Earl "Fatha" Hines

If the only song that Earl Hines recorded with Louis Armstrong was "West End Blues" then his place in the history of jazz would undoubtedly have been cemented. As it was, his remarkable career spanned from the 1920's into the early 1980's. He has been described as "the first modern jazz pianist" and he was to have a huge influence over the players that followed him including the likes of Teddy Wilson, Jay McShann and Count Basie.



In the 1920's, stride piano attempted to break away from the stultifying nature of ragtime and was very much to the fore during the Harlem Renaissance scene. One of the biggest hits of the period was "The Charleston", written by stride pianist James P Johnson. Stride piano employed a very "busy" style of play, using a left hand that was required to emulate bass and percussion. Hines was one of the first to break away from this by incorporating more complex accents and beats. He was pretty much doing on the piano what Louis Armstrong was doing with the trumpet in the mid 20's.

The two met in the Musicians Union Hall in Chicago in 1926 and they immediately recognised each others talents. Hines was to replace Lil Hardin Armstrong in the Hot Five and in 1928 they made recording musical history when they recorded "West End Blues". Other numbers recorded at that time included "Beau Koo Jack", "Muggles" and "Tight Like That", pretty much setting the standard for aspiring jazz musicians of the time and beyond. The song "Weather Bird" is a must listen-to.  With free wheeling, innovative improvisation and the highest musicianship this is one of the most important musical cuts of the early 20th century in my opinion.



Hines held court in the Grand Terrace Cafe in Chicago well into the late 1930's. One of the proprietors of this establishment was none other than Al Capone whose career advice to Hines was "be like the 3 monkeys: you hear nothing, see nothing and say nothing". It was from here that he made his coast to coast radio broadcasts hitting the ears of Nat King Cole and Art Tatum.

A consummate professional (hence the nickname), he was also unafraid to push himself musically. His song "Cavernism" predates the height of the Swing Era by a couple of years although it sounds decidedly post-Goodman. He also gave Charlie Parker his first professional break and worked with Dizzy Gillespie in the early bebop years (unfortunately unrecorded).



He enjoyed something of a purple patch late in his career. He recorded well over 100 albums in the 60's and 70's including some highly acclaimed solo recordings. New Yorker magazine dubbed him "a whole orchestra by himself".

To finish up check out Hines playing with one of my favourite artists and guitarists, Ry Cooder, performing the superb "Ditty Wah Ditty" from Cooder's solo album Paradise and Lunch. 

Satchmo By Satchmo. The Louis Armstrong Tapes

To mark the 110th anniversary of the birth of Louis Armstrong (Aug 4), BBC Radio 2 is commemorating the event with a couple of programmes devoted to the man himself.

Kicking things off tonight is a documentary looking at the private, home made tapes made by Louis himself. The tapes were recorded between 1950 - 1971 and have gone largely unheard by the general public. This is a great chance to delve into the inner thoughts of one of the most important musicians of the 20th century as he ruminates on his career and the people he knew or worked with; from Bessie Smith to Joe "King" Oliver and Jelly Roll Morton (who it seems he has a bone to pick with!)

The man responsible for the documentary is Paul Sexton. Here is a piece he wrote in The Telegraph regarding what we are to expect.

Also, here is a link to BBC Radio 2. The programme begins at 11.00pm BST and will probably be available online for a while after.

Sidney Bechet

Sidney Bechet can only be really described as a giant in the world of jazz. He was born at the turn of the century in the musical melting pot that was New Orleans and was therefore exposed first hand to the musical advancement that was taking place. He was a child prodigy and a renowned clarinet player by his early teens. He was also to prove instrumental in bringing the saxophone to the forefront of jazz (it previously being seen as an unwieldy, novelty instrument).



Like most of his contemporaries, Bechet headed for the bright lights of Chicago and hooked up with Clarence Williams, Freddie Keppard and King Oliver. He was one of the first musicians to see the rising popularity of jazz in Europe and so travelled to France and Britain in the early 20's, to great acclaim. He appears to have been something of a wild man and was deported back to the States after an altercation with the law. Back in the States, with a soprano sax in tow that he had picked up in London, he eventually began working again with Clarence Williams and making his first recordings.

It is in these recordings made from 1923 to 1925 that Bechet's musicianship can be seen. The vibrato that emanates from his clarinet and sax could be seen as both violent and extremely soulful. It's safe to say that no-one at the time had heard anything like it. The influence of the blues can clearly be heard in his playing and he is happy to push the boundaries away from the ensemble style of jazz that was prevelant at the time. In fact these recordings were made a few months before Louis Armstrong and King Oliver made their seminal jazz recordings in Richmond, Indiana.

Here are the first recordings, "Wild Cat Blues" and "Kansas City Man Blues". Note Bechets' dominance on these tracks.




However it should be noted that Bechet and Armstrong were actually friends and knew each other from their early days in New Orleans. Luckily for us Clarence Williams had the nous to organise a recording session involving both of them in what one Bechet biographer has termed the "Duel of the giants". I personally dislike the term. What I hear in these recordings are two artists who have great respect for each other but are willing to push each other on and get the ultimate out of their instruments. As we have seen before, Louis Armstrong was no shrinking violet even in the presence of his mentor, King Oliver.

Here's "Texas Moaner Blues". It opens with Bechet on the clarinet. Armstrong's cornet solo is typically strong and lays down the challenge to Bechet's soprano sax for the final bars.



"Mandy Make Up Your Mind". The only known jazz song with a sarrusophone solo - a kind of cross between a bassoon and a bass saxophone. This musical oddity was primarily used in the pre electic era as a replacement for the double bass which was difficult to hear and record. Bechet gives it a go!



Finally, check out "Cake Walkin' Babies From Home", another great example of how well the two pioneers in jazz gelled so well.



Unfortuantely Bechet was not to record again for the rest of the 20's. He became briefly involved with Duke Ellington's Washingtonians band but his wanderlust appears to have been insatiable. He travelled on from the States to Europe to play in France, Britain and as far as Russia. He wasn't to achieve the success that Louis Armstrong enjoyed in America but he was highly regarded in Europe, particularly in France, where he eventually settled. His influence in jazz is considerable - from Benny Carter, Johnny Hodges, Coleman Hawkins, John Coltrane and beyond.

Louis Armstrong

"Louis Armstrong was probably the greatest musician that ever lived...one note implies that if he wanted to he could play ten billion notes, but just one simple note is a beautiful thing." (Flea)

It's been a while since my last post. The main reason for the break is that I have spent a lot of the time researching the early music of Louis Armstrong (definitely pronounced with an s, not Lou-ee.) And quite frankly I have been overwhelmed. I simply had no clue as to the extent of this man's influence, not only over jazz, but over 20th century popular music as a whole. My personal impressions of him were formed when I was growing up. I had an image of the classic Louis Armstrong, the vaudevillian-esque performer with the deep husky voice. I remember the countless commercials/advertisements that have used his later music, including "We have all the time in the world" and "Wonderful World." This was, embarrassingly, the extent of my knowledge of the man and his music.

So it was with some frustration that I first listened to his Hot Five and Hot Seven recordings. These were Louis Armstrong's first solo recordings made for the Okeh label in Chicago between 1925 and 1929. I say frustration because I cannot believe it has taken me this long to listen to some music that is so clearly iconic. These records clearly illustrate a turning point. They are the link between the old style "dixie" jazz and all other forms of jazz that came after.



This isn't the first time that we have come across Louis Armstrong's work. I first mentioned him in this blog when I looked at the music of his mentor, Joe "King" Oliver. Those recordings of the Creole Jazz Band are clearly in the old classic New Orleans style - each of the main instruments overlapping behind the main melody. Louis Armstrong changed all that. The opening blast of West End Blues (an Oliver composition) announces the new style.



What I found particularly striking about these recordings was how fresh his playing sounds. We are still talking about a fairly primitive period in terms of sound recording and the music has that "crackly" 1920's feel. Yet Armstrong's trumpet playing sounds like it could have been recorded yesterday, such is its clarity. As mentioned there was a lot more emphasis on the soloing ability of the musicians and obvious improvisation (check out Struttin' With Some Barbecue). Potato Head Blues employs a stop time solo which was light years ahead of its time and something that rock musicians later employed - think Led Zeppelin's Whole Lotta Love.

Lonnie Johnson was brought in for some of the recordings. Again, a musician that I have heard of through interviews with BB King and Mark Knopfler but I am ashamedly ignorant of in terms of his music. However his guitar playing jumps out of the tracks I'm Not Rough and Hotter Than That. In the latter song there is a wonderful call and response with Armstrong scatting to Johnson's guitar. The duet with Earl Hines in the song Weather Bird is also superb (although not part of the Hot Five sessions)

It is something of an understatement to say how superb these songs are. Yet it should be noted that the Hot Five and Hot Seven line-ups never performed live. The sessions were fairly informal in nature (as evidenced in the track A Monday Date) However, the influence the music was to have over the future of jazz is, in my opinion, obvious.

Click here for a great documentary from NPR regarding Louis Armstrong's early career.