Ladies and gentlemen, in the exhibit to your right you will find a new assortment of Doug’s Picks. I know, I know; it’s about time. I’ve been busy. You’ll be busy too, but deliriously happy, if you adopt the recommendations. Good listening, viewing and reading to you, and happy February.

Eric Felten’s call for suggestions of odd or unexpected pairings brought enough responses that we’ll run them in two installments. My first thought was simply to list the names of the musicians and their performances, but the comments accompanying your messages were as interesting as the couplings themselves. Wherever possible, the Rifftides staff has provided links to pertinent recordings. Some of the pairings don’t seem all that disparate, but perhaps oddity is in the ear of the beholder.
I’ll get the ball rolling with two unusual Duke Ellington partnerships. The first was Bing Crosby singing “St. Louis Blues” with the Ellington band in 1932. At 27, Crosby was in the early stage of his stardom. If you have doubts about how much he owed Louis Armstrong, be sure to hear this. Mae West does “My Old Flame” in full insinuando backed at one point by gorgeous Ellington voicings for clarinets. She sang several numbers accompanied by the Ellingtonians in the 1934 film Belle of the Nineties.
Now, it’s your turn

Doug:

One of the oddest pairings in jazz, I think, was between Gil Evans and the music of Jimi Hendrix on Evans’ Plays the Music of Jimi Hendrix. Hendrix was supposed to participate on the project, but he died before it could happen.

My favorite unexpected pairing of people was between Ray Charles and Milt Jackson for the album Soul Brothers, Soul Meeting.

Regards,

Carl Abernathy

Cahl’s Juke Joint

Doug:

I have a few off the top of my head.

The first one I offer may not be deemed as successful by most, and it certainly was miles from commercially successful, but I think it is surprisingly effective, Stan Kenton and Tex Ritter (Rare Capital LP from 1962-The cover has a spur dangling from a Mellophonium! ) particularly “Wagon Wheels.”

(Note: There have been reports recently that Capitol will reissue Stan Kenton and Tex Ritter and, as a masochism bonus, Kenton Plays Wagner. DR)

Dizzy Gillespie and Bobby Hackett

(Note: the Hackett-Gillespie album comes up again in the next installment. I’ll offer a reminiscence. DR)

Bing Crosby and David Bowie (Crosby Christmas TV Special doing a medley on ‘Peace on Earth/Little Drummer Boy’, yes, not an album but amazingly good.)

Dave Brubeck and Louis Armstrong (‘Summer Song’ from The Real Ambassadors.)

T-Bone Walker and Johnny Hodges (Doing ‘Stormy Monday Blues’ on JATP tour 1967. This is GREAT.)

Cheers,

Pat Goodhope

“Avenue C”

WVUD FM 91.3 or WVUD.org

University of Delaware Public Radio

Doug —

I thought Brubeck and Anthony Braxton on that old Atlantic LP from
the late Seventies worked. With time, I don’t consider it to be such
a strange pairing, but as a 21-year-old at the time, it was a real
headscratcher.

John Chacona

Doug:

I don’t know if this qualifies, but here goes: 1972”s BILL EVANS-GEORGE RUSSELL album.

The late pianist Bill Evans was a mere sideman on several of composer George Russell’s highly experimental late 50s recordings, but in 1971, with a major contract with Columbia Records, he commissioned a work from the notoriously uncompromising Russell for his second release for the label. The result was the album Living Time, one lengthy, often raucus avant-garde piece in eight “events” — some with rock rhythms – that was so radically removed from Evans’ lyrical pianistic style, that he got lots of hate mail, and his Columbia contract was dropped. With Evans’ well-known penchant for a conservative, inwardly developmental approach to his own art, it still makes one wonder “What was he thinking?”

Jan Stevens

The BILL EVANS WEBPAGES

Click on the highlighted words to link to the recordings.
My hometown friend Bob Godfrey offered three nominations:

Thelonious Monk and Pee Wee Russell
Count Basie and Teresa Brewer
Count Basie and Oscar Peterson

Basie and Peterson recorded Satch Meets Josh in 1974 and followed it up over the years with four additional two-piano collaborations. For the 1998 reissue of Satch Meets Josh, aka Count Basie Encounters Oscar Peterson, I wrote:

If Art Tatum and Fats Waller had teamed up in a recording session, the results would undoubtedly have been something like this. Whether Waller would have induced as much restraint in the virtuosic Tatum as Basie does in Peterson is debatable, but the effect is not unwelcome. Peterson is not repressed, but there are times when you can almost hear him listening to Basie for direction. Basie’s direction is simply straight ahead, with the emphasis on “simply.” No pianist has surpassed Basie in boiling material down to its essentials. No pianist has surpassed Tatum in building material up from its essentials, but Peterson has come close. The joy of this album is not only in the contrast between style but in the compromises, most of which are made by Peterson. So who’s the stronger piano player?

Doug:
Here are two odd combinations that worked: Roland Kirk and Al Hibbler…Joe Venuti and Zoot Sims
One that failed miserably was Benny Goodman and Stan Kenton singing together (!) on a Capitol record on which they spoofed each other. It was terrible.
Jack Tracy

Mr. Tracy is a former editor of Down Beat magazine.

Hi,
I very much enjoy reading your site.
I don’t know if this counts as an “odd” coupling, but one that has always struck me is Blue Note’s pairing of Grant Green with Coltrane’s classic rhythm section on Matador. Green’s straight-ahead melodic lines worked wonderfully, I thought, with the dense, blockier sound of Tyner-Garrison-Jones. Green showed the subtle and subdued side of the section in the same way that Hartman showed the gentler side of Coltrane. And you have to respect Green for having the guts to record “My Favorite Things” with these guys right in the middle of Coltrane’s heyday … and pulling off such a great rendition.
Best,
Caleb McDaniel

Mr. McDaniel is an historian at Johns Hopkins. His blog fits the broad Other Matters category in which the Rifftides staff assumes you are all interested.

Doug:
I’d like to nominate for an “unlikely” duo the 1971 recording titled Giants, which featured Diz & Bobby Hackett backed by the extraordinary & undervalued Mary Lou Williams, George Duvivier & Grady Tate.
Not only do these gentlemen exhibit jazz & technical chops, they seem to fit together like a Stilton with a great port.Their remodeling of”Jitterbug Waltz” never fails to leave me breathless.
This session was recently reissued on the Lone Hill Jazz label, distributed by the Fresh Sound folks.
Dave Berk

The Overseas Press Club in New York, where Giants was recorded in concert in 1971, was just up 42nd Street from WPIX-TV, where I was employed. That evening, I took a leave of absence from preparation of my late newscast and caught as much of the music as I could. The fondness Diz, Bobby and Mary Lou had for one another was as visible as it is audible on the recording. A great event.

Doug:
I have followed your blog daily from its beginning and find it the most interesting thing on the internet. Thank you for starting and maintaining it. On the subject of albums that work but shouldn’t, I would recommend the Verve label’s Time for 2. The pairing of Anita O’Day and Cal Tjader and his group looks like a recording execs plan to put two people on the same label together and hope either name will draw. The results are a great vocal and small group combination with terrific efforts on everyone’s part. People forget Tjader could play “straight ahead” with the best of them and was a very sensitive team-player. The recording represents many of the same musicial values the Brubeck-Rushing has. It was recorded in 1962 and has been out on cd since 1999.
Jim Wardrop

That brings the entries up to date, but there’s no statute of limitations; if you have a favorite odd musical coupling, let us know.

A last-minute contribution from a Rifftides reader who identifies himself only as John.

Worked: Don Pullen and the Chief Cliff Singers.

(Sacred Common Ground, a collaboration between the pianist’s avant garde African Brazilian Connection and a Native American vocal group. DR)

Didn’t (at least for me): Louis Armstrong and Leon Thomas.

(Louis Armstrong and Friends, a 1960s album including Thomas, a sort of free jazz yodeler; Ornette Coleman, Miles Davis, Tony Bennett and others in a small choir. The musical direction, sort of, is by Oliver Nelson, who on other occasions exercised control. The phrase “herding cats” has rarely been more appropriate. It’s a bit of a mess, but Armstrong’s warmth and charisma come through the melee. DR)

I would gladly give all my symphonies, had I been able to invent the locomotive. —Anton Dvořák

“Happy Go Lucky Local”…told the story of a train in the South, not one of those luxurious, streamlined trains that take tourists to Miami, but a little train with an upright engine that was never fast, never on schedule, and never made stops at any place you ever heard about. After grunting, groaning, and jerking, it finally settled down to a steady medium tempo. —Duke Ellington

Very good site!

Poishi

This week, Jackie Cain, the surviving member of the vocal duo Jackie and Roy, sang with some of their arrangements from nearly half a century ago. Ms. Cain’s angelic voice, an instrument of purity and tonal accuracy rarely equaled in any area of music, has seldom been heard since Roy Kral, her husband, died in 2002. Her re-emergence performing with a big band was an event. Here is a bit of Zan Stewart’s report from the Newark Star-Ledger.

Cain was spotlighted on several ballads, among them “Darn That Dream,” “I’m Glad There Is You,” and “Angel Eyes.” These were arranged with panache by Bill Holman, whose beguiling washes of sound both supported and surrounded Cain.

Here, the qualities of her voice and her strengths as a fine interpreter of classic material stood out. Her pitch was spot on. She moved lyrics and rhythms subtly, giving them a personal swing, and decided emotion. She was a little thin on top, though she held long high tones without wavering. Her middle and lower notes were full; she closed phrases with tight vibratos. For someone her age, 77, who has not sung regularly, Cain was first rate.

Singing again in public must be therapy for Jackie Cain after the loss of her husband and artistic partner of more than fifty years. It is bound to be therapy for her audiences. To read the rest of Stewart’s review, click here.

Eric Felten—trombonist, singer, bandleader and occasional Wall Street Journal contributor—is asking for Rifftiders’ suggestions, to wit:

The other day I heard a cut that I had heard a time or two before, “Shine On Harvest Moon,” with that remarkably odd combination of Jimmy Rushing and the Brubeck outfit. I found it weirdly compelling. It got me thinking about what other odd pairings have been made in jazz. Some have been great artistic triumphs—Coltrane/Hartman, anyone? And I imagine there have been others that have been disasters.

Often it seems the odd pairings (as in Coltrane-Hartman) are driven by record company decisions that have nothing to do with musical judgments and everything to do with getting contractual obligations out of the way.

I would be interested in your readers’ candidates for “oddest couplings that worked,” and “oddest couplings that didn’t.”

Send your nominations along. I’ll forward them to Eric and compile them for a Rifftides posting. Use the e-mail address in the right-hand column, please.
Eric may find those combinations—Brubeck and Rushing, Coltrane and Hartman—odd, but they worked perfectly. The Rushing collaboration album with the Brubeck quartet brought out a certain reserve, call it self-editing, in Brubeck that resulted in some of his most economical and attractive solos. It coaxed forth the bluesy side of Paul Desmond. Mr. Five By Five sang at the top of his game. It’s one of Rushing’s best latterday recordings. As for Coltrane, he was compounding his “sheets of sound” style in 1962 and was well on his way to the free approach that led to “A Love Supreme” and beyond (way beyond), but in the album with Hartman, he is supremely melodic in his solos on a collection of great ballads.

I saw a sign, beautifully hand-lettered, in front of a garden apartment not far from my house.

WELCOME:

FRIENDS

BUTTERFLIES

LADYBUGS

BEES

A good thought on a frigid January day.

Several Rifftides readers have written that they regret not having been at the International Association of Jazz Educators bash in New York. Many of them were disappointed at not hearing the conversation between Ira Gitler and Sonny Rollins. Because of that session’s overlap with one I did, there was no chance for me to hear it. I thank DevraDoWrite for alerting us to a way to get tapes or CDs of that interview and dozens of other IAJE presentations.
None of the major concerts is available, for obvious permissions and copyright reasons, but several of the educational sessions included demonstrations that amounted to mini-recitals. Among them are the Marvin Stamm-Billl Mays “Art of Duo Playing” and Fred Hamilton’s guitar master class. If you click here, you will go to a printable PDF file listing all of the sessions available on audio. It includes an order form and the mailing address. I’m ordering the Rollins CD today.
If you can’t open the PDF file, here is the contact information you’ll need:
On-Site Recording Productions
5551 Fremont Street
Emeryville, CA 94608
phone (510)985-0335
fax (510)985-0335
onsiterecording@earthlink.net
On-Site tells Devra that it is working on a way to order directly from its web site, but doesn’t yet have it in operation. I presume that they’ll take telephone orders.