Michael and everyone else
I will have to purchase this CD ASAP, sounds like i will finally hear the Bailey sessions in good sound quality (considering that I even own the Dance produced LP from the 1950's - Autrey is good there, he needed more opportunities away from Waller- it is imperative I would have his complete oeuvre in as good of sound as possible). I do want to bring up something however. To quote you here Michael:
"The Troy Harmonists and Jackson & his Southern Stompers were previously on a GAPS LP devoted to 1920s big bands. The Jackson is almost certainly by the Charlie Johnson Orchestra of the period with such luminaries as Sidney de Paris, Jimmy Harrison and Benny Waters in attendance. It comes from a 7 inch recording not known to exist before a box containing 12 mint copies was discovered in Paris. Despite the 7 inch format these
are full-length recordings on a par with the remainder of Johnson's output."
The record you are mentioning is an excellent record, but I am desiring to commit a heresy here - may I suggest that everyone listen to the Cliff Jackson recordings in total then play the "Jackson & His Southern Stompers". I am NOT saying this because of Jackson's name, but the style of the performances. I know am not the first person who has brought this up (I have seen other names connected to this session as well besides Cliff jackson), also Benny Waters did not recall making those either on the occasion I spoke to him regarding this (but then, as he said, he "lived in a studio" those days). Play the Cliff Jackson CD first then the 2 titles (I have them on an old 10" LP OFC I think, as well as the Johnson CD on FDC5110 Hot and Sweet). Play them next to the Jackson's and see what you think? It also has to be said that the Jackson band may or may not have the sensational Henry Goodwin (does sound like him to me but...) and possibly not Langhorn and
Noisy Richardson (the trombone does NOT sound a thing like Richardson IMHO) at that time, though it did have Rudy Powell, and the rhythm section sounds a bit like Jackson's - as does the bands approach to time, if you get where I am coming from.
If this is NOT the Johnson band I have a couple of ideas here re solists. The VERY positive trumpet on "TAKE YOUR TOMORROW" is awe inspiring, ripping indeed - during the late part of 1928 the Cliff Jackson band had such trumpeters like Henry Goodwin (I do not know exactly when he joined the band though) Jacques Butler* (who played rather similar to this, but we have no solos before 1936 to make any possible assumptions here- he is on the Sammie Lewis - on clarinet! i'm listening to those now, to see if there is a second cornet to any of those, all i hear is an enthusiastic clarinet - and probably the Mamie Smith's from 1929 w Fowler's Orchestra), Horace Holmes and the totally forgotten but legendary Cuban Bennett (it is the brass that makes me think it might not be Johnson - the second trumpet does not sound like Aiken or Davis, and I don't know if that is DeParis on the title I am mentioning - he sounds excellent though, and certainly DeParis could
have been able to play it). The trombone does sound a little like Harrison or Sandy Williams (the latter was in the Jackson band in 28/9 as was Butler), but I feel that the phrasing of the trombonist is more "vertical" than Harrison's (perhaps someone influenced by him or maybe it's just conforming to the arrangements). I am not the first person to claim that as a possible Cliff Jackson item, it's just the "feel" is not quite the Johnson's band - though the material IS a lot more commercial than any of the Victor's - so maybe it has to do with reading "stock" arrangements? The tenor is more to Langhorn or Madison than Waters, but the clarinet is rather like Waters. Whatever, it is excellent Harlem jazz.
Again, maybe i need to find a library with a complete access to the old Storyille publications - certainly no other magazine covered the musicians I am interested in quite as well, from the few issues I have read and own. Very interested in comments
* would of Jacques mentioned this on his rather numerous interviews granted to him over his rather long life (he died in 2003 - perhaps the last great harlem trumpet when he died) - i need to do more research on him
PS nothing to do with any of this but the Sammie Lewis recording with Edwin Swayzee on "Hateful Papa Blues" (I am playing the excellent Arcadia LP "Jazz In Harlem")is awe inspiring, could Jacques Butler (who for a modern trumpet is an all time favorite of mine - in the genre of my all time favorite modern trumpets like Lips, Red Allen and Newton) have been inspired to play trumpet after playing with such a great trumpet next to him - certainly a trumpet seemed to fit Mr Butler better than the clarinet on those recordings.