There is no information available.
This text has been generated by computer from the image and may contain typographical and/or grammatical errors.
(Continued from overleaf)
to get along with the piano player. And I found it was just the opposite. 1 told him about it 1 even told him who it was, but I wonât say here. But it was so ridiculous.
Vrmitt: We toured with Thelonious in the States- and honestly, some nights he played
the most beautiful blues. The simplest,
\> itherspoon: 'i ou should have heard Stan last night. He was playing some things you donât hear from no young piano player. Baldr>: Iâm not all that familiar with big bands at all. I think Iâll have to let this one escape. Is it Quincy Jones? No? Fair enough.
Tomkins: Well, in fact, it was Stan on piano. Witherspoon: Youâre kidding! Ha. ha, ha! Hooray! Put it there. That was beautiful.
Tomkins: And that was a big band, in
which the drummer, leader of the band, and also the writer of that composition, was the man who is playing drums for you in the club.
Witherspoon: Oh, yesâTony. Well, that goes to show youâwhat I said about Stan wasnât wrong, either. But when I call him Monk I donât mean it in a derogatory way. In other words, he and Iâwe got something going. And heâs enough of himself. He donât play like Monk to me. The only possible similarity is in his way of thinking.
âEvery Time I Get To Drinkinâ " Sunnyland Slim âvocal. Little Brother Montgomeryâpiano (with Corky Robertsonâbass. Jump Jackson drums).
From âChicago Blues Session", Seventy-Seven.
Baldry: Sunnyland Slim? I think itâs him. I donât know this track, though. Where does this come from?
Tomkins: It was a special blues recording project in Chicago.
Baldry: Oh, I remember hearing about this. It was recorded in a garage, this. one. Apparently, Ransome Knowling gathered about a thousand blues singers together there.
Witherspoon: Oh, thatâs right. Yes, Iâve heard this before. . .
Armitt: That sounds to me like a British jazz club piano. I donât mean the playing.
1 mean the standard of the pianoâitâs so out of tune.
Witherspoon: Guys like this have got a genius in this way: they can sing lyrics as they go. Which I canât do. Joe Turner can do that. Heâll work a band to death. He can sing for two hours and never sing the same lyric twice. Itâs amazing what he can do. That was recorded bad, But I liked the singing on that.
Baldry: It was nice phrasing he got. Its funny that he and Memphis are both called Slimâ, and their phrasing is so similar. Armitt: I enjoyed it, but I canât understand why they recorded it on that piano. Witherspoon: Itâs the same with some of these club owners. I mean, what does it cost to get a piano tuned? Theyâll come and pay "big money for an artist, but they wonât spend five or ten dollars on tuning the piano.
Charlie Mingus Group
(Jackie McLean, John Handy altos, Booker Ervinâtenor. Pepper Adams baritone, Jimmy Knepper, Willie Dennis trombones, Horace Parian âpiano, Charlie Mingusâpiano, Danny Richmondâdrums).
Composed by Charlie Mingus.
From âBlues And Roots ,
Witherspoon: I know a lot of people who wish they could sing like heâs playing bass. I donât know who it isâbut I sure like it. Heâs not no modern young bass player ^ Iâll tell you that. Whoever he isâhe s been playing a long time.
Armitt: I think itâs Charlie Mingus. I mav be well out, but Iâll .stick with that. Witherspoon: Whose band is that. They re having fun, whoever they are.
Baldry: Sounds like a touch of the Mingus to me.
Tomkins: Yes, it ts Mingus.
Witherspoon: I knew Mingus when he
started. You know who he started playing with? Out at Low Harlem in Los Angeles âT-Bone Walker. I could tell that whoever it was had been around. Sure was
most famous name on drums
J. & I. ARBITER LTD.
16 Gerrard Street, London W.I.
STRING BASSES DRUMS
and their accessories
Simandl Method Parts I & 2 each 29/-Simandl 30 Studies 15/-
Langey (Adolf Lotter) 17/6
Berklee Method 21/-
Ray Brown Method 42/-
Bob Haggart Method 15/-
Trigger Alpertâs âWalking Bassâ 18/9 postage I/- each
CHAS. E. FOOTE LTD.
20 Denman St., W.I GERI8II
'FFoitc s It!
goodâ1 dug it. Mingus can play good.
I know he gets out on some of these wild things, but he can play any way he chooses. Armitt: Yes, heâs a marvellous bass player. As well as his playing, it was the sound of the band that made me think it was Mingus. The stuff Iâve heard that his band does is always Ellingtomsh. Theres an Ellington sort of sound about it. He might try to avoid itâIâve got a feeling he doesâbut he canât help it. The writing is there. And I canât knock him for admiring Ellington.
Baldry: I like a lot of Mingus. Some of it is a little outrageous, but I like it, for all that.
ââCripple Crapple Crutchâ
Dizzy Gillespieâtrumpet and vocal (with Hubert Folâalto, Don Byas --tenor. Bill Tamperâtrombone, Raymond Folâpiano, Pierre Miche-lotâbass, Pierre Lemarchandâ drums).
Witherspoon: Dizzy Gillespie. Thatâs my man. He calls me his band singer. Every time I walk in a club where heâs working: âAnd now, ladies and gentlemen, our band singerâJimmy Witherspoonâ. This is my trumpet player, tooâmy favourite. If I could sing the blues like Diz, Iâd be all right. Iâll tell you whatâheâs better than a lot of blues singers Iâve heard. Believe me. The lyrics are funny, but Dizâwhat can you say? Heâs the greatest everything in the businessâtrumpet player, business man, entertainerâand still he keeps his standing and his integrity at all times. Thereâs so many trumpet players you hear today, and they all sound alike. But no one has ever been able to sound like Diz. Same thing with Birdâyou know, nobody. Thatâs all. Theyâre the masters.
Trade Counter Series
EIGHTY-NINE years of service to the retail music dealer is the proud claim of the house of Dallasâfounded 1875. Indeed, service is the keynote of the whole organisation and the reason for its success and position as one of the largest and most well-known distributors of musical merchandise.
Dallas trading is worldwide. They sell to, and import from, nearly every country in the worldâincluding the USA, USSR, Canada, Australia, New Zealand, Italy, France, Germany, Japan and the Far East. Czechoslovakia, Spain.
Music has no frontiers to the house of Dallas. Executives regularly travel to and receive representatives from both sides of the Iron Curtain.
The house of Dallas have always been to the fore in pioneering new sound and new instruments. The factory at Bexley-heath in Kent is working to capacity producing the most modern percussion equip-fent, including the world-famous Carlton orchestral and Gaelic pipe band drums. Another factory in Willesden, North London,
IS THE SLOGAN
produces the very latest type of amplifiers and the other electronic equipment which forms such a large part of today's musical scene.
Clifton Street, the London Headquarters, which houses the central offices, showrooms and warehouses, has always been a centre for visiting musicians as diverse in character as Joe Brown and his Bruvvers and the World Pipe Band Champions.
From the large and comprehensive stock which is always maintained, parts such as
violin bridges, strings, stands, mutes and other small accessories are despatched to meet the requirements of musicians of all styles and schools.
The education of the present and future generations is not overlooked. Dallas actively support the educational activities of the Trade Association. Dallas also carry a very wide range of tutors for all instrumentsâall available to promote the sale and skilful use of top quality instruments of all types supplied by Dallas to the music trade and known throughout the world.
Service-with-a-smile may be regarded as old-hat elsewhere: at Dallas theyâre happy with the slogan.
L-R: cymbal spinning; stamping out hi- 7
hat footplates; an operator controlling the i
machine that turns out several guitar necks 1
simultaneously from a matrix; Crescendo 1
Editor Tony Brown (L) examines an inst- "
ment on a visit to the Dallas factory. i
Right: Dallas Board of Directors (L-R) Mr. G. S. Lee (Chairman), Mr. W. V. Franks, Mr. L. Miller, Mr. H. A. Cheetham, Mr. J. E. McKoen (Managing Director). Bottom: General view of the Dallas woodmill (L) and the engineering shop (R).
Every effort has been made to trace copyright holders, obtain permission from them and to ensure that all credits are correct. The National Jazz Archive has acted in good faith at all times and on the best information available to us at the time of publication. We apologise for any inadvertent omissions, which will be be corrected as soon as possible if notification is given to us in writing.
In the event you are the owner of the copyright in any of the material on this website and do not consent to the use of your material in accordance with the terms of conditions of use of this website, please contact us at firstname.lastname@example.org and we will withdraw your material from our website forthwith on receipt of your contact details, written objection and proof of ownership.