B-6508

Art Hodes - Sittin' In

Released - 1969

Recording and Session Information

NYC, March 18, 1944
Max Kaminsky, trumpet; Ray Conniff, trombone; Rod Cless, clarinet; Art Hodes, piano; Bob Haggart, bass; Danny Alvin, drums.

BN960-1 Maple Leaf Rag (alternate take)
BN961-1 She's Crying For Me
BN962-0 Yellow Dog Blues
BN963-1 Slow 'Em Down Blues (alternate take)

NYC, March 22, 1944
Max Kaminsky, trumpet; Ray Conniff, trombone; Rod Cless, clarinet; Art Hodes, piano; Sid Jacobs, bass; Danny Alvin, drums.

BN964-1 Doctor Jazz (alternate take)
BN965-0 Shoe Shiner's Drag
BN966-4 There'll Be Some Changes Made
BN967-0 Clark And Randolph

NYC, April 21, 1944
Max Kaminsky, trumpet #1,3; Sandy Williams, trombone #2,3; Art Hodes, piano; Jimmy Shirley, guitar; Israel Crosby, bass.

BN968-1 M.K. Blues (alternate take)
BN969-0 Low Down Blues (as Low Down Bama Blues)
BN970-0 Jug Head Boogie (alternate take 1)

WOR Studios, NYC, December 11, 1944
Max Kaminsky, trumpet; Mezz Mezzrow, clarinet; Art Hodes, piano; George "Pops" Foster, bass; Danny Alvin, drums.

BN201-1 Apex Blues
BN202-0 Shake That Thing (alternate take)

WOR Studios, NYC, April 6, 1945
Max Kaminsky, trumpet; Art Hodes, piano; Fred Moore, drums, vocals.

BN229-3 That Eccentric Rag (alternate take)

Track Listing

Side One
Title	Author	Recording Date
Maple Leaf Rag	Scott Joplin	March 18 1944
She's Crying For Me	Santo Pecora	March 18 1944
Yellow Dog Blues	W. C. Handy	March 18 1944
Slow 'Em Down Blues	Art Hodes	March 18 1944
Doctor Jazz	Jelly Roll Morton	March 22 1944
Shoe Shiner's Drag	Jelly Roll Morton	March 22 1944
There'll Be Some Changes Made	Benton Overstreet	March 22 1944
Clark And Randolph's Blues	Art Hodes	March 22 1944
Side Two
M. K. Blues	Max Kaminsky	April 21 1944
Low Down Bama Blues		April 21 1944
Jug Head Boogie	Art Hodes	April 21 1944
Apex Blues	Jimmy Noone	December 11 1944
Shake That Thing	Charlie Jackson	December 11 1944
That Eccentric Rag	J. Russell Robinson	April 6 1945

Liner Notes

It's only when I stop to think of all the players who have left the scene; it's only then, that I feel the years. Lips Page, Rod Cless, Red Allen, Muggsy Spanier, Big Bill Broonzy; man, the list grows, New York City drew them all, and '44 was a good 'jazz struggle' year. Nobody had too much and we were all involved trying for a place in the sun. Alfred Lion and Frank Wolfe were two guys who lived down the street and had a small recording label; Blue Note. There was a war going on and jazz had contributed. Both Davey Tough and Max Kaminsky served a stint around Guadalcanal; in fact they just hit the street. Big Sid Catlett had the band at The Three Deuces (featuring Ben Webster). Pearl Bailey was on that bill, while Mildred (Bailey), was at Café Society Uptown.

The April issue of Jazz Record, a small mag Dale Curran and I put out monthly, noted that, "Blue Note goes White." It went on to say, that "in its long history of recording le jazz hot, this will be a first" etc. Yeh, I remember; how Alfred would sit down with me and discuss who to use, how many men, and the tunes. I guess the only player I didn't recommend was the trombonist. Rod Cless was a natural choice; we'd done so many things together. I also suggested Jack Bland and Danny Alvin. Who could disagree with Bob Haggart on bass. Maxie was a fine choice for lead horn, and it was Kaminsky who suggested Ray Coniff.

Forget a Blue Note date? Never. You walk in and there's that big bag; full of food. Once we started playing, you didn't have to leave the building for nothin'. Alfred hung his hat in the control room, while Frank was all over the place taking pictures. After a while you got used to him almost in your lap. Took good pictures too. There was a feeling of 'at ease'. And considering the times, the bread was good. Eventually the records were released (and that was before LP's), and no one got hurt. That broke the ice. A few months later I was back cutting some trio, quartet and quintet sides. I had arrived as house-band leader at Blue Note.

So it's 1969; exactly 25 years later. Liberty owns the Blue Note masters, and the classics we cut will once more be heard; some tracks were unissued masters. Yeh, if we did our job well, we'll be able to live with it now. As Al Smith said, "let's look at the record." We'll listen.

Maple Leaf Rag, is a previously unissued master. Kaminsky comes at you with melodic driving lead, and he's having a healthy day. We're playing this 'chestnut' at band tempo, and Alvin finds if to his liking. The entire track is almost an ensemble effort. It's a free wheeling opener.

She's Crying For Me, is a tune you don't hear too often. I learned it from Wingy (Mannone); definitely New Orleans. As we got into it and you hear Rod Cless, you know he digs this tune. I follow him on for a couple (choruses), but I read it blues. The swinging ensemble picks up immediately and you get that 'walk-it-on-down' feeling, as the band takes it out.

Yellow Dog Blues; and ever since I heard Bessie Smith do this I've had a thing about this tune. It tells a story, and it's the blues. There's more than 12-bars; that whole part in front. Cless was no stranger to this ditty; you listen to him weaving his part into Maxie's lead. After my chorus Rod comes right back in with Bob Haggart giving us that musical bottom. This track is one of my favorites.

Slow 'Em Down Blues, and I'm credited as author. But I'd hate to think of what that short stanza would sound like without the other player's offering. Luckily, the piano chorus and background playing is something I can live with. But wait 'til you hear Maxie come in with muted trumpet. This is another of the unissued tracks.

Doctor Jazz, is one of Jelly Roll Morton's gems; a band number, and the ensemble bites into it like we're goin' somewhere. No one I know plays drums like Alvin did; the way he operates on wood-blocks. The whole bit keeps moving and interesting. The rhythm section sounds rested and it shows. And the way Coniff plays 'bone, makes me wonder what ever happened to him, later.

Shoe Shiner's Drag, has always been one of my favorites. Trouble is, you couldn't find players who knew it. I'd scored a chart; you don't fake this tune. Man, we got a good feeling going. After my appearance, Cless and Kaminsky follow, and nobody is wasting words. One thing for sure; Shoe Shiner doesn't drag.

There'll Be Some Changes Made, was popular in its day and the boys who played it hot latched onto it. Alvin gets the opening spot and we're moving. I get the exact feeling like at a jam session when it's the last tune of the set. We're all tryin' not to let down. Somehow we get out of it all in one piece. Sid Jacobs, who replaced Haggart at the bass when we tackled the doctor (Doctor Jazz), stayed on for the remainder of the date. And incidentally, he didn't hurt us.

Clark and Randolph, closes down the set. The ditty is an original I sketched way back in my old' days (sometimes referred to as daze), when Chicago was home and C&R a corner that musicians frequented on a Monday noon, hoping to come upon work. You could find all kinds of blues. This tune is a bit of a turn-around on Tin Roof. I first used it when I was with Floyd Town's Band. It was our theme; air-time. Tatum (Art), heard that band. We could pass you know. This band plays it to my liking.

M.K. Blues. Now it's the small combo; Kaminsky, Israel Crosby on st. bass; Jimmy Shirley, guitar, and me. As I've often said, "it's just 12-bars of music, that's 48 beats, but it's what you do with 'em; that's what counts." After Maxie says his bit, Shirley and I team up, and believe me, I can stand hearing this again. Max closes the book.

Low Down Blues, Sandy Williams' trombone replaces Max K. as our feature with the same rhythm backing. Sandy really blows gut bucket; he's talkin' to you. Sometimes I actually feel he's breathing into the horn.

Jug Head Boogie, brings Kaminsky back in. Shirley lets out and you hear what made him our guitar choice. Israel walks the bass with meaning. Completely unrehearsed.

Apex Blues. Shades of Jimmy Ryan's 52nd Street 'joint'. I'd had several trios there from time to time. One had 'the' Mezzrow (clarinet), and Alvin. For this date, Pops Foster sits in on bass and Maxie remains. There's a feel to this tune; and you've got to like Mezzrow's contribution. He had long before anyone dug the term. This is a real fine track.

Shake That Thing, is another unissued master (ditto Jug Head and Eccentric). There's a intro. It's Alvin saying, "Taffy Boy", and Mezz, not to be outdone, calling "hey Maxie, let's get some of this." Very interesting how Alvin and Pops find a blend. At times we've got a boogie going. I like this side.

Eccentric, is more like a piano or clarinet effort. Here we have a piano/trumpet thing goin' with Fred Moore on drums, (trio). Fred's the kind of drummer that can keep a steady tempo interesting. Wonder if that ending was my idea. Gone man.

There you have it; 14 tracks. Made when two tracks constituted a recording and they better be good. So now you combine them into one album. A wonderful memorial to a fine jazz clarinetist and a drummer with an individual style; for both Rod Cless and Danny Alvin have gone ahead. I'm sure they would like me to say "thanks Liberty, for making this music available."

Art Hodes