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PINK PAGE UPDATES 2001–2017
Corrections and additions to
Stuff Smith: Desert Sands [DS] / Up Jumped the Devil [UD]
Eddie South: Black Gypsy [BG]
Fable Bulletin: Violin Improvisation Studies [FB:VIS]
Corrections and additions before 2001 appear in printed vols of FB:VIS
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AB Fable Bulletin: Violin Improvisation Studies
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this site is periodically updated; it was first posted
October 2001 and last updated September 2017
Grateful acknowledgement for assistance to
Peter Adamson; Desne Villepigue Ahlers; Paul & Claudia Anastasio; Alain
Antonietto; Rani Arbo;
Jerome Butch Baldassari; Anthony Baldwin; Jean Banks, BMI; Brent Banulis, NEJA;
Jean-Pierre Battestini; Heinz Baumeister; Roger Beardsley; Dave Bennett; Ben
Bierman; Mark Berresford;
Willy Bischof; Bus Boyk; Tim Brooks; Tom Buhmann; Frank Bchmann-Mller;
Armin Bttner; Robert Campbell; Mark Cantor;
Samuel Carner; Piers Clark; Kevin Coffey; Derek Coller; Alan Cooperman;
D. Russell Connor; Julius Cska; John R. T. Davis; Ate Van Delden;
Alain Dlot; David Diehl; Roberta DiRamio; Michael Dregni; Raymond Durieux;
Bjrn Englund; Jan Evensmo; Pete Fallico; Sylvie Fefer; Suzanne Flandreau;
Michael Friend; James Gallert; Leonard Gaskin; Maddy Goettsch;
National Library Netherlands; Joe and Lillian Giordano;
Vince Giordano; Jeffrey P. Green; James Harrod; Eddie Higgins; Steven Jambot;
Richard Johnson; Theo. C. Kiffers, AVRO Library; Larry Kirkendall;
Karl Emil Knudsen; Ann Kuebler; Oliver Lake; Steven Lasker;
David Lennick; John Levy & Devra Hall; Steven Jambot;
David N. Lewis; Gerald Lindquist; Jim Lyons; Jim Loeffler; Grard Lll;
Chris Macdonald; Harry Mackensie; Sarah McLawler; Terrie McPherson;
Richard Markow; David G. Martin; Francesco Martinelli;
Adriano Mazzoletti; Bob Mohr; Mwalim; Daniel Nevers; Konrad Nowakowski;
Phil Oldham; John Oliver, BFI; Russ Otvos; Tom Otvos; Jack Peaker;
Karl Pearson; Hans Pehl; Peter Pfister; Jean-Luc Ponty; Lewis Porter;
Phil Pospychala; Franklin Powers; Jim Prohaska; Richard Reicheg; K.-B. Rau; Ove
Rex;
Laura Risk; Graham Roe; Brian Rust; Howard Rye; Bill Sabis; Norman Saks; Dieter
Salemann; Louie Sayegh;
Joseph Scott; Eddie Shaw; Chris Sheridan; Jay Shulman; Lauren Slepsky; Richard
Spottswood; Kjell Svahn;
Hollis Taylor; Klaus Teubig; Helge Thygesen; Alfred Ticoalu, Marion Mazzola
Topper;
Jack Towers; Chandler Travis; Dave Usher; Stu Vandermark; Tommy Vig;
Joe Vito; Bob Weir; Raymond P. Welch-Bartram; Lars Westin; Jameson Wetmore;
Geoffry Wharton; Geoffrey Wheeler; Ray Whitehouse; Bert Whyatt;
Arild Widere; Val Wilmer; Laurie Wright; Nicole Yarling; Art Zimmerman;
and members in general of ARSC; IAJRC
kindly notify further corrections and additions at
email ab
Update
highlights include
New unreleased sessions by Stuff Smith; Eddie South; Elek Bacsik; Jean-Luc
Ponty; Ginger Smock
Discovery of sessions by Stuff Smith; Eddie South previously thought lost
Identification of a 1938 Eddie South broadcast title on the cassette
accompanying Black Gypsy
Stphane Grappelli on film in England during the 1940s
TO SEARCH FOR A
MUSICIAN A WORD OR PHRASE CHOOSE FIND / FIND AGAIN
IN THE TOOLBAR EDIT MENU ON YOUR COMPUTER
LINKS TO STUFF
SMITH AND EDDIE SOUTH SUB PAGES
STUFF SMITH UPDATE
EDDIE SOUTH UPDATE
Draft Discography of RICHARD OTTO with
Sarah McLawler
CORRECTIONS TO AB FABLE CD LINER NOTES
CORRECTIONS AND
ADDITIONS TO OTHER VIOLINISTS IN PRINTED FB:VIS/i–iv/1-13
WHICH SHOULD ALSO BE CONSULTED
new feature
EARLY AFRICAN-AMERICAN CONCERT VIOLINISTS AND COMPOSERS OF WORKS FOR VIOLIN
WILL MARION COOK / JOSEPH H. DOUGLASS / HARRISON EMANUEL / F. HALL JOHNSON /
LOUIA VAUGHN JONES / KEMPER HARRELD / WILLIAM GRANT STILL /CLARENCE CAMERON
WHITE / JOSEPH WHITE / CORDY WILLIAMS / AND OTHERS / INCLUDING SOME
RECORDINGS
Many African-American violinists pursued classical studies in the early
years of the twentieth century but few embarked on solo concert careers. Some,
incl. Henrietta Johnson, Louia Vaughn Jones, Kemper Harreld, became educators.
Others, such as Leon Abbey, Clarence Black, Caroll Dickerson, Charles Elgar,
Ralph Shrimp Jones, Clarence Lee, Clarence Moore, George Morrison, Angelina
Rivera, Atwell Rose [not Attwell Rose]; Allie Ross, George Smith, Leroy
Smith; Eddie South, Erskine Tate, Will Tyler, Juice Wilson, are remembered for
their recorded contributions to jazz, blues, vaudeville, theatre, dance and
syncopated and light concert music. Angelina Rivera [not Angelina
Riviera] is the sole African-American, possibly Puerto Rican, woman violinist
to be identified as recording before the 1940s—with Josephine Baker and
Spencer Williams in Paris in 1926. Other women, like orchestra leader Mae
Brady, an early employer of Eddie South, and Sophia Rubinoff, The Sepia
Rubinoff, went unrecorded.
Joseph H. Douglass, Kemper Harreld, who directed the music department at
Morehouse College for many years, and composer Clarence Cameron White are those
who are identified as recording as violin soloists. Douglass recordings were
unissued, as were some of Harrelds, and are unlikely to be extant. Will Marion
Cook and F. Hall Johnson were involved in recordings
but not as instrumentalists, or was Cook? – see
fol.
Recitalist, in the late 1910s and early 1920s, Louia Jones [not Louis
Jones] (1895–1965), travelled to Paris in 1928 with Noble Sissle, with
whom he was photographed but not recorded. He had previously worked in Paris,
from 1924 at least to 1925, where he played at Chez Florence. Poets Langston
Hughes and Gwedolyn Bennett, who dated Jones, both wrote of him, referring to
him as Louis. He was the first African-American to play with the National
Symphony Orchestra. He gave command performances for the King and Queen of
Spain and was head of the violin department at Howard University in 1930 where
he formed a string orchestra the Symphonette.
Society violinist Harrison Emanuel was advertised as conducting an orchestra at
the Prairie Theater, Chicago, from 11 November 1928 (CD, 10 Nov 28). His
first professional violin engagement was as a feature with Dave Peytons Grand
Symphony Orchestra of thirty musicians at the Grand Theater, 17 November ?1914.
Exceptionally, Cordy Williams, as a house violinist for Black Swan, left a
recorded legacy in both fields—on some Black Swan recordings the
violinist is unidentified and may not always be Williams. This exploratory
feature highlights some black violinists active in concert music and cites identified
or possible recordings. Recordings by these artists in non-instrumental
capacities, e.g., as director of a choir, are not included – research
assistance courtesy Tim Brooks; Helge Thygesen; Brian Rust; Terrie McPherson.
WILL MARION COOK
There is controversy whether Cook is the unidentified violinist on two
takes of Im Coming Virginia recorded by Ethel Waters with Will Marion Cooks
Singing Orchestra, New York, 18 September 1926, both released on 78 Columbia
14170-D. He is usually considered to be only musical director on the session
but he was co-composer with Donald Heywood of this composition. Dan Morgenstern
is on the side, with AB, of those who believe it is logical that Cook would be
the violinist. However, Waters and violinist and orchestra leader Will Tyler
were appearing together in a New York theatre at the time and there is a marked
similarity on this recording to Tylers known presence on recordings with
Waters a year later.
Will Marion Cook was first violinist of the Boston Symphony. It is said that
when the solo violinist chair became vacant he was offered the chair itself but
refused solos on account of his color at which time he broke his instrument,
walked out and reputedly never played the violin again. An alternative story
tells that he was once described as the greatest Negro violinist to which he replied that he was the greatest violinist, broke
his instrument and never played the violin again. Research has not uncovered
any contemporary report substantiating either of these stories of the broken
violin and they are believed to be apocryphal. In 1919 he took the Southern
Syncopated Orchestra to Europe. The orchestra included violinists George Smith,
who had recorded with James Reece Europe Society Orchestra, and Angelina
Rivera, who recorded with Josephine Baker and Spencer Williams in Paris in
1926. Other members of the orchestra, about which Ernst Ansermet wrote,
included Sidney Bechet, Arthur Briggs, Louis Mitchell.
JOSEPH H. DOUGLAS
Recordings
acc. Helen Y. Dammond (pn), New York, 28 August 1914
Auld Lang Syne – 78 Victor test – unissued –
?–not extant
Old Folks at Home – 78 Victor test – unissued – ?–not
extant
F. HALL JOHNSON
No recordings on violin
KEMPER HARRELD
Recordings
acc. Fletcher Henderson (pn), Long Island, NY, summer 1922
Souvenir (Drdla) – 78 Black Swan 60005 [later scheduled 7105 not
released]
Swanee River (Foster) – 78 Black Swan 60005 [later scheduled 7105 not
released]
Other unknown recordings at Black Swan session broken in transit before
pressing
acc. ?–Eddie Heywood Sr (pn), Atlanta, early June 1923
unknown title – 78 Okeh ?test – ?unissued
– ?–not extant
A report in Chicago Defender (23 June 1923) is specific about this untraced
Harreld solo violin recording and a Heywood piano recording during an Okeh
field trip that month that produced released recordings by Morehouse College
Choir, of which Harreld was director, and blues vocalists acc. Heywood
supervised by R. S. Peer but no such recording, released or otherwise, has been
traced in Okehs incomplete files for which some contemporary matrices are
unaccounted for
WILLIAM GRANT STILL – RECORDINGS BY LOUIS KAUFMAN
Still played oboe, not violin, recording with Fletcher Henderson early in
his career. The following Still compositions were recorded by
violinist Louis Kaufman. As well as his concert career Kaufman recorded
as soloist or concertmaster on more than four hundred Hollywood uncredited
soundtracks incl. Casablanca, Diary of Anne Frank, Gone with the Wind, and
Intermezzo—it is Kaufmans fingers in close ups of Leslie Howard in the
1939 remake of the 1936 Swedish original in which the credited soundtrack
violinist is Charles Barkel (1989–1973) with pianist Stina Sundall.
Kaufmans memoirs A Fiddlers Tale, How Hollywood and Vivaldi Found Me is published by Wesleyan Un. Press, 2003
Carmela
Lennox Avenue Suite: Blues [twice]; Heres One [twice]
Pastorela
Quartet (Danzas de Panema): Cumbia y Congo; Majorana y Socavon
Suite (1943) [twice]
(3) Visions: No. 2. Summerland
CLARENCE CAMERON WHITE
Recordings
acc. William Leonard King (pn), ?1919
Lament (White) 78 Broome 52 – coupling not White
Cradle Song (White) 78 Broome 53 – coupling not White
Composition-arrangements by White Recorded by Other Violinists
Bandana Sketches, op. 12, no. 1, Nobody Knows de Trouble I See (1918)
recorded by Barinova; Kreisler (twice); Lass; Lynch; Morrell; Pratz; Spalding
– Eddie South recorded his own arrangement as Nobody Knows the Trouble
Ive Seen
Levee Dance (based on Go Down Moses), op. 27, no. 2 (1927) recorded by
Heifetz; Kloss
Publications by White
System of Scale Studies (NY, Gamble Hinge Music, n.d.); Violinists
Daily Dozen (NY, Gamble Hinge Music, n.d)
Co-publisher of periodical Negro Musician (Washington, incl.
1919–1920)
JOSEPH [JOS SILVESTRE DE LOS DOLORES] WHITE
Jos White (?1839 [or 1835]–1918) was a greatly admired Cuban
violinist, father French, mother African-Cuban, who perforrmed in Europe,
Latin-America and USA. He owned the Swan Song Strad.
Composition Recorded by Another Violinist
Violin Concerto in F sharp minor (1864) recorded by Rosand
CORDY WILLIAMS
Recordings
J. Cordie Williams Jr, as well as acc. Ethel Waters with his orchestra on Black
Swan, is known from label credits to accompany baritone vocalist Carroll Clark
on two Black Swan titles. He is likely to be the uncredited violinist on most
other Black Swan recordings incl. violin although Charlie Johnson is credited
as a possible violinist on some other Ethel Waters Black Swan recordings.
–––––––––
–––––––––
EARLY AFRICAN-AMERICAN JAZZ AND BLUES VIOLINISTS
FB:VIS/iii/10/71–87
ClARENCE LEE
Our survey mentioned Clarence Lee but failed to cite what appears to be his
sole recording: as a member of a three-violin section with Joe McCutchin and
Bobby Wall with Fess Williams and His Joy Boys on Dixie Stomp and Drifting
and Dreaming for Vocalion, Chicago, 3 April 1928. There are
no improvised violin solos, only arranged section work with one violin,
assumed to be Lee, taking the lead over the others on the second title. Both
titles are released on CD Frog [EN] DGF28 Hot Stuff, Black Chicago Big Bands
1922–1929 and CD Timeless [NL] CBC1039 Ruben Reeves, The Complete
Vocalions 1928–1933.
HERBERT LINDSAY / JIMMY PALAO
Preston Jackson in Laurie Wright, Trombone Man (Chigwell, Essex, 2005)
asserts that the violinist in the oft-reproduced photo of King Olivers Creole
Jazz Band on the West Coast in 1921 or 1922 is not Jimmy Palao as usually
given, but Herbert Fiddle-Up Lindsay, brother of bassist John Lindsay.
Saxophonist and violinist Palao did play with this band but was let go by
Oliver. Pops Foster in Tom Stoddard, The Autobiography of Pops Foster
(new ed. San Francisco, 2005) says Lindsay played like Stuff Smith. See also
Lawrence Gushee, Pioneers of Jazz: The Story of the Creole Band (New
York, 2005) for research on Palao, and also Lindsay.
CLARENCE MOORE
Our survey failed to mention Chicago violinist Clarence Cosperous or Cospus
Moore (not to be confused with Chicago violinists Clarence Black and Clarence
Lee): Clarence was the last word on the fiddle; he was just as good as any of
them, Eddie South, Venuti, or anyone. – Ikey Robinson, who played with
Moore in a quartet, in Peter Carr. The Ikey Robinson Story, Storyville
2002–3 (Chigwell, Essex, 2003). Moore recorded three sessions with
Sammy Stewart and His Orchestra for Vocalion, Chicago, 6 September 1928, 20
September 1928, 3 October 1928 . His improvising
abilities are inhibited on the heavily arranged violin feature Ol Man River,
but he is featured freely on two differently titled recordings of the same
composition: Scadatin Dee and Wob-a-ly Walk. All three are released,
Scadatin Dee for the first time, on CD Frog [EN] DGF9 Get Easy Blues,
Chicago 1928–1930. The hyphen in this latter title on Frog is
presumably in error as it is absent on the unique test.
HERBERT ATWELL ROSE
One of the two on-screen orchestra violinists in the
1940 movie Broken Strings is Atwell Rose who recorded with Curtis Mosby
in 1927, and possibly 1928. Marshal Royal described Rose as the best LA
violinist; the West Coasts Eddie South. It is assumed
that Rose is the featured off-screen violinist for both the Clarence Muse
character and his son in both classics and jazz. Rose was born Missouri 14 July
1903 and died Los Angeles 11 May 1945.The 1930 census reveals that his
profession was musician in a dance academy. He lived at 1324 1/2 East 20th
Street, LA and was married to a Norwegian–American woman Carolyn. His
mother was Pearl Anna Horn Rose. Research assistance courtesy
Mark Cantor, Joseph Scott.
Atwell Rose rehearsed with Jelly Roll Mortons band for several weeks in 1941
for a recording session that never took place.
There is the strongest suspicion that the violinist on the following session is
Atwell Rose:
Betty Treadville with Ceelle [aka Ceele] Burke and His Orchestra incl. almost
certainly Johnny Hodges (cl, as), probably Atwell Rose (vn), Ceelle Burke (st
gt), ? (gt), ? (sb), ? (dm), Betty Treadville (vc)
Los Angeles, ?20 December 1936
L0379-1 Baby Aintcha Satisfied (Stuart, Culbreth, Mills)
78 Variety VA600
NOTE Violin is not present on coupling L0382 I Never Had a Dream. Violin is present on unreleased extant
L0380, L0381, two
compositions by Burke with Burke (vc). Research assistance
courtesy Steven Lasker.
–––––––––
–––––––––
LEON ABBEY
FB:VIS/iv/13/8; 1949; ?1952; Miracle; Parrot
The personnel of Abbeys accompaniment for Browley Guy on the unissued extant
1949 Miracle session was his regular working trio from 1947 with Barrington
Perry (pn), Rail Wilson (sb), augmented for the recording by John Goodloe (gt).
Perry and Wilson are believed to have remained with Abbey throughout the 1950s
into the early 1960s. They surely are the personnel on the fugitive
?1952 Al Benson–Abbey 78 Parrot of which only two copies are
known. An example does not seem even to have been known among Abbeys personal
effects – see Ralph Gulliver, Leon Abbey, Storyville, 73
(Oct–Nov 77), 5–28, incl. trio photo. Perry and Wilson also play on
Al Bensons All Star Orchestra session for Old Swing-Master recorded between
mid 1948 and early 1949.
Parrot 7000 is
another fugitive 78 by Al Benson with Abbey and unidentified female (vc)
singing Fool that I Am in two parts.
An inset photo of Leon Abbeys Savoy Bearcats appears on some printings of
sheet music In the Middle of the Night (Rose, Donaldson) publ. Irving Berlin,
Inc
new feature
SVEND ASMUSSEN
Bibliography
Sven Asmussen w/ Ellen Bick Meier, June Nights: Svend Asmussens liv in musik
(Gyldendal, Copenhagen, 2005) – autobiography in Danish, incl. numerous
photos, CD
ELEK BACSIK
FB:VIS/iv/11/33–34
Reference to Bacsiks numerous guitar recordings is no longer included here.
Only new information about his work on violin is included here. Steven Jambot
in France is preparing an extensive website about Bacsiks life and career, in
which errors that appear on current Bacsik web postings will be corrected.
new sessions
KENNY CLARKE WITH ANDY AND THE BEY SISTERS
Paris – ?December 1959 – released ?1970s
Eric Dixon (fl), Elek Bacsik [as Al Back] (vn), Art Simmons (pn), Pierre
Michelot (sb), Kenny Clarke (dm), Humberto [Canto Morales] (bongos and/or
conga), Andy [Bey] and the Bey Sisters (vc)
a Caravan, Part 1 – Bacsik also overdubs pizzicato on Part 1
b Caravan, Part 2
. [Begin the Beguine, Parts 1, 2] – Bacsik [as Alexis Backsix] plays (gt)
only
EP
Mtropole [FR] 46001 (a,b+.) Kenny Clarke, His
Drums and His Orchestra, with Andy and the Bey Sisters
NOTE
There is no more than a glimpse of orientalist
violin.
JEANNE MOREAU VIDEO
Paris – 1960s ?telecast
Elek Bacsik (vn)
a Mozart fragment
VIDEO
ELEK BACSIK
Paris – ORTF telecast – Age tendre et tte de bois –
22 April 1964
Elek Bacsik (vn, solo gt, rhythm gt, sb, dm) – overdubbed incl. on screen
a Take Five
VIDEO
INA webarchive (a)
JACQUES HIGELIN
Paris – 1965
Elek Bacsik (overdubbed vn, gt), ? (sb), Jacques
Higelin (vc)
a Django (Mac Ormor, Higelin)
EP
? (a) Jacques Higelin
LP
Jacques Canetti [FR] JC48846 (a) Brigitte Fontaine; Jacques Higelin: Douze
Chansons davant le dluge
CD
Universal [FR] 5897022 (a) Collection Jacques Canetti: Brigitte Fontaine;
Jacques Higelin: Douze Chansons davant le dluge
Wagram [FR] [2] 311807 [disc 2] (a) Jazz Manouche, Vol. 2
NOTE
Bacsik plays only (gt) on two other Higelin tracks.
ZIGANI BALLET
New York – ?1966 [or late 1965] – Produced
by Nora Kovach and Istvan Rabovsky
Elek Bacsik (first vn), Joseph Axin (second vn), ? (vl),
Louis Kallao (ce), Zoltan Zorandy (pn), Kroly Szrdi (cimbalom), Gza Lakatos
(sb), Georgina Fodor (soprano vc), Tibor Herdn (baritone vc), dance troupe
members (vc, tambourine) incl. Nora Kovach, Istvan Rabovsky (featured dancers)
a Zigani Concert Csardas / Szatmar C. Csardas [medley]
b The Old Gypsy
c Darv Madar fenn Az Egen (Swallows Flying from the Sea)
d Csardas Medley
e Csipd Meg Bogar (Pinch Me, Bug)
f Aria from Csardas Princess
g Kisperes Falu Vegen (At the End of the Village)
h Hungarian Medley
i Cimbalom Medley
j Verbunkos (The Dance)
LP
Audio Fidelity ?AF6158 Nora Kovach and Istvan Rabovskys Zigani Ballet, The
Hungarian Gypsy Orchestra
Audio Fidelity AFSD6158 Nora Kovach and Istvan Rabovskys Zigani Ballet, The
Hungarian Gypsy Orchestra
NOTE
Uncredited personnel courtesy Zoltan Zorandy. The orchestra is depicted on the LP
cover. The instrumentation was a version of a Hungarian gypsy band: Elek as
lead violinist, second violin, viola, cello, bass, cimbalom, piano. Also two singers, a baritone and a soprano and some members of the
dance troupe (one with a tambourine) who supplied some shouting etc.
Nora Kovacs and Istvan Rab were the featured dancers (both previous stars at
the Hungarian State Opera House ballet corps) appearing at a night
club in Manhattan (similar to the Lido on Champs Elysees). I was working
at that time in a Hungarian night club called Chardas
in New York. I played there with Elek when he substituted quite a few times for
the lead violinist. On some of those occasions he picked up the bass and we had
a little jam session late at night when few guests remained. He had fantastic
technique on all string instruments bowing jazz on the bass also on
cello. He also plaid the cimbalom quite well. – Zoltan Zorandy email to
Steven Jambot (10 June 2005). Arrangements: No! We did not even know what
hes [Bacsiks] going to start to play or do next in the live recording. He
just started and everybody followed. The Chardas Restaurant was at 307 E 79th
Street in the Yorkville (Hungarian–German) section of Manhattan. Its
heyday was in the years 1954–1959 when it was one of the in places in
New York. As a Hungarian refugee of 1956 (age 24) I started to play there in
September 1957 until 1962 with lead violinists Rudi Surnyi, Klmn Banyk (a
phenomenal violinist) and Elemr Horvth and returned there in 1965–1967 with
Bla Babai, another very fine musician (made recordings with him too and played
with him as a duo at Jacqueline Kennedy's apartment on 3 occasions in
1966–67, the first of which was an occasion of the birthday of Mathias ?, New York correspondent of Paris Match and
frequent companion of the widow, he sang some Hungarian songs for the party)
– Zoltan Zorandy email to Steven Jambot (11 June 2005).
NEWPORT JAZZ FESTIVAL NEW YORK 1974
Unreleased VOA tapes are deposited at LC of Radio City Music Hall 29 June 1974 Jam
Session Jam for Duke incl. Bacsik (vn), vitarist (electric violinist)
John Blair, Dizzy Gillespie, Jimmy Owens, Earl Hines, Teddy Wilson, among many
others on Take the A Train. The 3 July 1972 Newport in New York 72
at the same location, incl. Gillespie, Blair, Mary Lou Williams, found first
release on LP Cobblestone.
ELEK BACSIK QUARTET AND QUINTET
Las Vegas, Paradise Road – Dukes [Proprietor Horst Duke] –
Recorded by Bob Morgan – 1974
Charlie McLean on (c-g) only (as), Elek Bacsik (vn), Gus Mancuso on (a,b,e-g), (pn), Bob Morgan on (c,d) only (gt), Chuck Kovacs
(sb), Tommy Vig (dm)
a Stella by Starlight
b What Is This Thing Called Love?
c Walkin
d Ill Remember April
e Mr P. C. (Coltrane)
f I Remember You
g Indian Summer
TAPE
(a–g)
NOTE
The auditioned mono copy was edited, partly for reasons of space, for violinist
Bus Boyk by Bob Morgan who recorded the four-track master stereo tape whose
current whereabouts is unknown and which may be irretrievable lost. Parts of
titles and possibly a complete title or two are missing. There is occasional
voice-over commentary by Morgan whose introduction reveals that he had
previously taken part in a commercial recording session with Bacsik, both
playing guitar, apparently with Andy Williams. Morgan announces the musicians
but the pianists name is unclear. Morgan plays Bacsiks guitar and expresses
dissatisfaction with his contribution.
ELEK BACSIK QUINTET
Las Vegas – ?Dukes – Recorded by Bob
Morgan – 1974
Rick Davis (ts), Elek Bacsik (vn), John Palmer on (a) only, Don Overberg on
(b,c) only (gt), Mo Scarazzo (sb), Santo Savino (dm)
a It Could Happen to You
b Dearly Beloved
c Unidentified [?untitled] blues riff (?Bacsik) – beginning only –
auditioned copy cuts off
TAPE
(a-c)
NOTE
Location is not stated but dispensing with piano may suggest Dukes because the
piano there on the previous session is quite out of tune. Morgan announces the
musicians but the bassists name is unclear. It is unclear whether the
auditioned copy made by Bob Morgan for Bus Boyk represents the complete stereo
recording. The current wherabouts of the master tape is unknown and it may be
irrretrievably lost.
ELEK BACSIK SOLO, DUO, QUARTET
Las Vegas – Four Queens Casino and Hotel Lounge – Recorded by Bob
Morgan – Bacsik talks – 1974
Elek Bacsik (vn), ? on
(a,b,e-g) only (pn), ? on (a,b,e-g only) only (sb), ? on (a-c,e-g) only (dm)
a A Foggy Day in London Town
b Oh, Lady, Be Good!
c Unidentified [?untitled] uptempo free improvisation
(Bacsik)
d Bacsiks Bulls-Eyes (Bacsik) – unacc. classical
style composition with bow wrapped round the violin la Venuti
e Unidentified [?untitled] classical style ballad improvisation (?Bacsik)
f Tricotism (Pettiford) – incl. Take the A Train quote
g Unidentified familiar ballad
TAPE
(a-g)
NOTE
It is unclear whether the auditioned copy made by Bob Morgan for Bus Boyk
represents the complete part-mono part-stereo (faulty) recording. The current
wherabouts of the master tape is unknown and it may be irretrievably lost.
MITCHELL–LAND–HAWES–BACSIK SEXTET
Las Vegas – Paradise Park – March 1976 – Recorded by Bob
Morgan – considerable close audience talk over the music
Blue Mitchell (tp), Harold Land (ts), Elek Bacsik (vn), Hampton Hawes (el pn),
Leroy Vinnegar (sb), Santo Savino (dm)
a Autumn Leaves
b Unidentified title (?Hawes) – incl. Groovin
High and Willow Weep for Me quotes by Bacsik
. [Some Day My Prince Will Come] – Hawes, Vinnegar, Savino only
c Bags Groove
TAPE
(a-c,+. )
NOTE
This is the complete stereo tape courtesy Bob Morgans
stepson Michael Measure.
ELVIS PRESLEY
Bacsik is present in the string section on an Elvis Presley session and plays
guitar on another.
WAYNE NEWTON
Las Vegas and/or Los Angeles – 1970s–1980s
Bacsik was first violin and concertmaster with Wayne Newton for more than a
decade in Las Vegas and on tour. He surely plays violin on some unidentified
Newton recordings.
BUTCH BALDASSARI
Las Vegas – Oakdale Studios – 1987
Elek Bacsik [as Mr Elbak] (overdubbed vn, gt), Jerome Butch Baldassari
(mandolin), Rudy Aikels (sb)
a Angel Eyes
b Nuages
LP
Cactus CT103 (a,b) Butch Baldassari, Whats Doin –
also released on MC
NOTE
Bacsik and Aikels do not play on other titles, which variously include other
musicians. Private tapes are extant of Bacsik giving Baldassari tuition in
improvisation.
ELEK BACSIK QUINTET
Las Vegas – ?1980s
? (tb), Elek Bacsik (vn), ? (pn),
? (sb), ? (dm)
a unkown itles
TAPE
(a)
NOTE
The tape is in the possession of Butch Baldassari although currently it cannot
be located.
ELEK BACSIK WITH GRARD HEBERT TRIO
Qubec – Pub St Alexandre – 1 August 1989
Elek Bacsik (vn), Grard Hebert (pn), ? (sb), ? (dm)
a Unidentified bop improvisation (?Bacsik) – incl. many quotes
. [Milestones] – Bacsik out
b Summertime
c Youd Be So Nice to Come Home To
. [A Night in Tunisia] – Bacsik out
. [Some Day My Prince Will Come – incl. Louise quote] –
Bacsik out
TAPE
(all titles) courtesy Jack Peaker
ELEK BACSIK TRIO
Elek Bacsik (vn), ? (el pn),
? (sb)
Qubec – Bar l Propos – June 1991
set 1:
a Pennies from Heaven
b Fly Me to the Moon
c Misty
d There Will Never Be Another You
e The Theme [sign-off fragment]
set 2:
f Its Only a Paper Moon
g Autumn Leaves
h Youd Be So Nice to Come Home To
i Somebody Loves Me
j How High the Moon
TAPE
(all titles) courtesy Jack Peaker
General Notes
Bacsik played violin with a cellist in a New York Hungarian restaurant early
1966. Later that year he played bouzouki on the West Coast with Armenian
violinist Hrach Yacoubian. Bacsik did not play violin with Yacoubian. A 2
December 1966 live recording was released with souvenir program on LP A New
World of Sound R2241 A Night with Yacoubian in Fresno
Contrary to previous printed refs., although booked to
play the 1984 LA Games Olympic Jazz Festival produced by Tommy Vig in an
orchestral duet, composed by Vig, with studio swing violinist Bobby Bruce,
Bacsik cancelled and was replaced by Don Palmer on violectra.
Bibliography
Nat Hentoff, Elek Bacsik: Gypsy/Jazz Soul, Special Information Bulletin
(New York, Flying Dutchman Productions, [c.spring 1974]), press release
incl. career profile – not the same as Hentoffs liner note
Lszl Halper, Zenszlegendk: Legends trtnetek, legends
romanazenszekroýl ([Budapest, 2003 or 2004]), incl. chapter Bacsik
Elek – incl. chapters on other Hungarian violinists
For a summary of Bacsiks life, with newly discovered information, see the
96-page booklet accompanying AB Fables 2005 2CD I Like Be I Like Bop
Research assistance courtesy Butch Baldassari; Bus Boyk; Steven Jambot; Michael
Measure; Jack Peaker; Louie Sayegh; Hollis Taylor; Tommy Vig.
BRENTON BANKS
see FILM CLIPS fol.
JULIO BELLA
FB:VIS/ii/9/60-62
LP Fortune personnel: Julio Bella (vn), Billy Marr (pn) or Marty Kallao (gt)
Andy Hallup (sb), Billy Kallao (dm)
Julio Bellas real name was Julius Margitza, as was his father Bela Ziggys. He
was born Pittsburgh, 18 July 1934 and died Dearborn, Michigan, 16 April 1988. A
cousin is tenor saxophonist Rick Margitza, whose grandfather was a cellist and
whose father was a violinist with the Detroit Symphony. A Richard Margitza
plays violin on a Rick Margitza Blue Note album – research assistance
courtesy Bellas cousin, Lauren Slepsky; Kevin Coffey.
REMO [RAY] BIONDI
Note: It had been assumed that Biondi used the name Ray up to the end of
the 1940s and Remo thereafter as such appears to be the case in print. However,
an autograph signature reading Remo has come to light dated 1938.
new session
A Chicago 1951 four title session by Lee Montis Tu Tones (usually a polka
band) includes one title with Biondi guesting: his composition Runaway Fiddle
released on 78 Sharp S34 featuring rockabilly boogie-style violin. Personnel:
Remo Biondi (vn), Lee Monti, ? (ac),
? (stgt), ? (sb)
new session
78 Chance 3016, Chicago, 1950s, B-side is Biondi Orchestra Pizza-Cat-Oh, a
very commercial offering. A-side is Jerry Tyfer (vc) acc. Biondi Tennessee
Whistlin Man.
FB:VIS/iii/10/92; 16 April 1951; Jane Turzy
78 Decca 27622 = 45 Decca 9-27622
FB:VIS/iii/10/88–98; FB:VIS/iv/11,13/updates; New Mostly Non-Violin
Sessions
Biondi (gt, md, pc) on 1950s–1960s pop: Ricky Hale w/ Biondi Orchestra 78
Dana; LP Shorty Tunes ST1033 Remo Biondi Stylists; LP Decora Amphora The
Velvet Swing of Remo Biondi, with Lavaliers Quintet (1962); w/ Shay Torrent
45 Hearbeat H30;; w/ Earl Backus LP Dot DLP3026 Haunted Guitar; jazz: w/
Russell Procope LP Dot DLP3010 Persuasive Sax of Russ Procope; two w/
Chubby Jackson LP Argo. Further Biondi (non-vn) discoveries generally may not
be posted. Biondi also arranged for Larry Paige orchestra, with strings,
recordings.
FB:VIS/iii/10/95–96; 21 August 1952; Roosevelt
Sykes
CD Delmark DE642 (a–d) Roosevelt Sykes, Raining in My Heart
– includes prev. unissued take of (a) on which Biondi is out – (d)
take identification differs from prev. discographies sharing same master no. as (c) rather than another title: 1131-9, not 1133-9
CLARENCE BLACK; THE VARIETY BOYS
FB:VIS/iii/10/64–70; 112–113
International Musician (October 1940) names Clarence Black Sr (vn) with
the other members of The Variety Boys transferring from local 208 to Peoria,
Illinois local 26. Aural evidence does indeed persuade that Black, not
Sanford, plays (vn) on the 15 March 1941 Decca Chicago session. Revised
personnel suggested as follows: Bill Sanford (tp, ?vb,
pn, sb), George Oldham (cl, ts), Clarence Black (vn, ?vb, ?sb), Kenneth
Henderson (gt). Research assistance courtesy Kevin Coffey.
Apparently The Variety Boys 78 Decca 8549 was also released on 78 Decca [?]
93601.
At the Du Sable there is one of the most even- and biggest-toned violinists
around, one Clarence Black, who has been leading bands and gigging around
Chicago for years. Raymond Waters, a capable modern pianist
who used to play for Lionel Hampton [and for Stuff Smith just before Jimmy
Jones], is with Clarence, as is a nondescript bass player. – Barry
Ulanov, Chicago from Top to Higginbotham, Metronome (July 1944).
When Clarence Black played with The Sepia Tones during their Chicago engagement
he was subbing for Ginger Smock who could not make the trip because of illness.
new feature
HARRY BLUESTONE
there are occcasional items on him in various issues of FB:VIS
Harry Bluestone (vn) recorded four duets with Bobby Sherwood (gt) for Decca,
Los Angeles, 16 August 1938 of which only two were released. Three of the
titles plus a new title appear for broadcast use on ET Standard Program Library
Y-128. They are different recordings by the same duo:
DLA1412–1415: Am I Blue?, Kiddin on the
Strings released 78 Decca 2063 by Blue Stone / Bobby Sherwood (note: Blue
Stone, not Harry Bluestone), released CD IAJRC CD1017 Guitar Rarities, Vol.
One; Gymnastics, I Never Knew unreleased.
Kiddin on the Strings, Exactly Like You, Am I Blue?,
I Never Knew released ET Standard Program Library Y-128.
new feature
BILL BROWN
Information is sought about hot violinist Bill Brown featured with Robert
Maxwell (hp) on The Man I Love on AFRS broadcast Jubilee, no. 171,
Hollywood, c.January 1945, released CD Jubilee [Storyville] [DK] 5010001
The Jubilee Shows, nos 96, 171. Maxwell recorded with Joe Venuti for
Tempo in 1949 as did Jimmy Briggs (fl) also featured
on this title. Personnel in Lotz/Neuert, repeated on the CD, is in error.
CLARENCE GATEMOUTH BROWN
FB:VIS/4/13/6; 1965 ; Nashville Hermitage Session
Brown is not believed to play (vn) on one title issued only on Hit Sound 14 nor
on three unissued titles. In which case of the fiftteen titles, of which one in
two takes, recorded for, but mostly originally unissued by, Hermitage, Brown
plays (vn) only on Gates Salty Blues and A Long Way Home, both on LP Chess
[JP] PLP6012, the latter first released on Hermitage ?869
[?689].
EMILIO CCERES
Please visit the Cceres Discography pdf link above.
Jig in G also recorded by Swift Jewel Cowboys with Lefty Ingram (solo vn),
Alfredo Csares (ensemble vn) – aircheck – Memphis, 1938.
–––––––––
–––––––––
new feature
AUDREY CALL / ANGEL CREASY / AUDREY HALL
BETTY COMPSON / MAUD JONES / ANGELINA RIVERA / SOPHIA RUBINOFF / VALAIDA SNOW
ref. also
FB:VIS/iii/10/63; Creasy and Smock to Jenoure and Cooke: Women Who
Improvise on the Violin;
FB:VIS/iv/13/1; Rivera
During the 1930s two women bearing similar names established reputations as
violinists relevant to our studies
AUDREY CALL
She began her musical education at the age of three and appeared as a prodigy
from her eighth year into her early teens. She gained national acclaim in 1926
after winning two major violin competitions. The following year she went to the
Paris Conservatoire. She married Marcelli in 1937 and continues her musical
career today as violinist, composer, and teacher at her private studio in
Sunland, California. – Ulderico Rico Marcelli (Orchestra Leader) in
Charles Stumpf and Tom Price, Heavenly Days! The Story of Fibber McGee and
Molly (Waynesville, NC, 1987), 208,274, incl. photo of Call sitting at Don
Quinns typewriter while he tries his hand with her violin. Call is heard as
soloist on The House by the Side of the Road and Fibber McGee and
Molly Chicago broadcasts, 1935–1936, when Marcelli led the programs
house orchestras. She plays popular tunes, incl. Emery Deutschs When a Gypsy
Makes His Violin Cry, and occasional Venuti-esque offerings, though probably
from arrangements, not improvised. Creighton, Discopaedia of the Violin,
2nd ed., ref. solo concert violinists, shows one Call recording (vn) acc.
Maurice Krombein [not M. Crumbein as given in error by Creighton; both
disc and Columbia files give Maurice Krumbein] (pn) recorded New York, 9 April
1937, released on 78 Master MA129 matrices M-377-1/M-378-1: (3) Canterbury
Tales (Call): No. 1. To A Lady From Baltimore; No.2.
The Bishop Checkmates; No. 3: The Duke Takes A Train. We were thinking the
latter must include a reference to Duke Ellington until the discovery of Calls
recording date. Strayhorns Take the A-Train was first recorded 1941. Now
that we have auditioned the disc we also hear no Ellingtonia, though Call plays
Solitude on a broadcast. However, Peter Adamson suggests that Strayhorn may been inspired in his title by Call. Metronome (Oct
37), 6, carried a Carl Fischer advertisement for sheet music incl. by Call with
her photo: Novelty Violin Solos / Three New Solos for the Violin / With Piano
Accompaniment / By Audrey Call / Concert Violinist, Radio Star, Composer /
Serenade to a Cornstalk Fiddle. Violinists who are looking for new and
interesting novelty program material will be delighted with this new
publication $.50 / Streamline. This medium difficult solo is presented in the
truly modern idiom. An interesting and catchy program
number that includes many double stops $.50 / Witch of Harlem. A very modern solo of medium difficulty, somewhat tricky in
style. The piano accompaniment is comparatively simple. Numerous
shadings and unusual dynamics $.50. Fischer also published Calls Canterbury
Tales. Further identified sheet music with words and music by Call is I
Just Telephone Upstairs (NY, Lion, 1952) from the radio program Halls of
Ivy. Call was first violinist with the shows orchestra directed by Henry
Russell. I Just Telephone Upstairs was broadcast in the episode Ministers
Son, 21 November 1951. Boomer the Bass Drum is a childrens story record
written by Call featuring Two Ton Baker, The Merry Music Maker released on 78
Mercury Miniature Playhouse [12] MMP-11 7022. Compositions by Call registered
with ASCAP ACE online database are: The Bishop Checkmates, Indiana Lullaby,
Purple Mood, Quick Sands, Serenade to a Cornstalk Fiddle, Witch of
Harlem, i.e. incl. some but not all of those known to be recorded or printed.
Audrey Call Marcellis Gagliano violin is now owned and played by Geoffry
Wharton, leader of Cologne Philharmonic – research assistance courtesy
Karl Pearson, Jim Prohaska, Geoffry Wharton.
BETTY COMPSON
see FILM CLIPS fol.
ANGEL CREASY
[. . .] some time in the mid forties you had an
all-girl string section. / I had twelve girls. I wanted to try something
different because all the big bands were trying something different. I had a
band already: four trumpets, four trombones, five saxophones,
so I wanted to add something else. So I talked to, I forgot this guys name
now, in New York, and he said, Well, Ive got a bunch of girls that Im
rehearsing all the time. I said, Fine. So what have you got? He said, Well, I
can get you three violins, a viola, a cello, a harp, a guitar . . . let me see,
no, there were four violins, two violas, thats what it was, and cello, bass,
about twelve, twelve girls. The number we used was [scats the melody] Holiday
for Strings and all that. So we started it out and people said, Oh, man, what is this? You know, people didnt know, didnt
realize we had a girl, a terrific harpist. She was great! And a girl played
cello. And I had a girl played first violin named Angel [Creasy]. And she was
like, sounded like Eddie South. Very good. So it went
along for a while but it was just too much to carry on the road. Too much. Too many people. We had
some baggage with the harp, the bass fiddle, the tympany, the drums, the cello. And everytime the train was starting, Oh, no, I
cant take all these, you know, it was just too much. And I had to give it up.
– Earl Hines interviewed by Anthony Baldwin (Tokyo, Grand Palace Hotel, 7
September 1978) – reseach assistance courtesy Anthony Baldwin – see
also Dance, The World of Earl Hines, incl. photo.
AUDREY HALL
Audrey Hall [Petroff] played violin and reeds. She studied in Illinois and
Chicago. She is interviewed and her career profiled in depth in Sally Placksin,
American Women in Jazz, 1900 to the Present (NY, 1982), 78–82, et
al. She recorded on (rd) with Ina Ray Hutton in 1934. No recordings by her on
(vn) are known. Hall broadcast on (vn) in a duet with unknown (gt) as The
Tabasco Twins in a Venuti–Lang vein on LA station KMTR, c.1933.
No airchecks are known. She was invited by Venuti to tour Europe with him as
lead reed player but had already committed herself to the Hutton band –
research assistance courtesy Jim Loeffler.
MAUD JONES
Maud Jones was violinist in the orchestra of pianist Fred Tunstall, incl. Herb
Fleming (tb), acc. blues singer Lucille Hegamin at Shuffle Inn, NY (NYA,
26 Nov 21).
ANGELINA RIVERA
See name entry fol.
SOPHIA RUBINOFF
Sophia Rubinoff, also known as The Sepia Rubinoff, was violinist resident at
the Silver Dollar, NY (NYA, 24 Nov; 8 Dec 34).
VALAIDA SNOW
Trumpetist and vocalist Valaida Snow performed as a violinist in the 1910s.
–––––––––
–––––––––
SAM CAPLAN
FB:VIS/ii/9/83–97; Strings
A year after Sam Caplan wrote his Down Beat beef about big band string
sections he formed a quintet with sometime Stuff Smith pianist Deryck Sampson
(pn), Chuck Wayne (gt), Frenchy Cauette (sb), Jimmy Dee (dm) – Mix, The
Sam Caplan Quintet, Reviewed at the Three Deuces, NYC in Small Combo Jazz
Progresses (DB, 18 Jun 47), 17, incl. Gottlieb photo, and a reply by
Caplan
new feature
MAC CEPPOS
Mac Ceppos was a commercial violinist who sometimes crops up in a jazz
context. He recorded with Al Lentz in 1926; with Bert Lowns Hotel Biltmore
Orchestra 1930–1933; with Chick Bullocks orchestra, replacing Joe Venuti,
in 1935; and with Phil Napoleon in a string section in 1937. During the late
1930s and the 1940s he was the featured violinist in Merle Pitts Five Shades
of Blue, in which Pitt himself played ensemble violin, which broadcast on WNEW
and recorded transcriptions for Associated, Lang–Worth, World and
Thesaurus and soundtracks for Soundies. Ceppos led a recording orchestra, in
which he plays obbligatos, on numerous sessions for RCA Victor accompanying
country singers, other than those similar contemporary sessions
which include Eddie South. Ceppos also led commercial recording
orchestras incl. strings accompanying vocalists for De Lux, Gala, and
Philadelphias 20th Century Records for whom he also recorded under his own
name (Guitar Polka/Charlie the Bear). In the late 1940s Ceppos and Pitt
were members of Axel Stordahls orchestra backing Frank Sinatra. During the
1950s he occasionally crops up in orchestral string sections on jazz-tinged
recordings, incl. Wild Bill Davisons 1957 Columbia album With Strings
Attached; and, with Harry Lookofsky, Gene Orloff, Sylvan Shulman, on one of
Erroll Garners 1957 Columbia sessions. His claims to consideration as a swing
improviser are two extant airchecks. The first, ?WNEW,
apparently ?c.December 1938 on the basis of a Make Believe
Ballroom Ellington fragment of known date on the same acetate, finds him
sitting in with an unidentified group incl. (tb), (cl) on St Louis Blues. The
second, WNEW, 15 January 1944, finds him sitting in, together with the rhythm
section from the Five Shades of Blue, also the rhythm section in Pitts WNEW
house orchestra, with Roy Eldridge, Jack Teagarden, Barney Bigard and Coleman
Hawkins in a pre-Esquire concert jam session hosted by Leonard Feather.
Timme Rosenkrantz is also in the studio. Part of the broadcast was released on
LP, giving unidentified (vn), but almost all of the
broadcast is extant with Ceppos announced. He is revealed as a frenetic
improvisor with phrasing and tone somewhat reminiscent of Emilio Cceres but
with an uncomfortable end of phrase vibrato shake and without Cceres control.
It is regrettable that, for example, Stuff Smith, who was in Chicago at the
time, or Eddie South, was not on hand for this jam session instead. In fact,
the session is pretty well wrecked by a leaden tub-thumping rhythm section and
both Ceppos and Terry Snyder (dm), perhaps over-excited at the company they are
keeping, lose the tempo on more than one occasion.
THE CHARMER [aka LOUIS EUGENE WALCOTT aka LOUIS FARRAKHAN]
The Charmer was the professional name of 1950s Bostonian calypso singer and
violinist Louis Eugene Walcott, who became Nation of Islam leader Louis
Farrakhan. The Charmers recordings on 78 Monogram with the Virgin Islands
Johnny McClevertys Calypso Boys are collected on CD Bostrox 9908 The
Charmer is Louis Farrakhan, Calypso Favorites, 1953–1954, including
an unusual, accomplished violin instrumental Trinidad Road March. An aircheck
of Walcotts telecast classical violin performance with interview on Ted
Macks Amateur Hour at the age of sixteen is released on VIDEO Final Call Documentary
& Concert Performances – see
http://www.nalis.gov.tt/Biography/calypsomusic_LouisFarrakhan.htm
RUSS COLUMBO
see FILM CLIPS fol.
JOHNNY CREACH
FB:VIS/iv/13/6; Dootone
Read Dootone 301: Danny Boy/Its You In My Heart, not just Its You . .
.
[Dootone 302 not by or with Creach]
Read: Dootone 303 . . . 1952, not 393 . . . 1956
Read Dootone 310: Neither You Nor I Are to Blame, not . . . Am to Blame
AL DUFFY
new session
ADRIAN ROLLINI NOVELTY QUARTET
Al Duffy (vn), Adrian Rollini (vb), Frank Victor (gt), ?–Nat Levine (dm)
New York, December 1937
a Nagaski
ET Associated Recorded Program Service 60,510-B [matrix AA-1752-A-3] –
three other titles by Rollini without Duffy – coupling unassociated
new session
ADRIAN ROLLINI QUARTET
Al Duffy (vn), Adrian Rollini (vb), Frank Victor (gt), ?–Nat Levine (dm)
New York, ?c.December 1937
a Dark Eyes
b Sweet Sue
c Violin Interlude
ET Associated Transcription 537 – three other titles by Rollini without
Duffy
new session
PAUL WHITEMAN AND HIS SWING WING
Charlie Teagarden (tp), Jack Teagarden (tb), Sal Franzella (cl), Art Drelinger
(ts), Al Duffy (vn), Irving Brodsky (pn), Art Ryerson (gt), Art Miller (sb),
Rollo Laylan (dm), Paul Whiteman (md)
Sudio – WNEW – broadcast – Saturday Night Swing Club
New York – 7 May 1938
a Jazz Me Blues
b S Wonderful
LP Fanfare 7-107 (a,b) Jack Teagarden with Paul Whiteman and His Orchestra,
1936–1937–1938 – a December 1938 broadcast I Got Rhythm
on this LP features the swinging strings quartet probably arranged by Duffy (no
violin solo) with the orchestra
new session
ADRIAN ROLLINI QUINTET
Al Duffy (vn), Adrian Rollini (vb), Frank Victor (gt), Harry Clark (sb), ? (dm)
New York – ?–late 1939
a Alexanders Ragtime Band
b Crazy Rhythm
c China Town
ET World Transcription Service V-21 (a)
ET World Program Service WM-1121 (b)
ET World Program Service 391 (c)
CD Vintage Music Productions (a-c) Adrian Rollini, Trio, Quartet and
Quintet, 1936–1947 – Duffy does not play on other titles contrary
to the liner notes
new session
PAUL WHITEMAN SWINGING STRINGS
Duffy is featured on Two Guitars – AFRS Georgia Gibbs–Paul
Whiteman Show, No. 3 – 20 May 1945.
new session
PAUL WHITEMAN SWINGING STRINGS
Duffy is featured on Kiddin on the Fiddle, the only known extant performance
of his 1927 self-published composition – ABC broadcast The Paul
Whiteman Hour – 29 September 1946
new session
ADRIAN ROLLINI QUINTET
Al Duffy (vn), Adrian Rollini (vb), (gt, elgt), (sb), (dm)
New York – between 1944 and 1948 [the date 03/26/48 etched into the disc
may denote a processing but not recording date]
a Take It Easy
b Thats a Plenty
ET World Program Service WM-1987 (a)
ET World Program Service WM-1988 (b)
NOTE WM numbers are on same disc. Other titles on this disc side by Rollini
without Duffy.The disc is coupled with Eddie Stone Orchestra.
FB/VIS/i/7/2; 31 January 1938; Decca
78 Decca [CN] 1683 = Decca 1683
FB/VIS/i/7/2; 15 November 1938; 5 March 1939; 25 March 1939; Whiteman Swingin
Strings
78 Brunswick [DR] A82047 (a,b from 15 November)
CD IAJRC CD1018 (all titles) Guitar Rarities, Vol. 2, 1933–1947 –
this release establishes correct personnels given erroneously in FB:VIS –
however, the title given, apparently correctly, in FB:VIS as matrix 65274-A, 5 March
1939, derived from Ruppli Decca Discography, is given, incorrectly but
understandably, by IAJRC as 65294-A, 25 March 1939, which matrix was used for
an unrelated session on 28 March 1938 – Tony Gattuso (gt) is apparently
more correct orthography than Gottuso, although he used both forms.
FB:VIS/i/7/3; 5 May 1944; Musicraft
LP Allegro Elite [10] 4026 (all eight titles) Al Duffys Hot Fiddle Classics
and His Rhthymakers = LP Sparton [?] ? (all eight
titles)
LP Royale [10] 18133 (all eight titles) Hot Jazz Fiddlin Around by the
Rhythmasters – Duffys name nowhere to be found
LP Royale [10]
18123 (c,f,g,j) Sunny
Gale and Jazz Orchestra – Duffy on side B – his name nowhere to
be found
EP Royale EP366 (c,e,f,i) Hot Jazz Fiddling by the Rhythmasters –
Duffys name nowhere to be found
Duffy is a member of the string section on 1950s LP Decca Leon Merian
Orchestra, The Magic Horn
4 BLACKAMOORS
FB:VIS/iii/111–112; update iv/11/110
The pianist, and composer of some titles, is Allan Nurse who also wrote arrangements
for Count Basie and Noble Sissle, among others. The violinist and other members
remain unidentified. Research assistance courtesy Nurses grandson Mwalim.
Mabel Robinson also recorded with Nurse for Ebony in 1945.
The late pianist–vocalist Mabel Robinson of Boston revealed that she was
not the singer of that name who recorded with the 4 Blackamoors. Nor are the
other members of Eddie Bryant and His Dukes of Rhythm who played with Robinson
of Boston present, contrary to our suggestion. Research assistance
courtesy Brent Banulis, New England Jazz Alliance.
new feature
? GIBBS
In 1940 Varsity released three discs by the Antone–Gibbs Quartet,
comprising violin, guitar, rhythm guitar, string bass.
Five titles are by the Quartet, of which three include Don Coster (vc). The
sixth title is by Anthony Antone (born Antonelli) alone. In 1949 New York
guitarist Antone published his Encyclopedia of Guitar Chords. The rather
mediocre violinis, presumably, is Gibbs, first name unknown. The discs are an
uneasy mix of swing and pop.
BENNY GILL
GEORGE BARNES ACETATES [full details will be posted in due course]
Benny Gill (vn), George Barnes (gt), others on some titles
Chicago –
1941
a – several titles
AT Barnes [78 double-sided] [10] (a) – issued 2013 as mp3 downloads
NOTE Gill was a member of Vaughn Monroes string section under
concertmaster Harry Bluestone on Camel Caravan broadcasts in 1949. In
1956 he recorded half an album in a string quartet accompanying Bud Shank and
Bob Cooper. In 1957 he was a member of the string section on Phineas Newborns
album While My Lady Sleeps. In 1958 he recorded in a twenty-piece string
section, also incl. Lou Raderman, Murray Kellner, and Marshall Sosson –
see SOSSON fol., with Stan Kenton. Other recordings include with Henry Mancini
and with Percy Faith Strings. Gill is an identified or unidentified soloist on
numerous LA soundtracks and commercial recordings. Henry Roth, Violin
Virtuosos, From Paganini to the 21st Century (LA, 1997), p.254, includes
Benny Gill, in a cursory survey of jazz and popular violinists under the
rubrick Lou Raderman, as a violinist in the commercial field deserving
mention.
JOE GIORDANO
see THE TOPPERS / THE UNIVERSITY FOUR fol.
new feature
STPHANE GRAPPELLI
Bibliography
Paul Balmer, Stphane Grappelli, With and Without Django (London,
Sanctuary, 2003), 428pp, effusive, wistful, overblown, lost-opportunity
hagiography, derived from conversations with Grappelli and associates,
masquerading as truth; heavy on latter-day UK anecdote, instrusive author
photos, peculiar selected discography/bibliography; numerous elementary errors,
e.g., name forms incl. Grappellis Italian first name and Reinhardts first
name, and more complex errors, e.g., George Shearing did not compose
Lullaby of Broadway but Lullaby of Birdland; Waclaw Niemczyk was not
the classical recording nom-de-musique of Michel Warlop (a canard presumably
picked up from Grove Jazz, 2nd ed.) but an entirely different violinist
who recorded in Paris for the same company as Warlop and who lived and taught
in England long after Warlop had died. His recordings are indexed in
Creighton—no Warlop Namechange he. The author is the director of DVD Stphane
Grappelli, A Life in the Jazz Century – see FILM CLIPS fol.
AUDREY HALL
see AUDREY CALL / AUDREY HALL prec.
DARNELL HOWARD
FB:VIS/iv/11/45–46
Howard was almost certainly mistaken in his recollection that he played violin
with Morton on 16 December 1926. Both Omer Simeon and Clarence Black, the other
violinist, independently confirmed that it was indeed J. Wright Smith.
Although credited to Hines, arranger Mundy was the true composer of
Cavernism.
Cavernism was reprised by the Billy May Orchestra with Marshall Sosson (vn) c.1969/1970
for Time/Life The Swing Era – see SOSSON fol.
Cavernism was recorded as Cavernismo by Chilean violinist Hernan Oliva w/
Santa Maria Jazz Band, Buenas Aires, c.1977 on LP Redondel [AR] SL10518 Hernan
Oliva, El mundo espera la solida del sol [The World Is Waiting for the Sunrise]
Another veteran, Darnell Howard, who played that famous fiddle solo on Earl
Hines Cavernism, leads a trio at the Pershing Lounge, the grooviest bar in
Chicago. Darnell plays more clarinet than fiddle, which is a shame, because his
bowing and fingering are outstanding; his blowing is just old-fashioned.
– Barry Ulanov, Chicago from Top to Higginbotham, Metronome
(July 1944).
ITALIAN VIOLINISTS
see JUICE WILSON fol.
LEROY JENKINS – see also silver page Jenkins link
FB:VIS/iii/10/34; Bibliography
Carl E. Baugher, Turning Corners, The Life and Music of Leroy Jenkins (Redwood,
NY, Cadence Jazz Books, 2000), 150pp, essential biography and musical analysis
– an unreleased recording by the Revolutionary Ensemble of a Jenkins
composition Black Gypsy may be related to Souths composition of that title
Robert Hicks, Stagings, Steps to an Ecology of Dance, Jazziz, vol.
10, no. 4 (Gainsville, FL, July 1993), 68–71,80, survey of jazz ballet
incl. consideration of Jenkins opera The Mother of Three Sons in
collaboration with choreographer Bill T. Jones and librettist Ann T. Greene
HARRY LOOKOFSKY
FB:VIS/ii/9; & updates
The sixteen-piece youth orchestra of which Lookofsky was a member in St Louis
was led by pianist and arranger Ted Straeter.
CD Collectables COL-CD-7792 Harry Lookofsky, Stringsville
Of curiosity interest, Harry Lookofsky is heard sparingly in a background
septet led by Herbie Mann on LP Atlantic SD1367 This Is My Beloved, Spoken
by Laurence Harvey, from the Book by Walter Benton recorded/edited
1960/1961.
FB:VIS/ii/9/5; 1954; Harry Lookofsky Strings
CD Columbia 4811330 (a) Jazz Bass
Down Beat (1 Jun 55) reported Lookofsky set to do another album of
multi-tracking jazz violining for Epic but no second Epic album materialized.
Dick Cary told Floyd Levin that he wrote a twelve minute
concerto for Lookofsky to play with Paul Whiteman. If this was
realized—there is no information from Lookofsky that it was—it is
likely to have been a c.1953 ABC broadcast.
RAY NANCE
FB:VIS/ii/9/68–70; Ray Nance and Ben Webster
Further Webster lacquers, without Nance, on which Webster plays tenor and piano
are extant, seemingly recorded around the same time as those with Nance. On one
side Webster is heard talking about the recording of the lacquers in Hollywood.
Webster biographer, and new custodian of the Webster archive, Frank
Bchmann-Mller, and Webster discographer Heinz Baumeister, believe the strong
bassist heard on some Webster–Nance lacquers is Jimmy Blanton, not
Junior Raglin. We are inclined to agree. This would place the recordings before
Blantons hospitalization on 3 November 1941, not in December 1941 as
suggested by the proximity of the Roosevelt Pearl Harbour airchecks.
PAUL NERO
new session
PAUL NERO TRIO
Paul Nero (vn), Harry Volpe (gt), Richard von Holberg (sb)
New York – NBC Blue Network – Chamber Music Society of Lower
Basin Street – Gino Hamilton mc – 7 July 1940
a Bachie-Wachie (Bach, ar. Nero) – boogie-woogie treatment incorporating
first four bars of first movement (Preludio) of Bachs Partita No. 3 in
E-major from Sonatas and Partitas for Unaccompanied Violin
b Take Off (Nero) – from Solo Flight suite recorded for Decca, 6
August 1940
ET – NBC tape copy deposited at LC.
NOTE Program also features Gino Hamilton; Paul Lavelle; Henry Levine; Dinah Shore. There must be a strong possibility that
Volpe and Holberg are the musicians on Neros 78 Decca album Solo Flight
recorded the following month – research assistance courtesy David G.
Martin
new session
PAUL NERO TRIO
Paul Nero (vn), Alexander D. Richardson (pn), Joel Stone (sb)
New York – WNYC broadcast – annual American Music Festival
– produced by Al Andersen – ?February 1946
a JF7003-A Concerto for Hot Fiddle [second, slow movement] (Nero) –
truncated at least on 78 – recapitulation and coda probably edited out
b JF7004-A A Bird in the Hand [aka The Hot Canary] (Nero) – first
identified recording of The Hot Canary
ET State Department Cultural Affairs Division for rebroadcast in South America
– release details unknown
78 Stinson album 777 – disc 777-2 (a); disc 777-3 (b) Albert Black and
Al Andersen Present American Jazz Festival Album Number One – disc
777-1 by Kaye Bros Orchestra coupled Vin Roddie (pn); 772-2 and 777-3 coupled
Kay Bros Orchestra – album notes by Al Andersen – research
assistance courtesy LC; David G. Martin
NOTE Liner reads: Bird in the Hand is based on one of the sections from
Paul Neros Animal Jam Suite
new sessions
PAUL NERO / BUDDY STEWART / HAROLD GOMBERG
Paul Nero orchestra incl. string section, Buddy Stewart (vc), Paul Villepigue
(ar)
New York – c.late 1946
a ? Time Out for Love (Villepigue, ?–Ralph Bess)
– Stewart (vc) – unreleased test
b ? Summertime – currently unplayable – instrumentation status
unknown – probably the same session as (a) – unreleased test
c ? Gliding Dance of the Maidens from Polovtsian
Dances (Borodin) [later, 1953, aka Stranger in Paradise] – instrumental
– (cl) feature – status unclear – possibly a Nero orchestra
but possibly later and LA – unreleased test
78 test (a) – scheduled on unreleased Nero 69002 coupled with title from
session fol.
78 tests (b,c) – unreleased
NOTE Possibly the same orchestra as that on Neros V-Disc session, with the
addition of string section.
Harold Gomberg (ob), Paul Nero, Eric Siday (vn), Dave Schwartz (vl), Isadore
Izzy Gusikoff (ce), Doc Goldberg (sb), Paul Villepigue (ar), Buddy Stewart (vc)
New York – December 1946
a 1 Was It Infatuation? (Ulanov, Nero) – Stewart (vc) – released
– sheet music published by Nero Music
b 2 Kilroy Really Was Here! (Murray Kilroy Kane) – Stewart (vc)
– released
c III Prelude [and Allegro] (Nero) – Gomberg (ob) feature –
unreleased test of Prelude – note matrix in Roman numerals
d 4 Has Anyone Told You? (Ralph Bess, Villepigue) – Stewart (vc) –
unreleased test
?e ?V [Prelude and] Allegro (Nero) – Gomberg
(ob) feature – unlocated unreleased test of Allegro –
?–unrecorded
78 Nero 69001 / 69001-X (a,b) – released
78 test (d) – scheduled on unreleased Nero 69002 coupled with title from
session prec.
78 tests (c,?e) – scheduled on unreleased Nero 69003
NOTE Session photo and report in Down Beat (29 January 1947) and review
of (a,b) in Down Beat (12 February 1947). To speculate: studio time was
short and in order to ensure recording Has Anyone Told You?,
Prelude and Allegro was interrupted, with Allegro ending up not being
recorded either at this session or later, thus explaining the curious matrix
sequence and extant test of III coupled with 4
Information about unreleased scheduled Nero release nos from both sessions from
cover of Was It Infatuation? sheet music. Scheduled sheet music of other
compositions unpublished – research assistance courtesy Desne Villepigue
Ahlers, Dieter Salemann
new session
PAUL NERO DUO
Paul Nero (vn), ? (gt)
McCormack General Hospital, Pasadena – AFRS Broadcast – Jubilee,
No. 277 – Gene Norman mc – ?March 1948
[first broadcast or released 11 June 1948]
a Take Off [as Taking Off in error] (Nero)
b The Hot Canary (Nero)
ET AFRS Jubilee 277 (a,b) Jubilee, No. 277
NOTE Sprited rendering of Take Off, the opening composition of Neros 1940 78
Decca album Solo Flight (Suite for Hot Fiddle). Carpenter orchestra is
not present on Take Off despite mc intro to the contrary. The two titles are
performed in different parts of the show. Other show performers include Ike
Carpenter Orchestra; Sir Lancelot; Jane Thompson.
new session
Paul Nero (vn) acc. Ted Dale and His Orchestra incl. string section
Los Angeles – NBC Broadcast – Carnation Contented Hour
– [?–mastering or rebroadcast not necessarily recording date] 3
January 1949
a The Hot Canary (Nero)
ET AFRS Melody Hour 276 (a) Melody Hour, No. 276
NOTE Announcer reveals this is a repeat performance of the tune on the
program some months previously. Nero appears also to be a member of the Dale
orchestra string section. Other show performers incl. Buddy Clark; Bob Nolan and the Sons of the Pioneers.
new session
PAUL NERO TRIO
Los Angeles – ?1949
Paul Nero (vn), Carmen Mastren (gt), Doc Goldberg (sb)
a A-UN 69-1 The Hot Canary (Nero)
b A-UN 69-2 Pitzi-Cats (Nero)
c A-UN 69-3 The Hep Hippo (Nero)
d A-UN 69-4 As the Crow Jumps (Nero)
78 Nero [2] A-UN 69 Paul Nero, Animal Jam
NOTE This is a rerecording on Neros own label of the 1946 New York 78 Disc
album Animal Jam – see fol. for correction to FB:VIS Disc album
entry. Mastren replaces Hy White; Goldberg replaces Irv Whitenack. Programming
is different in that the Disc album begins with Pitzi Cats and follows with
The Hot Canary. Nero album liner notes, which include session photos, by
Barry Ulanov. Pitzi-Cats includes double speed part, as on 78 V-Disc and LP
Capitol but not on 78 Disc.
new session
NEELEY PLUMB AND HIS ORCHESTRA
Orchestra incl. Neeley Plumb (as, md), Paul Nero (vn), others unknown
Los Angeles – c.1952
a Yours – Nero ensemble – Kathryne Steele (vc)
b Because Youre Mine – Nero obbligato – Bobby Doyle (vc)
c April in Portugal – Nero solo – Larry Roberts (vc)
d Ruby – Nero solo – instrumental
e The Song from Moulin Rouge – Nero solo – Kathryne Steele (vc)
f Say Youre Mine Again – Nero obbligato – Kathryne Steele, Larry
Roberts (vc)
78 Ace-Hi 1010 (a,b)
78 Ace-Hi 1022 (c,d)
78 Music Masters 2007 (c–f) – two titles each side
NOTE These titles have been auditioned by AB &/or David G. Martin. Plumb
and the vocalists given above also recorded at least on Ace-Hi 78 &/or 45
1003, 1008, 1010, 1019, 1020, 1022, 1024, 1025 and it is assumed that Nero is
present on these. Matrices and recording order are not currently known.
new session
LEW RAYMOND ORCHESTRA FEATURING PAUL NERO
Orchestra with string section incl. Paul Nero (solo vn), Lew Raymond (md)
Los Angeles – ?1956
a When the White Lilacs Bloom Again
78 Tops R292 (a) – 4 Hits On Each Record – two titles each side
– Neros feature is side B track 1 – other titles feature other
artists with the Raymond Orchestra – it is not known whether Nero is a
member of the ensemble string section
FB:VIS/iii/10/100; Broadcasts
Among other broadcasts: Neros appearance(s) on Chesterfield Supper Club
may have been as a member of Paul Weston Orchestra, c.1948 – all
shows are believed to be on ET. Lucky Strike Hit Parade is in fact Your
Hit Parade – some shows on ET; others as
airchecks. Hollywood Music Hall 5 January 1952
FB:VIS/iii/10/100–101; c.autumn 1946
78 Disc [2] 624 – 6033 (a [matrix 451] Pitzi-Cats, b [matrix 452] The Hot
Canary); 6034 (c [matrix 453 The Hip [not Hep] Hippo, d [matrix 454] As
the Crow Jumps) Paul Nero, Animal Jam – David Stone Martin album
cover – matrix nos suggest 1946 recording; individual disc catalogue nos
suggest early 1947 release; the discs may have been released individually as
well as in the album. Apparently, 78 Baronet [SD] 48506 release of The Hot
Canary is credited (Zamecnick, Nero).
FB:VIS/iii/10/101–102; c.September 1946
[now ?October 1946]
Arranger of the Ellington Medley is Paul Villepigue, not Nero.
According to Metronome (November 1946) Nero recorded seven V-Disc
titles last month, though this number not borne out by Sears. Apparently it
was a ten-piece orchestra of mainly ex-Johnny Bothwell men. Aurally, trombonist
is believed to be Dick Kenney and pianist Ike Carpenter. Research
assistance courtesy Desne Villepigue Ahlers.
FB:VIS/iii/10/103–104; 19 April 1950
78 Capitol CC236 [3] (a-e,g [not f,h] Nero Fiddles, Conversation Pieces by
Paul Nero and His Entourage – boxed set of 3 x 78s =
45 Capitol 236 [3] – boxed set of 3 x 45s – omitting (f,h) but
bearing same release no. and album title as LP
Capitol [10] H236 (a–h [all titles]) whose cover lists only six instead
of all eight titles since it is an affixed repro of the 45 boxed set cover
– special effects incl. echo passages and also a passage on (h)
Pitzi-Cats played back at double recording speed similar to gimmick on some
of Neros earlier recordings of the title.
FB:VIS/iii/10/104–105; 8 June 1951
45 Capitol F1859 (a,c) – matric suffixes -N1, not -D1 as on 78
Matrices 7640 and 7642 are unreleased
FB:VIS/iii/10/105; Rhythm Records
Rhythm Records read copyright 1945, probably a label design copyright,
certainly not a recording date. Gart gives a Rhythm Records distributed by
Modern Records, active in Hollywood from at least early 1946 but gives Neros
own Rhythm Records active, with relevant release numbers 1002 and 1003, in
Hollywood in 1952. A July 1952 Metronome article [see bibliography fol.]
about the formation of a Nero group with very similar personnel, but which does
not mention the recordings, suggests a recording date perhaps slightly later
than July 1952. 1002 and 1003 are also known with white labels designated
Exploitation release. Rhythm Records 1001 is by Four Hits and a Miss with
Neeley Plumb Keep Your Eyes on the Road coupled Martha Mears with Plumb Mr
Bakaleinikoff. Nero does not play on this disc though he recorded with Plumb
for Ace-Hi – see prev. Composer of Sittin Neath the Willow Tree is
given as Anita Nero, though she is understood to have been eight years old at
the time. Composers of The Do-Do Song are Nero, Allman. Recording date now
established as 22 April 1952 – Bud Shanks activity log courtesy James
Harrod
FB:VIS/iii/10/105–106; LP Skylark
Probable date and location, a Tuesday on or after 20 May 1952, The Haig, where
Nero held weekly jam sessions – research assistance James Harrod
New Bibliographical Entries
Evelyn Ehrlich, Strings Are Thing Krupa Fiddler Says, Down Beat
(Chicago, 1 February 1945), 3, biographical sketch of Nero which confirms
duration of his 1944–1945 membership of Krupas strings incl. tour
despite omission from discographies incl. Lord
Barry Ulanov, Paul Nero, He Fiddles While Snobs Burn, Metronome (New
York, April 1946), ?, positive in-depth review of Neros 9 March 1946 Town Hall
concert
Francis X. Ryan, Musical Notes, Popular Hit Songs Magazine, ii/1 (New
York, April 1947), 23, short profile of Nero and reason his forming publishing
and recording company Nero Music, Inc, incl. photo
anon., Neros Five Commandments, Down Beat (Chicago, 14 July 1948), 9,
Nero forms twelve-piece new music band at Royal Palms Hotel, LA, under
sponsorship of Westlake College of Music
anon., Nero Still Fiddling, Metronome (New York, July 1952), ?, report
of formation of Nero group with very similar personnel to that found on his
Rhythm Records releases – issue also includes unassociated photo of Nero
seated with others at San Diego station KCBQ
Paul Nero, Nero Fiddles with Jazz in Chamber Group Format, Down Beat (Chicago,
2 May 1956), 15,31, autobiographical sketch, brief ruminations on Venuti,
Nance, education, and the organizing of Neros Hi-Fiddles, incl. photo –
photo is that already reproduced in FB:VIS incl. Rolly Bundock (sb)
Further identified Nero studio sessions incl. w/ orchestras acc. Bing Crosby
and the Andrews Sisters; Frankie Laine; as K. P. Nero w/ Spade Cooley, 20 July
1950 RCA Victor, as part of a three-violin section with Cooley and Billy Hill.
In 1951 a piano roll QRS 8723 was released of The Hot Canary played by J.
Lawrence Cook.
HAL OTIS – research assistance courtesy Joe Vito, Alfred Ticoalu,
Russ Otvos, John Bajo
dates
Hal Otis born Harold Otvos, February 1922; died October 1973.
new session
HAL OTIS TRIO
Hal Otis (vn, voice intro), ?–Bob Ahern (gt), ?–Max Wayne (sb)
Home recordings, ?Manitowoc, WS, ?–October or November 1946 [or later but
no later than 1949 after which Otis used (ac) not (gt) in his trio]
a Sweet Georgia Brown – take A
b Honeysuckle Rose – take A
c Sweet Georgia Brown – take B – flawed cut – three tiny
skips
d Honeysuckle Rose – take B
78 DuoDisc lacquer (a,b)
78 DuoDisc lacquer (c,d)
NOTE
All four sides have different Otis voice intro greetings to Gene. Otis hopes
Gene gets out of hospital and back home soon so they can have a session.
Possible chronology of the titles/takes is based on the wording of the
greetings. The mailing label, which does not show a date, on the box in which
the discs were discovered reads from Melvin H. Timmers, Manitowoc, Wisconsin,
to Eugene F. Gerbinsky, patient in the Kabat–Kaiser Institute, Vallejo,
CA. Kabat–Kaiser Institute was founded in 1946 and specialized in
neurology. Eugene Gerbinsky was buried in Manitowoc in 1950. Ahern was a
member of the Otis trio at least in 1945 and Wayne at least 1945–1947.
Otis was resident at the Gourmet, Racine, WS, second half of October closing 3
November 1946. Surely he played other contemporary engagements in WS. The trio
with Ahern and Wayne was featured with the Stan Kenton orchestra
June–July 1945. Discs purchased in November 2008 by Alfred Ticoalu from
the Phil Nohl, WS, collection of home recordings.
new session
HAL OTIS QUARTETTE
Hal Otis (vn), Joe Vito (ac), Lennie Miller (sb), Nicke Addante (dm)
Chicago – ?–late 1956 [believed released early 1957]
a 45-Z-1303-2 Lover Come Back to Me
b 45-Z-1304-1 Currant Jelly (Pate) – also recorded by Eddie South incl.
Pate – label reads Current Jelly in error
45 Zale Z1303/1304 (a,b) – DJ not for sale example auditioned
NOTE
Zale was owned by 1940s World Middleweight Boxing Champion Tony Zale
(1913–1997).
full details of FB:VIS/iv/13/8 new titles
HAL OTIS ORCHESTRA
Same quintet personnel incl. Johnnie Gray (gt) as LP Westminster Out of
Nowhere given in FB:VIS/ii/9/65–66; & subsq. updates
Chicago – late 1957 or very early 1958
a Around the World
b Poinciana
c So In Love
d You Stepped Out of a Dream
e Adios, Marquita Linda
f Snowfall
g Our Waltz
h Dance of the Spanish Onion – TAPE only – no LP release
i Stella by Starlight
j On the Alamo
k Speak Low
l Isnt It Romantic?
m Lazy Afternoon
n Bess, You Is My Woman Now – TAPE only – no LP release
TAPE – stereo
Westminster/Sonotape SWB7031 (a–e) So In Love; Sonotape
SWB7033 (f–j) Snowfall; Sonotape SWB7034 (k–n) Speak Low
EP
Westminster
W-PR-6 (a) Previews
LP
Westminster WP6073 (a–g,i–m) Speak Low
= stereo WST15035 Music for Hi-Fi Lovers – like Sonotape SWB7034
the LP mono release carries a revealing Jane Mansfield cover while the stereo
LP release dispenses with her in favour of a dreamy young couple – no
known LP release for (h,n)
Westminster [EP] WPR6 (a) Preview – promo compilation of titles
from Westminster LPs by four artists
CD
Marantz
STS6111120 (k) Music in the Original
Marantz Age
NOTE
Sonotape SWB7032 Out of Nowhere ex-LP Out of Nowhere
Sonotape SWB7035 The Remarkable Voice of Bea Abbott; 7038 both
ex-both-LPs Out of Nowhere; Too, Too Marvelous Bea.
Sonotape SWB7068 Too,Too Marvelous Bea ex-LP
Too, Too Marvelous Bea – not all LP Too, Too titles released
on tape
Sonotape SWB7071 I Got Rhythm – ex-LP Out of Nowhere
Sonotape SWB7033+SWB7035 also released as 2-direction 4-track tape [release
no(s) uncertain] – ?–others too.
Other LP Westminster and Sonotape with Bea Abbott unassociated with Otis.
Joe Vito, not Hal Otis, is the pianist when there is no accordion.
FB:VIS/ii/9/64–65; FB:VIS/iv/13/8; 1951; Dee Gee
United Sound Studios, Detroit, ?October 1951.
Matrix 2002 is Just Squeeze Me (But Please Dont Tease
Me) (Ellington, Gaines) [aka Subtle Slough (Ellington)], not Squeeze Me
(Waller, Williams) as given on the label in error. White Christmas promo disc
narration by Jerry Crocker [not Coker] and introduction by Phil McLaine,
both djs, overdubbed in Cleveland, November or December 1951 – research
assistance courtesy Dave Usher.
new entry
RICHARD OTTO
Scroll back near top for link to Sarah McLawler–Richard Otto Draft
Discography
–––––––––
–––––––––
RAY PERRY
–––––––––
CONTENT OF AB FABLE CD RELEASED 1 DECEMBER 2002
AB Fable [EN] ABCD1-006 Ray Perry, The Complete 1944 C. W. French and 1945
Rosenkrantz Apartment Transcriptions, Out of Nowhere – Boston 1944
(a-c); New York 12 May 1945 (a-f) – corrections to liner: read: Wilson
Ernest[ine] Myers, not Ernest Wilson Myers; read: How High the Moon, not
High High the Moon; read: Sherman Freeman, not Jeremy Freeman; read:
That year [1946], and again in 1947 and 1949–1950, he recorded boppish
alto with Illinois Jacquet., i.e. add: and 1949–1950; read: A
two-title recording on violin and alto of a trio including Jaki Byard is
currently unlocated., not No other recordings are known.
new session
RAY PERRY TRIO
Ray Perry (as, vn), Jaki Byard (pn), ? (?–sb or
dm [?–Bazely Bay Perry if (dm)] )
Boston, 1947–1949 – ?–Ace Recording Studios
– ?–Produced by Yakus Bros
a Play, Fiddle, Play
b unidentified blues
?–78 &/or 45 ? (a,b) – unlocated
NOTE This recording for a small unidentified Boston label confirmed by Byard
has not been located. Dick Wetmore recalls that Byard did some arranging at Ace
studios. Research assistance courtesy Diane Byard; Dan Morgenstern; Stu
Vandermark; Dick Wetmore
–––––––––
FB:VIS/i/4/12 rev. of FB:VIS/i/2/4; 16 April 1946;
Ethel Waters
EP Remington REP36 (a,be,e,f) Ethel Waters
LP Glendale GL9011 (a–e,+.) Ethel Waters, Queen of Song
CD Classics [FR] 1249 (a–e,+.) Ethel
Waters, 1946–1947
CD Milan [FR] 873108 = CD Milan [FR] 356262 = CD Definitive [?] 1114
Three of the four 78 Continentals, C10006/7/8, C10009 excluded, were also
released in album 78 Continental [3] CON33 Ethel Waters, In Shades of Blue
– all eight titles were included in LP Remington [10] RLP1025 bearing the
same cover design and title but the two titles on C10009 were also excluded
from compilation LP Continental [12] CLP16008 Ethel Waters Sings, Great Jazz
Stars
Itinerary
Perry was a member of Illinois Jacquets sixteen piece orchestra for a weeks
engagement at the Apollo, NY, beginning 10 March 1950: Lamar Wright Jr, Russell
Jacquet, Roger Jones, Joe Newman (tp), George Mathews, Ted Donnally, Henry
Coker (tb), Earle Warren, Ray Perry (as), Rudy Williams, Illinois Jacquet (ts),
Maurice Simon (br), Cedric Heywood (pn), Al Lucas (sb), Shadow Wilson (dm), Joe
Bailey (vc). He was also a member of Jacquets current nine piece orchestra,
billed as a sextet (Cash Box, 18 Feb 50)
Perrys fellow pupils at school in Boston included Roy Haynes, Alan Dawson,
Paul Broadnax.
Sam Rivers interviewed by Ted Panken, WKCR-FM, New York, 25 September 1997
TP: You went to Boston and enrolled in the Boston Conservatory of Music on the
G.I. Bill? Is that how it went down?
SR: Yes, I went there. I was planning on going to New York right away. There
was no doubt about it. Everything was set. Then I went home and my mother said,
"You'd better go to Boston and take care of your brother; you know how
wild he is." That's the only reason I went to Boston. Otherwise I'd have
gone straight to New York, because I had the connections and everything. So I
went to Boston and stayed there. I enrolled in school on the G.I. Bill. Also,
all the musicians gravitated together. We rented this house on 13 Rutland
Square, and we lived there. TP: Which musicians? SR: Jaki Byard, Gigi Gryce,
the Perry Brothers (Ray Perry, a violinist), and a lot of other musicians. It
was a 13-room house, and I lived on the top floor. And the only girl that ever
got up there was Bea! [LAUGHS] None of the other girls that came to see me got
to the top floor. It was that kind of situation, but I didn't mind. I was glad
they didn't get up there. I was busy. TP: When did you start writing music?
Did that start when you hit Boston? SR: Yeah, I pretty much started writing in
Boston. I started writing because I was taking Composition and Theory at the
university, and you have to write anyway because that's part of taking
composition. It was Classical Composition because there weren't any jazz
schools around then. Then only thing close to Jazz would be the Schillinger
House, which a lot of musicians went to at that time, which changed to Berklee.
It was Schillinger House originally, and then it changed. Jaki Byard and a lot
of musicians studied there for a while, with the Schillinger system, and then
transferred to the Conservatory. TP: Michael Cuscuna writes that you also
played viola professionally. SR: I never really played it professionally. I
was in the school symphony orchestra, but that's about as far as it went. TP:
It says you worked with Serge Chaloff's string quintet. SR: Oh, that's right,
I did that. But that was the only professional thing I really did with it. But
I was in the school symphony. I remember that, yeah, but I don't remember the
music! – see http://www.jazzhouse.org/library/index.php3?read=panken20
Henry Coker interviewed by Don Lusher, Anglo–American Exchange, 1964
I was with Illinois Jacquet in 51. He had about eight pieces—a very
good, swinging group. We had a violin and saxophone player in the band named
Ray Perry—the greatest. He was something else, man. It was very hard to
have to play a solo after him. He had so many tricks on violin. I never wanted
that spot. He was one of those guys who could play just as much alto. –
see http://www.jazzprofessional.com/Exchange/lusher+coker.htm
1941 Lionel
Hampton airchecks, incl. nine tracks with Perry, are extant.
–––––––––
–––––––––
new feature
JEAN-LUC PONTY – see also silver page Ponty link
Jean-Luc Ponty has confirmed the errors on unauthorized CD Stardust [US, mfd.
JP] CRCL8855 Jean-Luc Ponty with Kurt Edelhagen and His Orchestra
– tracks 1, 4 by Edelhagen orchestra include Ponty; track 3, by Edelhagen
orchestra does not include Ponty or any other violinist; track 2 is neither by
the orchestra nor Ponty but is a Grappelli solo acc. unidentified pianist. Ponty
gives the date of his performance as 1970 or 1971, not 1959 as given in the
liner notes. It is not known whether the Grappelli track dates from the same
concert. (Both participated in the 1971 Berlin Jazz Festival, from which other
titles have been released elsewhere.) This ludicrous confusion of Grappelli for
Ponty mirrors the confusion of Ponty for Grappelli on Pontys December 1965
concert duet with Stuff Smith on How High the Moon on LP Europa Jazz [FR]
EJ1014, and equivalents, given as 1957 in the liner notes with completely
inaccurate personnel – see DS/218 for the origin of this equally
ludicrous error – in our innocence we ask: are the record companies
ignorant or do they have ears in which case what do they mean by such
obfuscation? – track 1 is also included on
unauthorized CD Laserlight Venuti, Grappelli, Ponty.
Two ?1962 (or 1961) Europe 1 Jazz aux Champs
lyses airchecks, possibly from different occasions, of Ponty with Jack
[Jacques] Dival are extant that predate Pontys first studio recordings with
Jeff Gilson. His bop style is fully formed. The group plays Soft Winds and
Almost Like Being in Love. The latter may be the only extant example of
Pontys obbligatos behind a vocalist, Paris-resident Jamaican trumpetist Sonny
Grey. Also predating Gilson is an unissued unlocated
two-title session for U.A.G. with Danny Doriz, Paris, 3 November 1961:
Billies Bounce, Steeplechase.
ANGELINA RIVERA
FB:VIS/iv/13/1
Angelina Rivers bassist sister Santos Rivera was born in Puerto Rico on 29 March
1898. Despite being listed in the 12 November 1919 SSO London concert
programme, Santos Rivera in fact returned to the US from Le Havre on La
Savoie sailing on 13 November and arriving in New York on 22 November. Her
address was 824 Davson [sic: ?Dawson] Street,
Bronx, NYC. An Angelina C. Rivera was born in Farjado, Puerto Rico on 23 July
1899, but she is probably not our Angelina. Angelina C. is listed in US records
as arriving in New York on 8 October 1923 from San Juan, Puerto Rica. On
arrival in England with the SSO in 1919 our Angelina was described as eighteen
years old, placing her birth c.1901. Our Angelinas father, Anthony
Rivera, born in Puerto Rico on 9 October [age forty-two in 1920] returned to
824 Dawson Street, NYC from Plymouth on the Noordam sailing on 10 June
1920 – research assistance courtesy Howard Rye, Anthony Baldwin.
Angelina Rivera with Southern Syncopated Orchestra
Angelina Rivera was apparently first employed only in the vocal chorus with the
SSO in London, 1919. This is born out by the known orchestra personnel at some
concerts and a photo of twenty-eight musicians depicting only men, incl.
probably three violinists. Clearly a decision was taken, for one or another
reason, not to include women members in that photo. However, in later
personnels Rivera does also appear as a violinist. Furthermore, other photos do
depict her: another 1919 photo of the SSO in staged action, location
unidentified, includes Angelina, Santos and Anthony Rivera. Two photos of the
later 1921 SSO, taken inside and outside the Dome Theatre in Brighton, England,
also include a female violinist who must be assumed to be Angelina Rivera.
Angelina Rivera with Freddy Guy, Fats Waller
We first knew him [Freddy Guy] when he was leader of a small band that played
in a joint on 135th Street [Harlem] owned by Earl Dancer. He had Fats Waller in
the band, and a beautiful chick named Angelina Rivera, who was a fine
violinist. – Duke Ellington, Music Is My Mistress (NY &
London, 1974), 109. In Down Beat (16 April 1969), 16, Guy himself is
quoted: Fats was in a little band I played banjo with and one night Duke and
the boys came to hear us.
In 2007 Mark Miller found the following report from J. A. Jackson, Here and
There Among the Folks in Billboard (23 June 1923): Earl Dancer,
onetime member of the team of Dancer and Green, is now operating the Golden
Gate Club, performers rendevous, on West 135 Street, New York. Freckles and
his jazz band provide the music, with Angelito Riviera [sic], violinist, as
soloist. Russell Lee is doing the singing.
It is now established, therefore, that Rivera returned to USA between 1921–1923 before travelling again to Europe in time
for her 1926 Paris recordings with Josephine Baker and Spencer Williams.
Angelina Rivera and Heifetz at Bricktops
Jascha Heifetz would often borrow a violin from one of the musicians and play.
Ill never forget the night he was in the club and I had a new girl violinist
named Angelina. / I liked changing the acts around. I hired Angelina because
she played the violin very well and it was something a little bit different.
She wasnt exactly right for Bricktops, and I made it my business to introduce
her myself. / That night she couldnt help noticing that there was a very
distinguished gentleman at a front table who applauded longer and more loudly
than anyone else when she played. She finally signaled me to meet her in the
ladies room. / Who is that man? she wanted to know. / Jascha Heifetz, I
answered. I watched Angelina faint dead away. – Bricktop
w/ James Haskins, Bricktop (New York, 1983), 124.
Angelina Rivera with Johnny Dunbar
Angelina Rivera was active in Paris at least through to summer 1927. Ada
Bricktop Smith reports in Bricktop, 134–135, that Bricktop made a
deal to bring musicians to Berlin but that the engagement did not materialize
because her Berlin partners decided, for unknown reasons, not to take the
musicians. Berliner Herold, 28 (Berlin, 17–22 July 1927) named the
musicians, scheduled to play Pavillon Erbe, near Berlin Zoo: Glover Compton,
Nettie Compton [dance], Jara Hull [?Hall], Angelinia [sic]
Revera [sic], Robert Jones, Johnnie [Johnny] Dunbar. In a previous
posting we wrote: In view of this now established Rivera–Dunbar
connection the question must be considered whether they were, or became,
husband and wife, or at least travelled as such, so that the Mrs Dunbar
depicted with violin in their photo with the Jackson Rhythm Kings, Copenhagen,
October–December 1927, in Wiedermann, reprinted FB:VIS/iv/13/4,
and posted on Blue Page Photos, is in fact Angelina Rivera. But we now
no longer believe that Angelina Rivera is Mrs Dunbar in light of photos that
have surfaced of the SSO depicting Angelina Rivera whose likeness is quite
unlike that of Mrs Dunbars – research assistance courtesy Hans Pehl,
Maurice Peress, Howard Rye.
EDGAR SAMPSON
FB:VIS/iv/11
Neither of the p.48 Charlie Johnson photos show Sampson. They date from 1925,
at the Nest Club, before Sampson joined. The violinist is unidentified.
The personnel of the p.51 Georgia Strutters is incorrect. The trumpet player is
Tommy Ladnier, not Jabbo Smith. The pianist is not Willie the
Lion Smith but possibly James P. Johnson.<BR>
GINGER SMOCK
FB:VIS/i/3; & updates
new session
JOE ALEXANDER WITH RED CALLENDER QUINTET
Joe Lutcher (br), Ginger Smock [as E. Colbert] (el vn), Willard McDaniels (pn),
Red Callender (sb), Lucky Enois (dm), Joe Alexander (vc)
Los Angeles, July or August 1946
OR 172 A I Woke Up with a Teardrop in My Eye – Alexander (vc)
OR 173 B Donkey Serenade – Alexander (vc)
78 Excelsior OR 172/173
NOTE Labels and discographies give E. Colbert and discographies give (cl), even
though labels give (el vn), which is why this session was missed. Emma Colbert
is Emma Ginger Smock. This, not her 1946 RCA Victor session, now appears to be
her first recording – research assistance courtesy Dieter Salemann; Klaus Teubig. A / B do not represent takes, only discs
sides each one of which has a different number.
new session
GINGER SMOCK FEATURED WITH NAPPY LAMARE
[STRAW HAT STRUTTERS]
Ginger Smock featured soloist (vn) with
probable personnel: Joe Graves (tp), Brad Gowans (v-tb), Johnny Costello (cl),
Pud Brown (ts), Jack Peoples (pn), Nappy Lamare (gt), Budd Hatch (sb), Roy
Harte (dm)
Dixie Showboat – no. 33 – KTLA TV Channel
5 – Produced by Paramount Television Productions, Inc. – Sponsored
by Louis Milani Foods – Dick Lane mc – Smock talks
Los Angeles – c.October
1951
a What
Is This Thing Called Love?
VIDEO – UCLA Film and Television
Archive (a) – 30 min program including other guest performers – 5
min dance segment and credits missing – seemingly Smocks first
appearance on the show which later became a 60 min show – research
assistance courtesy Laura Risk.
new session
THE TEN COMMANDMENTS
Produced by Cecil B. DeMille –
Music direction Elmer Bernstein – 1955 – released 1956
Peggy Brashear, Dimples, Beverly Harris,
Melba Liston, Ginger Smock, Guelda Williams, others play ancient Egyptian
instruments. During an outdoor bathing scene three women musicians are seen
playing aulos, small harp (?Liston), lute-type
(?Smock). During a court dancing scene six women and
one man are seen playing, including aulos (man), large harp (Liston), two
lute-types (presumably one Smock). Exact instrument identification has yet to
be made but it is known that Liston plays harp. A later dance scene shows an
all-male group of musicians, including tabla. Herb Alpert plays drums on Mount
Sinai.
FILM available on DVD
Research assistance Laura
Risk. The
five named musicians are given in a report in Los Angeles Sentinel (23 June 1955)
new session
HAL JACKSON AND THE CHROMATICS WITH
JACKSONS TORNADOES
Suggested personnel: Billy Jackson
(ts), Minters Galloway (ts, br) and/or Clyde Clifford Dunn (br), Ginger Smock
(vn), Wilfred Jackson (pn), George Harold Hack Jackson (sb), Abraham Mills or
Wayne Robinson (dm), Chromatics incl. Hal Jackson, Ben Hughes (vc)
Los Angeles –
?–early 1956 [released March 1956]
a 45-CR-1011-Y Devil Blues (Hughes)
– Smock assumed ensemble – Ben Hughes lead (vc)
b 45-CR-1011-Z Wild Man Wild (Jackson)
– Smock solo – Jackson lead (vc)
45/?78 Crest
1011 (a, b) – there are two label states, one reading for (b) Hal Jackson
and The Chromatics with Jacksons Tornadoes, the other reading Hal Jacksons Tornadoes
vocal by The Chromatics – both (a) label states read The Chromatics with
Hal Jacksons Tornadoes – it is not known which is the first label state
– Ben Hughes recorded with the Chromatics, but not Jackson, on the
Million label, and also with Ginger Smock on the Cecil Count Carter Federal
session.
CD Virtual SPV 306652 The Best of
Crest Records, Rockin & Rollin (a)
CD RockStar [EN] RSR 017 Talk about
a Party!, The Crest Records Story (a)
CD T-Bird 14 Stack-A-Records (a)
CD DWR 0014 Doo-Woping the Blues
(b)
Research assistance courtesy Laura Risk
amended session(s) with new titles
Ginger Smock is present on John Erby and John Costa, Jrs 78 label A Natural
Hit! 103and 105, as well as 104 which was previously
listed with incorrect date. 103 was previously listed
as an unidentified demo. Note different takes on the release. 105 is a completely new listing. The following discographical
detail is mostly contained in Bob Eagle, Re-Discovered: Arranger, Composer,
Teacher and Master Musician John Erby, The Singing Pianist, Record Research,
121 (New York, March, 1973), 1, 3-5 – research assistance courtesy Derek
Coller; Konrad Nowakowski; Howard Rye.
RAY WHEATON WITH THE HARMONY GIRLS
Ginger Smock (vn), Nina Russell (og), John Erby (celesta on (AN-5) only, pn on
(AN-6) only, ar), Ray Wheaton (vc)
Los Angeles, released, according to Eagle, September 1949
AN-5-8 This Christmas I Give Love (Costa, Erby)
AN-6-2 I Offer You (Erby)
78 A Natural Hit! 104
MONETTE MOORE THE SALESLADY OF SONGS AND HER SALESMEN WITH THE HARMONY GIRLS
Tee Davis (ts), Ginger Smock (vn), Nina Russell (og), Jerome Tyrone Parsons
(pn), Addison Farmer (sb), Freddie Baker-Jackson (dm), John Erby (md), James
Ross (ar), Monette Moore (vc)
Los Angeles, released, according to Gart, July 1949
AN-7-2 Show Girl Blues (Moore, Costa, Erby)
AN-8-2 Thats My Specialty (Erby)
78 A Natural Hit! 105 – released
JEROME TY PARSONS WITH HIS RHYTHM-ITES
Ginger Smock (vn), Jerome Tyrone Parsons (pn, vc, ar), Tee Davis on AN-9-2 only
(celesta), Addison Farmer (sb), Freddie Baker-Jackson (dm)
Los Angeles, released ?1949
AN-9-1 I Couldnt Take It – CD released test
AN-9-2 I Couldnt Take It (Costa, Erby)
AN-10-1 Guess Id Better Knock on Wood – CD released test
AN-10-2 Guess Id Better Knock on Wood (Erby)
78 test (takes 1)
78 A Natural Hit! 103 (takes 2) – released
CD AB Fable ABCD1-010 (takes 1) Ginger Smock – uses Smocks damaged
test takes because 78 release was not known at the time
CD AB Fable ABCD2-019/20 (takes 2) Blows n Rhythm
full details of FB:VIS/iv/13/8 new session
JACKSON BROTHERS ORCHESTRA
William Billy Jackson, Clyde Clifford Dunn, Minters Galloway (sx), Emma Ginger
Smock on (c) only (vn, vc), Wilfred Jackson (pn, md), George Collier Jr (gt),
George Hack Jackson (sb), Abraham Mills (dm), Claude Maxwell (vc), ensemble
(vc) – [Don Jackson (brs, vc) absent because of illness]
Los Angeles – D. Kessler a&r – 14.00–17.00, 14 September
1953
a E3-VB-0192-1 [Dynamite (Wilfred Jackson)] – instrumental – 2:22
– Smock out
b E3-VB-0193-1 [Angel (Throughgood, William Jackson, Wilfred Jackson)] –
Maxwell (vc) – 2:34 – Smock out
c E3-VB-0194-1 Ginger Boogie (Wilfred Jackson, ?Smock) – 2:25 –
Smock, Maxwell, ensemble (vc)
d E3-VB-0195-1 [Please Mr Conductor (Wilfred Jackson)] – Maxwell, another
(vc) – 2:27 – Smock out
TAPE RCA Victor (a-d) – unreleased by RCA Victor
CD AB Fable [EN] ABCD1-010 (a-d) Ginger Smock, The Lovely Lady with the
Violin, Los Angeles Studio and Demo Recordings, 1946–1958, Strange Blues –
first ever release – all titles although Smock plays on one only
NOTE RCA Victor almost certainly dispensed with the band because of LA Times
nightclub drug bust headline concerning Billy Henderson, a vocalist with the
band, also on an earlier session, substituting for an ill Don Jackson, though
no charges were brought. The earlier released Jackson Bros session,
18 July 1952, and later sessions for Lucky and Arrow, do not include
Smock. Smock and Hack Jackson were briefly married.
Itinerary
LA – Mikes Waikiki Inn – Sweetheart of the Strings Ginger Smock and
Her Trio [Torrid Trio] incl. Harvey Brooks (pn) until 20 November 1950
– also Three Bits of Rhythm at least to begin with – Brooks
composition What Shes Got Is Mine featured by Spade Cooley on his TV show [?–in September] to be published by Jewel Publ. Co. (Cash
Box, June, October, November 1950)
LA – Signed by Shaw Artists (CB, December 1953)
LA – Hal [?Hack] Jacksons Tornados featuring Ginger Smock scheduled for Perez
Prado Show at Orpheum after being seen on Larry Finleys Strictly
Informal telecast – (CB, February 1956)
LA – Parisian Room – Ginger Smock – late 1950s (J. J.
Phillips private communication)
FB:VIS/i/3; 5 September 1946; Vivien Garry Quintet
CD Saga [FR] 0664812 (c) Jazz Women, Great Instrumental Girls
Bibliography
Anthony Barnett, Ginger Smock: The Gingervating Ginger Is Literally a
Fireball in Her Act The Strad (November 2010), incl. photos –
traces her life and career
Herman Hill, Bright Future Predicted for Ginger Smock, Pittsburgh Courier (20
September 1947), incl. photo – Smock tells of having recorded for
Exclusive but there are no released recordings under her name on that label.
She did, however, record for Excelsior – see new session prec.
Opal Louis Nations, The Story of The Sepia Tones, Ginger Smock and Art Rupes
Juke Box Label, Blues & Rhythm, 187 (March 2004), incl. photos,
based in part on Sherrie Tucker 1993 interview with Smock – errors incl.
dating, discographical, orthography – AB follow up letter, 188 (March,
2004)
new feature
SNATCH
In our efforts to recover the obscure or fugitive we note a passed middle age
swing violinist who went by the name of Snatch, living in a single room in
Hastings, East Sussex, whom we last saw and heard regularly busking with a
little amplifier in the East Sussex towns of Eastbourne and your editors Lewes
in the early 1990s. We always meant to record him but never came across him
when we had the foresight to carry a recorder. However, we did speak, and we
even have a letter from him. We were impressed by his other-than-Grappelli
style. He revealed a fondness for Stuff Smith and in particular Smiths
recording of Robins and Roses. We understand his full surname may have been
Snachel, or similar.
new feature
MARSHALL SOSSON
Marshall Sosson enjoyed a solo violin career in classical and popular music
on radio during the 1930s–1940s. Following membership of the Chicago
Symphony Orchestra he was concert master of CBS in
Chicago during the 1930s. During the war he was a member of the Armed Forces
Symphony Orchestra in California. From 1947–1959 he was concert master at
Columbia Pictures and then through to the 1980s at Walt Disney Studios. His
swing style is that of the rich-toned concert violinist. Airchecks in light
classical and swing genres are extant incl. those from his own programs with
his quartet The Chicagoans and of Ben Bernie with whom he plays a novelty duet
combining Humoresque with Old Folks at Home. Around 1950 he recorded as a
member of Harry Bluestones string quartet an album of swing classics –
see FB:VIS/iv/11/121. Sosson and Bluestone had also
recorded with guitarist George Smith for Smiths Guitar label probably in 1946.
He recorded Bach cantatas for Allegro as a member of the Roger Wagner Chorale
with vocalists. In 1954 he recorded in a fourteen-piece string section, also
incl. Sam Caplan, on the Verve album Buddy DeFranco and Oscar Peterson Play
Gershwin under the direction of Russ Garcia. He recorded in a
twenty-piece string section, also incl. Lou Raderman, Murray Kellner, and Benny
Gill – see GILL prec., in Stan Kentons orchestra in 1958. In 1964, with
Lou Raderman and James Getzoff, he recorded in a sixteen-piece string section
with Frank Sinatra and Count Basies orchestra directed by Quincy Jones. Around
1969 or 1970 he participated in Billy Mays fourteen album LP set for Time/Life
The Swing Era in recreations of one of the recordings by Earl Hines of
Jimmy Mundys Cavernism, on which Darnell Howard took the original violin
solos, and Duke Ellingtons Bakiff, originally associated with Ray Nance. He
was a member of the overdubbed LA string session on fusion violinist Noel
Pointers 1977 dbut album in NY. Thirteen aircheck trio performances, incl.
two with George Smith and the Armed Forces Orchestra under Felix Slatkin, are
collected on LP Town Hall M26 Marshall Sosson, Virtuoso Jazz Violin Classics.
An LA private tape is extant, ?1950s, ?1960s or
?1970s, of Sosson performing a series of classical and swing duet
improvisations with Johnny Guarnieri (pn) incl. Paganinis Caprice No. 24.
Sosson is present, identified or not, sometimes as soloist, on numerous LA
soundtracks and commercial recordings.
new feature
JOSEPH SZIGETI
Concert violinist Joseph Szigeti was a guest on Benny Goodmans Camel
Caravan broadcast, New York, 24 January 1939, performing Clair de Lune
with Andr Petri, and Stompin at the Savoy with the Goodman Orchestra, only
the latter released, with talk by Goodman and Szigeti, on CD Phontastic [SD]
NCD9917. Szigeti recorded Bartks Contrasts with Goodman and the
composer for Columbia, New York, 14 May 1940 – see Classic Shots, FB:VIS/iv/11/124–127 for two 1941 Charles Peterson
photos of Szigeti talking with and listening to Joe Sullivan, Eddie Condon, Joe
Marsala a.o.
THE TOPPERS [aka The Four Toppers aka The Four Esquires] / THE UNIVERSITY
FOUR incl. JOE GIORDANO
FB:VIS/iv/13/6
Vocalist Danny Mazzola became Danny Mazzola Topper, taking the name of the
group he had worked with from the late 1930s–mid 1940s. His obituary in
Florida Today (15 November 1998) describes him as a retired entertainer. He
was born in New York and moved to Titusville, Brevard County in 1951. He died
aged 82 on 13 November 1998. Photos and press cuttings provided by his widow
reveal the personnel of The Toppers as: Joe Giordano (vn), Joe Spata (ac), Sam
Cocchia [aka Cocchio in error] (gt), Danny Mazzola
(sb, vc). The other three were from Philadelphia. They were often known as The
Four Toppers and were previously known as The [Four] Esquires. Before Mazzola
joined the other three were known as The Esquire Boys. The Toppers broadcast as
the Giordano Swing Quartet on Benny Goodmans Camel Caravan from the
Earle Theater, Washington D.C., 21 March 1939, performing Limehouse Blues,
unissued but extant. Martha Tilton, Billie Holiday and Leo Watson also performed.
After The Toppers tour with Goodman they toured with Jan
Savitt. They once shared a club engagement with Leo Watson and the Five
Spirits of Rhythm. Violinist Joe Giordano was born in 1917 and began playing
violin at the age of eight. He lives in New Jersey. He reports that John
Hammond was responsible for The Toppers recording session and tour with
Goodman. The Toppers broke up because of the war and Giordano served in ETO. He
recorded for an as yet unidentified label after the war with The University
Four, with instrumentation and vocals similar to The Toppers. Giordano and
Stuff Smith became friends when The Toppers shared an engagement in
Newark—probably the Merry-Go-Round in November–December
1938—where Smith played the main room and The Toppers played the bar.
Smiths recording of Ive Got You Under My Skin used the arrangement by The
Toppers; unless Smith gave The Toppers his arrangement
before he himself recorded it. Mister Aristocrat is a 1939 BMI registered
song by Roy Morton, Gene Paul [?dePaul], not a
Toppers original. There is an as yet uncorroborated report that The Toppers
may have made movie shorts but they are not to be confused with other groups of
the same name incl. the contemporary black harmony vocal group that appeared in
movies incl. Mystery in Swing, Son of Ignano, Toppers Take a
Bow. Nor are film appearances by a group The Four Esquires our
Esquires/Toppers. Further details pending – research assistance courtesy
Marion Mazzola Topper, Joe and Lillian Giordano, Michael Brooks, Kevin Coffey,
D. Russell Connor, Mark Cantor, Geoffrey Wheeler, Norman Saks – see
blue page photos
VARIETY BOYS – see CLARENCE BLACK prec.
new feature
JOE VENUTI
See STUFF SMITH DS/154 prec. for eyewitness account of Smith 1950s broadcast
jam with Venuti
JOE VENUTI & FRIENDS NOVELTY VOCALS ARC RELEASED 78 LUCKY AND DECCA
UNRELEASED
This entry has been deleted as it is superseded by more accurate information
about ARC Venuti, though not Decca, contained in the CD Mosaic
Venuti–Lang set released 2002.
Bibliography
James Baxter, inspired by Robert White, The Blue Violin ([?Philadelphia, 1953]), 167pp, privately issued biography of
Joe Venuti and his Blue Violin – uncatalogued – spiral bound
repro from typescript – internal evidence provides the date and likely
place of this fanciful account whose commissioner, White of Philadelphia, and
author, Baxter of Los Angeles, were close to their subject and assisted in
their research and interviews by Leah Worth and Natalie Cantor – acquired
by AB Fable archive in March 2001 from a Philadelphia dealer – it is
reported by Mohr—see fol., that this is likely to be the mysterious
biography to which Venuti referred in conversation with disapproval –
unbound photocopies available from AB Fable on enquiry
Lawrence DiStasi, ed., Dream Streets, The Big Book of Italian American
Culture (New York, 1989) incl. chapter Musicians Tales, incl. section by
or about Venuti – not viewed
Raymond F. Mitchell, Feeling My Way, A Discography of the Recordings of
Eddie Lang, 1923–1933 (Godalming, Surrey, 2003), incl. photos –
thorough documentation essential to Venuti research
Bob Mohr, Joe Venuti, estate-authorized biography in preparation
MICHEL WARLOP [+ PIERRE DARRIEUX] [+ WACLAW NIEMCZYK]
Waclaw Niemczyk
Waclaw Niemczyk was not the classical nom-de-musique of Michel Warlop,
as claimed in Grove Jazz, 2nd ed., repeated in a 2002 Grappelli
biography, but an entirely different violinist – see Grappelli prec.
FB:VIS/ii/9/89
Violinist Pierre Darrieuxs version of Warlops Swing Concerto was recorded
for Columbia, 23 February 1943, possibly under Warlops supervision. Warlops
own version was recorded for Swing a year earlier on 17 February 1942 but was
not released until 1989. The orchestra and conductor were the same for both
recordings. It remains a matter of conjecture why Warlops excellent version
was unreleased at the time. It is suggested that Charles Delaunay was reluctant
to release crossover music – research assistance courtesy Raymond
Durieux, Alain Dlot, Daniel Nevers.
Bibliography
Pierre Carlu & Jean-Claude Alexandre, Michel Warlop, Integral, draft
complete discography in circulation
DICK WETMORE
FB:VIS/iii/10/4–28
new session
ANDY JEROME QUINTET
Jimmy Derba (as), Dick Wetmore (vn), Andy Jerome (gt), Frank Gallagher (sb),
Arnie Wise (dm)
Boston – WGBH Channel 2 telecast – Jazz with Father OConnor
(Chaplain of Boston University) – December 1957 – announcer
voice over end (d)
a Soft Winds
b Ill Remember April
c Blues for Skeeter [as Blues for Kenny] (Kenny Burrell)
d My Old Flame
TAPE (a-d) – audio only aircheck – research assistance courtesy
Joel Glassman
new session
DICKWETMORE QUARTET
Dos Yanquis, Newport – 24 January 1982 – details pending
new session
DICK WETMORE–BILL DAVIES DUO
Asa Bearse House, Hyannis – 7 May 1988 – details pending
new session
Wetmore plays dubbed in (vn) obbligato on one track only A Child Is Born with
Sissy Smith (vc), Herb Pomeroy (tp), Tony Zano (pn, ar), Dve Clark (sb), Joe
Hunt (dm) on HIV/AIDS benefit CD Dimock [no no.] A Child is Born
recorded Berklee College of Music, Boston, 24–27 May 1995 with he dubbing
likely to have been 30 May–3 June 1995.
new session
Wetmore plays (vn) on Bewitched on CD Radio Ball 20 Chandler Travis
Philharmonic, You Must Come Over Tonight – He plays cornet on
Skylark on CD Radio Ball ? Chandler Travis, Ivan in Paris and on other
Travis title(s)
Wetmore Bethlehem session
LP Bethlehem/Toshiba–EMI [JP] TOJJ1035 Dick Wetmore – reports
of possible a Toshiba-EMI CD are conflicting
Jazz in Transition; Dave Coleman session
CD Toshiba/EMI [JP] TOCJ5889 = CD King [JP] GXF3126 – it has been
reported that the unknown unreleased titles were recorded but erased but
Wetmore wonders whether they were ever even recorded
Anthony Ortega session
CD Fresh Sound [ES] FSRCD325 (a–e) Anthony Ortega, Earth Dance
CD Bethlehem/Toshiba–EMI [JP] TOCJ62073 (a-e) Anthony Ortega, Jazz for
Young Moderns . . .
Jack Nimitz session
CD Fresh Sound [ES] FSR5047 (all titles but which remakes of two yet to be
established with certainty) Jack Nimitz and Friends . . . Yesterday and
Today – March dates, location and personnel in error in liner note
– Bell Sound Studios – three dates in fb:vis are correct –
here follow different personnel corrections to liner note and fb:vis:Collective
Personnel – not all play on all titles
Bill Harris (tb), Jack Nimitz (br), Dick Wetmore (solo and ensemble vn), Gene
Orloff (vn, concert master), Harry Lookofsky (vn), Seymour Barab, George
Koutsen, George Ricci, Lucien Schmidt, Harvey Shapiro (ce), Kenny Burrell,
Jimmy Raney, Chuck Wayne (gt), Oscar Pettiford, Russ Saunders [aka Savakus]
(sb), Dom Lamond, Teddy Sommer (dm), Bob Zieff (ar) – contrary to liner
note, Alan Shulman (ce) was booked for the second date but was hospitalized and
did not play on any session; he did however play at an initial unrecorded
audition rehearsal
Gerry Mulligan session
There were, in fact, nine, not eight, titles recorded by Vinnie Burke with
Gerry Mulligan incl. Dick Wetmore, though only eight were originally scheduled
for unreleased LP World Pacific WP1252 Stringtime. All nine titles have
now been released, five for the first time, on 3CD Mosaic Select MS02 Gerry
Mulligan, the first four titles on Disc 1, the remainder on Disc 2:
a May-Reh
b The Preacher
c Good Bait
d Bags' Groove
e Lullaby in Rhythm
f Body and Soul
g Out of Nowhere
h Ill Remember April
i Can't Get Started
Wheres Harry session
What Wetmore titles Blues for Esquire is, in fact, not his composition but Kenny
Burrells composition Blues for Skeeter. Research assistance courtesy Jameson
Wetmore
Bibliography
Chandler Travis, Dick Wetmore, Bop Violinist Cape Codder, issue number
unknown (Cape Cod, c.–1998 or 1999)
– AB Fable Archive holds a copy of the original typescript
JUICE WILSON
FB/VIS/i/5; & updates
The Italian Connection: Italian violinist and pianist Romero Alvaro who first
met Juice Wilson in the early 1930s, and worked with him in Spain in Harry
Flemmings Black Follies, was influenced by Wilson. Alvaros violin is heard on
Anime Gemelle [aka I Wish I Were Twins] from 1935 on CD Riviera Jazz [IT]
RJRCD002 Jazz in Italy in the 30s, Gorni Kramer. Alvaros tone is
thinner than Wilsons but elements of Wilsons melodic and rhythmic phrasing
are recognizable in Alvaro. Adriano Mazzolettis liner notes discuss their
relationship. According to AM, in a communication with
AB, another Italian violinist Americo Del Ventura worked in the same Harry
Flemming orchestra and, unlike Alvaro and Wilson, later recorded with Flemming
in Italy. Yet another violinist, Achille De Grandi, who recorded with Sesto
Carlinis orchestra incl. Herb [not Harry] Flemming, played in Eddie
Souths style. How unfortunate that Wilson is not on the recordings by the
bands with which he worked in Europe in addition to Sissles. Six
1940s–1950s Italian violinists are heard on CD Riviera Jazz [IT] RJRCD007
Jazz in Italy in the 40s, Quintetto Ritmico di Milano.
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new feature
FILM CLIPS
STPHANE GRAPPELLI IN ENGLAND 1940s
Inclusion in 2002 of the 1948-released film Stphane Grappelly and His
Quintet on DVD Music on Earth [EN] 001 [2 – disc 2] Stphane
Grappelli, A Life in the Jazz Century prompts a reassessment of Grappelli
[Grappelly as his name was spelled at the time] on film in England during the
1940s. The Quintet film with George Shearing (pn), Dave Goldberg (gt),
Coleridge Goode (sb), Ray Ellington (dm, vc) was recorded sometime towards the
end of 1946 according to Coleridge Goode w/ R. Cotterrell, Bass Lines, A
Life in Jazz (London, 2002), 68–69, corroborating Meekers 1946.
Titles in the film are The Stphane Blues, Piccadilly Stomp, Wendy,
Sweet Georgia Brown, Evelyn. The same film was
apparently released later under alternative titles Mirth and Melody and Music
Parade. An outtake Red-O-Ray (the name of a brand of violin strings) is
extant on as yet untransferred nitrate at the British Film Institute National
Film and TV Archive. The same title with same personnel recorded for Decca, 25
April 1947. The same quintet, filmed at the time of the Quintet short,
was used by the same director, Horace Shepherd, in a nightclub scene, incl. a
title from the Quintet short, in the 1948-released feature The
Flamingo Affair [aka Blonde for Danger], clips from which are also
included on DVD Music on Earth 001 [2 – disc 1]. Grappelli appeared in
three other British made 1940s films: as an Elizabethan troubadour in a swing ?sextet [quartet on screen] incl. second violin and
clarinet acc. Evelyn Dall, Chorus (vc) on Ring, Ring, Merry Bells conducted
by William Shakespeare in the wacky 1944-released Tommy Handley time travel
comedy Time Flies filmed in 1943 (released in 2000 on VIDEO Englewood
Science Fiction Gold, Vol. 26); in a Geneva night club scene (shot in London of
course) with George Shearing and leading a gypsy band in the 1944 romantic
comedy English Without Tears [aka My Man Godfrey]; in a Paris
Cafe Negre wartime setting (shot in London of course) with a quartet of Fella
S.owande (og or pn), Allan Hodgkiss (gt), Jerry da [d] Costa (dm) in the
1945-released musical melodrama The Lisbon Story filmed in ?1944 (no
video release) – see Meeker (1981) for a zoomed-in still of the
quartet in The Lisbon Story in which, despite Grappelli receiving cast
credit, there are no more than a couple of brief glimpses of the quartet
interspersed with bar conversation and orchestral music over the quartets own
– research assistance courtesy Piers Clark; John Oliver, BFI; Val Wilmer
– see pink page photo
STREET GIRL (1929) w/ RUSS COLUMBO; BETTY COMPSON
Actress and violinist Betty Compson The Vagabond of the Violin plays
Frederika Freddie Joyzelle, violinist in a jazz quartet/ quintet, but the few
hot breaks and the featured ballad repeated throughout are not played by
Compson on the soundtrack. The soundtrack violinist is Russ Columbo who also
appears on screen as the trombonist with Gus Arnheim and His Ambassadors. A
male violinist is also on screen in the band but finger work (or lack of it)
suggests that he does not play and that all soundtrack violin
is Columbo. However, two larger Arnheim orchestra 1929 78 titles include Henry
Jaworski alongside Columbo (vn). One title includes Roy Fox (tp) who claims in
his autobiography to have seen Stuff Smith playing in the LA area with an
orchestra (?–with Alphonso Trent) during this
period. Did Fox really see Smith or a local because no engagement by Trent in
the area is known—though there is tenuous evidence that they may have
played Santa Cruz? Music for Street Girl is by Oscar Levant (?–also the pianist) with words by Sidney Clare. Three
songs from the film (?–sung by Compson or
dubbed) with piano accompaniment were published by Harms (New York, [no date]):
Lovable and Sweet, Broken Up Tune, My Dream Memory. The film was remade as
That Girl from Paris (1937) and Four Jacks and a Jill (1941) in
both of which the character is presented as a vocalist not a violinist. A video
copy of Street Girl is now in the AB Fable archive. Gus Arheim and His
Ambassadors also appear in their c.1929 Vitaphone/Warner short,
available in the boxed laserdisc set The Vitaphone Project, in which
Columbo sings and plays a hot violin solo – research assistance courtesy
David N. Lewis; Mark Cantor – see also http://www.russcolumbo.com
INTERMEZZO (Sweden 1936; remade USA 1939)
See WILLIAM GRANT STILL under EARLY AFRICAN-AMERICAN CONCERT VIOLINISTS AND
COMPOSERS prec. for note about Louis Kaufman, who recorded compositions by
Still, violinist on Intermezzo (USA 1939); and Charles Barkel, violinist
on Intermezzo (Sweden 1936). Absolutely impossible, we know, but the
1936 Swedish original includes a brief open-air Paris caf scene whose waiter
looks and speaks in French a little like Eddie South.
SON OF DRACULA (1943)
Mark Cantor reports that a black society band (sideline only . . . I am
certain that the music was recorded by a Universal studio group) with a couple
of violins and cello appear very briefly in Son of Dracula.
TO HAVE AND HAVE NOT (1944)
The following musicians, on-screen unless noted, are
identified in various scenes: Jimmy Briggs (off-screen flute), Hoagy Carmichael
(pn, vc), David Robinson (sb), Jesse Price (dm), Cee Pee Johnson (aka Johanson)
(tom-toms), Laureen Bacall (not ghosted by Andy Williams as sometimes
suggested) (vc). There is also on-screen unidentified (ts), (cl), (penny
whistle), (gt), (mandoline) and what interests us in particular (vn). Cee Pee
Johanson was friendly with Stuff Smith (not the violinist here) with whom he
plays (gt) on c.1960 LA private tapes – see DS. Jimmy Briggs
broadcast with Hoagy Carmichael and Joe Venuti (not the violinist here) in 1944
– see blue page photo
FRAMED (1974) w/ BRENTON BANKS
Los Angeles based jazz and concert and sometime Nashville session violinist
Brenton Banks plays the non-speaking part of black night club pianist Jeremiah
in a trio with (gt) and (sb) accompanying actress Conny Van Dyke as vocalist
Susan Barrett. Brock Peters plays Sam without the bo Perry, the good cop in
this undistinguished attempt at a hard-boiled Tennessee-set police and
political corruption drama.
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GENERAL DISCOGRAPHY
Reissue compilations that include only occasional relevant violin titles
generally will no longer be posted here or under name entries
Reviews of new improvised violin music, no longer generally posted, appear
regularly in Cadence Magazine and Coda – see also siver page links
Old Hat CD1003 Folks, He Sure Do Pull Some Bow!,
Vintage Fiddle Music, 1927–1935, Blues, Jazz, Stomps, Shuffles & Rags
– a second beautifully documented violin compilation by Marshall Wyatt
following on from Violin, Sing the Blues for Me – includes new
items to add to survey Early African-American Jazz and Blues Violinists in
FB:VIS/ii/10, and updates
Gale [MCI/Denon] [EN] [2] 451 Violin Jazz = repackaged Frmeaux [FR] [2]
FA052; 351518 Violon Jazz – incl. Smith, South, etc –
programming and discographical errors not corrected, e.g. Smiths Dont You
Think? instead of listed Desert Sands revealing LP Folkways as the source
which is where the programming error began
Mastertone [EN] AB3138 Hot Jazz Fiddles – like certain other
budget CDs, lifted from previous compilations – incl. Smith, South, etc
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GENERAL BIBLIOGRAPHY
anon. [?–Joachim E. Berendt], Jazz: Geige: Viel Pesos
herausstreichen, Der Spiegel, v/6 (7 February 1951), 33–335
– knowledgeable survey of violin and string sections in jazz, incl.
extraordinary cover photo of Ray Nance – Der Spiegel articles were
generally unsigned and author information is not held in their archives so the
suggestion of Berendt, a friend of jazz violin, is speculative
Anthony Barnett, In Time: A Not-So-Brief History of the Swing to Recorded
Bebop and Progressive Violin, in four parts, Fiddler Magazine, ix/4
through x/3 (North Sydney, Nova Scotia, winter 2002/2003 through fall 2003;
corrections in winter 2003/2004) – in-depth historical survey, incl.
discography, bibliography – in four instalments over four issues with
corrections in a fifth – superceded by a substantially revised and
expanded version Almost Like Being in Bop published with numerous photos as a
booklet to accompany CD AB Fable ABCD2-011/12 I Like Be I Like Bop
Sren Christensen, Jazz p Violin, in two parts, Orkester Journalen
(Stockholm, May 1971; June 1971) 8–10; 10–11 – in-depth
survey from Venuti to Ponty of special interest because it is written by a
Danish jazz violinist who recorded swing and bebop and who collaborated with
Stuff Smith – note Sren is Swedish orthography and Sren Danish
Cary Ginell & Kevin Coffey, Discography of Western Swing and Hot String
Bands, 1928–1942 (Westport, CT, 2001) – essential source book
of original releases incl. numerous sessions with violinists, or fiddlers, who
contributed amazingly inventive take-offs based on the music played by Joe
Venuti, Stphane Grappelli, Stuff Smith, and Eddie South of the jazz world.
Lawrence Gushee, Pioneers of Jazz: The Story of the Creole Band (New
York, 2005) – incl. in-depth biographical materials and photos about
unrecorded New Orleans violinist and saxophonist Jimmy Palao who also toured
with King Oliver
Michael H. Hoffheimer, Playing the Blues, The Strad, 113/1351 (London,
November 2002), 1184–1186,1189 – sketchy historical survey of blues
fiddle claiming in error, for example, that Stuff Smith was classically trained
before he turned to jazz, and leaving the reader with the distinct impression
that [hot not cool] Remo Biondi was African–American
Alan Jabbour, In Search of the Source of American Syncopation, Strings,
102 (San Anselm, CA, May–June 2002), 46–56 – in-depth
research bearing substantially on early African-American fiddle playing
Theresa [aka Terry] Jenoure, The Afro-American Fiddler Contributions in
Black Studies, vol. 5, article 6, special joint issue with New England
Journal of Black Studies (Mass., 1981), 14pp
Karl Koenig, The String Band: The Ancestor of the Jazz Band (no place or
date [?–Running Springs, CA, ?2001]) main focus on New Orleans incl.
numerous early press citations
Sonya R. Lawson, Yes, Virginia, There Really Are Jazz Violists, American
String Teacher, 54/1 (Fairfax, VA, February 2004) – overview 1960s to
the present
Sonya Ruth Lawson, The Origins and Development of the Use of Violins, Violas,
and Cellos in Jazz in the United States of America (PhD dissertation, Un. of
Oregon, 2003) – analysis from origins to the present; some citation
failures and omissions leading to historical errors
Julie Lyonn Lieberman, Alternative Strings: The New Curriculum (Pompton
Plains, NJ; & Swavesey, Cambridge, Amadeus, 2004) – At present, alternative
is the catch phrase for close to thirty folk, world, jazz and popular styles
that feature strings . . ., incl. CD insert – anecdotal and
identification errors; e.g. Lonnie Johnson not Nap Hayes is the
violinist on Violin Blues
Julie Lyonn Lieberman, A Brief History of Jazz Violin, American String
Teacher, 52/4 (Fairfax, VA, November 2002), 78–85 – colorful
engaging survey – some errors in dating and chronology – part of a
special focus on Jazz Improvisation issue also incl. articles by Renata
Bratt; Martin Norgaard; Laura Reed
Julie Lyonn Lieberman, The Contemporary Violinist (New York, 1999)
– basic instruction in various jazz, popular, folk genres incl. CD
– brief AB quote on Smith and bebop from National Public Radio program
interview
Julie Lyonn Lieberman, Rockin Out with Blues Fiddle (New York, 2000)
– new rev. abridged ed. of Blues Fiddle (New York, 1986) –
insightful instruction in country and jazz blues styles incl. CD not included
with Blues Fiddle – two identification errors
Didier Lockwood, Profession Jazzman: La Vie improvise (Paris, Hachette,
2003) – autobiography
Martin Norgaard, Jazz Fiddle Wizard, A Practical Guide to Jazz Improvising
for Strings (Pacific, MO, 2000) – basic swing to bop tuition
Ari Poutiainen, Stringprovisation: A Fingering Strategy for Jazz Violin
Improvisation (Helsinki, Acta Musicologica Fennica 28, Finnish
Musicological Society, 2009) – advanced, in-depth, innovative study
Sim Simons, et al, [Jazz Violin issue], Jazzhalo, no. 24 (Torhout,
Belgium, [no date: June 2003]) – overview of jazz violin history,
articles on and interviews with modern violinists, Flemish text
Joan Singleton, Keep It Real: The Life Story of James Jimmy Palao The
King of Jazz (Bloomington, 2011) – alarmingly flawed book in respect
of writing, copy editing and opinion about the violinist, saxophonist and
leader of the Original Creole Orchestra – useful because of the many
photos – the author married into the Palao family – do not overlook
Gushee (2005)
Austin Sonnier, Jr, The Violin in New Orleans Traditional Jazz: A Directory
(Lafayette, LA, unpublished typescript, 2009 [the latest bibliographic citation
is 2000]), c.150pp
Eileen Southern & Josephine Wright, Images: Iconography of Music in
African–American Culture, 1770s–1920s (New York, 2000) –
incl. depiction of many fiddlers
AB Fable Archive is searching for certain rare and
unreleased violin recordings, photos, sheet music and other documents
Please contact us if you think you can assist
email ab
Certain items held in the AB Fable Archive may be accessible on enquiry
subject to copyright