Daily Dose Of Jazz…
Paul D. “Polo” Barnes was born November 22, 1901 in New Orleans, Louisiana. He attended St. Paul Lutheran College and began playing alto saxophone in 1919. He and Lawrence Marrero formed the Original Diamond Band, which would become known as the Young Tuxedo Band.
He was with Kid Rena in 1922, the Maple Leaf Orchestra in 1923, and Papa Celestin’s Original Tuxedo Band later that year. Celestin’s group recorded his tune My Josephine, which became quite popular. Polo played with Chick Webb in 1927, toured with Jelly Roll Morton in 1928-29 and with King Oliver three times in 1927, 1931, and 1934–35.
In 1932 and 1933 Barnes led his own band. He would go on to play with Chester Zardis and Kid Howard through the Thirties. He played in Algiers, Louisiana in a Navy band from 1942 to 1945, then returned to work with Celestin from 1946 to 1951.
Moving to California he left music from 1952 to 1957. Returning to New Orleans in 1959 he played with Paul Barbarin. In 1962 to 1965 Polo joined the Young Men From New Orleans band that played on a riverboat at Disneyland. He came back home again in 1964 and played at Preservation Hall and Dixieland Hall. He toured Europe in 1973 and 1974, but poor health ended his career in 1977.
Clarinetist and saxophonist Polo Barnes, who was the brother of clarinetist Emile Barnes and was a mainstay of the New Orleans jazz scene during the jazz age, transitioned on April 3, 1981.
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Requisites
Music For Prancing ~ Warne Marsh Quartet | By Eddie Carter
Tenor saxophonist Warne Marsh steps into the spotlight for this morning’s discussion with the 1957 album, Music For Prancing (Mode Records MOD-LP 125). Marsh was a student of pianist Lennie Tristano and a graduate of the Cool Jazz school. He possessed a sweet tone that could be captivating and energetic but could also touch someone’s heart and soul when he played a ballad. For his sixth album, Warne’s leading a great quartet with Ronnie Ball on piano, Red Mitchell on bass, and Stan Levey on drums. My copy used in this report is the 1985 V.S.O.P. Records US Stereo reissue (Mode Records VSOP 8 – MOD LP-ST-125).
The quartet launches Side One with a song by Richard Rodgers and Lorenz Hart, You Are Too Beautiful. The group’s rendition is a catchy tune that’s full of good spirits as Warne begins the melody and relaxing opening solo. Red walks with great ease on the second statement, next Ronnie follows with a neatly paced reading. Stan adds the finishing touches in a brief exchange with Marsh and Ball leading to the closing chorus. Autumn In New York by Vernon Duke is the first of three jazz standards the ensemble performs from The Great American Songbook. The pianist introduces the song discreetly, segueing into Marsh’s tender melody and delicate lead solo. Ball and Mitchell continue the mood with two interpretations that are warm and beautiful ahead of the leader’s return to close out the song gently.
The first side closes on an upbeat note with Playa del Ray by Warne Marsh, beginning with a cheerfully buoyant theme in unison. Warne is up first with a lively interpretation; next Ronnie shows off his light and airy touch on the keys. Red takes over for a few soulful grooves and Stan speaks last with some spirited brushwork into the leader’s closing chorus and soft ending. Side Two gets underway with Ad Libido, an original by Ronnie Ball that’s built on the progressions of Long Ago and Far Away by George and Ira Gershwin. The ensemble starts the song at a laid-back pace for the collective melody. Ronnie opens the conversation with a mellow performance. Warne swings casually during the next reading, then Red adds a happy comment to the closing chorus before the leader wraps it up.
Up next is Everything Happens To Me by Matt Dennis and Thomas Adair. Warne is having a two-instrument conversation with Red as the song opens. Ronnie and Stan enter a little later to complete the lovely melody. Warne continues making melodic magic in the first reading, then Red mines a rich vein of sentimentality from his bass. Ronnie offers a deeply emotional statement next, and Warne makes an additional comment leading to the theme’s reprise. It’s All Right With Me by Cole Porter is a swinging affair from the opening chorus. Marsh takes flight first and speeds through the skies. Ronnie moves just as rapidly on the second solo. Red’s fingers flow swiftly on the bass next, then Stan gives his drums a vigorous workout in the finale ahead of the song’s conclusion.
Music For Prancing was produced by Red Clyde, and the recording engineer was Dayton Howe. The sound quality of this reissue is excellent with a superb soundstage that emerges from your speakers vividly. Warne Marsh recorded for many labels during his long career and has an extensive discography. He suffered a heart attack during a performance at Donte’s Jazz Club in Los Angeles and passed away on December 18, 1987. If you’re a Cool Jazz fan or are just discovering his music, I offer for your consideration, Music For Prancing by The Warne Marsh Quartet on your next vinyl shopping trip. It’s an excellent album that’s perfect to enjoy with your favorite beverage, and one I can recommend to any jazzophile’s library!
~ Postscript: Producer, Red Clyde’s name doesn’t appear on the original Mono LP or my Stereo reissue, but the 1992 V.S.O.P. Records CD album (V.S.O.P. #8 CD – Mode 125) – Source: Discogs.com ~ Autumn In New York, Everything Happens To Me, It’s All Right With Me – Source: JazzStandards.com ~ You Are Too Beautiful – Source: Wikipedia.org © 2022 by Edward Thomas Carter
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The Jazz Voyager
The friendly skies are seeing me once more flying cross country to our nation’s capital to capture the essence of what I believe will be an unforgettable experience at the Kennedy Center Terrace Theater. I will continue to mask up whenever I’m on a plane or in enclosed spaces because these variants are not yet inert. Autumn in Washington, DC is a special time of year and to witness the collaboration of Javon Jackson and Nikki Giovanni will be transcendent.
Jackson presents The Gospel According To Nikki Giovanni with appearances by Nnenna Freelon and a rare appearance by Giovanni herself. This is a one evening event, so if you’ve never seen these three performers, I suggest you get your tickets because you are in for a treat.
Hitting DC is always like coming home even though the landscape has changed quite a bit. I have to get my bearings each time years pass between visits but fortunately it doesn’t take long. The Kennedy Center is located at 2700 F Street, NW 20566. For more information visit notoriousjazz.com/event or kennedy-center.org. The Kennedy Center number is 202-467-4600.
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BOBBY WATSON & CURTIS LUNDY
Bobby Watson is a saxophonist, composer, and educator. Born in Lawrence, Kansas, United States, and grew up in Kansas City, Kansas. He attended the University of Miami at the same time as Pat Metheny, Jaco Pastorius, and Bruce Hornsby. He graduated in 1975, moved to New York City, and became music director for the Jazz Messengers from 1977 to 1981. After leaving the band, he was productive as a session musician, recording with Wynton Marsalis, Branford Marsalis, Max Roach, Joe Williams, Dianne Reeves, Lou Rawls, Betty Carter, and Carmen Lundy. He formed the band Bobby Watson & Horizon with bassist Curtis Lundy and drummer Victor Lewis, with whom he played throughout the 1980s and 1990s.
Curtis Lundy is a double bass player, composer, producer, choir director and arranger. Lundy is best known for his work as part of jazz vocalist Betty Carter’s band and is the brother to vocalist Carmen Lundy.
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Daily Dose Of Jazz…
Curtis Sylvester Lowe, Sr. was born on November 15, 1919 in Chicago, Illinois and raised in Oakland, California. He first learned to play soprano saxophone as a youth and studied briefly in Alabama before deciding to take up music full-time. Best known professionally as a tenor and baritone saxophonist, he played in traveling bands before the outbreak of World War II. Enlisting in the United States Navy in 1942, his unit band was full of noteworthy jazz musicians, including Vernon Alley, Wilbert Baranco, Buddy Collette, Jerome Richardson, Ernie Royal, and Marshall Royal.
In the 1950s Curtis worked extensively with Lionel Hampton and also played with Dave Brubeck, Little Esther, Johnny Otis, and Gerald Wilson. He led his own five-piece ensemble in 1952-1953. In 1958 he began a decade-long association with Earl Hines.
He was active locally in San Francisco, California and the Bay Area into the 1980s. Saxophonist Curtis Lowe Sr., who never recorded as a leader, transitioned at the age of 73 on October 29, 1993.
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