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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.
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.
Woody Guthrie recorded his children’s records for Folkways (Songs to Grow On and Nursery Days) in the late 40s when his own children were fairly small. During this time he lived in the now-famous Mermaid Avenue house on Coney Island, and produced a variety of songs, poems and drawing now archived by his family.
You could learn more about the archives from the official Woody Guthrie website.
While much of his work in these years was inspired by his domestic life in New York, he continued to document the struggles of working people — for instance, in 1948 he wrote on of our favorites of his songs, “Deportees (Plane Wreck at Los Gatos)” after reading about the death of 28 migrant workers who were being sent back to Mexico.
It may not be the coolest choice but “Car Song” is probably our favorite song by Woody Guthrie. Why don’t they make cars with horns that go “Ah-ooo-gah!” anymore?
The same day we posted Lenny Bruce’s “Djinni in the Candy Store” last month, we came across this album while cleaning a great crate of jazz records.
Keyboardist Bobby Lyle has made his most indelible mark as the musical director for hugely popular singers in the 80s — Bette Midler, Anita Baker and Al Jarreau — but he has sporadically recorded soulful jazz albums under his own name as well.
He is also part of the Minnesota jazz legacy, growing up just a couple blocks off Lake Street and cutting his teeth at clubs like the Blue Note and Herb’s back in the sixties. Jay Goetting’s history of Minnesota jazz, Joined at the Hip, includes an impressive story about Lyle. When Wynton Kelly was playing at Herb’s with his trio, Lyle stepped up and played during their smoke break. Mickey McClain was there, and remembered, “Kelly looked up and exclaimed, ‘Who the fuck is that?'”
Another legend about Lyle is that he nearly started a jazz fusion band with Jimi Hendrix. The two jammed, along with Willie Weeks and Gypsy drummer Bill Lordan, but the project never went further before Hendrix passed away the following year.
Lyle lives in Texas now, but according to Goetting’s book he occasionally returns to the Twin Cities.
According to Wikipedia, the Ramones performed more than 2,200 times. One of us attended one of those performances, not an impressive boast but a warmly held memory nonetheless.
We count ten “Hey Ho, Let’s Go”s in the album version of “Blitzkrieg Bop,” and the Ramones weren’t famous for changing things around in their live sets — so it’s entirely possible that Johnny Ramone sang that line more than 22,000 times.
Anyway, ten of those times are caught on this live album that was released last week.
Mary Lou Williams, who refused to be bound by a contract and even once founded her own independent label, is one of our favorite figures in jazz history. Her career outlasted the swing era and included collaborations with beboppers and free jazzers, and she was beyond simple ahead of her time. Her music was in many ways timeless.
She was connected to so many seminal moments in jazz history, performing with an early version of Duke Ellington’s Washingtonians (at the age of thirteen) in 1924. A year later, while playing with McKinney’s Cotton Pickers in Harlem, her playing so pleased Louis Armstrong that he paused in his tracks to listen before kissing her.
Williams is best known to swing aficionados for her work with Andy Kirk and his Clouds of Joy in the 1930s. She was originally brought to Kirk’s orchestra by her first husband, John Williams, who was a saxophonist in the group. By the time she left, about a decade later, she was the primary reason for their success, which you can quickly tell from any compilation of their singles (the ones arranged by other members simply don’t swing the same). “Walking and Swinging” (1936) and “Mary’s Idea” (1938) are two of our favorites.
She began her freelance career while working for Kirk’s Clouds of Joy, who had taken a long engagement in Kansas City. She did work for Earl Hines, Louis Armstrong, Tommy Dorsey, and for Benny Goodman. One track Goodman was especially pleased with was “Roll Em.”
The King of Swing was so pleased with the theme she wrote for his NBC Radio program, sponsored by Camel cigarettes, that he tried unsuccessfully to pin Williams down with an exclusive contract. She refused and continued to work for a variety of bandleaders.
Her second husband was trumpeter Shorty Baker, and when he was briefly engaged with Duke Ellington’s Orchestra, she came along and arranged her version of Irving Berlin’s “Blue Skies” for the Duke (as “Trumpet no End”), as well as adding “Walking and Swinging” to his prestigious repertoire.
One distinctive talent she shared with Ellington was an ability to arrange music to bring out the best in a specific performer. While still working for Kirk she produced “Floyd’s Guitar Blues” for Floyd Smith with the intention of highlighting his Hawaiian style on the lap steel guitar. The result is one of the earliest hit records to feature an electric guitar.
Williams made a number of her own recordings during these productive years, including a couple solo sides for Brunswick in 1930 which we would sure like to find one day. She was not, however, completely rooted in the swing era and became a close associate of Dizzy Gillespie and his wife Lorraine. Bebop musicians, notably Thelonious Monk, held her in high esteem. She had a regular program on New York’s WNEW (Mary Lou’s Piano Workshop), broadcast from Barney Josephson’s influential Cafe Society club. “During this period Monk and the kids would come to my apartment every morning around four or pick me up at the Café after I’d finished my last show, and we’d play and swap ideas until noon or later”, she explained to Melody Maker in a 1954 interview. Williams’ remarks reflected a welcoming attitude towards bebop and other developments in jazz not always held by members of her generation.
Right from the start, musical reactionaries have said the worst about bop. But after seeing the Savoy Ballroom kids fit dances to this kind of music, I felt it was destined to become the new era of music, though not taking anything away from Dixieland or swing or any of the great stars of jazz. I see no reason why there should be a battle in music. All of us aim to make our listeners happy.
Mary Lou maintained this attitude throughout her professional career, collaborating with free jazz pioneer Cecil Taylor in 1978 on one of the most unexpectedly moving jazz albums of its era. Williams seems like one of those musicians who was capable of playing just about anything, but had the dedication to take her talent where she felt inspired.
Williams wrote or arranged a few songs for Gillespie’s experimental big band, which was one of the most interesting groups in the history of jazz (we last listened to them here, in a post about percussionist Chano Pozo). One of these songs was “In the Land of Ooh Bla Dee,” featured a fun vocal by Joe Carroll and, naturally, a great solo by Diz.
It was Gillespie who convinced Williams to come out of her brief retirement with a performance at the 1957 Newport Jazz Festival — she is featured on his live album of the performance. Her life thereafter was focused on liturgical music and charitable work, and her compositions during this time blend jazz with choral arrangements and traditional blues. The most famous of these is her Mass for Peace, commonly called “Mary Lou’s Mass,” which was recorded in 1970.
“I am praying with my fingers when I play,” she once said, adding that she hoped to inspire people’s spirituality with her music. Williams performed her Mass on The Dick Cavett Show in August 1971. Sadly, while you’ll have no trouble finding footage of John Lennon’s jackassery on the same program, nobody has posted Williams’ performance online. Priorities, huh?
Williams’ work involved at one time operating thrift stores which supported musicians and supporting children’s music education through programs like Billy Taylor’s Jazzmobile — in fact, one of her many fans was no less than Mr. Rogers, who had her as a guest on his show in 1973. And that was a clip we were happy to find.