1944 - June 1

 Art Hodes' Blue Note Jazz Men – June 1 1944 

 

Dan Morgenstern – B-6509 Liner Notes 

When the revival of interest in traditional jazz began to gather momentum in the mid-'40's, Blue Note Records could well take pride in the not inconsiderable role the label had played in bringing this state of affairs about. 

If the trad revival had unfortunate side effects, such as the splitting of the jazz audience into opposing camps with the modernists on the other side of the fence it was in essence a positive development. Much fine music and many great musicians had been forgotten or neglected while swing held the center of the jazz stage, so there was much to rediscover when Bunk Johnson was brought out of obscurity to become the spiritual embodiment of the revival. 

Some pioneer jazzmen had more or less retired, while others had become big-band sidemen, adapting to a new musical environment. In either case, they enjoyed the new-found opportunity to reaffirm their roots. Others had carried the torch through all kinds of storms; their faith had now been justified and they could now play with renewed inspiration. Still others who became involved were essentially swing players, at first interested in trying on a different style which offered more individual freedom than big-band work, later, often forced into a "Dixieland" mold when the big bands disappeared and swing work became scarce. 

Dan Morgenstern – The Complete Art Hodes Blue Note Sessions 

Art assembled a great band on June 1, 1944. The front line of Kaminsky, Vic Dickenson and Edmond Hall works beautifully together. These were all Blue Note regulars, acquainted outside the studio as well. Max's steady lead, Nic's flexibility and inventiveness, and Hall's clarion tone and fluency here meld into an ideal triumvirate. The rhythm section is equally together; the new face is Sid Weiss (b. 1914). Then with Benny Goodman after stints with Tommy Dorsey and Artie Shaw, he'd also done plenty of non-big  band work. He later became a studio musician, worked some in electronics, and eventually was appointed an official of the Los Angeles musicians' union local.  

From the start, Blue Note specialized in 12-inch 78s and this was Art's first session in this format, which of course provided a bit more time and space. The four tunes are more familiar fare than those on the "Chicagoans" dates, but in these gifted bands they sound fresh. SWEET GEORGIA BROWN, often played too fast, kicks off at a fine middle tempo, anchored securely in Max's firm lead and Danny AIvin’s rock-steady drums— he uses a press roll that goes well with Art's rolling piano. Dickenson starts the solo sequence, he varies his sound more than any other trombonist and is a master of inflections. The rhythm lightens up behind Hall. Alvin switching to brushes but he's back on sticks behind Max's biting chorus, and very active under Art's romping solo. The band rides out in style. SQUEEZE ME comes in two takes, enabling us to enjoy a double helping of Vic Dickenson at his very best. He comes up with two inspired and completely different solos; the second has the edge, with its priceless concluding break. Hall is also in fine fettle, and the ensemble work is brilliant. Introduction and ending are well worked out; note the bowed bass in the former and the horn voicings in the latter.  
 
SUGAR FOOT STOMP is another example of Art's wise choice of tempo; King Oliver would have approved of his unhurried approach. Again, we have two takes. Again. both are excellent, but the second has firmer ensemble work, marginally better Dickenson, and a cascading offering by Art, once more well supported by Alvin's Doddsian rattles and rim shots. The centerpiece, of course, is the trumpet solo, and Max bases his three-chorus outing solidly on the famous Oliver model. He uses his plunger mute deftly and adds a growling touch on the second take. There's a spot for Weiss’ walking bass. BUGLE CALL RAG traditionally a flagwaver, isn't rushed by these gentlemen, though the tempo increases from take to take— there are three versions, each having something of its own to offer. This is a break number, and on each take we get two apiece from clarinet, trombone, a piano, and one by the trumpet. The prize goes to Vic's second break on take two, and both of Art's on the final take. Vic also offers a textbook solo on the middle (master) take, where Hall is inspired. This was a classic session, in an idiom that arose in response to the traditional revival bought not be circumscribed by that fact. It was a new way playing collectively improvised jazz to which the musicians brought rhythmic and harmonic lessons learned during the Swing era, and the results were anything but archaic.  

Ensembles such as those heard on SQUEEZE ME (and on some of James P. Johnson, Edmond Hall and Bechet Blue Note sessions presented in other Mosaic sets) are music of the mid-forties, just as unmistakably as jazz in "modern" stylistic molds is of that time. And it was a New York jazz, not yet to be heard in other places—except perhaps Boston, where these and other New York-based players often performed, and where Hall and Dickenson settled in a bit later. By then, when bebop ruled the roost, many other Swing musicians were learning Ihe traditional repertoire and ensemble routines. But the best Blue Note bands of this era had a freshness and vitality of their own. 

Downbeat Magazine Review 1 October 1944 Volume 11 Issue 19 

Hodes’ Blue Note, the mate to the Sugar Foot-Sweet Georgia coupling, provides the best jazz kicks of the moment. Squeeze Me, by Clarence Williams and Fats Waller, is taken at a wonderfully slow tempo. Max Kaminsky leads the ensemble through the first chorus as Vic Dickenson fills in the tailgate. Edmond Hall takes the second, with Art's piano backing him solidly. Vic then comes in for his chorus, which features two fine breaks. The side concludes with an ensemble during which Maxie takes the break himself. Kaminsky's fluff at the very end is more than compensated for his splendid work throughout the rest of the disc. Bugle Call is played at a perfect rag tempo, not too fast as it so often it is. The first half of the record contains ensemble playing of exceptional merit, interrupted regularly by individual breaks of equal caliber. Hall takes two fine breaks, Dickenson two great ones, Hodes two that are a little less sensational, and one only. After the group swings into the "Oh Miss" portion of the tune, Hall and Dickenson all take choruses by themselves, the Iatter with superb backing by guitarist Shirley. The concluding ensemble chorus and break are outstanding. This is jazz! 

Art Hodes - B-6502 Liner Notes 

"Sugar Foot Stomp" winds up the first side. Enter the incomparable Edmond Hall, one of the finest with the clarinet. Also Max Kaminsky and Vic Dickenson (trombone of course) and now we're really movin'. Alvin (Danny) on drums is driving. Instead of two, Maxie takes three. And when did you last hear a drummer play the woodblocks behind a piano chorus. Yeh, its pleasurable. I shut my eyes and let the good times roll. 

Art Hodes – B-6504 Liner Notes 

Paul Whiteman used to say, "You take an old chestnut," and certainly "Sweet Georgia Brown" can qualify. The Harlem Globe Trotters have been warming up to that melodic bit for years. You can groove with that tune and that's exactly what we did on this date. Starting with Maxie Kaminsky's lyrical lead, into Vic Dickenson's "tell your story" chorus, which is followed by Edmond Hall's clarinet solo, the whole bit moves—an "all-together" effort. Then Max blows one and you'll hear Alvin backing the piano with the kind of drumming that's become a rarity. Nothing frantic happens, just some of the best in two-beat. 

I'm sure Fats Waller never expected to hear his tune "Squeeze Me" played as slowly as we tackle it, That's the way it hit us that day at that particular moment. Our group, Kaminsky, Alvin, Hall, Dickenson, Shirley and Weiss take it on down real slow. Wait 'til you hear Vic's chorus. Man, that cat grooves. Now you'll hear some of the best Kaminsky horn you're liable to run in to. I dug the Amen ending. "Sugar Foot Stomp" goes back to the Oliver King days. This band is rolling. As I re-listen, I notice myself toe-tapping. If memory serves me right, this has to be a previously unissued track (at least it's new to me). Vic Dickenson shows you time and again why musicians rate him so highly. And listening to Maxie, you get another slant on his playing. "Play the blues, Art," and you know I'm not goin' to be left out. The rhythm section gets a relaxed feel and then everybody's back in for the "out" chorus. 

"Bugle Call Rag" is a tune I've heard and played so many Sunday afternoons at Jimmy Ryan's sessions. Let me tell you, this was the social event of the week (if you happened to be a hot jazz player or fan). I'll never forget my first visit to this session and how I waited for a chance to play. In front of you were Fats Waller, Earl Hines, Jess Stacy, Joe Sullivan, etc. Boy, when you got a turn you'd better be ready. "Bugle Call Rag" was the big closing number and sometimes as many as 15 players would assemble on and around that small stand. You play through the first part and into the "Ole Miss" strain. It's every tub...Man, that felt so good let's play it again. Another version. The tempo is picked up a bit. We're swingin'. The 'two-bar' statements and then ensemble. "Ole Miss" could be a tune in itself. Dig the rhythm chorus. Take it out; give Danny (Alvin) four (4-bar break). Gone... 

Session Information 

Max Kaminsky, trumpet; Vic Dickenson, trombone; Edmond Hall, clarinet; Art Hodes, piano; Jimmy Shirley, guitar; Sid Weiss, bass; Danny Alvin, drums. 

WOR Studios, NYC, June 1, 1944 

BN977-0, Sweet Georgia Brown, Blue Note 34, BLP 7006, B-6504 

BN978-0, Squeeze Me, Blue Note 35, BLP 7006, B-6509 

BN978-1, Squeeze Me (alternate take), Blue Note B-6504 

BN979-0, Sugar Foot Stomp (alternate take) 

BN979-1, Sugar Foot Stomp, Blue Note 34, BLP 7006, B-6502 

BN980-0, Bugle Call Rag (alternate take 1), Blue Note B-6504 

BN980-1, Bugle Call Rag, Blue Note 35, BLP 7006, B-6509 

BN980-2, Bugle Call Rag (alternate take 2), Blue Note B-6504