Daily Dose Of Jazz…
Walter Sylvester Page was born on February 9, 1900 in Gallatin, Missouri on to parents Edward and Blanche Page. Showing a love for music as a child, in 1910 with his mother moved to Kansas City, Missouri and exposed him to folksongs and spirituals, a critical foundation for developing his love of music. He gained his first musical experience as a bass drum and bass horn player in the brass bands of his neighborhood. Under the direction of Major N. Clark Smith, he took up the string bass in his time at Lincoln High School. During that time he also drew inspiration from bassist Wellman Braud, who he had the opportunity to see when he came to town with John Wycliffe.
After completing high school, he went on to study to become a music teacher at the University of Kansas at Lawrence. In college,Walter completed a three-year course in music in one year, in addition to taking a three-year course on gas engines. Between the years 1918 and 1923, he moonlighted as a tuba, bass saxophone, and string bass player with the Bennie Moten Orchestra. In 1923 he left Moten and began an engagement with Billy King’s Road Show, and with Jimmy Rushing and Count Basie, toured the Theater Owners’ Booking Association (TOBA) circuit across the United States.
Walter Page and the Blue Devils was a territory band founded in 1925, based out of the Oklahoma City~Wichita, Kansas area that included Basie, Rushing, Buster Smith, Lester Young, and Hot Lips Page. By 1929 the Blue Devils faced defections of key players, booking problems and musicians’ union conflict, he relinquished control to James Simpson and joined Moten’s band in 1931, staying until 1934. After his second stint with Moten, he moved to St. Louis, Missouri to play with the Jeter-Pillars band. Following the death of Moten in 1935, however, Basie took over the former Moten Band, which Page rejoined.
Staying with the Count Basie Orchestra from 1935 to 1942, Walter was an integral part of what came to be called the “All-American Rhythm Section. Together with drummer Jo Jones, guitarist Freddie Green, and pianist Basie, the rhythm section pioneered the “Basie Sound”, a style in which Page, as bass player, clearly established the beat, allowing his band mates to complement more freely. Until this point, the rhythm of a jazz band was traditionally felt in the pianist’s left hand and the kick of the bass drum on all four beats. In a sense, the classic Basie rhythm section were liberators.
After his first departure from the Count Basie Orchestra, Walter worked with various small groups around Kansas City. He returned to the Basie Band in 1946 for three more years. Bassist and multi-instrumentalist Walter Page, best known for his groundbreaking work with Walter Page’s Blue Devils and the Count Basie Orchestra, passed away of kidney ailment and pneumonia at Bellevue Hospital on December 20, 1957 in New York City.
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Daily Dose Of Jazz…
Buddy Morrow was born Muni Zudekoff on February 8, 1919 in New Haven, Connecticut. Receiving a scholarship at age 16, he studied trombone with Ernest Horatio Clarke at Juilliard from October to December 1936. During the next year he began playing trombone with Sharkey Bonano’s Sharks of Rhythm, an Eddie Condon group. He then worked with Eddy Duchin, Vincent Lopez, and Artie Shaw.
In 1938 Muni became known as Buddy Morrow when he joined the Tommy Dorsey band. The following year he performed with Paul Whiteman’s Concert Orchestra for their recording of Gershwin’s Concerto in F. In 1940, Morrow joined the Tony Pastor band, but this was only a short detour on his way to replacing Ray Conniff in the Bob Crosby band. Shortly after, he joined the U.S. Navy, during which he recorded with Billy Butterfield, leading a ten-piece band with three trombones, accompanying Red McKenzie singing four arrangements, including Sweet Lorraine and It’s the Talk of the Town.
After demobilization, Morrow joined Jimmy Dorsey’s band, then went into radio freelancing as a studio musician. He began conducting sessions, which introduced him to bandleading. RCA Victor sponsored him as director of his band in 1951. The band’s first hit, Night Train by Jimmy Forrest, was a hit in rhythm and blues.
Morrow was a member of The Tonight Show Band. His early 1950s records such as Rose, Rose, I Love You and Night Train appeared on the Billboard magazine charts. Night Train reached No. 12 in the U.K. Singles Chart in 1953. In 1959 and 1960 Morrow’s Orchestra released two albums of American television theme songs: Impact and Double Impact respectively.
In 2009 he received a Lifetime Achievement Award from the International Trombone Association. He led the Tommy Dorsey Orchestra from 1977 through 2010, when he appeared with the band for the final time. Over the course of his career he recorded 18 albums as a leader and 30 as a sideman. Trombonist, arranger, composer and bandleader Buddy Moorow, who was also known as Moe Zudekoff, passed away on September 27, 2010 in Maitland, Florida.
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Requisites
For Those In Love ~ Dinah Washington | By Eddie Carter
To the singer of jazz ballads, standards, or contemporary hits, a song is comprised of three essential parts, melody, harmony, and rhythm. When all three elements are mixed, and enhanced by great arrangements and musicians, the result is an enriching music experience. This morning’s choice from the library is by Dinah Washington, a vocalist who sang the blues, jazz, pop, and R&B proficiently. The album is For Those In Love (EmArcy MG 36011), recorded and released in 1955. She’s joined on this date by Clark Terry on trumpet, Jimmy Cleveland on trombone, Paul Quinichette on tenor sax, Cecil Payne on baritone sax, Wynton Kelly on piano, Barry Galbraith on guitar, Keter Betts on bass, and Jimmy Cobb on drums. The arrangements are by Quincy Jones and my copy used in this report is the second 1955 US Mono release featuring the silver Mercury Records oval at the noon position of the label with EmArcy Jazz appearing in the bottom of the oval.
The opener is I Get a Kick Out of You, written by Cole Porter for the 1934 Broadway musical, Anything Goes, and the octet gets right to work on this swinger. Dinah has the spotlight first and gives a splendidly entertaining improvisation. Jimmy follows, having a ball on a spirited statement, then Kelly displays impeccable chops on a relaxed reading. Clark comes in for some savory swinging with a mute on the closing solo, and Dinah handles the finale with great effectiveness leading the group into a slow fade. Blue Gardenia by Lester Lee and Bob Russell was composed for the 1953 crime drama, The Blue Gardenia. It became a signature song for Dinah and the octet offers a supporting role behind her delicately subtle narrative. Quinichette gives a brief statement of tenderness, then Galbraith offers a solo of soft tranquility. Payne has a moment in the spotlight adding a dreamlike softness to the closing solo. Dinah wraps up the song with emotional sensitivity on the climax.
Easy Living by Ralph Rainger and Leo Robin was the main theme of the 1937 comedy of the same name. The group provides a perfect complement to Dinah’s luxurious vocals on the opening chorus, and the solo order is Paul, Clark, and Jimmy. The first two readings are like delicate porcelain figurines, perfectly proportioned and translucent. The pace picks up slightly for the trombonist who plays the next interpretation with sensual beauty. Ms. Washington is especially attractive on the reprise with a velvety, smooth timbre in her voice that’s gorgeous. You Don’t Know What Love Is by Gene de Paul and Don Raye is a perfect song for film-noir. The haunting lyrics describe the hurt and sadness at the end of a love affair. It opens with a solemn introduction by Dinah and Galbraith. She captures the subtle pathos of the song with the octet’s soft supplement. Cleveland provides the song’s only solo with a graceful and elegant interpretation before Dinah returns to the melancholy mood of the beginning.
This Can’t Be Love by Richard Rodgers and Lorenz Hart was written in 1938 and featured in the Broadway musical, The Boys From Syracuse. The mood is jubilant, and Dinah rises to the occasion with a vivacious vocal treatment. Clark’s muted trumpet sets a lively mood on the first solo. Cecil is up next with an energetic performance of his own. Jimmy mines a vein of unsuspected riches on the third statement, then Paul delivers a delightful interpretation. Kelly cooks up a mesmerizing musical brew before Dinah sings the closing chorus. My Old Flame by Arthur Johnston and Sam Coslow made its debut in the 1934 film, Belle of The Nineties. Dinah begins this tune as a duet with Galbraith preceding the rhythm section’s slow-tempo theme. She’s the dominant presence here and presides with authority, as she recounts her lost love some time ago in a reflective flashback. The horns make their presence known for the closing chorus with Dinah giving it the recognition it deserves.
The 1940 show tune by Rodgers and Hart, I Could Write A Book gets taken for a mid~tempo spin by Ms. Washington and the ensemble. The octet starts the song in unison for the introduction, then Dinah treats the listener to an effervescent vocal performance on the melody. Paul starts with a passionately playful lead solo. Terry adds some fire on the muted trumpet, then Cleveland ends the solos on an upbeat note. The album’s finale, Make The Man Love Me is by Arthur Schwartz and Dorothy Fields. Quinichette opens with a seductive introduction, then Dinah makes a passionate romantic plea with the lyrics. Paul takes the lead with a remarkably graceful solo, then Terry turns in a beguilingly beautiful statement. Kelly approaches the next performance with affective empathy and Cleveland soothes the soul on the closer. Dinah sings two verses of the Duke Ellington–Paul Francis Webster classic, I Got It Bad (and That Ain’t Good) before returning to the original lyrics for the coda.
It’s a solid summation to an album sparkling with marvelous music, exciting, evocative solos, excellent arrangements, and the extraordinary vocals by Dinah Washington that are exceptionally presented. She brought the lyrics she sang to life in each song. The Queen of The Blues, a title she gave herself, recorded a total of thirty-three LP’s for EmArcy, Mercury, and Roulette during her short recording career that began in 1952 and lasted only eleven years. Though her greatest hit, What a Difference a Day Makes came four years later in 1959, For Those In Love would become one of the strongest albums of her career. Dinah passed away from a drug overdose on February 14, 1963, at the age of thirty-nine. This is a gorgeous recording with a splendid soundstage that’ll take your breath away each time you listen. I found For Those In Love to be thoroughly enjoyable and recommend it as a wonderful starting point for any fan interested in exploring the music of Dinah Washington. After one audition, I’m sure you will too!
~ What a Difference a Day Makes (Mercury MG 20479/SR-60158) – Source: Discogs.com
~ I Get a Kick Out of You, Easy Living, My Old Flame, I Could Write a Book, I Got It Bad (and That Ain’t Good) – Source: JazzStandards.com
~ Blue Gardenia, Dinah Washington, Make The Man Love Me – Source: Wikipedia.org
© 2021 by Edward Thomas
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Daily Dose Of Jazz…
Carl Alrich Stanley Barriteau was born on February 7, 1914 in Trinidad, but was raised in Maracaibo, Venezuela. He played tenor horn in Trinidad from 1926 to 1932, before playing the clarinet in a local police band from 1933 to 1936. At the same time, he also played in Port of Spain with the Jazz Hounds and the Williams Brothers Blue Rhythm Orchestra.
Moving to London, England where he played in Ken Johnson’s West Indian Swing Band. Melody Maker named him “best clarinetist” for seven consecutive years. In the 1940s Carl led his own group on recordings for Decca Records.
He did several USO tours for American troops from 1958 to 1966. He emigrated to Australia in 1970. Clarinetist Carl Barriteau passed away on August 24, 1998, in Sydney, Australia.
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Daily Dose Of Jazz…
Nelson Boyd was born on February 6, 1928 in Camden, New Jersey. He played in local orchestras in Philadelphia, Pennsylvania around 1945, and then moved to New York City in 1947.
While living there Boyd first performed with Coleman Hawkins, Tadd Dameron, and Dexter Gordon. He would go on to play with Sarah Vaughan, Dizzy Gillespie, and Charlie Barnet in 1948. In 1947, he recorded with Fats Navarro and Charlie Parker. He later played with Jay Jay Johnson and recorded with Miles Davis on Davis’s Birth of the Cool sessions in 1949. In addition, Davis’s song “Half Nelson” was named after Boyd because of his stature.
After 1949, Nelson often played with Gillespie and toured the Middle East with him in 1956. Later, he recorded with Melba Liston in 1958 with her trombone ultimates on Melba Liston and Her ‘Bones. He also did sessions with Max Roach and Thelonious Monk.
He recorded four albums with Gillespie, and one each with Milt Jackson, Charles McPherson, Max Roach, and Sonny Stitt, Bud Powell, and J. J. Johnson. Bebop bassist Nelson Boyd, whose last recordings were in 1964, passed away in October 1985.
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