Before Chick Webb died in 1939 at the age of 30, he established himself as a model for jazz
drumming and his band as a gold standard of swing that humbled even Count Basie and Benny Goodman. In addition, Webb discovered Ella Fitzgerald. He became her mentor, guardian and protector as she developed from a street kid into a great singer. “If it wasn’t for Chick, we wouldn’t have had Ella,” arranger and composer Van Alexander says in a new film bout Webb.
Webb’s importance is firmly underlined in a documentary, The Savoy King, making its world premiere this weekend at the Seattle International Film Festival. I screened an
advance of the film today. It is impressive for its research and production values; even more for its sensitivity in capturing the essence of the gutsy little man who transcended poverty and physical deformity to become one of the most admired musicians of the swing era. Seventy-three years following his death, Webb’s influence on drummers continues. His band’s recordings are still thrilling.
Veteran director and producer Jeff Kaufman melds appearances by people who knew Webb, archive footage and photos from the 1930s, and music by Webb’s band and others. Van Alexander, trumpeter Joe Wilder, dancer Frankie Manning and drummers Roy Haynes and Louie
Bellson are among those who discuss Webb’s impact on them and on jazz. Director Kaufman uses Bill Cosby to voice Webb’s words, Kareem Abdul-Jabar to speak Dizzy Gillespie’s, Janet Jackson as Ella Fitzgerald, Jeff Goldblum as Artie Shaw, Rolling Stones drummer Charlie Watts as critic Stanley Dance and actors including Tyne Daley, Andy Garcia and Danny Glover as the voices of other figures in Webb’s life and career.
This promotional clip captures some of the flavor of Harlem in the period, and the Savoy Ballroom’s crucial role in Webb’s rise to fame and in breaking New York’s segregation barrier.
The film builds emotional impact through its straightforward, if not entirely unsentimental, account of a man whose constant pain and illness could not overcome the joy he found in music and in life. The premiere is at Seattle’s Harvard Exit Theater, with showings on Saturday and Sunday. I have been unable to find out where it goes from there, but if you are lucky, The Savoy King will come to your town. For more information, see the film’s website.





The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
Yeah, as Louis Armstrong, and *not* Paul Whiteman, was the true “King of Jazz”, Chick Webb was, though uncrowned, the “King of Swing” … *Definitely*! … Sorry, BG
You’re absolutely right on. Excellent film.
This looks awesome! Can’ wait to see it.