JAZZ WITH A BEAT : SMALL GROUP
SWING, 1940-1960
By Tad Richards
State University of New York Press. 177 pages. $29.95. ISBN
978-1-4384-9600-9
Reviewed by Jim Burns
“The roads diverged......In 1942. The two roads were Charlie Parker and
Illinois Jacquet”, according to Tad Richards, whose
Jazz With A Beat explores the
changes taking place in jazz in the years between 1940 and 1960. It’s always
a little dangerous to fix specific dates to shifts in musical styles and
tastes, but Richards opts for 1942 as a key year. It was when Charlie Parker
had an alto solo on Jay McShann’s recording of “Sepian Bounce” and tenor
saxophonist Illinois Jacquet was featured on Lionel Hampton’s “Flying Home”.
In addition, 1942 was also the year
when Louis Jordan, who like Parker played alto, began to establish his group
as a major influence in the movement towards a new kind of small-group
swing. He had been active and popular by 1942 with records like “What’s the
Use of Getting Sober (when you’re gonna get drunk again)” and “Five Guys
Named Moe”, so the date may be flexible. But in general we can accept the
use of 1942 as a handy starting point.
So, why does Richards see a divergence opening up in that year? Parker’s
solo pointed to the development of the kind of modern jazz that became known
as bebop. It was a music that was complex, using chords as a basis for
improvisation rather than the melody, and had a less emphatic regular beat.
It wasn’t designed for dancing. Bop had to be listened to and didn’t lend
itself to simply creating a background accompaniment to dancing and
drinking. The musicians didn’t see themselves as entertainers in terms of
providing what the audience wanted. That was more likely to happen with
Lionel Hampton and his big-band, which, while having some good jazz players,
aimed primari;y to put on a show. “Flying Home” was a part of that policy
and Illinois Jacquet’s solo set the
style for a hundred other tenor players who, throughout the late-1940s and
early-1950s, would honk and squeal their way through solos that usually
didn’t come anywhere near Jacquet’s. Whatever else can be said about his
solo it was tightly constructed and memorable.
The war years saw the big-bands still riding high as people flocked to
dance-halls and theatres, and spent money that, in other times, would have
been used for housing, cars, and consumer goods. Which is what happened in
the post-war years as soldiers came home, war industries wound down, and
concerns switched to finding jobs, buying houses, resuming education, and
starting to raise families. It was no longer economic to take big-bands on
the road, nor for them to be hired. Club owners, dance-hall proprietors and
others discovered it was cheaper to bring in small groups, especially when
they could use a limited instrumentation to approximate the sound of a big
band. There had always been small groups, of one kind or another, in jazz
and popular entertainment, but the late-1940s saw them proliferating. And
producing a new kind of music known as rhythm-and-blues. It was urban, not
country, and essentially aimed at black working-class audiences in big
cities and towns. Central to it were hard-driving rhythms and saxophones,
primarily the tenor.
Richards points out that, on the whole, jazz critics, who were mostly white,
and many jazz enthusiasts, were dismissive of rhythm-and-blues. People who
liked to listen to rural blues singers looked on rhythm-and-blues as a
corruption of the blues tradition. Those who were devoted to bebop, or still
yearned for a revival of the big-bands, saw it as a debased form that, with
its honking saxes and shouting vocalists often delivering suggestive lyrics,
lacked the seriousness they wanted to be seen in their musical
interests.
If I can insert a personal note, I recall that in the late-1960s I was
writing about bebop and big-bands for various magazines, but I was also
listening (as I had done since the 1950s) to recordings by Wynonie Harris,
Tiny Bradshaw, Sonny Thompson, and many more rhythm-and-blues artists. In
1972 I wrote an article called “Let the Good Times Roll” for
Jazz and Blues in which I
attempted to point out how much listenable jazz was evident on recordings by
the kind of performers I’ve referred to.
It surprised me that, even at that late date, I still encountered
some hostility in conversations, admittedly sometimes with older listeners,
to my advocacy of rhythm-and-blues. But then, those people who needed jazz
to be classified as art so they could like it, didn’t share my enthusiasm
for calypso and some country-and-western music, either. I have to say that
I’m not claiming any pioneering attempt to draw attention to
rhythm-and-blues. Insofar as the UK is concerned that credit belongs mainly
to Charlie Gillett’s ground breaking
The Sound of the City, published in 1970.
It does appear to be true that much of the impetus for the development of
rhythm-and-blues seems to have originated on the West Coast. New York was
where bebop took shape and where the majority of its practitioners were
active. But Los Angeles provided a base for numerous rhythm-and-blues
musicians and there was a fair amount of intermixing of musical styles along
Central Avenue where many of the clubs and bars that offered employment to
musicians and singers were located. Recordings from the 1940s show that
there were no hard-and-fast lines drawn when putting together groups for
public performances. A fascinating example occurred at the legendary 1947
concert-dance at the Elks Club in Los Angeles. This was the event at which
Dexter Gordon and Wardell Gray competed on “The Hunt”, famous because of the
reference in Jack Kerouac’s
On the Road. What isn’t as well
known is that two other tenors – Wild Bill Moore and Gene Montgomery, both
associated with rhythm-and-blues – also engaged in a “battle” on the same
day.
Norman Granz’s famous Jazz at the Philharmonic concerts started their life
in Los Angeles in 1944 and the line-up included Illinois Jacquet and Jack
McVea on tenors. McVea had his own group in the 1940s, playing the sort of
sounds that were known as rhythm-and-blues. One of his popular records was
“Open the Door, Richard”, based on a vaudeville routine by a comedian called
Dusty Fletcher. He made his own version with Big Nick Nicholas on tenor.
Which points to other examples of musical mixing when Nicholas worked with
trumpeter/singer Hot Lips Page
(listen to them on the fast instrumental, “La Danse”) and the Dizzy
Gillespie big-band. It’s Nicholas who takes the tenor solo on the 1947
Gillespie bop classic, “Manteca”.
As for McVea, he easily played alongside the others with JATP,
including Jacquet, bop trombonist J.J. Johnson, pianist Nat ‘King’ Cole, who
had his own trio and was later to become a popular vocalist, and guitarist
Les Paul who, in the early-1950s, had hit records using multi-tape
techniques.
It was with the small groups scattered across America that the tenor
saxophone really came into its own. As Leroi Jones put it : “All the
saxophonists of that world were honkers. Illinois, Gator, Big Jay, Jug, the
great sounds of our day”. Gator was Willis ‘Gator Tail’ Jackson,
Big Jay was Big Jay McNeely, and
Gene Ammons was nicknamed Jug and had a firm reputation in the jazz world.
He made numerous straight jazz records under his own name.
But one of his early recordings, “Red Top”, could easily fit into the
rhythm-and-blues category. It
was, perhaps, Big Jay McNeely who was the most notorious of the so called
“honking tenors”, though it’s intriguing to note that he had a sound musical
education and, at one time, associated with young would-be beboppers like
Hampton Hawes and Sonny Criss. But he realised that if he was to make a
living in music he’d have to provide what the public wanted and not devote
his skills to playing bebop. He knew how to be a showman.
Bop was never likely to be a widely-popular music and even one of its
leading lights, Dizzy Gillespie, realised that to keep working steadily he
had to compromise. In the early 1950s he formed a small group which featured
baritone saxophonist Bill Graham, who mostly played with rhythm-and-blues
bands, and Gillespie’s 1951 recording of “The Champ” spotlighted tenorman
Budd Johnson honking away merrily, no doubt to the disgust of bop purists.
It wasn’t well reviewed in Britain. But it was a popular release. And as
Gillespie told a reporter from the
Melody Maker when he brought the group with Graham to Paris in 1953:
“Last time we were here, our jazz had entered a dangerous phase – we had
lost the rhythm. We had experimented and tried to find something new. I
guess we were influenced by European music. Whatever the reason, we had just
lost the rhythm. Now we’ve got it right back. We realise that rhythm is the
basis of American jazz”.
A problem that black artists faced when white disc-jockeys and record
producers began to pick up on rhythm-and-blues was that white singers and
bandleaders came out with cover versions of black performances. A good
example might be Jimmy Forrest’s 1951 “Night Train”. It was popular, but was
soon covered by the white trombonist and bandleader Buddy Morrow and that
version was more likely to be played by predominantly white radio stations.
Richards notes that it was included in
Billboard magazine’s pop charts.
It might be of interest to listen to the recording of a session with Forrest
and Miles Davis from a St Louis night-club in 1952. A musician like Forrest
moved easily from “Night Train” to “A Night in Tunisia”.
Mentioning Forrest reminds me of Johnny Griffin.
He was a tenor saxophonist who had been central to the success of the
Joe Morris band in the 1940s with records like “The Applejack” and “Weasel
Walk” where his forceful tenor had supplied much of the excitement, though
he could play in a relaxed way, as he did on the attractive “Tia Juana”.
Griffin recorded with Thelonious Monk and Art Blakey’s Jazz Messengers in
the 1950s and toured in America and Europe. I recall hearing him in a club
in Stockport in the 1970s.
Richards uses 1960 as a convenient cut-off date for his survey of how
rhythm-and-blues catered for black tastes in the 1940s and 1950s. This
doesn’t suggest that everything suddenly altered after that date.There had
been changes going on throughout the 1950s, with the rise of rock-and-roll
and other factors that affected what was played. The career of Johnny Otis
might give a guide of sorts to shifting influences and tastes. Otis, a
drummer, had worked with big-bands and small groups in the 30s and 40s. In
1945/46 he had his own big-band in Los Angeles, but by 1948 or so he had to
accept that there was a declining demand for the kind of music it played. He
decided to reduce to a smaller size, while keeping sufficient instruments
(trumpet, trombone, tenor snd baritone saxes) to give it a full sound. He
also employed a number of vocalists, both male and female, and aimed for a
no-nonsense rhythm-and-blues approach with a firm beat. Always adaptable, by
the mid-1950s he was achieving some pop status with recordings like “Willie
did the Hand Jive”, a track I always liked, its rhythm having an infectious
effect. Otis’s book, Upside Your
Head: Rhythm and Blues on Central Avenue (Wesleyan University Press,
1993) should be essential reading for anyone interested in the place and the
period.
I think it should be obvious by now that this is not an impartial review. My
interest in bebop and rhythm-and-blues has lasted well over seventy years. I
first heard Charlie Parker and Dizzy Gillespie on records around 1950, and I
knew Illinois Jacquet’s solo on “Flying Home”. I must have come across Louis
Jordan around the same time. Not many rhythm-and-blues records found their
way to Britain in the early-1950s, and if they had I doubt whether the staid
BBC would have played them. Their raucous sounds and sometimes salty vocals
wouldn’t have been deemed suitable for broadcasting. But Louis Jordan was
acceptable, his humorous records (“Ain’t nobody here but us Chickens”) often
being innocuous enough. If memory serves me right there were a few
rhythm-and-blues discs that were released here, among them Joe Liggins’ “The
Honeydripper” and some by Wynonie Harris, including “Bloodshot Eyes”. And
there was Big Sis Andrews singing “The Hucklebuck”.
Reading Jazz With a Beat reminded
me of so many records I’ve heard over the years. Eddie Chamblee on Sonny
Thompson’s “Long Gone”, Red Prysock and Rufus Gore on Tiny Bradshaw’s
“Soft”, Eddie ‘Lockjaw’ Davis on “Leapin’ On Lennox”. Davis also recorded
with Fats Navarro and other boppers. And so many additional tenor
saxophonists – Maxwell Davis, Lynn Hope, Tom Archia, Fats Noel, Morris Lane,
who can be heard with Lionel Hampton’s band and on some early bop records,
Charlie Ferguson. and Bull Moose Jackson.
As well as coming up with material for a nostalgic trip, Tad Richards offers
an informed guide to the music he discusses. His book is well documented and
has a useful discography. It should appeal to those, like myself, who are
familiar with the music, but also to those who want to know more about it.