Tag Archives: Louis Armstrong

Good Time Jazz Record(1)

May 15.2017

Yesterday I bought “Lu Watters’ Yerba Buena Jazz Band” by Good Time Jazz Record.

Lu Watters contributed to the world-wide revival of classic jazz during the 1940s.

Watters and his fellows in the late ’30s took a second look at the origins of jazz.

Photo above of Turk Murphy, Lu Watters on left by courtesy of Riverwalk Jazz – Stanford University Libraries

They spearheaded an international movement which brought the traditional New Orleans style.

Good Time Jazz Record had contributed greatly to this movement.

Good Time Jazz Record was found by Lester Koening in 1949.

Generally he is famous as the founder of Contemporary Record.

Photo above of Lester Koening by Discos

So this week I would like to post about his contribution until establish Good Time jazz Record.

I referred to Jazz Profiles by Steven A. Cerra,”Lester Koenig: Good Time Jazz and Contemporary Records [May 2, 2017]”.

Lester Koening was born December 3 1917 in New York City and developed a passion for jazz as a teenager.

He had listening to the 78rpm record of Duke Ellington, Bessie Smith, Louis Armstrong and others.

In those days almost of jazz devotees visited Doc Doctorow’s record store.

This store was a well-known haunt for collectors.

Hammond at a recording session with Buck Clayton, Lester Young, Charlie Christian, Benny Goodman and Count Basie. Photo courtesy Frank Driggs Collection.(by Riverwalk Jazz)

Also John Hammond, who was the legendary producer, had came to Doc Doctorow’s.

Then John Hammond invited Lester to the Basie’s session.

At that time Count Basie had recorded “One O’clock Jump”.

So Lester had first inspired in him the desire to own a jazz label.

Photo above of Count Basie Keith and his band from Pinterst

昨日、Good Time Jazz Record “Lu Watters ‘Yerba Buena Jazz Band”(再発)を購入しました。
Lu Watters達は30年代後半にジャズの起源を再演することで、伝統的なニューオーリンズスタイルジャズを世界中に復活する運動を先導しました。
Good Time Jazz RecordはLester Koeningによって創設され、ニューオーリンズリバイバル運動に大きく貢献しました。
又、Lester KoeningはContemporary Recordの創設者としても有名です。
今週はGood Time Jazz Recordを創設(1949年)するまでのLester Koeningの足跡について投稿します。
以下の文章はSteven A. Cerra氏による「Jazz Profiles(2017年5月2日)を参考にしました。
Lester Koeningは1917年12月3日、ニューヨークで生まれ10代でジャズの虜になりました。
彼はDuke Ellington、Bessie Smith、Louis ArmstrongなどのSPレコードを聞いていました。
当時のほとんどのジャズ愛好家はDoc Doctorowというレコードストアを訪れていました。
このレコードストアは、ジャズコレクターにはよく知られた場所でした。
伝説のジャズプロデューサーであったJohn HammondもDoc Doctorowによく来ていたそうです。
その後、Lester KoeningはJohn Hammondの招きでCount Basieのレコーディング現場に立ち会うこともできました。
その時Count Basieは 歴史的録音である”One O’clock Jump”をレコーディングしました。
その録音現場にいたLester Koeningは自らのジャズレーベルを立ち上げたいという欲望が湧き出てきました。

Here is Lu Watters’ Yerba Buena Jazz Band play “Irish Black Bottom”.
Bob Scobey, Lu Watters (cornet) Turk Murphy (trombone) Ellis Horne (clarinet) Wally Rose (piano) Russ Bennett, Clancy Hayes (banjo) Dick Lammi (tuba) Bill Dart (drums) San Francisco, CA, December 19, 1941

Here is Count Basie and his band play “One O’Clock Jump”.
Count Basie(piano); Buck Clayton, Joe Keyes, Carl Smith, (trumpets); George Hunt, Dan Minor, (trombones); Caughey Roberts, (alto sax),Jack Washington, (alto and baritone sax); Herschel Evans, Lester Young, (clarinet and tenor sax); Claude Williams, (guitar); Walter Page, (bass); Joe Jones, (drums);  Jimmy Rushing, (vocal) November 3, 1937

Joe Temperley(1)

May 10.2017

Photo above of Joe Temperley by NPR

Late last month I posted about bass clarinet players.

I announced to write again about Joe Temperley on next month.

Joe Temperley was a giant of the baritone saxophone and the first Scottish jazz musician to make it on the New York scene.

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

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

He was born on September 20,1929 in Crowdenbeath, Scotland.

When he was 14 old, he was already playing cornet alongside his elder brother in the Cowdenbeath Brass Band.

Then he began to play alto saxophone.

Photo above of Louis Armstrong and Humphrey Lytteltonby collection National Portrait Gallery, London

After moving to London, he joined Humphrey Lyttelton’s band and switched to the baritone sax.

He later said ;“That was the start of my professional career.The rest was incidental.”

He met many top American musicians ,including Louis Armstrong, Billie Holiday, Thelonious Monk, Cannonball Adderley and Anita O’Day.

So he enjoyed his first taste of New York in August 1959.

Once I posted about Humphrey Lyttelton.Go here

先月末、Bass clarinetプレイヤー列伝として投稿致しました。
その中でJoe Temperleyについて彼の命日である5月に詳しく投稿するとお約束しました。
Joe Temperley は baritone saxophoneの名手であり、スコットランド出身のジャズミュージシャンで後年はニューヨークで活躍しました。Harry Carneyの死後、Duke Ellington Orchestraのサックスの中心でした。
1929年9月20日、スコットランドのCrowdenbeathで生まれ、14歳の時に同地のBandで兄と一緒にコルネットを演奏していました。その後、アルトサックスに楽器を変えました。
ロンドン移住後、Humphrey Lyttelton’s bandに加入しバリトンサックスをメイン楽器としました。
彼は「それは私のプロのキャリアのスタートだった。残りは偶然だった。」と発言している。
彼はLouis Armstrong、Billie Holiday、Thelonious Monk、Cannonball Adderley、Anita O’Dayなどと共演しました。
そして1959年8月にニューヨークに初めて演奏旅行にも行きました。
私はHumphrey Lytteltonについて過去に投稿しています。こちらをクリックして下さい。

Here is Joe Temperley plays “Alabama”.

Here is Joe Temperley plays “SIngle Petal of a Rose”.

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(6)

April 16.2017

During and after World War II, he played sometimes with Red Allen and sometimes with his own band.

Red Allen was one of the few trumpet players who could parry with Louis Armstrong in the same style.

Photo above of Henry ”Red” Allen Orchestra by courtesy of OKMusic

About Red Allen,please refer to this website.Go here

Also they were a participant in major occasions such as the Newport Festival.

Then he worked once again briefly in 1964 with Louis Armstrong.

He died on May 26, 1973 in New York.

Like many jazz musicians of his generation, Higginbotham was later associated with a “dixieland-style”.

So some jazz fans see him as a dixie style player.

He contributed as one of the swing trombone pioneers.

I hope his evaluation will be evaluated more than now.

JCとRed Allenは仲が良く長い間行動を共にしています。
Red AllenはLouis Armstrong 直系の奏者です。
Red Allenについては詳しいサイトを参照して下さい。こちらをクリック
JCは1973年5月26日、67歳でニューヨークにて永眠しました。
彼の晩年の演奏はディキシー奏者との共演が多かったことから、トロンボーン奏者として過小評価されていると思われます。
しかし、彼はスイングトロンボーンのパイオニアの一人です。
彼の評価が今よりももっと評価されることを願っています。

Here is Henry Red Allen J.C.Higginbotham play “House on “52nd Street”(1946).

Here is Art Ford Jazz Party with J.C.Higginbotham play “Running Wild”.
Charlie Shavers (tp) J.C.Higginbotham (tb) Pee Wee Russell (c1) Coleman Hawkins (ts) Willie”The Lion”Smith (p) Harry Sheppard (vib) Dick Thompson (g) Vinnie Burke (b) Sonny Greer (ds) Sep.25,1958

J.C.Higginbotham(5)

April 14.2017

Photo above of J.C.Higginbotham from Wikipedia

After leaving Fletcher Henderson Orchestra,J.C.Higginbotham joined Benny Carter band in Autumn 1933.

J.C.Higginbotham and Henry ‘Red’ Allen were a close friends from the early Russell days.

Mills_Blue_Rhythm_Band

Photo above of Mills Blue Rhythm Band. From left to right: George Washington, J. C. Higginbotham, Henry “Red” Allen, Wardell Jones and Shelton Hemphill from Wikipedia

So they joined the Mills Blue Rhythm Band (directed by Lucky Millinder) in 1934.

Then, in 1937, they both rejoined Russell, whose band at the time was fronted by Louis Armstrong.

He was playing a purely supportive role behind Armstrong from 1937 to 1940.

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Eventually he Joined Henry ‘Red’ Allen sextet (as co-leader) in December 1940 and worked regularly with Henry Allen until February 1947.

By the way there is evidence that JC ‘s solo performance was admired from others.

His coda of “Higginbotham Blues” was later developed into “Organ Grinder’s Swing” .

“Organ Grinder’s Swing” by Jimmie Lunceford had imitated the ending of “Higginbotham Blues.

”Please listen and compare “Organ Grinder’s Swing” with “the coda of Higginbotham Blues”

Jimmie_Lunceford_Orch

Photo above of Jimmie Lunceford Orchestra

Fletcher Henderson楽団を去った後、Benny Carter bandとも共演しました。
1934年、J.C.HigginbothamとHenly “Red” Allenは the Mills Blue Rhythm Band に参加しました。
1937年から1940年、Louis Armstrong楽団に加入しDeccaに名演奏を残しています。
1940年12月以降1947年2月までHenry ‘Red’ Allenと双頭バンドを結成しました。

彼の演奏が「如何に愛されていたか」についての事例があります。
“Higginbotham Blues”のソロ演奏は、後日”Organ Grinder’s Swing”の原曲になりました。
Jimmie Luncefordの “Organ Grinder’s Swing”と “Higginbotham Blues”のエンディングソロを聞き比べて下さい。

Here is The Mills Blue Rhythm Band play “Red Rhythm”.
Henry Allen, Wardell Jones, Shelton Hemphill (tp), possibly J. C. Higginbotham, George Washington (tb), Tab Smith, Gene Michaels (cl, as), Crawford Wethington, Joe Garland (reeds), Edgar Hayes (p), Lawrence Lucie (g), Elmer James (b), O’Neil Spencer (dm), Lucky Millinder (dir), George Washington(vo). May 20, 1936

Here is Louis Armstrong his Orchestra play “Something Tells Me “.
Louis Armstrong (tp, vo), Shelton Hemphill (tp), J. C. Higginbotham (tb), Rupert Cole (cl, as), Charlie Holmes (as), Bingie Madison (cl, ts), Luis Russell (p), Lee Blair (g), Red Callender (b), Paul Barbarin (dm)May 18, 1938

Here is Louis Armstrong and his Orchestra plays “On The Sunny Side Of The Street”.
Louis Armstrong (tp, vo), J. C. Higginbotham (tb), Charlie Holmes (as), Bingie Madison (cl, ts), Luis Russell (p), Lee Blair (g), Red Callender (b), Paul Barbarin (dm). Nov. 15, 1937

Here is J C Higginbotham and His Six Hicks play “Higginbotham Blues”.
Henry “Red” Allen (cnt), J.C. Higginbotham (tb,ldr) ,Charlie Holmes (as), Luis Russell (p) ,Will Johnson (bj,g), Pops Foster (b), Paul Barbarin (ds)
February 5, 1930

Here is Jimmie Lunceford Orchestra play “Organ Grinder’s Swing”.

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