Doc Cheatham and Sammy Price -
DOC & SAMMY - Sackville 3013
Sackville has followed their wonderful Jay McShann and Buddy Tate duet album with another duet recording of two older jazz stylists. Sammy Price is one of the few true surviving boogie woogie pianists left, though his playing also incorporates some stride and swing elements. Doc Cheatham is representative of the blues-drenched trumpet stylings of the twenties.
Together they do some wonderful earthy interpretations of traditional jazz staples like "Tishomingo Blues" and "Sheik of Araby." Fats Walter's "Ain't Misbehavin'" and "Honeysuckle Rose" receive lively takes. The empathy of Price and Cheatham is quite high and they produce a most rewarding set for which we should be thankful to Sackville and Doc and Sammy for giving us. Here's hoping Sackville continues this series of traditional jazz stylists in duo settings.
Incidentally the order of tunes on the record label and jacket is erroneous though listening makes it clear which is "Summertime" and which is "The Sheik of Araby."
I likely received a review copy from the publication. Sackville issued this as part of a double CD. This double CD is available from Delmark Records. This review appeared in the June 1978 Buffalo Jazz Report (Issue 52). Here is Doc and Sammy from an earlier recording where they played Gershwin.
DOC CHEATHAM AND SAMMY PRICE DOC & SAMMY SACKVILLE 3013
Sackville has followed their wonderful Jay McShann and
'BuddyTate duet album with another duet recording of two older
jazz stylists. Sammy Price is one of the few true surviving
boogie woogie pianists left, though his playing also incorporates
some stride and swing elements. Doc Cheatham is representative of the blues-drenched trumpet stylings of the twenties.
Together they do some wonderful earthy interpretations of traditional jazz staples like "Tishomingo Blues" and "Sheik of
Araby." Fats Walter's "Ain't Misbehavin" and "Honeysuckle
Rose" receive lively takes. The empathy of Price and Cheatham
is quite high and they produce a most rewarding set for which
we should be thankful to Sackville and Doc and Sammy for giving
us. Here's hoping Sackville continues this series of traditional
jazz stylists in duo settings. Incidentally the order of tunes on
the record Iabel and jacket is erroneous though listening makes
it clear which is "Summertime" and which is "The Sheik of
Araby."
I do not remember how I acquired this release back in 1978. Delmark has since acquired the Sackville catalog and I am not sure if the reissue program of Sackville has yet reached the two albums by the pair. The review appeared originally in the June 1978 Buffalo Jazz Report (Issue 52). Here is a video of a group led by Sammy Price that includes Doc Cheatham doing "One O'Clock Jump."
The Swedish Storyville Records label has issued a 5 CD box set, "The King Jazz Story" which reissues all of the recordings from this fabled late 1940s label associated with clarinet player and reefer supplier to Louis Armstrong, Mezz Mezzrow. The aim of Mezzrow and his associates in the label was to present some 'authentic' jazz and most of these recordings based on blues and classic New Orleans jazz featured the great Sidney Bechet on soprano sax along with Sammy Price on piano on many tracks as well.
The first CD for example opens with 11 very strong blues and boogie woogie piano solos by Sammy Price followed by two vocals by Pleasant Joseph backed by Price. Then there are 11 tracks (including alternate takes) by a group of Mezzrow, Bechet, Price, Hot Lips Page, Pops Foster and Sid Catliff with four vocals by Joseph. Interspersed with the music are tracks where Mezzrow discusses the label and the making of some of these recordings.
The remaining four CDs are full of various configurations of Mezzrow-Bechet groups and showcase the genius of Bechet. The songs are presented in the recorded order so one does get several takes of the same songs together so one may wish to use shuffle when listening to the nearly 6 hours of music and short spoken interludes. There are so many outstanding selections including "Perdido Station Stomp," "The Sheik of Araby," "Ole Miss," "Out of the Gallion," "Tommy's Blues, " and "The Blues and Freud." The booklet accompanying the box contains Chris Albertson's essay on the label, Mezz and the music contained here and for fans of classic jazz it is a real treat for all of these recordings to be available.
I purchased this box set. This is one of a number of short reviews I have written for the 2015 Holiday Gift Guide edition of Jazz & Blues Report which is available at jazz-blues.com. Here is Mezz Mezzrow and Sidney Bechet.
In celebration of Chris Barber’s 80th Birthday, Proper Records has compiled a double CD compilation of performances, Memories Of My Trip, that display how central a figure on the English music scene for six decades. The performances give a suggestion of the breadth of his musical interests which are centered around jazz, blues and skiffle. While several years ago there was a three CD series of primarily blues recordings from the 50s and 60s, the present compilation is more of a retrospective of some the many legendary and contemporary performers in performance with him. Barber himself provides recollections of the performers and the songs heard herein.
Opening is a Brownie McGhee recording from a Folkways recording of McGhee, that provides this compilation with its title, presenting McGhee’s fond recollections of his European travels with Chris and his traditional jazz band. McGhee, and his partner Sonny Terry, are heard on two selections with the traditional gospel number Do Lord, Do Remember Me. It is a spirited ensemble performance with Ottilie Patterson, Barber’s regular vocalist sharing the lead with Brownie. Weeping Willow is a recording of Barber on trombone with Eric Clapton taking the vocal and playing guitar. Muddy Waters and Pinetop Perkins can be heard on an enthusiastic rendition of Kansas City, with Muddy vigorously calling out for Chris. It is followed by a nice James Cotton performance backed by Alexis Korner on guitar and Chris on bass.
Rory Gallagher is heard playing slide and singing Muddy’s Can’t Be Satisfied, with just Barber’s bass and this is followed by Lonnie Donegan doing a raucous Diggin’ My Potatoes, backed by a full band. Barber traveled to Canada to play with Jeff Healey and His Jazz Wizards for a atmospheric blues Goin’ Up The River, with Barber singing and playing nice tailgate trombone along with the able support of Healey’s restrained guitar and trumpet. Van Morrison is heard on two nicely sung blues performances from a 1998 performance and a somewhat over-the-top vocal on Oh Didn’t He Ramble, from 1976 on a session that also included Dr. John. Ottilie Patterson herself was featured on Lonesome Road, while gospel legend Alex Bradford takes the lead on Couldn’t Keep To Myself where Chris and other band members provided the backing vocal chorus.
Traditional jazz with a New Orleans flavor is represented by selections by such important artists of the time as clarinetist Edmond Hall with a nice medley that included St. Louis Blues, and a brilliant version of the New Orleans jazz staple, High Society. Keith Emerson would be better known as a member of Emerson Lake and Palmer, but when he recorded Rock Candy in 1966, he was playing organ in the vein of Jack McDuff and Jimmy McGriff. Barber’s trombone spices up to this funky blues instrumental. A couple of selections feature former members of Louis Armstrong’s All Stars as Trummy Young brings his vocal and trombone (in addition to that of Chris) for Georgia On My Mind. Clarinetist Joe Darensbourg is heard on an intimate small group recording of a swing staple, “Rose Room.”
Another New Orleans clarinetist, Albert Nicholas, is spotlighted on the Ellington staple, “C-Jam Blues,” with lovely guitar from John Slaughter while Stu Morrison’s jangly banjo adds a clipped rhythmic flavor behind Nicholas’ very fluid playing. Eddie Durham was arranger for Count Basie and other bands, and one of the first jazz electric guitarists to record. He was also a trombonist of considerable capability and is featured on a blues that was called “Jack Teagarden Blues” after that famous trombonist.
After “Tailgate Boogie,” featuring the piano of Sammy Price, the CDs close with performances with Jools Holland and Mark Knopfler (of Dire Straits fame). Holland’s rendition of Jelly Roll Morton’s “Winin’ Boy Blues” is a marvelous rendition of this classic. Knopfler is on an appealing low-key rendition of The Delmore Brothers’ “Blues Stay Away From Me,“ with some lovely trombone from Barber along with a lovely updating of the Dallas String Band’s ”Dallas Rag” that opens with some nice picking from Knopfler. Pat Halcox’s trumpet is also quite nice here. These are very amiable performances that conclude a varied and entertaining release. Memories Of My Trip is Chris Barber’s own musical capsule of a musical life well lived.
My review copy was provided by a publicist for the recording. Here is a video of Chris Barber.
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