No blogging for the next few days. I’ll be visiting the town that is the model, more or less, for the one in Poodie James. If I’m not jailed or assaulted, I’ll be back in action on Monday.

Willie Tee (Wilson Turbinton) died yesterday in New Orleans, the same day on which his close friend Joe Zawinul died in Vienna, both of cancer. See the next item for a remembrance and a picture of them together. Willie’s death comes barely a month after that of his brother Earl, another member of the Turbinton-Zawinul-Adderley mutual admiration society. To read the New Orleans Times-Picayune story about Willie, go here.

In the endless parade of departing musicians, now we’ve lost Joe Zawinul, dead of skin cancer at seventy-five. The obituaries are stressing his fusion work with Miles Davis on In A Silent Way and Bitches Brew, his partnership with Wayne Shorter in Weather Report and all the hits they had; “Birdland,” the Heavy Weather album and the Grammy for the one called 8:30. As Herbie Hancock is being quoted everywhere, Zawinul was a force. Whatever world music is, Joe took it into the realm of artistry.

Joe Zawinul
Before he was a force, Zawinul was a nifty bebop piano player who came to New York from Austria in the late 1950s and captivated Maynard Ferguson and Dinah Washington and Ben Webster and Cannonball Adderley. He was with Cannonball from 1961 to 1970. After his “Mercy, Mercy, Mercy” gave Cannon an enormous hit in 1966, the Adderley band was in New Orleans frequently, usually to perform, sometimes just to hang out with friends like Wilson Turbinton (Willie Tee) and his brother Earl and, always, to eat. During most visits, the band — or significant components of it–were guests on a radio program I did. Once, Joe came into the studio with Willie Tee. They played and laughed together at the Steinway, a pianist from uptown New Orleans and one from Vienna exchanging ideas and putting each other on in that fine southern way known as signifying.

Willie Tee and Joe Zawinul at WDSU, New Orleans, ca 1967
After the taping or after the Adderleys’ gig, we would all go in search of good things to eat, never a challenge in the French Quarter. Here’s a memory from the Cannonball chapter in Jazz Matters: Reflection on the Music and Some of its Makers.

One of his favorite restaurants in New Orleans was Vaucresson, a little place on Bourbon Street that specialized in a kind of Creole soul food, nicely spiced and very rich. It was just down the street from Al Hirt’s, in those days a jazz club with a name policy, where the quintet played at least twice a year.
After the gig, or sometimes between sets, Cannon and the band would install themselves at the largest table in the place, inevitably to be joined by fans, friends, family and assorted French Quarter regulars. The enduring image is of Cannonball surrounded by people, simultaneously laughing, expounding, questioning and consuming, inevitably taking time for just one more dish.
“Yes, Mama,” he’d tell the proprietress, “I think there’s room for the bread pudding.”

On one of those occasions, with Joe grinning and shaking his head, Cannon told the story of “Mercy, Mercy, Mercy.” They made the recording in a studio full of guests who were fed and served drinks as if the setting were a club. The issued take was not the one he wanted. He thought the band was better on an earlier version, the one that had a Zawinul solo so hot, so funky, that a woman in the audience yelled, “Play it, you little white darlin’.” A Capitol Records executive, nervous in the racial climate of the sixties, rejected the take.
Maybe they’ll put it on the memorial album. Joe would like that

Bertholt Brecht and Kurt Weill gave the world The Threepenny Opera (Die Dreigroschenoper) in 1928. When it was running in Berlin, the artist George Grosz said, “You would hear those songs wherever you went in the evening.” Long before Louis Armstrong made “Mack the Knife” a universal hit, theater critics were calling The Threepenny Opera the greatest musical of all time. Walter Kerr wrote, “I think the most wonderfully insulting music I have ever come across was composed by the late Kurt Weill for Bert Brecht’s Threepenny Opera.” The producer Harold Prince said, “Many have tried to imitate it. No one has succeeded.”
From the Threepenny Opera web site:

In their opera “by and for beggars,” composer Kurt Weill (1900-1950) and playwright Bertolt Brecht (1898-1956) transformed saccharine, old-fashioned opera and operetta forms, incorporating a sharp political perspective and the sound of 1920s Berlin dance bands and cabaret. Weill’s acid harmonies and Brecht’s biting texts created a revolutionary new musical theater that inspired such subsequent hits as Cabaret, Chicago, and Urinetown. The show’s opening number, “Mack the Knife,” became one of the top popular songs of the century.
The opening night audience at Berlin’s Theater am Schiffbauerdamm didn’t quite know what to expect when the curtain rose on The Threepenny Opera on August 31, 1928, but after the first few musical numbers they began to cheer and call for encores. The show was a brilliant hit, and Threepenny-fever spread throughout Europe, generating forty-six stage productions of the work in the first year after the Berlin premiere. In 1931, a film version directed by G.W. Pabst entitled Die 3-Groschenoper opened, making an international star of Weill’s wife, Lotte Lenya, who repeated her portrayal of Jenny Diver from the show’s first production.

Dozens of jazz artists have recorded “Mack the Knife.” Gil Evans gave us memorable impressions of “Bilbao Song” and “Barbara Song.” Once in a great while someone with esoteric tastes tackles “Pirate Jenny” or “Love Song.” Still, for all its riches and potential for interpretation, until recently there have been, to my knowledge, only two entire jazz albums of music from the score of this twentieth century milestone, both on long-playing vinyl. One was by the Australian Jazz Quartet (Bethlehem Records, 1958, long out of print). The other was by pianist André Previn and trombonist J.J. Johnson with bassist Red Mitchell and drummer Frank Capp, recorded for Columbia in 1960. Despite the material and the big names, this superb album, at once lively and mordant, has never been reissued on CD. If you’re lucky, you might snag a copy of the LP on e-bay or elsewhere on the internet.
The relatively new (2005) album of music from The Threepenny Opera came to my attention by chance when the Chicago pianist Jeremy Kahn sent Rifftides a comment about something else entirely. I looked him up on the web, found his site, and discovered that he and his quartet had a CD called Most Of a Nickel: Music From The Threepenny Opera. I listened to the samples and arranged to get a copy. I have been listening to it for days. Kahn and his colleagues find both the acid bitterness and the subtle beauty of Weill’s music and, by extension, the mocking parody of Brecht’s story. Even if you knew nothing about the background of the music, I think you would be captured by the bittersweet tango of “Ballad of Immoral Earnings;” the understated longing of Jim Gailloreto’s tenor saxophone in “Love Song;” the delicacy of his flute in “Solomon Song;” “Cannon Song’s” intimations of joy, with hints of militarism from Eric Montzka’ drums; the forthrightness of “Barbara Song.” There are three short versions of “Mack The Knife,” one devoted to Kahn’s piano, its voicings rich with minor key irony; one for Gilloreto, who conjures an unaccompanied solo fantasy on the song’s primary phrase without once resorting to quoting Sonny Rollins; one for Larry Kohut’s bass, also unaccompanied.
Some CDs are too long. This one is too short. It has eleven of the twenty-four pieces in the Weill score. Kahn’s quartet leaves you wanting more from The Threepenny Opera. A second volume would be welcome.

Sonny Rollins is seventy-seven years and three days old. I thought of acknowledging his birthday on Friday, but Rifftides traffic is down on weekends and I wanted to point more of you to his web site for previously unissued recordings of Rollins’s work from 1956 with the Max Roach-Clifford Brown Quintet. The site will be playing a different piece each day now through September 18. Today’s recording is identified as “Lover,” and it is, harmonically, but the riffish melody is George Handy’s “Diggin’ Diz,” first recorded by Charlie Parker and Dizzy Gillespie ten years earlier. Rollins is superb, but Brown–less than a month before he died in a car crash–is astounding. The piano solo by the underappreciated Richie Powell, who also died in the accident, is worth your attention.
Coming up on the Rollins site:
September 11: I’ll Remember April
September 12: Jordu
September 13: Nice Work If You Can Get It
September 14: Get Happy
September 15: Take the ‘A’ Train
September 16: Darn That Dream
September 17: What’s New
September 18: Lover Man
To hear “Diggin’ Diz,” click here and follow the easy instructions.
The Rollins site also offers a link to this piece of video from 1968, with Sonny, pianist Kenny Drew, bassist Niels Henning Orsted-Pedersen and drummer Tootie Heath. Listen to Rollins’s long opening cadenza and see if you can figure out what tune he’s anticipating. The YouTube sidebar menu offers several other Rollins clips, including three of his quartet with Jim Hall.
Happy post-birthday, Sonny.

Stumbling around the internet, I was pleased to find that Henry “Red” Allen’s World On A String is still available on CD, as well it should be. A few years after the 1957 album appeared, the young trumpeter Don Ellis called Allen, “the most avant garde trumpet player in New York.” Allen’s slurs, slippery phrasing, unconventional interval leaps and surprising stabs may have aroused fellow feeling in Ellis, but the great New Orleanian first made his mark in the 1920s, sounding essentially as he did the rest of his life. He died in 1967.
World On A String has Allen’s house band from the Metropole, plus tenor saxophonist Coleman Hawkins, his colleague from the Fletcher Henderson band of the early thirties. The others are trombonist J.C. Higginbotham, clarinetist Buster Bailey, pianist Marty Napoleon, guitarist Everett Barksdale, Lloyd Trotman on bass and Cozy Cole on drums. All of them play at the highest level from the beginning, “Love is Just Around the Corner,” to the end, a classic “Sweet Lorraine.” Along the way are several standards, including the title tune and a blazing “‘Swonderful,” plus a blues and the signature piece “Ride, Red, Ride” with Allen vocals, always a treat. This is a basic repertoire item.
A year later, Allen led an all-star group on the immortal CBS television program The Sound of Jazz. Hawkins was aboard, along with Vic Dickenson, Rex Stewart, Pee Wee Russell, Milt Hinton, Nat Pierce, Danny Barker and Jo Jones. They performed Earl Hines’s “Rosetta,” captured in good sound and with superb camera work. You can see a substandard dub of the piece if you click here, but the entire program should be in every serious jazz collection. This DVD version claims to be the complete show, without the omissions or technical flaws of previous releases.

That’s the name of a piece Italian trumpeter and fluegelhornist Franco Ambrosetti’s quartet played on a Swiss television program in 1977. With him were pianist Hal Galper (USA), bassist Dave Holland (UK) and drummer Daniel Humair (France). Galper accurately describes the performance as “burnin’.”
To see and hear “Hot Diggety Dam!” go to Galper’s web site and scroll down to the daily motion screen. Trumpeters may be fascinated by closeups that show Ambrosetti’s embouchure. It’s off-center. It may be unorthodox, but it works for him.

It is a pleasure to announce that Libros Libertad has added a banner headline to the Poodie James page at the publisher’s web site:
Poodie James
By Doug Ramsey
LIBROS LIBERTAD’S BEST-SELLING BOOK!
Thanks to all who made that possible.

Marc Myers is doing good things on his new blog JazzWax. His most recent posting is about a listening session with fellow blogger Terry Teachout. Before that, he and Danny Bank tell the sad story of Billie Holiday’s last recording session. To read both pieces, go here.

Recent Rifftides visitors are from all sectors of the United States, including most major cities, and smaller places with wonderful names like Blooming Glenn and Avondale, both in Pennsylvania; Bloomington, Indiana; Ann Arbor, Michigan; Newton, Lower Falls, Massachusetts; and Morro Bay, Camarillo and Altadena, California — to name a few. There are also lots of Canadian Rifftides readers, from Surrey, British Columbia in the west, to La Baie, Quebec in the east.
In the past few hours, folks have also checked in from:
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