For one thing, Roy was an ubiquitous present on some of the iconic jazz recordings and performances, including Billie Holiday's early recordings led my Teddy Wilson, Anita O'Day's best known performances with Gene Krupa, and the birth of bebop at Minton's Playhouse. Although I am not going to drift into more about Anita, he performed with her at her 50th Anniversary in show business performance, Big Band At Carnegie Hall, reprising Let Me Off Uptown. That duet between Anita and Roy echoed the culturally groundbreaking performance they did with Krupa's band over forty years prior. Roy could no longer play his trumpet (for medical reasons), but his singing was strong, and he and Anita pulled it off perfectly.
Why is this set significant? Strictly speaking as a drummer, the musician styles covered and the various drummers included on the tracks will provide a lot of musical ideas. This is especially true if you are caught in a rut playing the same cliche licks (and we all succumb to that). It's also interesting to note that Roy started out on drums and played that instrument professionally until his brother convinced him to give trumpet a try.
As a musician, though, this is a wonderful collection of music and how it evolved during the period represented. And if you play trumpet, then knowing that Roy was influenced by saxophonists and not other trumpeters should expand your musical horizons.
Although he was active from the mid 1920s to the 1980s, this set captures some of his best years, spanning 1935 through 1953.
Up front the key questions you may have are: (1) how is the sound quality? (2) is this a typical hodge-podge of tracks thrown together to take advantage of expiring copyrights per European laws?
The answer to the first question is the sound quality is excellent. Even the early tracks circa 1935 are clear and probably better than the originals due to remastering. There are no popping noises associated with raw transfers from old shellac albums to CD. I am sure die hard purists and audiophiles will find some cause to complain, but I am more than pleased.
On the second question: this is a well thought out set, with each CD having a theme. Disc 1 is Swing is Here, Disc 2 is The Gasser, Disc 3 is King David in Paris and Stockholm Too and the final disc is Dale's Wail. What truly sets this collection apart, aside from the attention to logical grouping, is the 47-page booklet that is included. It is well written with a lot of Roy's history and the context of the tracks on each disc. But the real value is the comprehensive discography that lists each track on each disc, provides personnel and dates, and even label catalog information for each and every track. That is not the stuff of hastily thrown together compilations by fly-by-night labels.
The period covers his most important work (in my opinion), as well as his evolution as a musician that paralleled jazz itself. He was one of the few oldtimers (he was born in 1911) to make a successful transition from swing to bebop. He was a regular at the birthplace of bebop - Minton's Playhouse - and contributed musical ideas to that genre. More importantly, he was the idol and inspiration of Dizzy who was one of the architects of the new style. However, Roy continued to remain relevant as a jazz musician into the early 1970s. So this set of CDs show from where he came and to where he was ultimately headed.
Here are some selected clips that represent the music contained on the included discs:
While there are a number of albums that showcase Anita's big band years, the most economical I have found is a four disc set titled Young Anita.
For fans who mainly know Anita's work from her Verve and later years this is a wonderful glimpse into her early work. While she evolved into a hip, scatting vocalist who could keep up with the later bebop musicians, these tracks show why she was also an unquestionable talent during her early years.
Many of these tracks are also on Let Me Off Uptown: The Best of Anita O'Day with Gene Krupa and another compilation titled First Lady of Swing. The latter documents her time with Stan Kenton's band. This compilation - Young Anita - contains the pearls from both in my opinion. It does so in 89 tracks that are representative of not only Anita's early body of work, but of the era.
I personally love the selection of songs in this compilation. Every track is relatively well mastered (in other words, an audiophile may object, but considering the sources for mastering the sound quality is reasonable and listenable.) I cannot think of a single track that would showcase Anita's talents that was left out of this set. That speaks highly of whoever produced this compilation.
Of course this iconic track is included. I am posting the video version instead of the album one because they are nearly identical and it's always a treat to see a young Anita in action. This was considered controversial when it was released because of the rampant racism and segregation laws back then, but also there was some tension between Anita and Roy Eldridge who frequently complained that Anita was upstaging him.
Here is track 6 from disc 2:
A 1944 performance from her stint with Stan Kenton:
Another from her stint with Kenton (1944). She sounds a lot like Ella Mae Morse on this track.
I mentioned the similarity to Ella Mae Morse regarding the above track. Morse's career took a different turn with a progression from jump blues to early rock to rockabilly. Anita could have taken that path. Indeed, during the post swing era she and her contemporaries (and record labels) were desperately searching for the next big thing. Although the albums in this set are not from the big band era (and some are also included in the set discussed in Anita O'Day in depth Part 2), the bridge between her big band years and Verve years is contained in a two albums in the set.
This album has had a twisting and turning genesis. The first eight tracks were recorded in 1952 and released under the title Anita O'Day Collates by Norgran Records in 1953. I actually wrote a comprehensive review of that album, which includes personnel and dates, and another perspective than what I am providing here for those who are interested in such things.
Norgran was Norman Granz' original label. Norgran then reissued the album in 1955 under the title Anita O'Day Sings Jazz. It was finally released in 1957 under the present title by Verve (which Granz established in 1956 and absorbed the Norgran catalog.) In addition to the original eight tracks, the final release contained four more.
The song selection is all over the place. By 1957 this selection was a bit odd, but when the original eight tracks were recorded in 1952 music was undergoing an upheaval. Jazz was being nudged out by popular music, some of which would become rock and roll, while other threads of that era would become rockabilly and other genres. The lack of homogeneity was because of the racial divisions in mainstream America at the time. It may sound ludicrous today, but the airwaves were culturally segregated. The point being that the inclusion of a track such as Rock 'N' Roll Blues was probably an attempt to grab onto what may have been seen as a trend, and to reach a wider audience by a new label (Norgran.) Ella Mae Morse whose big band roots were similar to Anita's was making inroads into the new trends, so that may have also been a factor. Other songs from the original eight recordings were standards and make sense.
The four additional tracks contained popular music such as Vaya Con Dios, and was probably included to increase the marketing range of yet another brand new label, Verve.
Regardless of the strange (but explainable) mix of songs and the twists and turns that started in 1952 and culminated in this album in 1957, O'Day is a constant factor. She makes each song her own. Listen to the song samples. If you are a fan, her imprint is unmistakable. And the mixed bag of songs, as incongruous as they are on one album, clearly shows her versatility. Moreover, this album - the first eight tracks anyway - capture her reinventing herself from big band vocalist to small ensemble diva. It also foreshadows her many reinventions that would take place over the next half century.
For those who are interested in who played what, here is the personnel list:
Tracks 1-4: Roy Eldridge on trumpet, Albert Johnson on tenor sax, Cecil Payne on baritone sax, Bill Harris on trombone, Ralph Burns on piano, Al McKibbon on Bass and Don Lamond on drums.
Tracks 6, 11 and 12: Roy Kral on piano, Earl Backus on guitar, John Frigo on bass, Bob Lionberg on drums and Jim Wilson on percussion.
Tracks 7 through 10: studio orchestra (arrangements by Larry Russell who also conducted).
To satiate any curiosity, here is Rock 'N Roll Blues from the album:
The other transitional album in the set is An Evening With Anita O'Day in which Anita engineers the first of her many reinventions and distances herself from the incoherent The Lady is a Tramp.
This album is not only coherent, but sets the tone for Anita's evolution from big band singer to small ensemble vocalist. Here she becomes the proven talent who not only shows she can adapt, but who would reinvent herself more than a few times in the ensuring half century. In my opinion, her first reinvention was during the sessions that resulted in this album.
Why this album is coherent is the song selection. There is an obligatory Cole Porter tune, plus standards like I Cover the Waterfront, The Man I Love and one song that Anita would make her own with numerous performances the rest of her life: Let's Fall In Love. Moreover, there is the traditional Frankie and Johnny, along with her own Anita's Blues. This stuff is beautifully suited to her vocal style and phrasing, unlike the proto rock of the 1952 album that featured honking sax on nearly every track. The contrast alone makes this album worth it.
Then there are the backing ensenbles. Although Anita would continue performing in the studio and even live with full orchestra backing, she seemed to be at her best with smaller groups, and this album marks her complete break from the big band era where she made her name with Gene Krupa, Woody Herman and Stan Kenton.
Personally, I love her the most backed by a piano trio, like in the second session on June 28, 1954 (see below). However, all three ensembles backing her on this album are perfect for the era and her style. Listen to the sound samples on this page to see what I mean.
I am including the list of personnel and dates of the sessions for those who are interested.
Session 1 April 15, 1954 (Anita had released from jail almost two months prior to this). Personnel: Arnold Ross on piano, Barney Kessel on guitar, Monty Budwig on bass and Jackie Mills on drums. The tracks cut during this session are:
The Gypsy In My Soul
Just One Of Those Things
The Man I Love
Frankie And Johnny
Session 2 June 28, 1954 - This is a perfect backing for Anita - a piano trio comprised of Bud Lavine on piano, Monty Budwig on bass and John Poole on drums. Note: this is the first appearance of John Poole with Anita. He would remain with her for over four decades. I do not know if this was a chance pairing and they reconnected later because she mentioned in Anita O'Day - The Life Of A Jazz Singer that she first met him at a girlie show in Long Beach (right outside of LA.) The tracks are:
Anita's Blues
I Cover The Waterfront
I Didn't Know What Time It Was
Let's Fall In Love
Session 3 was over a year later on August 11, 1955. Personnel:
Jimmy Rowles on piano, Tal Farlow on guitar, Leroy Vinnegar on bass and Larry Bunker on drums. Tracks cut during this session:
You're Getting To Be A Habit With Me
From This Moment On
You Don't Know What Love Is
Medley
Here is a track from the album:
I'll wrap this up for the time being. I have a lot of material to add to the Anita O'Day story and body of work, but will cover other topics before I take this up again with part 4. Until then, keep swinging and enjoy the music.
This is a continuation of Anita O'Day in depth Part 1, which I posted way back on July 16, 2012 and Anita O'Day in depth Part 2 from July 18, 2012. I had reviewed over twenty of Anita's albums and did not want to deluge this blog with a flurry of posts, so I got side tracked.
I am a dyed-in-the-wool Anita O'Day fan as evidenced by my April 5. 2010 post titled Anita O'Day: Jezebel of Jazz & Drummer's Vocalist. Following her career you will note that there are phases: the big band years, the early 50s, the Verve years and the independent years. The latter cover a lot of territory, but this post is going to focus on her Verve years, and, specifically, on eight albums she recorded for that label. That is half of her output for Norman Granz.
Albums contain the original track listing and sequence. I mention this because many modern reissues contain bonus tracks. This one does not. A case in point: Anita Sings The Winners in this set contains the twelve original tracks. There are at least two reissues of that album, one of which contains seven bonus tracks (bringing the total to 19), and another which contains eleven bonus tracks (bringing the total to 23).
With respect to bonus tracks or the lack thereof this set contains 101 tracks across four discs, and provides over four hours of Anita. That alone makes purchasing this a no-brainer.
Norman Granz' then brand new label, Verve, would go on to earn accolades in the jazz recording world. This 1955 album inaugurated it.
Unlike many of Anita's reissued albums this one has the original tracklist without bonus tracks, so it's short by today's standards, but about par for an LP in 1955.
In addition to being Verve's inaugural album, this was Anita's first non-big band recording too. While she is backed by a large ensemble that was arranged and conducted by Buddy Bregman, the group swung like crazy, giving Anita instrumental backing that was a perfect match for her singing style.
Why an album cover showing a 1958 photo on a 1956 album? I have no idea. What I love is the song selection, which includes swing standards like Benny Goodman's Don't Be That Way and Chick Webb's Stomping at the Savoy. In fact, every one of the original tracks on this album is a gem, as are the bonus tracks. Give the track samples a listen and I am betting that the majority - if not all - of them will bring a smile.
Another thing I love about this album is the line-up backing Anita. Buddy Bregman's band, plus Harry 'Sweets' Edison on trumpet, Paul Smith on piano, Joe Mondragon on bass, the very underrated, but much in demand during this period drummer, Alvin Stoller is a treat for me since I am a drummer. Also, Larry Bunker is on vibraphone and Barney Kessel - a charter member of the Oscar Peterson Trio - is on guitar.
The reasons I think this 1957 gem is one of her best in this set are her backing ensemble, choice of songs and the session's white hot energy.
Backing Ensemble: Many of Anita's mid-50s albums for Verve, starting with her (and the label's) inaugural Anita released in 1955, were backed by larger ensembles. Orchestras, actually. This one featured the original Oscar Peterson line-up (Oscar on piano, Ray Brown on bass and Herb Ellis on guitar), plus Anita's favorite drummer and decades-long companion and partner-in-crime, John Poole. Milt Holland, an extraordinary multi-instrumentalist, added percussion on some tracks.
Choice of Songs: From the first medley, S'Wonderful/They Can't Take That Away From Me, Anita proves that she can sing at blazing fast tempos, then downshift into a slower tempo seamlessly and smoothly. Oscar's own penchant for fast tempos that would bedevil most drummers and bassists for decades, was unable to shake her. Even on Them There Eyes - performed at a tempo that would have left any other vocalist in the dust - Anita is right there with Oscar every note. Her tempo range is incredible, as evidenced by her beautiful rendition of Bewitched (one of my all time favorite songs and one by which I judge a vocalist's ability to sing a ballad.)
Highlights of this amazing session include John Poole's great drumming. Poole is one of my personal inspirations and one of the top brush players of his era. It's ironic that Peterson would shortly replace Ellis with a drummer - Ed Thigpen - who was another top brush player of the era. And, of course, Peterson himself. He breaks into stride-piano influenced phrases on some tracks, and on the entire album is perfectly matched to Anita's own musical abilities. Here is a clip from the album:
When I am asked why I am so fanatical about Anita, I play this album for the inquirer and that pretty much answers their question.
My earlier piece about Anita, Jezebel of Jazz & Drummer's Vocalist explains my attraction. Her vocal stylization (her words) allowed her to sing at the fastest tempos (Four Brothers is a good example), and her phrasing on some of the songs here, like Interlude, set her apart. And the reason I call her a drummer's vocalist is because she actually took drum lessons from her first husband, Don Carter. She also has a long association with John Poole who was her drummer for decades (and is also on this album).
Every song on this 1958 album is a winner in my opinion - there is not a song nor a performance on the entire track list that I do not love, which is why I listen to it so often. In addition, tracks 13-19 are actually bonus tracks that did not appear on the original album, making this even more valuable. Here is a clip from the album:
Much has been written about how great a year 1959 was for jazz. Most of the buzz is about the Big Four: Kind of Blue, Time Out, Ah Um and The Shape of Jazz to Come. I love all of those albums, and for me personally, this one is the fifth treasure from that watershed year.
First, I think that Billy May's arrangements on the first twelve tracks stand out from the remaining six that were added in from other O'Day performances of Porter's material between 1952 and 1960.) But that is a subjective call.
Second, this album seems to be destined to forever be overshadowed by Ella's Cole Porter songbook album. Side-by-side I will take this one. But please bear in mind my biases towards Anita. Instead of comparing and contrasting the two vocalists and albums I will say that my reasons for loving this one is the energy and attitude that Anita brings to her renditions.
Anita's ability to swing is infectious, and I have always loved Anita's phrasing and ability to settle comfortably into any tempo. More importantly, Porter's compositions are notoriously difficult for most vocalists, yet Anita goes through a repertoire of some of Porter's best works effortlessly. A sample from the album:
I have some minor mixed feelings about this album. There are a few reasons for this. First, even by 1960 LP standards, this album is short. Second, the first two tracks are not 'grabbers'. They are certainly excellent renditions of Johnny One Note and Little Girl Blue, but the compositions do not allow Anita to cut loose in her characteristic, swinging style.
What won me over were the arrangements on the rest of the tracks and the choice of songs. Both aspects showcase Anita's abilities as a vocalist and musician, as well as the genius of Rogers and Hart.
Another reason I love this album is Anita's rendition of one of my favorite songs: Bewitched, Bothered and Bewildered. I measure a vocalist's ability to sing a ballad by who well they handle that song. I give her an A+ on that track, and extra credit because the track is 4:22 long. Would be that the rest of the tracks were as extended. Two of my other favorite tracks on the album are I Could Write a Book and It Never Entered My Mind. Those choices reflect my personal taste and are subjective. Here is a clip:
This 1961 album was recorded during three 1960 recording sessions, two of which included a fairly large backing ensemble. The other session had a much smaller group backing Anita, yet the entire album sounds cohesive. In fact, despite the larger ensemble that is on two thirds of the album's tracks, the overall feel is intimate and light. That is a tribute to both Anita's skills as a vocalist, as well as the producer and the arrangers.
Session number one was recorded in August 1960, and resulted in tracks 1, 5, 6 and 9. The backing ensemble was comprised of Geoff Clarkson on piano, Al Hendrickson on guitar, Al McKibbon on bass and the great Mel Lewis on drums. Horns are four trombonists (Harry Betts, Frank Rosolino, Ken Shroyer and Dickie Wells), and Bud Shank on alto saxophone and flute. The horn section is particularly interesting in that the low end is well anchored with the four trombones, with the upper registers handled by either an alto or flute. No trumpets! Yet it works.
The remaining two sessions were spread across two days in October 1960 and used a much larger orchestra that included strings. Also, Bud Shank from the August session, as well as Barney Kessell on guitar are members of the larger ensemble.
Listing favorite tracks is always problematic because they reflect personal preferences and are subjective. However, I will cite a few tracks that stand out for me: That Old Feeling starts out with Anita backed by Al McKibbon on bass in the front of the mix and it sounds both intimate and sensual. When Bud Shank comes in on flute, the song never fails to transport me to another place and time. Yesterdays is big sounding with a full low end from the four trombones. Mel Lewis lays down an interesting pattern with his snare drum (with snares off) and toms, then breaks into a lighter, swinging phrases that soar when Bud Shank's alto comes in. I also enjoyed Whatever Happened To You that sounds lush with the strings, and also has a nice airy feel from flute. From the album:
The reason this 1961 album is among my favorites by Anita (or any other vocalist for that matter) is it's her tribute to Lady Day - Billie Holiday - arguably the greatest jazz singer ever.
One of the things I love most is the way Anita does not try to mimic Billie. She did every song on this album credit and I am positive Billie would have approved, but she brought her own voice and feel to each track. Don't misunderstand - the tribute to Billie is unmistakable. Other vocalists would have possibly attempted to portray Billie and it would have been a parody in my opinion.
Favorite tracks? That is subjective, of course, but ironically, my favorites here are the same as my favorite Lady Day songs, and especially What a Little Moonlight Can Do, Miss Brown to You, and God Bless The Child.
For my fellow die hard fans and musicians, here is the list of personnel: on Trav'lin Light, Don't Explain, If the Moon Turns Green, I Hear Music, Lover Come Back to Me and Crazy He Calls Me all feature Al Porcino, Ray Triscari, John Anderson, jr. and Jack Sheldon on trumpet, with Stu Williamson, Frank Rosolino, Dick Nash and L. MacCreary on trombone. Saxophonists are Joe Maini and Chuck Gentry. The rhythm section is comprised of Russ Freeman on piano, Buddy Clark on bass, Mel Lewis on drums (with Larry Bunker on additional percussion) and Al Viola on guitar.
The rest of the tracks feature Barney Kessel on guitar, Don Fagerqust on trumpet, Ben Webster on tenor saxophone, Jimmy Rowles on piano, Mel Lewis on drums and Buddy Clark on bass. From the album:
This is by no means my last post about Anita. I will, however, not space future posts so far apart, but will not flood this blog with a cluster of them either.
I will end this one with two things:
A promise to cover some of her big band years next
Two parting videos
This post honor's one of Anita's staunchest fans and expert: Patrick O. Moore.
