This copy of the Stones’ Some Girls has some pretty sweet art. We like it better this way.
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This entertaining program was produced and directed by Ward Botsford for Vox Records in 1955, and appeared as box set even though it is a single LP. Spotlight on Percussion presents the sounds of more than sixty percussion instruments followed by examples of their use by classical composers ranging from Handel to Hindesmith with many stops in between.
The program is narrated by radio personality Al “Jazzbo” Collins (who last appeared on the Hymies blog here), and features Arnold Goldberg and Kenny Clarke as the percussionists. The album also includes an interesting interview with the engineer, Rudy Van Gelder, best known for his work with jazz artists, including on some of the recordings for which Clarke is famous.
Ward Botsford had an extensive career as a record producer with a keen emphasis on obscure or unrecorded classical compositions. He also produced spoken word albums for Caedmon Records, recording writers such as T.S. Elliot and Gertrude Stein reading their own works. Beginning in 1979 he had the opportunity to reissue music from EMI’s catalog through Arabesque Records, a subsidiary of Caedmon until Botsford and a partner purchased it. After Botsford’s retirement the label went further into jazz, but still includes new and reissued classical recordings as well.
Here are two selections from the program of Spotlight on Percussion.
The first offers insight into the role of percussion in several places, such as unprecedented appearance of the tympani in the D minor scherzo in Beethoven’s 9th Symphony and the brilliant use in Saint-Saen’s Dance Macabre. This second launching the tradition of dancing skeletons, from Disney’s “Silly Symphony” in 1929 to Michael Jackson’s “Ghosts” seventy years later.
In the second section Kenny Clarke performs a variety of material while Collins introduces the percussionist’s role in a jazz group. He was, even by 1955, one of the most influential performers in jazz, for his role in early bebop recordings by Dizzy Gillespie, Thelonious Monk and others. Clarke is credited with creating the ride cymbal pattern, which became a foundation of bop rhythm (here’s Tony Williams performing an example of the ride cymbal). You’ll hear this and other familiar bebop innovations in his improvisations on this recording.
The final feature of Spotlight on Percussion is the big book included in the box, which contains an extensive and interesting history of percussion. There is even this nifty chart of instruments and their use, range and history.
The history includes fun trivia, like the story of Distin’s Monster Drum, exhibited in England in the nineteenth century. The book also includes more details about the recording and production of the record than you’ll find in any other record (except maybe one recorded for Dave and Sylvia Ray’s Sweet Jane label), and even pictures of Rudy Van Gelder cutting the master to disc.
John Coltrane’s “Reverend King” was recorded in February 1966, just a few weeks after Reverend Martin Luther King Jr. and his family had moved into their 1550 South Hamlin Avenue apartment in Chicago, to begin working on the Open Housing campaign.
The recording was released posthumously in late January 1968 on Cosmic Music, one of the first two LPs his label, Impulse Records, pulled from unissued recordings after Coltrane’s death. Eventually there would eight albums in all — plus many live recordings — found in the archives. Fans have mixed reactions to some of these recordings, but “Reverend King” is surely an excellent example of Coltrane’s last group at work. This band featured his wife, Alice Coltrane, Pharaoh Sanders, Jimmy Garrison, Rashid Ali, and on “Reverend King” additional percussionists Ray Appleton and Ben Reilly.
At the time the recording was released on Cosmic Music, Reverend King had recently announced the Poor People’s Campaign, with a focus on pushing Congress to pass a economic bill of rights” for working people, as outlined in his last book, Where Do We Go From Here: Chaos or Community?
The campaign’s broad agenda was not received well by many of The Reverend King’s dearest supporters, notably Bayard Rustin. Five years earlier Rustin had been the primary logistical organizer of the 1963 march in Washington DC at which Reverend King delivered his “I Have a Dream” speech.
After Reverend King’s assassination on April 4th, thousands of demonstrators established a symbolic shanty town at the National Mall where he had delivered this famous address. The encampment was called “Resurrection City” and remained for nearly six weeks.
“Reverend King” was not the first piece of music in which Coltrane expressed the inspiration he felt for the Civil Rights leader. He modeled one of his most moving songs, “Alabama,” on Reverend King’s eulogy for the four victims of the September 15, 1963 bombing of Birmingham’s 16th Street Baptist Church.
Reverend King’s eulogy for Addie Mae Collins, Cynthia Wesley and Carol Denise McNair was delivered three days later, and is a deeply moving and spiritual address, which does not shy from the political situation which led to the terrible terrorist attack. A funeral for the fourth girl, Carole Robertson, was held on a different date.
(we posted an alternate version of Coltrane’s “Alabama” here)
Thank to all reading. We hope you take an interest in these recordings because the goals of racial and economic equality outlined by Reverend King in these speeches and in his last book are still within our reach, if a little further down the road than they were on this day last year.
We also hope you stay warm on this snowy day here in Minneapolis and do not forget those around us who struggle for safety and shelter in this weather.
Oh, and your friendly neighborhood record shop will be open from 1-6pm on this national holiday.
Thursday night at the Cedar Cultural Center we’ll celebrate the the latest release on our in-house record label (Hymie’s Records, of course!) — six new songs by ragtime pickin’ blues singer Lonesome Dan Kase!
Hours Seem Like Days looks at the world and the passage of time through the eyes of shelter animals. Part Piedmont part Delta, the 10″ record features some of the finest playing Lonesome Dan has ever recorded, and gorgeous artwork by Shelley Rohlf.
This is one of our favorite albums by Minnesota legend Willie Murphy, who left us for a gig in the sky this weekend.
We’re at a loss for words, except to say “Thanks Willie!” Thanks for all the great songs, all the great shows in large venues and on the smallest stages.
We don’t have words to express the loss. Our favorite album of all time is Willie’s collaboration with Spider John Koerner, Running Jumping Standing Still, which is fifty years old!