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Tag Archives: Spiegle Willcox
Posted on January 6, 2021 | 3 comments
Billy, at work / at play, at one of Joe Boughton's Conneaut Lake jazz weekends.
When I was compiling yesterday's post — a conversation with Billy Butterfield's family that revealed him to be a sweet-natured, generous man who loved being with them — read it here — I also returned to the music he made, and there's a proliferation of it on YouTube, showing Billy in many contexts. (Trust me: this post will not be silent . . . )
I knew about the breadth of Billy's working career — more than forty years of touring with big bands, small jam-session groups, concerts here and overseas, radio and studio work, club dates and gigs a-plenty — which pointed me to Tom Lord's discography.
Recordings are only a slice of a musician's career, a narrow reflection of what (s)he may have created, but in Billy's case, the list of people he recorded with is astonishing in its breadth: it says so much about his professionalism and versatility, and the respect his peers afforded him.
For my own pleasure and I hope yours, here is a seriously edited list — in alphabetical order — of some of the people Billy recorded with . . . many surprises. I did get carried away, but it was impossible to stop.
Louis Armstrong, Georgie Auld, Mildred Bailey, Pearl Bailey, Tallulah Bankhead, George Barnes, Andy Bartha, Tony Bennett, Eddie Bert, Johnny Blowers, Will Bradley, Ruby Braff, Lawrence Brown, Oscar Brown, Jr., Kenny Burrell, Connie Boswell, Dave Bowman, Les Brown, Vernon Brown, John Bunch, Ernie Caceres, Nick Caiazza, Una Mae Carlisle, Dick Cary, Sidney Catlett, Charlie Christian, Buck Clayton, Al Cohn, Cozy Cole, Eddie Condon, Ray Conniff, Jimmy Crawford, Bing Crosby, Bob Crosby, Cutty Cutshall, Delta Rhythm Boys, John Dengler, Vic Dickenson, Tommy Dorsey, Buzzy Drootin, Dutch College Swing Band, Billy Eckstine, Gil Evans, Nick Fatool, Irving Fazola, Morey Feld, Ella Fitzgerald, Helen Forrest, Bud Freeman, Barry Gailbraith, Erroll Garner, Stan Getz, Dizzy Gillespie, Benny Goodman, Brad Gowans, Teddy Grace, Freddie Green, Urbie Green, Tyree Glenn, Henry Grimes, Johnny Guarnieri, Bobby Hackett, Bob Haggart, Al Hall, Edmond Hall, Sir Roland Hanna, Coleman Hawkins, Neal Hefti, J.C. Higginbotham, Milt Hinton, Billie Holiday, Peanuts Hucko, Eddie Hubble, Dick Hyman, Chubby Jackson, Harry James, Jack Jenney, Jerry Jerome, Taft Jordan, Gus Johnson, Osie Johnson, Hank Jones, Jo Jones, Roger Kellaway, Kenny Kersey, Carl Kress, Yank Lawson, Peggy Lee, Cliff Leeman, Jack Lesberg, Abe Lincoln, Jimmy Lytell, Mundell Lowe, Joe Marsala, Carmen Mastren, Matty Matlock, Jimmy Maxwell, Lou McGarity, Red McKenzie, Hal McKusick, Johnny Mercer, Eddie Miller, Miff Mole, Benny Morton, Tony Mottola, Turk Murphy, Hot Lips Page, Walter Page, Oscar Pettiford, Flip Phillips, Mel Powell, Buddy Rich, Max Roach, Jimmy Rushing, Babe Russin, Pee Wee Russell, Doc Severinsen, Charlie Shavers, Artie Shaw, Frank Sinatra, Jess Stacy, Jo Stafford, Kay Starr, Bill Stegmeyer, Lou Stein, Rex Stewart, Joe Sullivan, Maxine Sullivan, Ralph Sutton, Buddy Tate, Jack Teagarden, Claude Thornhill, Martha Tilton, Dave Tough, Sarah Vaughan, Helen Ward, Earle Warren, Dick Wellstood, George Wettling, Paul Whiteman, Margaret Whiting, Bob Wilber, Joe Wilder, Lee Wiley, Roy Williams, Shadow Wilson, Teddy Wilson, Lester Young, Bob Zurke . . .
This list is breathtaking. Sure, some of the associations come from Billy's being a Swing-Era-and-beyond big band star, sparkplug, and valued section player. And some of the associations come from studio work. But the whole list says so much about Billy's marvelous combination of skills: he could play a four-chorus solo that would astonish everyone in the room, but he could also blend in and let other people take the lead.
And these associations speak to a wonderful professionalism: you could be the most luminous player in the firmament, but if you showed up late, were drunk or stoned, didn't have your instrument ready, couldn't sight-read the charts or transpose or take direction, your first studio date would be your last. Clyde and Judi Groves (Billy's son-in-law and daughter) told me that Billy's house in Virginia had that most odd thing, a flat roof over the garage, and it was spectacularly reinforced . . . so that a helicopter could land on it, and I am sure that was to get Billy to a New York City record date quickly. In today's parlance, that's "essential services," no? And it says how much in demand he was for his beautiful sound, his memorable improvisations, and the maturity he brought to his work.
Now, to move from words to music. One of the video-performances I most cherish is from the December 1, 1978, Manassas Jazz Festival, featuring Billy, Spiegle Willcox, trombone; Kenny Davern, clarinet; Spencer Clark, bass saxophone; Dick Wellstood, piano; Marty Grosz, guitar; Van Perry, string bass; Tony Di Nicola, drums. "Fantastic!" says Marty when the second number suggested is SWEET SUE in G. I can't disagree:
Judi also mentioned that Billy had — under duress — essayed a vocal on one of his Capitol sides, that he disliked the result and said that the company was trying to save money. Here's one example, showing his gentle, amused voice . . . with a searing trumpet solo in between the vocal interludes (followed by the instrumental JALOUSIE):
You may decide to skip the next performance because there is an added echo and a debatable transfer — but Billy sings with easy conviction and plays splendidly:
There is a third vocal performance (very charming) of AIN'T MISBEHAVIN' on YouTube, but the owner plays the record on a seriously ancient portable wind-up gramophone that allows very little sound to emerge, so you'll have to find that one on your own.
For a palate-cleanser, a little of the famous Butterfield humor, from my friend Norman Vickers, a retired physician who is one of the founders of Jazz Pensacola in Florida:
My late friend, record producer Gus Statiras, would sometimes handle a tour for the group—Lawson, Haggart, Butterfield – remnants of World's Greatest Jazz Band. There was a practicing physician in Georgia who played piano. He would sponsor the group so he could play piano with them. Of course, they would have preferred a professional pianist, but he doc was paying for the gig. During the event, Haggart said to Butterfield, "How'd you like to have him take out your gall-bladder?" To which Butterfield replied, " Yeah, and I think he's doing it RIGHT NOW!"
To return to music. When I asked the multi-instrumentalist Herb Gardner if I had his permission to post this, he wrote back in minutes, "Fine with me. Those guys were great fun to work with." That says it all.
This brief performance comes, like the one above, from the Manassas Jazz Festival, this time December 3, 1978, where Billy plays alongside Bob Wilber, clarinet, alto, soprano saxophones; Herb Gardner, trombone; John Eaton, piano; Butch Hall, guitar; Dean Keenhold, string bass; Cliff Leeman, drums: SOMEDAY SWEETHEART / STARDUST / a fragment of STOMPIN' AT THE SAVOY — that performance does not exist on this tape although Johnson McRee issued it on an audiocassette of this set / COTTON TAIL / SINGIN' THE BLUES:
Savor that, and help me in my quest to make sure that the great players — the great individuals — are not forgotten. Gratitude to Clyde, Judi, and Pat (the Butterfield family), Norman Vickers, and my enthusiastic readers. And there is more Manassas video featuring Billy, and others, to come . . .
Posted in "Thanks A Million", Bliss!, Generosities, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Billy Butterfield, Bob Haggart, Bob Wilber, Butch Hall, Cliff Leeman, Clyde Groves, Dick Wellstood, Herb Gardner, Jazz Lives, Joe Boughton, John Eaton, Judi Butterfield Groves, Kenny Davern, Manassas Jazz Festival, Marty Grosz, Michael Steinman, Norman Vickers, Pat Butterfield, Spiegle Willcox, Tony Di Nicola, Van Perry
FOUR TROMBONES, FOUR RHYTHM, at the MANASSAS JAZZ FESTIVAL: SPIEGLE WILLCOX, HERB GARDNER, BILL ALLRED, GEORGE MASSO, DICK WELLSTOOD, MARTY GROSZ, VAN PERRY, CLIFF LEEMAN (December 2, 1978)
Posted on September 18, 2020 | 1 comment
The Manassas Jazz Festival, 1969: those names!
The video captures a completely spur-of-the-moment session, arranged at a few minutes' notice by Johnson (Fat Cat) McRee at the Manassas Jazz Festival. The trombonists are Spiegle Willcox, the Elder; George Masso, Herb Gardner, and Bill Allred. Happily, the last two are still with us and Herb is gigging in New England as I write this. The rhythm section is impressive as well: Dick Wellstood, piano; Marty Grosz, guitar; Van Perry, string bass; Cliff Leeman, drums. The repertoire is familiar and not complicated (the better to avoid train wrecks, my dear): JUST A CLOSER WALK WITH THEE / YES, SIR, THAT'S MY BABY / SUMMERTIME / RUNNIN' WILD, and the eight gentlemen navigate it all with style and professionalism:
Some personal reflections: I never met Van Perry or Spiegle Willcox at close range, although I saw and heard Spiegle at one or two Bix-themed concerts performed by the New York Jazz Repertory Company in 1973-4 (alongside Chauncey Morehouse). Herb Gardner stays in my mind in the nicest way because of more history: Sunday-afternoon gigs with Red Balaban at Your Father's Mustache in New York City, where he ably played alongside Bobby Hackett, Doc Cheatham, Kenny Davern, and other luminaries. And Herb graciously gave me his OK to post this. I had the real privilege of meeting and hearing the very humble George Masso in 2012, playing alongside Ron Odrich, when George was 85, and he allowed me to video-record him also: see it here. Bill Allred, also a very kind man, brightened many sets at the Cleveland Classic Jazz Party: you can find some performances including him on JAZZ LIVES: one, from 2015, here.
That rhythm section! As a 19-year old with a concealed cassette recorder, I was too timid to approach either Dick Wellstood or Cliff Leeman for a few words or an autograph, something I regret. But I just saw Marty Grosz this year — March 4th — at his ninetieth birthday party, so perhaps that makes up for the timidities of my youth? I doubt it, but it's a useful if fleeting rationalization.
The music remains, and so do the players. This one's for my dear friends Dick Dreiwitz and Joe McDonough, who know how to make lovely sounds on this instrument.
Tagged "Fat Cat" McRee, Bill Allred, Bix Beiderbecke, Chauncey Morehouse, Cleveland Classic Jazz Party, Cliff Leeman, Dick Dreiwitz, Dick Wellstood, George Masso, Herb Gardner, Jazz Lives, Joe McDonough, Johnson McRee, Manassas Jazz Festival, Marty Grosz, Michael Steinman, Red Balaban, Ron Odrich, Spiegle Willcox, Van Perry, Your Father's Mustache
A NICE ASSORTMENT: BARNEY BIGARD, JOHN LEWIS, SLAM STEWART, BOBBY ROSENGARDEN, CLARK TERRY, EDDIE DANIELS, KAI WINDING, JIMMY MAXWELL, VIC DICKENSON, JOE NEWMAN (July 15, 1977)
Jazz festivals and jazz parties with a proliferation of star soloists sometimes get everyone who's available to take a few choruses on a standard composition, which can result in brilliant interludes or dull displays. The results are not the same as a working jazz ensemble, but they do often create splendid surprises.
Here is a seventeen-minute exploration of the Duke Ellington-Bubber Miley 1932 evergreen that took place at the Grande Parade du Jazz on July 15, 1977, nominally under clarinetist Barney Bigard's leadership, which really translates here as his being the first horn soloist. The others are John Lewis, piano; Slam Stewart, string bass; Bobby Rosengarden, drums; Clark Terry, Jimmy Maxwell, Joe Newman, trumpets; Vic Dickenson, Kai Winding, trombones; Eddie Daniels, tenor saxophone. (To my ears, Daniels seems a visitor from another world.) A "string of solos," yes, but, oh! what solos:
In the summer of 1972, Red Balaban led one of his often-eloquent bands at Your Father's Mustache (once Nick's, now an empty space for rent) with Bobby Hackett as the guest star — and I recall Joe Muranyi, Dick Rath, Chuck Folds, Marquis Foster. Barney Bigard was in the house, and Bobby invited him up (Muranyi graciously sat the set out except for a two-clarinet HONEYSUCKLE ROSE). The bell of Barney's clarinet was perhaps three feet from my face, and his sound — on ROSE ROOM, MOOD INDIGO, and two or three others — was warm and luminous. Yes, he looked exactly like my tenth-grade English teacher, but Mr. Kavanagh had no such glissandos.
There will be more to come from the Nice Jazz Festival. And in case you missed my most recent extravagant offering — ninety-seven minutes of bliss — you can immerse yourself here. MGM (Metro-Goldwyn-Mayer) used to say it had "more stars than there are in heaven," and you will find them in that post: George Barnes, Benny Carter, Bobby Hackett, Illinois Jacquet, Ruby Braff, Wingy Manone, Dick Sudhalter, Spiegle Willcox, Michael Moore, Pee Wee Erwin, Eddie Hubble . . . along with Barney, Vic, and others.
Posted in "Thanks A Million", Bliss!, Generosities, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Pay Attention!, Swing You Cats!, That Was Fun!, The Real Thing, The Things We Love, Wow!
Tagged "It Don't Mean A Thing (If It Ain't Got That Swing)", Barney Bigard, Benny Carter, Bobby Hackett, Bobby Rosengarden, Bubber Miley, Clark terry, Dick Sudhalter, Duke Ellington, Eddie Daniels, Eddie Hubble, George Barnes, Grande Parade du Jazz, Illinois Jacquet, jam session, jazz festival, Jazz Lives, Jimmie Maxwell, Jimmy Maxwell, Joe Newman, John Lewis, Kai Winding, Michael Moore, Michael Steinman, Nice Jazz Festival, Pee Wee Erwin, Ruby Braff, Slam Stewart, Spiegle Willcox, Vic Dickenson, Wingy Manone
MAKING IT SOUND EASY: BILLY BUTTERFIELD
The great jazz trumpet players all — and deservedly so — have their fan clubs (and sometimes Facebook groups): Louis, Bix, Bobby, Bunny and three dozen others. But some musicians, remarkable players, get less attention: Ray Nance, Jimmie Maxwell, Marty Marsala, Emmett Berry, Joe Thomas come to mind.
Then there's the luminous and rarely-praised Billy Butterfield, who navigated a fifty-year career in small hot groups, in big bands, in the studios, and more: lead and jazz soloist for Bob Crosby, Benny Goodman, and Artie Shaw. When Dick Sudhalter asked Bobby Hackett who was the best trumpeter playing now (circa 1971) Bobby named Billy.
Billy at one of the Conneaut Lake Jazz Parties, perhaps early Eighties.
Coincidentally, Professor Salvucci and I have been discussing Billy (in the gaps in our conversations when we focus on the positive) and it is thus wonderful synchronicity to find my friend "Davey Tough" (who has perfect taste) having posted two beautiful examples of Billy's playing on YouTube.
Here's Billy in 1942, with the Les Brown Orchestra, performing SUNDAY:
And in 1955, something I'd never known existed:
and Billy on flugelhorn with the World's Greatest Jazz Band:
My contribution to the great hoard of Butterfieldiana is this video (thanks to kind Joe Shepherd) of a session at the Manassas Jazz Festival, December 1, 1978, with luminaries surrounding Billy: Tony DiNicola, Van Perry, Marty Grosz, Dick Wellstood, Spencer Clark, Kenny Davern, Spiegle Willcox: savor it here.
And one other piece of beautiful evidence:
How many people have memorized that record, or at least danced to it, without knowing who the trumpet soloist — bravura and delicate both — was?
Here is an excerpt from a 1985 interview with Billy, so you can hear his voice.
Wondering why some artists become stars and others do not is always somewhat fruitless. I suspect that Billy played with such elegant power and ease that people took him for granted. Looking at his recording career, it's easy to say, "Oh, he didn't care if he was a leader or a sideman," but he did have his own successful big band (recording for Capitol) and in the mid-Fifties, inconceivable as it seems now, his small band with Nick Caiazza and Cliff Leeman was a hit on college campuses and made records; he also led large groups for RCA Victor.
But I suspect he was just as happy playing LADY BE GOOD with a pick-up group (as he did at the last Eddie Condon's) as he was reading charts for a studio big band or playing beautiful solos on a Buck Clayton Jam Session. I also suspect that he wasn't instantly recognizable to the general audience or even the jazz fans as were his competitors for the spotlight: Hackett, Jonah Jones, Charlie Shavers, Ruby Braff. He didn't have a gimmick, nor did he care to.
And once the big band era ended, other, more extroverted trumpeters got more attention: Harry James, Clark Terry, Doc Severinsen, Dizzy Gillespie, Al Hirt. When I've watched Billy in videos, he seems almost shy: announcing the next song in as few words as possible and then returning to the horn. Unlike Berigan, whom he occasionally resembles, he didn't bring with him the drama of a self-destructive brief life.
Finally, and sadly, because he began with Bob Crosby, was an honored soloist at the Eddie Condon Town Hall concerts, and ended his career with a long glorious run with the World's Greatest Jazz Band (where I saw him) I believe he was typecast as a "Dixieland" musician, which is a pity: he had so much more in him than JAZZ ME BLUES.
Consider this: a duet with Dick Wellstood that bears no resemblance to straw-hat-and-striped-vest music:
Billy should be more than a half-remembered name.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Irreplaceable, It's A Mystery, It's All True, Jazz Titans, Jazz Worth Reading, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged "Dixieland", Al Hirt, Artie Shaw, Benny Goodman, Billy Butterfield, Bix Beiderbecke, Bob Crosby, Bobby Hackett, Buck Clayton Jam Session, Bunny Berigan, Charlie Shavers, Clark terry, Cliff Leeman, Dick Sudhalter, Dick Wellstood, Dizzy Gillespie, Doc Severinsen, Eddie Condon, Emmett Berry, Harry James, Jazz Lives, jazz trumpet, Jimmie Maxwell, Joe Thomas, Jonah Jones, Kenny Davern, Les Brown, Lou McGarity, Louis Armstrong, Marty Grosz, Marty Marsala, Michael Steinman, Nick Caiazza, Ray Nance, Ruby Braff, Spencer Clark, Spiegle Willcox, Tony DiNicola, Van Perry, World's Greatest Jazz Band, Yank Lawson
HOW VERY NICE OF THEM: NINETY-SEVEN MINUTES FROM THE NICE JAZZ FESTIVAL (July 21, 24, 25, 1975) featuring BENNY CARTER, GEORGE BARNES, RUBY BRAFF, MICHAEL MOORE, VINNIE CORRAO, RAY MOSCA // ILLINOIS JACQUET, KENNY DREW, ARVELL SHAW, BOBBY ROSENGARDEN // PEE WEE ERWIN, HERB HALL, EDDIE HUBBLE, ART HODES, PLACIDE ADAMS, MARTY GROSZ, PANAMA FRANCIS // BOBBY HACKETT // DICK SUDHALTER, VIC DICKENSON, BARNEY BIGARD, BOB WILBER, WINGY MANONE, ALAIN BOUCHET, MAXIM SAURY, SPIEGLE WILLCOX, "MOUSTACHE"
Many years ago — in the mid-Seventies — I could buy the few legitimate recordings of music (a series of RCA Victor lps, then Black and Blue issues) performed at the Grande Parade du Jazz, with astonishing assortments of artists.
As I got deeper into the collecting world, friends sent me private audio cassettes they and others had recorded.
Old-fashioned love, or audio cassettes of music from the Grande Parade du Jazz.
A few video performances began to surface on YouTube. In the last year, the Collecting Goddess may have felt I was worthy to share more with you, so a number of videos have come my way. And so I have posted . . . .
music from July 1977 with Benny Carter, Vic Dickenson, Kai Winding, Hank Jones, Slam Stewart, J.C. Heard, Ray Bryant, Milt Hinton, Mel Lewis, and Teddy Wilson here;
a July 1978 interlude with Jimmy Rowles and Sir Roland Hanna at two grand pianos here;
a wondrous Basie tribute from July 1975 with Sweets Edison, Joe Newman, Clark Terry, Vic Dickenson, Zoot Sims, Buddy Tate, Illinois Jacquet, Lockjaw Davis, Earle Warren, Johnny Guarnieri, George Duvivier, Marty Grosz, Ray Mosca, Helen Humes here;
and a delicious session with Benny Carter, George Barnes, Ruby Braff, Vinnie Corrao, Michael Moore, Ray Mosca here.
If you missed any of these postings, I urge you to stop, look, and listen. One sure palliative for the emotional stress we are experiencing.
At this point in our history, Al Jolson is a cultural pariah, so I cannot quote him verbatim, but I will say that you haven't seen anything yet. Here is a compendium from July 21, 24, and 25, 1975, several programs originally broadcast on French television, in total almost one hundred minutes.
Get comfortable!
Benny Carter, Illinois Jacquet, Kenny Drew, Arvell Shaw, Bobby Rosengarden BLUES 7.24.75
Benny Carter, Ruby Braff, Gorge Barnes, Michael Moore, Vinnie Corrao, Ray Mosca WRAP YOUR TROUBLES IN DREAMS / 7.25
LADY BE GOOD as BLUES
I CAN'T GET STARTED / LOVER COME BACK TO ME as WRAP YOUR TROUBLES IN DREAMS
INDIANA 7.21.75 Pee Wee Erwin, Herb Hall, Eddie Hubble, Art Hodes, Placide Adams, Marty Grosz, Panama Francis
SWEET LORRAINE Bobby Hackett, Hodes, Adams, Grosz, Francis
OH, BABY! as INDIANA plus Bobby Hackett
ROSE ROOM Dick Sudhalter, Barney Bigard, Vic Dickenson, Hodes, Grosz, Adams, Francis
WRAP YOUR TROUBLES IN DREAMS Bob Wilber, Hodes, Grosz, Adams, Francis
BLUE ROOM Wingy Manone, Sudhalter, Vic, Bigard, Wilber, same rhythm as above
BLUES Wingy, everyone plus Maxim Saury, Alain Bouchet, Erwin, Hackett, Hubble, Vic Spiegle Willcox, Bigard, Hall, Wilber, Hodes, Grosz, Adams, Francis
SWEET GEORGIA BROWN Moustache for Francis
"If that don't get it, then forget it right now," Jack Teagarden (paraphrased).
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Jazz Worth Reading, Mmmmmmmmmmmmm!, Pay Attention!, SURPRISE!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Alain Bouchet, Art Hodes, Arvell Shaw, Barney Bigard, Benny Carter, Bob Wilber, Bobby Hackett, Bobby Rosengarden, Dick Sudhalter, Eddie Hubble, George Barnes, Grande Parade du Jazz, Herb Hall, Illinois Jacquet, Jazz Lives, Kenny Drew, Marty Grosz, Maxim Saury, Michael Moore, Michael Steinman, Moustache, Nice Jazz Festival, Panama Francis, Pee Wee Erwin, Placide Adams, Ray Mosca, Ruby Braff, Spiegle Willcox, Vic Dickenson, Vinnie Corrao, Wingy Manone
BRILLIANCE IN A SMALL SPACE: BILLY BUTTERFIELD, SPIEGLE WILLCOX, KENNY DAVERN, SPENCER CLARK, DICK WELLSTOOD, MARTY GROSZ, VAN PERRY, TONY DiNICOLA (MANASSAS JAZZ FESTIVAL, December 1, 1978).
What was lost can return — some papers I thought were gone for good have resurfaced — but often the return needs the help of a kind friend, in this case my benefactor, trumpeter Joe Shepherd, who (like Barney the purple dinosaur) believes in sharing.
Sharing what? How about forty-five minutes of admittedly muzzy video of Billy Butterfield, trumpet; Spiegle Willcox, trombone; Kenny Davern, clarinet; Spencer Clark, bass sax; Dick Wellstood, piano; Marty Grosz, guitar; Van Perry, string bass; Tony DiNicola, drums, recorded at the Manassas Jazz Festival on December 1, 1978.
But first, a few lines, which you are encouraged to skip if you want to get right to the treasure-box. My very dear generous friend John L. Fell sent me this on a VHS tape in the mid-to-late Eighties, and I watched it so often that now, returning to it, I could hum along with much of this performance. It's a sustained example of — for want of a better expression — the way the guys used to do it and sometimes still do. Not copying records; not playing routinized trad; not a string of solos. There's beautiful variety here within each performance (and those who'd make a case that old tunes should stay dead might reconsider) and from performance to performance. Fascinating expressions of individuality, of very personal sonorities and energies — and thrilling duets made up on the spot with just a nod or a few words. There's much more to admire in this session, but you will find your own joys.
YouTube, as before, has divided this video into three chunks — cutting arbitrarily. The songs in the first part are I WANT TO BE HAPPY / SWEET SUE / I CRIED FOR YOU (partial) //
The songs are I CRIED FOR YOU (completed) / SOMEDAY SWEETHEART / I CAN'T GET STARTED (Billy – partial) //
The songs are I CAN'T GET STARTED (concluded) / CHINA BOY //
I feel bathed in joy.
And another example of kindness: my friend and another benefactor, Tom Hustad (author of the astonishing book on Ruby Braff, BORN TO PLAY) sent along a slightly better — visual — copy that has none of the arbitrary divisions imposed by YouTube. And here it is! It will be my companion this morning: let it be yours as well.
Posted in "Thanks A Million", Bliss!, Generosities, Hotter Than That, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, SURPRISE!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged "Fat Cat" McRee, Barney the purple dinosaur, Billy Butterfield, BORN TO PLAY, Dick Wellstood, duets, ensemble playing, jam session, Jazz Lives, Joe Shepherd, John L. Fell, Johnson McRee, Kenny Davern, Manassas Jazz Festival, Marty Grosz, Michael Steinman, Ruby Braff, Spencer Clark, Spiegle Willcox, swing, Tom Hustad, Tony DiNicola, Van Perry
BOB AND RUTH BYLER + CAMERA = HOURS OF GOOD MUSIC
Bob and Ruth Byler
I first became aware of Bob Byler — writer, photographer, videographer — when we both wrote for THE MISSISSIPPI RAG, but with the demise of that wonderful journalistic effusion (we still miss Leslie Johnson, I assure you) I had not kept track of him. But he hasn't gone away, and he is now providing jazz viewers with hours of pleasure.
"Spill, Brother Michael!" shouts a hoarse voice from the back of the room.
As you can see in the photograph above, Bob has always loved capturing the music — and, in this case, in still photographs. But in 1984, he bought a video camera. In fact, he bought several in varying media: eight-millimeter tape, VHS, and even mini-DVDs, and he took them to jazz concerts wherever he could. Now, when he shares the videos, edits them, revisits them, he says, "I'm so visual-oriented, it's like being at a jazz festival again without the crowd. It's a lot of fun." Bob told me that he shot over two thousand hours of video and now has uploaded about four hundred hours to YouTube.
Here is his flickr.com site, full of memorable closeups of players and singers. AND the site begins with a neatly organized list of videos . . .
Bob and his late wife Ruth had gone to jazz festivals all over the world — and a few cruises — and he had taken a video camera with him long before I ever had the notion. AND he has put some four hundred hours of jazz video on YouTube on the aptly named Bob and Ruth Byler Archival Jazz Videos channel. His filming perspective was sometimes far back from the stage (appropriate for large groups) so a video that's thirty years old might take a moment to get used to. But Bob has provided us with one time capsule after another. And unlike the ladies and gents of 2016, who record one-minute videos on their smartphones, Bob captured whole sets, entire concerts. Most of his videos are nearly two hours long, and there are more than seventy of them now up — for our dining and dancing pleasure. Many of the players are recognizable, but I haven't yet sat down and gone through forty or a hundred hours of video, so that is part of the fun — recognizing old friends and heroes. Because (and I say this sadly) many of the musicians on Bob's videos have made the transition, which makes this video archive, generously offered, so precious.
Here is Bob's own introduction to the collection, which tells more than I could:
Here are the "West Coast Stars," performing at the Elkhart Jazz Party, July 1990:
an Art Hodes quartet, also from Elkhart, from 1988:
What might have been one of Zoot Sims' last performances, in Toledo, in 1985:
a compilation of performances featuring Spiegle Willcox (with five different bands) from 1991-1997, a tribute Bob is particularly proud of:
from the 1988 Elkhart, a video combining a Count Basie tribute (I recognize Bucky Pizzarelli, Milt Hinton, Joe Ascione, and Doc Cheatham!) and a set by the West End Jazz Band:
a Des Moines performance by Jim Beebe's Chicago Jazz Band featuring Judi K, Connie Jones, and Spiegle:
and a particular favorite, two sets also from Elkhart, July 1988, a Condon memorial tribute featuring (collectively) Wild Bill Davison, Tommy Saunders, Chuck Hedges, George Masso, Dave McKenna, Marty Grosz, Milt Hinton, Rusty Jones, John Bany, Wayne Jones, in two sets:
Here are some other musicians you'll see and hear: Bent Persson, Bob Barnard, Bob Havens, the Mighty Aphrodite group, the Cakewalkin' Jazz Band, the Mills Brothers, Pete Fountain, Dick Hyman, Peter Appleyard, Don Goldie, Tomas Ornberg, Jim Cullum, Jim Galloway, Chuck Hedges, Dave McKenna, Max Collie, the Salty Dogs, Ken Peplowski, Randy Sandke, Howard Alden, Butch Thompson, Hal Smith, the Climax Jazz Band, Ernie Carson, Dan Barrett, Banu Gibson, Tommy Saunders, Jean Kittrell, Danny Barker, Duke Heitger, John Gill, Chris Tyle, Bob Wilber, Gene Mayl, Ed Polcer, Jacques Gauthe, Brooks Tegler, Rex Allen, Bill Dunham and the Grove Street Stompers, Jim Dapogny's Chicago Jazz Band, the Harlem Jazz Camels, and so much more, more than I can type.
Many musicians look out into the audience and see people (like myself) with video cameras and sigh: their work is being recorded without reimbursement or without their ability to control what becomes public forever. I understand this and it has made me a more polite videographer. However, when such treasures like this collection surface, I am glad that people as devoted as Bob and Ruth Byler were there. These videos — and more to come — testify to the music and to the love and generosity of two of its ardent supporters.
Tagged Art Hodes, Banu Gibson, Bent Persson, Bill Dunham and the Grove Street Stompers, Bob Barnard, Bob Byler, Bob Havens, Bob Wilber, Brooks Tegler, Bucky Pizzarelli, Butch Thompson, Chris Tyle, Chuck Hedges, Connie Jones, Count Basie, Dan Barrett, Danny Barker, Dave McKenna, Dick Hyman, Doc Cheatham, Don Goldie, Duke Heitger, Ed Polcer, Eddie Condon, Ernie Carson, Gene Mayl, George Masso, Hal Smith, Howard Alden, Jacques Gauthe, Jazz Lives, Jean Kittrell, Jim Beebe's Chicago Jazz Band, Jim Cullum, Jim Dapogny's Chicago Jazz Band, Jim Galloway, Joe Ascione, John Bany, John Gill, Judi K, Ken Peplowski, Marty Grosz, Max Collie, Michael Steinman, Milt Hinton, Pete Fountain, Peter Appleyard, Randy Sandke, Rex Allen, Rusty Jones, Ruth Byler, Spiegle Willcox, the Cakewalkin' Jazz Band, the Climax Jazz Band, the Harlem Jazz Camels, the Mighty Aphrodite group, The Mills Brothers, The Mississippi Rag, the Salty Dogs, Tomas Ornberg, Tommy Saunders, Wayne Jones, West End Jazz Band, Wild Bill Davison, YouTube, Zoot Sims
TRULY WONDERFUL: THE RAIN CITY BLUE BLOWERS (May 7, 2011)
The post's title isn't hyperbole. A friend sent me a few YouTube videos of this new band — holding forth on May 7, 2011, at the Bellingham Jazz Club (in Washington State).
I got through about fifteen seconds of the first clip before becoming so elated that I stopped the clip to make a few phone calls . . . their import being "You HAVE to see this band! You won't believe how wonderful they are!"
For a change, let's begin with the rhythm section. You can barely see Candace Brown, but you can hear her firm, flexible pulse — she's playing a Thirties National steel guitar. On her left is her husband Dave on string bass — strong yet fluid. Closer to the camera is that monument of unaging swing, Ray Skjelbred on piano — the hero of the steady, varied left-hand and the splashing, striding right hand. (His right hand knows what his left is doing: no worries!) The front line is a mere duo but with multiple personalities — great for Jimmie Noone / Doc Poston ecstasies — of two gifted multi-instrumentalists. On the left is Steve Wright — cornet, clarinet, soprano sax, vocal; to his right is Paul Woltz, bass, alto, soprano, tenor sax, and vocal. Their repertoire moves from New Orleans / ancient pop classics to Bix and Tram to Condonite romps with a special emphasis on Noone's Apex Club.
You'll hear for yourself. I began with MY HONEY'S LOVIN' ARMS (homage to Bing and to Cutty Cutshall, who called this tune MAHONEY'S . . . . ):
Pee Wee Russell had a girlfriend named Lola (this would have been in the late Twenties and onwards, before Mary came along); legend has it that Lola was violently jealous and when she got angry at Pee Wee, she'd take a big scissors and cut his clothes to bits. The Mound City Blue Blowers (with Coleman Hawkins and Glenn Miller) recorded a wonderful song and called it HELLO LOLA — were they glad to see her or merely placating her, hoping she hadn't brought her scissors along? We'll never know, but this version of HELLO, LOLA (with comma) has no sharp edges — at least none that would do anyone harm:
The young man from Davenport — forever young in our imaginations — is loved so intensely that the RCBB offer two evocations of his music. Young Bix Beiderbecke is on everyone's mind for a romping IDOLIZING (memories of those Goldkette Victors):
And we think of Bix at the end of his particular road — with I'LL BE A FRIEND (WITH PLEASURE):
Now do you understand why I find these performances so enlivening? This band has tempo and swing, heart and soul, rhythm in its nursery rhymes! Seriously — what lovely rocking ocean-motion, heartfelt soloing and ensemble playing. This band knows and plays the verse and the tempos chosen are just right. And that beat!
I want Ralph Peer or Tommy Rockwell to hear the RCBB and I want them to be under contract to Victor or OKeh right this minute! I would invite John Hammond to hear them, but John tends to meddle so – – – he'd want to replace half the band with people he liked better. And I can't think of people I would prefer . . .
How about two more selections?
This one's for Mister Strong — his composition, you know! It's MUSKRAT RAMBLE at the nice Hot Five tempo:
And just for fun (and because Red McKenzie sang it so wonderfully), the DARKTOWN STRUTTERS' BALL — with the verse:
By day and by profession, I am an academic — which explains the didactic streak in my character — but this is a suggestion aiming my readers towards happiness rather than a graded assignment. You might want to consider visiting Steve Wright's YouTube channel — "swr2408018" and indulging yourself in the other performances by this band. How about SWEET SUE, EVERY EVENING, KING JOE, ONE HOUR, STACK O'LEE, CHANGES MADE, GEORGIA CABIN, LET ME CALL YOU SWEETHEART, and I'M CRAZY 'BOUT MY BABY.
Multi-instrumentalist Steve Wright told me this about the band's instant creation, gestation-while-you-wait:
"We pulled this together in a hurry. Chris Tyle's Silver Leaf Band was originally booked, but Chris got a call for some work in Europe and gave the gig to Dave and Candace (who play with him in Silver Leaf). I play occasionally with the three of them in Candace's Combo De Luxe, so I was looped in, and then we decided to pull in a second horn player (Paul) and Ray on piano. I pulled together some leadsheets and two-reed arrangements from previous bands, and off we went. Even the name was a rush job: I got a call from the Bellingham folks needing a band name for their publicity, and an hour to figure something out. Since I was already planning to use some Red McKenzie material from the First Thursday book (Hello Lola, for example), I thought of taking off from the Mound City Blue Blowers."
Now . . . suppose the names of these players are new to you? Ray Skjelbred has his own website — go there and feel good!
http://www.rayskjelbred.com/
— but Wright, Woltz, and the Browns might be less familiar to you. Don't fret. Here are some facts for the factually-minded.
DAVE BROWN began his musical career decades ago, on banjo and guitar, later expanding his impressive talents to string bass. He lays down solid rhythm with an energetic style influenced by Steve Brown and Pops Foster. Dave's credits include membership in the Uptown Lowdown Jazz Band, Stumptown, Louisiana Joymakers, Chris Tyle's Silver Leaf Jazz Band, Combo de Luxe, Glenn Crytzer's Syncopators, Ray Skjelbred's First Thursday Band, Gerry Green's Crescent City Shakers and others. Many West Coast bands call Brown for gigs, including Simon Stribling's New Orleans Ale Stars, Red Beans and Rice, Vancouver Classic, Solomon Douglas Sextet, and Jonathan Stout's Campus Five. Over the years he has appeared at national and international jazz festivals and has been privileged to play alongside jazz greats "Doc" Cheatham, Spiegle Willcox, Jim Goodwin, and others.
STEVE WRIGHT has been a sparkplug of many fine bands, including the Paramount Jazz of Boston, the Happy Feet Dance Orchestra, the Stomp Off "studio" band (The Back Bay Ramblers). He's even substituted a few times with the Black Eagles on clarinet. After moving to Seattle in 1995, he joined the Evergreen Jazz Band as a second reed player and then moved to mostly playing cornet as personnel changed. In the last few years, he's played a great deal with Candace's and Ray's bands, as well as with a local Lu Watters-style two-cornet band, Hume Street Jazz Band.
CANDACE BROWN is one-half of the Jazzstrings duo with husband Dave, Combo de Luxe, Louisiana Joymakers, and she has subbed in many other bands (including Simon Stribling's Ale Stars and Mighty Aphrodite) as well as playing in the pit orchestra for musical theater. Candace has been heard at a number of festivals including the Sacramento Jazz Jubilee, on an Alaskan jazz cruise, at several jazz society concerts, and in July of 2007 she was a member of the pit orchestra for a production of "Thoroughly Modern Millie." Candace is also a splendid writer — if you haven't read her inspiring blog, GOOD LIFE NORTHWEST, you're missing out on deep pleasure: http://goodlifenw.blogspot.com/
PAUL WOLTZ began playing music in his youth, in California. He performed frequently at Disneyland for a decade, worked as a studio musician in Hollywood, and was a member of the Golden Eagle Jazz Band. In the Seattle/Everett area, he is a member of the Uptown Lowdown Jazz Band (with whom he has performed at countless jazz festivals and on jazz cruises) is principal bassoonist in the Cascade Symphony, occasionally performs with the 5th Ave Theater, and is called as a sub in numerous bands in the Puget Sound area and beyond — all over the United States and abroad.
TRULY WONDERFUL!
Posted in "Thanks A Million", Generosities, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Back Bay Ramblers, Bellingham Jazz Club, Bing Crosby, Bix Beiderbecke, Candace Brown, Chris Tyle, Coleman Hawkins, Combo de Luxe, Crescent City Shakers, Cutty Cutshall, Dave Brown, Disneyland, Doc Cheatham, Doc Poston, Eddie Condon, First Thursday Jazz Band, Frank Trumbauer, Gerry Green, Glenn Crytzer's Syncopators, Glenn Miller, Golden Eagle Jazz Band, Hume Street Jazz Band, Jazz Lives, Jazzstrings, Jean Goldkette, Jim Goodwin, Jimmie Noone, John Hammond, Johnny Hodges, Jonathan Stout, Louis Armstrong, Lu Watters, Michael Steinman, Mighty Aphrodite, New Black Eagle Jazz Band, New Orleans Ale Stars, OKeh Records, Paramount Jazz Band, Paul Woltz, Pops Foster, Rain City Blue Blowers, Ralph Peer, Ray Skjelbred, red beans and rice, Red McKenzie, Simon Stribling, Solomon Douglas, Spiegle Willcox, Steve Brown, Steve Wright, Stomp Off Records, Stumptown, Tommy Rockwell, TRULY WONDERFUL, Uptown Lowdown Jazz Band, Victor Records, YouTube


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3 Smart Ways to Rejuvenate Your Body and Mind for the Year Ahead
By Judy Chapman - December 4, 2018
The global wellness industry may be quick to adopt the latest advances in technology—as evinced by the trend for cryotherapy to treat skin and muscle fatigue—but at the same time, it is also reacting against our dependence on them.
Rejuvenate your tired body and mind.
Multi-day programs aim to fix sleeping patterns broken by our high-tech lives, and with the nonstop stimulation of our phones and computers, more operators, spas, and resorts are proclaiming the importance of going off the grid. Here, we outline a myriad of ways to harness technology for your benefit while countering its negative effects.
Photo: Black Tomato
1. Playing the Wild Card
For a unique mental and physical challenge, the tailored Get Lost adventures by luxury travel company Black Tomato promise a Bear Grylls–style immersion into the great outdoors, minus the extreme eating. Guests can decide how "lost" they would like to be and pick out the kind of terrain—either jungle, polar, desert, mountain, or coastal—for the adventure. But the rest is entirely up to Black Tomato, which will supply travelers with the necessary training and technical equipment before dispatching them to a remote area that could be anywhere in the world. As a support team keeps careful watch from a distance, participants must find their own way out via a series of checkpoints to claim a reward at the end of the expedition. It's billed as a mindful way to engage with new surroundings and a chance for honest self-discovery. As Black Tomato co-founder Tom Marchant explains, "We believe there's something about true disconnection from both technology and from the traditional format of luxury travel—guides, schedules, and so on—that allows us to tap into this new state of mindfulness."
Photo: Four Seasons Hotel Los Angeles at Beverly Hills
2. California Dreaming
The Four Seasons Hotel Los Angeles at Beverly Hills has recently added a Wellness Room category to its choice of guest quarters. A tie-up between the property and health-centric residential developer Delos, the five rooms and two suites on the fourth-floor spa level were designed with a range of features to improve guests' physical and emotional wellbeing. These include circadian lighting to energize the body by day and enhance sleep quality by night, an air purification system, plus showers fitted with a device to reduce chlorine levels. Among the extra in-room amenities are exercise equipment, yoga mats, and meditation videos by bestselling author and alternative medicine advocate Deepak Chopra, while guests also have access to sleep and nutrition programs developed by the Cleveland Clinic.
Photo: The Ritz-Carlton Spa
3. Cold Comfort
Winter may not have arrived in Hong Kong just yet, but you can now experience the bracing cold at The Ritz-Carlton Spa, which has partnered with London-based skincare label 111SKIN to launch a trio of brand-new cryotherapy facial and massage treatments. Using purified air chilled to -30°C, the exclusive 60- or 90-minute facials are suited to jet-setters and residents exposed to higher levels of pollution; extremely low temperatures have the effect of exfoliating dead cells, reducing puffiness, firming up the skin, and helping to attain a brighter complexion. Meanwhile, sports enthusiasts can opt for a 60-, 90-, or 120-minute session that combines full-body cryotherapy with deep-tissue and sports massages to soothe fatigued muscles. The final offering is a half-hour cryotherapy energy cellulite treatment—intended to stimulate micro-circulation and the lymphatic system—which can be added on to other spa therapies.
This article originally appeared in the October/November 2018 print issue of DestinAsian magazine ("Balancing Act").
Judy Chapman 10:38
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Celestiniosity
words, pictures, and mischief
Yes, Protests Matter. Even Now.
Sticky January 21, 2017
Today, in the aftermath of an inauguration speech characterized by the promise of isolationism and fear, over half a million protestors came together to march on Washington, D.C. Thousands more walked into the streets in other cities throughout the United States and around the world. Here's why, even in the shadow of the Trump administration, those protests still matter.
Image by Andy Gmitter
Donald Trump has made a career of being "tough". He says what he thinks, he does what he wants, and he's not about to get pushed around by a pathetic bunch of whiners. Today's protest, no matter how massive, is unlikely to change any policy decisions he plans to implement in the next 99 days (although of course we all look forward to reading the 3:00 a.m. meltdown when he realizes more people turned out to protest than came to his inauguration). Similarly, the last eight years have demonstrated a new Republican strategy of politics as a zero-sum game; there is no longer room, it seems, for working together toward a greater good for all. It seems apparent, in fact, that any conversation between conservatives and liberals at this point in history is doomed due to the inability of either party to translate the language of the universe next door.
Given the disconnect, the partisanship, and the blatant callousness of our new President and his supporters, it is easy to dismiss today's protests as a futile effort, perhaps good for morale but with no substantial effect on the future. But that completely misses a larger perspective, both in what the protests mean for today and in what they create for the future.
Time for a New Monster?
Sticky November 15, 2016
It has been a week since the election that will put Donald Trump in the White House. In that time, the news has been flooded by articles on how such a widely unpredicted result could have become manifest. Low black voter turnout, white women unexpectedly choosing Trump, the poor and the disenfranchised deciding this man will be their champion, ignorance, racism, misogyny, Islamophobia…all have done their rounds. And while we can debate their relative merit all day long, such an argument ignores the crucial point that all these individual "causes" have a common core: fear.
The article on how we counteract that fear is for another day, however. Today, let's talk about how we embrace it. A vast majority of us are afraid, whether of our government or of the terrorists who may lurk in our midsts. And that's nothing particularly new, but the sudden shift in our leadership promises to bring our fears sharply into focus. "Corrupt Government" doesn't seem to cut it when you're seriously discussing whether or not the new administration will build deportation camps or embrace torture as an interrogation technique. "Terrorism" fails to capture the sensation of finding swastikas scrawled over the walls of our cities. It's a brave new world, and with it will surely come monsters.
A simple explanation of how the Net Neutrality repeal will affect you (this is about porn, y'all)
NC Moves Toward Labeling Protestors "Economic Terrorists"
The Era of Post-Dignity in American Politics
The Legal Case Against Trump's Muslim Ban
Categories Select Category Asheville Booze Reviews Celestina Education Election 2008 Interviews Mary Mary-Contrary Mischief Miu Musings News Opinion Nonfiction Odd News Satire Short Fiction Uncategorized US News World News


Urban Meyer's Buckeyes are showing their patriotism for Memorial Day.
The last time doing the Pledge Of Allegiance was mandatory was in elementary school. Well, that's not the case for the Ohio State football team.
Before every summer workout in the Woody Hayes Athletic Center, players must say the Pledge Of Allegiance. This is just one way the Buckeyes' football program is honoring America with Patriot Week.
Memorial Day is right around the corner, and head coach Urban Meyer is making his players participate in a number of patriotic activities to honor the holiday. The week includes attending seminars on the democratic system and the importance of voting, and partaking in a Memorial Day workout, during which the players will wear red, white and blue. Yes, players are even allowed to wear the forbidden color blue for this one day only.
What a great way to honor our country. It should be done at every college. Hats off the the OSU football program. Check out some of the patriotic activities below, including strength coach Mickey Marotti leading some Buckeyes in the Pledge Of Allegiance.


text:
Jimmy's Blues
and Other Poems
All of the published poetry of James Baldwin, including six significant poems previously only available in a limited edition.
Introduction By: Nikky Finney Author: James Baldwin
Size: 8.5 x 5.5
During his lifetime (1924-1987), James Baldwin authored seven novels, as well as several plays and essay collections, which were published to wide-spread praise. These books, among them Notes of a Native Son, The Fire Next Time, Giovanni's Room, and Go Tell It on the Mountain, brought him well-deserved acclaim as a public intellectual and admiration as a writer. However, Baldwin's earliest writing was in poetic form, and Baldwin considered himself a poet throughout his lifetime. Nonetheless, his single book of poetry, Jimmy's Blues, never achieved the popularity of his novels and nonfiction, and is the one and only book to fall out of print.
This new collection presents James Baldwin the poet, including all nineteen poems from Jimmy's Blues, as well as all the poems from a limited-edition volume called Gypsy, of which only 325 copies were ever printed and which was in production at the time of his death. Known for his relentless honesty and startlingly prophetic insights on issues of race, gender, class, and poverty, Baldwin is just as enlightening and bold in his poetry as in his famous novels and essays. The poems range from the extended dramatic narratives of "Staggerlee wonders" and "Gypsy" to the lyrical beauty of "Some days," which has been set to music and interpreted by such acclaimed artists as Audra McDonald. Nikky Finney's introductory essay reveals the importance, relevance, and rich rewards of these little-known works. Baldwin's many devotees will find much to celebrate in these pages.
Introduction by Nikky Finney
Jimmyís Blues
Staggerlee wonders
Song (for Skip)
Munich, Winter 1973 (for Y.S.)
The giver (for Berdis)
3.00 a.m. (for David)
Le sporting-club de Monte Carlo (for Lena Horne)
Some days (for Paula)
Conundrum (on my birthday) (for Rico)
A lady like landscapes (for Simone Signoret)
Guilt, Desire and Love
Death is easy (for Jefe)
Mirrors (for David)
A Loverís Question
Inventory/On Being 52
Song For The Shepherd Boy
For A.
For EARL
BALLAD (for Yoran)
Playing by Ear, Praying for Rain: The Poetry of James Baldwin
Baldwin was never afraid to say it. He made me less afraid to say it too.
The air of the Republic was already rich with him when I got here. James Arthur Baldwin, the most salient, sublime, and consequential American writer of the twentieth century, was in the midst of publishing his resolute and prophetic essays and novels: Go Tell It on the Mountain (1953), The Amen Corner (1954), Notes of a Native Son (1955), and Giovanni's Room (1956). I arrived on planet earth in the middle of his personal and relentless assault on white supremacy and his brilliant, succinct understanding of world and American history. In every direction I turned, my ears filled a little more with what he always had to say. His words, his spirit, mattered to me. Black, gay, bejeweled, eyes like orbs searching, dancing, calling a spade a spade, in magazines and on the black-and-white TV of my youth. Baldwin, deep in thought and pulling drags from his companion cigarettes, looking his and our danger in the face and never backing down. My worldview was set in motion by this big, bold heart who understood that he had to leave his America in order to be. Baldwin was dangerous to everybody who had anything to hide. Baldwin was also the priceless inheritance to anybody looking for manumission from who they didn't want or have to be. Gracious and tender, a man who had no idea or concept of his place, who nurtured conversation with Black Panthers and the white literati all in the same afternoon. So powerful and controversial was his name that one minute it was there on the speaker's list for the great August 28, 1963, March on Washington for Jobs and Freedom, and then, poof, it was off. The country might have been ready to march for things they believed all God's children should have in this life, but there were people, richly mis-educated by the Republic, who were not ready for James Baldwin to bring truth in those searing ways he always brought truth to the multitudes.
The eldest of nine, a beloved son of Harlem, his irreverent pride and trust in his own mind, his soul (privately and sometimes publicly warring), all of who he was and believed himself to be, was exposed in his first person, unlimited voice, not for sale, but vulnerable to the Republic. Baldwin's proud sexuality, and his unwillingness to censor his understanding that sex was a foundational part of this life even in the puritanical Republic and therefore should be written, unclothed, not whispered about, not roped off in some back room, informed all of his work, but especially his poetry. Uninviting Baldwin was often the excuse for the whitewashing of his urgent and necessary brilliance from both the conservative Black community and from whites who had never heard such a dark genius display such rich and sensory antagonism for them. Into the microphone of the world Baldwin leaned--never afraid to say it.
Only once did I see James Baldwin live and in warm, brilliant person; it was 1984, a packed house at the University of California at Berkeley. I was thirty-seven, he was sixty, and we would never meet. None of us there that night, standing shoulder to shoulder, pushed to the edge of our seats, knew that this was our last embrace with him, that we would only have him walking among us for three more years. I remember the timbre of his voice. Steadfast. Smoky. Serene. His words fell on us like a good rain. A replenishing we badly needed. All of us standing, sitting, spread out before this wise, sharp-witted, all-seeing man.
I had met James Baldwin by way of his "Sweet Lorraine," a seventeen-hundred-and seventy-six-word loving manifesto to his friend and comrade, the playwright Lorraine Hansberry. Hansberry died from cancer at the age of thirty-four, soon after her great work, To Be Young, Gifted, and Black, yanked the apron and head rag off the institution of the American theater, Broadway, 1959. Baldwin's intimate remembrance became the introduction to the book of the same name, a book that, as a girl of fourteen, I was highly uncomfortable ever letting out of my sight. I was the Black girl dreaming of a writing life and Hansberry, the Black woman carving one out. Hansberry had given me two atomic oars to zephyr me further upstream: I am a writer. I am going to write. After her untimely death, I had a palpable need to still see and feel her in the world. Baldwin's lush remembrance brought her to me in powerful living dimension. His way of seeing her, of remembering what was important about her, helped her stay with me.
I had needed Hansberry to set my determination forward for my journey. And I needed Baldwin to teach me about the power of rain.
Baldwin wrote poetry throughout his life. He wrote with an engaged, layered, facile hand. The idea being explored first cinched, then stretched out, with just enough tension to bring the light in. His language: informal, inviting; his ideas from the four corners of the earth, beginning, always, with love:
No man can have a harlot for a lover nor stay in bed forever with a lie. He must rise up and face the morning sky and himself, in the mirror of his lover's eye. ("A Lover's Question")
Baldwin's images carry their weight and we, the reader, carry their consequence. In one turn of phrase and line, something lies easy in repose; in the next, he is telling the Lord what to do; the words jump, fall in line, with great and marching verve:
Lord, when you send the rain, think about it, please, a little? Do not get carried away by the sound of falling water, the marvelous light on the falling water. I am beneath that water. It falls with great force and the light Blinds me to the light. ("Untitled")
Baldwin wrote as the words instructed, never allowing the critics of the Republic to tell him how or how not. They could listen in or they could ignore him, but he was never their boy, writing something they wanted to hear. He fastidiously handed that empty caricature of a Black writer back to them, tipping his hat, turning back to his sweet Harlem alley for more juice.
James Baldwin, as poet, was incessantly paying attention and always leaning into the din and hum around him, making his poems from his notes of what was found there, making his outlines, his annotations, doing his jotting down, writing from the mettle and marginalia of his life, giving commentary, scribbling, then dispatching out to the world what he knew and felt about that world. James Baldwin, as poet, was forever licking the tip of his pencil, preparing for more calculations, more inventory, moving, counting each letter being made inside the abacus of the poem. James Baldwin, as poet, never forgot what he had taught me in that seventeen-hundred-and-seventy-six-word essay--to remember where one came from. So many of the poems are dedicated back to someone who perhaps had gone the distance, perhaps had taught him about the rain: for David (x3), for Jefe, for Lena Horne, for Rico, for Berdis, for Y.S.
When the writer Cecil Brown went to see James Baldwin in Paris in the summer of 1982, he found him "busy working on a collection of poems," quite possibly these poems. Brown reports that Baldwin would work on a poem for a while and then stop from time to time to read one aloud to him. "Staggerlee wonders" was one of those poems, and "Staggerlee wonders" opens Jimmy's Blues, the collection he published in 1983. The poem begins with indefatigable might, setting the tone and temperature for everything else in this volume, as well as the sound and sense found throughout Baldwin's oeuvre. "Baldwin read to me from the poem with great humor and laughter," Brown wrote in his book Stagolee Shot Billy.
He felt that Black men in America, as the most obvious targets of white oppression, had to love each other, to warn each other, and to communicate with each other if they were to escape being defined only in reaction to that oppression. They had to seek and find in their own tradition the human qualities that white men, through their unrelenting brutality, had lost.
I do not believe James Baldwin can be wholly read without first understanding white men and their penchant for tyranny and "unrelenting brutality." If you read Baldwin without this truth, you will mistake Baldwin's use of the word nigger as how he saw himself, instead of that long-suffering character, imagined, invented, and marched to the conveyor belt as if it was the hanging tree, by the founding fathers of the Republic, in order that they might hold on for as long as possible to "the very last white country the world will ever see" (Baldwin, "Notes on the House of Bondage").
I always wonder what they think the niggers are doing while they, the pink and alabaster pragmatists, are containing Russia and defining and re-defining and re-aligning China, nobly restraining themselves, meanwhile, from blowing up that earth ("Staggerlee wonders")
With prophetic understanding, harmony, and swing, creating his own style and using his own gauges to navigate the journey, Baldwin often wrote counter-metrically, reflecting his African, Southern, Harlem, and Paris roots. "What do you like about Emily Dickinson" he was once asked in a Paris Review interview. His answer: "Her use of language . . . Her solitude, as well, and the style of that solitude. There is something very moving and in the best sense funny."
James Baldwin made laughter of a certain style even as he reported the lies of the Republic. He was so aware of that other face so necessary in this life, that face that was present in all the best human dramatic monologues, the high historic Black art of laughing to keep from crying. He knew that without the blues there would be no jazz. Just as Baldwin dropped you into the fire, there he was extinguishing it with laughter.
Neither (incidentally) has anyone discussed the Bomb with the niggers: the incoherent feeling is, the less the nigger knows about the Bomb, the better: the lady of the house smiles nervously in your direction as though she had just been overheard discussing family, or sexual secrets, and changes the subject to Education, or Full Employment, or the Welfare rolls, the smile saying, Don't be dismayed. We know how you feel. You can trust us. ("Staggerlee wonders")
Baldwin wrote poetry because he felt close to this particular form and this particular way of saying. Poetry helped thread his ideas from the essays, to the novels, to the love letters, to the book reviews, stitching images and feeling into music, back to his imagination. From the beginning of his life to the very end, I believe Baldwin saw himself more poet than anything else: The way he cared about language. The way he believed language should work. The way he understood what his friend and mentor, the great American painter Beauford Delaney, had taught him--to look close, not just at the water but at the oil sitting there on top of the water. This reliable witnessing eye was the true value of seeing the world for what it really was and not for what someone reported, from afar, that it was.
When Baldwin took off for Switzerland in 1952, he carried recordings by Bessie Smith, and he would often fall asleep listening to them, taking her in like the sweet Black poetry she sang. It must have been her Baby don't worry, I got you voice and their shared blues that pushed him through to finish Go Tell It on the Mountain in three months, after struggling with the story for ten years. Whenever Baldwin abandoned the music of who he was and how that sound was made, he momentarily lost his way. When he lost his way, I believe it was poetry that often brought him back. I believe he wrote poetry throughout his life because poetry brought him back to the music, back to the rain. The looking close. The understanding and presence of the oil on top of the water. Compression. Precision. The metaphor. The riff and shout. The figurative. The high notes. The blues. The reds. The whites. This soaking up. That treble clef. Bass. Baldwin could access it all--and did--with poetry.
He was standing at the bath-room mirror, shaving, had just stepped out of the shower, naked, balls retracted, prick limped out of the small, morning hard-on, thinking of nothing but foam and steam, when the bell rang. ("Gypsy")
Baldwin integrated the power of sex and the critical dynamics of the family with ease. He spoke often and passionately about the preciousness of children, the beloved ones. He never hid from any language that engaged the human conundrum, refusing to allow the narrow world to deny him, Black, bejeweled, Harlem insurgent, demanding to add his poetic voice to all others of his day. Sometimes employing a simple rhyme scheme and rhythm, as in "The giver," a poem dedicated to his mother, Berdis, and then, again, giving rise to poetic ear-play in "Imagination."
Imagination creates the situation, and then, the situation creates imagination.
It may, of course, be the other way around: Columbus was discovered by what he found.
In several of his last interviews you hear James Baldwin repeat something you know is on his mind: "The older you get, the more you realize the little you know." This Black man of the Black diaspora, born in 1924, the same year that J. Edgar Hoover was appointed the new director of the FBI, forever taking stock of his life as it unfolded:
My progress report concerning my journey to the palace of wisdom is discouraging. I lack certain indispensable aptitudes. Furthermore, it appears that I packed the wrong things. ("Inventory/On Being 52")
Jimmy's Blues and Other Poems is being published in what would have been Baldwin's--our loving, long-cussed, steadfast witness in this world's--ninetieth year. These poems represent the notations, permutations, the Benjamin Banneker±like wonderings of a curious heart devoted to exposing tyranny, love, and the perpetual historical lies of the Republic.
In a 1961 interview, Studs Terkel asks Jimmy Baldwin after Baldwin's first twenty years as a writer, "Who are you now" Baldwin answers,
Who, indeed. I may be able to tell you who I am, but I am also discovering who I am not. I want to be an honest man. And I want to be a good writer. I don't know if one ever gets to be what one wants to be. You just have to play it by ear, and pray for rain.
He never rested on any fame, award, or success. He didn't linger in the noisy standing ovation we gave him that night in California. He didn't need the poison of whatever it meant "to be famous" pounding at his door. Refusing to stand in any shadow, Baldwin understood that any light on his life might open some doors, but in the end it was his pounding heart, caring and remaining focused on the community, that had always defined him, that mattered. In his work he remained devoted to exposing more and more the ravages of poverty and invisibility on Black and poor people. He loved it when people came to talk and listen to his stories, his rolling laughter, and consented to be transformed by his various arenas of language and his many forms of expression. These were friends and strangers, artists, who only wanted to feel him say what he had to say. People hungry to hear James Baldwin unabridged, before the night got too late and his devotion would make him rise and return him to the aloneness of his work, in that space he called his "torture chamber," his study. Baldwin told the Paris Review, "Every form is different, no one is easier than another. They all kick your ass." There on his desk, the next page of "ass kicking" awaited.
In 1963, James Baldwin visited San Francisco. The journey was amazingly caught on fuzzy black-and-white, educational TV in the KQED documentary Take This Hammer. One morning during his visit he found himself speaking with a group of frustrated young Black men standing there on the street. One of the young men reports, "There will never be a Negro president." Baldwin asks him why he believes this. The young man responds, hardly catching his breath: "We can't even get a job. How can we be president if we can't even get a job" You see Baldwin on camera move instantly closer to the storm raging from their ring of eyes to his. You see and feel the fire in their faces and in his. He knows this gathering storm well. He can hear the sounds of the thunder gathering deep in his ear. He has seen this same kind of lightning flash, hit, and burn down whole countries, whole neighborhoods, whole city corners, with their standing communities of young Black men. He himself has been soaked in this despair before. His inclination is to lead them away from the storm, but he's in the storm too, and he won't lie to them like everybody else has lied. He looks at them with great love. He can see the oil in the water on their cheeks. "There will be a Negro president," Baldwin says calmly. "But it will not be the country that we are sitting in now." It begins to rain. It doesn't really, but that's what the scene feels like to me through the camera's grainy lens, fifty years away from Baldwin and that circle of beautiful and young Black men wanting what other young men wanted, there on that San Francisco street. It begins to rain, at first a light drizzle and next a pounding torrent, great sheets of great water, slanted and falling down from the open sky. Baldwin was never afraid to say it in his novels, in his essays, and in his poetry--because Baldwin saw us long before we saw ourselves.
--Nikky Finney
"I am completely indebted to Jimmy Baldwin's prose. It liberated me as a writer. These poems overwhelm without competing with his prose and I am grateful to have this collection." —Toni Morrison
"These poems are morning stars to be inhaled everyday as we strip search our eyes for new memory. Thank you Brother Jimmy for the breath of your poems." —Sonia Sanchez
"James Baldwin was born for truth. It called upon him to tell it on the mountains, to preach it in Harlem, to sing it on the Left Bank in Paris. His honesty and courage would lead him to see truth and to write truth in poetry, drama, fiction and essay. He was a giant." —Maya Angelou
Review: Ploughshares - July 19, 2014 "Lyrical, captivating, evocative, thought-provoking poems that also happen to be exploring the political climate of his time." —Ploughshares
Review: American Book Review - July 1, 2014 "A beautiful and necessary collection of Baldwin's poetry."
Review: The Good Men Project - June 2, 2014 "These poems were written over thirty years ago, yet they still speak to many of the injustices in the world and to our experience as human beings trying to make sense of our own existence."
Review by: Donna Seaman, Booklist - February 1, 2014 "Black, gay, proud, and courageously direct, Baldwin wrote poetry throughout his life, and poetry was the current that powered his novels, essays, and plays. This volume reclaims his blazing, embracing collection, Jimmy's Blues (1983), as well as poems previously found only in a limited edition art book, and they are as potent and significant now as then.… Baldwin writes perceptively and poignantly.… His humor is lashing and sly, his sexiness bold and lithe. Baldwin is thunderous and crooning, rueful and cutting, prayerful and ferocious, questioning and questing."
Like One of the Family
Author: Alice Childress Foreword By: Roxane Gay
Author: James Baldwin
Author: Claudia Rankine
Kindred (p)
Author: Octavia E. Butler
Looking for Lorraine
Author: Imani Perry


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Metallic Rhinestone Accented Evening Purse - Choice of Color!


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Home / World /
39 UK lorry victims: Man charged with human trafficking offences
VNF/AFP/Independent
November 24, 2019 | 22:49 VNF/AFP/Independent
A 23-year-old man has been charged with human trafficking offences in connection with the deaths of 39 Vietnamese nationals whose bodies were found in a refrigeration truck in Britain, AFP reported on Nov 24.
Essex lorry deaths: Another man from Northern Ireland arrested
UK embassy in Hanoi holds minute's silence to commemorate Essex victims
Deputy PM chairs meeting over Essex lorry deaths
Police are seen at the scene where bodies were discovered in a lorry container, in Grays, Essex, Britain on Oct 23, 2019. Photo: Reuters/Hannah McKay
Christopher Kennedy, from County Armagh in Northern Ireland, is due to appear at Chelmsford Magistrates' Court in Essex, southeast England, on Monday (Nov 25), police said.
He has been charged with conspiracy to arrange or facilitate the travel of people with a view to exploitation, and conspiracy to facilitate the commission of a breach of British immigration law.
Kennedy was arrested early Friday on the M40 motorway.
The bodies of eight women and 31 men were found in a refrigeration trailer on an industrial estate east of London in Essex, on Oct.
The trailer had earlier arrived on a cargo ferry from the Belgian port of Zeebrugge.
Maurice Robinson, a 25-year-old lorry driver from Northern Ireland, has appeared in court charged with 39 counts of manslaughter, conspiracy to traffic people, conspiracy to assist unlawful immigration and money laundering.
He is expected to appear at the Old Bailey on Monday.
Another man from Northern Ireland, 22-year-old Eamonn Harrison, was charged with 39 counts of manslaughter, along with human trafficking and immigration offences, after being arrested in Ireland last week. Essex Police have started extradition proceedings to bring him to the UK.
The case was adjourned until Dec 12.
Three other people have also been arrested, questioned and released on bail as part of the investigation.
Essex Police detectives last month said they wanted to speak to two brothers Ronan Hughes, 40, and his brother Christopher, 34 - also from Northern Ireland - about the case and urged them to hand themselves in.
39 bodies were discovered in a refrigerated lorry trailer at Waterglade Industrial Park in Grays, Essex county, northeast of London, on October 23.
Earlier this month Essex Police, assisted by Vietnamese officials, confirmed the 31 men and eight women were all Vietnamese nationals. The youngest two were just 15 years old and the oldest was 44.
According to Independent, the Dutch government confirmed on Friday that one of the teenagers had previously stayed at one of its asylum centres.
The country's Central Agency for the Reception of Asylum Seekers told local media the youngster had run away from a shelter for vulnerable migrants.
Assistant chief constable Tim Smith, who is leading the investigation, said: "We are working with national and international partners to get answers for the friends and family of those who died and bring all those responsible to justice."
Tags: Essex lorry deaths
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