There’s nothing like wailing out on your sax or hitting those highs on your trumpet when you have a gorgeous showpiece as well; something that’s individual to you and expresses who you are. Robert Majzik (a Hungarian craftsman now residing in Tokyo) has been engraving for over 35 years. He’s working on a (secret) new… Continue Reading →
There’s nothing like wailing out on your sax or hitting those highs on your trumpet when you have a gorgeous showpiece as well; something that’s individual to you and expresses who you are. Robert Majzik (a Hungarian craftsman now residing in Tokyo) has been engraving for over 35 years. He’s working on a (secret) new project that he says will absolutely rock the saxophone world. Stay tuned!
How did you learn to engrave?
I used to be a glass engraver. I started when I was 14 years old.
What was your first project/commission?
My own cheap alto saxophone (from an internet sale), just to try it. And it looked very bad!
What was your most unusual commission?
A Japanese Himeji Castle on a saxophone.
Can you engrave no matter what condition the instrument is in?
Yes, I can remove an old engraving and put a new one over that!
What are the tools you use and are they different for different instruments?
It’s all about the material…silver or brass are the same, but glass is more sensitive.
What does a sax player and a trumpet player need to know about engraving their instruments?
I love to make engravings on new instruments, because players are worried that the sound will change after it.
How long does the process take?
It’s all about the design. From 1 week to 1 month.
How does a musician take care of it to avoid scratching the design?
If there are too many scratches, re-engrave it.
What are the most common designs people ask for?
Simple names or logos.
What do you like about your job?
I love to see a musician play onstage with my designed saxophone and they love it.
What other artwork do you do?
Engraving but on different materials, like glass, leather or wood.
Would you recommend this line of work to other artists? How would they get started?
So many artists ask me about it. I tell them it’s a lot of practice, time and being happy with what you make, no matter how long it takes. Time and practice make a master.
Other comments?
Only one…for engravers: Be yourself and don’t copy anyone else. Be proud of your own talents.
Featuring the singing trumpeters of the Duke Ellington Orchestra. Continue reading →
Ray Nance, photo by Lee Tanner
The recordings heard on this podcast episode:
Dear Old Southland (CD: “Duke Ellington, The Centennial Edition” RCA Victor – 09026-63386-2)
Recorded 4 December 1933, Chicago
Louis Bacon – trumpet, vocal; Arthur Whetsel, Cootie Williams, Freddie Jenkins – trumpet; Lawrence Brown, Joe Nanton – trombone; Barney Bigard, Johnny Hodges, Otto Hardwick, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Wellman Braud – bass; Sonny Greer – drums.
Rude Interlude (CD: “Duke Ellington, The Centennial Edition” RCA Victor – 09026-63386-2)
Recorded 26 September 1933, Chicago
Louis Bacon – trumpet, vocal; Arthur Whetsel, Cootie Williams, Freddie Jenkins – trumpet; Lawrence Brown, Joe Nanton, Juan Tizol – trombone; Barney Bigard, Johnny Hodges, Otto Hardwick, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Wellman Braud – bass; Sonny Greer – drums.
I’ll Come Back For More (CD: “Duke Ellington, The Centennial Edition” RCA Victor – 09026-63386-2)
Recorded 20 March 1939, New York City
Louis Bacon – trumpet, vocal; Rex Stewart – trumpet; Joe Nanton – trombone; Barney Bigard – clarinet; Duke Ellington – piano; Billy Taylor – bass; Sonny Greer – drums.
Baby, Ain’tcha Satisfied (CD: “The Duke’s Men: Small Groups, Vol. 1” Columbia C2K 46995)
Recorded 12 December 1934, New York City
Rex Stewart – cornet, vocal; George Stevenson – trombone; Rudy Powell, Bingie Madison – reeds; Roger “Ram” Ramirez – piano; Billy Taylor – bass; Jack Maisel – drums.
Ain’t The Gravy Good (CD:”The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions” Mosaic Records #235)
Recorded 28 February 1939, New York City
Cootie Williams – trumpet, vocal; Barney Bigard, Johnny Hodges, Harry Carney – reeds; Duke Ellington – piano; Billy Taylor – bass; Sonny Greer – drums.
Peckin’ (CD:”The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions” Mosaic Records #235)
Recorded 20 May 1937, New York City
Cootie Williams – trumpet, vocal; Barney Bigard, Johnny Hodges, Otto Hardwick, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Hayes Alvis – bass; Sonny Greer – drums.
Dry Long So (CD:”The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions” Mosaic Records #235)
Recorded 14 February 1940, Chicago
Cootie Williams – trumpet, vocal; Barney Bigard, Johnny Hodges, Harry Carney – reeds; Duke Ellington – piano; Jimmie Blanton – bass; Sonny Greer – drums.
Bli-Blip (CD: “The Blanton-Webster Band” Bluebird RCA 5659-2-RB35)
Recorded 26 September 1941 in Los Angeles
Wallace Jones, Rex Stewart, Ray Nance – trumpet; Lawrence Brown, Joe Nanton, Juan Tizol – trombone; Otto Hardwicke, Johnny Hodges, Otto Hardwicke, Ben Webster, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Jimmie Blanton – bass; Sonny Greer – drums.
You’re Just an Old Antidisestablishmentarianismist (CD: “Duke Ellington: The Columbia Years 1927-1962” Columbia 5176872)
Recorded 30 September 1947 in Los Angeles
Shelton Hemphill, Dud Bascomb, Francis Williams, Harold Baker, Ray Nance – trumpet; Lawrence Brown, Claude Jones, Tyree Glenn – trombone; Jimmy Hamilton, Russell Procope, Johnny Hodges, Al Sears, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Oscar Pettiford – bass; Sonny Greer – drums.
It Don’t Mean a Thing If It Ain’t Got That Swing (CD: “World Broadcasting Series, Volume 2” Circle CCD-102)
Recorded 1 December 1943, New York City
Ray Nance – trumpet, violin, vocal; Taft Jordan – trumpet, vocal; Wallace Jones, Rex Stewart, Harold Baker – trumpet; Lawrence Brown, Joe Nanton, Juan Tizol – trombone; Jimmy Hamilton, Johnny Hodges(as); Otto Hardwick(cl,as); Skippy Williams(ts); Harry Carney(cl,as,bar); Duke Ellington – piano; Fred Guy – guitar; Junior Raglin – bass; Sonny Greer – drums.
Take the “A” Train (CD: “The Private Collection, Volume 2: Dance Concerts California” ) LMR LMR CD 83001
Recorded 4 March 1958, Travis Air Force Base
Ray Nance – vocal; Harold Baker, Clark Terry – trumpet; Britt Woodman, Quentin Jackson, John Sanders – trombone; Jimmy Hamilton, Russell Procope, Bill Graham, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.
My Gal (CD: “Clark Terry – Bob Brookmeyer Quintet: Complete Studio Recordings” Lone Hill Jazz LHJ 10199) Recorded 1965, New York City
After 11 years with Duke Ellington, Cootie Williams leaves to join Benny Goodman. Continue reading →
A Benny Goodman recording session, with Georgie Auld – tenor sax, Benny Goodman – clarinet, Artie Bernstein – bass, Cootie Williams – trumpet, Charlie Christian – guitar.
“It was 1929 when Cootie came into the band, and he soon became one of our most outstanding soloists. He began to use the plunger mute, one of our major tonal devices, and he used it very well, right up to one night eleven years later, when he took me for a ride all around Chicago in his car. He wanted to tell me that he had a very lucrative offer to go with Benny Goodman for a while. “Well, okay,” I said.”
–Duke Ellington, Music Is My Mistress
Charlie Christian, Cootie Williams, Georgie Auld, Benny Goodman
Bill Crow’s lengthy article on his stint with Benny Goodman during his 1962 tour of the USSR, To Russia Without Love, gives an insightful insider’s look at Goodman’s notorious personality.
The recordings heard on this podcast episode:
Concerto for Cootie (CD: “Highlights of the Great 1940-1942 Band” Avid AMSC1143)
Recorded 15 March 1940, Chicago
Wallace Jones, Cootie Williams, Rex Stewart – trumpet; Lawrence Brown, Joe Nanton, Juan Tizol – trombone; Barney Bigard, Johnny Hodges, Otto Hardwicke, Ben Webster, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Jimmie Blanton – bass; Sonny Greer – drums.
When Cootie Left the Duke (CD: “Toonerville Trolley” Jasmine JASMCD 2605)
Recorded 6 January 1941, Chicago
Jack Walker, Graham Young, Jack Hall – trumpet; Charles MCamish, Pete Lofthouse – trombones; Benny Lagasse, Charles Spero, Frank Callador, Stanley Webb – reeds; Don Tiff – piano; Art Ryerson – guitar; Mike Ruben – bass; Carl Maus – drums.
(Note: At the time the podcast was recorded, I had not been able to determine the identity of the trumpet soloist on this track. Thanks to the efforts of Jean-Marie Juif, we now know it was Jack Hall. Thanks, Jean-Marie!)
(CD: “Charlie Christian – The Genius of the Electric Guitar” Columbia / Sony Legacy
88697930352)
Wholly Cats
Royal Garden Blues
Benny’s Bugle
Recorded 7 November 1940, New York City
Cootie Williams – trumpet; Benny Goodman – clarinet; Georgie Auld – tenor sax; Count Basie – piano; Charlie Christian – guitar; Artie Bernstein – bass; Harry Jaeger – drums.
Breakfast Feud
Recorded 19 December 1940, New York City
Cootie Williams – trumpet; Benny Goodman – clarinet; Georgie Auld – tenor sax; Kenny Kersey – piano; Charlie Christian – guitar; Artie Bernstein – bass; Harry Jaeger – drums.
(CD:” Classic Coleman Hawkins Sessions 1922-1947 Mosaic Records 251)
Recorded 16 January 1941, New York City
Bugle Call Rag
One O’Clock Jump
The Metronome All-Star Band
Harry James, Ziggy Elman, Cootie Williams – trumpet; Tommy Dorsey, J.C. Higginbotham – trombone; Benny Goodman – clarinet; Toots Mondello, Benny Carter – alto sax; Coleman Hawkins, Tex Beneke – tenor sax; Count Basie – piano; Charlie Christian – guitar; Artie Bernstein – bass; Buddy Rich – drums.
(CD: “Classic Columbia and Okeh Benny Goodman Orchestra Recordings (1939-1958) Mosaic Records 240)
Fiesta In Blue
Recorded 27 March 1941, New York City
Jimmy Maxwell, Billy Butterfield, Irving Goodman, Cootie Williams – trumpet; Lou McGarity, Cutty Cutshall- trombone; Benny Goodman – clarinet; Gus Bivona, Les Robinson – alto sax; Georgie Auld, Pete Mondello – tenor sax; Skip Martin – baritone sax; Johnny Guarnieri – piano; Mike Bryan – guitar; Artie Bernstein – bass; Dave Tough – drums
Moonlight On The Ganges
Recorded 18 December 1940, New York City
Jimmy Maxwell, Irving Goodman, Alec Fila, Cootie Williams – trumpet; Lou McGarity, Cutty Cutshall – trombone; Benny Goodman – clarinet; Gus Bivona, Skip Martin – alto sax; Bob Snyder – alto and baritone sax; Georgie Auld, Jack Henderson – tenor sax;Bernie Leighton – piano; Mike Bryan – guitar; Artie Bernstein – bass; Harry Jaeger – drums.
Let The Door Knob Hitcha
Recorded 14 January 1941, New York City
Jimmy Maxwell, Irving Goodman, Alec Fila – trumpet; Cootie Williams – trumpet & vocal; Lou McGarity, Cutty Cutshall – trombone; Benny Goodman – clarinet; Gus Bivona, Skip Martin, Bob Snyder – alto sax; Georgie Auld, Jack Henderson – tenor sax; Teddy Wilson – piano; Mike Bryan – guitar; Artie Bernstein – bass; Dave Tough – drums.
Superman
Recorded 18 December 1940, New York City
Jimmy Maxwell, Irving Goodman, Alec Fila, Cootie Williams – trumpet; Lou McGarity, Cutty Cutshall – trombone; Benny Goodman – clarinet; Gus Bivona, Skip Martin – alto sax; Bob Snyder – alto and baritone sax; Georgie Auld, Jack Henderson – tenor sax;Bernie Leighton – piano; Mike Bryan – guitar; Artie Bernstein – bass; Harry Jaeger – drums.
It’s Something You Ought To Know (Paul Gonsalves – “Ellingtonia Moods and Blues,” RCA Victor / RCA63562)
Recorded 29 February 1960, New York City
Paul Gonsalves- tenor sax; Johnny Hodges – alto sax; Ray Nance – cornet; Mitchell “Booty” Wood – trombone; Jimmy Jones – piano; Al Hall – bass; Oliver Jackson – drums.
Trumpet virtuoso and flugelhorn pioneer Clark Terry was a featured soloist with the Ellington band from 1951-1959 Continue reading →
“The first time I ever heard about Clark Terry was when Charlie Barnet told me about him. Charlie was raving: ‘Clark Terry is the greatest trumpet player in the world. You wait and see. Or better still, go get him for your band, but hurry, because soon everybody is going to be trying to get him.’ I consider myself lucky indeed to get him in 1951.
Like Shorty Baker, Clark is from St. Louis, a city that seems to specialize in producing fine trumpet players. Although I don’t think he has had the recognition he deserves, there is one area I know where he is very much appreciated. He is a busy man, but he always finds the time to help the college bands around the country, and I am sure many a youngster has been inspired by him both as a man and as a musician.
When a trumpet player imitates Louis Armstrong, Louis gets the credit. When a trumpet player decides that his style is to be built on Dizzy Gillespie’s, Dizzy gets the credit. The same thing with those saxophone players who copied Coleman Hawkins and Charlie Parker. But today, although I hear a whole new world of flugelhorn stylists formed behind Clark Terry, I hear non of the prime authorities on the subject say, ‘Clark Terry did this sixteen years ago.’ If this is not recognized soon, he could grow up to be the Barzillai Lew of the flugelhorn.” – Duke Ellington, Music Is My Mistress
Betty Grable, Harry James, Clark Terry, Duke Ellington (mid – 1950s)
Clark: The Autobiography of Clark Terry (University of California Press)
The Duke Ellington trumpet section featured on El Gato
Clark Terry’s inimical Mumbles routine!
Clark Terry tells the story on how he joined the Ellington band:
A master educator, here’s Clark Terry dispensing some of his lifetime of wisdom:
The recordings heard on this podcast episode:
Take the “A” Train (CD: “Duke With A Difference” Original Jazz Classics 229)
Recorded 6 September 1957, New York City
Clark Terry – trumpet; Britt Woodman – trombone; Johnny Hodges, Paul Gonsalves – reeds; Tyree Glenn – vibes; Jimmy Woode – bass; Sam Woodyard – drums.
Hey Buddy Bolden (CD: “A Drum Is A Woman” Sony Music Distribution COL4713202)
Recorded 25 September 1956, New York City
Willie Cook, Cat Anderson, Ray Nance – trumpet; Clark Terry – trumpet, flugelhorn; Britt Woodman, Quentin Jackson, John Sanders – trombones; Jimmy Hamilton, Russell Procope, Johnny Hodges, Rick Henderson, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano and narration; Jimmy Woode – bass; Sam Woodyard – drums; Joya Sherrill, Margaret Tynes, Choir – vocals.
Up and Down, Up and Down (I will lead them Up and Down)(LP/CD “Such Sweet Thunder” Columbia CL 1033/Columbia/Legacy 65568)
Recorded 24 April 1957, New York City
Willie Cook, Cat Anderson(t); Clark Terry(t,fl); Ray Nance – violin; Britt Woodman, Quentin Jackson, John Sanders – trombones; Jimmy Hamilton, Russell Procope, Johnny Hodges, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.
Stardust (CD “The Complete Capitol Recordings of Duke Ellington” Mosaic Records MQ8-160)
Recorded 7 April 1953, Hollywood, California
Willie Cook, Cat Anderson, Clark Terry, Ray Nance – trumpet; Britt Woodman, Quentin Jackson,Juan Tizol – trombone; Jimmy Hamilton, Russell Procope, Rick Henderson, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Wendell Marshall – bass; Butch Ballard – drums.
Idiom ’59, Part IV, Perdido (CD: “Festival Session” Sony Music Distribution COL4684022)
Recorded 8 September 1959, New York City
Cat Anderson, Harold Baker, Andres Marenguito, Willie Cook, Ray Nance – trumpets, Clark Terry – trumpet, flugelhorn; Britt Woodman, John Sanders, Quentin Jackson -trombones; Jimmy Hamilton, Russell Procope, Johnny Hodges, Paul Gonsalves, Harry Carney – reeds; Duke Ellington(p); Jimmy Woode – bass; Jimmy Johnson,Sam Woodyard – drums
Juniflip (CD: “Live at Newport 1958” Sony Music Distribution 53584)
Recorded 21 July 1958, New York City
Cat Anderson, Harold Baker, Ray Nance – trumpets; Clark Terry – flugelhorn; Britt Woodman, Quentin Jackson, John Sanders – trombones; Jimmy Hamilton, Russell Procope, Johnny Hodges, Bill Graham, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.
Boogie Stop Shuffle (CD: “Big Band Bossa Nova, The Newest Latin American Rhythm” Polygram Records/Verve 5075252)
Recorded 1962, New York City
Quincy Jones – arranger, conductor; Clark Terry – trumpet; Alan Raph -trombone; Julius Watkins- french horn; Phil Woods, Paul Gonsalves, Jerome Richardson – reeds; Lalo Schifrin – piano; Jim Hall – guitar; Chris White – bass; Rudy Collins – drums; Jack Del Rio, Carlos Gomez, Jose Paula – percussion.
Mood Indigo (CD: “Clark Terry – Bob Brookmeyer Quintet: Complete Studio Recordings” Lone Hill Jazz LHJ 10199)
Recorded 1966, New York City
Clark Terry – trumpet, flugelhorn; Bob Brookmeyer – valve trombone; Hank Jones – piano; Bob Cranshaw – bass; Dave Bailey – drums.
Boo Dah (CD: “…And his Mother called him Bill” RCA 6287)
Recorded 28 August 1967, New York City
Cootie Williams, Cat Anderson, Herbie Jones, Mercer Ellington – trumpets; Clark Terry – flugelhorn; Lawrence Brown, Buster Cooper – trombones; Chuck Connors – bass trombone; Jimmy Hamilton, Russell Procope, Johnny Hodges, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Aaron Bell – bass; Steve Little – drums.