The record changer (Jan-Dec 1954)

10 the st. louis jazz revival PART 4 BY BOB KOESTER bill martin's hot points Record Changer readers may recall an article written for the February, 1952, issue about Norman Mason, one of many great clarinetists presently playing here in the Mound City. In their article, A. F. Niemoeller and Ed Crowder pointed up the fine points of a band that stayed at the Windermere Bar almost four years. Joe Smith's Rampart Street Ramblers. Not the least of these was trumpeter Bill Martin, who now plays across the street from the Windermere at the Top Hat, using several former Joe Smith men who were suddenly available when Smith could not get bookings for his band. Let's take a look at these men, and at the band in which they play. First, there's Bill Martin, the Satchmoloving trumpet-leader who, though certainly no copy-cat, certainly reminds you of Louis. It's not unusual for Bill to call That's My Home or West End Blues when he's in the mood for something to rest the band between Wolverine Blues and Salty Dog. Bill was with Grant Moore's New Orleans Black Devils, Rube Floyd, Terry Adams, and Lloyd Hunter's bands during the early 30's. The later half of the thirties found him with Tiny Scott, Leland Longly's Four Roses, Eddie Johnson's famous Crackerjacks, and later, for several years, the Jeeter-Pillar Plantation Club Orchestra here in St. Louis. In 1950 he left Pillar to help Joe Smith fill out an engagement at the Windermere Bar that turned into a "four year gig." When Smith couldn't get jobs for his band in 1953, Martin took most of the members of the band into the Top Hat, replacing the powerful Don Gumert's Saints. The band has been there steadily except for a two-week vacation to rest up from their six-a-week grind. John "Bones" Orange was a member of the original Joe Smith Trio that first attracted attention at the Windermere. Doubtless, the antics of "Bones" had quite a bit to do with the early successes of the Smith band. Orange is not only a great trombonist, he's got that sense of "showmanship" that (unfortunately) is too often more important to the public and hence to the owners of a "jazz joint." Bones has played with too many groups and bands to list here. Let's mention Claude Hopkins, and, of course, Johnny Playtone's Orchestra where Bill and Bones met at Jackson, Tenn. in 1927. Bill Martin's first band has done great service to jazz in the uncovering of a great clarinetist in Kimball Dial. Kim has been with Troy Floyd (with whom he recorded for Okeh in 1928, and again in 1929; his clarinet solo on Shadowland Blues has too long been credited to Hershal Evans), Victoria Spivey (he also recorded with her — attention discographers) , Rube Floyd (where Bill first heard him), and many others, including the Smith band, after they left Windermere. Kimball recalls other recording sessions in Chicago and New Orleans in the middle and late twenties, St. Louis in the 1929-1930 period and in Texas. Al Batchman and Bill met in 1938 in St. Louis. The pianist's style is so close to that of Earl Hines, and Bill's to Armstrong, that one is tempted to refer to the band as the third Hot Five. Batchman's background is a mass of solo-work and small combo and band work, mostly in the St. Louis area. Bassist Lawrence Dinwittie and drummer Maurice Morton were playing with William Fagin when Bill first spotted them. Lawrence is another in a long line of great St. Louis bassists, a line early influenced by New Orleans musician like Pops Foster. Maurice, it must be mentioned, has supported the great Dewey Jackson's horn at various times. He now helps keep the Hot Points Rhythm section rocking. Well, there they are, six fine jazzmen, all well worth the price of a half-dozen beers at the Top Hat. In recognition of the close links between jazz and so much of the music that falls into the wide area covered by the term "folk music," the Record Changer will inaugurate as a regular feature, a Folk Music section. Beginning in the June issue, this section will be edited by Jac Holzman, wellknown authority in the field. It will include, from time to time, information on current activities of organizations and artists, reviews of records of a folk and ethnic nature, and historical and critical articles. According to Holzman's present plans, one of the first features in the new section will deal with folk-singer Huddie (Leadbelly) Ledbetter. the record changer editor-publisher bill grauer, jr. managing editor orrin keepnews circulation jane grauer art director paul bacon "The Six," a new cooperative band including Bob Wilber, Johnny Glasel, Ed Hubble, Eddie Phyfe, Bill Peterson, and Tommy Goodman opened at Jimmy Ryans in April. A most stimulating and enthusiastic group, "The Six." Their rhythm section is essentially "modern" while the horns run ' the gamut of traditional dixieland to bop. In continued evidence is the kind of humor and intelligent experimentation that is good for popular music. Although one may not like their ideas, it would be hard to over j look the polished technique and frequent excitement with which these ideas are executed. Along with the dixieland, pop and swing standards are such seldom heard gems as "Cornet Chop Suey," "Susie," "Nice Work If You Can Get It," and "Blue Flame." Their arrangement of "St. James Infirmary" is of unusual harmonic appeal but somehow they still feel compelled to treat the "Saints" as if it was "The Saints Go Running And Crashing In." As a modern dixieland and swing band, they have more than made the grade. We still, however, miss the great Wilbur De Paris band that preceded "The Six" at Ryans. The Riviera, 10th Street and 7th Avenue in Greenwich Village, is featuring pleasant and intimate dixieland sessions on Friday, Saturday, and holiday evenings. The music is sometimes fairly modern, more often very traditionally New Orleans. Best of all, the various musicians involved are mainly new faces, providing a very refreshing treatment of familiar subject matter. Pianist Frank Gillis, formerly leader of Detroit's Dixie Five, is in charge. The Red Onion Jazz Band keeps the banjo-tuba fans happy during Ryans' Monday nights. The Phil Napoleon band at Nicks now has Lou Koppelman and Johnny Varro on drums and piano respectively. The rhythm section is thus much improved. The usual mayhem prevails at most of the city's remaining jazz spots. Will Buy j RECORD COLLECTIONS j ANY AMOUNT. ■ I have 100,000 records; hot sweet; every ; ; thing, everyone. Send wants. Will Trade; Sell; Buy i Race; Blues; New Orleans; Personality. ■ ■ Jacob Schneider 126 WEST &6TH STREET, N. Y. C. ■ ■ s .«