George Handy's "Pensive" (originally "By George&quo

[Larry Kart]

Just picked this up on Fresh Sound -- it was made for Label "X" in 1955, after "Handyland U.S. A." with Dick Sherman, David Schildkraut, Frank Rehak and others. First time through, I found it intriguing yet also a bit confusing/unsatisfying; the fairly consistent ensemble emphasis on flute/oboe/violin (Gene Orloff) lines seemed a bit arty-pretentious at times, as though those classical-associated textures were there as much because they were felt by Handy to be classy as for other reasons. (Echoes of Alec Wilder?) Also, while those passages are handsomely played for the most part, on the final track, "Knobby Knees," either oboist Tommy Mack is out of tune or his lines are so awkwardly placed harmonically in relation to the rest of the ensemble that it sounds like he's out of tune. On the other hand, I feel as though increased familiarity with this music (it's very dense) may leave me squarely in the camp of latter-day Handy and his "tone poems" (so they are called). Also, this is an essential disc for Schildkraut admirers. Anyone who thinks of him merely as a very successful Bird emulator will have to abandon that view, I think; Schildkraut's lightning-quick sensitivity to the in's and out's of Handy's writing is amazing, like ESP -- at times, if you find Handy rather "bitty" or precious at times, it's like Schildkraut's responses to Handy's writing are pulling the whole affair over toward where it should have been in the first place, coalescing what may or may not be somewhat wayward gestures on Handy's part into honed, pointed statements. Sherman and Rehak are in fine form too.

Sound quality -- this is no doubt dubbed from an LP -- is not ideal (congested textures in the mid range, and this is again dense stuff to begin with), but I could alter things pretty successfully with tone controls.

[Larry Kart]

P.S. Does anyone recall or have access to the Down Beat review of "By George"? As I recall, "Handyland U.S.A." got five stars, but "By George" was kicked in the shins.

[AllenLowe]

Davey was telling me once about the stereotypes people hold about jazz musicians. and said that about ten years after these sessions he ran into Handy on the subway. Handy said to him, "Dave, are you still on the junk?" Davey never took a drug in his life but figured there was nothing he could do so he just answered "no" -

thanks, Larry, for posting about this - on top of everything else, Dave had the most personal sense of rhythm of any player I ever heard. he told me that he always tried to think a few measures ahead in the tune, and that this was something Bird had taught him. I think this accounts in part for how "off" but right his playing sounds -

[ghost of miles]

Larry, I'll see if I can run down that review over at the IU School of Music--they have bound Downbeats going back to the 1940s at least. (Any idea of a date? If not, I might be able to check with Jazz Institut...)Thanks for the tip on the CD, as I've been a Handy fan ever since hearing "The Bloos" on THE JAZZ SCENE and encountering more of his work on the Boyd Raeburn Hep CDs.

Great story btw, Allen.

[Fer Urbina]

Review by Nat Hentoff in Downbeat (1956 - don't have the exact date, got it from the 1956 DB record review book).

By George is a rather disappointing successor to the talented Mr Handy's ealier, simpler but more emotionally direct Handyland, USA. This is, with some exceptions, the group that played Birdland this past summer and received warm praise from Leonard Feather. I don't hear it that way. These are programmatic tone poems, slight and charming, but all pretty much of the same post-Alec Wilderish cloth, and the cloth wears thin pretty easily. The writing, mildly intricate and tenderly voiced, has very little to say beyond its surface arranging of pleasant colors and lines. I get no feeling that Handy has anything vital to express here. There are some good lyrical moments, but nothing to indicate that this, in the words of the notes, "will become a standard in Modern American jazz."

The musicians (...) all play excellently (...) There are occasional blowing spaces usually filled - warmly and well - by Schildkraut, Sherman, Byers, and Rehak (which is why the third star) (...) George has considerable ability. I hope he doesn't turn much more of it into polite miniatures like these.

Hentoff gave it three stars (Handyland, USA got five).

F

PS Typo edited.

Edited April 30, 2007 by Fer Urbina

[AllenLowe]

and note that Hentoff, in his infinite wisdom, takes no special notice of Schildkraut's extraordinary performance -

[Fer Urbina]

and note that Hentoff, in his infinite wisdom, takes no special notice of Schildkraut's extraordinary performance -

Where he really cracks the whip is in Coleman Hawkins' The Hawk In Paris I can't recall whether this LP is as lame as it seems, but he starts saying

The Hawk In Paris is in its backgrounds an embarrassing farce. Even if reviewed under packaged goods, this set wouldn't make it on any musical grounds except for the indomitable soloist... [A&R man Jack] Lewis is wasting time and energy in all musical absurdities like this. This is such a waste of talent

One and 1/2 stars.

That said, there were around 400 record reviews in Downbeat in 1956. The book says "all records not initialled by Jack Tracy or Ralph J. Gleason are reviewed by Nat Hentoff". So I guess he did the lion's share of those reviews.

Somebody had to, I guess

F

[Chas]

.....the fairly consistent ensemble emphasis on flute/oboe/violin (Gene Orloff) lines seemed a bit arty-pretentious at times, as though those classical-associated textures were there as much because they were felt by Handy to be classy as for other reasons. (Echoes of Alec Wilder?)....

It has been too many years since I heard this music to either agree or disagree with this assessment , but your description put me in mind of those Alec Wilder miniatures recorded by George Russell for MGM . Those Russell octets used similar instrumentation as I recall . Are they afflicted with the same "preciosity " ( to use one of John S. Wilson's favorite terms of derision ) ?

Don't think this has appeared on CD .

[AllenLowe]

I like the Wilder Octets - clever and musically interesting -

[Larry Kart]

I know some of Wilder's chamber music for winds but had no idea that George Russell had recorded this MGM album. Curiouser and curiouser, because I think Wilder 's music would strike Russell as fairly bland. Maybe it was just a gig for him, or maybe Wilder's credentials among jazz "progressives" at that time was much I higher than I would have thought. Personally, I rate Wilder's better pop songs much higher than I do these instrumental pieces.

[Stereojack]

It has been too many years since I heard this music to either agree or disagree with this assessment , but your description put me in mind of those Alec Wilder miniatures recorded by George Russell for MGM . Those Russell octets used similar instrumentation as I recall . Are they afflicted with the same "preciosity " ( to use one of John S. Wilson's favorite terms of derision ) ?

Don't think this has appeared on CD .

This is not the same George Russell. This "George Russell" is actually a pseudonym for MGM artist/A&R man Leroy Holmes.

I owned this LP years ago, and I seem to recall that these renditions are very close to Wilder's original recordings, mostly done in the 1940's.

[Larry Kart]

Thanks to Fer Urbina for posting that DB review of "By George." Amazing the things you can selectively remember from 52 years ago. Makes me understand how it's possible to, say, memorize the Koran.

[Chas]

This is not the same George Russell. This "George Russell" is actually a pseudonym for MGM artist/A&R man Leroy Holmes.

Thanks for clearing that up Jack ; I had wondered about that !

I like the Wilder Octets - clever and musically interesting -

I agree that those original Wilder octets are pretty interesting , calling to mind the similar proto-Third Stream work of contemporaries Raymond Scott and Lyle Murphy . I don't recall Handy's writing being as interesting , however Larry's mention of Wilder in connection with Handy has me wanting to revisit his music .

[Larry Kart]

The place to begin with Handy is his writing for Boyd Raeburn, e.g. "Tonsillectomy," "Dalvatore Sally," and "Forgetful."

[sgcim]

I just heard this last night, and was astounded by Schildkraut's playing on the whole LP. I had heard him on other records, and even ran into him once when we were playing wedding gigs in different rooms in Brooklyn, but I had no idea he could play like that. 

I like Handy, but the use of violin, flute and oboe with the trumpet and two saxes didn't knock me out. Schildkraut brought that record to a much higher level.