musicology #467

2LegendsClash II #3

(Billie Holiday – Pennies From Heaven)

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Apologies for yesterday’s absence. Truth is I am feeling low and was unable to find whatever it is in me that makes themusicologist happen. For a few reasons life is on me like a concrete suit at the moment and even though I tried most of the day to post a cut both the words and the music eluded me so today I’m just going to lay a slice down, try not to get too wrapped up in the language of my solitude and let the two legends speak. But before Billie steps up for today’s piece of musicology hold this quote from nightclub owner Barney Josephson who was quoted to have said about her

”She never had a really big voice-it was small…..like a bell that rang and went a mile..”

Recorded for Brunswick in New York on November 1936 featuring Teddy Wilson & Orchestra; (Jonah Jones, Benny Goodman, Ben Webster, Allan Reuss, John Kirby and Cozy Cole)

musicology #447

NewYork NewYork #6

(Curtis Mayfield – We’re A Winner)

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Monday morning, (and I mean morning !), in the Big A and my mind has been spinning like a whirling dervish trying to make some sense of this thing we call life. Was out all day yesterday and didn’t find the time and space to throw down a cut and today’s my last day so I’m determined to lay a farewell slice of the NewYork pie on the line…was all over Manhattan like a rash yesterday starting in a well known electronic/photographic retail emporium in search of a Lumix GF1 camera after being well and truly bitten by it’s amazing reviews but no dice as they are continually out of stock such is it’s popularity, making the desire to own one even greater. Then a short walk through Hells Kitchen on a mission to find a cupcake shop for Lucy’s friend where we breezed through a flea market. Nothing really took my eye enough for me to put my hand in my ’sky’ other than a small photograph which will serve as a visual reminder. a short walk through Times Square and onto lunch at Cipriani’s in Grand Central where we indulged in their famed Bellini..I’m not used to eating in the afternoon and after a cauliflower soup and a serving of Eggs Benedict I was well and truly stuffed and so we waddled down to the subway to take a ride downtown for a bit of retail therapy..truth was that nothing inspired me enough to buy other than a small gift a piece for Con and Fabes..I need to feel the vibes to shop and yesterday didn’t have that flavour. 4 days hasn’t been enough, I haven’t even begun to speak about what’s in my heart and on my mind. Didn’t sleep much last night and find myself standing on a crossroads..might step out? walking the streets often helps me to find the way.

The cut today has major significence for me as, (according to my dad), it was the tune that he used to rock me to sleep as a babe in arms, many moons have waned since then but my deep appreciation for Curtis continues and will remain until the ‘12th of never’. Recorded live at New York’s ‘Bitter End’ in 1970 regulars on themusicologist may be aware that pieces from the set have already featured here over the years and that not only is it my oldest musical memory but also my most treasured. from the Intro on side 1 right through to the outro on side 2 every recorded moment hangs off the top branch of the musicology tree.

LISTEN TUNE

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musicology #443

NewYork NewYork #2

(Bob Dylan – Talkin’ New York)

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Highlighted from his first LP. Recorded in late 1961 but released in March 1962. One of only two songs written by him, (the rest being interpretations). This cut describes his feelings on his arrival and subsequent early days in the big apple. Produced by the legendary John Hammond only two months after their first meeting…Didn’t receive much attention in America but went down well over here in England.

musicology #442

NewYork NewYork #1

(Kool G Rap – Streets Of New York)

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This week it’s all about NYC..The Big Apple. Why? because I’m going there on Friday to spend a few days with someone very special who is and has been an inspiration. Words don’t tend to do feelings justice so I’ll leave it at that…regular visitors to themusicologist will know that I have a tendency to wax lyrical and believe me I would like to continue in that tradition but being a dyed in the wool romantic the poetry could run away with me so I’ll do me best to rein it in before I get all 18th Century on yer arse and end up prancing about in velvet suits, curling up my ‘locks’ and spouting Wordsworth and Coleridge poems !!

So to balance that out hold this piece of 21st Century hip-hop from one of New York City’s legendary lyricists, the trail blazing, Kool G Rap .. one of the greatest rappers to have ever graced the M.I.C whose legacy runs deep. Member of Marley Marl’s Juice Crew, (along with MC Shan, Roxanne Shante, Big Daddy Kane and BizMarkie), the Cat has influenced many a BIG name and is highly regarded and respected by those in the know as a progenitor of the style which now dominates. A man whose authenticity regarding street narrative is beyond doubt..one final piece of information..he was born in 1968 which seems to be a significant year for many reasons.

musicology #288

twolegendsclash #11

(Sidney Bechet & His New Orleans Feetwarmers - Preachin' Blues)

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"What a weeping and a waling, when the two legends clash...."

Final cut from Sidney Bechet and what a treat...Recorded in New York during January or Febuary 1940. A precursor to the Rhythm & Blues that was to follow and in turn be reclassified as Rock & Roll. All the hallmarks are there, small line-up, Electric Guitar, Boogie Woogie Piano, honking Sax...

Before signing Bechet off, according to a piece of information on Wikipedia;

"In the 1940s, (Louis), Jordan released dozens of hit songs, including the swinging 'Saturday Night Fish Fry' (one of the earliest and most powerful contenders for the title of First rock and roll record),"

I'm a BIG fan of Louis Jordan and his music certainly deserves all the accolades and he was certainly at the forefront in the development of Rhythm & Blues but the above mentioned cut was released in 1949. Whereas this one from Bechet is almost a decade earlier !!...which, as far as I can hear is as close to 'Rock & Roll' as it gets, Especially Brother Bechet's playing.

As it's the end of the Bechet road it just leaves me to thank the inspirational Cat for leaving us a recorded legacy of the HIGHEST quality...I'm sure he's up there standing at the gate cutting the angel Gabriel to ribbons.

Blow Bechet...Blow.

musicology #284

twolegendsclash #7

(The Haitian Orchestra - Meringue D’Amour)

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Day seven of the twolegends…two more uptempo cuts and then it’s downtempo until Saturday. Today’s cut features Sidney Bechet blowing Soprano, (the instrument he single handedly introduced to modern music), as well as piano legend Willie ‘ The Lion ‘ Smith keeping time, Olin Alderhold plucking bass, Leo Warney on the drums and Kenneth Roane on the trumpet. Recorded in New York on November 22nd 1939. Maybe not as technical or improvisational as many of the other Bechet recordings but, for me, one of the most infectious…I can’t get enough of this one. BIG tune down themusicologist way.

musicology #282

twolegendsclash #5

(Bechet-Spannier Big4 - Sweet Sue Just You)

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Yet another top ranking slice featuring original Hell raiser Sidney Bechet this time in tandem with cornet player Muggsy Spanier,(who always sounds to me like he should have run with Al Capone !!), bassman Wellman Braud and guitarist Carmen Mastren. Recorded in New York in April 1940.

musicology #278

twolegendsclash #1

(Noble Sissle Orchestra (feat Sidney Bechet) - Dear Old Southland)

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As promised a new theme starts today, a ‘Soundclash’ between two of the greatest soloists, innovators, and players of instrument ever recorded. I say recorded because there were others who didn’t record, (Buddy Bolden for instance), or who like Louis Armstrong’s mentor Joe ‘King’ Oliver had health problems that affected the quality of their recorded legacy. Others like Frank Dusen refused to record on the basis that others would be able to hear and imitate their ‘licks’ claiming them as their own. Imitation and competition was fierce as ragtime evolved into ‘Jazz’ and many of the original cats were left behind as the age of recording began to take shape. Not only that but, (as hard as it is for us to imagine today), recording was nothing, (financially), compared to live performance and maybe those players thought that this new fangled technology would never account to much. Youngbloods like Armstrong and Bechet on the other hand were in the right place at the right time and were ‘modernists’ to the core.

First up is Clarinet and Saxophone virtuoso Sidney Bechet, who along with Armstrong took improvisation to a new level. That’s not to say that there weren’t others who were as innovative and talented, Johnny Dodds or ‘Big Eye’ Louis Nelson for example, (who Bechet had lessons with).

Born in 1897 Bechet grew up in New Orlean’s Seventh Ward graduating as a fourteen year old from his brother Leonard’s Silver Leaf band into Bunk Johnson/ Frankie Dusen’s famed rough house ‘Eagle band’ which had previously featured the Legendary Buddy Bolden and later Joe ‘King’ Oliver. This is where the young Bechet’s talent really began to shine and take shape. Obviously no recordings exist from them days so I can’t lay one on you so this 1937 cut featuring brother Bechet on Soprano Sax, (recorded with the Noble Sissle Orchestra in New York), will have to do.