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Re: Frankie Newton part one 1929/38 recordings (long)

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  • rogerstrong257
    Many thanks Yves-this is just the sort of material I am looking for. Look forward to the rest! Just think what might have been if Newton had gone to France
    Message 1 of 2 , Dec 5, 2008
      Many thanks Yves-this is just the sort of material I am looking for.
      Look forward to the rest!
      Just think what might have been if Newton had gone to France with
      Bill Coleman and Bill Dillard etc in the 1930's.............


      --- In RedHotJazz@yahoogroups.com, yves francois <aprestitine@...>
      >     Hello Roger, I am sorry that this will take 3 e mails, but I
      wanted to give some data that many may not be familiar with this
      great musician
      > Recordings by Newton, an overview (part one 1929/38).
      > Very little was recorded before 1936 by Mr Newton, indeed 7 titles
      with Benny Carter's band (one hot dance record was issued no Newton
      solo, the lead trumpet does not sound like him anyways, good Carter
      reed writing before the vocal) were not issued, as well as test
      pressings with Sam Wooding in 1934 (these should have been great
      considering that Gene Sedric and Albert Nicholas are on them as well,
      and doing one of my favorite songs "Weary Blues")). However, there is
      the Cecil Scott Victor's (trumpet solos by Newton on "In A Corner"
      bridge 8 bars between Dicky Wells' theme playing), and a effective,
      if somewhat redundant blues solo on "Bright Boy Blues" (great
      tone,and feeling, but not something where we hear his ideas to the
      fore)^. He played with several major Harlem orchestras besides Scott
      in those days, mostly Charlie Johnson (between 1930 an 1934 or so, he
      seemed to be in and out a couple of times). I would think that
      Johnson would have recorded in
      > those years, alas, not so. Rumors have about a broadcast (would
      that be interesting) and I wonder if there was any Vitaphone's (heard
      a even less substantiated rumor about that as well, maybe they
      recording something in a film soundtrack that perhaps never got
      issued or not yet found , after all I recently heard Cecil Scott in a
      film with a violin and what sounds like Clarence Williams doing "I
      Can't Dance" on the 1935 Micheaux production "Murder In Harlem"), so
      anything's possible).
      >    Under John Hammond's supervision Newton got to record under
      Bessie Smith (and Buck and Bubbles) in 1933, with some very fine
      trumpet solos on the Smith session ("Gimmie A Pigfoot" is quite
      famous, and rightfully so, a very playful moment), and Newton is the
      star over the other horns (Teagarden, Berry even Goodman), one wished
      that that band would have recorded 4 instrumentals! The Buck and
      Bubbles were not issued on 78, but "Long Gone" was finally issued on
      a "Stars Of the Apollo Theater" set (band is strictly in the
      >    Again, a time of little recording until 1936, I will go to list
      form for the rest, but will make some judgments about certain key
      recordings (I presume you know all the Newton's under his own name, I
      could write about these as well), remember that in back of most
      vocalists Newton was excellent in the art of obbligato (or on
      occasion counterpoint, on his 1937 recording of "You've Showed me The
      Way" he is playing a solo in back of Clarence Palmer's vocal):
      > Art Karle 1936 (with Mezz Mezzrow,Joe Bushkin and the excellent
      Harlem drummer from Johnson's band George Stafford, Karle was the
      tenor player on some early records by Benny Goodman, these are
      actually better than the sides made with Willie "the Lion" Smith
      under Mezzrow's name), the title "Light's Out" has a fantastic
      trumpet solo, tightly muted with some wonderful bass, Chick Bullock
      does the vocals, Newton plays the first chorus and nice ride out's on
      these pop tunes, love this session.*
      > Mezz Mezzrow Swing Band 1936, celebrated session, a hit with "I'se
      A Muggin", bad balance, Newton sounds disaffected at times, though he
      usually come out on top, IMHO this session is the reason why Mezz has
      a bad name, he sounds quite bad here, wish it was just Bud Freeman
      and Newton, would have been much better.+ 5 titles (Lost being the
      best as a band, though Newton plays quite good on "The Panic Is On")
      > Teddy Hill Orch for Vocalion 5 titles, 4 issued. This is the best
      work Hill did on wax (though I do like the 1935 pops with Bill
      Coleman and Roy), very good Newton on "Blue Rhythm Fantasy" and
      esp "At The Rug Cutters Ball", other 2 titles good, but the trumpet
      solo on "Passionette" is NOT Newton, it's Bill Dillard.*
      > Teddy Wilson: one session (3 issued titles) in 1936, it's the
      session with Ella singing. Newton has one great moment "All My Life"
      after Ella's vocal a great solo, very strong yet sensitive, all 3
      titles are good music, but do not feature Frankie as much as other
      sessions of this nature.
      > Newton's greatest body of work was done in 1937, the famous Uptown
      Serenades did 3 sessions, most are great jazz (even sweet titles
      like "Easy Living" has a great Newton solo), and I wonder if Newton
      ever led a big band long enough would there be a body of work we
      could call the Newton sound, he was the arranger to most of these
      titles, and they are great. "Please Don't Talk About Me When I'm
      Gone" has the ensemble all laying in one line, rather like jazz would
      head in 5 or 8 years, and all the soloists are in top form on these
      records. The third session is more commercial, but still good music,
      though the first two are the great jazz sessions, I would believe you
      are familiar with his work (let me know if you are not) on these so
      on to the sideman work in 1937 ...
      > Teddy Hill 2 sessions Bluebird. Not as good as the 36 work by this
      band, Newton ONLY solos on a couple of titles (it's possible that he
      is the brief solo on "The Love Bug" though for once I am not going
      to place a bet here; "Where Is The Sun" with a fluff but nice melodic
      contour, a short one on a pop "The You And Me That Used To Be" and a
      great solo on "China Boy", easily the best record of all the Newton
      period Hill's for Bluebird. He is NOT the solo on "Big Boy Blue"
      despite what a recent reissue mentions, that one is Shad Collins (who
      also solos on "The Harlem Twister" and "A Study In Brown"), and while
      we are at it, who did these arrangements, they sounds like stocks,
      where is Chappie Willet's charts when you need them?
      > re: big bands he also recorded with Charlie Barnet, with much
      greater results, a fine "Emperor Jones" (aka Duke's "Jubilesta"), a
      short solo on "Shame On you" and one "Admiration" that was originally
      issued on a Merrit LP with a killer trumpet solo (first muted then
      open), too bad he did not become a full time member of the Barnet
      band, the Bluebirds from 1939/41 were excellent, but could you
      imagine a musician of Newton's stature playing on them?
      > I say a mention of the Mills Blue Rhythm band, Newton actually
      played with a Millinder outfit in later 1938, he MAY be on "Ride Red
      Ride" on the soundtrack, it sure sounds a bit like him, but does not
      quite look like him, and besides, why would Newton play someone
      else's solo for even 4 bars (well Allen's solo was famous and
      excellent), it would not be in him ... or maybe that's why he
      disliked big band section work so much. I should note that Newton's
      combos frequently were with 3 or even 4 reedman, and have much of the
      hallmarks of big bands, as well as the fact that in 1940/41 he led a
      10 piece band at the Mino Club (with Ed Anderson on second trumpet
      > Also in 1937, sessions with Maxine Sullivan (a famous ""Loch
      Lommand" and a nice solo on "Blues Skies" if I recall), Midge
      Williams (better than it would first seem BTW), both of these
      sessions were reissued on a Tax LP devoted to Newton in the 70's (I
      don't see a reason to own all of Sullivan's 30's work, I prefer her
      later in life). I prefer the 2 sessions with Willie "The Lion" Smith
      and the Cubs, really good Newton, slightly disorganized affairs, with
      fine Pete Brown and vocals by drummer O'Neal Spencer, but "I've Got
      To Think it Over", "Peace Brother Peace" (I love that song, it's
      about Father Divine) and "Achin Hearted Blues" are all great fun,
      even when the material is lightweight (like "Knock Wood") it is
      refreshing compared to the average 1937 small group swing sessions
      that it was competing against (Waller, Howard et all).
      > After all the recording in 1937, Newton did little in 1938, he MAY
      be on a session by Ollie Shepard in May 1938 (am I raising any
      eyebrows here, I am going on a limb here), certainly the session
      included Bob Carroll and Teddy Bunn, and I am pretty certain (On
      aural evidence only) that Newton could be the trumpeter here, though
      not at all at his best.
      > I will do the next installment on this re the later recordings
      (1939/46) including live broadcasts and private recordings. The final
      will be re the man, as a bandleader and also what Franz Jackson said
      about him
      > Please excuse my tardiness in responding to you, there is a lot
      here, and I am , quite frankly obsessed by this man's work, he and
      Lips Page are my favorite post NOLA trumpets (though I also like
      Coleman, Butler, Clayton, Briggs, Cooper etc), and I wonder what this
      man (who influenced by choosing to be a trumpeter) was like, for I,
      like he also like to paint and am interested in politics and history.
      > All the best
      > Yves Francois
      > ^ there is a vocal performance featuring Newton in this session as
      well, "Lawd Lawd", actually not a bad vocal, wish he recorded more as
      a vocalist, something one does not say about most trumpeters, myself
      > *all 4 titles on the Art Karle session are reissued on the Jasmine
      2 CD set, though be careful the following titles on this 2 CD set
      does NOT have Frankie Newton solos:
      > CECIL SCOTT :Springfield Stomp (Bill Coleman)
      > TEDDY HILL: Passionette (Bill Dillard), Big Boy Blue (Shad Collins)
      > BUCK RAM: Morning Mist (Shad Collins), note the second (open)
      trumpet solo on Twilight In Teheran is also by Collins (Newton is the
      first trumpet solo, very tightly muted, and very much in his
      > + to be fair to Mezzrow, he wanted to do the session with Sidney
      Bechet, Red Allen and Dave Nelson, and he may of got drunk/high when
      told to bring a different horn section. I think Newton does very
      well, it's just that the session has tense moments, usually because
      of Mezz.
      > --- On Thu, 12/4/08, rogerstrong257 <roger@...> wrote:
      > From: rogerstrong257 <roger@...>
      > Subject: [RedHotJazz] Re: Frankie Newton
      > To: RedHotJazz@yahoogroups.com
      > Date: Thursday, December 4, 2008, 6:09 PM
      > Hi Yves,
      > I wonder if you can contact me about the material you might have
      > on Frankie Newton. I am still looking for more information about
      > Roger Strong
      > roger@nikau- nursery.co. nz
      > --- In RedHotJazz@yahoogro ups.com, "rogerstrong257" <roger@> wrote:
      > >
      > > --- In RedHotJazz@yahoogro ups.com, yves francois <aprestitine@ >
      > > wrote:
      > > >
      > > > Roger
      > > > ... please give me a couple of days, I will write some
      > > information re: Newton, I have a full discography* etc, and can
      > > any information you want that is available, Newton happens to be
      > one
      > > of my all time favorite musicians (Lips Page is the other post
      > > Armstrong trumpet I like as much, though several others were also
      > > great), I will respond with quite a bit of data by Monday
      > > > all the best (and I will check some sources re: his paintings I
      > am
      > > very interested as well re his art)
      > > > BTW he did a lot of teaching under privileged students trumpet
      > > lessons ... for free, he was a very principled man, I will also
      > list
      > > some articles, share antidotes from Franz Jackson as well (who
      > played
      > > with him in Boston in 1943) etc
      > > > Yves Francois Smierciak
      > > >
      > > > Yves
      > > Thanks in anticipation! I have always thought that there
      > a
      > > very vivid character behind the music-a man with many different
      > > facets to his character and talents and man who died much too
      > > as well. Look forward to your reply when ever you have time.
      > >
      > > Roger
      > > > * I will also list what items in a recent CD reissue are NOT
      > solos
      > > by Mr Newton
      > > > --- On Fri, 10/24/08, rogerstrong257 <roger@> wrote:
      > > >
      > > > From: rogerstrong257 <roger@>
      > > > Subject: [RedHotJazz] Frankie Newton
      > > > To: RedHotJazz@yahoogro ups.com
      > > > Date: Friday, October 24, 2008, 9:00 PM
      > > >
      > > > I am interested in finding out more about Frankie Newton. The
      > > > material about him in reference books seems to repeat the same
      > > sorts of
      > > > things-that he didn't like Big Bands/that he drank to excess/
      > that
      > > he
      > > > was a political activist/that he painted more than played in
      > > last
      > > > years. He died March 11th,1954 aged only 48. Born january
      > 4th,1906.
      > > > I can find about 45 sides that he recorded but I am interested
      > > > anything has been written about him in the last few years. Do
      > > of
      > > > his painting still exist-what style did he use and indeed
      > anything
      > > new
      > > > or interesting that I can find out about him.
      > > > Can anyone help please?
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