February 28, 2015
I have long taken an interest in jazz drumming, an interest that over the years has led me to write articles for magazines and on-line sites on several drummers. Among those featured on this site are Chick Webb, Dave Tough, Sonny Greer (see below), Zutty Singleton, and Gene Krupa. Also, in 1987, my book, Gene Krupa: His Life and Times, was published and although now out of print this is available to eager searchers among the second-hand stacks at Amazon. Regrettably, over the years it was only rarely that I became aware of women drummers in jazz. Among the first of the few who caught my ear were Pauline Braddy, whose playing with The International Sweethearts of Rhythm was outstanding, Dotty Dodgion, who played briefly with Benny Goodman and hence came to my attention when I was writing a book on the King of Swing, and Viola Smith, who had a long and varied career, was known as the “female Gene Krupa”, and is still alive and kicking at over 100. In recent years I have greatly admired the playing of Cindy Blackman, Terri Lyne Carrington and Sherrie Maricle, reviewing albums by the last named on this site and in Jazz Journal. These musicians and a few others apart, this was pretty much the sum of my knowledge. Not surprisingly, therefore, I was intrigued to see advance publicity for a book devoted entirely to female drummers and hoped to review it for JJ but another contributor beat me to it. So, I bought a copy from Amazon and what a delight it has been to read it.
Women Drummers: A History from Rock and Jazz to Blues and Country by Angela Smith (Rowman and Littlefield ISBN 978-0-8108-8834-0)
As Angela Smith’s subtitle makes clear, this work is not restricted to jazz; far from it in fact, but this wide-ranging scope is by no means an impediment to anyone with interest in any of the musical fields covered. It will also appeal to those interested specifically in the difficult role women have in the world of popular music, a role that while easier today than it was several decades ago, is still fraught with the all-too familiar prejudices of a male-dominated business.
Broadly, Smith takes a chronological approach, which means for the jazz fan the earlier and later chapters hold most obvious interest, but I think that anyone choosing to skip past the other genres will not only do the author a disservice but will also miss a great deal that is interesting and revelatory, which it certainly was for me. To a considerable extent, Smith has drawn upon interviews with drummers, some previously published in magazines and books but many personally conducted by herself. These direct sources bring to life the many struggles and occasional triumphs of these musicians and the resulting volume will provide a valuable future resource for music historians. They might also have the effect of sending readers scurrying off to find CDs (all too often deleted) of these women.
To digress for a moment: another long-ago book of mine (written with Mike Pinfold) was The Jazz Singers: from Ragtime to the New Wave (1986). Because no one before had tried to do what we did there, we covered a lot of ground, too much perhaps, and in a later book, Singing Jazz: the Singers and Their Styles (1997), we narrowed the scope and hence were able to examine the subject in greater detail. To some extent, the ground covered in Angela Smith’s book is similarly encyclopedic and I find myself hoping that she might be considering another book on this topic in which she can narrow the scope and get right inside individual lives and careers and in particular examine and explain stylistic differences, something that will be especially interesting when comparing and contrasting drummers from different genres. If the author does take another look at the subject, I’ll certainly buy that book as well. In the meantime, Women Drummers is an admirable work, one that is an important reference book and is also worthy of a place on the shelf of anyone interested in this fascinating corner of the world of music that hitherto has been only rarely, if ever, illuminated.
Angela Smith’s book can be bought from walk-in and on-line stores, which includes Amazon.
Sonny Greer – the Duke’s man
Maybe it’s just me and my occasional mistaken perceptions, but when reading about the glories of the Duke Ellington orchestras, and especially those he led from the late 1920s through to the end of the 1940s, I am struck by a notable omission. Although jazz historians and critics pay well-deserved attention to many of the fine instrumentalists, among them Johnny Hodges, Rex Stewart, Harry Carney, Lawrence Brown, Ray Nance, Barney Bigard, Cootie Williams and Ben Webster, and also arranger Billy Strayhorn, there are far fewer words written about the long-serving drummer Sonny Greer. If I am right in regarding him as a forgotten man, it prompts the question: Why?
Photographs of the band show him as a prominent and flamboyant figure, sitting high up on the bandstand surrounded not only by the regular drums and cymbals that every big band drummer had, but also with a spectacular array of other percussion instruments, including gleaming bells, gongs, timpani and xylophone. For all the quantity of instruments, however, Greer’s aural contribution was muted; he never thundered, preferring to add color to the Ellington band’s sound and to supply a pulse that was felt rather than heard. He was not a soloist, as were so many other musicians in the band, and while seeing him live at dance-halls was doubtless memorable, sometimes on record he was barely audible. Only an assumption, I know, but I somehow doubt that this was the fault of the recording engineers. Listening to the Ellington band on albums such as the outstanding At Fargo, 1940 Live or The Blanton-Webster Band, it quickly becomes apparent that while every man in the band was individually swinging, Greer was largely responsible for creating and maintaining the relentless sense of understated propulsion the band brought to its performances.
So, who was Sonny Greer? He was born William Alexander Greer on 13 December 1895 (the year is sometimes questioned), in Long Branch, New Jersey. He played locally for a few years but by 1919 he had moved to Washington, DC, where he met Duke Ellington, the two men playing together in both Washington and New York City. As Ellington settled into his role as bandleader, so the drummer became an integral part of the music being created. Stylistically, Greer was subtle and relaxed, the latter quality sometimes, it must be said, leading to an unfortunately casual attitude toward keeping time. Most often, though, his style, especially when using brushes, was ideally suited to the band’s seemingly effortless swing and he contributed much to the tonal palette that Ellington needed in order to realize his compositions. Fortunately, any timekeeping lapses were underpinned in the earliest years by guitarist Freddie Guy (another invaluable and largely unsung figure) and a little later on by the extraordinary bassist Jimmy Blanton but the drummer played his own part in generating the easy, loping swing that made the band so distinctive.
Only rarely during the 1930s and 1940s did Sonny Greer work outside the aegis of Ellington. Apart from a few small group sessions led by other Ellingtonians, and an appearance on one of Lionel Hampton’s famous Victor recording sessions, on which he was again in Ellingtonian company, his early career was spent inside the Ellington orchestra. By the end of the 1940s, however, Greer had outstayed the welcome of even Ellington, who tolerated more indiscretions from his sidemen than almost any of his fellow bandleaders of the era. Greer never shook off the smooth-talking, sharp-dressing, hard-drinking persona that had been a part of him from the beginning when he had often kept himself in funds by moonlighting as a pool hustler. Most of that persona was not detrimental to his playing, but the drinking was. Gradually, his on-stage behavior deteriorated and in 1951 Ellington was forced to ask him to leave the band.
Thereafter, Greer freelanced, recording with other ex-Ellingtonians such as Johnny Hodges and Tyree Glenn and also with contemporaries like Henry ‛Red’ Allen and J.C. Higginbotham. In the late 1960s and 1970s Greer led his own groups, usually a trio, and he also appeared at concerts celebrating Ellington where he consistently proved that he was never more at ease than when playing his old boss’s music. Despite the lifestyle he chose, he lived a long life, eventually dying in New York City on 23 March 1982.
For all his perceived failings as a drummer, in retrospect it is apparent that Greer was just right for Ellington for the era in which he occupied the drum chair. As the years passed other fine drummers came into Ellington’s band, notably Louie Bellson and Sam Woodyard. The former of these musicians, while an exceptional player, was the least Ellingtonian of all the drummers who played in the band. Woodyard was ideal for later Ellington, bringing to the band elements of Greer’s subtlety and Bellson’s dramatic power. But for the early Ellington bands, especially those that played during the late 1930s and early 1940s, it is clear that Sonny Greer was the perfect drummer. With anyone else, the band would not have sounded the same and if it had not sounded the same then it would not have been what it was – the greatest jazz orchestra of its time.
July 23, 2012
DIVA is not unique in jazz today, but it is certainly unusual and, more importantly, it is also strikingly good. A big band that has been around now for a dozen years, it was good to start with and it is even better now. The leader of DIVA is drummer Sherrie Maricle who has been there from the start, although the personnel has undergone some changes over the years. Whatever the names on the masthead, though, it has always been first class with no weak links and several outstanding soloists. Consider a release from 2005, TNT – A Tommy Newsom Tribute (Diva Jazz Lightyear) whereon very nearly everyone in the band gets a chance to solo. Although it might be invidious to select just a few for special mention, because all are so good, especially notable is the playing of Barbara Loronga, trumpet, Karolina Strassmeyer, alto saxophone, Lisa Parrott, baritone saxophone, Chihiro Yamanaka, piano, and Anat Cohen, on both tenor saxophone and clarinet. Special mention must be made of the arrangements; as the album title suggests these are by Tommy Newsom and they are ideal for this band, which in its ensemble playing shifts from fiery to mellow with fluid ease. This is top class big band jazz music played with panache and style and is very warmly recommended.
Two outstanding small groups drawn from the remarkable musicians gathered together as DIVA under Sherrie Maricle can be heard on other CDs led by the drummer. Five Play is a quintet with Jami Dauber, on trumpet, cornet and flugelhorn, Janelle Reichman, on tenor saxophone and clarinet, Tomoko Ohno, piano, and Noriko Ueda, bass. They can be heard excitingly on What The World Needs Now (Arbors). The DIVA Jazz Trio has Sherrie with Tomoko and Noriko and they appear on Never Never Land (Arbors). The music on both of these small group CDs is exceptional: sparkling solos, delightful ensemble playing, and throughout there is terrific swing, plain delight in performance, and altogether some of the best jazz around today. These are musicians of the highest caliber and anyone who enjoys superbly played, swinging post-bop mainstream jazz will delight in any or all of these albums.
Playing for a very appreciative audience at The Jazz Bakery, one of the leading jazz venues in Los Angeles, pianist Jan Lundgren, bassist Chuck Berghofer, and drummer Joe La Barbera, not only demonstrate their individual and collective talents but also put on show the composing skill of Hollywood legend Ralph Rainger. On Thanks For The Memory (Fresh Sound), they perform many of his classic pop songs, among them Easy Living, Please, If I Should Lose You, June In January and I Wished On The Moon. All of these songs are lovingly interpreted by the three instrumentalists and the true value of the melodic gift of the composer is apparent throughout. Most of Rainger’s songs were written in collaboration with lyricist Leo Robin and a measure of his contribution to their partnership can be heard when the wonderful Sue Raney steps up to sing two of their songs, If I Should Lose You and Thanks For The Memory.
The huge success of the 2008 release of Thanks For The Memory prompted the release a couple of years later of Together Again … At The Jazz Bakery (Fresh Sound). Once again, the trio concentrates on standards, exploring the delights of Have You Met Miss Jones?, Love For Sale, Tenderly, Yesterdays, Everything Happens to Me and I’ve Never Been In Love Before. There are also jazz standards, Oscar Pettiford’s Blues In The Closet and Thelonious Monk’s Rhythm-a-ning. There is not a weak moment in this wonderfully performed session; all three jazzmen play superb solos, filled with invention that vividly demonstrates their skills. As a group, throughout they show how in tune they are with one another as they lift the music to quite remarkable heights.
Produced by Dick Bank, these two CDs are essential listening not only for jazz fans, who will delight in the performances, but also for all those who love the music of this era. At the start of 2009, the earlier CD was a winner in the annual Critics Poll in Jazz Journal; it came as no surprise when the second CD also found favor, topping the magazine’s poll published early in 2012.
New World Jazz Composers Octet
Led by Boston-based saxophonist Daniel Ian Smith, the New World Jazz Composers Octet has established itself over the past few years as a leading voice in composing and playing contemporary jazz to a very high standard. On Breaking News (Big and Phat Jazz) the musicians in the band include trumpeters Ken Cervenka and Walter Platt, saxophonist Felipe Salles, pianist Tim Ray, bassist Keala Kaumeheiwa, drummer Mark Walker, and percussionist Ernesto Diaz. On this CD are compositions by Matthew Nicholl, Jeff Friedman and Richard Lowell as well as Walter Platt. Everything hereon is written and played with considerable intelligence and flair, from the thoroughly engaging solos to the tight and powerful ensembles, all of which come together to exhilarating effect. Especially appealing is the three-movement suite, Trilogy, composed by Ted Pease and paying tribute to pastmasters of jazz composition, Thad Jones, Billy Strayhorn and Bill Holman. The three movements are entitled, respectively, Thad’s Pad, Strays and Willis. The composer’s skill is evident from the manner in which he evokes the musical style of the dedicatees, finding punchy mainstream power in the first movement, romantically melodic charm in the second, and updated west coast bounce in the closer. This exceptionally attractive CD should appeal to all those who appreciate a contemporary twist on the important qualities of the past, qualities that the musicians Daniel Ian Smith has assembled clearly admire and respect.
For the past dozen years, jazz pianist Sumi Tonooka has devoted much of her time to teaching, both privately and at Rutgers and SUNY, and in the founding and development of a recording company, Artists Recording Collective, in collaboration with saxophonists Chris Burnett and Erica Lindsay. Then there has been her work as a composer, with special concentration on scores for film and television documentaries. Not surprising therefore that Sumi Tonooka’s presence on the bandstand has been rather less prominent than it was a few years ago. Fortunately for all lovers of jazz piano, Sumi has continued to make occasional records, of which her latest release is Now – Live at the Howland (Artists Recording Collective). This is a double-album that presents her live in an entire 2011 concert. On the first CD, Sumi plays music by jazz composers such as Duke Ellington, Thelonious Monk, and Mary Lou Williams, the pieces including Heaven, Evidence, Waltz Boogie and Dirge Blues. There are also some popular standards, among them Cole Porter’s All Of You and Jerome Kern and Johnny Mercer’s I’m Old Fashioned. On the second CD, all the music (except an encore) is composed by Sumi and from this it is clear that her compositions stand comfortably alongside those of her famous forerunners. Included are Phantom Carousel, Mingus Mood, and At Home. The encore is a jaunty stroll through Eubie Blake’s I’m Confessin’, which wittily looks at piano music of a long-past generation through contemporary eyes. Indeed, that particular performance is an appropriate closer to an exceptional concert as throughout the two discs there flows a strong sense of the melodic undertow that has marked Sumi Tonooka’s work across the past two-and-a-half decades. This is music that is not only melodically captivating, but is also intelligent, warm, and a vivid portrayal of how she has embraced much of what has gone before in the history of jazz piano and is helping to keep it alive and flourishing.