A History Of Blue Note Records: 1944

Art Hodes And His Chicagoans – March 22 1944

Dan Morgenstern – The Complete Art Hodes Blue Note Sessions

Four days later (from the March 18 session), with (Sid) Jacobs subbing for (Bob) Haggart (on bass), the first order of business was two Jelly Roll Morton classics.

DOCTOR JAZZ (co-written with King Oliver) is treated to a brisk tempo; again, we have multiple strains. The piano solo evokes Jelly without copying from him, and Alvin's "rattling" support is just right, in a Baby Dodds mold. Cless takes off on Jelly's recorded vocal line; if you compare his solo with Conniff’s. you'll note that Cless plays off the melody and the trombonist on the changes. Max takes firm charge of the final ensemble. SHOE SHINER'S DRAG was known as BI,UES when Jelly waxed it with the New Orleans Rhythm Kings. Art again picks the right tempo, and he and Cless again shine in their solo spots. Max is in there, too, getting his first solo of the two dates. The abrupt ending is just as Jelly had it.

Of the two takes of THERE'LL BE SOME CHANGES MADE. I again opt for the first, previously unissued one. It's a bit longer and has more fire, though Cless momentarily loses his footing in the changes. The opening ensemble has a hobbling rhythm that's pure Hodes. Max again shows his firm control of beat and horn—he's steady—and Conniff blusters a la George Brunies. On the master take, Art pounds out a good one, but the other soloists have slightly less to say, and the closing ensemble sounds a mite clock-conscious. This piece, of course, is emblematic of Chicago style; Art and Cless were Also involved in a 1940 recording of it (for Signature) that captures its essence.

Rehearsal for the March 22 session

Photo by Francis Wolff

The session ends with another Hodes blues, CLARK AND RANDOLPH (a Chicago street intersection with meaningful memories for Art), and it's a good one. Max takes his chorus down low, and Cless follows suit. getting a Johnny Dodds feel. Conniff comes in high and tight, showing excellent control of his horn. Then the leader offers a solo that is a definition of his way with the blues—as personal as a signature.

Art Hodes B-6508 Liner Notes

Doctor Jazz, is one of Jelly Roll Morton's gems; a band number, and the ensemble bites into it like we're goin' somewhere. No one I know plays drums like Alvin did; the way he operates on wood-blocks. The whole bit keeps moving and interesting. The rhythm section sounds rested and it shows. And the way Coniff plays 'bone, makes me wonder what ever happened to him, later.

Shoe Shiner's Drag, has always been one of my favorites. Trouble is, you couldn't find players who knew it. I'd scored a chart; you don't fake this tune. Man, we got a good feeling going. After my appearance, Cless and Kaminsky follow, and nobody is wasting words. One thing for sure; Shoe Shiner doesn't drag.

There'll Be Some Changes Made, was popular in its day and the boys who played it hot latched onto it. Alvin gets the opening spot and we're moving. I get the exact feeling like at a jam session when it's the last tune of the set. We're all tryin' not to let down. Somehow we get out of it all in one piece. Sid Jacobs, who replaced Haggart at the bass when we tackled the doctor (Doctor Jazz), stayed on for the remainder of the date. And incidentally, he didn't hurt us.

Clark and Randolph, closes down the set. The ditty is an original I sketched way back in my old' days (sometimes referred to as daze), when Chicago was home and C&R a corner that musicians frequented on a Monday noon, hoping to come upon work. You could find all kinds of blues. This tune is a bit of a turn-around on Tin Roof. I first used it when I was with Floyd Town's Band. It was our theme; air-time. Tatum (Art), heard that band. We could pass you know. This band plays it to my liking.

Max Kaminsky, Ray Conniff, Rod Cless

Photo by Francis Wolff

Dan Morgenstern – Hot Jazz on Blue Note CD Liner Notes

Doctor Jazz is King Oliver’s tune, but Jelly [Roll Morton] beat the composer to the recording punch (he was then working for the publishers Melrose) and did such a fine job that Oliver wisely decided not to issue his own later attempt. This rendition is by...Hodes group. His Chicagoans. This is a happy tune, treated accordingly. The leader gets off a strong solo, with more of that Alvin woodblock stuff behind him. Cless, in the lower register, is expressive in a Chicago manner close to his friend Pee Wee Russell, and Conniff conjures up the George Brunies brand of barrelhouse trombone.

Shoe Shiner’s Drag was introduced in 1923, three years before “Doctor Jazz,” as “London Blues.” Jelly recorded it sitting in with the New Orleans Rhythm Kings at one of the earliest Interracial dates. Breaks are a salient feature of this attractive piece, and they are handled well by piano and clarinet, who also solo. So does Kaminsky – note how well he clinches the end of his solo with the start of the final ensemble chorus; it’s not as easy as it sounds.