Sandy Brown Jazz
What's New
October 2024
Bert's Jazz Bar at the Merchant Hotel in Belfast has jazz seven days a week. This autumn it is also launching a new range of cocktails inspired by 'The World's Greatest Jazz Cities' - New Orleans, (Le Vieux Carré); Paris (French 75); etc. But those who prefer non-alcoholuc drinks are also catered for with Pommes et Poires, Cuba Libre, etc. More details are here. "Sláinte".
Jazz Festivals
This year's EFG London Jazz Festival runs from 15th - 24th November. A programme of gigs for the Festival is here.
Dates for 2025 UK Jazz Festivals are beginning to be announced. We are collating a list here and we shall add to it as more come in. If you know of other dates or UK festivals for next year that have a website or Facebook page please let us know.
A Wonderful World : The Louis Armstrong Musical
The Songwriter's Handbook
American vocalist Mark Winkler has publiched a new book - The Songwriter's Handbook : Strategies For Crafting Great Lyrics.
"The book includes:
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Highlights of great songwriters and their songs
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Exercises that focus on storytelling and rhyming while adding specificity and color
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Practical tips for writing great lyrics with accompanying templates
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Annotated examples of songs to illustrate effective exercises
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Information about people you need on your creative and business team
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Next steps after you’ve written a great song
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Tips on being a successful live performer to make songs pop
By using great songwriters and their songs as blueprints, Winkler reveals the tricks of the trade and shows how you can improve your songwriting skills." More details are here.
Songwriting Mentoring Programme
Vocalist and teacher Lara Eidi is also offering a mentored, personal songwriting programme. Lara is based in Athens but visits the UK from time to time. 7 places are available - the first course starts in October but another is available from March to October next year. More details are here.
New Jazz Venues?
Mention is made in local press about two new jazz venues but at the time of writing there was little information about gig listings. If you live in the area, perhaps you could check them out? The Bottle Bank in Belper, Derbyshire is one (details in the Derby Telegraph here) and The Band On The Wall on Swan Street, Manchester (right) is opening a new bar according to the Manchester Evening News (details here).
London also has a new venue. Launching on 1st October, The Drawing Room ... After Dark is a vibrant and lively space inside London's oldest luxury hotel, Brown's on Albemarle Street in Mayfair. "The historic Drawing Room will transform into an intimate jazz club, off-beat and unbridled, boldly blurring the line between artist and audience to redefine traditional hotel lounge performances." Details are on their website here.
Tina May Young Jazz Musician Award 2024
The Musicians Company annual Young Jazz Musician Award, renamed after the late vocalist Tina May, has been awarded this year to pianist Nico Widdowson. Nominations for the final of the competition were made by many of the UK’s leading jazz musicians, music conservatoires and universities and the Company’s Jazz Committee selected six of the most outstanding young artists to perform at the Pizza Express Soho Jazz Club. The other finalists were: Kieland Sheard (bass); Matt Holmes (drums); Helena Kay (tenor sax and flute); Flo Redmonds (tenor sax) and Donovan Haffner (alto sax). Congratulations to Nico - here is a video of him playing his composition Angela Scott in July.
Here is a video of Curve Ball played live from Joe Webb's new album Hamstrings and Hurricanes. The pianist 'taking inspiration from the flavour of 90’s Brit-pop and adding references to his Welsh cultural roots, seamlessly blends traditional jazz with contemporary flair.'
Clarinettist Adrian Cox plays Lover Come Back To Me in session for the French TSF radio station with Denny Ilett (guitar); Dave Newton (piano); Alex Gilson (double bass) and Sebastiaan De Krom (drums) in 2023.
In this video bass player Avishai Cohen plays Courage from his new album Brightlight with his Trio in Japan earlier this year. The album is due out 25th October. Guy Moskovich (piano) and Roni Kaspi (drums) are impressive and in another short video extract, see Guy's piano playing on another track from the album - Gershwin's Summertime - here.
Guitarist Nick Costley White and his Trio (Conor Chaplin, bass, and Josh Morrison, drums) play Jimmy Van Heusen and Johnny Mercer's I Thought About You at The Vortex in London in September.
Earl Coleman and his Orchestra with vocalist June Barton play It's Got To Be This Or That some time in the early 1940s
Emma Smith sings I Get A Kick Out Of You. Emma has been shortlisted for the Parliamentary Jazz Awards together with Imogen Ryall, Anita Wardell and Liane Carroll for 'Vocalist Of The Year'. The awards take place on 29th October.
Two Ears Three Eyes
Peter Jones Quartet
Photographer Brian O'Connor from imagesofjazz.com took this picture of the Peter Jones Quartet when they were playing at the Ship Inn, East Grinstead in August.
Brian says: "The Saturday was the main day of the first East Grinstead Jazz Festival. Let's hope it is the first of many. There were many events throughout the day at various venues. Organised by Jenny Green in conjunction with Being Neighbourly and a host of volunteers and sponsors, everyone concerned is to be congratulated. Further details of jazz in E. G. can be obtained by looking up the East Grinstead Jazz Club, and the Chequer Mead Theatre. The quartet consisted of, Peter Jones, vocals; Leon Greening, keyboard; Miles Danso, bass; Matt Skeaping, drums. A first class couple of sets.'
Since Brian took this pictures he has recently had an accident on the way to a gig and has broken his shoulder. We wish Brian well and a speedy recovery.
Did You Know?
The Music Goes Round And Around
Perhaps the best known version of this song is the one sung by Danny Kaye as Red Nichols to his screen daughter in the film The Five Pennies. In the film he uses his cornet to show where the music goes 'round and around ... and it comes out here'.
In fact, the song was written about a French Horn, and looking at the shape of that instrument, perhaps we can understand the inspiration for the lyrics. Trumpet player Eddie Farley and trombonist Mike Riley were working at the Onyx club in New York with Red McKenzie's band when, in September 1935, they happened to compose and record the song. it is explained here that Ithe Onyx Club began to feature a swing and Dixieland-oriented small combo led by the two veteran dance-band musicians. The band never took itself quite seriously and resorted to novelty songs and a great deal of on-stage clowning. One of its routines had something to do with the mechanics of a brass instrument. It was recorded as a novelty number for Decca Records and the lyrics were added by Red Hodgson.
Wikipedia tells us that Decca had been in business for only a year and was still struggling .... But the record was an overnight sensation, selling some hundred thousand copies and transforming the fledgling company into a major label. A recording by Tommy Dorsey and his Clambake Seven was a further hit in 1936 from a movie The Music Goes 'Round - (you can read more here) - and in 1992, the song was used as the soundtrack for a very popular, long-running stop-motion animated UK TV commercial for Weetabix Ltd's Weetos breakfast cereal. The advert featured Professor Weeto singing the song (with revised lyrics, recorded to replicate the sound of the 1936 original), while he demonstrated the operation of his Weetos Machine.
Take Two
Moten Swing
Pianist and bandleader Benny Moten was born in 1893 in Kansas City, Missouri. His first band recordings in 1923 showed the influence of King Oliver and elements of ragtime music and a stomping beat for which his orchestras became famous. The real revolution came in 1929, after he recruited Count Basie, Walter Page and 'Hot Lips' Page. Moten continued to be one of Victor's most popular orchestras through 1930. Their final session showed the early stages of what became known as the "Basie sound," four years before Basie recorded under his own name. Benny Moten died in 1935 after a failed tonsillectomy operation. Nathan W. Pearson Jr. summarized Bennie Moten's influence on Kansas City's jazz legacy: "Among Kansas City musicians . . . the city, the style, and the era of its flowering are virtually synonymous with the Bennie Moten Orchestra."
For our first 'take' of Moten Swing we go to director Robert Altman's 1996 film Jazz '34 in which musicians remember the Kansas City jazz scene and pay homage to the jazz players of the time. There are reconstructions of some of the bands from those days. "This is not so much a documentary so much as a recreation, or rather a documentary done by Robert Altman IF he had 1990s camera equipment in a 1930s Kansas City nightclub." (IMDB). In this scene from the film, Moten Swing is remembered:
To bring you a different interpretation of Moten Swing for our second 'take' we turn to the Oscar Peterson Trio who on this occasion are joined by saxophonist Sonny Stitt who plays a nice creative solo for the number. Sonny Stitt was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern because of his tendency to rarely work with the same musicians for long despite his relentless touring and devotion to the music.
Anagram
Lens America
Journalist/guitarist Filipe Freitas and photographer Clara Pereira run JazzTrail in New York City. They feature album and concert coverage, press releases and press kits, album covers and biographies. They are valued contacts for Sandy Brown Jazz in the United States. You can read Filipe's reviews of album releases here and see Clara's gallery of pictures here.
Clara Pereira took this picture of saxophonist Miguel Zenon in 2019, and the saxophonist has a new album out - Golden City - that Filipe Freitas reviews here. Filipe writes: "Puerto Rican alto saxophonist and composer Miguel Zenón has long been a formidable presence in the eclectic jazz scene, known for his deft handling of compositions that seamlessly blend Latin rhythms with contemporary jazz, serving as fertile ground for improvisation. Golden City, his 16th album as a leader, is a visceral work inspired by the rich history of San Francisco and its surrounding areas, specifically from the perspective of its immigrants and minority groups."
'The album notes tell us more: "Over the course of his brilliant and groundbreaking quarter-century career, Grammy Award-winning alto saxophonist and composer Miguel Zenón has revelled in doing the hard work, whether he was transforming Puerto Rican plena into a vehicle for improvisation or writing a body of tunes inspired by the history of the American continent. But no project he’s tackled has involved the kind of intensive, granular research required by Golden City, a sweeping suite inspired by the demographic and political evolution of San Francisco, from the pre-colonial period to the contemporary tech-dominated era. His 17th album as a leader, Golden City is slated for release August 30, 2024 via Zenón’s Miel Music label.'
'Commissioned by SFJAZZ and the Hewlett Foundation, “Golden City Suite” premiered at the SFJAZZ Center in 2022 with a production designed for an unusual all-star trombone-centric nonet. The inveterately curious Zenón embraced the assignment by delving into California’s history, “all the way back to the beginning with Native communities,” he says. “All the way back to when it was Mexico, and the Gold Rush, and the waves of Asian migration. I talked to about 50 individuals and came out the other side with a lot more information to feed the creative process.” (listen to Rush here)
'While Golden City isn’t programmatic, it’s a body of music deeply informed by the places and people Zenón visited. More than a musical presentation, the work became a multimedia production in collaboration with Opera Parallèle set designer Brian Staufenbiel and projection designer David Murakami, who created a visual environment for the evening-length work, which features 10 interconnected but independent movements ....."
The album can be sampled here and there is a video of a live performance of one of the tracks, Cultural Corridor, here.
The Story Is Told
Billie And Basie
'I still say the greatest thing about the Basie band of those days was that they never used a piece of music, still all sixteen of them could end up sounding like a great big wonderful one sound.
Most of my experience with bands before that had been in hanging out with Benny Goodman. I used to listen to him rehearse with high-paid radio studio bands and his own groups. He always had big arrangements. He would spend a fortune on arrangements for a little dog-assed vocalist.
But with Basie, we had something no expensive arrangements could touch. The cats would come in, somebody would hum a tune. Then someone else would play it over on the piano once or twice. Then someone would set up a riff, a ba-deep, a ba-dop. Then Daddy Basie would two-finger it a little. And then things would start to happen.
Half the cats couldn't have read music if they'd had it. They didn't want to be bothered anyway. Maybe sometimes one cat would bring in a written arrangement and the other would run over it. But by the time Jack Wadlin, Skeet Henderson, Buck Clayton, Freddie Green and Basie were through running over it, taking off, changing it, the arrangement wouldn't be recognizable anyway.
I know that's the way we worked out Love Of My Life and Them There Eyes for me. Everything that happened, happened by ear. For the two years I was with the band we had a book of a hundred songs, and every one of us carried every last damn note of them in our heads.'
From: Lady Sings The Blues by Billie Holiday
Here's a video of Billie singing God Bless The Child and Now Or Never with Count Basie from 1950.
Who Am I?
I was born in Wichita, Kansas in 1911 and by sixteen I was already playing piano in a local hamburger joint. I then played with various bands joining Gus Arnheim's band in 1936 and made my first recordings with them. I formed my own orchestra in 1940 and people say it was the best known West Coast ensemble of the 1940s. We certainly had many great musicians, including that wonderful singer Anita O'Day. Later we had the 'Artistry In Rhythm' ensemble and singer June Chrtisty was in that, and in 1950 the 'Innovations In Modern Music' band. Of course, the scene was changing by the 1970s and then I had two falls on tour, one fracturing my skull, and after a stroke, I died in 1979.
Click on the picture for the answer
Ivo Neame's
Zettalogue
by Howard Lawes
The new album from Ivo Neame is called Zettalogue. This word doesn't appear in dictionaries but is used by the author Avi Loeb in a book called Extraterrestrial in which he postulates that our solar system has been visited recently by an advanced alien technology. True or not it demonstrates once again the broad scope of Ivo Neame's erudition and the multiple sources that inspire his music. Via Zoom he talked about his music, how the industry and audiences have changed during his career, and what he hopes for the future.
Ivo Neame graduated from the Royal Academy of Music in 2003 and has been at the forefront of the progressive London jazz scene ever since. During this time he has established lasting relationships with other musicians and has featured on numerous albums with them, either as leader or sideman. While the piano trio format as epitomised by Phronesis has been particularly successful, his performances with saxophonists such as Marius Neset have also been widely praised. Ivo is equally at home with large and small ensembles and was recently artist in residence with the Cologne Contemporary Jazz Orchestra composing a full-length programme for them. Zettalogue is a return to the quartet format that features George Crowley on tenor saxophone, Tom Farmer on double bass and James Maddren on drums. This is the same line-up as for Ivo Neame's album Moksha (2018) and they all featured on the Glimpses of Truth (2021).
Here is Zettalogue from the album:
The Zettalogue album begins with a new version of Rise Of The Lizard People, a tune Ivo wrote a few years ago prompted by the publicity given to the theory, promulgated by David Icke, that there are half-human, half-alien beings seeking world domination. Ivo's tune, which was nominated for a prestigious Ivors Composers Award, highlights the ease with which conspiracy theories gain traction in a modern world with ever more accessible yet uncontrolled media. The modern world has also seen drastic changes in the way that audiences access music but Ivo believes that creating an album such as Zettalogue is just as valid now as it was years ago. Creating a new album provides a focus on the artist's most recent work and provides the incentive for live performances which Ivo believes are the best way for an audience to hear and appreciate jazz, perhaps more so than with other styles of music. Another track inspired by literature is Pala, the eponymous island of Aldous Huxley's novel, home to a utopian society in complete contrast to the dystopian "Brave New World" described in an earlier, Huxley novel. Ivo, like most of us, is concerned about the problems facing the whole world and in particular the prevalence of war between nations. His hope is that live music in all its forms can be a refuge for people when they need help or a joy when they celebrate. He also values the jazz community which despite necessarily having a commercial side depends to a large extent on volunteers and the good will of many in the industry.
The process of creating a studio album can take a while, Zettalogue was recorded in 2022. Part of the reason for the apparent delay is that Ivo has taken on the role of mixing engineer as well as composer and musician. Mixing involves taking the sounds from multitrack channels, as recorded in the studio or concert hall and combining them in the most appealing way. However, in the meantime, Ivo has also featured on other albums with Marius Neset (orchestral), Emma Rawicz (sextet), Jim Rattigan (duet), the Cologne Contemporary Jazz Orchestra and a solo album of his own. He has also toured with a new, 12-piece ensemble or dodeka. These various sized ensembles highlight the flexibility of jazz in that while a solo performance might be almost entirely improvised an orchestral performance will be almost entirely composed. With Zettalogue Ivo emphasises the huge contribution made by the other members of the quartet in creating improvised music based on his vision. The most obvious contribution that can be heard is that of George Crowley who together with Ivo Neame performs most of the solos, but Tom Farmer's bass and James Maddren's drumming is top class. Maddren has collaborated with Ivo Neame for more than 14 years, first featuring on the album Caught in the Light of Day (2009) and Neame describes his drumming as effortless and honest, "how jazz should be played". Ivo pays tribute to his band members emphasisng that the magic happens through a shared performance, improvising and sparking off each other.
Other tracks on the album have a spiritual context, Personent Hodie is a favourite Christmas carol that Ivo Neame sang when a chorister in Canterbury Cathedral. On the album, the evocative tune arrives after a long, pulsating introduction which is in stark contrast to the medieval melody that has been arranged by John Rutter and others and not much like Wayne Shorter's version on his album Alegria (2003). In his arrangement, Ivo Neame may be contrasting the traditional and modern ways in which people celebrate religious festivals and this theme continues with the last track, The Trouble with Faith, probably the most melodic, which includes a beautiful conversation between piano and saxophone and also a double bass solo. This track in particular is music that Ivo Neame hopes will help people struggling to find answers and that will transport them to a place where answers can be found.
Listen to Personent Hodie:
Ivo Neame is one of the UK's best pianists and his music is always of the highest quality. He is also a very thoughtful musician and bandleader, drawing on multiple inspirations, and sincerely hopes that his music will make a difference to the world at large. Zettalogue is the next chapter in his battle to achieve what he believes in and maybe those visiting aliens, on hearing his music, have returned to their distant planet with joy in their hearts, one can only hope so.
Purchase details for the album on the Ubuntu Music label are here and Ivo Neame's website is here.
Time Out Ten
The Gerry Mulligan Quartet
Love In New Orleans
For this item you need to be able to stop for ten minutes.
We are often moving on to the next job, the next meeting, scrolling down social media, taking the next call ......'Time Out Ten' asks you to stop for ten minutes and listen to a particular piece of music; to find a time when you won't be interrupted, when you can put in/on your headphones and chill out. Ten minutes isn't long.
Perhaps the best known Gerry Mulligan Quartet recordings are the pianoless quartets with Chet Baker - Mulligan's baritone saxophone worked well with Baker's trumpet. It was narcotics charges in mid-1953 that brought the collaboration to an end.
Mulligan continued the quartet format with valve trombonist Bob Brookmeyer replacing Baker, and the result is a very distinctive sound from the core members - other musicians would join from time to time. In 1960, Gerry formed a Concert Big Band, but two years later he returned to the Quartet format and recorded an album with Gerry Mulligan (baritone sax), Bob Brookmeyer (valve trombone), Bill Crow (bass) and Gus Johnson (drums). Here they are for us to 'take ten' with the track Love In New Orleans from the album
The Jazz Quiz
Irving, George, Eubie or Jule?
In the quiz this month we give you the titles of fifteen jazz standards composed
by either Irving Berlin, George Gershwin, Eubie Blake, or Jule Styne
Can you sort out who wrote which song?
The October Jazz Quiz is
Tracks Unwrapped
Exploring the stories behind the music
Hittin' The Jug
Hittin’ The Jug is a composition by tenor saxophonist Gene Ammons. It appeared on his historic 1960 album Boss Tenor. The Quintet on that album were: Gene Ammons (tenor sax); Tommy Flanagan (piano); Doug Watkins (bass); Art Taylor (drums) and Ray Barretto (congas).
Listen to the track. One comment on YouTube says: 'One of the swing-ingest, slow pokey blues by Gene and Ray Barretta on those probing congas! Mr Gene Ammons was the best of the best. This is great stuff and very sadly not played anymore. I can listen to this till the cows come home!'
You could be forgiven for thinking that ‘Hittin’ The Jug’ refers to drinking alcohol. After all, many years previously in 1936, Stuff Smith and His Onyx Club Boys had recorded Old Joe’s Hittin’ The Jug
But the fact is that Gene Ammons was nicknamed ‘The Boss’ but also carried the nickname ‘Jug’.
The saxophonist was the son of boogie-woogie pianist Albert Ammons. One biography described how ‘Ammons was born on April 14, 1925, in Chicago, Illinois. His father was Albert Ammons, generally considered one of the top players of jazz boogie-woogie piano. The elder Ammons introduced boogie-woogie to an audience at New York City's Carnegie Hall as well as playing at President Harry Truman's inauguration in 1949. His son, however, chose to play the tenor saxophone rather than piano after hearing Lester Young play. Gene Ammons studied music with instructor Captain Walter Dyett at Du Sable High School in Chicago. While still in high school, Ammons performed and recorded with his famous father and later did a cross-country tour with King Kolax. With Ammons, the King Kolax Band played such important jazz venues of the 1940s as the Savoy Ballroom in New York City.
'When he was 19, he joined the Billy Eckstine band, where he played alongside Charlie Parker and, later, Dexter Gordon. Considered by many jazz historians and critics as the first bebop big band, Eckstine's group was the training ground for some of the most important and progressive jazz musicians of the 1940s, 1950s, and 1960s, including Ammons, Parker, and Gordon, as well as Fats Navarro, Art Blakey, Miles Davis, Howard McGhee, and vocalist Sarah Vaughan ....
' ..... Despite an ongoing dependency on heroin beginning in the mid-1950s and several subsequent arrests and two prison sentences that together totalled nearly ten years, Ammons was a tremendously prolific recording and touring artist, a fact worth noting because many of his recordings remain in print or were remastered and reissued decades after his death ... Ammons appeared with the Eckstine band in the 1946 film Rhythm in a Riff. During this period, Ammons acquired the nickname "Jug" from Eckstine, who, according to American National Biography, told Ammons, "'You have a head like a jug,'" when straw hats ordered for the band did not fit Ammons. Eckstine disbanded the group in 1947, and Ammons then led a group, including Miles Davis and Sonny Stitt, that performed at Chicago's Jumptown Club ....’
Here is a clip from the movie Rhythm In A Riff:
Eugene ‘Jug’ Ammons died from cancer on 6th August 1974 at the age of 49. He is buried in Lincoln Cemetery, Illinois where his headstone reads ‘Eugene ‘Jug’ Ammons - The Song Is Ended ... But The Melody Lingers On ...’
Vocalist King Pleasure recorded Ammons’ Hittin' The Jug retitled as the vocalese song Swan Blues in 1962 (here).
In an Allmusic review of Gene Ammons' final recording, they stated "It is ironic that on tenor saxophonist Gene Ammons' final recording date, the last song he performed was the standard "Goodbye." That emotional rendition is the high point of this session... It's a fine ending to a colourful career".
Listen to Gene Ammons' Goodbye.
Wikipedia says of Gene Ammons ‘Gene Ammons is remembered for his accessible music, steeped in soul and R&B’.
Gene 'Jug' Ammons
The Value Of Musicians' Newsletters
by Matt Fripp of Jazzfuel
Matt Fripp set up his own music agency and website, Jazzfuel, in 2016, since when he has established a client base across many countries. Although born in the UK, Matt is currently based with his family in Paris, France, but the international aspects of his work make little difference to his location. What is different about Matt and Jazzfuel is the information that he shares publicly on his website. Matt has kindly agreed to share some of his thoughts as an agent with us from time to time:
A few weeks ago I signed up for the mailing list of three 'big name' jazz artists. Despite them having management, agency and major label marketing teams behind them, I received a total of one email so far... and that was an automated response to let me know that I could unsubscribe at any time!
You might not be able to compete with their financial strength, but as an independent artist you can build real connections with real fans who will support you for years, not just until the money runs out ... People who care about you as a person and a musician do still want to give you money and support your project. They want to put your CD or vinyl on their shelf as a reminder of that. You know it's true, because you've met them on gigs and chatted to them!
But first, they need to know who you are. Not 'what album you released' or 'where you're playing' but actually know something about you. It's so easy I don't understand why more musicians don't prioritise this! Just jot down some interesting things you've done - this week or in your whole life, it doesn't matter - and start sending emails to your friends, family and fans on a weekly basis that are interesting, entertaining and somehow connect back to your music.
If you're looking for a bit more info, I've written some more on the topic here: Why Your Mailing List Is Crucial To Making A Career As A Jazz Musician
All the best.
Matt
Jazz Remembered
Freddie Webster
"I used to love what he did with a note. He didn't play a lot of notes; he didn't waste any. I used to try to get his sound. He had a great big tone, like Billy Butterfield, but without a vibrato. Freddie was my best friend. I wanted to play like him. I used to teach him chords, everything I learned at Juilliard. He didn't have the money to go. And in return, I'd try to get his tone". (Miles Davis).
Trumpeter Freddie Webster was born in 1916 and died at the age of 30 in 1947. Officially, he died of a heart attack. Miles Davis thought otherwise ....
Freddie Webster was born in Cleveland, Ohio and grew up in a religious family. As a teenager he played in the Central High School band, but I wonder what his parents thought when he began to make a name for himself in the Cleveland jazz groups of the 1930s? By the end of the decade he had put together a 14-piece band to tour Northern Ohio. The band included his friend, pianist Tadd Dameron. Tadd claimed that it was Freddie who influenced his decision to pursue a career in jazz. It is interesting that Freddie's influence in his short life seems to have touched a number of people. Eventually Freddie left Cleveland and played with a variety of bands.
Listen to the Earl Hines band playing St. Louis Blues.
Freddie toured with Earl ‘Fatha’ Hines’ big band and then, in 1941, he went to New York where he hung out with Dizzy Gillespie, Bud Powell, Benny Harris and others at Dizzy’s apartment or at the Dewey Square Hotel in Harlem. Historian Leonard Feather has said that it was these sessions that would later lead to the first steps towards a new form of jazz that became known as bebop. When Freddie rejoined Earl Hines’ band later that year, the personnel included Charlie Parker (who was playing tenor then, not alto), Gillespie, Ray Nance, Billy Eckstine and Sarah Vaughan. This was the legendary Hines band that has been called "The Incubator of Bop" but it was also playing during that long strike by the musicians' union against the recording companies, so that we don't have recordings available from that time.
As we know, the story of the birth of bebop developed as members of the Hines band jammed after hours at Minton’s Playhouse. Miles Davis, in his autobiography, said, "We was all trying to get our masters degrees and PhDs from `Minton's University of Bebop' under the tutelage of Professors Bird and Diz."
In 1942, Freddie joined the Lucky Millinder big band. Critic Barry Ulanov reviewed the Millinder band during a battle of the bands with the Jay McShann band at New York's Savoy Ballroom in February of 1942 and wrote, "Webster is a real find. He plays with a wonderful sense of structure giving all his choruses and half-choruses a discernible beginning, middle and ending. His favorite range is a low register projected with boldness and deepness. He doesn't restrict himself to low notes but makes long scoops from the middle and high registers to the bottom and then sails back up. He plays with an easy technique in perfect taste." Among the solos Webster recorded with Millinder was Bill Doggett's composition "Savoy."
Here is Freddie soloing with Lucky Millinder playing Savoy.
In April 1942 Freddie Webster also joined his friend Pee Wee Jackson in the Jimmie Lunceford band. It was while travelling with Lunceford that Freddie met Miles Davis and the two became great friends. Trumpeter Benny Bailey is reported as saying: ‘Freddie practically taught Miles. I know that because Miles told me that. In fact, there's a solo on a very early Charlie Parker record ("Billie's Bounce") in which Miles played Freddie's solo, note for note!’ Listen here to Billie's Bounce with Miles Davis who, apparently, was 19 at the time of this recording.
Forum
Shortnin' Bread
Randy Kerr writes: "I enjoyed your article about the "Shortening Bread" song (here). If you want to find more information about this tasty fried treat, search "hush puppies". Everybody really does love hush puppies (shortening bread). Recipes abound on the web. That name came from the practice of tossing these deep fried balls of cornmeal mush to hungry hounds, while telling them, 'Hush puppies." At least that is the story that is learned by every child of the American South. Today, they are traditionally eaten with fried fish, likely because the lard is already hot from frying the (most often) catfish."
The Stanhope Arms, London, SW7
Carston Piggott asks: "A request for information that your older readers might be able to answer: In 1972 my nearest jazz pub was the Stanhope Arms in Gloucester Road, London SW7. The upstairs room hosted a jazz band every night. Admission was free; the beer (Watney's red barrel) awful; but the bands - playing various styles - were generally pretty good and attracted decent-sized audiences. The best of them, in my view, was the regular, and very popular, Saturday night traditional jazz band. I can't remember the names of either the band or their players. But the drummer would always yell out at least once in each set that he was "playing Shaftesbury drums". Two numbers that the band played superbly were Ellington's Rocking in Rhythm and the Beatles' Maxwell's Silver Hammer - the latter lends itself surprisingly well to traditional jazz interpretation! I wonder if any of these fragmentary memories resonate with other readers and, if so, whether anyone can shed light on the band's name, personnel and their progress after I lost touch following my posting on lengthy service overseas."
[Does anyone remember The Stanhope Arms and the band Carston describes? - Ed]
The Six Bells, Chelsea
Chris Gray says: "I just tripped over your page about the Six Bells (here). I used to go there in the early '60s, the ambience was minimal and the accoustics terrible - but the music! Often Humph was there. Tony Coe. Others whose names have faded. But it was a time of change. There was the caff (Café des Artistes), for instance 'before the raid' and 'after the raid'. And the Troubador, not so infamously, before the tourists and after the tourists ... I think I even remember Sandy Brown :)"
The Dancing Slipper, Nottingham
Les Shaw writes: "Just to say how much I enjoy the monthly arrival of “Sandy Brown - What's New “. I found it by chance in searching for something and then passed it on to other muso mates, all of advancing years I might add ! Which is one of the aspects that appeals, there’s lots of items featuring the past; Nottingham’s jazz club (here), for instance run by Bill Kinnell had some of the most amazing people playing there and particularly from America. I’ve got a great picture of him with Buck Clayton. Bill was a passionate jazz lover and through his little circuit of clubs in the East Midlands, Leicester, Derby, etc. he could book bands for a 5 night mini tour. Chris Barber, Sandy and Al and many, many more. He did a huge amount to promote jazz. We were good friends and at the age of 17 he booked me to back bands (on drums)."
[In 2019, Les Shaw talked to Will Ryan on the occasion of the Nottingham Jazz Orchestra's 50th birthday here - Ed]
Work Song
Clive Feckner picked up on last month's 'Take Two' item - Nat Adderley's Work Song (here) and says: "I first heard this song on the Bobby Darin LP 'Earthy', from then on it was a joyous journey through Oscar Brown Jnr's catalogue." [Here is a video of Bobby Darin's version giving us another comparison - Ed]
Requests For Information
We have received requests for information about the following topics - can you help?
The Folk Barge, Kingston-upon-Thames
Oscar Rabin
The Viaduct Pub, Hanwell
The Blue Circle, South Ruislip
Departure Lounge
Information has arrived about the following musicians or people connected to jazz who have passed through the 'Departure Lounge' since our last update.
When this page first started, links to newspaper obituaries were free. Then increasingly advertisements were added and now many newspapers ask for a subscription to read a full obituary. Where possible, we initially link to a Wikipedia page which is still free of charge, but we also give links to newspaper obituaries in case you want to read them.
Benny Golson
American saxophonist, composer and arranger born in Philadelphia in 1929. He came to prominence with the big bands of Lionel Hampton and Dizzy Gillespie, more as a writer than a performer, before launching his solo career. Golson was known for co-founding and co-leading The Jazztet with trumpeter Art Farmer in 1959. From the late 1960s through the 1970s Golson was in demand as an arranger for film and television and thus was less active as a performer, but he and Farmer re-formed the Jazztet in 1982. Benny passed through the Departure Lounge on 21st September 2024. Obituaries: Wikipedia : New York Times : Washington Post : A video compilation with extracts from 5 tunes being played by Benny is here.
Herbie Flowers
UK bass player born in Isleworth, Middlesex in 1938. He started playing tuba, moved to double bass and then bass guitar. He passed through the line-ups of several Dixieland jazz bands in the early 1960s, then discovered modern jazz. He has said that his record collection consisted of “mostly Miles Davis and a bit of Mahler”. In 1965 he was engaged as a bandsman on the ocean liner Queen Elizabeth and after hearing an electric bass at a New York nightclub, he acquired his own solid-body electric instrument, a Lake Placid Blue 1960 Fender Jazz Bass for $79. Herbie went on to become a sought after session mjusician for many rock bands as well as being part of groups such as Blue Mink and Sky. Herbie passed through the Departure Lounge on 5th September 2024. Obituaries: Wikipedia : The Independent : The Telegraph : A video interview with Herbie is here.
Sérgio Mendes
Brazilian pianist and bandleader born in 1941. As his interest in jazz grew, he started playing in nightclubs in the late 1950s just as bossa nova was emerging. Sergio Mendes played with Antonio Carlos Jobim and many U.S. jazz musicians who toured Brazil. He formed the Sexteto Bossa Rio and toured Europe and the United States recording albums with Cannonball Adderley and Herbie Mann. When his new group Brasil '65 was formed, Shelly Manne, Bud Shank and other West Coast musicians got Mendes and the others into the local musicians union. His career stalled in the mid-70s but by the time he released his Grammy-winning Elektra album Brasileiro in 1992, he was seen as the undisputed master of pop-inflected Brazilian jazz. He passed through the Departure Lounge on 5th September 2024. Obituaries: Wikipedia : New York Times : The Guardian : A video of Sergio with One Note Samba is here.
Dan Morgenstern
American jazz writer born in Munich in 1929. Morgenstern was enthralled with New York City's jazz scene, and began sneaking into jazz clubs as a 17-year old. After graduating from Brandeis, he became a jazz critic at the New York Post. He wrote for Jazz Journal from 1958 to 1961, then edited several jazz magazines. In 1976, he was named director of Rutgers-Newark's Institutre of Jazz Studies Over the course of his career, Morgenstern arranged concerts; produced and hosted television and radio programs; and served as a panelist for jazz festivals and awards across the U.S. and Europe. He taught courses on jazz history at various colleges. Dan passed through the Departure Lounge on 7th September 2024. Obituaries: Wikipedia : New York Times :
Recent Releases
A few words about recent releases / reviews:
Apart from where they are included in articles on this website, I don't have a 'Reviews' section for a number of reasons:
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I receive so many requests to review recordings it is impossible to include them all.
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Unlike some publications/blogs, Sandy Brown Jazz is not a funded website and it is not possible to pay reviewers.
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Reviews tend to be personal opinions, something a reviewer likes might not suit you, or vice versa.
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It is difficult to capture music in words, so much better to be able to listen and see whether the music interests you.
For these reasons in particular I just include a selection of recent recordings below where I share the notes issued by the musician(s) as an introduction and links to samples so you can 'taste' the music for yourselves. For those who like to read reviews, these, of course, can be checked out on other sites.
Some Recent Releases
You will find the Recent Releases page HERE Where you can scroll down and see the featured releases. Included this month are:
UK
America
Kurt Elling - Wildflowers Vol 1
Patricia Brennan Septet - Breaking Stretch
Europe and Elsewhere
Claire Martin - Almost In Your Arms
Asher Gamedze & The Black Lungs - Constitution