Party at the Barnes's!!! (part II)

George Barnes

I hope you enjoyed yesterday's video of "Liza", from George Barnes's Guitars Galore album, released in 1961. The beautiful montage was produced by Alexandra Barnes Leh, daughter of George's, who's also producing the George Barnes Legacy collection. This website is not to be missed, especially if you're in the least interested in the history of the guitar in America. Barnes was a true, multi-faceted pioneer, one of those larger-than-life characters, who was gone too soon, in 1977.

At the end of this text you can see some screenshots taken from the video. From the smiling faces, it’s pretty clear that everybody had a ball. Musicians from this era are remembered for their witticisms, their pranks, their humour… their ability to have fun in any given situation. Thanks to Alexandra and her mother, and wife of George's, Evelyn Barnes, we have some details from this actual party. Our deepest gratitude goes to both of them.

Party at the Barnes's!!! (part I)

This may sound over the top, but I think we will not have a clear idea of how much American popular music of a certain age was soaked in jazz until we have a proper discography (with the names of all musicians involved) of the Columbia and RCA labels, and their subsidiaries. Being those two the biggest labels in the 1950s, it's sort of a wet dream for some of us in all our splendid nerdiness.

Of course music is music, and being able to listen to it should suffice to appreciate all the flavours in it. Still, impressions are affected when you know who's actually playing in whatever record, and it does seem that jazz musicians, or at least musicians with a heavy jazz slant, or big band veterans whose early days were spent playing music with a high jazz-octanage, were everywhere in American popular music from the 50s and 60s. And it's not just Sinatra's albums featuring members of the Stan Kenton ot the Count Basie orchestras. There's much more.

Piazzolla in New York (III): Take Me Dancing! — Discographical details

In 1959, while jazz was going through an incredibly fertile period and New York's cultural life was just mind-boggling, the grand modernizer of tango was struggling to make ends meet, and musically he wasn't really getting anywhere.

Since then, the result of his plans to mix jazz and tango have been marked as pretty much irrelevant by conventional wisdom, and with no hard data in the original album sleeve or any other published sources, there's hardly anything solid regarding the personnel and date of recording of Take Me Dancing. Who would be interested in knowing the details of a "failure", right?

Discographical research on Take Me Dancing! begins and ends with the picture below, first published in Piazzolla Loco Loco Loco (Ed. de la Urraca; Argentina, 1994), a book by Óscar López Ruiz, one of the main guitar players in Piazzolla's career. Besides the faces you can see on it, other names have been offered as present in this session, such as Tito Puente (discussed in the previous post), guitarist Barry Galbraith, and bassist George Duvivier. There's also the additional question of there being more musicians in it than can be heard on the record. A few internet searches will give out some vague results, with errors in the spelling of names and the pairings of instruments and musicians.

Sunday, April 26th, 1959?

In any case, the complete personnel is, from left to right:

Blues for Paul Motian, 1931-2011

Eddie Costa on piano
Wendell Marshall on bass
Paul Motian on drums

- 1959 -



***

More rare Eddie Costa... with Gigi Gryce

Fred Baker was an underground film director, and a big fan of dance and jazz, so much so, that his first endeavour behind the camera, On the Sound, was a short film combining those two disciplines. Sadly, Baker died on June 5, 2011, aged 78 (obituary).

As Baker told here, he first approached Mingus, whom he knew, for the soundtrack to his project, but Mingus declined and recommended multi-instrumentalist and composer Gigi Gryce. From what Baker says in the Vimeo page and in Cohen's & Fitzgerald's biography of Gryce, it seems that he took some recordings made by Gryce for the film, had the dancers dance to the music, filmed them, and then edited the whole thing down to about eight minutes.

As rare as it may be today, this short film won the USA Golden Eagle for 1963, and was selected to be screened at the 1963 Edinburgh and Berlin International Film Festivals and the Biennale in Venice.

The music on this film is relevant because, together with Reminiscin', the LP for Mercury, and what's been rescued by Uptown in their recent CD, it is one of the very few recordings by the Orch-Tette, Gigi Gryce's last working group before his untimely retirement from music. As Cohen & Fitzgerald explain in their book,"the score contains music that were found in Gryce's recordings, particularly in the two movements based on the blues, but also shows the influence of free music with an extended vibraphone solo over bass and drums with no pulse". I would add that the two vibes solos by Costa are among the highlights of the film.

According to Gigi Gryce's discography, also by Cohen and Fitzgerald, this was probably recorded in the summer of 1960, definitely at Bell Sound Studio, New York City, by Richard Williams (trumpet), Gigi Gryce (alto sax, clarinet, flute), Eddie Costa (vibes), Richard Wyands (piano), Reggie Workman (bass), and Mickey Roker (drums).

Unheard Tal Farlow, Eddie Costa, Marian McPartland...

... at least unheard by me. Via Marian McPartland's Facebook page, I just bumped into this radio broadcast presented by NBC in association with the AFM "as a contribution to the US savings bonds division of the Treasury department"—which could hardly be more relevant at the moment 55 years later—from The Composer, a club where, in the Summer of 1956, the bill was shared by two trios, Tal Farlow's and Marian McPartland's. The relief pianist was John Mehegan.

Personally I'm gobsmacked because Farlow's trio with Eddie Costa and Vinnie Burke, the line-up here, was an extraordinary but very short-lived group, and while I knew about this gig, I didn't know it had been recorded and preserved. McPartland's trio has Bill Britto on bass and the great Joe Morello on drums.

I can't really say nothing else right now, so I'll leave you with the music. You can listen on the player below, or go to the site where I found it, Past Daily. The details are as follows:

July 23, 1956.* The Composer, New York. 

Tal Farlow Trio: Farlow (g), Eddie Costa (p), Vinnie Burke (b).

 0:00 They can't take that away from me
 5:34 You don't know what love is 
10:02 And she remembers me 

Marian McPartland Trio: McPartland (p), Bill Britto (b), Joe Morello (d).

15:28 Falling in love with love 
19:20 For all we know
23:54 Bohemia After Dark

* It's possible that this was broadcast on this date, but recorded previously. The MC mention that the music was "transcribed" (recorded for later broadcast), and according to the New Yorker magazine, Farlow's last day at the Composer was July 18th.

Zoot Sims, Phil Woods... and Eddie Costa: Jazz Mission to Moscow

In 1962, in the middle of the Cold War, with Kennedy in Washington and Khrushchev in Moscow, and just weeks away from the missile crisis in Cuba, Benny Goodman embarked on a tour of the USSR with a top-notch big band: Joe Newman and Jimmy Maxwell on trumpets, Willie Dennis on trombone, Phil Woods, Jerry Dodgion, and Zoot Sims in the reed section, and a rhythm department comprising by John Bunch, Teddy Wilson, Victor Feldman, Bill Crow and Mel Lewis (Bill and Mel were the beating heart of Gerry Mulligan's Concert Jazz Band). Originally the band was going to play a repertory formed of new arrangements commissioned to people like Tadd Dameron, as well as the older stuff that made Goodman the "King of Swing".

This tour has gone down in history as the perfect example of Benny Goodman's quirkiness, to put it mildly. His gradual refusal to play the newer repertoire, his shunning of any soloists who got a round of applause... even the album that was subsequently published by RCA doesn't make justice, apparently, to the music that was played for the Russian audiences.

Producer Jack Lewis had worked — incidentally? — for RCA but he was now with Colpix, a new record label set up by Columbia Pictures. As bassist Bill Crow tells in his own website:

On the day we got back from Russia, Jack Lewis grabbed most of the band for a quick record date for Colpix, an album called Jazz Mission to Moscow. Victor Feldman had flown home to California, and Teddy Wilson and John Bunch had stayed in Paris, so Jack got Eddie Costa to play piano on the date.

Lewis's idea was to get a free ride on the publicity Goodman's tour was getting. According to Billboard, the recording session (July 12, 1962) was rushed, as was the production of vinyl and jackets and the record was expected to be available by the first week of August.

Jazz Mission to Moscow

The liner notes tell the story of a bunch of angry, young musicians eager to get back at Goodman, and Lewis provided the perfect opportunity. The band simply smokes. This is the kind of modern swing music that doesn't really fit in the official history of jazz, played by musicians for whom, after all, swing was the soundtrack of their childhood, while bebop got to them in their teenage years. Al Cohn's arrangements are a little miracle: for starters, he makes this "ten-tette" sound like a true big band; he also manages to make something interesting and surprising from an old classic like "Let's Dance". His work here is just superb, typical of those years (it's interesting to compare this album with the things he did for Bob Brookmeyer's Gloomy Sunday LP, for instance).

This is a session that verges on perfection. Interestingly, the star was not in the Goodman band that made the tour. This is "Mission to Moscow", the opening track of the album:

Eddie Costa was known for this kind of rumbling piano, and his knack for exploring the lower side of the scale. Here, as in other recordings in this part of his career, namely his own House of Blue Lights (Dot, 1959) and Shelly Manne's 2, 3, 4 (Impulse, 1962), he shows an almost orchestral approach to his solos, doing his own calls and responses (here, in "Let's Dance"), with a very conscious use of dynamics along several choruses. For fans of Costa, this is even more interesting because he manages an engaging solo in "The Sochi Boatman", a plaintive mid-tempo ballad, the kind of material that's not so abundant in his recordings.

Around this time Costa, who was extremely busy in the recording studios, seemed to be expanding his approach to jazz piano, which makes this occasion even more poignant. Like Crow explains, this was Eddie Costa's last jazz record date. He died in a car accident two weeks later, in the early hours of July 28th, 1962.

EMI-Japan has just released this on CD as Zoot Sims & Phil Woods: Jazz Mission to Moscow (TOCJ-50064 — a straight copy of the original 30-minute LP, no extra tracks). It's also available on Spotify and (except one track) on YouTube.

Bill Crow and Eddie Costa,
at the Jazz Mission to Moscow session