BFT58 bonus disc answers

[The Magnificent Goldberg]

SING ALONG WITH THE MAGNIFICENT GOLDBERG

Back in the early seventies, I had a little exchange of correspondence with Charlie Gillette, then a DJ on Radio London., in which he said that he was more interested in the way vocals interacted with music, than with instrumental music. I didn’t get it. But as I got more interested in a wider variety of music, I began to see what he was on about. And that’s the theme of this disc.

Well, we start out with a few things that are really for fun.

1 Gal with a whole lotta loot (alt) – Joe Liggins & his Honeydrippers. From “The honeydripper” – Night Train International 7031. Original take issued on Exclusive 1458. Joe Liggins (p, voc), with probably, Little Willie Jackson (as, bars), James Jackson (ts), Gene Phillips (g), Red Callender (b), “Peppy” Prince (d). LA 1948.

Liggins worked in Territory bands in Oklahoma, San Diego and LA in the thirties and formed his own band in 1944. The Honeydrippers became one of the most important R&B bands of the forties/early fifties. So it was pretty surprising to me to hear this adaptation of “Ornithology”. I reckon Bird was a lot more popular in the black community than he’s given credit for. Intriguing, I call it.

2 Whiskey soda – Bembeya Jazz National. Syliphone 45 SYL566. Taken from “Authenticite ’73: Parade Africaine” – Syliphone SLP CD 39 (also available on recent Sterns 2 CD set). Aboubacar Demba Camara (voc), with probably, Mohamed Kaba (tp, tbn), Sekou Camara (tpt), ? Traore (ts), Sekou Bembeya Diabate (g), “Vieux” (rhy g), Siaka (tumbas), Hamidou Diaoune (b, leader), Mory Conde (d) plus others too difficult to identify. Conakry, Rep of Guinea, before March 1973.

You don’t need to speak Mandinke to understand everything you need to about this recording! Just goes to show that not all of Bembeya Jazz National’s recordings were made to further the agenda of Sekou Toure’s government. This was one of the last recordings the band made before Aboubacar Demba Camara was killed in a traffic accident in Dakar, Senegal, in March 1973.

3 47th Street jive - Andy Kirk & his 12 Clouds of Joy. Andy Kirk and his (Twelve) Clouds of Joy : Clarence Trice, Harold Baker, Harry Lawson (tp) Ted Donnelly (tb) Henry Wells (tb,vcl) John Harrington (cl,as,bar) Earl Miller (cl,as) Dick Wilson, Edward Inge (cl, ts) Mary Lou Williams (p,arr) Floyd Smith (g,el-g) Booker Collins (b) Ben Thigpen (d) June Richmond

(vcl) Andy Kirk (dir). New York, 17 July 1941.

Another real fun recording. Sounds to me like the jive between June Richmond and Henry Wells is loaded with Bebop rhythms, though the song itself is straight forties swing.

And now a few that feel like ballads, though none of them are.

4 Basin Street blues – Cab Calloway. From “The scat song”, Quadromania 222415-444. Cab Calloway (voc, dir), Edwin Swayzee, Lammar Wright, Reuben Reeves (tp), DePriest Wheeler, Harry White (tb), Arville Harris (cl, as), Andrew Brown (bcl, ts), Walter “Foots” Thomas (fl, as, ts, bars), Bennie Payne (p), Morris White (bjo), Jimmy Smith (bb, sb), Leroy Maxey (d). NYC 9 July 1931.

Cab doesn’t do an awful lot of singing in this one, but it’s a long way from what he’s best known for – proto R&B numbers like “Minnie the Moocher”. I love the sound and feel of this number. I reckon this band is severely under-rated.

5 Without you baby – Una Mae Carlisle. From “1944”, Harlequin HQ CD 19. Originally recorded by Beacon. Una Mae Carlisle (voc, p), Ray Nance (tp), Budd Johnson (ts), Snags Allen (g), Basie Robinson (b), Shadow Wilson (d), NYC, 23 May 1944.

Una Mae has possibly the most bedroom-y voice ever! But she can sing and play. She was Fats Waller’s girl friend (lucky man!) and there’s more than a bit of Waller influence there. Every so often, I remember that there are superb solos from Ray and Budd on this, too.

6 Night and day (I miss you so) – Roy Milton. From “Roy Milton” Specialty SPCD7004. Originally issued on Specialty 438. Personnel not documented but probably – Roy Milton (voc, d), Charles Gillum (tp), Jackie Kelso (as), Eddie Taylor (ts), Camille Howard (p), Johnny Rogers (g), Bill Hadnott (b). Chicago, June or July 1952.

Like Joe Liggins, Roy’s band was one of the top R&B units on the West Coast in the forties; another band made up mostly of people who’d worked in the black Territory Bands. Much of Roy’s material was in the jump vein, similar to Liggins’ but this is a blues ballad that made #5 on the R&B charts in 1952. I adore that tenor solo!

And some stuff that might be the blues. And some that IS.

7 I’ve got the blues – Milt Jackson. From “Soul believer – Pablo 2310 832 (OJCCD 686). Milt Jackson (vib, voc), Plas Johnson (ts), Cedar Walton (p), Denis Budimir (g), Ray Brown (b), Billy Higgins (d). LA, 20 January, 18 & 19 September 1978.

I love Milt Jackson’s singing. That’s why this is in there. Nuff sed. Well, I also love Plas Johnson’s playing.

8 Tawhid- Thierno Koite. From “Ubbite”, JFC CD013 (France). Madior Diouf (voc), Thierno Koite (sops), Ibou Konate (tp), Zale Thiandoum (kbds), Vieux Koita (balafon), Cheikhna N’Diaye (g), Baboulaye Cissokho (kora), Lamine Faye (b, engineer), Mountaga Koite, Moussa Cissokho (perc). Dakar, Senegal, 2005.

Thierno is the top sax player in Senegal; records with just about everyone. This was his second album as a leader and the personnel is largely made up of session musicians, like him. “Tawhid” is Peul for “peace” and this is very much an anti-war song. Diouf sings in a pretty clear Peul style. And Thierno’s obbligato really fits so well. The drum machine bits are, obviously, intended to simulate machine gun fire. (I see you can get this from CD Baby.)

9 Layin’ my rules in blues – Cousin Joe. From “Complete recordings 1945-1955”, Night Train International CD3001. Originally recorded for King Jazz but eventually issued on Storyville LP141. Cousin Joe (listed as “Pleasant Joe”) (voc) with the Mezzrow-Bechet Septet: Hot Lips Page (tp), Mezz Mezzrow (cl), Sdney Bechet (sops), Sammy Price (p), Danny Barker (g), Pops foster (b), Sid Catlett (d). NYC 30 or 31 July 1945.

Cousin Joe is a kind of legendary figure in New Orleans music. His songs keep on turning up here and there in Nawlins R&B and that stimulated my curiosity about him. He was born in 1907 in rural Louisiana but his childhood was spent moving between the country and New Orleans. By the age of 12, he’d had it with the country – the work was too hard - and managed to get back to New Orleans. He learned ukulele, graduating to guitar by 1931. Worked in New Orleans jazz scene with many well known jazz bands, as well as a number of his own, but didn’t record until 1945, when he started a career as a blues singer.

I really like the contrast between Joe’s very country blues singing style and the sophisticated city jazz of the musicians working with him, most of whom were, of course, old mates of his. Despite the rural nature of his singing, Joe was an urban adventurer at heart; a snappy dresser, he even dyed his shoes the precise colour of his outfits!

More follows

MG

[The Magnificent Goldberg]

10 Lotus blossom – Julia Lee. From “Snatch & grab it: The essential Julia Lee” Indigo IGOCD2514. Originally recorded by Premier. Julia Lee (voc, p), Clarence Davis (tp), Tommy Douglas (cl, as), Freddie Gulliver &Harry Ferguson (ts), Efferge Ware (g), Ben curtis (b), Sam “Baby” Lovett (d). Kansas City, Summer 1945.

Loads of people (most recently Irene Reid) have recorded this song, before and after Julia. But to me this version captures the whole scene and the way it felt. And Clarence Davis’ obbligato and Tommy Douglas’ alto solo are no small points in creating the feeling. Douglas was Charlie Parker’s mentor in the Jay McShann band. Did Bird pick up some stuff from Douglas? Quite likely, I’d say.

On to the groove section.

11 Ooh poo pah doo, pt 2 – Jessie Hill. 45 Minit 607. New Orleans, 1960. Looking for an image of the 45, I stumbled on this blog entry about it.

http://redkelly.blogspot.com/2005/11/jessi...-doo-pt-ii.html

It gives the personnel as Jessie Hill (voc), David Lastie (ts), Alan Toussaint (p), Alvin Robinson (g), Richard Payne (b), John Boudreaux (d). So I was wrong about the sax being Lee Allen.

Here’s a different New Orleans groove, just to prove the Meters didn’t start the funk thing down there. This is the instrumental B side. The A side became a classic R&B/Soul number, performed by everyone in the early sixties – Ike & Tina, Rufus Thomas – the list goes on a long way (The Rolling Stones wouldn’t do it, no matter how many times we asked – Jagger was afraid of hurting his throat.). Strangely, it was the instrumental B side that became the hit, making #3 on the R&B chart. All Jesse has to do on this side is shout a lot – and he does that rather well, I think.

12 Demembalou – Les Amazones de Guinee. From “Wamato” Sterns STCD1106. Aminata Kamissoko (lead voc) with Les Amazones de Guinee: Commandant Salematou Diallo (b, leader), Commandant Djenabou Bah (ts), Capitaine Elisabeth Camara (cga), Capitaine Mato Camara (timbales), Lieutenants M’Mah Sylla & Fatoumata N’Gady Keita (voc), Daloba Keita (voc), Yaya Kouyate (lead g), N’Sira Tounkara (rh g), Mariama camara (as), Mamade Cisse (d). Additional participants (male) – Karin Coulibaly (perc), Adama Diarra (djembe), Fode Kouyate (d), Franmady Conde (g), Sekou Kante “Georges” (g, arr). Bamako, Mali, 2007.

Les Amazones was an all-woman army band, formed in the early sixties, in Guinea. As with the other leading big bands from that period, all (except the leader, who appears to be Peul) are Mandinke. Like the other Mandinke big bands, they play a traditional music, updated by influences from Jazz, R&B & Latin American music. And it swings! The lead vocal is taken by a guest, the great Aminata Kamissoko (aka “La Princesse”), and this is her first appearance on CD. This was only their second album in 47 years of existence.

I thought it nice to put the personnel in as given in the sleeve – in order of military rank.

The song is about women’s emancipation, particularly in Africa, to help bring about a more humane world.

13 Menkasen – Tic Tac (real name Nana Kwaku Okyere Duah). From “Wope” TN no number. Ghana (somewhere) 2004. Personnel not listed. All arrangements by Tic Tac, who may have played all the instruments. There may be a sample of a Busta Rhymes string synthesiser passage, but it’s not credited.

This is HipLife music, a combination of US Hip hop and Ghanaian Highlife music. Listening to the few HipLife albums I’ve got so far, it’s amazing how Highlife has been able to borrow from a dozen or more western styles over the past 80 odd years and yet retain its own identity.

Tic Tac travelled to Britain to give evidence at the trial of one of his friends, who was eventually found not guilty. This song is about that incident. The groove is incredible!

Finally a more passionate section.

14 If you could see me now – Gene Russell. From “Talk to my lady” Black Jazz BJQD10. Gene Russell (narration, p).Los Angeles 1973.

Gene Russell was the founder of Black Jazz records. What I always find interesting about this is that Gene saw a need for a forward-looking record company although he himself was not a forward-looking pianist in any way – most of his albums are pretty conventional Soul Jazz, rather in the Les McCann vein.

This track is very different though. Some might think the idea of speaking the words over one’s own piano accompaniment is extraordinarily naff. In a way, it is. But I find the way he does this is extremely touching – and further, insists on the real meaning of the song.

(No image of this LP on the web)

15 Poor pilgrim of sorrow – Donald Vails Choraleers. From “In deep water” Savoy 14421. Donald Vails (p, dir), Delores Taylor (solo voc). Other personnel not listed. Detroit, 1976.

There’s a long tradition of coloratura sopranos in Gospel music, but they don’t seem to be recorded much; I sometimes wonder if this is because they don’t sing in an overtly “black” manner or if it’s just not popular in the South, where most o the best choirs are. Still, Vails’ choir, among others in the North, tends to bring them forward and Delores is an expert at melding the coloratura role with the soul preaching role. The result, to me anyway, is emotionally overwhelming!

Oh, and the groove here is the James Brown groove, but gospel musicians did not, I think, borrow it from Brown – rather the other way round.

16 Senanapo – Linda Kekana. From “I am an African” Gallo Jazz CDGURB035. Linda Kekana (lead & backing voc), Sello Manyaka (as), Andile Yenyana (p), Fana Zulu (b), Isaac “Mnca” Mtshali (d), Peter Masilela (perc). Johannesburg, South Africa, c 2002.

This is a new song, based on a traditional legend about a king’s daughter who had wealth, beauty and brains. Jealous friends took her out into the veld and caused her to jump into a fire, where she burned and died. They took her bones and tried to feed them to the dog, which refused and ratted on them, by singing this song.

The way Linda’s voice and Sello’s alto meld on this is just spine tingling. Sello has since joined the African Jazz Pioneers. I think he is a bit of a discovery and bears watching.

17 Born again human – B B King. From “There must be a better world somewhere” MCA 5162 (reissued on BGO (UK) BGOCD124 – with the sides reversed). B B King (voc, lead g), Waymon Reed, Charlie Miller (tp), Tom Malone (tb), Hank Crawford (as, arr), David Newman (ts), Ronnie Cuber (bars), Dr John (kbds), Hugh McCracken (rh g), Wilbur Bascomb (b), Bernard Purdie (d). NYC, c1981.

I just think this is an incredible piece of music – that’s why it’s in here. I don’t think it’s my imagination, or my very real enthusiasm for Hank and Fathead, that inclines me to believe that it was their solos that inspired B B King to such an impassioned vocal.

18 Jodida pero contenta – Buika. From “Mi Nina Lola” DRO Atlantic 0825646327454. Concha Buika (voc), Jerry Gonzalez (tp), Jose Reinoso (p), Nino Josele (g flamenco), Alain Perez (bajo), Horacio “El Negro” Hernandez (d), Ramon Porrina (perc), Pere Bardagi & Manuel Martinez (cuerdas). Madrid, 2006.

I hardly know what to say about Concha Buika. But, if you think this whole disc had been thought up to give me an excuse to put one of her tracks at the end, you’d be wrong, though not entirely.

MG

[Hot Ptah]

Thanks for these answers! I have been playing this disc often for sheer enjoyment, and it is good to connect names and song titles to the material. It is a super fun disc!

[The Magnificent Goldberg]

I was really surprised to find that very interesting blog about Jessie Hill.

Surprised you didn't get the Julia Lee & the local heroes. Tought that would be a shoo-in for you.

MG

[Hot Ptah]

I was really surprised to find that very interesting blog about Jessie Hill.

Surprised you didn't get the Julia Lee & the local heroes. Tought that would be a shoo-in for you.

MG

That's part of the fun of the Blindfold Test, that the listener does not recognize musicians or guesses the wrong musician. I should have picked out Julia Lee, though.