Tag Archives: King Oliver

Bob Wilber(3)

September 15.2017

Photo above of Bob Wilber, Johnny Glazel, Dick Wellstood, Charlie Traeger, and Ed Physe, Jimmy Ryan’s by courtesy of Library of Congress

Today I will post about the Wildcats.

In 1946 Bob Wilber formed The Wildcats.

The Wildcats included Dick Wellstood(p),Johnny Glasel(cornet),Charlie Traeger(b), Danny Strong(ds).

Photo above of Yerba Buena Jazz Band in the 1940s. L-R: Turk Murphy, Lu Watters, Bill Dart, Bob Scobey, Bob Helm, Wally Rose and Dick Lammi. Photo courtesy of the SF Trad Jazz Foundation.

In those days Lu Watters and Turk Murphy had been playing the music of the Hot Five and the Red Hot Peppers and the Creole Jazz Band.

It was the so-called New Orleans Revival.

Photo above of Muggsy Spanier,Nick’s(Tavern),New York by courtesy of Library of Congress

In New York Eddie condon had promoted Town Hall Jazz Concerts and Nick’s Tavern and Jimmy Ryan’s were flourising.

Also Milt Gabler held Sunday jam sessions at Jimmy Ryan’s.

The Wildcats participated in the Sunday jam sessions.

Also the Wildcats joined a “battle of jazz” sponsored by the Jazz Festival Society of Philadelphia, and appeared at Columbia University.

The group performed regularly at Jimmy Ryan’s club over the next two years.

On February 22,1947,The Wildcats recorded four tunes at Commodore Records.

Then Sidney Bechet invited The Wildcats to join him on his first recording date for Columbia.

On December 31,1947,Jerry Blumberg(cornet) and Bob Mielke(tb) joined The Wildcats for Rampart Records.

The two trumpet front line imaged the c- Louis  Armstrong duets.

Rampart Records was founded by Harry Crawford who was an employee of Commodore record Shop.

今日は1946年にBob Wilberが結成したThe Wildcatsについて投稿致します。

The WildcatsのメンバーはDick Wellstood(p),Johnny Glasel(cornet),Charlie Traeger(b), Danny Strong(ds)で構成されました。

当時はニューオーリンズリバイバルとしてLu WattersとTurk Murphy達がHot FiveやRed Hot Peppersが演奏していたCreole Jazz Bandの伝統を継承した音楽を再演していました。

一方ニューヨークではEddie condonが Town Hall Jazz Concerts シリーズを定期開催しNick’s Tavernや Jimmy Ryan’s といったジャズクラブが活況を呈していました。
又、Milt GablerはJimmy Ryan’s で日曜日に限って jam sessionsを開催していました。

The Wildcatsも日曜日の jam sessionsに積極的に参加したり PhiladelphiaのJazz Festival Societyが後援した「ジャズ合戦」や Columbia University大学のステージに出演していました。

The WildcatsはJimmy Ryan’sに約2年間定期的に出演していました。

1947年2月22日、Milt Gablerに認められたThe WildcatsはCommodore Recordsでデビューし4曲を録音しました。

その後Sidney BechetはColumbia社との最初の録音日にThe Wildcatsを招待しました。

1947年12月31日、The WildcatsはJerry BlumbergとBob Mielkeを追加しRampart Recordsへの録音に臨みました。

2本のラッパ編成は往年のKing OliverとLouis Armstrongによる名演を彷彿させます。

尚、Rampart RecordsはCommodoreレコードショップの従業員であったHarry Crawfordによって設立されました。

Photo above of Commodore record Shop by Wikipedia

Here is Sidney Bichet and The Wildcats play “Kansas City Man Blues”.
Sidney Bichet(ss),Johnny Glasel(cornet),Bob Mielke(tb),Bob Wilber(cl), Dick Wellstood(p), Charlie Traeger(b),Danny Strong(ds), July 14, 1947, NYC

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

Art Hodes(1)

April 18.2017

Photo above of Art Hodes by courtesy of Blue Note Records

Recently I purchased the 10 inches record of BlueNote label.

It is “Art Hodes and his hot 7”.

Also last week Jazz Journalists Doug Ramsey introduced a television program hosted by Art Hodes.Go here

So I would like to post about Art Hodes.

Art Hodes was born November 14, 1904 in born in Ukraine.

When he was six months old few, his family settled in Chicago

In those days the pioneering New Orleans musicians came to Chicago in the 1920’s.

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

When he was in his late teens and early twenties, he heard some jazz legends’ performance such as King Oliver, Louis Armstrong, and Jelly Roll Morton and Earl Hines and Jimmy Noone in the nightspots of his city.

Eventually, Hodes played with Armstrong, and later with Wingy Manone, Gene Krupa, and Muggsy Spanier.

Photo above of Wingy Manone by courtesy of alchetron.com

Also he was fond of the blues, and was greatly influenced by Bessie Smith.

In 1938 he moved to New York and played with Joe Marsala and Mezz Mezzrow before forming his own band in 1941.

最近、BlueNoteの10インチレコード”Art Hodes and his hot 7″を購入しました。
同じ日に偶然、Art Hodesが出演していたテレビ番組がネットで紹介されました。
そんなわけで私はArt Hodesに詳しくないので、今回調べてみようと思いました。
Art Hodesは1904年11月14日に帝政ロシアのウクライナで生まれました。
幼少時に彼の家族と共にアメリカに移民しシカゴに定住しました。
当時のシカゴにはニューオーリンズから有名なミュージシャン達が来ていました。
彼は10代後半から20代初めにかけて、King Oliver, Louis Armstrong, Jelly Roll Morton, Earl Hines,Jimmy Noone などの生演奏を聞いていました。
又、Wingy Manone、Gene Krupa、Muggsy Spanier達と演奏をしていました。
彼はブルースも大好きで Bessie Smithからも影響を受けました。
1938年にはニューヨークに移ります。1941年に自己のバンドを結成する迄、Joe Marsala や Mezz Mezzrowと共演していました。

Here is Doug Ramsey’s post “Bud Freeman and Art Hodes on Jazz Alley.”

Here is Jelly Roll Morton and his Red Hot Peppers play “Dr. Jazz”(1926)

J.C. Higginbotham(3)

April 12.2017

J.C. Higginbotham had first recording with King Oliver & HIS DIXIE SYNCOPATORS Sept. 10, 1928.

Luis Russell was a major member of DIXIE SYNCOPATORS.

In those days King Oliver was suffering from dental problems that impaired his trumpet playing.

Photo above of King Oliver

So The Dixie Syncopators disbanded.

Soon Luis Russell picked up the pieces of the band and formed the Luis Russell Orchestra.

JC joined Luis Russell’s band and they appeared at the Club Harlem on Lenox Ave.

Luis Russell band played regularly at the Savoy Ballroom, the Roseland Ballroom on Broadway, the Sunday night sessions at the Next Club uptown.

From L to R: William Moore-tuba, Luis Metcalf-tumpet, JC Higginbotham-trombone, Luis Russell-piano/arranger, Paul Barbarin-drums, Bill Johnson-banjo, Teddy Hill-tenor sax, Ven/Len Fields-alto sax. Photo courtesy of the Frank Driggs Collection.

Also they toured the circuit from New York to Washington, D.C., to Baltimore,to Philadelphia.

Finally, they settled down at the Saratoga Club.

When he was a leading soloist with the late Luis Russell’s Saratoga Club Orchestra,his performance was most exciting and productive.

J.C. Higginbotham recorded some classic recordings including a few sessions backing Louis Armstrong.

In addition there is a historical record to prove his ability at that time.

He joined “The Little Chocolate Dandies” with Jazz Legends.

Unfortunately his performance on recording was too short.

J.C. HigginbothamはKing Oliver楽団で録音デビューしました。(1928年9月10日)
Luis RussellはDIXIE SYNCOPATORSの主要メンバーでした。
King Oliverは歯の問題でトランペットが吹けなくなり楽団は解散した。
その結果Luis Russellが解散した楽団のメンバーを呼び、自己のバンドを結成しました。JCはLuis Russellのバンドに加わりLenox AveのClub Harlemに出演しました。Luis Russellバンドの主な出演先はthe Savoy Ballroom, the Roseland Ballroom on Broadwayでした。
又、New YorkからWashington, Baltimore,Philadelphiaへも巡業しました。
当時のJ.C. Higginbothamの実力を証明する歴史的録音があります。
彼はJazz Legendsと共に「Little Chocolate Dandies」に参加しました。
残念ながら彼の演奏時間は短いです。

Here is King Oliver & His Dixie Syncopators play “Speakeasy Blues”.

Here is Luis Russell And His Orchestra play “Doctor Blues “.
Luis Russell(p), Henry Allen(tp) J. C. Higginbotham(tb) Albert Nicholas( cl, as)
New York, December 17, 1929

Here is The Little Chocolate Dandies play “That’s How I Feel Today”.
Rex Stewart (cnt), Leonard Davis (tp), J. C. Higginbotham (tb), Don Redman (cl, as, vo), Benny Carter (as, vo), Coleman Hawkins (ts), Fats Waller (p, cel), Bobby Johnson (bjo), Cyrus St. Clair (tu), George Stafford (dm).
Rec. Sept. 18, 1929

J. C. Higginbotham(1)

April 10.2017

Photo above of J.C. Higginbotham by courtesy of Jazzinphoto-Wordpress.com(Photo William P.Gottlieb)

Last week I posted about Luis Russell’s contribution.

Luis Russell relocated to New York with King Oliver in May 1927.

Photo above of KING OLIVER´S DIXIE SYNCOPATORS(1927)Kid Ory tb, King Oliver co, Paul Barbarin dm, Tick Gray tp, Junie Cobb bj, Luis Russell p, Darnell Howard cl, Rudy Jackson ts, Bert Cobb tu, Barney Bigard ts.

Then they had a game with Chick Webb as “BATTLE OF JAZZ” at the Savoy Ballroom.

Next year(1928) ,one jazz trombonist came to New York from Buffalo.

Chick Webb allowed young trombonist to play at the Savoy Ballroom.

Photo above of Chick Webb by courtesy of Drummerworld

He was subsequently signed by Luis Russell as trombonist Harry White’s replacement and remained with Russell until 1931.

The young jazz trombonist was J. C. Higginbotham.

J. C. Higginbotham was the first of the great black swing trombonists, and he participated in several immortal sessions particularly in the period 1929-36.

Unfortunately J. C. Higginbotham also has became a forgotten existence in Japan.

This week I would like to post about his acheivement.

先週、私はLuis Russellの貢献について投稿しましたが、Russell楽団でJ. C. Higginbothamの名前が気になりました。
1927年、Luis Russellと King OliverはSavoy BallroomでChick Webbらと “BATTLE OF JAZZ”を行いました。
翌年、一人のトロンボーン奏者がNew Yorkに来ました。Chick webbは若いトロンボーン奏者にSavoy Ballroomでの演奏を許しました。その後、彼はLuis Russell楽団に入団し、1931年まで在籍しました。
J. C. Higginbothamは、偉大な黒人スイングトロンボーン奏者の一人であり、特に1929から36年にレコーディングされた演奏は歴史に残りました。今週はJ. C. Higginbothamについて投稿します。

Here is J.C. Higginbotham plays “Give me your telephone number”.

Here is Henry Red Allen with J.C.Higginbotham play “Higginbotham Blues”.

Luis Russell(3)

April 05.2017

After Luis Russell left Doc Cook’s Orchestra, he became the pianist in King Oliver’s band.

By the mid-20s the jazz scene shifted to New York.

He relocated to New York with King Oliver in May 1927.

Photo above of KING OLIVER´S DIXIE SYNCOPATORS(1927)Kid Ory tb, King Oliver co, Paul Barbarin dm, Tick Gray tp, Junie Cobb bj, Luis Russell p, Darnell Howard cl, Rudy Jackson ts, Bert Cobb tu, Barney Bigard ts.

At that time Luis Russell appears in my favorite biography “Hendsersonia”.

I quoted from “Hendsersonia”, page180 and page181.

On Sunday,May 15, there was a memorable “BATTLE OF JAZZ” at the Savoy Ballroom which wa widely advertised.

King Oliver had brought his band from Chicago to New York.

KING OLIVER7S DIXIE SYNCOPATORS(12 men)
Joe Oliver(tp),[…]Luis Russsel(p)

FESS WILLIAM’S ROYAL FLUSH ORCHESTRA(10 men)

CHICK WEBB AND HARLEM STOMPERS(8 men)

FLETCHER HENDERSON’S ROSELAND ORCHESTRA(12 men)
[…]

For all the cheers, however, this was Oliver’s first and last decent engagement in New York; from here on, the road was all downhill for the proud King.

IMG_1308

In October of that year he left Oliver to start his own band.

He was a perpetually good-natured man and a snappy dresser who stood just a little over five feet tall.

So Luis Russell went on to become one of the most popular bandleaders in late 1920s’ New York.

Luis Russell はKing Oliverと共にニューヨークに移動しました。
1927年5月、彼らはSavoy Ballroom でのジャズ合戦に参加しました。
以下、私の愛読書『Hendersonia』を引用します。
この時期以降、King Oliverの活動は衰退し、哀れな末路を招く事になりました。
10月、Luis RussellはKing Oliverから別れ、自己のバンドを結成しました。
彼は美男で身長も高く服装の着こなしも優雅だったことから、評判のバンドリーダーとなった。

Here is King Oliver’s Dixie Syncopators play “Deep Henderson”(1926).
King Oliver(crt), Kid Ory(tb), Barney Bigard(reed), Luis Russell(p); 4/21/1926

Here is Fletcher Henderson and his Orchestra play “Stockholm Stomp” (1927).

Here is Fess Williams’ Royal Flush Orchestra play “OZARK BLUES” (1927).

Here is CHICK WEBB ORCHESTRA play “Go Harlem”.

Bud Freeman(3)

March 29.2017

Photo by courtesy of Mule Walk & Jazz Talk

Austin High Gangs were so inspired by New Orleans jazz that came up the river to Chicago in the early 1920s.

Bud Freeman and the McPartland brothers went the Lincoln Gardens on the South Side of Chicago in 1923.

Photo above of Jimmy Macpartland

Entertainment Ad for the Lincoln Gardens(1922), Image courtesy of The Chicago Defender.

They heard Louis Armstrong with King Oliver for the first time.

In those days the place was a “blacks-only” club.

Fortunately the bouncer did not notice them.

Photo above of King Oliver’s Creole Jazz Band(1923) by courtesy of Frank Driggs Collection.

Freeman later said, “I knew at once I was hearing a master. Louis was the great American voice—a genius—and his guide and idol was King Oliver, and nothing would ever be the same again.”

Also Bix Biederbecke had a huge influence on the young Chicagoans.

Photo above of Bix Beiderbecke

Bud Freeman was one of the flame for the New Orleans’ origins of Dixieland.

In addition Austin high school gangs put emphasis harder, faster, more focused on personality and soloing than ensembles.

So their music attracted others who enjoyed palling around and blowing free.

Bud Freemanは1920年代初頭に本物のNew Orleans jazzに傾倒しました。
彼はJimmy McPartland兄弟を誘い、黒人専用の「Lincoln Gardens」に出演していたKing Oliver率いるLouis Armstrong を聞きに行きました。Bud Freemanは二人の演奏に深い感動を覚えたそうです。又、Bix Biederbeckeも新しい音楽を志す彼らに大きな影響を与えました。
彼らの演奏スタイルは「アンサンブルよりもソロ」「より強く、より速く」を重視しました。

Here is Bud Freeman plays ”China Boy” (1940).

Here is Bud Freeman pLays “But Not for Me”.