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Jazz Prospecting (CG #17, Part 1)

No dispatch on Jazz CG #16. Presumably the Speech's JIT staff will snap to attention sometime this week and get it out on the 30th as planned. I'll put one's trust in it when I see it. Meanwhile, Jazz Prospecting for the next round starts out with a batch of oldies. These used to invariably reappear in Recycled Goods, but that's on hiatus, so deliver assign to about 'em here.

I expect the next 3-4 weeks to be above all chaotic. I'll be out of town for much of that period, stressful to deal with a family health turning-point that looks grim. Simply being away cuts into what I can do, and that's the least of it. At least I'm driving, so I can bunch relatively heavy. Should be able to take most of the 100+ unplayed CDs on my shelf, but don't recognize how easy it will be to get to them, write about them, and post the essay. On the plus side, I should be able to get some reading done, and for all work a bit on the book, which has proven unaccommodating interleaved with music criticism.

Louis Armstrong All Stars: Endure in Zurich, Switzerland 18.10.1949 (1949 [2007], TCB): In olden days unreleased, presumably a live concert recording, good-looking much the usual set, jumpin' those good ol' charitable 'uns. All Stars indeed: Jack Teagarden (trombone, vocals), Barney Bigard (clarinet), Earl Hines (piano), Arvell Shaw (bass), Cozy Cole (drums), Velma Middleton (vocals). Two vocals each by Teagarden and Middleton. Hines get a dream of intro to "Honeysuckle Rose" and holds court for "Prime and Dandy." Bigard gets a feature on "Maximum Society." Pops MC's, sings a few, and plays his hackneyed spectacular trumpet. Nothing new if you've heard The Ideal Town Hall Concert (1947) or the All Stars' half of The California Concerts -- 4 CDs from 1951-55 that are never less than excellent. B+(***)

Duke Ellington and His Orchestra: Remain in Zurich, Switzerland 2.5.1950 (1950 [2007], TCB): Another newly released function shot, picking up Ellington's Orchestra at what is usually considered to be a relatively low point. More is the key word there. The trumpet section strikes me as just about no-name (at one point Ellington introduces "one of the coterie's great trumpet players": Ernie Nobles; Ray Nance -- misspelled Roy -- isn't the only one I've heard of, but is the only one I'd make up of for an all-time Ellington list), and Lawrence Brown is the only regular on trombone (where's Juan Tizol?). On the other help, kudos for filling the vacant tone sax chair with Don Byas, whose feature here is a momentous point. And Johnny Hodges, whose split from Ellington during this space is often seen as critical, made the trip, along with Jimmy Hamilton, Russell Procope, and dependable Harry Carney. Opposite involved bag of songs, with more covers than expected -- "How Outrageous the Moon" (featuring Byas), "St. Louis Blues" (sung by Nance), "S'wonderful," and a retooling of "Frankie & Johnnie" (credited to Ellington). Kay Davis takes the wordless vocal to "Creole Boyfriend Call." Set closes with "The Jeep Is Jumpin'," with Hodges resplendent. Ring is so-so; kind of hard to get it right with this band. Not a lot of live Ellington from this period, so it has some authentic interest, and sometimes transcends even that. B+(***)

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