Thomas Talbert
Bix • Duke • Fats
Leon Beiderbecke, Edward Ellington and Thomas Waller were three card-holding musicians, getting their money every Friday, playing a cornet and a couple of pianos, and writing their compositions. They are known in the jazz world's casual I-want-to-be-one-of-the-gang style, as Bix, Duke and Fats. Where the aficionados gather, no further identification is necessary. Bix did most of his writing in the latter twenties. Fats swung right up to his death in 1943. Some of his last work, written for the show, Early To Bed, was his best. Duke Ellington is still very much on the scene and working constantly. The thirties and early forties were a highly creative period for him.
(...)
Fats led a small group of good men. They were mainly a foil for his contagious, exuberant and slyly humorous personality. Bix worked through the Midwest with many small combinations. He played in Gene Goldkette’s bands. Except for recording with small pickup groups, he played his last years with Paul Whiteman. It is said that Henry Busse received the larger share of the hot chair parts. Duke Ellington has been a leader from the beginning, composing and arranging for his own band in prolific quantity.
But they all worked the country's saloons where jazz grew up. This is a world apart from the Broadway, West End or Hollywood composer who has only the current show on his mind. And with the lyricist to carry the day if the tune goes false. They were right in the midst of the instruments that were making the pulse that jazz is all about. And there's the tie-in for an album such as this. Three styles, yes... but all stemming from the same background. *Thomas Talbert (liner notes, 1956)*
The world has changed so much since this music was recorded but the beauty of the compositions has remained constant. I spent a lot of time selecting the material for the album and then the arrangements were written in four late summer weeks. Bond Street, the first, was finished August 19 and the last, Orange Bright on September 13. The final recording, the Ellington tune with ten men, was September 14. There was an individual session for each composer as I used a different instrumentation to enhance how I heard each of their voices.
I remember the warm fall evening, after the Beiderbecke session, as my friend and copyist George Green and I walked west on Forty-second Street. It was not as bizarre a locale then and we were going to meet Joe Wilder at Dixon's on Eighth Avenue for an early dinner. I was filled with satisfied accomplishment as we quietly spoke of the chamber-music recording challenge and of Joe's marvelous playing. It was a good day and the Wilder solos still soar.
They all did. What a joy it is for an arranger to have his writing, his dream, played with such verve and empathy. New York had a shine on it in the '50s and it was exhilarating to be part of it.
*Thomas Talbert (liner notes, 1993)*
This is a stunning piece of work by all concerned. Talbert's writing is fresh and moody, and the performances, particularly the solo work, are firstrate.
There is a smooth blend of the horns, spiced by some bright brass figures, in the arranged passages. As for the solos, it's difficult to describe them without using hand motions or including a copy of the record in the magazine.
Wilder emerges as a trumpet man of stature and delicacy. His taste and flexibility are particularly evident on the Beiderbecke pieces, Mist, Candlelight, and Dark. Galbraith also is heard soulfully on the Bix tracks. Cleveland and Bert split the trombone solo spots, with Jimmy percussively exciting and Bert blowing warmly and with restraint.
The Talbert original, Green Night, is a moody, impressionistic work with actually none of the flavor of the three men to whom homage is paid by this album, but rather a logical extension of the mood created by the compositions.
This album is no tribute in style to Bix, Fats, and Duke. Rather, it is a collection of creations based on their works, The closest to a literal reading is Duke's Koko, which smacks of period Ellington in the rich opening ensemble prodded by Pettiford's throbbing bass.
One final word should be said about Wallington, whose presence is a vital thing, and whose solos and fills are a delight to hear.
Packaging is handsome, with the cover perhaps the most attractive jazz cover presented in many months. Talbert's notes are literate and illuminating, a fine argument for having musicians or leaders write the words about their music.
This is a great record, conceived and executed with taste and artistry.
*Dom Cerulli (Down Beat, June 27, 1957 [5 stars])*
1 - Clothes Line Ballet
(Fats Waller)
2 - In A Mist
(Bix Beiderbecke)
3 - Bond Street
(Fats Waller)
4 - Prelude To A Kiss
(Duke Ellington, Irving Gordon, Irving Mills)
5 - Green Night & Orange Bright
(Thomas Talbert)
6 - Black And Blue
(Fats Waller, Andy Razaf, Harry Brooks)
7 - Candlelights
(Bix Beiderbecke)
8 - Keepin' Out Of Mischief Now
(Fats Waller, Andy Razaf)
9 - In The Dark
(Bix Beiderbecke)
10 - Do Nothin' Till You Hear From Me & Ko-Ko
(Duke Ellington, Bob Russell) & (Duke Ellington)
Thomas "Tom" Talbert (arrangements, conductor)
#1, #3, #6, #8:
Joe Wilder, Nick Travis (trumpets); Eddie Bert, Jimmy Cleveland (trombones);
Aaron Sachs (tenor sax, clarinet); George Wallington (piano);
Oscar Pettiford (bass); Osie Johnson (drums).
Recorded in New York City, August 24, 1956
#2, #7, #9:
Joe Wilder (trumpet), Jim Buffington (french horn), Joe Soldo (flute),
Danny Bank (clarinet, bass clarinet), Harold Goltzer (bassoon), Barry
Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).
Recorded in New York City, September 7, 1956
#4, #5, #10:
Joe Wilder (trumpet), Eddie Bert (trombone), Jim Buffington (french horn),
Herb Geller (alto sax), Joe Soldo (alto sax, fute), Aaron Sachs (tenor sax, clarinet),
Danny Bank (baritone sax, bass clarinet), Claude Williamson (piano [#5]),
Barry Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).
Recorded in New York City, September 14, 1956
