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CD Review: Pee Wee Russell- Jazz Original
Label: Commodore Records
Personnel: Bobby Hackett cornet; George Brunies trombone; Bud Freeman tenor sax; Jess Stacy piano; Eddie Condon guitar; Artie Sharpio bass; George Wettling drums; Jack Teagarden trombone; Vernon Brown trombone; Joey Bushkin piano; Lionel Hampton drums; Max Kaminsky cornet; Brad Gowans; Marty Marsala trumpet; Fats Waller piano; Joe Sullivan piano; Zutty Singleton drums; Al Morgan bass; Muggsy Spanier cornet; Miff Mole trombone; Boomie Richman tenor sax; Gene Schroeder piano; Bill Davison cornet; Lou McGarrity trombone; Dick Carey piano; Danny Alvin drums; Sid Weiss bass
This is a collection of extraordinary recordings by the most unique clarinetist in jazz history, and one of its most singular voices. Jazz clarinet saw its zenith early, mostly losing favor with the modernists, but in the teens, 20's, 30's and 40's it enjoyed a prominent place and was graced by superb exponents. Pee Wee Russell was one of them, but his musicianship was turned to a creative impulse, which departed radically from the schooled polish that set the standard for the instrument, particularly after the Benny Goodman small group recordings were made.
Pee Wee played things on the clarinet that had never been done before - or since. During the late 30's, and through the late 40's, Russell played New York City's hot jazz clubs, on 52d Street and Greenwich Village, mostly at Nick's and Eddie Condon's. It was during this period that the recordings on this CD were made by Milt Gabler, whose Commodore Music Shop on 42d Street was a Mecca for jazz lovers and musicians.
Most of the sessions were under the nominal leadership of guitarist Condon, but Pee Wee was an indispensable regular and raised the level of the Commodore performances to a height not often achieved in traditional surroundings. Measured against the lofty Louis Armstrong Hot Fives and Sevens, Jelly Roll Morton's Red Hot Peppers, the King Oliver Creole Jazz Band and Bix Beiderbeck recordings, these stand as special achievements, carrying the art of collective improvisation a step further in its development.
Milt Gabler loved and respected Pee Wee and surrounded him with superb musicians, Jack Teagarden and Fats Waller, just to name two. The first track is a rollicking Love Is Just Around The Corner which Pee Wee "owned". It features two Pee Wee choruses in which he pulls a "down shift" from the upper to lower register in an anti- dramatic contradiction to the usual tension building dynamics of soloing at that time - 1938. It is something he did often.
Tracks 2,3 and 4 bring in Teagarden who solos brilliantly and sings lazy blues to marvelous backing by Pee Wee. This also includes an Embraceable You with a Pee Wee improvisation, which Charlie Parker is said to have admired and quoted often.
Track 5 is another tune much associated with Russell, Sunday on which he plays wistful ensemble and solo. Track 6, I Ain't Gonna Give Nobody None O' My Jelly Roll is a saucy frolic which has one of Pee Wee's best melodic inventions. In fact this session was one of Commodore's best. Track 7, Georgia Grind includes Fat's Waller, whose ebullience lifts everyone's spirits, and Pee Wee plays one of his inimitable "dirty" solos.
The next four tracks are a trio with the New Orleans drummer Zutty Singleton and Chicago pianist Joe Sullivan, and are totally unconventional; in fact they might be said to be Pee Wee's first "weird" recordings. Form and structure are almost abandoned, and the result is quite revolutionary judged by the conventions of the time. These will take some listening, but are worth the effort. No pretty love songs here!
Track 12, Don't Leave Me Daddy is a 20's pop tune featuring a growling Pee Wee solo in which he almost succeeds in hiding a beautiful melodic invention. As with all these, there is superb ensemble by the other players as well as Russell. Two different bands are heard on tracks 13 and 14, Rosetta and Squeeze Me , and are probably the two weakest perfomances, but hardly spoil things.
The best is saved for the last 8 tracks a lovely quartet with George Wettling on drums, Sid Weiss on bass, and the delightful minimalist Jess Stacy on piano. Their empathy for Pee Wee's poetic nature is absolute perfection, and if I had to pick one series of recordings as Pee Wee's best, this would be it. Keepin' Out Of Mischief and Rose of Washington Square are worth the price of admission.
The liner notes of this CD are a special treat, with nifty photos by noted jazz photographer Chuck Peterson, and written comment, pertinent and insightful, by jazz clarinetist Joe Muranyi, who worked long stints with the Louis Armstrong All Stars and Roy Eldridge's band at Jimmy Ryan's in NYC. Pee Wee Russell did much for jazz. He was a surrealist, impressionist, abstractionist, all at once, always with his own unique voice. These are among his very best recordings.
- Bob Sparkman
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