Here’s the playlist for Tueday night’s All That Jazz radio show:
First set a couple of fairly unknown jazz piano players: Pat Flowers, who recorded during the 40’s, played piano and sang; Putney Dandridge, who also sang and recorded during the middle 30’s.
Pat Flowers and His Rhythm
“Googie Woogie” composed by Flowers from Pat Flowers 1945-1947 (1945) on OJC — Pat Flowers, piano, vocals, leader; Herman Autrey, trumpet; Gene Sedric, clarinet; Jimmy Shirley, guitar; Cedric Wallace, bass; Slick Jones, drums
“Ain’t that just like a woman” composed by Claude Demetrius / Fleecie Moore from Pat Flowers 1945-1947 (1945) on OJC — Pat Flowers, piano, vocals, leader; Herman Autrey, trumpet; Gene Sedric, clarinet; Jimmy Shirley, guitar; Cedric Wallace, bass; Slick Jones, drums.
This next tune from Flowers is especially interesting. The tune features vocals from unknown (from a recording standpoint) singer, piano player Bunty Pendleton. We know next to nothing about Pendleton. Apparently, this was the one and only time she ever recorded anything (see Tim Brosman’s “A Discography of One: “Horizontal” by Bunty Pendleton”). She seemed to be most active during the forties. “Horizontal” was recorded in July of 1946 as a kind of “welcome” back song for the troops post WWII. She was also gigging at Jimmy Ryan’s East Side on 52nd street in NYC, a club that routinely featured New Orleans style musicians, which may have led Pendleton to find gigs later on. William Gottlieb has several famous photographs of Pendleton playing piano at “Riverboat on the Hudson”. Her voice is very low-key, yet has enormous emotional quality. Judge for yourself from the following video.
“Horizontal” composed by Hal David / Ricca from Pat Flowers 1945-1947 (1946) on OJC — Pat Flowers, piano, leader; , vocals; Herman Autrey, trumpet; Gene Sedric, clarinet; Jimmy Shirley, guitar; Cedric Wallace, bass; Slick Jones, drums.
Putney Dandridge
Putney Dandridge, like Flowers and Pendletron, a relatively unknown jazz piano player and vocalist to anyone outside of NYC during the 30’s, played with some of the great swing musicians of the era.
“Nagasaki” composed by Mort Dixon / Harry Warren from Putney Dandridge 1935-1936 (1935) on OJC — Putney Dandridge, piano, vocals, leader; Henry Allen, trumpet; Buster Bailey, clar and alto; Teddy Wilson, piano; Lawrence Lucie, guitar; John Kirby, bass; Walter Johnson, drums
“I’m in the mood for love” composed by Dorothy Fields / Jimmy McHugh from Putney Dandridge 1935-1936 (1935) on OJC — Putney Dandridge, piano, vocals, leader; Henry Allen, trumpet; Buster Bailey, clar and alto; Teddy Wilson, piano; Lawrence Lucie, guitar; John Kirby, bass; Walter Johnson, drums
Here’s Dandridge performing “Cheek to Cheek,” 1935:
“Cheek to cheek” composed by rving Berlin from Putney Dandridge 1935-1936 (1935) on OJC — Putney Dandridge, piano, vocals, leader; Henry Allen, trumpet; Buster Bailey, clar and alto; Teddy Wilson, piano; Lawrence Lucie, guitar; John Kirby, bass; Walter Johnson, drums
Frankie Newton, trumpeter and bandleader, known for his small combo work in clubs around 52nd street as well as the Cafe Society Club house band (regularly backed Billie Holiday) recorded some great stuff. Here’s a few examples:
Frankie Newton and His Uptown Serenaders “You showed me the way” composed by Green, et al from Frankies Jump (1939) on Charley Records — Frankie Newton and his Uptown Serenaders: Newton, trumpet; Pete Brown, alto; Cecil Scott, tenor; Don Frye, piano; Richard Fulbright, bass; Co9zy Cole, drums; Clarence Palmer, vocals
Frankie Newton and his Orchestra “Rosetta” composed by Hines from Frankies Jump (1939) on Charley Records — Frankie Newton, trumpet; Mezz Mezzrow, clar; Pete Brown, alto; James P. Johson, piano; Albertr Casey, guitar; JohnKirby, bass; Cozy Cole, drums
Frankie Newton and His Cafe Society Orchestra “Parallel fifths” composed by Newton from Frankie’s Jump (1939) on Charly Records — Frankie Newton and his Café Society Orchestra: Newton, trumpet; Tab Smith, alt; Kenneth Hollon (solo), tenor; Kenny Kersey, piano; Ulysses Livingston, guitar; Johnny Williams, bass; Eddie Dougherty, drums
Fats Waller “Brother, seek and you shall find” composed by Frank Crum / Slam Stewart from Fats Waller 1935, vol 2 (1935) on OJC — Fats Waller, piano, vocals, celeste; Herman Autrey , trumpet; Rudy Powell, clarinet, alto; Jimmy Smith , guitar; Charlie “Fat Man” Turner, bass; Arnold “Scrippy” Bolden, drums
Fats Waller “The girl I left behind me” composed by Edgar Leslie / George W. Meyer / Billy Rose from Fats Waller 1935, vol 2 (1935) on OJC — Fats Waller, piano, vocals, celeste; Herman Autrey , trumpet; Rudy Powell, clarinet, alto; Jimmy Smith , guitar; Charlie “Fat Man” Turner, bass; Arnold “Scrippy” Bolden, drums
Fats Waller “Rhythm and romance” composed by J.C. Johnson / Arthur Schwartz / Richard A. Whiting from Fats Waller 1935, vol 2 (1935) on OJC — Fats Waller, piano, vocals, celeste; Herman Autrey , trumpet; Rudy Powell, clarinet, alto; Jimmy Smith , guitar; Charlie “Fat Man” Turner, bass; Arnold “Scrippy” Bolden, drums
John Kirby and His Orchestra “At the crossroads” composed by Lecuona, Russell from The Biggest Little Band in the Land (1945) on ASV — John Kirby, bass, leader; Charlie Shavers, trum; Buster Bailey, clar; George Johnson, alto; Clyde Hart, piano; Bill Beason, dri,s
John Kirby and His Orchestra “9:20 special” composed by Warren, Engvick from The Biggest Little Band in the Land (1945) on ASV — John Kirby, bass, leader; Charlie Shavers, trum; Buster Bailey, clar; George Johnson, alto; Clyde Hart, piano; Bill Beason, dri,s
John Kirby and His Orchestra “Mop Mop” composed by Demtrius, Williams from The Biggest Little Band in the Land (1945) on ASV — John Kirby, bass, leader; Emmett Berry; George Johnson, alto; Bud Johnson, tenor; Ram Ramirez, piano; Bill Beason, drums
Tab Smith “Cuban Boogie” composed by Smith from Ace High (1952) on Delmark — Tab Smith, alto
Tab Smith “A bit of blues” composed by Smith from Ace High (1952) on Delmark — Tab Smith, alto
Candy Johnson “Freight Train” composed by Trad from Candy’s Mood (1973) on Definitive — Candy Johnson, tenor;
Tubby Hayes “Johnny one note” composed by Lorenz Hart, Richard Rodgers from The Tubby Hayes quintet down in the village (1962) on Redial — Recorded live at Ronnie Scott’s—Tubby Hayes, tenor, leader; Jimmy Deuchar, trumpet; Gordon Beck, piano; Freddy Logan, bass; Allan Ganley, drums
Ira Sullivan “Con alma” composed by Gillespie from After Hours (1996) on Go Jazz Records — Ira Sullivan, soprano;
Charlie Shavers “Summertime” composed by Gershwin from Shavers Shivers (1950) on Soundies — Charlie Shavers, trumpet, leader
Earl Bostic “Sleep” composed by Earl Lebieg from Earl Bostic for You (1956) on King — Earl Bostic, alto;
Plas Johnson “Hittin’ the Jug” composed by Ammons from Hot, blue, and saxy (1950) on carell music — Plas Johnson, tenor; Cedric Lawson, piano; Richard Reid, bass; John Kirkwood, drums
King Curtis “Da Duh Da” composed by Curtis from The New Scene of King Curtis (1960) on OJC — King Curtis, tenor; Nat Adderley, trumpet; Wynton Kelly, piano; Paul Chambers, bass; Oliver Jackson, drums
Joe Liggins and the Honeydrippers “Pink Champagne” composed by Liggins from Joe Liggins & the Honeydrippers (1950) on Specialty Records — Joe Liggins orchestra, Liggins on piano, vocals
Louis Jordan “Reet, petite, and gone” composed by Jordan from Five Guys Named Moe (1991) on decca — Louis Jordan, tenor, vocals
Call and Response 