Jimmy Rushing – Been Here and Gone

January 8, 2013

Back in the late 1960s, when Jimmy Rushing toured the UK, accompanied by Humphrey Lyttelton’s band, he was sometimes seen outside venues – some of them demonstrably unsuitable in their towering Victorian splendour – greeting arriving fans. To say the least, it was unusual to see a visiting artist act in this way and I for one never forgot this heart-warming gesture. Years afterwards, in 1996 to be precise, with Little Jimmy long gone to the Great Jam Session in the Sky, I remembered the way that this superb artist had behaved and it inspired me to write a short story that was never published in print, although it did see life on my previous website. Coming across the story recently, I liked the memories evoked and decided to post this story here.




Bruce Crowther

(Copyright © 1996 Bruce Crowther)

He stood on the corner of the street; a man small in stature, huge in girth. His trousers hung wrinkled below a ballooning waistline, his jacket so big that it reached almost to his knees but not big enough to stretch to where he could button it at the front. He wore a shirt that strained at the collar and a tie with a knot pulled low to let him breathe easy. On his head was a porkpie hat, scrunched flat at the crown. He wore scuffed slip-on shoes; stooping to tie laces was one of life’s unnecessary problems.

Men and women hurried past, early evening crowds on their way home. Some looked at him curiously. Not so much because of his shape or his dress but because, in 1968, in this particular European city, black men were yet uncommon.

After a while he moved, joining the crowds but remaining apart. He walked slowly, with weary dignity, finding his own tempo. He turned at some corners, walked on at others, randomly with the air of a stranger seeing the sights of a city he neither knew nor cared to know.

Eventually, close to the city’s docks, he went into a cafe. Not much of a place, dark painted, over-lit, steamy, and noisy from a jukebox playing a song popular the year the records were last changed which wasn’t recently. Half a dozen people sat at tables, eating not talking. It wasn’t the kind of place where people went to talk. A thick-set man with tattooed forearms leaned on the counter reading an evening paper.

Apologetically, almost, the black man ordered a dish from a menu chalked on a board hanging from the wall behind the counter. And coffee. The tattooed man grunted, nodding his head towards a table. The black man sat down and waited patiently. The other customers treated him the way they treated one another; they ignored him. Curiously enough, he quite liked that. In an odd sort of way it appeared to make him one of them.

When the food came it was hot and there was a lot of it. The coffee was in a large thick-sided white pot mug. He ate slowly, chewing his food carefully, occasionally sipping his coffee, his eyes moving between his plate and the empty chair at the other side of the table.

When he had eaten he sat a while longer, finishing his coffee. Then he pushed back his chair, stood the mug and his knife and fork on the empty plate and returned them to the counter. Taking money from his pocket, he looked thoughtfully at the unfamiliar currency, then offered it all to the man who picked out two notes and a handful of coins. The black man studied the notes taken and added another of the same.

Outside it was growing dark and he slowly retraced his steps. There were still many people about but these were no longer men and women hurrying home, now they were heading eagerly for a night out.

Back at the corner where he had started, he looked across the street at a small canopied entrance, a touch of grandeur that was not backed up by the peeling paintwork. Picking his way through cars and people, he went into the club.

He had left his suitcase in a small room behind the stage and opening it he took out a clean white shirt, socks and underwear, and a bow-tie. His dress suit hung behind the door, most of the overnight creases dropped out now.

He undressed slowly, washed and shaved, using the cracked basin in the corner, peering at his image in a discoloured mirror. He then put on clean clothes, carefully tied his tie, and finally stepped into his dress suit. From the suitcase he took a small bundle of sheet music and studied the lead sheets. While he was doing this he heard music from the club’s stage. He cocked his head, listening to the band. After a while he sighed and put away the lead sheets.

He sat, dozing, thinking unimportant, uncommitted, uncontentious thoughts.

A knock at the door and a shout brought him back to the moment. Standing, he brushed his hands over his jacket, smoothed his unsmoothable hair, and went out.

The club was more than half full, good for this early in the evening, and the band was playing loudly and with enthusiasm but not much else. They couldn’t swing worth a damn but how often did the bands he sang with these days have that particular ability? Not often.

The band crashed to a stop and the leader introduced him, then stamped his foot in an approximation of the required tempo. He let the band play eight bars before walking out onto the stage. He acknowledged a scattered round of applause with a wide grin, and with snapping fingers brought the tempo under control before launching into his first song.

The musicians in the band were white, young and pliable and after half an hour or so he had molded them into acceptable shape. They might never play with an easy natural swing, but they were a hundredfold better than before he’d come on stage.

At the intermission he thought about going back to the dressing room but instead accepted invitations to join the band and some of the audience for a drink at the bar along the left-hand wall of the club. This was his third European tour but he still had difficulty mingling with customers in places where everyone else was white. That was not how it was done back home. Martin Luther King and those other fellows might hassle for changes to be made but there was still a long way to go. And, anyway, look what happened to Dr King just a few months ago. Still, for all his reservations, the people here seemed to truly like his music and their friendliness appeared genuine, even if it was pretty certainly only skin deep.

They didn’t talk to him, though. At him sometimes, mostly around him. Not impolite; just unknowing and accordingly uneasy with the stranger in their midst. He didn’t expect more. After all, to this audience, like most of his audiences these days, the blues was just music.

When it was time to go back on stage, he saw that the place was now packed. As usual, most of the vociferous audience seemed to be less than half his age. The second set was much better than the first. Some of the musicians were beginning to relax. Whether it was his influence or that of the booze they’d consumed in the past few minutes he couldn’t tell. He hoped it was his. The influence of the booze would wear off. At the end the audience yelled for more and he sang a couple of encores but then the club owner gave the bandleader the high sign and they wrapped it up.

The smoky air buzzed with that combination of sound and excitement that only happens in places of entertainment, and then only when something special has gone down. He liked the feeling it gave him, knowing that for a couple of hours he had made people happy simply by letting them listen to his song. He shook hands with the band and some of the audience, autographed a couple of his albums held up by fans a little older than the average here tonight, then went backstage.

He didn’t change his clothes but even so when he came back out of the dressing room the club was empty except for the owner, a bartender cashing up, and a sour-looking man stacking chairs onto tables. The owner handed him a bundle of notes, which he didn’t count. Either the amount was right or it wasn’t. If it wasn’t, there was always a convincing explanation so why bother.

He carried his suitcase out into the street and walked a few paces along to the hotel and went inside, picking up his key from an old woman with arthritic hands and a cigarette stuck to her lower lip.

Upstairs in his room, he undressed down to his shorts, turned out the light, and lay on the bed staring at the ceiling watching the changing patterns as car headlights passed by.

Of all times, these were the worst. On a high, he needed to come down gently. Some guys did it through drink, others through pills or worse, some did it through sex, many through talk. He was a talker. Except that here, thousands of miles from home, there was no one to whom he could talk. Not that being in Europe made so much difference, not these days. These days he could be just a few hundred miles from home, or a few dozen, and there would still be no one around to share the down time. That’s the way it was, touring as a single. That was why he missed touring with a band so much. With a band there was always someone to talk to. But he’d made his choice, nobody had twisted his arm. And, anyway, none of the handful of bands that still toured played his kind of music anymore. Not even Basie.

After a while he sat up and reached out to turn on the light. Opening up the suitcase he took out a lead sheet, turned it over and began writing on the back. He did this sometimes. Writing lyrics for songs he knew he would probably never sing and would certainly not record now that his kind of singing was out of fashion. He thought about the youngsters in the audience tonight. Encouraging, in a way, even if they didn’t buy records at least they came along to the clubs.

He wrote until he was tired, then turned out the light again. He tried to remember where he would be tomorrow night and couldn’t bring the name of the town to mind. It didn’t matter, it was written down on his itinerary and he had a rail ticket in his wallet and that was all that really mattered. One thing he did know was that tomorrow night’s hotel would be much like this one and so would the lonely meal in a cafe like the one tonight. Tomorrow night’s club would be no different, except for the name, and neither would the band. And the night after that it would be the same thing all over again.

That was the way it was. He didn’t complain. Why should he; he was doing what he wanted to do. Singing his song.

Once in a while, though, it would be nice to be able to talk to someone.



(Copyright © 1996 Bruce Crowther)

If you, too, are a fan of Little Jimmy Rushing, you will not need my urging to buy his records – but just in case you have yet to hear his wonderful singing, you might think seriously about buying one or more or all of the following albums, all of them coming from the period when Jimmy Rushing recorded with some of the best blues and mainstream players around.

Vanguard Records


He is backed on the Complete Vanguard Recordings, a double album, by instrumental soloists who include Emmett Berry, Clark Terry, Doc Cheatham, Buck Clayton, Vic Dickenson, Dicky Wells, Lawrence Brown, Earle Warren, Buddy Tate, Pete Johnson, Sir Charles Thompson and Sam Price. Also on hand are his old Count Basie stablemates, Freddie Green, Walter Page and Jo Jones. The songs are a mixture of Basie staples and those that were to become Jimmy’s standbys in his late years, among which are Goin’ To Chicago, Every Day I Have The Blues and Exactly Like You.

A special favorite of mine is Rushing Lullabies, also a double album. Here, one CD is the original LP of the same title, while the second started life as Little Jimmy Rushing And The Big Brass. On the former, he sings ‘Deed I Do, Pink Champagne, and Russian Lullaby (of course), among 16 selections. On the latter, Mr Five by Five is escorted by a mighty big band, with charts by Buck Clayton, Jimmy Mundy and Nat Pierce, and solos are heard from Buddy Tate, Buck Clayton, Nat Pierce, Dicky Wells, Doc Cheatham, Urbie Green and Coleman Hawkins. The singer swings his way through Rosalie,June Night, Someday Sweetheart and I’m Coming Virginia, among eight sparkling performances.

Columbia Legacy


Another fine album, this one offering on one CD two complete vinyls, is The Jazz Odyssey Of James Rushing Esq. Here, the singer visits in song the cities of New Orleans, Kansas City, Chicago and New York. Accompanying him on the journey are Ernie Royal, Vic Dickenson, Budd Johnson and Danny Bank, with the powerful underpinning of Hank Jones, Skeeter Best, Milt Hinton and Jo Jones. Among the songs are Tricks Ain’t Walkin’ No More, Piney Brown Blues, Doctor Blues, and Lullaby Of Broadway. The second vinyl featured on this CD is Jimmy Rushing And The Smith Girls. Here, Jimmy pays tribute to blues singers Bessie, Clara, Mamie and Trixie, who shared a name but were unrelated. Jimmy sings Downhearted Blues, Trouble In Mind,and Gulf Coast Blues, among several fine tracks on which he is backed by Dickie Wells, Coleman Hawkins and Buster Bailey and other stalwarts.

Lonehill Jazz






Towards the end of his career, Jimmy Rushing’s repertoire leaned towards the familiar, avoiding becoming over-familiar only through the verve and enthusiasm he brought to everything he did. The song selection on Every Day I Have The Blues varies the mixture more than somewhat with songs like Berkeley Campus Blues, Keep The Faith, Baby and Evil Blues that were not regular items in his repertoire, although some established favorites are there too. The accompanying musicians again include stalwarts such as Clark Terry, Dicky Wells, and Buddy Tate, alongside rhythm section soulmates who include Hank Jones, Dave Frishberg, George Duvivier and Grady Tate.

Polygram/Impulse! Records








Dave Frishberg would, of course, be the instigator of Jimmy’s final (and to my ears finest) studio recording, The You And Me That Used To Be. Yes, the voice is rusting but the integrity shines through. Again, the song choice is unusual, including as it does I Surrender Dear, When I Grow Too Old To Dream, Fine And Mellow, and Linger Awhile. Others in the band are Zoot Sims, Al Cohn, Budd Johnson, Ray Nance, Milt Hinton and Mel Lewis. Wonderful music, beautifully performed – and not a hint that Little Jimmy Rushing had only about a year left of his full and generous life.

Jazz Heritage





Any one of these CDs is worth having and for anyone unfamiliar with this fine singer’s work the first two will provide admirable introductions to a giant of jazz and blues singing. As for that final studio date – as far as I am aware, it is no longer available on CD. That said, keep looking (Amazon is a good place to start) and if you should see a copy, CD or vinyl, run, don’t walk – you will not be disappointed.






Benny in Brussels

December 30, 2015

Benny Goodman The Complete Benny In Brussels (Solar 4569965)

During the years after swing was edged aside by bop, the era’s king played on. Always eager to play, Benny Goodman played often with small groups, especially assembled big bands, and also played classical music. Benny Goodman - CopyHe also sometimes dropped by at clubs, sitting in with and without invitation, his manner sometimes underlining his reputation for eccentricity if not outright ill manners. One evening in 1962 Gene Krupa’s quartet was playing at the Metropole in New York City. Dave Frishberg was the pianist in the group and he talked to me about this occasion when I was preparing my biography of Gene Krupa. “We were on the bandstand, just having finished an hour and fifteen minute set, when Benny walked in and the place went crazy. I looked at Gene and his face was white. He says, ‛It’s the King of Swing, and he’s got his horn. I don’t believe this. Here he comes.’ So Benny walked up on the stand and began to try out reeds.” After several minutes of confusion during which the club manager, Jack Waldorf, was practically dragging people in off the street and the camera girl was snapping off pictures as fast as she could, Dave takes up the story: “Benny was finally ready. He said, ‛Brushes, Gene.’ Gene obediently picked up the brushes and flashed a big smile, but I could see he was in a cold fury. Then Benny turned to me and said, ‛Sweet Lorraine in G. Give me a little introduction.’ I complied, and Benny entered in F. He waved me out and continued without piano accompaniment.” An hour later, Benny packed up his instrument and was gone, ignoring those fans who were clamoring for his autograph. Gene KrupaGene, however, obliged, despite being exhausted after playing for more than two hours and as Dave recalls, “he sat patiently on the steps of the bandstand and signed dozens of pictures, writing personal notes on each one, asking each customer, ‛Who shall I inscribe this to?’”

Not only was Goodman’s attitude to the public very different from Krupa’s, there are many tales of how he also frequently alienated fellow musicians, often it seems through thoughtlessness and the long-standing expectation that others served at his whim. I recall Nat Pierce telling me that Benny would often call him suggesting he drop round to the house so they could spend an hour or two playing. Nat eventually discovered the way to get out of these impromptu sessions. He would tell Benny that he would love to do it, but he had a gig – a paying gig. Benny always understood that being paid to play rated higher than playing for fun. Whatever Benny’s peccadilloes, fans continued to flock to his advertised appearances and there was never any shortage of advertising when he occasionally returned to the stage fronting a big band. One of these was assembled for the 1958 World’s Fair in Brussels.goodman The band included several leading players and it is worth listing the full personnel: Taft Jordan, John Frosk; Emmett Berry; Billy Hodges (t); Rex Peer, Vernon Brown, Willie Dennis (tb); Ernie Mauro, Al Block (as); Zoot Sims, Seldon Powell (ts); Gene Allen (bar); Roland Hanna (p); Billy Bauer (g); Arvell Shaw (b); Roy Burnes (d). Playing a number of concerts between 25 and 31 May, the band was recorded with the results being released several times over the years since then. Most recent of the reissues is this 3-CD set released by Solar Records. While this band does not have the same earthy excitement that the 1936-8 band displayed on some of the live performances that have become available, this is a well-rehearsed line-up. (I’m not sure but I think that Taft Jordan was straw boss.) The brass section is strong and so too is the reed section, while the rhythm section punches along the ensemble so that it turns in some fiery moments. Of course, Benny is the key soloist, and it is good to hear his enthusiastic playing. Zoot Sims, Seldon Powell and Gene Allen have some solos as do Taft Jordan and Vernon Brown. Goodman aside, the most featured instrumentalist is Roland Hanna who plays with an elegance that brings to mind his predecessor Teddy Wilson. There are a dozen tracks by Goodman with the rhythm section and here again Hanna is strongly featured.

Two singers were brought along on this trip to Belgium, Jimmy Rushing and Ethel Ennis. On earlier releases of material from this engagement only one or two songs by Rushing were included and sometimes Ennis was missed off altogether (even though she was sometimes named on the sleeve). Here, Rushing sings two songs on the first CD and six on the second, while on the second CD Ennis sings four songs. The third CD is a real delight for those who enjoy good jazz and blues singing with Rushing singing six songs, Ennis seven, and the pair joining forces in a duet. Regular visitors to this site will know by now that I am very much a fan of Rushing and he is in typically robust form here. Ennis is much less well known, indeed she has always been somewhat overlooked by fans (and promoters and record producers). This particular date was very early in her career but she readily displays confidence and maturity.

Overall, the repertoire on this boxed set meets the likely expectations of fans attending these concerts, few of whom will ever have had the opportunity to see and hear a Goodman band live. Hence there are several warhorses pulled from the old Goodman book, but they are played with verve and enthusiasm; among these are Roll ’Em, One O’Clock Jump, Bugle Call Rag, King Porter Stomp and Sing, Sing, Sing, the last named allowing Roy Burnes his moment in the spotlight as he recreates the number that first brought Gene Krupa to international attention.

Because more than one concert was recorded a few titles are duplicated but that should not put off anyone. This is three and three-quarter hours of music from a bygone age and it is all well worth hearing today.

If big band music is for you, then there is much to entertain and inform on Vintage Bandstand, a site on which Anton Garcia Fernandez delves deeply into the subject. And don’t miss Anton’s other site, Jazz Flashes, where he writes on jazz instrumentalists and singers, sharing his enthusiasm for all that is good in music.

That reminds me of Duke Ellington’s comment that there are only two kinds of music: Good and Bad.

As always, you can find all kinds of music at Amazon.

Pete Johnson – Blues Piano

December 3, 2012

Roll ’em, Pete

Blues pianist Pete Johnson is often spoken of for his performances with the mighty Joe Turner – one of the very best blues singers. Rightly so, because the recordings of Pete and Joe together are among the most sublime duets in jazz history. Then there are references to Pete’s role as one of a trio of boogie woogie masters. Once again, his role in jazz and blues piano is shaded by the implication that Pete was not entirely his own man. This is demonstrably unfair, because Pete was a hugely gifted soloist and an outstanding blues piano player and should not be forgotten for his other work.

Pete Johnson - Delmark

Delmark Records

Pete Johnson was born in Kansas City, Missouri, on 25 March 1904, and as a teenager started out in music as a drummer. From time to time he also played piano, but he was 22 years old before he gave up the drums and concentrated on piano. Soon, he was recognized as a master of the blues and during the late 1920s and early 1930s he played at numerous clubs in his home town, then the heated centre of jazz. He became known and respected as accompanist to several blues singers, notably Joe Turner. The pair performed at various KC clubs, in particular the Sunset Café, and it was during one of these engagements that they were heard by John Hammond Jnr. Always eager to promote new talent, in 1936 Hammond brought Pete and Joe to New York City to play at the Famous Door. They were not as successful as hoped, and soon they were back home in KC. Fortunately, Hammond did not give up and later in the decade, when staging his Spirituals to Swing concerts at Carnegie Hall, he brought Pete and Joe back to the city.

concert poster

This time, they made their mark and after their appearance at Carnegie Hall, Pete decided to stay on in New York and, in collaboration with Albert Ammons and Meade Lux Lewis, he formed the Boogie Woogie Trio for club and record dates.

spirituals to swing cover

Vanguard Records

The popularity of boogie woogie proved to be short-lived but it was a successful time for Pete who played not only in the trio, but also in duo with Ammons or Lewis. He also continued performing and recording with his old friend Joe Turner, and during the 1940s worked as a solo act .

Pete continued his career through the 1950s, mainly as a soloist but he regularly appeared with Joe and he also teamed up with another blues singing giant, Jimmy Rushing. These years were especially good times for Pete. Now resident in Buffalo, New York, he played club engagements, toured nationally, and in 1956 he and Joe recorded the classic album Atlantic Records album, Boss Of The Blues. Never out of print, and in later years available on various labels, it deserves (make that ‘demands’) a place in every collection.

Boss of the Blues - Upbeat

Upbeat Records

Unfortunately, fate was waiting to deal Pete a savage blow. Although poor health restricted him, he began 1958 well, visiting Europe with Norman Granz’s Jazz at the Philharmonic and then playing at the Newport Jazz Festival. Later in the year, however, while still very much at the height of his blues-playing powers, Pete suffered a crippling stroke. He tried to continue, but his health was now too bad and although he did make a tentative return to recording in 1960, Pete dropped out of public sight and was soon beset by financial troubles.

That might have been the end of the story, but an anniversary concert was held celebrating John Hammond’s Spirituals To Swing. At Carnegie Hall, Pete, walking with difficulty, was helped onstage where he received a huge ovation. He took a bow and was being led off when the band swung into his best-known composition, Roll ’Em Pete, and as his old companion, Joe Turner, prepared to sing, Pete decided that he too was in a mood to celebrate.

Spirituals to Swing 1967

Columbia Records

As Pete reached the piano, he unexpectedly sat down alongside Ray Bryant and began picking uncertainly at the keys with his right hand. Delightedly responding to Pete’s impulse, Ray promptly laid down a solid left hand. His hesitant playing strengthening with every note, Pete showed that, for all his frailty, the spirit of blues piano still burned bright inside him. Emotionally, it was a highly-charged moment that became, in retrospect, even more so when, two months later, on 23 March 1967, Pete Johnson died in Buffalo.


On boogie woogie pieces, and especially playing the blues, Pete Johnson is always a joy to hear. When teamed with his old friend Joe Turner, these two musical giants create some of the most memorable moments in the story of jazz and the blues.


Been here . . .
. . . and gone.

Jazz CD Reviews – late September 2017

September 30, 2017

Patrick Arthur/Dana Fitzsimons/Chris Otts the ¢heap 3nsemble (independent release)

This highly musical Atlanta-based trio is exploratory, inventive and lyrical. To use founder Dana Fitzsimons’ words, the music played is “. . . dominated by melodicism and space, rather than rhythmic density”. Drawing inspiration from an abstract painting by Gerhard Richter, drummer Dana teamed up with tenor saxophonist Chris Otts and guitarist Patrick Arthur to develop music free from the restraints of too-rigid tempos and conducive to calm reflection. cheap danaAgain quoting Dana: “Since we’re living in such a crazy and stressful period in our own history, we wanted to work with sustained sounds and less rhythmic freneticism, and make music that could heal.” Among the tracks are originals by Chris, Volkslied and Reflection, and Patrick’s Front, as well as works by Bruce Hornsby, Fortunate Son, Chick Corea, Matrix, Leslie Bricusse and Anthony Newley, Pure Imagination, and Raymond Hubbell and John L. Golden, Poor Butterfly. Throughout, there are well-crafted solos from saxophonist and guitarist, all with controlled emotional heart, and intelligent underpinning from the drummer. Interestingly, the cover art on this album is the Gerhard Richter painting that inspired Dana to conceive this music.

For more on Patrick, Dana, Chris and the ¢heap 3nsemble, including booking, contact Mouthpiece Music.

Manny Echazabal Short Notice (independent release)

A recent graduate of University of Miami, tenor saxophonist Manny Echazabal presents a selection of his own compositions on this, his debut album. For his themes, Manny has developed some concepts that originated in assignments but there is nothing tentative or immature about the end product. Other ideas stem from personal experiences, and while not all of these were good they did prove inspirational. Among these works is the title track, which was a “write a composition in just an hour” assignment given by trumpeter Terence Blanchard who also teaches at UM. Another piece is a three-part work, New Dawn, that deals with aspects of depression, while Abraham’s Warriors centers upon fundraising efforts of a family friend whose young child had terminal cancer. Although the thinking behind this music is outwardly dark, the musical results are far from this. Instead, they are filled with optimism and light and vividly demonstrate Manny’s exceptional musical skill.manny After graduation, he played in Miami clubs and also various jazz festivals. Manny is a fluent player, his technical ability comfortably matching the tasks he sets himself through his compositions. The quartet on this session is completed by pianist Tal Cohen, bassist Dion Kerr and drummer David Chiverton, all young musicians who are similarly gifted and are making names for themselves in the US. This release is sure to extend their audience.

For more on Manny Echazabal, including booking, contact Mouthpiece Music.

Josh Nelson The Sky Remains (Origin 82741)

On this musical portrait of Los Angeles, pianist Josh Nelson takes inspiration from places and people and events that have added to the city’s rich history. Instrumentalists joining Josh on this album are trumpeter Chris Lawrence, alto saxophonist Josh Johnson, clarinetist Brian Walsh, organist Larry Goldings, guitarist Anthony Wilson, bassist Alex Boneham, drummer Dan Schnelle, and percussionist Aaron Serfaty. Also heard are vocalists Kathleen Grace (on Bridges and Tunnels, The Sky Remains, Pitseleh, Run) and Lillian Sengpiehl (on Bridges and Tunnels, Ah, Los Angeles, Lost Souls of Saturn), both of them soloing well – sometimes with lyrics other times wordlessly – and also blending effectively with the instrumental ensemble. Anthony takes a long and engaging solo on Ah, Los Angeles, Chris, Brian and others solo on Lost Souls of Saturn, a track that has intriguing instrumental ensemble passages underpinned by fiery percussion. josh nelsonSeveral of the works hear here are Josh’s compositions, among them Bridges and Tunnels, which paints an aural image of those aspects of the city familiar to moviegoers (and depicted also on the sleeve), Ah, Los Angeles, inspired by John Fante’s semi-autobiographical 1939 novel Ask the Dust, and Pacific Ocean Park, a long forgotten amusement park. Also largely forgotten is the Polynesian culture present among the ethnic ingredients of the city in the 1930s, recalled here in Russ Garcia’s Lost Souls of Saturn. There is also a collaborative song by Josh and Kathleen, Run, which commemorates Mack Robinson (bother of Jackie) who won a silver medal to Jesse Owens’ gold in the 200 meters at the 1936 Olympic Games – surely a test of memory for even the most-devoted sports fan. Overall, the mood of this album is reflective – understandably so given the underlying concept – and it is a revealing picture of a city most of us think we know better than is actually so. Very effective playing by all enhances The Sky Remains, which is a rewarding musical experience.

For more on Josh Nelson, including booking, contact Mouthpiece Music.

John Daversa Wobbly Dance Flower (BFM Jazz 302 062 438 2)

Trumpeter John Daversa’s instrumental collaborators here are Bob Mintzer, tenor saxophone and bass clarinet, pianist and Hammond organist Joe Bagg, guitarist Zane Carney, bassist Jerry Watts Jr, and drummer Gene Coye. John and Bob are also heard on EVI (electronic valve instrument) and EWI (electric wind instrument) respectively. With the exception of Donna Lee all the titles played on this album are John’s compositions. Many of these are developed out of what might seem at first glance to be random thoughts. A reality check reveals that the thoughts of writers – of music or not – are seldom without some connection to the world around them. Put another way, the imagination is never completely turned off. For example, like all frequent fliers, John often has time to kill at airports and sometimes uses his cell phone to record melodies that come into his mind. John is a composer but that particular source of inspiration should ring bells with many writers of all kinds. (Digressing wildly, an idea for a short story came into my mind on a railway station in the North of England and by the time the train reached London the story was finished – and appears elsewhere on this site.)

wobblyBut getting back to John and the airport, the piece that resulted from this is Meet Me at the Airport, which effectively depicts the organized chaos of such places and has long solos from John, followed by Bob, then Joe on the Hammond B3, and Jerry and Zane. Ms. Turkey, a fast-paced work, has fleet soloing from John underpinned by Gene crackling drumming while Donna Lee here has a more relaxed treatment than this bop standard that it is usually given. The opening passage of Be Free, with its hints at a Latin feel, is a good opportunity to hear Joe’s skill on the Hammond B3, in the middle section Bob’s tenor takes an approach in keeping with the tune title, and John brings to an end with a crisp boppish solo. Brooklyn Still has John and Bob in an introspective frame of mind, soloing and effectively supporting one another. Wobbly Dance Flower, again featuring John and Bob who are punched along by Gene, is a lively jaunt that will certainly leave any dancers trying to keep up a little wobbly when it’s over. In contrast, Jazz Heads is a thoughtful piece with John and Bob (here on bass clarinet) underscored by Joe who is again on B3. On the energetic You Got a Puppy? Zane and Gene are heard after opening statements from the horns while the brief (less than a minute) closer, Extra Credit, is a quick word from all. And speaking of quick words, in his liner note fellow trumpeter Brian Lynch writes: “The through line for this project can be boiled down to one word: fun!” No arguments from me.

For more on John Daversa, including booking, contact Mouthpiece Music.

All albums available at Amazon.

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