Listening to Prestige 431: Shorty Baker and Doc Cheatham

This is another from the Swingville catalog. and every one of them has been an invaluable contribution to the story of American music. This is partly because they gave a voice to important American musicians who were being passed over in the rush to modernism that was mainstream jazz. This was a rush that could not be stopped or slowed down, and should not have been. Jazz in the mid-twentieth century was an unparalleled cultural phenomenon. But it's progenitors were not gone, and should not have been forgotten.

All right, so partly because Swingville gave a voice to these almost-forgotten musicians.  What was the other part? The other part was the voice itself. As I've noted before, these were not re-creations of 1930s swing. The older musicians were making their music, not Charlie Parker's or Dave Brubeck's or John Coltrane's, but they were making it for a new age, and with full awareness that it was a new age.

I suspect producer Esmond Edwards had a good deal to do with that. But give full credit to the musicians themselves. They had ears, and they knew what was going on around them.

Ten years separate Shorty Baker and Doc Cheatham. Baker was born in 1914, and at the time of this recording, had been a semi-regular in Duke Ellington's orchestra for twenty years. He had also spent some time with Johnny Hodges during the early 1950s, when Hodges had his own band.  He had participated in an earlier Swingville session with Bud Freeman. Prior to that, he had worked with Don Redman, Andy Kirk and Teddy Wilson.

Cheatham was born in 1905 in Nashville, and was not really exposed to a lot of jazz until he moved to Chicago in 1924 and met King Oliver. Before that, he had played in a pit band in a Nashville theater, where he had plenty of experience with the blues, accompanying both Ma Rainey and Bessie Smith among others. Meeting Oliver was a life-changing experience for him, but the real life-changer came a couple of years later, when Louis Armstrong joined Oliver. Armstrong became his mentor, and even asked Cheatham to fill in for him at a few performances. "It was hard to do," Cheatham said in an interview with National Public Radio, "because he was such a great player. I knew I wasn't capable, but I was young and I listened to what he was doing, and I learned what he was playing."

Cheatham went on to play with Chick Webb and McKinney's Cotton Pickers, among others, before landing a long-term gig with Cab Calloway. After that, he played with a number of Latin orchestras, including Perez Prado's and Machito's.

Some critics, while praising this album, have commented that Cheatham sounds a little old-fashioned compared to Baker. If that was so in 1961, it was not to remain that way. Baker died in 1966, and so did not live to witness the late-life renascence of his bandmate.  In his sixties, Cheatham decided to completely rethink his music and reshape his career.  He had always been a section man (Shorty and Doc was the exception), and he decided to work at developing not only the chops, but the whole mental approach to music necessary to become an effective soloist.

How well he succeeded is best described by a younger trumpeter, Jon Faddis:

One of the prime motivations in improvised music for jazz musicians is to be able to tell a story when we play a solo. Doc is a master at that, because you can hear all of his background and influences.

And the ability of Cheatham to stay relevant through seven decades of music was shown in his final album, a two-trumpet reprise of Shorty and Doc that paired the 91-year-old with 22-year-old Nicholas Payton. Cheatham died in 1997, on tour.

I'm guessing that Esmond Edwards may have had a good deal of input into choosing the songs for this session. One of them, "Chtlin's," is credited to him as composer, which is a rarity. But it's dead center for these two guys, starting with some blues wailing by Doc and moving into some lyrical playing by Shorty. It was the first tune on the album, and at nearly eleven minutes, the longest, giving the listener plenty of time to warm up to these old pros.

The first tune they actually recorded that day, the one where they got to warm up to each other, was "Baker's Dozen." the only original by either of the two leads. So we can pretty safely assume that Baker knew the tune pretty well, and probably Cheatham did too.  The first sound we here is the intro by Walter Bishop Jr., and his contribution to this session is incalculable. A first-generation bebopper, Bishop's comps, lead-ins and solos sound nothing like the piano stylings of Teddy Wilson, Jess Stacy or any of the other great swing era piano players. They give the music a very different edge, and then they fit right in. The two trumpeters contribute in much the same way they would in "Chitlin's," one wailing, the other lyrical, and they set a tone for the session.

Most likely Edwards brought in the next tune, the Jimmy Forrest take on a Duke Ellington riff that became a rhythm and blues classic: "Night Train." Bishop and J. C. Heard sets a syncopated but solid beat, and Bishop does some of his most boppish playing, while still making it worth with the Ellingtonian/rhythm and bluesian demands of this irresistible riff-driven melody. Both trumpeters hit all the right notes in their solos, and "Night Train" does its job.

Next they take on two standards.  "Lullaby in Rhythm" is credited to Benny Goodman, Edgar Sampson ("Stompin' at the Savoy"), Clarence Profit and Walter Hirsch (lyrics). They pick  up the tempo on this one. Again, Irresistible.

For the beautiful Rodgers and Hart tune, "I Didn't Know What Time It Was," the trumpets start it right off, and they set up two contrasting tones of sweetness, both of them loving the melody Bishop comes in later with an extended solo. Beautiful, all of it.

 After "Chitlin's," they finish up with a tune from Baker's Johnny Hodges days. "Good Queen Bess," which brings everyone into the mix, but spotlights the two trumpets.

There is absolutely nothing not to like about this Swingville session.




Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon.

The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT.
– Terry Gibbs

Listening to Prestige 363: Bud Freeman and Shorty Baker

I suppose one could look ar this period as sort of an interregnum between John Coltrane and Eric Dolphy. Dolphy had actually made his Prestige debut the previous month, but although it was titled Outward Bound, it wasn't as outward as Dolphy was going to go, and though his era was poised to explode, it hadn't quite done so yet.

One could look at it that way, but one would be wrong. Jazz doesn't begin and end with the superstars, and it doesn't exist only on the cutting edge. Or maybe it's always the cutting edge, because you're out there every night taking risks, which is the definition of improvisation, whether you're John Coltrane playing every note there is at the same time or Ahmad Jamal playing cocktail hour at the Pershing Hotel for salesmen who don't care that you're giving

lessons in the possibilities of jazz improvisation, or Henry "Red" Allen playing for the lunch crowd at the Metropole. And if Prestige in the 1960s is remembered more for Dolphy than for the Swingville and Bluesville and Moodsville recordings,  these labels recognized the fact that jazz was living history, and the people who had made that history were still living and playing, which made it a lot more than just history.

Bud Freeman came out of the Chicago high school band that became a legend, the Austin High School Gang with Jimmy McPartland and Frank Teschemaker, and he grew to be known as the master of the swing era tenor saxophone. In

fact, he was one of the original jazz tenormen, since it was not an instrument common to that style of music, and he developed a sound all his own--Lester Young counted Freeman as one of his early influences. He never lacked for work, or for people who wanted to record him, be they major labels (Columbia), top independents (Bethlehem), labels not much given to jazz (Dot), or more obscure small labels. This would be his only recording for Prestige.

It was one of the very few small group recordings Shorty Baker would make for any label, and the only one where he got featured billing. Baker was a respected section man who played off and on with Duke Ellington's orchestra during these years, and he makes the most of his chance in the spotlight. You wouldn't be looking for this album to fill out your Shorty Baker collection, because you won't have a Shorty Baker collection, bur he plays well enough on this session to make you glad you've had a chance to hear him.

Claude Hopkins was brought to Prestige by Chris Albertson to play on Lonnie Johnson's first session, and was brought back to make an album under his own name, which featured J. C. Heard on drums. George Duvivier, of course, is an old friend.

Like most of the Swingville sessions, these are musicians who got their start in an earlier era, but didn't stay there--in fact Freeman, though he continued to play in a traditional setting, with Eddie Condon, with Yank Lawson and Bob Haggart's World's Greatest Jazzband, and with his own groups, had studied for a while in the late 1940s with Lennie Tristano. Freeman, in a 1980 conversation with radio interviewer Studs Terkel, said "My old fans would prefer that I play the way I played a hundred years ago, but I prefer to play the way I feel, and I feel that I'm improving."

The Swingville album is called The Bud Freeman All Stars Featuring Shorty Baker.


Listening to Prestige Vol. 3 makes a great Christmas gift for the jazz fan who has Volumes 1 and 2! 

And for those who haven't, the complete set makes a fabulous gift!