B-6509

 Dodd/Hodes/Hall - Classics - Volume 1

Released - 1969

Recording and Session Information

probably WMGM Radio Station, NYC, April 7, 1939
Frank Newton, trumpet; J.C. Higginbotham, trombone; Albert Ammons, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums.

GM516-2 Mighty Blues
GM517-1 Rocking The Blues

WOR Studios, NYC, November 29, 1943
Sidney DeParis, trumpet; Vic Dickenson, trombone; Edmond Hall, clarinet; James P. Johnson, piano; Jimmy Shirley, guitar; Israel Crosby, bass; Sidney Catlett, drums.

BN901-3 High Society
BN905-2 Night Shift Blues

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

BN960-0 Maple Leaf Rag

WOR Studios, NYC, June 1, 1944
Max Kaminsky, trumpet; Vic Dickenson, trombone; Edmond Hall, clarinet; Art Hodes, piano; Jimmy Shirley, guitar; Sid Weiss, bass; Danny Alvin, drums.

BN978-0 Squeeze Me
BN980-1 Bugle Call Rag

WOR Studios, NYC, May 17, 1945
Max Kaminsky, trumpet; George Lugg, trombone; Bujie Centobie, clarinet; Art Hodes, piano; Chick Robertson, guitar; Jack Lesberg, bass; Danny Alvin, drums.

BN238-3 I Never Knew What A Gal Could Do

WOR Studios, NYC, May 23, 1945
Max Kaminsky, trumpet; George Lugg, trombone; Bujie Centobie, clarinet; Art Hodes, piano; Chick Robertson, guitar; Jack Lesberg, bass; Danny Alvin, drums.

BN244-3 Willie The Weeper (alternate take)

WOR Studios, NYC, September 14, 1945
Oliver "Rev." Mesheux, trumpet; Omer Simeon, clarinet; Art Hodes, piano; Al Lucas, bass; Fred Moore, drums.

BN259-0 Blues For Jelly (alternate take 1)

WOR Studios, NYC, December 26, 1945
Albert Nicholas, clarinet; Art Hodes, piano; Wellman Beaud, bass; Baby Dodds, drums.

BN272-2 Feelin' At Ease
BN273-4 Careless Love (alternate take)

Track Listing

Side One
Artist	Title	Recording Date
Baby Dodds' Jazz Four	Feelin' At Ease	December 26 1945
Baby Dodds' Jazz Four	Careless Love	December 26 1945
Art Hodes' Back Room Boys	Blues For Jelly	September 14 1945
Art Hodes' Chicagoans	Maple Leaf Rag	March 18 1944
Art Hodes And His Blue Note Jazzmen	Squeeze Me	June 1 1944
Art Hodes And His Blue Note Jazzmen	Bugle Call Rag	June 1 1944
Side Two
Port Of Harlem Six	Mighty Blues	April 7 1939
Port Of Harlem Six	Rocking The Blues	April 7 1939
Edmond Hall's Blue Note Jazzmen	High Society	November 29 1943
Edmond Hall's Blue Note Jazzmen	Night Shift Blues	November 29 1943
Art Hodes' Hot Seven	I Never Knew Just What A Gal Could Do	May 17 1945
Art Hodes' Hot Seven	Willie The Weeper	May 23 1945

Liner Notes

When the revival of interest in traditional jazz began to gather momentum in the mid-'40's, Blue Note Records could well take pride in the not inconsiderable role the label had played in bringing this state of affairs about.

If the trad revival had unfortunate side effects, such as the splitting of the jazz audience into opposing camps with the modernists on the other side of the fence it was in essence a positive development. Much fine music and many great musicians had been forgotten or neglected while swing held the center of the jazz stage, so there was much to rediscover when Bunk Johnson was brought out of obscurity to become the spiritual embodiment of the revival.

Some pioneer jazzmen had more or less retired, while others had become big-band sidemen, adapting to a new musical environment. In either case, they enjoyed the new-found opportunity to reaffirm their roots. Others had carried the torch through all kinds of storms; their faith had now been justified and they could now play with renewed inspiration. Still others who became involved were essentially swing players, at first interested in trying on a different style which offered more individual freedom than big-band work, later, often forced into a "Dixieland" mold when the big bands disappeared and swing work became scarce.

The players on this album fit into all these categories and more. Albert Nicholas, Ed Hall, and Omer Simeon — quite a triumvirate of clarinet power — were New Orleans veterans who'd all played with big swing bands, doubling various kinds of saxophones.

Trumpeters Sidney DeParis and Max Kaminsky had also paid big band dues, and while neither man was a traditionalist in the sense of the clarinetists, both felt most at home in a small band playing a free ensemble style.

Baby Dodds, first of the great jazz percussionists, had remained true to the faith and was in Bunk Johnson's band in 1945. Sid Catlett, considerably younger than Baby, was one of those happy few who could play — and at his best — with any and every kind of jazz band, big or small, trad or bop. He was a true universalist.

Art Hodes, who was brought to Chicago as an infant from his native Russia and had been inspired by the great black jazz and bluesmen of the '20's, had also kept the faith throughout difficult years, not only as a player, but also as a broadcaster and as editor of a fine little magazine, The Jazz Record. Rod Cless, who had also come up musically on Chicago's South Side, was another man who never felt at home in a big band. Bassist Bob Haggart worked for the cause in another fashion and was instrumental, as arranger, composer and bassist, in the Bob Crosby band's successful adaptation of traditional material to big band format.

And the great trombonist Vic Dickenson, who'd never played New Orleans music much in his youth and had done big-band work from the late '20's through the early '40's, developed one of the most effective and unique approaches to the traditional front-line.

All of which goes to prove, once again, that jazz is an infinitely more complex and rich form of music than the history books teach us, and that, as one of the few good jazz historians once said, "you can't put cats into categories."

By the same token, the music on this LP should appeal not only to those of a traditionalist persuasion, but to all lovers of honest jazz well played.

The earliest pair of tracks date from pre-revival 1939, and were among the first things waxed by Blue Note. The personnel is quite unique: the sole common thread is that all men (except, perhaps guitarist Teddy Bunn), at one time or another, worked at Café Society Downtown, one of the most interesting night clubs in the annals of jazz. Chicago boogie woogie specialist Albert Ammons shows that he was much more than that, and not at all uninfluenced by Earl Hines. J. C. Higginbotham, one of the swing era's most popular trombonists shows that he had not forgotten how to play in a small band and feels no need to tamper with his robust, direct, often riff-based style, more than at home with the blues.

Bunn was one of the first (and remained one of the best) of the single-string guitarists, and bassist Johnny Williams fits perfectly with Big Sid Catlett.

The star, however, is trumpeter Frank Newton, one of the unsung giants of the jazz trumpet, and a remarkably original musician and man. His style was perfectly poised (note how he builds his solo on each track) and his sophisticated ear carried him safely into harmonic territory yet uncharted by his contemporaries. This poet of trumpet recorded far too little, and everything he left us is precious, especially since it appears so rarely on LP. Dig him, and then check out his splendid pair of solos on Sidney Bechet Jazz Classics, Vol. 2 (Blue Note BLP 1202).

Night Shift Blues, from the 1943 Ed Hall date, compares interestingly to Mighty Blues, both being slow excursions into the 12-bar truth by swing-oriented players. The underrated Jimmy Shirley plays evocatively, backed superbly by the great James P. Johnson, and the hornmen's solos are enhanced by creative background riffs. Dickenson is outstanding, and also shines on High Society, available in Blue Note's reissue series (B-6504) in several other versions. DeParis' solo is a definition of his lively, skipping style, and Hall masters the classic New Orleans solo, in part a set piece.

Dickenson and Hall also sparkle on the original versions of Art Hodes' Squeeze Me, and Bugle Call Rag (alternate takes can be found on the previously issued LP B-6504 in this series). The breaks in both pieces are masterly, Max Kaminsky's clarion lead lifts the band, and the rhythm section is expert, with Danny Alvin in great form.

Hodes' piano and organizing talent are also much in evidence on the remaining tracks. The relaxed Baby Dodds session with fellow New Orleanians Braud and Nicholas, shows Art's empathy for relaxed, blues-based music making. Dodds is a gas on Careless Love, and Nicholas' liquid and sometimes pleasantly buzzy tone is joy.

Maple Leaf Rag, a classic of jazz composition, is given rousing but never raggedy treatment by one of the most compatible groups ever led by Hodes on record. Cless is marvelous, and those who know Ray Coniff only as a pop arranger or swing trombonist will be surprised at his confident, idiomatic solo and ensemble work. The two tracks from a later session with the same instrumentation and some of the same players are not quite as spectacular, but Kaminsky is in top form, and the then young white New Orleans clarinetist Bujie Centobie is well worth hearing.

Blues for Jelly, finally, is not truly representative of Omer Simeon's stature, while trumpeter Oliver "Rev" Mesheux fails to prove that his obscurity is undeserved. But there is that fine Hodes blues piano to redeem it.

While too many of the great men on this album have left us, it is good to know that more than a few are still around to spread the message. There isn't a dishonest note to be found on this LP.

Dan Morgenstern
Editor, Down Beat

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

B-6507

Quebec/Hamilton/Hardee/Morton - Swing Hi Swing Lo

Released - 1969

Recording and Session Information

WOR Studios, NYC, July 18, 1944
Ike Quebec, tenor sax; Roger Ramirez, piano; Tiny Grimes, guitar; Milton Hinton, bass; J.C. Heard, drums.

BN985-2 Tiny's Exercise (alternate take)
BN987-0 Indiana (alternate take)
BN988-1 Blue Harlem

WOR Studios, NYC, September 25, 1944
Jonah Jones, trumpet; Tyree Glenn, trombone; Ike Quebec, tenor sax; Roger Ramirez, piano; Tiny Grimes, guitar; Oscar Pettiford, bass; J.C. Heard, drums.

BN990-1 If I Had You
BN991-0 Mad About You

WOR Studios, NYC, January 31, 1945
Benny Morton, trombone; Barney Bigard, clarinet; Ben Webster, tenor sax; Sammy Benskin, piano; Israel Crosby, bass; Eddie Dougherty, drums.

BN222-0 Limehouse Blues

WOR Studios, NYC, July 17, 1945
Buck Clayton, trumpet; "Keg" Johnson, trombone; Ike Quebec, tenor sax; Roger Ramirez, piano; Tiny Grimes, guitar; Grachan Moncur, bass; J.C. Heard, drums.

BN246-1 I've Found A New Baby

WOR Studios, NYC, November 21, 1945
Ray Nance, trumpet; Henderson Chambers, trombone; Jimmy Hamilton, clarinet; Otto Hardwick, alto sax, clarinet; Harry Carney, baritone sax, clarinet; Jimmy Jones, piano; Oscar Pettiford, bass; Sidney Catlett, drums.

BN270-0 Slapstick
BN271-1 Blues In My Music Room

WOR Studios, NYC, May 31, 1946
John Hardee, tenor sax; Bill Bivens, vibes; Sammy Benskin, piano; Jimmy Shirley, guitar; Eugene Ramey, bass; Sidney Catlett, drums.

BN286-5 River Edge Rock (alternate take)

Session Photos

Ike Quebec - July 17 1945

Photos: Francis Wolff/Mosaic Images / 
https://www.mosaicrecordsimages.com/

Track Listing

Side One
Artist	Title	Recording Date
Ike Quebec Quintet	Tiny's Exercise	July 18 1944
Ike Quebec Quintet	Blue Harlem	July 18 1944
Ike Quebec Quintet	Indiana	July 18 1944
Jimmy Hamilton And The Duke's Men	Blues In My Music Room	November 21 1945
Jimmy Hamilton And The Duke's Men	Slapstick	November 21 1945
Side Two
Ike Quebec Swing Seven	I've Found A New Baby	July 17 1945
Ike Quebec Swingtet	If I Had You	September 25 1944
John Hardee Sextet	River Edge Rock	May 31 1946
Ike Quebec Swingtet	Mad About You	September 25 1944
Benny Morton's All Stars	Limehouse Blues	January 31 1945

Liner Notes

The time-span covered by these recordings — summer 1944 to spring 1946 — was a crucial period in the story of jazz. It was a time for upheaval for the music, and yet the sounds you'll hear on this interesting album are very much together, without any traces of internal conflict.

Jazz is still a young music, and its historians have often had problems with perspective. The generally accepted view of the music's history as neatly contained stylistic periods following upon each other in progressive succession has long been due for fundamental revision, and this album offers a case in point.

Seen "historically," the music here would be labeled main-stream jazz or small-band swing. It was created at a time when a new movement called bebop was in the process of becoming the dominant jazz style. The jazz journalists, and the fans influenced by them, were getting deeper and deeper into disputes about the significance of what was happening in jazz, which in retrospect seem more appropriate to theology than music. Bitterness, name-calling, and labeling eventually brought about that extreme polarization of the jazz audience from which it never fully recovered.

This polarization was between so-called traditionalists and modernists (also known respectively as figs" and "damn boppers.") Disputes had existed in the world of jazz before; adherents of New Orleans and Dixieland-Chicago styles fought a running battle with confirmed swing and big-band fanciers from the late '30s on. But acrid as this conflict often became, it rarely involved charges of heresy.

Now, however, spokesmen for the extreme right and left thought nothing of accusing their opposite numbers of sins and errors that left no common ground, Traditional jazz was tagged primitive, infantile music of no possible relevance to new times, which were said to have produced a music more profound, sophisticated and artistic than anything that had come before. On the other hand, this new music was called non-jazz or anti-jazz, and was accused of not being merely revolutionary, but inherently anarchistic.

What suffered most from this childish battle of words was the music. While much of the bitterness among fans rubbed off on the musicians, for reasons more often economic than ideological, the true relevance of the whole crusade is perhaps best illuminated by an incident that occurred in 1949. Dizzy Gillespie, the public standard-bearer of bop, showed up at a Los Angeles benefit for ailing New Orleans veteran Bud Scott and sat in with a tradition band. To the musicians, as always, it was all music.

Meanwhile, new things were happening in jazz, and their chief incubator was New York's still-swinging 52nd Street. If bebop was born in Harlem, it came of age on Swing Street, it was always, without exception, an established jazz veteran who would give the first important jobs to young experimenters. The street's chief language was mainstream, a jazz dialect capable of absorbing a multitude of accents, old and new.

It is this language, spoken by musicians who worked the Street beat, that you will hear on this LP. And it was, unfortunately, this very brand of jazz — so far from stagnant in the mid-'40's that it is still practiced significantly more than two decades later — which was most adversely affected by the war of words. At the head of this perhaps most mature and viable style yet produced in jazz were such great masters as Coleman Hawkins, Lester Young, Roy Eldridge, Art Tatum, Benny Carter and Johnny Hodges, and in its ranks their gifted disciples and near-peers of whom many can be heard on this record.

Neither "traditionalist" or "revivalist," nor "progressive," they were simply making music without labels or professed ideology, and a large percentage of it was simply the best jazz of its own or any other day.

The focus of the album is on tenor saxophonists, and with good reason. This instrument was beginning to replace the trumpet as the dominant jazz horn and would retain that position for years to come.

The outstanding tenorist here is Ike Quebec, whose untimely death at 44 in 1963 snuffed out one of the warmest sounds in jazz, Born in Newark, N.J., Ike had been a pianist and entertainer before taking up tenor in 1940. He progressed rapidly and among his early affiliations were the bands of three outstanding swing trumpters, Roy Eldridge, Hot Lips Page, and Frank Newton. At the time of the first of his recordings for Blue Note (his debut as leader), he was featured with Cab Calloway's band. (In later years, he was to play a considerable role behind the scenes at Blue Note, working as talent scout, organizer, and assistant a&r man.) His career, ironically, concluded on its highest note, with a series of beautiful albums for this label.

Influenced chiefly by Coleman Hawkins, also by Ben Webster, Quebec's lovely ballad style can be heard on If I Had You, his favorite showpiece, while his caloric up-tempo playing is richly displayed on Indiana. Best of all here, perhaps, is his mature blues playing on Blue Harlem, his most successful single, and one of the most affecting slow blues ever committed to wax. It sounds as fresh and "relevant" today as 25 years ago.

Ike is ably assisted on his outings here, in the main by collegues from the Calloway band. Outstanding is the work of guitarist Tiny Grimes, among Charlie Christian's most gifted disciples. Two great bassists, Oscar Pettiford and Milt Hinton, and the then at his best J. C. Heard on drums contribute mightily, and the contrasting trumpet styles of Jonah Jones (great on If I Had You) and the mellow Buck Clayton are instructive. Trombonist Keg Johnson gets one of his rare solo opportunities, but more is heard from his section mate, Tyree Glenn. Pianist Ram Ramirez, an individualist who never got enough recognition, is fortunately well represented.

The tenors of Ben Webster, Ike's senior, and John Hardee, a contemporary, have one at-bat apiece and come off well. Ben is the star musically, of Limehouse Blues, otherwise featuring Barney Bigard in rather showy displays of expertise and spotting Benny Morton's somber trombone.

Hardee, from Texas, returned to his home state years ago and is still active, mainly as a teacher, in Houston. His time in the spotlight was brief, but tenor fanciers know and remember him as a fine hot player chiefly influenced by Chu Berry, but with his own Texas something. River Edge Rock, in a previously unissued version, is the steamiest track on the LP, swinging from start to finish.

We also hear two samples from Blue Note's only excursion into Ellingtonia proper, a Jimmy Hamilton date with ringers Henderson Chambers, Jimmy Jones, and the great Sid Catlett (also present on River Edge). This is typical Ellington small-band music, which means the best of the genre. Standouts are Ray Nance and Harry Carney, but there are also fine, musicianly solos from the leader and Jones, plus a good, rare plunger by Chambers.

This album, then, is an instructive and enjoyable glimpse of mid-'40's jazz at its best. If the emphasis should be on enjoyable, it is because this was music made for its own sake. And that's how it should be heard.

—Dan Morgenstern
Editor, Down Beat

1998 Blue Note Swingtets CD Notes

The music heard on this disc reflects the brief flirtation Blue Note (which is to say, the label's founder, Alfred Lion) and swing (which is to say, the style subsequently labeled "mainstream jazz"). Though the first stage of Blue Note did include some swing-oriented players (trumpeter Frankie Newton and trombonist J.C. Higginbotham, for instance), the main focus was on blues and traditional jazz, and from 1947 on, Blue Note became synonymous with modern jazz trends, though Lion continued to record one of his old-time favorites, the great Sidney Bechet. But from the spring of 1944 to the fall of 1946, swing ruled the Blue Note roost.

This was primarily due to the influence of tenor saxophonist Ike Quebec (1916-63), who not only recorded a number of sessions for Blue Note as a leader but also became a confidant and advisor to Lion and his partner, Frank Wolff. (Quebec's influence extended well beyond the period under survey here; he was to introduce Blue Note to the music of Tadd Dameron, Thelonious Monk and many others, and he himself recorded marvelous music for the label during his final years.)

At the time of these swing sessions, Quebec had recently joined Cab Calloway's band and had become its star soloist. (On the band's studio and air check performances, there's hardly a number without at least a brief Quebec solo spot.) Calloway had a fine band, and Quebec brought many of his colleagues to the studio with him, notably trumpeters Jonah Jones and Shad Collins, trombonists Tyree Glenn and Keg Johnson, bassist Milt Hinton, and Drummer J.C Heard. But Quebec and Lion also drew from the wonderful talent pool of 52nd Street, Harlem and Newark—the latter Quebec's home town.

It was Ike's buddy, guitarist Tiny Grimes, who brought tenorman John Hardee (1918-84) to Blue Note's attention. The Texas-born musician made his mark on the New York scene while stationed near the Big Apple with an Army Airforce band, and then decided to stay, joining Grime's group, which can be heard on our first selections, with ex-Jimmie Lunceford trombone star Trummy Young sitting in. Pianist Marlowe Morris was a protégé of Art Tatum and had appeared in the 'famous film short Jammin' the Blues, and bassist-entertainer Jimmy Butts remained active until his death in 1998. This is good-time "jump" music, more Harlem than 52nd Street, and pointing toward the flavored jazz to come.

Grimes is on hand for Hardee's own date, graced with the presence of master drummer Sid Catlett and his running buddy, bassist John Simmons. Teenaged Sammy Benskin rounds out the cast. Hardee's Party brings the leader's soulful, Chu Berry-inspired tenor to the fore. "Idaho," a Jesse Stone tune then very popular in jazz circles, offers fine, swinging tenor work. "River Edge Rock," from a different Hardee session, retains Big Sid and Benskin, but the guitar work is by Jimmy Shirley, a distinctive stylist often used by Lion. Hardee's in top form on this fast blues, superbly backed by Catlett.

Quebec's debut date provided Blue Note with one of its rare hits—by independent jazz label standards. This was "Blue Harlem," a slow, groovy blues—a classic of its kind. Grimes is in hand again, as is Ike's piano favorite in those days, Roger "Ram" Ramirez Both these gentlemen solo in "Tiny's Exercise" (from the guitarist's Tatum Trio days), a catchy riff number properly propelled by the Messrs. Hinton and Heard. These two remain on board for "Sweethearts On Parade," joined by the legendary guitarist Napoleon "Snags" Allen and Calloway pianist Dave Rivera. A daring choice for a tenorman — Chu Berry had nailed this tune on a Lionel Hampton date in 1939 — but Ike comes through with some stomping stuff of his own.

Calloway hornmen Jones and Glenn and the great bassist Oscar Pettiford are the new faces on "If I Had You," with ballad work by all three horns (Jonah offers one of his patented "glisses"). It's Buck Clayton and Keg Johnson on "l Surrender Dear" and "Topsy" in the horn department, with yet another great bassist, Grachan Moncur of Savoy Sultans fame. Fine soloing all around: hear Ramirez on the ballad, Grimes on the Eddie Durham-Basie classic, and all three horns on both, with Quebec's "Surrender" cadenza a knockout. Two unrelated Collinses, trumpeter Shad (of Teddie Hill and Basie fame) and guitarist John (later with Nat King Cole), are the new men here, and Milt Hinton's back and featured on his own "Basically Blue" (from the Calloway repertory), from a day when bass solo showcases were still a relative rarity. This also spots Keg (Budd Johnson's brother, and a very underrated man) and the leader (who could sound a lot like Don Byas at times). "Zig Billion," a Quebec blues line, spots both the Collinses, both in good form, some Basie stuff from the rhythm team, and then another helping of that straightforward, warm and sincere Quebec tenor.

Ellingtonians are to the fore on our next two sessions. Two of them grace trombonist Benny Morton's team: clarinetist Barney Bigard and tenor king Ben Webster. Pianist Benskin's again on hand, there's yet another boss bass, Israel Crosby, and the drum chair is occupied by the worthy Eddie Dougherty, a Café Society regular. "The Sheik," even then a vintage number, opens with Morton's smooth and always-in-tune trombone. This big band veteran (Fletcher Henderson, Basie, Benny Carter) could always be counted on to deliver Benskin's been hearing bop, Bigard is his flowing self, and Ben cops honors, gruff and swinging. The horn fours are kicks. "Conversing in Blue" is one of those Blue Note special excursions on slow blues in a 1 2-inch 78 format, allowing the players more elbow room and relaxation. Morton's heard twice, first open, then muted with Bigard, whose beautiful tone is much in evidence. But once again, Ben who takes the prize — he was peerless is the blues, and always had a story to tell, straight from that big heart.

Jimmy Hamilton was Bigard's permanent replacement in the Ellington band. Joining in 1942, he stuck around for 25 years, doubling tenor and supplying plenty of arrangements to the book, many of them uncredited. His clarinet style was inspired by Benny Goodman (he had the technique to bring it off) and his tenor was contrastingly gutty and blues-based. This was his first date as a leader, and he brought with him some distinguished Ducal colleagues: Harry Carney and Otto Hardwick from the reed section, Ray Nance from the brasses, and Oscar Pettiford from the rhythm, the latter joined up-and-coming Jimmy Jones on piano and nonpareil Mr. Catlett, a Blue Note regular. The ringer among the horns is Henderson Chambers, a fine, unsung trombonist who was then in Edmond Hall's Café Society band.

More writing here than customary at Blue Note, but these cats could cut a chart with the best of them, and Hamilton's quite sophisticated scores come off well. "Blues For Clarinets" shows off Carney's and section-leader Hardwick's prowess on the "licorice stick," and both brassman have soulful statements. Carney takes his solo spot on baritone; to this day, no one has come close to matching the majestic sound! "Slapstick" is definitely vintage 1945; Hamilton is clearly no stranger to the harmonic experiments then au courant in jazz. This fast blues with altered changes has some tricky ensemble passages, always underpinned by Pettiford and especially Catlett, who's in there at all times. "Blues In My Music Room" is Dukish in hues, with fine Carney, Hamilton, Nance and Chambers solos, A notable debut for the elegant Mr. Hamilton, and yet another chapter in Blue Note's love affair with the blues — in all its guises.

—Dan Morgenstern