Teddy Bunn Solo - March 28 1940
bluenote.com Teddy Bunn Page
Teddy Bunn’s adventures as a session guitarist during the first months of the Great Depression brought him into contact with Harlem stride piano legends Fats Waller and James P. Johnson, New Orleans cornetist King Oliver, multi-instrumentalist Adrian Rollini, and blues singer Lizzie Miles. During the year 1930 he cut records with the Washboard Serenaders (including his feature “Teddy’s Blues”); with vocalist and songwriter Spencer Williams and pianist Clarence Profit; with vaudeville clarinetist Wilton Crawley and pianist Jelly Roll Morton; with blues queen Victoria Spivey; and with the Alabama Washboard Stompers. In May and June of 1931 he made a series of records with the Washboard Rhythm Kings, a lively and entertaining ensemble that benefited greatly from his presence. Up to this point, Bunn was mainly a Victor recording artist who sometimes crossed over to Vocalion. Beginning in 1933 he recorded mainly for Decca, most famously as a cardinal member of the Spirits of Rhythm, initially known as Ben Bernie’s Sepia Nephews. Leo “Scat” Watson was the main attraction in this little harmony vocal and string band; he found his perfect counterpart in Teddy Bunn.
Stanley Dance - The Pete Johnson/Earl Hines/Teddy Bunn Blue Note Sessions
Teddy Bunn never got the public recognition he deserved, although he was part of the immensely popular Spirits of Rhythm through the '30s and into the '40s. At the Onyx Club and at Nick's, the scatting and miming of Leo Watson tended to get more attention. But Bunn's artistry was admired and respected by musicians of all persuasions. Among others, he recorded with Duke Ellington, Sidney Bechet, Lionel Hampton, James P. Johnson, Lips Page, Tommy Ladnier, Mezz Mezzrow, Johnny Dodds, Frank Newton and Billy Kyle, with several washboard groups and with numerous blues singers like Lizzie Miles, Victoria Spivey, Trixie Smith; Rosetta Crawford, Cow Cow Davenport and Georgia White. Yet when he died in California in 1978 at the age of sixty nine, this session and a couple of 78s on the obscure Selective label were all that had been issued under his name.
bluenote.com Teddy Bunn Page
Teddy Bunn was among the very first musicians ever to record for the Blue Note record label, first as a soloist, then as a member of the Port of Harlem Jazzmen and various offshoots of that ensemble fronted by trumpeter Frankie Newton, trombonist J.C. Higginbotham, and soprano saxophonist Sidney Bechet. Bunn recorded with a group calling itself the Ramblers and featuring electric organist Bob Hamilton, backed blues singer Georgia White, then moved to the West Coast and switched to electric guitar in 1940 for his debut as a member of the Lionel Hampton band.
Stanley Dance - The Pete Johnson/Earl Hines/Teddy Bunn Blue Note Sessions
In the Spirits of Rhythm, Bunn was usually backed by the marvelously swinging tipples (a kind of enlarged ukulele) of Wilbur and Douglas Daniels, a drummer, and often a bassist. So in recording him alone, Alfred Lion was taking a typical risk, but he would have known the dramatic color and feeling Bunn could convey with his adroit style that judiciously combined single notes and chords.
The two takes of BLUES WITHOUT WORDS introduce Bunn as singer as well as instrumentalist. He hums the first chorus and the last two very movingly, and sings one with words (despite the title) to good effect in between. It is the blues with "believability," the quality Duke Ellington always stressed as important in vocalists, and the guitar enhances the whole sensitively.
Bunn had an exceptional ear which enabled him to tackle a number like KING PORTER STOMP confidently, although he did not read music. He did not use a pick either, but achieved the strong sound and attack heard here with his thumb, just as Wes Montgomery was to do many years later. His ringing
notes, drive, tempo, resonance and swing were all amazingly echoed in Sister Rosetta Tharpe's playing, which must have derived from his since he preceded her by so many years.
BACHELOR BLUES is another sung blues on which his light, attractive voice tells the familiar story of "the big fat mama with the meat shaking on her bones."
GUITAR IN HIGH is a showcase for guitar virtuosity. Its tempo is effective and infectious and it holds together with no slack. Bunn has high energy here, displays great finger technique (for 1940) and clearly enjoys showing off his instrument's range.
Max Margulis - 1940 Blue Note Brochure
In response to numerous requests for Teddy Bunn records, BLUE NOTE is now happy to release, as his first solo recordings, four unique 10-inch sides by the young guitar virtuoso: "King Porter Stomp" and Bachelor Blues (Blue Note No. 503) and "Guitar In High" and "Blues Without Words" (Blue Note No. 504). The guitar plays unaccompanied, and problems posed by this mode of strictly solo playing are imaginatively resolved by Bunn. The two blues sides include highly interesting vocal portions by the artist.
The American Record Guide – July 1940 – Volume 6 Issue 3
King Porter Stomp ( Morton) : and Bachelor Blues. Blue Note 10-inch disc 503, price $1.00
Guitar in High and Blues Without Words. Blue Note 10-inch disc 504, price $1.00.
Both played by Teddy Bunn, guitar.
When Hugues Panassié came to America he was quite naturally besieged with requests for his opinion
concerning the best living jazz players. His choice for guitarist Teddy Bunn, and he substantiated his opinion by choosing him to assist in the making of the now classic series for Blue Bird. Panassié's opinion is again substantiated by these records, which show that Teddy’s art as a solo player is no less great than his virtues as an ensemble man.
The two outstanding records are the blues: good old, low-down, twelve bar blues! Both are a combination of singing and playing that are a delight to the ear. Blues Without Words are not strictly without words because there is a short chorus, but most of it is humming and strumming. King Porter Stomp sounds a little strange as a guitar solo but it doesn’t take long to realize that the spirit is there. Guitar in High is a stunt piece to show off Teddy’s complete mastery of the guitar. After the other three sides, that was hardly necessary.
Down Beat June 1 1940: Volume 7 Issue 11
“King Porter Stomp” & “Bachelor Blues,” Blue Note 503; “Guitar in High” & “Blues Without Words,” Blue Note 504
Two years ago Teddy Bunn was just another colored guitarist, struggling. Today he ranks as one of the top men. These are his first solos, and serve to display his ability well. Porter and Guitar in High are his best, with plenty of single-string exhibitions. Bachelor and Without Words are good, too, but not a great deal different or better than the average race record; Lonnie Johnson' s sides, for example. Guitarists, however, and those who like the blues, will find much of interest on all four plates.
Reeves Sound Studios, NYC, March 28, 1940
Teddy Bunn, guitar, vocals.
RS713 A 28/03/1940 King Porter Stomp BN503
RS714 A 28/03/1940 Bachelor Blues BN503
RS715 A 28/03/1940 Blues Without Words (Alternate Take)
RS715 B 28/03/1940 Blues Without Words BN504
RS716 A 28/03/1940 Guitar In High BN504
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