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Peanuts Hucko


jgthomas

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Opening up this thread for a Peanuts Hucko discussion. I have the following

recordings with him:

Bud Freeman - Chicago/Austin High School Jazz in Hi-Fi

Louis Armstrong and the All-Stars - I Love Jazz!

Peanuts Hucko with Alex Welsh and his band - Peanuts Hucko Vol. 1

Eddie Condon - Treasury of Jazz

Where do I go from here, any recommendations for favorite recordings?

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Opening up this thread for a Peanuts Hucko discussion. I have the following

recordings with him:

Bud Freeman - Chicago/Austin High School Jazz in Hi-Fi

Louis Armstrong and the All-Stars - I Love Jazz!

Peanuts Hucko with Alex Welsh and his band - Peanuts Hucko Vol. 1

Eddie Condon - Treasury of Jazz

Where do I go from here, any recommendations for favorite recordings?

I can't claim to know Peanuts' work in any kind of detail, but the sides that spring to my mind are the French sides that he, Mel Powell, Bernie Privin, Carmen Mastern, and Ray McKinley (all members of the Glenn Miller Orchestra at the time) made in Paris beginning in January of 1945, shortly after liberation. Peanuts plays well on these sides on both clarinet and tenor sax; it's always a pleasure to hear Mel Powell; and Django drops by to add his special luster to four titles. Because these sides have historical significance I've always valued them highly, perhaps more highly than they deserve judged strictly as jazz.

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Guest youmustbe

I used to book Peanuts in the 90's. Everybody told me he was a prick. I don't know, he was ok by me.

In 96 or so I had him in Vienna, at a Glenn Miller Tribute, at the Jazz Festival, Business Class, Air Austria, suite at the Hilton playing in the big hall. Told me he had never gotten a standing ovation like that in his life.

BTW He told me, I don't know if it's true, but he said that Glenn had a heart attack and died while fucking a hooker. They made up the story about the plane. That's why it was never found. If true, good for Glenn!

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I can't claim to know Peanuts' work in any kind of detail, but the sides that spring to my mind are the French sides that he, Mel Powell, Bernie Privin, Carmen Mastern, and Ray McKinley (all members of the Glenn Miller Orchestra at the time) made in Paris beginning in January of 1945, shortly after liberation. Peanuts plays well on these sides on both clarinet and tenor sax; it's always a pleasure to hear Mel Powell; and Django drops by to add his special luster to four titles. Because these sides have historical significance I've always valued them highly, perhaps more highly than they deserve judged strictly as jazz.

Yes, weren't these made under the name Uptown Hall Quartet & Sextet? Some of them show up on the MISSING CHAPTERS Glenn Miller series, but I'd love to find a CD that groups them all together.

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