Tag Archives: teddy Wilson


posted by Robert J. Carmack  #@blues2jazzguy

Billie in Paris 1949

I read the Billie Holiday story long before the glitzy Motown produced coming-out party for Diana Ross acting. I had heard her on records and seen her pictures in large magazines too. Life,Ebony,even Downbeat and Metronome. I was only in my early teens myself, but there were something that made me  attracted to her, I can’t explain it, it just WAS. I was already up on most jazz greats because I was a budding saxophonist, So I listened to Lester Young,( her favorite saxophonist IMO) Charlie Parker, Coleman Hawkins, Ben Webster, and Dexter Gordon, all-powerful reedmen of the era, but none of them connected like Lester Young when it came to Billie’s singing style and approach to the blues..Lester was her shadow musically. I guess in a similar pair of kindred souls, the great Duke Ellington and Billy Strayhorn came close. it took a great deal of sensitivity and worldly experience to sing and play like that. I often referred back to Billie’s story as a young girl, raped, abused and casted into a cold, barren under-world of crime, drugs, sexism,racism and no understanding of real love.


In the adult and older Billie there were a certain regalness about her that just carried over into her persona on stage and became part of her “gaze upon the people”. You can actually see her do it in a filmed version of her listening to Lester’s solo on ” My MAN DON”T LOVE ME”..OMG!! Lester pops up as on a catapult  when he bursts on the scene with one of the most succinct, passionate solos you would ever hear. Billie gazing, then start to nodding in approval..Classic! In Fact, all of the cadre of jazz icons are blowing to please Billie Holiday on this famous TV show’s footage . HAPPY 100th BILLIE  1915 – 2015  RIP


Lady Day with Miles Davis and Jimmy Rushing seated
Lady Day with Miles Davis and Jimmy Rushing seated


posted by Robert J. Carmack  #@blues2jazzguy

First in our “Give The Drummer Sum Series” on iconic and jazz ‘s greatest Drummers in our opinion. BIG SID  CATLETT

Sid_Catlett,_New_York,,_ca._Mar._1947_(William_P._Gottlieb_01181)Big Sid Catlett
(1910 – 1951)

“Big Sid” Catlett was one of the most flexible drummers in the history of jazz. On one hand,Catlett was skilled enough in the pre-modern styles to be Louis Armstrong’s favorite
percussionist; on the other, Catlett’s powerful swing and generous adaptability allowed him to play commendably on the early Parker/Gillespie bop sides. Catlett excelled particularly as a combo drummer in the swing era.

BigSidCatlett01 BE Bop  and Dizzy

A sensitive player possessing great drive and spirit, he was every bit the equal of such better-known contemporaries as Jo Jones or Gene Krupa.

As a child in Chicago, Catlett played the piano and learned the rudiments of drumming. His first professional gig was with Darnell Howard in 1928. Catlett played with other undistinguished Chicago bands before moving to New York in 1930. There he became a hired gun, working and recording with Benny Carter (1932), McKinney’s Cotton Pickers (1934-1935), Fletcher Henderson (1936),  and Don Redman (1936-1938). In the late ’30s and early ’40s Catlett worked and played endlessly, appearing on countless recording sessions with a staggeringly wide variety of musicians.

BigSidCatlett13 SATCHMO DRUM
Big Sid Catlett Appearing as Louis Armstrong’s personal drummer of choice

Catlett became Louis Armstrong’s drummer of choice, from 1938 –
1942 he was featured with Pops’ big band. In 1941, he played with a particularly excellent
Benny Goodman big band that also included trumpeters Billy Butterfield and           Cootie Williams.

The advent of bebop appeared not to trouble him and if he never fully adapted his style he certainly gave his front-line colleagues few problems. Though Catlett was not a bebop drummer per se, he made an effort to accommodate the new music. He played on one of the first bop recording dates in 1945, a session that produced the classic early Gillespie/Parker sides.

In the early ’40s Catlett was a member of the superb Teddy Wilson Sextet. He also joined Duke Ellington briefly in 1945. Catlett led his own bands throughout the ’40s, until he joined Louis Armstrong’s All-Stars in 1947.He remained with Armstrong until 1949 when the years of all-night jam sessions began to catch up with him.

Catlett was forced to quit touring in 1949 due to ill health, but he continued to play, becoming the house drummer at a Chicago club, Jazz, Ltd. He also worked with Eddie Condon and John Kirby in New York in his final years. In early 1951 Catlett suffered from a bout of pneumonia and in March, he collapsed and died of a heart attack while visiting friends backstage at a Oran “Hot Lips” Page benefit concert at the Chicago Opera House.


Although a brilliant technician, Catlett chose to play in a deceptively simple style. With the fleet,smoothly-swinging Wilson sextet he was discreet and self-effacing; with Goodman he rolled the band remorselessly onward, with Armstrong he gave each of his fellow musicians an individualized accompaniment that defied them not to swing. Instantly identifiable, especially through his thundercrack rimshots, Catlett always swung mightily.

On stage, he was a spectacular showman, clothing his massive frame in green plaid suits, tossing his sticks high in
the air during solos and generally enjoying himself.

Enjoy the month of April with the HIPSTER!!