Ry Cooder, Captain Beefheart, John Handy, Hard Work!

Hard Work. Hard Work.

Never killed anyone.

Or so the sages say.

But, Lord, Lord, it sure can make you dog tired.

What brought me to these thoughts?

Moving House.

Moving up into the hills.

Farming country criss crossed with ancient footpaths.

Moving all our stuff.

All our stuff.

All the Books!

All the Vinyl!

All the DVDs and CDs.

All the accumulated treasures and trifles of a lifetime to be boxed, bagged and loaded.

Now that is hard work!

Hard Work.

So, Dear Readers, precious little time to research and ponder deeply before writing.

So, so, I set the numbskulls free to roam in my brain’s music data base with ‘Hard Work’ as the search tag.

And, look what emerged!

From the 1970s two paens to the Working Life.

First up Saxophonist John Handy.

An alumnus of the Great Charles Mingus Band.

Classic solo on, ‘Goodbye Pork Pie Hat’

Here, he digs in and you just gotta go with the groove.

Hard Work. Hard Work.

Next. From the Soundtrack of Paul Schrader’s, directorial debut, ‘Blue Collar’ the one and only Captain Beefheart in the guise of a classic Blues Singer with, ‘Hard Working Man’.

Can’t you feel the gears grinding and the metal shuddering!

A constellation of talent on show.

Written and produced by Jack Nitzsche a shadowy guiding hand and presence involved with many great records for decades.

Guitar by Ry Cooder.

Ry has impact whenever he plays.

Hard Work! Hard Work!

A Jolly Holiday .. Louis Armstrong .. Bibbidi Bobbidi Boo!

It’s that time of the year again.

Time for a Jolly Holiday.

Time to gather the family, rev up the family car (The Roadster safely tucked up in the garage) and set off to the far, far West.

Finisterre as it were.

The Atlantic Ocean thrashing and murmuring through the hours according to the dictates of the distant Moon.

The last rays of the Sun over the land.

Suitcases stowed along with :

Surfboards, Wetsuits, Kites (Kites are skittish things), Quoits, Cricket Bats and Compendium of Games (can I retain my title as supreme draughts/checkers champion?).

Laptops, IPods, IPads, Cameras, Tripods, assorted chargers and batteries.

For me three books guaranteed to please whatever the weather.

To make me laugh out loud P. G. Wodehouse :

‘It’s no use telling me there are good aunts and bad aunts. At the core, they are all alike. Sooner or later, out pops the cloven hoof.’

To inspire me, ‘Stepping Stones’ – conversations between Seamus Heaney and Dennis O’Driscoll illuminating the great Poet’s dedication to his vocation :

‘If you have the words, there’s always a chance you’ll find the way’.

To utterly sweep me away, ‘Moby Dick’ :

‘Yes, as everyone knows, meditation and water are wedded forever.’

Obviously, a selection of music to suit all our ages, all times of the day and night and all our humours.

As we drive down we check off the Way stages of our journey laughing as we recount previous adventures.

Old memories celebrated. New memories minted.

And, there’s always one song that elects itself our Summer Song.

A mysterious process but agreement on the chosen song is always by acclamation and lusty choral sing song.

So I am pleased to open the envelope and announce to a breathless world that this years song is the fantastic, frolicsome, ‘Bibbidi, Bobbidi, Boo!’ by the one, the only, Louis Armstrong!

Take it away Satch!

Well, I have to say I can’t think of another song by another singer more guaranteed to have a family laugh out loud with delirious pleasure!

Louis Armstrong was a certified musical genius.

But, he was also a man who radiated warmth and bonhomie.

I only have to imagine his face or listen to the echo of his unique tones to feel that life is a very fine enterprise.

I wholly agree with Tony Bennett – ‘The bottom line of any country is, What did we contribute to the World. We (the USA) contributed Louis Armstrong.’

Now, I’m aware many of you are not on Holiday.

No, you’re straining at the coal face or the chalk face or the work station counting down the hours.

There are, I am told, many fine books on mindfulness and mediatation that might help you in such circumstances.

Yet, I have never found a better way to lift my mood than to call up Louis Armstrong in my mind and sing, sing, sing,

Bibbidi, Bobbidi, Boo! Bibbidi, Bobbidi, Boo!

Happy Holidays.

Van Morrison : ‘Buona Sera Signorina’ – La primavera e qui!

Spring is here.

Is erraigh anseo.

As dawn breaks I set off for my morning run through the woods.

No more the sharp sting of winter winds.

No. Now the daffodils and bluebells are in bloom and through the echoing timber the melodies of the lark and thrush sweeten the air.

Nothing is so beautiful as spring.

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Bud and bloom and blossom.

A time of promise and an echo of the sweet beginning of being in Eden.

La primavera e qui. La primavera e qui.

Time for La bella figura.

Time for me to carefully roll the Roadster out of its winter quarters.

Time to turn up the collar on the leather jacket, set the Donegal tweed cap at a jaunty angle and put some va va voom into the blue highways of the Surrey Hills.

Of course, there’s a Jukebox playlist for the occasion.

The Beach Boys, ‘I Get Around’, Thin Lizzy, ‘The Boys Are Back In Town’, Junior Parker, ‘Feelin Good’ set the wheels a rollin’ very nicely.

But, there’s ten versions of one song I always play as I swoop up and down the Hills to announce, top down and volume way, way up, that Spring has sprung!

Spring brings out the Italian in me – something about the brightness of the sun and the promise of golden days ahead.

Maybe, this year, I’ll see once more that old moon above the Mediterranean Sea.

And be woken by the sun over the mountains.

Il tempo per un festival.

La primavera e qui.

Buona Sera Signorina!

First, a version by the artist who will always remain first and foremost in my affections.

You can be sure that Van has spent many an hour listening to the original by Louis Prima (see earlier Jukebox tribute to Louis).

Perhaps he first played it on Sax when he was a member of the Monarchs Showband at the very dawn of his professional life in music.

Here in 1971 he careens through the song like a Cresta Run bobsleigher going for the record.

You can hear his obvious love and affection for Swing and Jump Blues in every note.

‘Buena Sera’ was written by Carl Sigman and Peter deRose – songwriters from the golden age of Tin Pan Alley whose hits would take a page or more to list (think, ‘All In The Game’ and ‘Deep Purple’ for starters).

In composing the song they must have imagined an audience including significant numbers of WW2 GIs who had indeed found love under the moon and stars of Naples.

Some who brought brides home must have smiled at the memory of those Mediterranean nights and some who decided to return to the sweetheart waiting at home must have smiled more ruefully as they remembered the girl they left beside the beautiful Bay of Naples.

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Some signorinas you can never forget!

In 1961 as Van Morrison was setting out on his career in the clubs of Northern Ireland and Hamburg Ray Gelato was born in London.

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Ray, the son of an American Serviceman, grew up, like Van, imbibing the music of Louis Jordan and Louis Prima in the home.

He was especially fond of the Sax playing of Sam Butera and determined to follow his ‘Everybody up on the Dance Floor now!’ grandstanding Tenor style.

He has succeeded completely in that ambition.

Il tempo per un festival!

There’s a lovely sultry sway to Ray’s version and there’s no good resisting you just gonna have to cut a rug to this one!

Ray is famed for the sheer brio and energy he brings to every live performance – something I can vouch for having seen him many times myself (Paul McCartney booked him as his wedding band and I would have too if finances had allowed).

I am going to sign off Signori, Signorinas and Signoras with a version by a great favourite of The Jukebox – Mr Acker Bilk.

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Acker’s version must surely paint a smile on every face, lift every heart and buoy every spirit!

I have been known to play this one on repeat all the way from Surrey to Cornwall when the Sun has taken up its proper place in the heavens.

La primavera e qui. La primavera e qui.

 

Notes:

I heartily recommend Ray Gelato’s ‘Wonderful’ CD which has him romping through a dozen classics of Italian Song.

If you ever see he’s playing somewhere near you don’t hesitate – go!

Of course, as you will know by now, you can never have too many Van Morrison records while Acker Bilk’s 50s and eary 60s recordings are bottled joy which ought to be medically prescribed to raise the global index of well being.

 

Ella Mae Morse – Some Broad! Boogie, Blues & Rock ‘n’ Roll Pioneer!

Los Angeles 1946.

A Bar.

One you’d think twice about going into.

Smoky, dimly lit. The clink of glasses.

Low conversation.

In the background the sound of a Jukebox.

Voice Over:

‘The suit don’t fit so good these days.

If you tussle with Tojo you’re apt to drop a few pounds.

Still alive.

Which is more than you can say for Kelly, Kowalski and Sanchez.

They wont ever see Memphis or Macomb or Marshall again.

One thing I can tell you I ain’t never going back to Omaha.

I’m going to sit right here and drink until they throw me out of here and come back tomorrow and do the same again.

The best thing about this bar is that they leave you alone.

No one wanting to hear your life story if it’s about anything other than booze or broads or sports.

You can tell without asking who’s seen action. It’s in the eyes.

The most athletic thing I do these days is dance. When I get the chance.

Since I got back I been doing some catching up on the music scene.

The Jukebox here is stuffed with those records made out here on the West Coast.

Capitol Records.

 

Now, some days I ain’t exactly bursting with energy.

But, I find a handful of Nickels and The Jukebox a pretty good cure for all my ills.

And, there’s this singer, Ella Mae Morse.

Now she’s everything plus.

 

She can sure shake a tail-feather. 

And she can sing just about anything.

Swing, Ballads, Blues, Country tunes and that Boogie-woogie.

Sometimes she seems to squeeze ’em all together so she’s singing like no one you’ve ever heard before.

If you were listening on the radio you’d be hard pressed to know whether she was white or black.

She gets my nickel every time.

Ain’t no fighter like Joe Louis. Ain’t no Ballplayer like Ted Williams.

Ain’t no singer like Ella Mae Morse.

I gotta tell you if she snapped the whip I would make the trip and no mistake.

I gotta feeling I’m goin’ to be listening to Ella Mae for the rest of my days.

Here, time I was hitting the mattress. Have a handful of Nickels on me.

This one here from ’42, ‘Cow- Cow Boogie’, was just about the first record out on Capitol and the first record for Ella Mae. They couldn’t press enough!

See ya down the road a piece. Down the road apiece.’

End credits play …..

 

Ah.

Ah, comma ti, ii, yi, aay, comma ti, yipply, yi, aay
Get along, get hip, little doggies indeed!

A Number One million seller!  Capitol Records well and truly launched.

Ella Mae was only 17 and this was the first take.

Johnny Mercer (who knew a thing or two about songs and recording) quashed her protests that she could do better by flatly stating – you can’t, nobody could.

That’s the great Freddie Slack on piano.

The song came courtesy of Boogie-woogie guru Don Raye and Gene De Paul.

Jazz giant Benny Carter had a hand in it too.

From the get go you can hear that Ella Mae has just got IT. Man, has she got IT.

She was born in 1924 in Mansfield Texas. Her father, an Englishman was an accomplished drummer who may have gifted her a way with rhythm – but he didn’t stick around long.

Ella Mae and her mother, a fine pianist, moved to Paris Texas in the early 30s.

Growing up she listened and sang every kind of music and from the age of 9 she was up on stage performing.

In 1939 she joined Jimmy Dorsey’s Band but as he found out though Ella Mae looked every inch a woman and though she sang with astonishing maturity she was in fact only 14 years old.

Freddie Slack, then in the Dorsey Band, remembered her when he was signed to Capitol in 1942.

And, the rest, is as they say, History.

It was hard for Capitol to know how to frame Ella Mae’s career as she straddled so many styles and genres.

Making superb sides was the easy part (checkout, ‘Buzz Me’, ‘Get On Board, Little Chillun’ and ‘Patty Cake Man’) finding a marketable hit was more problematic.

In 1946 she was reunited with Freddie Slack and together they made a record which must have set Richter dials quivering, ‘The House of Blue Lights’.

 

That’s Don Raye duetting with Ella Mae on the jive talk introduction.

From then on it’s Freddie’s fleet fingers, a solid gone rhythm section and sultry Ella Mae wailin, scattin and generally setting the world on fire!

I don’t know about you but as soon as this starts up I’m lacing up my boots and getting ready to broom on down to my local knocked out shack on the edge of town.

Hep musicians recognised a classic when they heard one and covers of, ‘Blue Lights’ must number in the hundreds (my favourites being those of Jerry lee Lewis, Asleep At The Wheel and Chuck Berry).

Some sages say you can clearly see Rock ‘n’ Roll emerging in the grooves of, ‘Blue Lights’ and they won’t find me starting a fist fight about that.

As the 40s closed out Ella Mae continued to record arresting sides for Capitol (‘Pine Top Schwartz’ and, ‘Pig Foot Pete’ demand your attention) before retreating from the music business while she married and raised three children in short order.

She was back in 1951 with another prime slice of proto Rock ‘n’ Roll – a cover of Jack Guthrie’s 1947 hit, ‘Oakie Boogie’.

The Orchestral backing was under the baton of Nelson Riddle and Speedy West played typically brilliant pedal steel.

 

Whatever the tempo with Ella Mae you know you’re in for a deluxe trip.

The musicians behind her must have thought; right guys let’s really tear it up this gal can take care of herself.

Boy howdy were they right!

In 1952 she had another million seller with, ‘Blacksmith Blues’ utilising the combined skills of Billy May and Nelson Riddle.

In 1953 she recorded a knock out, hopped up, track called, ’40 Cups of Coffee’ which has always been a winner for me.

 

Truth to tell when Ella Mae steps up to the microphone I can’t imagine needing any kind of stimulant. She made over proof records that’ll have your head and heart spinning every time you hear them.

In 1954, a dozen years into her recording career Ella Made made one of the first and, let’s not beat about the bush, one of the greatest Rock ‘n’ Roll era albums of all time, ‘Barrelhouse, Boogie and the Blues’.

This is an astounding work demonstrating that Ella Mae had all the sass and style of the very best rhythm and blues singers.

It was way ahead of its time and for a white woman unprecedented and I would hazard still unequaled.

Foced to choose just one gem from this treasury I’ve selected the epochal, ‘Rock Me All Night Long’.

Who could resist such an invitation? Not me Bub!

And, that was more or less that.

Ella Mae had more children and her 15 year recording career with Capitol came to a close in 1957.

But, without doubt the music she made there will always live wherever a Jukebox is plugged in.

When Ella Mae calls the plays you’d be mad not to dig her ways!

She gets my Nickel every time.

Notes:

Bear Family and Rev-Ola have fine single CD compilations of Ella Mae’s Capitol years.

Being the besotted fan I am I couldn’t live without the magnificent 5CD 134 track set produced by Bear Family in 1997. Go on treat  yourself!

It is also well worth checking IMDb for her appearances on film as an actress and as featured singer.

 

Christmas Cornucopia 2016 : Tenth Day

A painting by Andrei Rublev (approx 1360s to 1420s)

A Poem by Charles Causley (1917 to 2003)

Music by Herbert Howells (1892 to 1983), Big Joe Turner and Fats Waller

 

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Our painting today is by Andrei Rublev whose Icons and Frescos are supreme works of devotional art.

They are works to be still before.

If you surrender to these works they will work in your soul.

Rublev, following the Orthodox tradition, sees the events of The Nativity not as historical episodes but as living events the faithful community participated in as they celebrated the liturgy.

The calm and peace of the image contains immense and complex feeling.

The birth of The Saviour is shown as a cosmic event which is yet an acceptance of human mortality and frailness.

Herbert Howells music has an English reticence which belies the oceanic depths of feeling it can summon from the listener.

His, ‘A Spotless Rose’ especially when sung with the aching purity of The New College Oxford Choir tenderly ushers the cosmic into our mortal consciousness.

Onward!

Today I think it’s time to remember that Christmas is a time for celebration.

A time to meet up with old friends and make new ones.

A time to sing and dance and laugh.

A time to shake our fists in the face of the dark, cruel winter as we affirm our faith in the inevitable restorative power of the light.

For many years I did much of my celebrating in bars, pubs, Honky Tonks and Road Houses soaking up the music and the booze as the nights progressed. The music choices today reflect that biblious spirit.

First, the Boss Of The Blues – Big Joe Turner. Big is no empty boast; Joe was over 6ft 2 and weighed more than 300 pounds so when he arrived in a room you knew he was there!

You would also know Joe was around because his voice could break through walls and wake the dead.

Joe had to develop his shouting style when he worked in the hectic, heaving bars of wide-open Kansas City in the 1920s and early 1930s.

Even though the joints Joe worked in such as the Kingfish and the Sunset would have been rammed to the doors with free spending, free fighting customers Joe never had any problem getting heard from behind the bar.

As, ‘The Singing Barman’ he formed a famous partnership with pianist Pete Johnson immortalised in the standard, ‘Roll ‘Em Pete’.

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If I had been a customer I would have ordered (in honour of the Rudy Toombes song) One Scotch, One Bourbon, One Beer – knocked them back and settled in for a night of peerless blues.

Joe’s career lasted some 60 years and he was variously styled as a bluesman, a jazz singer, a Rythmn and Blues stylist and a pioneer rock ‘n’ roller – whatever the label the big man went his own sweet way launching every song into the stratosphere with the immense power of his vocals.

 

From the moment, ‘Christmas Date Boogie’ opens we know we are in good hands.

Big Joe is very much the master of ceremonies marshalling the instrumental forces around him. They are all fine players given their chance to shine but there is no doubt who is the star of the show!

You can just imagine the big beaming smile of Joe as he tears into this Christmas frolic.

Resistance is useless – where’s the Bourbon?

I’ll let the very fine Irish poet (I think you may have guessed by now that I am somewhat well disposed to Irish poets) Michael Longley introduce the next music Titan:

‘He plays for hours and hours on end and thought there be
Oases one part water, two parts gin
He tumbles past to reign, wise and thirsty, at the still centre of his loud dominion –
THE SHOOK, THE SHAKE, THE SHEIKH OF ARABY’.

The subject of the poem and the artist featured in our second music selection is, of course, the one and only, one man musical encyclopedia and indefatigable party starter: Thomas ‘Fats’ Waller.

A short list of his accomplishments would have to include his very considerable prowess as a pianist, organist, singer, songwriter, composer and comedian.

 

 

Yet any list of talents and achievements would undersell Fats impact on his contemporary artists and his audiences.

Fats was beyond category – he was Fats Waller and The Lord of any room he chose to light up.

He could in the course of a single number go from being rollickingly rumbustious to wistful gentle melancholy.

Sadly his early death meant that the true depth of his talents were never fully sounded but nevertheless he leaves a unique legacy of wondrously entertaining recordings.

If you ever need cheering up and reminding of how good it is to be alive just press the button next to Fats name and you will feel a whole lot better – I guarantee it.

Today’s poem is, ‘Mary’s Song’ by Charles Causley.

‘Warm in the wintry air
You lie,
The ox and the donkey
Standing by,
With summer eyes
They seem to say:
Welcome, Jesus,
On Christmas Day!

Sleep, King Jesus:
Your diamond crown
High in the sky
Where stars look down.
Let your reign
Of love begin,
That all the world may enter in.’

 

Christmas Cornucopia 2016 : Ninth Day

Ninth Day

A Painting by Peter Paul Rubens (1577 to 1640)

A Poem by Norman Nicholson (1914 to 1987)

Music by  Chopin played by Claudio Arrau (1903 to 1991), Joe Tex and June Christy.

 

Our painting today is, ‘The Adoration of the Magi’ by Peter Paul Rubens.

More accurately, it is the the modello (a sketch shown to a patron for approval of the composition) for the altarpiece painted by Rubens for the convent of the Dames Blanches, Louvain now in King’s College Chapel, Cambridge.

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There is a wonderful humanity in this work.

Though the event depicted was of universal importance it was witnessed, experienced, by, ‘ordinary’ men and women (and let us not forget animals as the peering camels here humorously demonstrate) on a day when the sun rose and set like any other.

Miracles take place (far more often than, ‘common sense’ will allow) against  the background of every day events.

Rubens manages to make each of the individual characters in the scene vividly present.

I feel as if I could  walk directly into this company and be made welcome.

 

Devotees of Chopin and his piano works, especially The Nocturnes, can spend long hours debating which great pianist has searched their depths most successfully.

I have never wavered in my conviction that the magical recordings made by Claudio Arrau must wear the crown.

His version of The Nocturnes has the quality of meditative prayer.

 

 

After the above and yesterday’s stop to gaze reverentially heavenward it’s time to turn to more earthly considerations.

The Greeks, as you might have expected, had different words to describe the varied forms of love we express and experience.

Yesterday we were concerned with Agape – the love of God for man and man for God. Today we will find songs that express Eros – sensuous, sexual love and the appreciation of beauty and Philia – the love expressed in affectionate regard and friendship.

Now we turn to a tremendous southern soul sermon from a master and mentor for the genre, Joe Tex. ‘I’ll Make Everyday Christmas (For My Woman)’ glows bright with Joe’s gently enveloping passion.

Joe’s forte was telling stories in song using humour and homespun wisdom so that you felt he was gifting you the hard won lessons of a richly lived life.

 

Joe had a country preacher’s sense of the hunger in the audience for parables that would make sense of the roadblocks and confusions assailing them in their lives and provide a route map for the way ahead.

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They knew that Joe didn’t pretend that he had never been a rounder and a rogue as well as a true romantic and love disciple.

We often, rightly, pay more attention to the testimony of someone who admits to failure and frailty than those in their whited sepulchres who are quick to admonish our every fault.

Joe sings the song with a steadily growing intensity almost as if the promise he was making was as much to his own better self as to the woman it was made to.

When the record finishes its hard not to say, ‘Amen! Brother, Amen!’ and vow to make sure you too take care to make everyday Christmas for your own woman or man.

Next, the delightfully cool Miss June Christy with, ‘Christmas Heart’. June was a veteran big band vocalist who followed Anita O’Day as the singer with Stan Kenton.

As a solo artist she made a magnificent album, ‘Something Cool’ which should be on the shelves of anyone with an appreciation of the art of jazz singing.

 

 

I have always found something deeply engaging in the understated, wistful tone June Christy brings to a song.

It seems she has stripped out all unnecessary flourishes so that we hear the essence of the song as she steers us gently to understanding through her embrace of the melody and lyric.

The lack of hectoring or self regard in, ‘Christmas Heart’ makes its dreamlike plea for Christmas to be a day when all the wounded find rest and balm all the more affecting.

You never really need to ask who is your neighbour – just look around you.

Today’s poem is, ‘Carol For The Last Christmas Eve’ by a favourite poet of mine, Norman Nicholson from Millom in England’s rural Cumbria.

Never fashionable Nicholson’s work will endure.

‘The first night, the first night,
The night that Christ was born,
His mother looked in his eyes and saw
Her maker in her son.

The twelfth night, the twelfth night,
After Christ was born, the Wise Men found the child and knew
Their search had just begun.

But the last night, the last night,
Since ever Christ was born,
What his mother knew will be known again,
And what was found by the Three Wise Men,
And the sun will rise and so will we,

Umpteen hundred and eternity’

 

Christmas Cornucopia 2016 : Fifth Day

Fifth Day featuring :

A Painting by Taddeo Gaddi (1290 to 1366)

A Poem by Patric Dickinson (1919 to 1994)

Music by Charles Lloyd, Louis Armstrong and Kay Starr

Today’s painting is by the Florentine Taddeo Gaddi who was the star pupil of the great Master, Giotto.

His, ‘The Angelic Announcement to the Shepherds’ can be seen in the Baroncelli Chapel within Santa Croce in his native Florence.

It is a wonderfully dramatic painting.

 

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An Angel acts as God’s messenger alerting humankind to an event upon which all history will pivot.

The Sheep are stirring and the Dog’s keen senses alert him to the messenger from afar.

As the Angel speaks eternity merges with linear time.

How could the waking Shepherd find the words to tell his sleeping companion what he has learned?

Surely all he could say was:

‘Let us go – someone we must see is waiting for us just down the hill. Come now!’

It is an invitation which remains open.

Today’s new music selection is cool, clear water, drawn from a deep well.

Saxophonist Charles Lloyd is a musical pilgrim who has journeyed, as so may have, through trial and turbulence in search of a place of peace.

 

 

If this stunning version of, ‘Shenandoah’ from his 2016 released Blue Note CD, ‘I Long to See You’ is anything to go by he has found that place and a way of sharing that blessing with us.

The rhythm section of Reuben Rogers and Eric Harland and the stellar guitar duo of Bill Frisell and Greg Leisz add gorgeous shimmers of light as Lloyd horn calls us each of  us to set off on our own Camino.

Onward!

Our Sleigh is picking up a very special passenger today. He’s here to sing and play on a Christmas song, ‘Zat You, Santa Claus?’ that has the effervescence of a fine champagne.

Of course, I’m talking about Louis Armstrong.

If they ever get round to carving four heads into a mountain to celebrate musicians in the way that Presidents are celebrated at Mount Rushmore there can be no argument among men and women of reason that the first head to be carved must be that of Louis Armstrong.

 

Zat You, Santa? Zat You, Louis?

I could set out an exhaustive list of his astounding achievements as the preeminent musician of the 20th century with special reference to his role as the pioneer genius who transformed a pastime into an art form and who influenced everyone who ever had the good fortune to hear him play.

Others far better qualified than I have written major scholarly tomes on the subject. So, I will limit myself to a few remarks on the effect hearing the great man has had on me.

When I hear Louis play (at every period of his career) I hear the sound of a master musician revelling in the sheer joy of making music.

It was as if he lived and breathed through playing his horn – singing a song of exultation; using without reserve the wondrous gifts of imagination and creative daring yoked to technical brilliance that made him a such a unique musician.

Add to that his personal warmth and ebullience and you have a musician and a man who simply made everyone who encountered him feel better, more human and more glad to be alive.

Isn’t what Santa Claus is supposed to do too?

Next a singer, the late Kay Starr, who knew how to swing and who had the chops to share a bandstand with the finest musicians of her era.

Born on a reservation in Oklahoma with an Iroquois father and an Irish/Native American mother she was as American as you can be.

Maybe that’s how she could sing the hell out of any song in any genre of American popular music.

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Kay had an inbuilt sense of rhythm and the ability to musically inhabit and sell a lyric. Listen here to how she brings out the drive and the humour of, ‘Everybody’s Waitin’ For The Man With The Bag’.

One of the co-writers of the song was Dudley Brooks who featured earlier in the list featuring Elvis Presley.

I can’t honestly say I have done everything I should this year (extra special good) but I can recognise an extra special good singer when I hear one and Kay Starr must be one of the best and merriest we ever did have!

Today’s poem is, ‘Advent: A Carol’ by Patric Dickinson a writer who revered and translated the Classical poets while looking at the world himself with a sharply individual measured intelligence.

‘What did you hear?
Said stone to echo:
All that you told me
Said echo to stone.

Tidings, said echo,
Tidings, said stone,
Tidings of wonder
Said echo to stone.

Who then shall hear them?
Said stone to echo:
All people on earth,
Said echo to stone.

Turned into one,
Echo and stone,
The world for all coming
Turned into one.’