Wednesday, July 29, 2015

Harry Flem(m)ing - Recordings Made In Milan 1933 & 1938

Hans Koert earlier published a definitive and well researched article about Oscar Alemán's engagement with entrepeneur and band leader Harry Flem(m)ing during the period when Les Loups were a part of Flem(m)ing's revue in Europe 1930-31 - the article is to be found here. In his article Hans Koert refers to the sources of his research and a.o points to an article written by the German researcher and writer on jazz and related topics, Rainer Lotz, who in collaboration with Horst Bergmeier has written a very detailed account on the adventures of Harry Flem(m)ing's career in Europe. The article is from 2007 and has the title Harry Fleming - „Der Dandy aus Harlem”, written in the German language (Dietramszell, Fox auf 78, 24, Sommer 2007, pp.32-39). I have a copy of this article as a Word-document, which I recently read again and took notice of some info that I should like to share here. It's about the period after Oscar Alemán's break with Harry Flem(m)ing in 1931 and the focus here is especially on the recordings made by Harry Flem(m)ing in 1933 and 1938, as I was astonished to learn that there in fact exists recorded audio credited to this almost mythical figure. I got curious and looked up the info shown below in Tom Lord's discography

Extract of Tom Lord's discography (Version 9.0), click to enlarge
Both 1932 and 1933 Harry Flem(m)ing had long engagements in Italy with performance all over the country featuring a troupe of musicians, dancers and entertainers in a new constellation of his revue show. According to the info in the mentioned Lotz/Bergmeier article the accompanying orchestra in 1933 had an international crew featuring seven or eight Italians, four Americans, three Englishmen, two Spaniards and a German, however, none of the names mentioned in the article seem to have participated in the recordings made for Columbia in the fall of 1933, if you compare with the info stated in Tom Lord's discographical listing (see above). Lotz/Bergmeier further state that 10 sides were recorded for Columbia in Milan 1933 while Lord only lists 8 sides, and the article also adds more precise info regarding the dates. The recordings were done in two sessions, the first one took place on 21. October and the second on November 1st. Lotz/Bergmeier futher mention that the two titles on Co CQ. 1328 were recorded on the 21st of October, but have no detailed info regarding the remaining titles. The Co CQ. 1328 also seems to be the most interesting disc, as it features Harry Flem(m)ing on one side as a singer and tap dancer in 'Dixie'. - The audio of this recording has been uploaded at YouTube and is inserted here


Tom Lord's listing of personnel participating in the 1933 Columbia session(s) probably is incorrect, for instance it is not possible that Albert Wynn (tb) took part in the recordings, as he had left Flem(m)ing's troupe in 1932 and went back to the US where he for some time was a member of Sidney Bechet's N.O. Feetwarmers and also recorded with Bechet that year. However, Lord's info on personnel of the 1933 recordings is stated as 'probably', but it is misleading regarding the two sessions that were recorded by „Harry Flemming e la sua Orchestra“ in 1938. According to Lotz/Bergmeier, Flem(m)ing's orchestra again recorded two sessions for Columbia in Milan 1938 during another tour of Italy. 

The first session was recorded on the 2nd March and issued on two 78 rpm discs, Co DQ.2617 and DQ. 2618 as listed by Tom Lord. The second session was recorded a month later on the 2nd April and the two titles from this session were issued on Co DQ.2637. Tom Lord's info on personnel participating in the two 1938 sessions is misleading, as it lists the personnel as 'probably similar' to the 1933 sessions, but with the additon of a featured vocal by Nada Villefleur on some of the 1938 recordings. Lotz/Bergmeier have a detailed listing that comprises Italian musicians only. They are as follows for the March 2nd session: Pippo Renna, Loreto Ficorilli (tp), Giacomo Polverino (tb); Piero Rizza (as, cl), Francesco Paolo Ricci (cl, as, bar s), Alberto Spallazzi (ts); -- Parisi (p); Cosimo di Ceglie (g); unknown (b), Lello Mauceri (dm) - on the April 2nd session Nello Digeronimo (tb) replaces Giacomo Polverino and Nada Villefleur is added as vocalist. According to Tom Lord's info Nada Villefleur is added vocalist on 'Stompin' At The Savoy', but the audio of the recording does not feature a vocal. The audio of this recording of Stompin' At The Savoy (NB mislabeled as 'Stampin' At The Savoy' on the issued 78 rpm disc) has also been uploaded at YouTube and is inserted below to end this

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Jo
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Tuesday, July 21, 2015

Rattletrap Ruckus - Revitalizing Music Entertainment

Edison Home Phonograph (c.1908)
Nowadays the digital era has reached a point where the technical possibilities of reproduction of sound easily eliminate disturbing noise and for instance present our ears for a 'clean' copy of a recorded piece of music even from long ago. Although the digital possibilities of restoring sound from old cylinders and shellac discs in a nearly 'clean' copy are at hand today, the result often leaves the impression that something is missing. What is this 'something'? In my personal perception it's often an impression of the ambiance of the original recording that is missing. What has been left out by digital restoration is the mechanical noise generated by a wobbly maschine and the disturbing clicks and pops from a needle in the groove, but at the same time the processing often also has 'killed' the original ambiance of the recording and leaves the audible output in anonymous obscurity like a canned relic of the past. It takes a devoted producer with knowledge of the recorded music and the circumstances of the original recording to generate a reliable reproduction of music, especially from the early ages of recorded sound.

Band logo of Rattletrap Ruckus
The same demand rests on  musicians of today who intend to revive music that was recorded long ago and originally reproduced on wax cylinders or shellac discs. To generate an aesthetic credible impression such musicians must know their sources and be able to recreate the music in a way that makes a commotion in a contemporary context of slick music production and brainless consumption. Some time ago I found an example of a music ensemble that in fact has succeeded in revitalizing the sound of music entertainment from an era long ago without losing the impact of authenticity. The name of the ensemble is Rattletrap Ruckus, and their output preserved in digital bits and bytes convincingly leaves the  impression of some music worth lending your ears performed by devoted and talented musicians who know and respect their sources and their own capacity. The ambiance of the recordings luckily is well preserved and further documented in the video that introduces the ensemble and the title music of their debut CD - Redlight Rag 



Basicly Rattletrap Ruckus is a four-piece instrumental band that was established in 2009, initial members are Lucas Hicks (accordion), Casey Connor (tenor banjo), Jenny Rose (upright bass) and Clea Taylor (cello). The members also play other instruments on the CD and in live performance, a speciality is Jenny Rose's use of a laundrophone (- also known as a washtub bass).

Rattletrap Ruckus (photo by Shannon Conyers)

The debut album of Rattletrap Ruckus was recorded and released in 2013 and comprises a repertoire of mixed music genres. The band presents its repertoire this way: "We play fiddle tunes, ragtime, tango, paso dobles, various breeds of waltz, klezmer, polkas, and oh so much more." The CD has seventeen tracks of this mixture (- good for what ails you!), and you have the opportunity to buy and listen to the full album in streaming audio here  - Learn more about Rattletrap Ruckus from the official website of the band, here 
Redlight Rag - Album illustration by Jenny Rose
Below I'll insert a few more examples of the music played by Rattletrap Ruckus from the videos that have been uploaded at YouTube. - Here's first the band's interpretation of accordionist Guido Deiro's composition titled 'The Lola One-Step'


From a live performance last year Rattletrap Ruckus played Pedro Padilla's 'Llévame Al Cielo'


A composition by Luckas Hicks 'Aelita Queen of Mars' performed in a home video production


To end this small presentation of Rattletrap Ruckus, here's a live performance of the famous paso doble by Vicente Zecca 'Bella Morena' recorded New Year's Eve 2011 - enjoy!


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Jo
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Tuesday, July 14, 2015

John Kongshaug - Jazz Guitar Pioneer

John Kongshaug
The guitar emerged as a distinct solo voice in jazz with the invention of the electric pickup and amplification. The pioneering work of electric amplification evolved in the USA during the 1930s, but it was not until Charlie Christian's entrance at the jazz scene late 1930s that the electric/amplified guitar became a common instrument among jazz guitarists. Charlie Christian paved the way and sat the direction for future jazz guitar playing - also outside the US. - In Scandinavia, pioneer jazz guitarists like Robert Normann, Sven Stiberg, Helge Jacobsen a.o. started to use the electric/amplified guitar already in the early 1940's, but due to WWII when all countries in Scandinavia except Sweden were occupied by the German nazi regime, the evolution of electric jazz guitar playing was delayed compared to the movement in the USA. During WWII, Jazz in general was banned in occupied parts of Scandinavia following official decretes from the nazi regime, but it was practised anyway as a sort of  'underground' movement and only accepted as part of a restricted and limited entertainment business. Moreover, jazz musicians in Scandinavia had very limited access to new records, information and inspiration from the outside world. Only Sweden - due to its neutrality - was able to import new records from USA and GB with great difficulty and delay. These circumstances meant that genuine knowledge of the evolvment of be bop and contemporary jazz in the USA was delayed in Scandinavia, only after WWII had ended in 1945 a general change in the conseption of jazz emerged late 1940s and early 1950s. A pioneer jazz guitarist of this post-WWII Scandinavian generation of musicians that incorporated the new sound of jazz from the USA was John Kongshaug.
John Kongshaug (still photo copied from YouTube)
According to the scarce info I have available, John Kongshaug (1922-1995) was born in Trondheim, Norway and started his professional career in 1942. By the end of the 1940s he was one of the leading guitar solists in Norway. In 1959 he moved to Sweden, where he played with notable reed players Carl-Henrik Norin, Bjarne Nerem, Arne Domnérus and in the orchestras at the Opera and the Stockholm Philharmonic. Later he was a sideman much in demand and played with numerous local as well as international artists. As a consequence,  due to his extensive work as a sideman, he never followed his own jazz career, nevertheless he ranks as a Scandinavian modern jazz guitar pioneer who was at par with some of the best jazz musicians in his time. Earlier this year Hot Club Records of Norway released a CD with a selction  of Kongshaug's recordings from the 1950s, 1960s and 1970s produced by Jon Larsen in coporation with Kongshaug's son, Jan Erik Kongshaug.
CD front, Hot Club Records, HCR 439
The CD has 26 tracks and is a somewhat mixed bag of regular jazz and popular music, however, the CD takes off with a session from December 1954 featuring a Modern Swing Group, a sextet with NOrwegian musicians. Kongshaug is the lead guitarist and has great solo work in a tune named 'Slappfisken' which shows off that he has adopted modern harmony and be bop influence in his fluent playing


From about the same time the sextet also recorded a bop influenced version of the swing standard 'Honeysuckle Rose', again Kongshaug is showing off inspired solowork


In the late 1950s John Kongshaug began experimenting with multi-track recording of his guitar, probably inspired by similar recordings by Les Paul and George Barnes,  the CD has several examples of this field of Kongshaug's output. One of the earliest attempts was a recording of 'Lullaby Of Birdland' in April 1958


From about the same time Kongshaug recorded his own samba 'Satelitten' using multi-track technique and applying double speed in the overdubbed tracks


The last five tracks of the CD again feature John Kongshaug in a regular jazz context, two tracks have him in interplay with fellow guitarist Barney Kessel and show off his adoption of modern jazz guitar playing, here in the standard 'Tea For Two'


The last three tracks of the CD have John Kongshaug in interplay with his son, Jan Erik Kongshaug, who is also a guitar player and sound engineer; an example of their interplay is the recording of 'Delauney's Dilemma'


The CD featuring John Kongshaug is available for purchase as download from Hot Club Records, here, and you have the opportunity to listen to the full album at YouTube with nice still footage uploaded by Hot Club Records, here. - Still photos of John Kongshaug used in this entry are copied from the uploaded YouTube video by HCR.
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Jo
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Monday, July 6, 2015

Django Reinhardt and Stéphane Grappelli in the Netherlands (1937) - Part Two

Georg Lankester, expert in the French pre-WWII jazz scene, Django Reinhardt and the Quintet of Hot Club de France, continues his account of the visit(s) of QHCF in the Netherlands 1937. The first part was published here - Below follows the second part.

Django and Stéphane’s second visit to Holland
On top of the numerous performances and recording sessions during the World Exhibition in Paris, with the best American reedmen and French players Ekyan and Combelle, a second invitation for Django & Stéphane to play in Holland arrived.
This time the occasion was, first  a jazz contest in Amsterdam, then a concert in the Hague and finally radio recordings in Hilversum.
The evening of the 5th of November 1937 the two stars and their rhythm group scored triumphs. The numerous students and other jazz fans were all excited and, of  course, the Hot Club quintet gloriously won the first prize.

Django (center) et al in Holland, November 1937
Although little is known about their stay in Amsterdam, it is reported that the musicians spent some time to visit musea and ‘Madame Tussaud’ where Django was obsessed by the chambers of horror.
Freddy Johnson
Interesting is that in the night hot jam sessions took place with Django, Freddy Johnson, Benny Carter and Coleman Hawkins who were also engaged in Holland - they all knew  each other from their performances in Paris.

Next to the quintet’s playing in the Dutch capital, a concert was given in the zoo of the Hague. On November 6, the Dutch “Jazz Liga celebrated its 5th anniversary on which occasion the Hot Club formation formed the highlight of the evening.

As many will know, there is a film fragment of this concert which was made by the Dutch ‘Polygon” company which also showed the arrival by train of the quintet earlier in the News program.


With regard to the concert film fragment, it is striking that Django is moving his body while he is accompanying Stéphane. For the many Django fans always remains the question which theme was played since the violin (audio) improvisations do not easily reveal that.

Unfortunately there is nothing known about any radio broadcasts – I even contacted people in Hilversum but nobody could trace that.

So far, the short story on these two historical visits of the legendary quintet to the Netherlands. I can just add to this that - after the war - Grappelli gave several concerts in  Holland and I had the opportunity (in 1984) to meet him and, briefly, could  talk with him about those visits of 1937.

Georg Lankester
glankester@gmail.com   
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Jo
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Tuesday, June 30, 2015

Django Reinhardt and Stéphane Grappelli in the Netherlands (1937) - Part one

Georg Lankester, expert in the French pre-WWII jazz scene, Django Reinhardt and the Quintet of Hot Club de France, gives an account of the first visit of QHCF in the Netherlands. Below follows part one, the second part will be published later.

Django Reinhardt
Django Reinhardt was born in 1910 and proved already in his youth to be a highly gifted musician. Playing on his six strings’ banjo, which his gypsy family had given him,  he became a star at the popular Musette balls, sought after by the accordionists in Paris at the end of the Twenties.
Great musicians such as Gusti Malha and Poulette Castro had taught him the basic principles of playing, but the boy gradually developed his own playing technique which no other banjoist could equal.
The young artist won prizes and earned a lot of money since the top accordion players wanted to be accompanied by him. That’s why e.g. Jean Vaissade already made records with Django in the early days of the grammophone.
After a fire accident in his caravan (November 1928) which caused severe burns on his left leg and arm, a long recovery time followed. It took 18 months before he would come back on stage in Paris. His left hand remained crippled and only allowed the use of two fingers.
The last few months of his rehabilitation a member of the family had handed him a guitar for distraction and – who would have expected this? – he then developed a new playing technique adapted to his handicap.
So in the early Thirties Django – now as a guitarist - came back into the Parisian music scene and could be heard with singers.
Jean Sablon
The very popular singer Jean Sablon selected him for his small group and in 1933/34 several beautiful songs were recorded in France, followed by BBC radio broadcasts in England and performances in the Casino of Monaco. But Django was also attracted by new American jazz themes like “Tiger Rag,“After you’ve gone”and many others.
Stéphane Grappelli
He then met violinist/piano player Stéphane Grappelli which, on the initiative of the Hot Club de France leaders would result in the founding of the first jazz string quartet in the world. The two star soloists soon made a name in Europe as well in the USA and their performances were received with astonishment and admiration.


A year full of jazz
1937 would become a remarkable and historical year with lots of surprises as to the Jazz in Europe. Since the foundation of the Hot Club quintet, the group had got quite a reputation. The two star soloists on guitar and violin, accompanied by a strong rhythm section had great success, not only in Europe but also in America. Their records were sold everywhere and these even are available till the present day.
A huge event was going to take place, for in 1937 the great World Exhibition in Paris would be held, a reason for the Hot Club de France leaders (in particular Charles Delaunay and Hugues Panassié) to invite American jazz giants to France for concerts and recording sessions. And so it happened.
However, already several months before this event, the celebrated quintet was invited to perform at the 5th ‘Jazz World’ party in Holland. The initiative was taken by the Dutch Jazz Liga, managed by Eddy Crommelin and sponsored by magazine “Jazzwereld” (Jazz World). 
And  – for the very first time - the illustrious formation travelled to the Netherlands.
On Saturday July 10 one could speak of a full house in the big ‘Kurhaus’ ballroom for a memorable gala concert.
As can be seen from the attached advertisement, this party was rounded off by a ball with the Dutch band “Jacques Kluger’s Collegians’ and piano player Ernst van ’t Hoff.  Moreover people could watch that evening films of Benny Goodman and others.
After this very special event,  the abovementioned magazine published a favourable review. Due to this report we get a good impression of the program which was presented that particular night whereby several performed themes are described.

We learn that the quintet opened with “Exactly like you” which – according to the reporter – immediately excited the audience. Then people could listen to “Limehouse blues” and “Blue  Drag” followed by “Honeysuckle rose”, Django’s “Boléro” and the “Tiger Rag”, all described as  ’superb performances’. As to the two star soloists, expressions were used as ‘fully inspired, highly emotional, dynamic performances with touching inflexions’. Those words would be impossible to use in our times!
After the break we read that compositions like “Speevy”, “I’ve had my moments”and “In the still of the night”were played and again the reporter is very favourable about them and continues:
Then a funny thing happened. Immediately after the final theme was played a  few strong guys entered the stage, picked up the bass and carried it away,  till – in a hurry – it was decided to put it back again, which took a while. All this caused, of course,  great merriment.
 To round off their program the quintet ended with”Moonglow” and “Nagasaki” enthusiastically received by all persons present.

To be continued

Georg Lankester
glankester@gmail.com
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Jo
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Saturday, June 20, 2015

Luca Velotti Quartet - Moonray

Mainstream jazz is a genre of jazz music that was first used in reference to the playing styles around 1950 by musicians, who did not abandon swing for bebop performing the music in smaller ensembles. Today mainstream jazz is still performed in clubs, at festivals or similar venues and the music is also exposed in various recordings appreciated and well received by a wide audience that primarily perceives jazz as entertainment with recognizable musical themes to create or accompany a pleasant atmosphere. This, however, does not mean that mainstream jazz musicians are just copy cats and unimaginative reproducers of a tradition long left by the vanguard of progressive jazz performance. Mainstream jazz musicians are skilled performers that keep the swing tradition alive by adding their personal interpretation and improvisation to the performed musical themes, some also add new themes to the inventory of standard tunes. An example of a contemporary successful mainstream jazz production is the new CD by Luca Velotti Quartet - Moonray, shown below

CD front: Luca Velotti Quartet - Moonray (Luckyvelox), 2015
Luca Velotti (b 1966) is an Italian clarinet and sax player with an international career and a stable sideman with Italian songwriter Paolo Conte since 1992. Velotti graduated in clarinet at the Conservatory "A. Casella" Aquila and studied arrangement, clarinet and jazz saxophone with Bob Wilber and Bill Smith. He has worked, often in New York, alongside big names of American jazz, such as Bob Wilber, Dick Sudhalter, Kenny Davern, a.o. participating among other things as a special guest at a concert of the Sidney Bechet Society. Luca Velotti has released several recordings as a leader of his own jazz ensemble, on the new CD he is featured in a quartet setting that comprises Michele Ariodante (guitar, vocal), Gerardo Bartoccini (double bass), Carlo Battisti (drums) and Velotti himself alternating between clarinet, tenor sax and soprano sax.
Luca Velotti, clarinet (photo by Pier Andrea Morolli)
The repertoire of the CD has a wide variety of influences, from the more traditional repertoire (Jitterbug waltz, I’m in the mood for love, Shine) to seldom played standards (Moonray by clarinetist Artie Shaw, I’ll be seeing you) and blues songs  (Gee baby ain’t I good to you, Nobody knows you when you’re down and out). Beyond that, Velotti’s love for South American musical genres, such as choro and habanera, is represented by Migalhas de amor, (by Brazilian mandolin player Jacob do Bandolim), Anita and So cool, two of the three Velotti originals on the record (the third, Sidney and Louis is a slow swing tune dedicated to two of his heroes). The CD has 11 tracks and is presented in a promotion video uploaded at YouTube


The Luca Velotti Quartet is a well organized and well played mainstream jazz ensemble featuring great sidemen that provide good opportunity for Velotti's inspired interpretations of familiar and lesser-known themes in addition to his own compositions that fit perfect into contemporary jazz performance.
Luca Velotti Quartet - l-r: Michele Ariodandte (g,voc), Gerardo Bartoccini (double bass),
Luca Velotti (soprane sax), Carlo Battisti (drums) (source: YouTube)
To give you an impression of Luca Velotti Quartet in live performance, I'll insert a couple of videos recorded at a concert Semptember 2013 featuring music available at the new CD. - Here is first a presentation of Nobody knows you when you're down and out 


From the same live performance, here is Luca Velotti Quartet playing Jacob do Bandolim's Migalhas de amor 


Finally, to end this small presentation, here is Luca Velotti Quartet playing Jitterbug Waltz 


More info about Luca Velotti's Moonray CD, here, the cd is available for purchase as digital download from Amazon, CDbaby and Itunes, see the mentioned link.
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Jo
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Monday, June 8, 2015

Oscar and the Duke: An Encounter In Paris, 1933

Some time ago I received an article about the encounter between Oscar Alemán and Duke Ellington in Paris, 1933. The article is written by Luis 'Tito' Liber and is published below. It puts focus on Alemán's reactions and has quotes from interviews in Argentine printed media, here available in English for the first time.
Illustration in Gani Jakupi: Le roi invisible (Futuropolis, 2009)
One thing is that fans and collectors of today claim that Oscar Alemán is one of the best jazz guitar players, but another thing is the opinion of one of the greatest personalities in jazz history. The great Duke Ellington, and the members of his band, affirmed that Oscar Alemán was not one of the best, but THE BEST guitarist in 1930s Europe... Here is the story.
Concert ad (source: Luis Liber)
In July 1933 Ellington`s band arrived in Paris to play at the Salle Pleyel (Thursday 27th) and at the Casino de Bauville, in a tour promoted by Jack HyltonMusic-hall star Josephine Baker, convalescent at home following a car accident that had injured her hand (the driver was Oscar Alemán, and the car was seriously damaged), welcomed Ellington and introduced him to Alemán. Ellington, who was very impressed by the skills of the "chaqueño", tried to persuade Md. Baker to ‘lend’ him Alemán as a guest musician of an upcoming USA tour, but the "Venus" declined and retained Oscar as a member of her staff which impossibly could have a substitute.
Josephine Baker and her car - June 1935 (photo ABC Madrid)
Oscar Alemán later recalled in an interview:
"I met Duke Ellington by the time I had an accident. One day I was driving my car to my work at the Casino de Paris, with Josephine Baker. They crashed me. I stayed for ten days at the hospital, and later at my hotel. The first visit I made when I got out of the hotel was to see my friends from the Casino. I arrived at Josephine`s dressing room. Everybody came to salute me. She had an injured knee and some scratches on her face. I was patched  all over and walked with a stick. While I stayed at Josephine`s dressing room Duke Ellington entered with his two trombonists. One of them was Juan Tizol, the author of "Caravan", he was a Puerto Rican; he made myself understood by Duke Ellington, because Tizol spoke in Spanish. With them also was Freddie Guy, Ellington`s guitarist. The four were good "orejeros" (in Argentine: they had good ears for music). In a certain moment Duke told Josephine: "I came to greet you and to hear a recommended guitarplayer" (...) Next I asked one of the dancers to go to the second floor and bring me my guitar. The kid went running. I opened the case, took the guitar and began to play for Duke Ellington. When I finished, he told Juan Tizol to ask me if I wanted to go with him to North America (...) "You are not going as a staff guitarist, but as a soloist." Josephine objected: "No. Where am I going to find another guy who plays all the styles Oscar do: dancing, tapping, singing? Besides, I have seven suits and shoes made for him, all of the same colour. And those costumes aren`t useful to another person. And his substitute has to be black." Because of that I didn`t go to the USA and I had to stay in France." (Ardiles Gray, Julio. Historias de artistas contadas por ellos mismos. Ed. Belgrano, Bs.As. 1981, pp. 285-297).

Another Alemán comment about the encounter with Ellington in Paris, 1933:
"I should be angry with Josephine because my life would have changed. Ellington had offered me the triple than she paid me and he was going to present me better" (cited by Espinosa, R. Oscar Alemán. Hablando con Dios. 2002)

Further, Oscar later has an interesting remark on Duke`s ability for "stealing"/memorize the tunes heard for the first time. Alemán’s theme song Hombre Mío could have had the same fortune as Juan Tizol`s Caravan: "Juan Tizol was present, the Ellington`s trombonist, now already dead, who is the true author of "Caravan". Duke Ellington insisted me to play my own composition, called "Hombre mío", by that time not registered neither recorded. Tizol advised me not to play it, because he (Duke) was going to steal it from me." (El tenedor y el cuchillo. Pelo. Julio 1978).

Yet another quote of Alemán’s remembrance of his meeting with Ellington in Paris, 1933:
"What an immense emotion the day that, without expecting it, I have him in front of me, ready to juzge my guitarplayer skills! Can you imagine my nervousness?... Even today I don`t know how I had the nerve to play all the pieces he asked me and some I knew he was going to like (…) Getting up of his seat, he came to congratulate me. That ment to me the greatest honour I ever received." (Oscar Alemán tiene un galardón que es orgullo. Es amigo de Duke Ellington. Mi Cine, 22-05-1947).
Ellington Band at Cotton Club 1933
As a demonstration of fondness and admiration, the members of Ellington’s band presented Oscar with a photo similar to the shown dedicated at the reverse side by all of them.
Handwritten dedications to Oscar (click to enlarge), wrongly dated 1932
Some of the dedications read: “Muchos recuerdos para el mejor guitarrista que hemos oido” (Juan Tizol), "To my good friend Oscar Aleman, the greatest guitar player we heard in Europe" (Art Whetsol), “To Oscar, to me the greatest guitarist of today” (Fred Guy), “To the greatest guitarist in the world” (???)

During that same 1933 tour through France and the UK, Ellington`s banjoist, Fred Guy (b.1897 - d.1971), adopted permanently the guitar as part of the rythm section of the big band. Maybe the Duke had made this change after hearing the sound of the instrument in the hands of Oscar. So, the rythm section (tuba, banjo, piano, drums) changed from tuba/banjo to double bass/guitar. It is worth mentioning that Guy (who was with Ellington for 24 years: 1925-1949),after changing to guitar, became almost inaudible and a less important member of the orchestra (it was prior to electric amplification), while the loud volume of the banjo had allowed him to be heard clearly.
The Duke Ellington Orchestra at Palladium, London, July 1933 -
Notice Fred Guy is featured with both banjo and guitar
The years of Alemán’s success in Argentina during the 1940s and 1950s passed away and he came into a dark period in the 1960s. He would, however, meet Ellington again in September 1968, during Duke`s tour through Argentina. A turning point in Oscar's career. But that is another story.

Luis 'Tito' Liber
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Jo
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