Listening to Prestige 315: Bill Jennings

Willis Jackson brought two stablemates with him to Prestige, and they both got turns of their own as leaders. Jackson, Jack McDuff and Bill Jennings were all unique, remarkable musicians, but Jennings may well have been the most unique, and I know that’s impossible. You’re either unique or you’re not. But Jennings had a style and an approach that set him farther apart from other musicians, partly because although he was left handed, he played a conventionally strung right-hander’s guitar, which meant he played it upside down. And of the three, his career trajectory was the shortest, and he was all but forgotten until a 2014 double CD release of

his music from the early 1950s, mostly with saxophonist Leo Parker, but also featuring Willis Jackson and Bill Doggett.

Jennings was from Indianapolis, a town that was part of the black music circuit but not one of its creative centers, which meant that if you were as good as Jennings you would be called upon to play with whoever came to town: bebop, swing, jump blues, rhythm and blues, rock and roll, even country and pop. It also was a town you’d want to get out of if you had aspirations to test yourself on music’s bigger stages, and Jennings would do just that, going on the road with Louis Jordan and Stuff Smith, before he found the partnership with Leo Parker that brought him a number of recordings in 1950s, and through which he met Willis Jackson and drummer Alvin Johnson.

Jennings’ eclectic background is evidenced in some of the unusual material he chose for this session. “Dark Eyes” is a Russian cabaret number that’s more often used by Olympic gymnasts and figure skaters than jazz musicians, and Jennings’ version of is fascinating, starting with a lengthy, stately guitar solo before bringing his group in to swing with him. “Volare,” The recent pop hit for Italian Domenico Modugno and Italian-American Dean Martin, is such an unlikely jazz selection, unless one happens to be a gypsy, that I couldn’t help checking to see if any other jazz musicians had done it. Turns out there were a few. Joe Lovano recorded it with European chanteuse Juliette Greco, and instrumental versions have been cut by three artists representing a wide spectrum of jazz styles: Louis Armstrong, Ran Blake and Joey Difrancesco. Willis Jackson also did a version, but with Bucky Pizzarelli rather than Jennings on guitar.

Bill Jennings-Enough Said! was issued on Prestige. One cut, “It’s Alvin Again,” missed the cut and came out later on a Status compilation album. “Enough Said” was a two-part 45, and was also included in a compilation album of Bluesville, the second of the three Prestige subdivisions.

Order Listening to Prestige Vol 2

Listening to Prestige Vol. 2, 1954-1956 is here! You can order your signed copy or copies through the link above.

Tad Richards will strike a nerve with all of us who were privileged to have
lived thru the beginnings of bebop, and with those who have since
fallen under the spell of this American phenomenon…a one-of-a-kind
reference book, that will surely take its place in the history of this
music.

                                                                                                                             
--Dave Grusin

An important reference book of all the Prestige recordings during the time
period. Furthermore, Each song chosen is a brilliant representation of
the artist which leaves the listener free to explore further. The
stories behind the making of each track are incredibly informative and
give a glimpse deeper into the artists at work.

                                                                                                                --Murali Coryell