{"id":353,"date":"2006-02-06T01:05:00","date_gmt":"2006-02-06T09:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=353"},"modified":"2006-02-06T01:05:00","modified_gmt":"2006-02-06T09:05:00","slug":"odd_couples_part_5","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/02\/odd_couples_part_5\/","title":{"rendered":"Odd Couples, Part 5"},"content":{"rendered":"

There must be a whiff of country in the winter air.<\/p>\n

Doug,
\nOne more for the books\u00e2\u20ac\u201dthat works\u00e2\u20ac\u201dGatemouth Brown and Roy Clark, Makin’ Music<\/em><\/a>. It’s listed as a country album, but it’s really Louis Jordan with a twang. The tunes include “Take the A Train” and “Caldonia,” and the band includes Airto Moreira on percussion and the Memphis Horns.
\nIt may be slightly off topic, but with that cast I couldn’t resist adding it to the list.
\n\u00e2\u20ac\u201dPeter Levin<\/p><\/blockquote>\n

Doug,
\nI also have a soft spot for Gary Burton playing with banjo icon Sonny Osborne on “Tennessee Firebird.”<\/a> (1962) It’s more a display of Burton being able to play in Bluegrass rhythm than of Osborne being able to do jazz rhythms, but it’s very enjoyable.
\n\u00e2\u20ac\u201dAnson Young<\/p><\/blockquote>\n

(DR responds)
\nFurthermore, it is an instance of drummer Roy Haynes kicking jazz and country behind in equal measure, so to speak. Haynes is also the drummer on Oliver Nelson’s The Blues and the Abstract Truth<\/em><\/a>. If you want a real hoot, play Nelson’s “Hoe Down” and Burton’s “Tennessee Firebird” back to back.
\n“Wee-hah,” as they say, or holler, down yonder.<\/p>\n

Doug,
\nRe your “Odd Couple” pairings, here is one that may shock you, but you ought to try and find it someday: Dorothy Collins and Barney Kessel!! That’s right! They did an album together in the Fifties called “Songs by Dorothy Collins”, which I remember very well. She was the “girl next door” pop singer on the “Hit Parade” TV show, and was never known as a jazz singer, but on this one album she selected some great standard ballads, put together a great rhythm section of Barney with an unknown bassist and drummer, and she really delivered a very credible jazz set — sort of an early Susannah McCorkle. She was probably chafing for years, singing all those pop songs, and secretly harboring a desire to be a real jazz cabaret vocalist. The album revealed a lovely voice with perfect pitch, a great rhythmic sense, crystal clear diction and great sensitivity to the lyrics. I’ll look for a copy on e-bay!
\n\u00e2\u20ac\u201dMal Harris<\/p><\/blockquote>\n

A search of internet music outlets, including e-bay, turns up references to the album, but no indication that it is available.<\/p>\n","protected":false},"excerpt":{"rendered":"

There must be a whiff of country in the winter air. Doug, One more for the books\u00e2\u20ac\u201dthat works\u00e2\u20ac\u201dGatemouth Brown and Roy Clark, Makin’ Music. It’s listed as a country album, but it’s really Louis Jordan with a twang. The tunes include “Take the A Train” and “Caldonia,” and the band includes Airto Moreira on percussion […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-353","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/353","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=353"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/353\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=353"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=353"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=353"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}