Tag Archives: Teddy wilson

Mildred Bailey and Her Alley Cats “with Bunny Berigan”

November 03.2017

Photo above of Red McKenzie and Bunny Berigan,Eddie Condon at the guiter, Joe Bushkin at the piano

Bunny Berigan participated in three recordings in December,1935.

Photo above of Eddie Condon and Bud Freeman of courtesy by Wall Street Journai

(1)Bud Freeman And His Windy City Five
  New York December 4, 1935.

(2)Mildred Bailey and Her Alley Cats: Mildred Bailey New York December 6, 1935.

(3)Bunny Berigan And His Blue Boys  New York December 13, 1935.


I am interested in the recordings of Mildred Bailey and Her Alley Cats.

So I want to post about the background of this recording.

John Hammond was contracted by Parlophone Records to produce a series of American jazz performances that were to be released in Great Britain.

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

Hammond assembled Teddy Wilson,Grachan Moncur, Johnny Hodges and Bunny Berigan for Mildred Bailey.

Berigan and Hodges had never performed together as front-line men before this session.

These four tracks-twit jazz standards and two blues.

“Downhearted Blues,” is a well-known tune that had been Bessie Smith’s first issued recording.

In 1941, the American Decca record company reissued them as part of a six record set entitled “Gems of Jazz.”

1935年12月Bunny Beriganは3つの異なったメンバーと重要な録音に参加しています。

(1)12月4日 Bud Freeman And His Windy City Five

(2)12月6日 Mildred Bailey and Her Alley Cats    4曲

(3)12月13日 Bunny Berigan And His Blue Boys 4曲

上記においてMildred Bailey and Her Alley Cats の録音は異色の録音であると思いました。

以下、Mildred Bailey and Her Alley Catsの録音について調べてみました。

その当時John Hammondは英国市場向けのジャズレコード製作契約をParlophone Recordsと締結しました。

HammondはMildred Baileyの伴奏者としてTeddy WilsonとGrachan MoncurとJohnny Hodges並びにBunny Beriganを録音スタジオに招きました。

興味深いことにJohnny HodgesとBunny Beriganはこの日まで一緒に演奏したことはなかったそうです。


尚 「Downhearted Blues」はBessie Smithが録音したブルースの古典として有名な曲です。

1941年、アメリカDecca社はこの日の4曲を「Gems of Jazz(6枚組SPアルバム)」の一部として収録し再発売しました。

Here is Mildred Bailey and Her Alley Cats play “Willow Tree”.
Mildred Bailey (vocal), Bunny Berigan (tp), Johnny Hodges (as), Teddy Wilson (p), Grachan Moncur (b)
60201 A New York December 6, 1935.


Here is Mildred Bailey and Her Alley Cats play “Honeysuckle Rose”.
60202 A Members of the recording are the same as above.


Here is Mildred Bailey and Her Alley Cats play “Squeeze Me”.
60203-A Members of the recording are the same as above.


Here is Mildred Bailey and Her Alley Cats play “Hearted Blues”.
60203-A Members of the recording are the same as above.


Here is Bessie Smith sings “Down Hearted Blues”(1923)



Jazz Mission to Moscow

July 18.2017

After Benny Goodman returned home and his members was dissolved ,Jack Lewis produced an album called Jazz Mission to Moscow.

Producer Jack Lewis had worked for Colpix, a new record label set up by Columbia Pictures.

Jack entrusted Al Cohn as arranger, and Al Cohn made this “ten-tette” sound like a true big band.

I think Al Cohn had done a terrific arrangements.

Interesting Al Cohn did’ t participate in the tour of Benny Goodman.

As one of reasons this recording is valuable,Eddie Costa had participated as pianist.

Photo above of Vinnie burke and Tal Farlow and Eddie Costa by courtesy of Pinterest.

Because Victor Feldman had flown home to California, and Teddy Wilson and John Bunch had stayed in Paris.

So producer Jack Lewis Costa called Eddie Costa on recording.

He played an engaging solo in “The Sochi Boatman”.

Unfortunately it was Eddie’s last recordings.

He died in a car accident two weeks later, in the early hours of July 28th, 1962.

I referred to the article by Fernando Ortiz de Urbina( June 27, 2011)

Photo by courtesy of Bill Crow
at the Jazz Mission to Moscow session

Benny Goodmanが帰国しバンドが解散された後に、Jack Lewisが「Jazz Mission to Moscow」というアルバムを製作しました。
Jack Lewisは映画会社のColumbia Picturesが設立したColpixレーベルでプロデューサーとして雇われていました。
アルバム制作に際しJack Lewisは編曲者としてAl Cohnを起用し、Al も10人編成ながらビッグバンドのような サウンドを作り上げ期待に応えました。
Al CohnはBenny Goodmanのツアーに参加しなかったにも拘らず、素晴らしい編曲を提供したと思います。
又、このレコーディングはEddie Costaの参加が価値を高めています。
何故ならVictor Feldman はCaliforniaの自宅に帰っておりTeddy WilsonとJohn BunchはParisで演奏していたからです。
そのためJack LewisはEddie Costaをピアニストに抜擢しレコーディングに臨みました。
Eddie Costaは「The Sochi Boatmanにおいて素晴らしいソロを披露しました。
残念なことですがこのレコーディングがEddie Costaにとって最後の演奏になりました。
以上はFernando Ortiz de Urbina(2011年6月27日)の素晴らしい記事を一部引用しました。

Here is  The Sochi Boatman”.

Here is “Let’s Dance”.

Here is “Midnight In Moscow”.

  • Alto Saxophone, Clarinet – Phil Woods
  • Alto Saxophone, Flute – Jerry Dodgion
  • Arranged By, Conductor – Al Cohn
  • Baritone Saxophone – Gene Allen
  • Bass – Bill Crow
  • Drums – Mel Lewis
  • Engineer – Ed Begley
  • Piano – Eddie Costa
  • Tenor Saxophone – Zoot Sims
  • Trombone – Willie Dennis
  • Trumpet – Jimmy Maxwell, Markie Markowitz
  • July 12, 1962 at Webster Hall, New York.

Benny Goodman in Moscow

July 17.2017

Last week I went to a Jazz bar in Umeda in Osaka city.

The master likes Russia and I heard an interesting story about Moscow from him.

Recently I saw the documentary film when Benny Goodman visited to Moscow.

So l would like to post about Benny Goodman’s tours in Moscow.

In 1956, the US State Department created the Jazz Ambassadors program, hiring

leading American Jazz musicians such as Louis Armstrong, Dizzy Gillespie,

Benny Goodman, and Duke Ellington to be “ambassadors” for the United States overseas.

Benny Goodman was probably the world’s best-known jazz musician.

So he traveled the world as Musical Ambassador of Good Will for the United States.

In those days The Times said that some people felt Duke Ellington should have been the first American jazz band to make an official tour of Russia.

In 1962, Benny Goodman embarked on a tour of the USSR with a top-notch big band.

He assembled many superior musicians as sideman.

Photo above of Sightseeing in the Soviet Union by courtesy of Bill Crow
Mel Lewis, Joe Newman, Jimmy Knepper,Willie Dennis, Bill Crow, Victor Feldman

Photo  by courtesy of Bill Crow
Jimmy Knepper,  Phil Woods ,  Turk Van Lake , Teddy Wilson

Joe Newman and Jimmy Maxwell on trumpets, Willie Dennis on trombone, Phil Woods, Jerry Dodgion, and Zoot Sims in the reed section, and a rhythm department comprising by John Bunch, Teddy Wilson, Victor Feldman, Bill Crow and Mel Lewis.

About Benny Goodman’s tour, please refer to this website. Go here

Tomorrow I would like to post about “Jazz mission to Moscow”.

先週の金曜日、大阪梅田にある有名なJazz Barに行きました。(ライブ演奏は一切ありません)

最近、YoutubeでBenny Goodmanが1962年にモスクワを訪問した時に撮影されたドキュメンタリーフィルム(旧ソ連製作)を観て面白いなと思いました。
そんな訳で1962年にBenny Goodmanがモスクワを訪問したことにつ
1956年、米国国務省は有名ジャズ音楽家のよる外交推進を目的として 「The Jazz Ambassadors program」を創設しました。
Louis Armstrong, Dizzy Gillespie, Benny Goodman, Duke Ellington が「音楽親善大使」として選ばれました。
第二次世界大戦後でもBenny Goodmanは世界で最も有名なジャズミュージシャンでした。それ故、Benny Goodmanは音楽の親善大使として世界中を旅していました。
一方、政府によるソビエトへの公式ツアーがBenny Goodman楽団と決定された時、ニュース雑誌のTimesは最初に訪問すべき音楽家としてはDuke Ellingtonの方がふさわしいとの見解も示していました。
1962年に、Benny Goodmanはモスクワへのツアー準備を開始しました。

Joe Newman and Jimmy Maxwell(tp)Willie Dennis (tb), , Phil Woods, Jerry Dodgion, and Zoot Sims(reed section), John Bunch, Teddy Wilson,Victor Feldman(p), Bill Crow (b) Mel Lewis.(ds)

Benny Goodmanツアーの詳細についてはこのウェブサイトを参照してください。こちらをこクリックして下さい。

明日は名盤「Jazz mission to Moscow」について投稿する予定です。

Here is Benny Goodman in USSR by documentary film.(演奏場面は少ないです。)

Here is Benny Goodman and His Orchestra 1962 “Benny introduced his members”.Moscow, May 1962

Here is Benny Goodman and His Orchestra play “Bugle Call Rag”.

The initial story of Oscar Peterson(3)

May 31.2017

Photo above of Peterson with Russ Dufort(ds) and Armand Samson(g) by courtesy of
Concordia University

Photo above of Art Tatum by courtesy of 100piano.com

In his early days Peterson was influenced by Teddy Wilson, James P. Johnson and Art Tatum.

In particular, there is an interesting story about receiving his shock by Art Tatum’s recordings.

When his father played him Art Tatum’s “Tiger Rag”,he locked himself in his room and did not touch the piano for more than a week.

He talks about his situation at that time.

”I figured it was hopeless to practice. My mother and friends of mine persuaded me

to get back to it, but I’ve had the greatest respect for Art from then on.”

Photo above of James P. Johnson by courtesy of NPR

Photo above of Teddy Wilson by OKMusic

He was in his late teens and already an experienced professional musician.

Since 1942 he had been playing regularly with the Johnny Holmes Orchestra.

Photo above of Oscar Peterson and Johnny Holmes by courtesy vehiculepress.com

Then he left the orchestra in 1947 and began a residency at the Alberta Lounge, a club near Windsor Station.

He soon developed a reputation as a technically brilliant and melodically inventive jazz pianist for two years.

So he won a radio talent contest on Canada’s national network, the CBC in 1949.

As a result he became a regular performer on Canadian radio.

Oscar Peterson had a regular gig at Montreal’s Alberta Lounge.

デビュー前にOscar Peterson に影響を与えたピアニストとしては Teddy Wilson,とJames P. Johnson そしてArt Tatumが挙げられます。
彼が初めてArt Tatumの演奏を聞いた時、強い衝撃を受けたという興味深い話があります。
父親がArt Tatumの「Tiger Rag」のレコードを彼に聞かせた時のことです。


「いくら練習なんかしても無駄だと思いました。母と友人達は私が部屋から出るように説得しました。その時以降、Art Tarumに対してはずっと尊敬の念を持ち続けています。」

1942年以降はJohnny Holmes Orchestraに加入し定期的に演奏していました。
1947年に楽団を退団し、ウィンザー駅の近くにあったAlberta Loungeで本格的なジャズ演奏を始めました。

Here is Art Tatum plays “Tiger Rag”.

Here is Oscar peterson plays “Cakewalk (Noreen’s Nocturne)”.

Here is Oscar Peterson Trio play “Tenderly”.
Oscar Peterson (p), Herb Ellis (g), Ray Brown (b) in Brussels, Belgium 1957

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。

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)

“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.


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).


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。
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)


Eiji Kitamura(2)

March 07.2017

Photo above of Eiji Kitamura from Official website

Eiji Kitamura devoted himself to clarinet playing while still an undergraduate at Keio University in Tokyo.

He decided to become a professional musician in 1951.

Then he had been named ”Swing Journal Poll Winners” each and every year since 1959.

He had making many recordings and concerts throughout the 1960s/70s.

Also he had played with a legend musicians like Buddy DeFranco and Teddy Wilson.

In 1977 he was invited to the Montreux Jazz Festival.

Fortunately his performance got great praise.

So he appeared in 18 consecutive times and 1996 until 1994.

He was invited numerous times in major jazz festivals such as America, Europe and Australia.

Photo above courtesy by Pinterst

Here is Eiji Kitamura with Teddy Wilson, Cal Tjader play “Avalon”.

Here is Scott Hamilton with Eiji Kitamura play “Lover, Come Back To Me”.