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CD Review: Max Kaminsky & Pee Wee Russell With
Eddie Condon And His Band 1939-1943
Label: Giants Of Jazz, CD 53297AAD
Personnel: Bud Freeman, Joe Sullivan, Joe Bushkin, George Wettling, Brad Gowans,
Lou McGarity, Gene Schroeder, Bob Casey, Sidney Catlett
On a golden summer evening in 1944, two 16 year old aspiring jazz clarinetists, Bobby Fowler* and myself, strolled the streets of Greenwich Village. The atmosphere was awash with artistic energy, history, and creative impulse. Suddenly we spotted none other than Eddie Condon making his way up Seventh Avenue South.
Approaching in awe, we struck up a conversation with the guitarist. Impressed by our youthful exuberance and musical ambition, Condon generously offered to chaperone us to The Pied Piper for the first set of James P. Johnson's band with bassist Bob Haggart and my hero, clarinetist Rod Cless. We entered to find James P. off that night, but in his place was Willie The Lion Smith in black derby hat and cigar leading the band. What a thrill! Thanks, Eddie, we will never forget you.
Albert Edwin "Eddie" Condon, the flamboyant Hoosier jazz guitarist, is usually remembered more for his promotion of Chicago jazz than his playing of it. He was known as Slick among his friends, but that obscures the superb rhythm talent that made him something of a Freddie Green in a different context. (Green is the universally praised Count Basie guitarist who is much credited with the incomparable swing of the Basie rhythm section.)
Condon's bands and recordings were major elements in the classic jazz revival of the 1940s. If he had done no more than bring the best of Pee Wee Russell to the world, as he did, his place in jazz history would be assured. Condon did much more. He brought memorable bands to Nick's in Greenwich Village, making it world famous as the Home Of Hot Jazz And Sizzling Steaks.
Saturday afternoon wartime concerts from NYC's Town Hall, beamed Condon and his band worldwide over Armed Forces Radio, introducing thousands to jazz and its players. It also enabled those of us too young to frequent the jazz clubs of the time, to hear live jazz at prices we could afford. The three New York Jazz Clubs that bore his name from 1946 to 1986 always presented the best hot music and were Mecca's for jazz lovers and musicians alike.
Eddie Condon's Commodore recordings are jazz classics. Some of the very best are reissued here in this CD collection entitled Max Kaminsky and Pee Wee Russell with EDDIE CONDON 1939-1943. Max and Pee Wee were pretty much regulars with Eddie in those days. Part of the fun of these recordings is hearing how two very different trombone players, Lou McGarity and Brad Gowans, fit with them. Listen to All the Wrongs (McGarity) and Don't Leave Me Daddy (Gowans) and see what I mean.
Pee Wee is marvelous throughout, as well as pianist Joe Sullivan. Once described as Teddy Wilson with brass knuckles, Sullivan was a fine rhythm man nonetheless. The marvel of these recordings is the perfect role playing of such rugged individualists. Eddie Condon's leadership had much to do with the organization of these roles.
Condon's many attributes included the innovative use of swing musicians in his traditional jazz groups. This CD has a superlative example in Basin Street Blues and Oh Katherina on which Benny Morton's suave trombone replaces the more traditional tailgate roles of Lou McGarity and Brad Gowans. Morton was a featured player with the Count Basie Band in its classical period of the 1930s. He was also a veteran of the legendary Fletcher Henderson and Chick Webb Orchestras. With one or two others (Dickie Wells and Vic Dickenson) he set the playing style for swing trombonists well into the bebop era.
In 1976, Benny made a guest appearance with the Eddie Condon Hot Lunch Band which I was leading at that time. His elegant presence and warm improvisations inspired everyone and set all the guys in the band at ease. However, we all suffered a major spook when Benny's good friend and mentor, John Hammond, appeared in the audience at Condon's to hear him.
Hammond was the legendary A&R man who produced the Billie Holiday/Teddy Wilson recordings, championed the Count Basie and Benny Goodman bands, and first recorded Bob Dylan. We were all flattered by Hammonds appearance- but thoroughly spooked !
As you listen to these marvelous recordings, remember Eddie Condon put them together with the unstinting support of A&R man Milt Gabler; then, listen for the Condon guitar in the rhythm section. To Eddie rhythm was its own reward!
- Bob Sparkman
* The untimely death of my friend and school chum, Bobby Fowler, prompted the Blues For Fowler title on the first recordings on Commodore by Wilber's Wildcats with Dick Wellstood (piano) and John Glasel ( cornet ).
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