかりを掴みました。。
3日後、Tommy LadnierはMezz Mezzrowの自宅を訪問してきました。
その当時、Tommy Ladnierはニューヨークから数年前にNewburghに移住していました。
Tommy Ladnierは、トランペットの個人指導をしながら、優雅に暮らしていました。
Hugues Panassieが録音した彼らの演奏スタイルは「ニューオーリンズスタイルの典型」でした。
Hugues Panassieは1938年という時期に、忘れ去られたニューオリンズスタイルを再現させました。

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Hugues Panassié (2)

March 22.2016

Unknown

Hugues Panassie was born in Paris.(27 February 1912 – 8 December 1974)

He was the founding president of ‘the Hot Club de France’.

In a changing world of jazz, he was an devotee of traditional jazz.

He was fond of an orthodox jazz from New Orleans.

Consequently he rejected so-called bebop as “a form of music distinct from jazz.”

Also he ranked Benny Goodman as a detestable clarinetist,because Benny Goodman was inferior to Jimmy Noone and Omer Simeon.

Mezz-Mezzrow

Mezz Mezzrow

On the other hand he liked only white musician Mezz Mezzrow.

In addition he criticized West Coast jazz as inauthentic, because most musicians were white and also sounded white.

However, he was the great producer in history of jazz.

He produced several jazz records.

The most famous recording was Panassie session.

http://jazzpanassie.nuxit.net/index.php

 

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(1) In Shanghai

March 19.2016

CanidromePerform

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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