This is one of a series of taped interviews with musicians who are asked to give a snap opinion on a set of records played to them. Although no previous information is given as to what they are going to hear, they are, during the actual playing, handed the appropriate record sleeve. Thus in no way is their judgement influenced by being unaware of what they are hearing. As far as possible the records played to them are currently available items procurable from any record shop.
Basie’s lead trombonist Grover Mitchell is one of the most immaculate of men in whatever kind of a way you care to use that word in relation to him or his music. Born in the middle of a cotton field in Alabama, Grover has come up the hard way, and it is to his eternal credit, that he radiates happiness and contentment with his lot, with no trace of resentment or bitterness. A fast reader and flawless musician, Grover would like to become a good jazz soloist, but is primarily concerned with improving his command over his instrument. ‘If one lives to be a hundred’ he says, ‘one can never learn all there is to know about music – it’s just too much’. – Sinclair Traill
Farewell Blues. Pete Fountain. Vogue EXA 93
There was no doubt who stole that record! Abe Lincoln, the old Bob Crosby trombonist. I haven’t heard of him for ten years, and here he crops up as good and as adventurous as ever. That was a hell of an opening chorus. Ray Bauduc, another old Crosby man, got a real beat going there, the bass player Morty Cobb was wonderful, and so too was the always-good saxophone man Eddie Miller. But it was Abe Lincoln’s show! He really took me by surprise, no wonder Jack Teagarden thought so much of his playing.
My Blue Heaven. Jimmie Lunceford & Orch. Brunswick LAT 8027
What a great production band that was. Lovely sound. I knew that was Trummy from the first note he played – one of the great trombone players. Although that was before my time, that is one band I would like to have played with – really musicianly in everything they did. I wish some of the present crop of young musicians could be made to listen to these recordings. They would then realise what a beautiful band sound really meant.
One O’Clock Jump. Duke Ellington & Orch. – Will The Big Bands Ever Come Back. Reprise R6168
That was wonderful, as is everything that band plays, but the outstanding thing to me was the opening by Duke. He made that piano sound exactly like Basie – that was real Basie piano. Of course there are times when Basie sounds like Duke and Duke sounds like Basie, but that was Duke really trying to sound like Basie. I loved that tenor of Jimmy Hamilton’s, he got a real rough jazz-edge to his playing – quite unlike his clarinet playing. I think the trombone solo could have been better, but all-in-all it was a wonderful interpretation of One O’Clock Jump, as played by the Ellington band, trying to sound like Basie.
Casey Stew. Big Reunion. Jazztone J 1285
Whew! Rex Stewart must be a hell of an organiser to get a group such as this together and get them playing this way. What a spirit! What a beat! Hawkins, of course, was incredible, but then so too were the trombones – all three of them. Dickie Wells is such a complete individualist – one can pick him out in a second. What a lovely sound he gets, even when playing as fast as that. And I didn’t know Higginbotham could play like that, these days. But all three were wonderful. One of the most exciting records I ever remember hearing.
Stop Those Men. Rod Levitt – Insight. RCA Victor LPM 3372
As a composition that really came off – it got the feel of traffic and policemen and people running from the cops. A most descriptive piece of writing. That alto player Buzz Renn is an old buddy of mine, we were at school together. He had a brother, a fine trombonist, who was unfortunately killed quite recently in an automobile smash. Buzz is a great player and it is good to see him get the exposure he gets here – he deserves it. I hope we shall meet the trumpet player Rolf Ericson, when we get to Sweden, he’s a very talented musician. I would call that good modern writing, played with fine spirit.
Old Fashioned Love. Vic Dickenson Septet. Vanguard PPT 12019
What a lovely record. Vic Dickenson sounds exactly as if his instrument is a part of himself, it all sounds so easy, and he gets that beautiful sound. What a player! Along with Tommy Dorsey, Urbie Green and Jack Teagarden, Vic is probably my favourite trombonist. As I said, it seems as if his trombone is a part of himself, like another arm or something. Not fair I suppose to name four trombonists, as there are so many wonderful players, but everything Tommy Dorsey did was perfect – he had the most wonderful breath control of any musician I ever heard. Did you ever hear the story of what he did to Lee Castle, the man who is running the Tommy Dorsey band now? This is true. Tommy used to lay the band off on occasions when the Basie band were playing nearby, so that they could hear what Basie was doing. Tommy Dorsey was just crazy about Basie. Well, one night the Basie band were at Basin Street and Tommy told the band they could have the night off to go and hear Basie. Well, they all duly turned up, except Lee Castle, who had some other engagement. The following morning Dorsey had Castle on the carpet. Castle told Dorsey he was sorry he hadn’t turned up to hear Basie, but something very important had occurred which had stopped him making it. ‘That’s alright’, said Dorsey, ‘but I hope you understand your two weeks’ notice started from last night.’ Yes, he sacked him! And of course Teagarden was another perfectionist – I never heard him play badly; I don’t think he could. People are apt to forget one thing about Jack Teagarden. He didn’t become a great individual trombonist, he was one from the very start. He came up that way – a born genius. And next to Louis Armstrong, he must be the best jazz singer who ever happened. But coming back to that record, there were two other musicians there who deserve special mention. Edmond Hall and Ruby Braff, who both contributed lovely solos. Hall’s sound is just lovely, and that rhythm was great. Great drumming by Jo Jones.
G.T. Stomp. Earl Hines – The Grand Terrace Band RCA Victor RD 7720
In addition to Earl Hines being the greatest pianist I have ever played with, this is undoubtedly the most under-rated big band of all time. Why they didn’t receive more acclaim I can’t understand. Those ensembles are immense, a great thick wad of sound beautifully in tune. The writing of Jimmy Mundy was way ahead of its time, and I really think this band were in every way on a par, if not better than, any other big band of that period. Earl is much too over-modest about his own playing, he just does not realise how good he is. You know when we had that big band, and then the smaller group, out on the coast, the younger musicians would try and play Earl down for not playing the modern arrangements the way they did. It was funny ’cause he always finished up playing them far better than they did – or could. What a pianist! Greatness knows no era, and so Earl belongs to none.
But this band, I can’t get over how good they were. Attention to detail, combined with relaxation, as opposed to the modern, and I mean the very modern, idea of trying to score by tension. Some of the avant-garde musicians are no doubt wonderful technicians, but I cease to become interested when the sounds they make cease to be music.
