Frank Newton Quintet - June 8 1939
Michael Cuscuna - Blue Note Records Discography
The label's first brochure in May of '39 carried a statement of purpose written by Margulis that Lion rarely strayed from, throughout the many styles and years during which he built one of the greatest jazz record companies in the world. It read: "Blue Note records are designed simply to serve the uncompromising expressions of hot jazz or swing, in general. Any particular style of playing which represents an authentic way of musical feeling is genuine expression. By virtue of its significance in place, time and circumstance, it possesses its own tradition, artistic standards and audience that keeps it alive. Hot jazz, therefore, is expression and communication, a musical and social manifestation, and Blue Note records are concerned with identifying its impulse, not its sensational and commercial adornments.'
Richard Cook - Blue Note Records: The Biography – Secker and Warburg 2001
Lion may have been making up the rules as he went along, but it was the idea of a hip, sympathetic mind to schedule these dates for the late-early hours of the morning, with one of the dates starting at 4:30 a.m., not long after the musicians would have got off from their regular 52nd Street gig (hence a title such as 'After Hour Blues')
Richard Havers - Uncompromising Expression
The same group [as for the April 1939 session] was back in the studio on 8 June, although this time Meade Lux Lewis, not Ammons, played piano. Making up the septet was Sidney Bechet, who cut 'Blues For Tommy' then recorded, without Newton or Higginbotham, a version of George Gershwin's 'Summertime'. This was a pivotal moment in the history of Blue Note.
Dan Morgenstern - The Port Of Harlem Jazzmen CD Liner Notes
[Bechet] and Higgy sit out the opener, "After Hours Blues," a medium-tempo feature for Newton. He takes two crisp open-horn choruses up front, followed by Bunn for two, and one from Lewis who sounds tentative away from his beloved boogie woogie.
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| Uncompromising Expression |
Bluenote.com
Newton was the featured soloist on the “After Hours Blues” (Blue Note 14), as was Higginbotham on the “Basin Street Blues” (Blue Note 7). The ensemble was then enlarged by the addition of soprano saxophonist Sidney Bechet for an emotionally torqued tribute to the recently deceased trumpeter Tommy Ladnier, entitled “Blues for Tommy” and credited to the Port of Harlem Seven (Blue Note 7). Bechet and the rhythm section then boiled down the passion of Tommy’s elegy and poured it into one of the most powerful readings of George Gershwin’s “Summertime” ever recorded. It was issued on Blue Note 6, with the “Pounding Heart Blues” as played by the Port of Harlem Seven on the flip side.
Stanley Dance - The Complete Port Of Harlem Sessions
Sidney Bechet, after a period of eclipse when his broad vibrato was derided as old-fashioned, was in 1939 on the verge of a triumphant come-back. His passionate version of Summertime contributed much to this, and it was the nearest thing to a hit that the young Blue Note was to have for a while.
Summertime is undoubtedly the definitive jazz treatment of George Gershwin's famous tune. Bunn's good ear serves him well as he follows and answers the soprano during this four-chorus improvisation. Singing, growling, wailing, Bechet is just what Ellington always claimed, one of the great inimitables.
Max Margulis - 1940 Blue Note Brochure
One of BLUE NOTE's outstanding contributions to permanent jazz, Sidney Bechet's 12-inch solo performance of Gershwin's "Summertime," (Blue Note No. 6) was a masterpiece of rhapsodical expression. the great soprano saxophone and clarinet player has limitless wells of musical feeling, and BLUE NOTE, in its current records, has succeeded in capturing essential aspects of his creative and expressive genius never developed on its previous records.
BLP 1202 Liner Notes
A soprano solo based on the Gershwin classic, it is a unique example of melodic improvisation; indeed, it was at the time of recording one of the very few great jazz solo records based on a popular song rather than on a number with jazz associations, and in this respect it became the precursor of thousands of other such performances, Today, of course, the idea of doing with commercial tunes, what Bechet did with Summertime is on accepted everyday procedure, but in 1939 it seemed slightly radical to the more tradition-bound jazz fans.
RH
The soprano saxophonist Lion had briefly met in Germany almost a decade earlier, a man irascible at best and downright difficult at worst, Bechet turns in one of the most beautiful readings of this most beautiful song. Issued as BN 6, this was not only a fabulous record; it also became the Label's first hit with as many as 30 copies a day sold at the Commodore Music Shop alone. This changed the fortunes of the label and enabled Blue Note to dip into their stockpile to release more 12-inch discs as well as their first 10-inch recording - BN 501.
Bluenote.com
And that was the last time that the Port of Harlem Jazzmen assembled in front of the recording microphones as a group. Lion, of course, was just getting warmed up; during Blue Note’s first half decade his roster of recorded talent would include trumpeter Sidney De Paris and clarinetists George Lewis and Edmond Hall, in addition to pianists Earl Hines, Pete Johnson, and James P. Johnson; the father of Harlem stride piano was well represented as soloist, sideman, and leader of several excellent swing bands. Most heavily featured were staunchly traditional groups under the leadership of pianist Art Hodes or Sidney Bechet
Downbeat Magazine – 1st October 1939
Summertime, by the quintet, and Pounding Heart Blues, by the Port of Harlem Seven, Blue Note No. 6
The Bechet group includes Teddy Bunn, whose peckings more than once interfere with the leader's soprano sax; John Williams, Big Sid Catlett and Meade Lux Lewis. The Harlem combination the same men plus Frankie Newton and J. C. Higginbotham.
Bechet's takes all of the "A" side. His inventive genius and long years of experience are obvious as he toys with the lovely Gershwin melody. never playing it straight, but elaborating on its main theme. Here is improvisation at its very best.
The reverse is mostly Higginbotham - and glorious, virile Higginbotham as always. Newton's work, although not distinctive, is meritorious. It's blues all the way with each participant blending his talents into what comes out as a prize package of the real jazz.
The record—12 inches—sells for $1.50.
The American Record Guide – July 1939 – Volume 5 Issue 3
Another history making recording session took place during the June 12th week sponsored by the makers of Blue Note records. On this occasion at 4:30 in the morning. Sidnev Bechet with a band comprising Frank Newton. J. C. Higgenbotham, John Williams, Teddy Bunn, and Sidney Catlett recorded several discs. In addition some 12-inch solo improvisations by Bechet (Summertime), Higginbotham (Basin St. Blues). and Newton respectively were made. In Summertime, Sidney Bechet took every chorus.
The recording session turned out to be a splendid success because everyone was in top form but suffered considerable delay because of police interference. Neighbors who evidently objected to the "noise" called the cops. The charge was that were "creating a disturbance" and the police remained to "enforce the law". Several valuable hours were lost.
The American Record Guide – October 1939 – Volume 5 Issue 6
Blue Note again scores a direct hit with one of the best records it has issued to date.
Pounding Heart Blues / Summertime from Porgy and Bess (Gershwin).
The first played by the Port of Harlem Seven (personnel: Sidney Beecht, clarinet; Frank Newton trumpet: J. C. Higgenbotham, trombone: Meade “Lux” Lewis, piano: Teddy Bunn. guitar; John Williams. bass; Sidney Catlett. drums.)
Blue Note No. 6; 12 inch: price $1.50.
Note that the group playing Pounding Heart Blues is the same that recorded Nightly Blues and Rocking the Blues (Blue Note No. 3) except for the addition of Sidney Bechet.
Both sides are chiefly Sidney Bechet's show, for which we are thankful because it is our private opinion that no musician lives who can play the soprano sax as he does.
All join in the introduction to the Blues (which is an improvisation and not a composition of any one man) and J. C. Higgenbothem leads with a beautifully poised first chorus: Meade "Lux" Lewis takes the second in a movingly subdued manner, very different from what is usually heard from him. Frankie Newton follows with a brilliant third chorus backed by some remarkable drumming. From
then on Sidney Bechet takes it on the clarinet in the suave manner that only he can manage. The whole work is wonderfully moving. In the all-in finale Frankie and Bechet stand out strongly. Most exhilarating.
Summertime is entirely Bechet's record. Teddy leads the introduction and accompanies Sidney's first chorus as only a master of the guitar can. Here is a man whose talents have not yet been fully appreciated except by a few connoisseurs, including Hugues Panassié. Sidnev Bechet takes every chorus, improvising and reminiscing (there are snatches of the Miserere from Il Trovatore and Massenet's Elegie), beautifully supported by the other four men. Meade is barely evident. He is content to add to the background.
A whole 12-inch side of solos by one man, however great, may sound like pretty boring business but not so when Sidney Bechet handles that business. His soprano sax is smooth and warm. growling and vibrant. negroid or white as his mood changes.
A remarkable and a remarkable recording.
The American Record Guide – December 1939 – Volume 5 Issue 8
Tommy Ladnier, one of the finest of jazz trumpet men and one of the pioneers of jazz from the city that cradled the new music— New Orleans—died an unfortunate death early this year, shortly after he took part in the historic recording sessions supervised by Hugues Panassié during his visit to America. Those history making records are available as Bluebird 10085, 10087, 10088, and 10090. Some of the musicians who played with Tommy during those last sessions loved and remembered him. Blues for Tommy is the result.
It is a slow, sad blues—truly a lament— based on a poignant theme which is first played as a trumpet-soprano sax duet by Bechet and Newton. The soprano sax part is beautifully done by Sidney Bechet. The vibrato that characterizes his playing is here most effective. Behind the two Lewis plays a remarkably restrained piano accompaniment. In the trumpet chorus that follows, Newton seems to recall Ladnier’s own style. This chorus is backed only by soft drumming and a soft guitar in the hands of Teddy Bunn. Higginbotham follows with a moving trombone chorus and all join in the finale through which the trumpet leads like an echo of Tommy. A very fine tribute, beautifully done.
Basin Street is now a classic, and deservedly so. It has been recorded innumerable times by every orchestra or musician who was worth his salt. In fact it has become almost a test piece. This new version is easily one of the best by reason of its sincerity and relaxed feeling. It is practically a J. C. Higginbotham—Teddy Bunn duet discreetly supported the rhythm section. A short piano and drums introduction leads to a fine trombone chorus by J. C. seconded by some beautiful guitar work. Then Teddy has a whole chorus to himself in which he again proves that he is a master on the guitar. The supporting players supply a modest but effective background and they deserve full credit for not trying to hog the show. Throughout the whole side the feeling is: "the music's the thing."
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| BN 14 |
Session Information
Frank Newton, trumpet; J.C. Higginbotham, trombone; Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums.
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
BLP 1202 Liner Notes - https://blp1553.blogspot.com/2021/04/blp-1202.html
Stanley Dance - The Complete Recordings Of The Port Of Harlem Jazzmen Mosaic MR1-108
https://www.bluenote.com/artist/port-of-harlem-jazzmen/
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