Port Of Harlem Jazzmen - April 7 1939
Michael Cuscuna - Blue Note Records Discography
Alfred's next session was an all-star quintet under the banner Port of Harlem Jazzmen on April 7, '39.
Richard Cook - Blue Note Records: The Biography – Secker and Warburg 2001
Lion...had been transformed by his first studio experience. Like anyone else who has attended a recording session, he had acquired a taste for the peculiar, pressure-cooker atmosphere of making records on tight budgets.
Richard Havers - Uncompromising Expression
...Five weeks after the first two records came out, Lion was back in the studio for Blue Note's second session. This was a full-blown affair, led by trumpeter Frankie Newton, and trombonist J.C. Higginbotham. Albert Ammons played piano, Teddy Bunn guitar, Johnny Williams was on bass, and 'Big Sid' Catlett played drums.
Michael Cuscuna – Blue Note Photos – Francis Wolff
In order to assemble such a star-studded cast, Blue Note had to wait until Café Society and all the 52nd Street clubs closed and the musicians were free, so the sessions began around 4 a.m. , were probably the first overnight recording dates? Except for Sidney Bechet’s Summertime, which became the label’s first hit, all of the material was in the form of medium and slow blues.
Dan Morgenstern - The Port Of Harlem Jazzmen CD Liner Notes
In their first incarnation, the Port of Harlem Jazzmen starred two brass players of pronounced individuality. Frankie Newton (1906-54) was a marvelous player who had the misfortune of being surrounded by brilliant virtuosos of his chosen instrument...Newton was a master of understatement, a kind of poet on the trumpet. Not that he lacked range or brilliance...but intimacy was his strong suit, and at his introspective best, he could be heartbreaking.
Stanley Dance - The Complete Port Of Harlem Sessions Liner Notes
Music always played a big part in his life and, although he began working professionally in his teens, he never forgot his roots and his early teachers...As his music quickly reveals, he was thoughtful, serious and soulful, a strong vein of melancholy being nevertheless countered by the gift of laughter and a generous sense of humor.
RC
Newton was a trumpeter who never seemed to have much luck in his career, and his few sessions as leader barely fill up a single CD...He was just the kind of major-minor talent that Blue Note - and, indeed, many other independent jazz labels - would consistently set down on record, as much with posterity in mind as for any commercial intent.
DM
It also didn't help Newton's career that he was a man of fierce independence; for a while, he was favored by that maker of jazz reputations, John Hammond, but suddenly fell from grace. Between 1939 and 1944, there was no sign of him on records, studio or transcribed; nor did he record at all during the last eight years of his life.
DM
Higginbotham...fared a bit better in the popularity sweepstakes, having been, by 1939, a star in the bands of King Oliver, Luis Russell, Fletcher Henderson and Louis Armstrong. In 1940, he teamed up with his lifelong buddy, Red Allen, and the association lasted until Red's death in 1967.
SD
Although much influenced by Louis Armstrong and Jimmy Harrison, Higginbotham quickly developed a style of his own, one notable for its power, confidence and fierce attack.
DM
Higgy was a natural blues man, and thus took well to these Blue Note sessions. Newton, though at home in the idiom, was not likely to be inspired by having to restrict himself to the blues, but he rises to the challenge.
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| Frank Newton |
SD
Teddy Bunn [enjoyed] a considerable reputation, much of it acquired on 52nd Street as a prime mover with singer Leo Watson in that immensely popular group, The Spirits of Rhythm...Blues were his forte and he played them with much imagination, his improvisations often having exceptional dramatic effect.
Bassist Johnny Williams...took tuition on string bass and rose rapidly in the profession.
Sidney Catlett...is one of the great men in jazz history. 'Big Sid', as he is affectionately known, seems to have been liked by just about every musician who played with him, not just because of his mastery of the drums, but because of the generous consideration he always showed soloists. He would ask each of them how he would like to be accompanied and would then give him the kind of backing he requested.
RH
After they had each played an individual number, the brass players joined forces for three more tunes, all in a very traditional blues or swing style.
SD
The personnel of trumpet, trombone and four-piece rhythm section was decidedly unusual, and one might suspect that a saxophonist or clarinettist failed to show for the session...On the other hand, since Lion did not think conventionally, he may have decided to experiment. His choice of Frank Newton and J.C. Higginbotham for the two horns was itself rather surprising.
B-6509 Liner Notes
The personnel is quite unique: the sole common thread is that all men (except, perhaps guitarist Teddy Bunn), at one time or another, worked at Café Society Downtown, one of the most interesting night clubs in the annals of jazz. Chicago boogie woogie specialist Albert Ammons shows that he was much more than that, and not at all uninfluenced by Earl Hines. J. C. Higginbotham, one of the swing era's most popular trombonists shows that he had not forgotten how to play in a small band and feels no need to tamper with his robust, direct, often riff-based style, more than at home with the blues.
Bunn was one of the first (and remained one of the best) of the single-string guitarists, and bassist Johnny Williams fits perfectly with Big Sid Catlett.
The star, however, is trumpeter Frank Newton, one of the unsung giants of the jazz trumpet, and a remarkably original musician and man. His style was perfectly poised (note how he builds his solo on each track) and his sophisticated ear carried him safely into harmonic territory yet uncharted by his contemporaries. This poet of trumpet recorded far too little, and everything he left us is precious, especially since it appears so rarely on LP. Dig him, and then check out his splendid pair of solos on Sidney Bechet Jazz Classics, Vol. 2 (Blue Note BLP 1202).
RH
Two of these sides became BN 3, with the musicians billed as the Port of Harlem Jazzmen, a name dreamed up by [Max] Margulis.
MC
At one of his first sessions, with the Port of Harlem Jazzmen, [Lion] was very nervous. The only way to get upstairs was to call from the sidewalk downstairs. One of the musicians said, “Billie Holiday is standing outside. She wants to come up.” Alfred said that he didn’t know what he was doing, and that he was so nervous that he wouldn’t let her up. He told me later how much he regretted that—she could have come up and sung something great, but he was just too nervous.
Bluenote.com
“Mighty Blues” and “Rocking the Blues” were released as Blue Note 3, while “Port of Harlem Blues” was released later on Blue Note 14. Two titles from the April 7 session were played by a slightly reduced combination and eventually issued to the public as Blue Note 501; “Daybreak Blues” was presented as by the Frankie Newton Quintet and “Weary Land Blues” as by the J.C. Higginbotham Quintet.
The Nation – June 10 1939
As for conditions of relaxation and informality which one is to suppose are Blue Note's gift to jazz musicians, they are important of course, and musicians should have them. But I was present once at a Columbia recording session when a superb group of players led by Red Norvo were pestered all afternoon by some executive and yet managed not only to make some good records but to end up with the outstanding "Blues in E flat." And on the other hand two Blue Note records “were made at a 4:30 a.m. session under unusually informal conditions" by a group that included excellent players like Frankie Newton, J. C. Higginbotham, and Teddie Bunn—men who "are not only profoundly aware of but have actual roots in the grand tradition of expressive blues performance" ; and what all this pretentious solemnity accomplished at these deliberately cultivated moments of informality was to make the playing self-conscious and lacking in spontaneity, while poor voicing and balance make it heavy and plodding. In spite of these handicaps, and in spite of Ammons, who obtrudes himself in the background when he isn't messing up the foreground, Newton plays well; but to hear what he is capable of on trumpet you must listen to Blues My Baby Gave to Me" on Bluebird; just as to hear what Bunn can do on guitar you must listen to the superb Johnny Dodds "Wild Man Blues" on Decca.
B. H. HAGGIN
Down Beat June 1939: Volume 6 Issue 6
Blue Note Specials
Mighty Blues and Rocking the Blues, by the Port of Harlem Jazz Men; Weary Land Blues, by Higginbotham's Quintet, and Daybreak Blues, by Newton's Quintet, all on Blue Note Records.
Another successful session.
Granting that too many performances of the blues have been issued in recent weeks, and that the market is pretty well glutted with same, I help but recommend these. The first two titles occupy 12 inches; the latter two are ordinary size. Neither disc is ordinary from a performance standpoint, however, for the groups (each comprised of the same artists) include Frankie Newton's trumpet, J.C. Higginbotham’s trombone, Albert Ammons, piano; Big Sid Catlett, drums; Teddy Bunn's guitar and John Williams’ bass. The solos are 18-karat. the tempos are right, and the atmosphere proper. Best of the four is Rockin’, with Ammons pounding out his soul gloriously. If only a Hawkins or Berry or a Young could have set in on these with a tenor! Without one, they lack that spark which would make them impeccable. Just the same, both records are standouts. I hope Blue Note leaders continue to issue sides as righteous and uncommercial as their first eight (two Ammons and two Lux Lewis solos were issued last month) have proved to be.
(These were received too late for inclusion in “best solos of the month.” But for the records, Newton, Hig., Ammons and Bunn contribute individual work which should be included in the list.) - B.D
The American Record Guide – May 1939 – Volume 5 Issue 1
The first Blue Note releases have been so well received by the public that the sponsors have been encouraged to continue along the path they have chosen. At 4:30 A.M on April 11 a group of musicians especially selected for their ability were gathered by in the Musicraft Recording Studios to wax a series of discs for future release. This hour was chosen because the musicians first had to complete their regular work. This unusual recording session would never have been possible except for Musicraft's cooperation. The musicians chosen were: Frank Newton, trumpet; J. C. Higginbotham, trombone; Teddy Bunn, guitar; Albert Ammons, piano; Johnny Williams, bass; and Sidney Catlett, drums. They recorded a number of twelve-inch discs. mostly blues, and some trombone and trumpet solos. Two records from this session will have been issued when this appears in print. Meade Lux Lewis has also recorded a blues for which will be issued shortly.
The American Record Guide – June 1939 – Volume 5 Issue 2
Blue Note follows up its wonderfully successful first releases with two new discs which are, in their way, equally splendid:
Rocking the Blues / Mightly Blues by Port of Harlem Jazz Men (personnel: Frank Newton, trumpet; J. C. Higginbotham, trombone ; Albert Ammons, Teddy Bunn, guitar; John Williams, bass; Sidney Catlett, drums). No. 3, 12-inch record. Price $1.50.
This is one of the records made at the now historic 4:30 A. M. session at the Musicraft Studios. They present improvisations at their best when the musicians were most relaxed and entirely unhampered by restrictions of any kind. This is the true jazz. The musicians were chosen by the three sponsors of Blue Note records for their ability and this writer agrees heartily agrees with their choice. Frankie Newton one of the best trumpet men alive today and deserving of ranking with all the other trumpet men who have attained headline prominence has been undeservedly neglected. His work on this record should prove his worth again. J. C. Higginbotham Is already well known but he, too, aside from those early Luis Russell records, has been neglected. His solo in Mighty Blues is a gem. Albert Ammons is only now beginning to be appreciated. His playing on this disc is solid. Teddy Bunn has never received the credit he deserves for his excellent guitar playing. Panassié chose him for his special Bluebird recordings during his recent visit to the United States.
That should be commendation enough. Of the two sides, Mighty Blues is easily the better not only because of the tune but also because of the sincerity of feeling. This is genuine jazz. It is also the better recorded side.
Weary Land Blues by the J. C. Higginbotham Quintet (personnel: Higginbotham, Ammons, Bunn, Williams, and Catlett)
Daybreak Blues by the Frank Newton Quintet (personnel: Newton. Ammons, Bunn. Williams and Catlett). Number 501, 10-inch disc. Price $1.00.
Since Benny Goodman made small jam groups fashionable, every recording group tries its hand at it. Actually, it is the ideal group for making genuine, unsophisticated jazz. Both these sides prove the point. Thoroughly unpretentious, they are nevertheless powerfully moving because of their sincerity. No attempt is made by anyone to hog the show. Everyone is perfectly relaxed. Each plays what he feels. Both sides are slow blues at their best.
Anyone expecting Artie Shaw flashiness or Benny Goodman showmanship is warned away from these records. For here is genuine jazz.
Downbeat Magazine – 1st November 1939 – Volume 6 Issue 12
Blues for Tommy, Basin Street Blues, Blue Note 7
Dedicated to the memory of Tommy Ladnier. the quiet-mannered little colored trumpeter who
died in June. Blues for Tommy is played by Sidney Bechet. Frank Newton, J.C. Higginbotham, Meade Lux Lewis. Teddy Bunn, John Williams and Sid Catlett, forming the Port of Harlem Seven. It’s slow, moving music, in simple taste. without fancy embellishments. Once again the veteran Sidney Bechet plays meritoriously; his work never becomes repetitious or bromidic. Reverse is inferior. Almost a straight
Higginbotham solo, his intonation suffers while he strives for exhibitionistic effects. Yet the uncommercial aspects offset the weaknesses of the two sides, and for the purists who seek the real thing, it's a tailor-made 12-inch platter.
The American Record Guide – October 1940 – Volume 7 Issue 2
PORT OF HARLEM BLUES; played by the Port of Harlem Jazz Men, and AFTER HOUR BLUES played by the Frankie Newton Quintet. Blue Note disc No. 14, price $1.30. (See previous issues of The American Music Lover for the personnel of these two groups.)
Left over from the first recording sessions for Blue Note are these two recordings. Why Blue Note decided to hold them until now will probably never be known. Perhaps they were afraid of giving too much of a good thing all at once. In any event, these two recordings are every bit as good as the previous releases.
Port of Harlem Blues is one of those slow numbers that gets under the skin. There are a succession of beautiful solos in which Newton, Higginbotham, and Ammons particularly shine. Nothing spectacular. Just good solid blues. After Hour is set at a brisker pace and therefore probably less interesting. Teddy Bunn's guitar stands out head and shoulders above everything else, in spite of Newton and Lewis. Isn't there a trombone in the finale? None is mentioned on the label.
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| Rocking The Blues Test Pressing |
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| BN 14 |
Session Information
Frank Newton Quintet
probably WMGM Radio Station, NYC, April 7, 1939
Frank Newton, trumpet; Albert Ammons, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums.
GM512A-6 Daybreak Blues Frank Newton BN501
J.C. Higginbotham Quintet
J.C. Higginbotham, trombone; Albert Ammons, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums.
GM513A-5 Weary Land Blues J.C.Higginbotham Quintet BN501
Port Of Harlem Jazz Men
Frank Newton, trumpet; J.C. Higginbotham, trombone; Albert Ammons, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums.
GM515A-5 Port Of Harlem Blues Port Of Harlem Jazzmen BN14 BN-LA-158-G2
GM516-2 Mighty Blues Sidney Bechet BN3 BLP 7022 B-6509
GM517-1 Rockin' The Blues Sidney Bechet BN3 BLP 7022 B-6509
Sources and attribution:
Dan Morgenstern -The Port Of Harlem Jazzmen - Blue Note CD 8-28892-2
Michael Cuscuna - The Blue Note Label - Greenwood Press
Richard Cook - Blue Note Records - Secker and Warburg
Richard Havers - Uncompromising Expression - Thames and Hudson
Stanley Dance - The Complete Recordings Of The Port Of Harlem Jazzmen Mosaic MR1-108
B-6509 Liner Notes - https://blp1553.blogspot.com/2021/05/b-6509.html
https://www.bluenote.com/artist/port-of-harlem-jazzmen/
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