JazzWax

Savannah Churchill: 'Time Out for Tears'

There are so many great R&B balladeers who are virtually unknown today. Their anonymity is largely a result of recording singles geared for jukeboxes in bars and clubs in black communities. Most didn't receive much promotional support or exposure at the time in white markets or on TV, and most record conglomerates today don't bother surfacing past artists beyond the profitable rock and soul era. [Photo above of Savannah Churchill]

One of these glorious balladeers was Savannah Churchill, who had a beautiful, smooth voice and was a star in the 1940s and '50s, and recorded for Columbia, RCA, Decca, Manor and other top labels. Her records with male singers such as the Sentimentalists, the Striders and the Four Tunes helped launch R&B's vocal harmony sound, which led to doo-wop and soul in the 1950s. She also appeared in Miracle in Harlem (1948) and Souls of Sin (1949), two feature films with all-black casts. [Photo above of Savannah Churchill] 

To illustrate the grace and warmth of Churchill's voice, here she is singing I Don't Believe in Tomorrow in 1951 with the Four Tunes...

Here's Last Night I Cried Over You in 1954 with the Ray Charles Singers (the white pop singers not to be confused with the Raelettes, formed in 1958 to back soul singer Ray Charles)...

And here's Churchill singing her composition, I Want to Be Loved (But Only By You), a #1 R&B hit, backed by the Lynn Proctor Trio, from the 1948 film Souls of Sin...

Churchill was hugely popular at black clubs and theaters. Tragedy struck in late 1956, at the Midwood Club in Brooklyn, when a drunk fell from the balcony directly on top of her, breaking her pelvis and causing long-term injuries from which she never fully recovered. Churchill could still record and, in September 1960, she recorded her first and only 12-inch album for Philadelphia's Jamie label, covering songs that she had made hits in the past. The string arrangements were by Robert Mersey, who scored them in the style used then by Dinah Washington.

Now, Fresh Sound has released Churchill's sole album as part of its "Best Voices Time Forgot" series on a two-fer with Erma Franklin's Her Name is Erma. Interestingly, Churchill was first to release Time Out for Tears in 1947 on Manor. Dinah Washington wouldn't record the song until 1950.

The album is uniformly excellent, with Churchill delivering one soft interpretation after the next. The tracks are Time Out for Tears, Be Anything (But Mine), Foolishly Yours, I Promise It Won't Happen Again, It Is Too Late, I Almost Lost My Mind, Summertime, It's Too Soon to Know, She's Only Got Herself to Blame, I Know I'm Good for You, A Little Place in Your Heart and I Want to Be Loved. The last two are bonus tracks. [Photo of Savannah Churchill in 1947 by Charles “Teenie” Harris]

Savannah Churchill died in April 1974 from pneumonia. She was 58. For more on Churchill, go here.

JazzWax tracks: You'll find Savannah Churchill's Time Out for Tears (Fresh Sound) here.

JazzWax clips: Here's the album's title track...

Time Out for Tears

And here's I Know I'm Good for You...

I Know I'm Good For You

Bonus: Here's Churchill's original Time Out for Tears, with the Four Tunes, recorded in 1947...

Miles Davis: Two Docs Called 'Round Miles'

Last week, Ken Deifik sent along two super documentaries on Miles Davis. Interestingly, both are called Round Miles. [Publicity still above of Miles Davis in the late 1940s]

Here's director Charles Carlini's documentary in which he interviews Quincy Troupe, author of Miles: The Autobiography...

And here's director Christopher Wilkiinson's documentary of jazz musicians gathered at the Catalina Jazz Club in Los Angeles in 2008 talking about Davis. The musicians included Marcus Miller, Freddie Hubbard, Jimmy Heath, Ron Carter, Roy Haynes and James Moody...

Documentary: Wes Montgomery Turns 100

Today is the centenary of guitarist Wes Montgomery's birth. Born in 1923, he would die in 1968 at age 45. What better way to celebrate the impact Montgomery has had on the jazz guitar than with a new documentary directed by Kevin Finch. To view Wes Bound: The Genius of Wes Montgomery, you must go here. I cannot embed the video. [Photo above of Wes Montgomery in 1967 courtesy of Gibson and Wikipedia]

The best I can do is give you five YouTube clips.

Here's So Do It!...

Here's Gone With the Wind...

Here's Sun Down...

Here's California Nights...

And here's Lolita...

A special thanks to Ken Deifik.

Wayne Shorter in Nine Video Clips

Wayne Shorter (1933-2023), when paired with other great jazz artists, was a tonic. Whether it was with trumpeters Freddie Hubbard and Lee Morgan or, later, Miles Davis, Shorter's saxophone added a dimension that was commanding and haunting. You felt you had a window into the artist's soul when Shorter played. [Photo above of Wayne Shorter by Francis Wolff (c)Mosaic Images]

Shorter was in three major groups that changed jazz. The first was Art Blakey and the Jazz Messengers, from 1959 to 1963, the most acclaimed hard-bop ensemble widely recognized and celebrated around the world, from Asia to Europe and Africa. The second was the second Miles Davis Quintet, from 1964 to 1970, where his heavy-sounding horn offset Davis's taut, airy sound and helped set the course for fusion. And the third was Weather Report, from 1971 to 1986, an electric supergroup.

This weekend, in tribute to Shorter, let's take a look at his performances in the Jazz Messengers and in Davis's second great quintet. First, three from the Jazz Messengers:

Here's Shorter in Paris with the Jazz Messengers in November 1959 playing Duke Jordan's No Problem...

Here's Shorter with the Messengers playing The Summit in Tokyo in 1961...

Here's Shorter at the San Remo Jazz Festival in Italy with the Jazz Messengers in March 1963...

And three with Miles Davis:

Here's Shorter with the quintet in October 1964 in Milan, Italy, with Davis, Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)....

Here's Shorter with the quintet in Stockholm, Sweden, in October 1967...

Here's Shorter with the quintet in Rome in 1969, with Chick Corea (piano), Dave Holland (bass) and Jack DeJohnette (drums)..

Bonus: Here are two clips of Shorter with other artists and one by a spectacular singer:

Here's Wayne Shorter's solo on Steely Dan's Aja, from the album of the same name:

Shorter played on 10 of Joni Mitchell's albums. Here he is on soprano saxophone with Joni on her Both Sides Now (2000) album that included Herbie Hancock and other jazz and orchestral artists...

And here's Jean Carn singing Shorter's Infant Eyes, in 1971, a fitting farewell...

Backgrounder: Wayne Shorter's 'JuJu'

Wayne Shorter, a saxophonist and composer whose influence on post-war jazz and jazz musicians rivaled that of Sonny Rollins and John Coltrane, died March 2. He was 89.

My favorite Shorter album is JuJu. Recorded in 1964 for Blue Note and released in July 1965, the album featured all original songs by Shorter and included pianist McCoy Tyner, bassist Reggie Workman and drummer Elvin Jones—a rhythm section that had worked regularly with John Coltrane.

The soul and power of Shorter's crisp, biting tenor saxophone on JuJu, not to mention his roiling originals and the thunderous expressions of his sidemen, combined to create a moving, expressive work.

In tribute to Shorter, here's JuJu, without the interruption of ads...

Other ad-free Backgrounders in my series:

• Zoot Sims Plays Bossa Nova, go here.
• Lee Morgan: Lee-Way, go here.
• Bossa Nova for Swinging Lovers, go here.
• Leon Spencer: Louisiana Slim, go here.
• Bossa Nova Modern Quartet: Bossa Nova Jazz Samba, go here.
• Bill Evans & Luiz Eça: Piano Four Hands, go here.
• Ray Brown Trio: Don't Get Sassy, go here.
• Os Tatuis: Os Tatuis, go here.
• Waltel Branco: Mancini Tambem É Samba, go here.
• Jack Wilson Plays Brazilian Mancini, go here.
• Conjunto Copacabana Bossa: Bossa, go here.
• Ella Fitzgerald: Ella Swings Lightly, go here.
• Charles Earland: Charles Earland, go here.
• Kenny Burrell: Crash! w/ Jack McDuff, go here.
• Jack McDuff: The Heatin' System, go here.
• Horace Silver: Horace-Scope, go here.
• Antonio Carlos Jobim: Wave, go here.
• Sonny Stitt: Sonny Stitt Plays, go here.
• Sonny Stitt with Bennie Green: My Main Man, go here.
• Johnny Hodges and Earl Hines: Stride Right, go here.
• Lionel Hampton: Bossa Nova Jazz, go here.
• Johnny Hodges & Ben Webster: Cellar Session, go here.
• Bill Evans: Solo Sessions Vol. 1, go here.
• Frank Wess: Trombones & Flute, go here.
• Presenting the Buddy DeFranco & Tommy Gumina Quartet, go here.
• Ernest Ranglin: Wranglin', go here.
• Dave Pell Octet: Plays Rodgers & Hart, go here.
• Milt Buckner: Block Chords Parade, go here.
• Roberto Menescal: A Nova Bossa, go here.
• Count Basie: Have a Nice Day, go here.
• Freddie Green: Mr. Rhythm, go here.
• Leny Andrade: Leny Andrade, go here.
• Johnny Alf: Ele é Johnny Alf, go here.
• Dodo Marmarosa: Dodo's Back, go here.
• Freddie Redd: The Music From the Connection, go here.
• Nicola Stilo & Toninho Horta: Duets, go here.
• Urbie Green: Persuasive Trombone, go here.
• Johnny Richards: Something Else, go here.

Dizzy Gillespie and His Orchestra, 1946-'49

In 1946, Dizzy Gillespie figured out how to get an elephant to dance on an overturned shot glass. As one of bebop's creators, Gillespie was at heart a big-band man and yearned to lead one. While he initially launched bop as a small-group form, Gillespie wanted to see if it could be leveraged credibly for 15 players or more. He succeeded in June 1946 when his big band recorded Tadd Dameron's Our Delight for Musicraft Records, with an arrangement by Gil Fuller. [Photo above of Dizzy Gillespie and His Orchestra at Seattle's Senator Ballroom in February 1949, by Albert J. Smith Sr.]

The band: Dizzy Gillespie, Dave Burns, Ray Orr, Talib Ahmad Dawud and John Lynch (tp); Alton "Slim" Moore, Leon Comegys and Charles Greenlee (tb); John Brown and Howard Johnson (as); Ray Abrams and Warren Lucky (ts); Pee Wee Moore (bar); Milt Jackson (p); Ray Brown (b) and Kenny Clarke (d). Here's Our Delight...

Here's Ray's Idea in July, also arranged by Fuller for Musicraft Records. The band: Dizzy Gillespie, Dave Burns, Talib Ahmad Dawud, John Lynch and Elmon Wright (tp); Alton "Slim" Moore, Leon Comegys and Gordon Thomas (tb); John Brown and Howard Johnson (as); Ray Abrams and Warren Lucky (ts); Pee Wee Moore (bar); Milt Jackson (vib); John Lewis (p); Ray Brown (b) and Kenny Clarke (d)...

By 1947, Gillespie and his big band had become so popular that RCA signed him. In addition, he began to fill his chairs with first-rate players.

Here's Stay On It recorded in August. The band: Dizzy Gillespie, Dave Burns, Elmon Wright, Matthew McKay and Ray Orr (tp); Taswell Baird and William Shepherd (tb); John Brown and Howard Johnson (as); James Moody and Joe Gayles (ts); Cecil Payne (bar); John Lewis (p); Milt Jackson (vib) John Collins (g) Ray Brown (b) Joe Harris (d) Kenny Hagood (vcl)...

In December, here's Algo Bueno, also known as Woody'n You. The band: Dave Burns, Elmon Wright, Benny Bailey and Lammar Wright, Jr. (tp); William Shepherd and Ted Kelly (tb); Howard Johnson and John Brown (as); Joe Gayles and George "Big Nick" Nicholas (ts); Cecil Payne (bar); John Lewis (p); Al McKibbon (b); Kenny Clarke (d) and Chano Pozo (bgo,cga)...

Also in December, here's Tadd Dameron's Good Bait, with the same personnel and arranged by Dameron...

At midnight on December 31, when 1948 arrived, the second American Federation of Musicians recording ban went into effect and lasted until the fall. During this period, Gillespie toured with his big band. He didn't return to RCA's studios until December of 1948 to record the following side:

Here's Duff Capers arranged by Linton Garner, Erroll's brother. The band: Dizzy Gillespie, Willie Cook, Dave Burns and Elmon Wright (tp); Andy Duryea, Sam Hurt and Jesse Tarrant (tb); John Brown and Ernie Henry (as); Joe Gayles and Budd Johnson (ts); Cecil Payne (bar); James "Hen Gates" Foreman (p,cel); Al McKibbon (b); Teddy Stewart (d); Sabu Martinez (bgo,vcl) and Joe Harris (cga)...

Gillespie's final big band recordings in the 1940s for RCA were four sides made in July 1949 and were among his best.

Here's Jumpin' With Symphony Sid. The band: Dizzy Gillespie, Benny Harris, Elmon Wright and Willie Cook (tp); Andy Duryea, Charles Greenlee and J.J. Johnson (tb); John Brown and Ernie Henry (as) Yusef Lateef and Joe Gayles (ts); Al Gibson (bar); James "Hen Gates" Foreman (p); Al McKibbon (b); Teddy Stewart (d); and Joe Carroll (vcl). This one was likely arranged by Buster Harding. And what an arrangement!...

Here's Hey Pete! Let's Eat More Meat, with the same band and arranger. A great solo by J.J. Johnson...

Here's In the Land of Oo-Bla-Dee...

And here's the band with Johnny Hartman singing If Love Is Trouble...

Bonus: Here's Gillespie and the band in 1947, with Milt Jackson on vibes, Ray Brown on bass and John Lewis on piano...

Gene DiNovi, Today and Yesterday

Gene DiNovi is a gorgeous jazz pianist. One of the early New York players in the mid-1940s who had figured out bop, DiNovi at 15 was pulled up to the bandstand at the Spotlite Club on 52nd Street by Dizzy Gillespie in 1944 to play bop behind him when his pianist went missing. Then Charlie Parker came out to join, and DiNovi held his own. [Photo above of Gene DiNovi in 2014, courtesy of Marshmallow Records]

DiNovi played in some amazing bands with exceptional musicians in the late 1940s and then went on to accompany vocalists such as Tony Bennett in the 1950s. He also recorded in some excellent small groups. By the 1960s and beyond, he worked increasingly as a studio musician and composer for the movies. He also played as house pianist for the Canadian Broadcasting Corporation and worked in Toronto with Don Thompson and other great Canadian jazz musicians.

Born in 1928, DiNovi is still with us today and, like Terry Gibbs, who also is still swinging, they are among the last of the greats who recorded in top bands of the pre-LP era, an extraordinary time in American music. (Gene, please email me at [email protected])

Let's listen to 10 clips by the elegant Gene DiNovi, starting with his contemporary recordings and back into his fabulous records from the late 1940s:

Here's DiNovi in 2004 in Japan playing It's You Or No One with Neil Swainson on bass and Joe LaBarbera on drums...

Here's DiNovi playing Speak Low in Toronto with Dave Young on bass and Terry Clarke on drums in 1993...

Here's DiNovi in Japan playing Autumn in New York in 2009, with Ichiro Sakai on bass and Kazuaki Yokoyama on drums...

Here's DiNovi in 1946 with Aaron Sachs' Manor Re-Bops playing Aaron's Axe. The Band: Aaron Sachs (cl), Terry Gibbs (vib), Gene Di Novi (p), Clyde Lombardi (b) and Tiny Kahn (d)...

Here's DiNovi with Lester Young and His Quartet in 1947 playing Something to Remember You By. The band: Lester Young (ts), Gene DiNovi (p), Chuck Wayne (el-g), Curly Russell (b) and Tiny Kahn (d)...

Here's DiNovi in Benny Goodman's spectacular bebop septet in 1948 playing Stealin' Apples. One of the rare examples of Benny as a group's minor participant struggling to break the swing thing and play bop. The band: Fats Navarro (tp), Benny Goodman (cl), Wardell Gray (ts), Gene DiNovi (p), Mundell Lowe (g), Clyde Lombardi (b) and Mel Zelnick (d)...

Here's DiNovi with Brew Moore and His Playboys playing Brew Blew in 1948. The band: Brew Moore (ts), Gene Di Novi (p), Jimmy Johnson (b) and Jimmy Dee (d). Nice solo by DiNovi...

Here's DiNovi rehearsing with Gene Roland's Boppers in 1949, playing Oh, Them Saxophones. The band included an insanely great sax section that preceded Woody Herman's recording of Four Brothers. Dig the reed section: Gene Roland (tp,v-tb,p,arr), Danny Blue, Dan Baxter, Jerry Lloyd Hurwitz and Dale Pierce (tp); Al Cohn, Stan Getz, Zoot Sims (ts); Gerry Mulligan (bar); Gene Di Novi (p); Red Kelly (b) and Tiny Kahn (d)...

Oh! Them Saxophones

And here's DiNovi with Chubby Jackson's big band at the Royal Roost in 1949 playing George Wallington's Godchild. Bet you didn't know Tiny Kahn could sing. That's Tiny scatting the vocal. The band: Norman Faye, Al Porcino, and Charlie Walp (tp); Mario Daone and Rob Swope (tb); Frank Socolow (as); Ray Turner and Al Epstein (ts); Marty Flax (bar); Teddy Charles (vib); Gene DiNovi (p); Red Kelly (b); and Tiny Kahn (d,vcl) with Joe Harris (bgo,cga) and Chubby Jackson (cond,vcl)...

To read DiNovi's memoir, I Can Hear the Music: The Life of Gene DiNovi, go here.