Okay, so Henderson wasn't a bopper although he did record with perhaps the original bopper Charlie Christian, that's by the by. My original intention was to set up a blog where musicians and fans could chat and share opinions rather than to become a listing of local gigs and repetitive reviews of local bands and albums by bands from both here and abroad.
I know trying to compete with Facebook is an impossible task - they said that when David got into the ring with Goliath - which is why I share BSH blogs on F/b which keeps us in the fight. However, that's as maybe and nobody's ever going to beat the behemoth that is F/b although I do hear a rustling in the undergrowth ...
What I'm trying to get across here is that, whilst we will continue to review and list gigs, albums and whatever it would help to ease my frustration if you could email me your thoughts and opinions on any jazz related subject, other than self-promotion, that is suitable for posting. Lance (lanceliddle@gmail.com)
3 comments :
As a total Fletcher Henderson fan, I agree he wasn't a bopper but would note that in the 1940s he employed, amongst others, Dexter Gordon, Art Blakey, Linton Garner, Ed Gregory (Sahib Shihab), and Sun Ra, along with many less well-known but worthy young swing-to-boppers. Check out the 1944/45 airshows on YouTube. Smack's last band in 1950 featured the wonderful Lucky Thompson on tenor!
This post prompted me to dig out one of my favourite 78s - My Gal Sal / Business In F by The Stokers Of Hades (aka Fletcher Henderson) on Parlophone R1196. To my now-antiquated ears, this offers superior sound quality to what is available on the 1961 LP set or subsequent CD reissues.
I have heard Steve Andrews play Business In F with the NCRO. Given that this piece is the work of Archie Bleyer, known in his words as "King Of The Stocks", would this indicate that the arrangement is still currently published? Having read up a bit on Mr.Bleyer, I
find that by the late 1950s he was the father-in-law of an Everly Brother and producer of the duo's famous hits, having had a hit
of his own a little earlier with Hernando's Hideaway. All of which is a far cry from Coleman Hawkins just over twenty years earlier!
Business In F didn't make it to the Frustration set neither, perhaps more surprisingly, did It's The Talk Of The Town, Hawkins' first fully-fledged ballad solo on record. Does anyone have any suggestions why? Some anti-Hawkins bias on the part of John Hammond maybe...
Re: Tony Charlton's comment, yes, the NCRO played Business in F off the Archie Bleyer stock arrangement (perhaps altered a bit by Dave Kerr, I can't remember now). I doubt that the stock is still available, but Dave seems to have the happy knack of finding them from his sources around the world! I DO remember starting it on the wrong note at Whitley Bay Jazz Festival - because the title is Business in F, I was thinking in concert key, and started on a C rather than a D (concert C on Tenor sax). Sadly for me, this cock-up is for ever immortalised on Youtube! Thanks for the fascinating further history on Bleyer, too.
As to why Hammond omitted those two great Henderson tracks on the LP set, I guess it was simply down to space available and the positive wealth of material that Fletcher left on record. They were both recorded on Columbia, so would certainly have been candidates. It's perhaps strange that he omitted Talk of The Town because it was from a session for English Columbia & Parlophone that Hammond arranged and supervised, so perhaps it WAS anti-Hawkins bias on his part - he certainly was a Lester Young man after the mid-'30s!
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