タグ別アーカイブ: Mezz Mezzrow

Bob Wilber(2)

September 14.2017

Photo by Wikipedia

Bob Wilber was born 15 March 1928 in New York.

He was fascinated with Ellington’s recording of “Mood Indigo” when he was at the age of three.

In high school, he formed “The Wildcats” with Dick Wellstood.

In those days he often visited New York City’s 52nd Street and met Sidney Bechet.

He had become fascinated with Bechet’s sound.

Fortunately he was introduced to Bechet through Mezz Mezzrow.

In 1946 he studied with Sidney and living with him for several months.

He began studying both clarinet and soprano saxophone under Bechet.

Also he often sat in with Bechet at Jimmy Ryan’s and they often performed duets.

Photo by courtesy of Jazz Lives(June 24,2014)
The Nice Jazz Festival, 1948.   Henry Goodwin(tp), trumpet; Robert Sage Wilber(Bob Wilber), clarinet / soprano saxophone; Jimmy Archey, trombone; Pops Foster, string bass; Sammy Price, piano; Mezz Mezzrow, clarinet.

In 1948, Bechet sent him as his stead to the first Nice Jazz Festival in France.

After performing at the first-ever jazz festival,  Wilber toured with Mezz Mezzrow.

Bob Wilberは1928年3月15日にニューヨークで生まれました。

3歳の時に父が聞かせたDuke Ellingtonの「Mood Indigo」にすっかり魅了されました。

高校時代にはDick Wellstood (ピアノ)と共に「The Wildcats」を結成しました。

その当時ニューヨークの52番街のジャズスポットを頻繁に訪れ、Sidney Bechetと出会いました。

Bob WilberはSidney Bechetの演奏に夢中になりMezz Mezzrowの紹介でBechetと懇意になりました。

1946年Sidney Bechetに師事することになり、内弟子として数ヶ月間一緒に過ごしました。


又、52番街の「Jimmy Ryan’s」ではBechetと席を共にしデュエット演奏を行なっていました。

1948年に師匠のSidney Bechetの代理として 第1回Nice Jazz Festivalに派遣されました。

彼自身初めてのジャズフェスティバルに参加後はMezz Mezzrowと共にツアーを行いました。

Here is Bob Wilber’s Bechet Legacy play “Dear Old Southland”.

Here is Bob Wilber and Buddy DeFranco at Mat Domber’s private party in California(2003)
Bob Wilber(cl), Buddy DeFranco(cl),Dick Hyman(p),Howard Alden(g),Jay Leonhart(b),Butch Miles(ds)

Here is Bob Wilber plays “SI TU VOIS MA MERE”.
Live at  Smalls  in NYC  (March 15, 2012)

Looking east from 6th Avenue, 52nd Street in at night (May 1948); photo by William P. Gottlieb Collection

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。


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)”.

Hugues Panassie(3)

March 23.2016


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。
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。




Hugues Panassié (2)

March 22.2016


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

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.