Max Miller is a long-forgotten Chicago piano man (and vibraphoneman) from the 1940s and 50s. Virtually everything he ever recorded and released came out in the 50s, and he wasn’t particularly prolific. Besides one album for Columbia in 1951, Piano Moods CL-6175, he released a handful of interesting and adventurous singles on a couple tiny Chicago 78rpm labels: L.I.F.E. and Gold Seal. And those singles sold very few copies, so finding any of his sides is rare. I have four of his L.I.F.E. 78 rpm singles and they all show a musician influenced by the jazz sounds of players like Dizzy Gillespie and Sidney Bechet, and also classical music giants, like Stravinsky and Bartok. He had a long career and played with the likes of Bechet, Coleman Hawkins, Chubby Jackson, and even played vibes with Benny Goodman for a spell.

Miller lived a long, interesting life, and eventually even opened up his own music club in 1956, “Max Miller’s Scene”, on the 2100 N. Clark block of Lincoln Park, on the exact site of the 1929 Valentine’s Day Massacre!

“(Jump for Al Benson) Lumbar Ganglion Jump” is a quartet recording from 1950 with his regular band during that time, and boy do they pop out a doozy of jazz jump:

Miller, piano

Earl Backus, guitar

Remo Belli (founder of Remo drum heads), drums

George Stahl, bass

 

 

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This is a Thai luk thung 78 I found in a flea market in Chiang Mai. Luk thung, which translates to “children of the field”, is the name of a folk/country genre of music that developed in the central rural areas of Thailand after WWII. The sound can be described as traditional Siamese/Thai elements combined with Western musical instruments (mostly brass and electronic) and styles emerging in 1940s and 50s America.

I had the great luck of having my friend Oraboon “Taeng” Imchai Bulut from Doisaket, Thailand, translate the writing on this very rare disc. So, the artist is called Fascination and the song is “Love You Girl (Thai folk dance); and it is catalogue number R.H. 2001 on the Hong Barge label, which is one of hundreds of tiny, obscure labels operating at the time. I am guessing this is from around 1959. That’s about all know at this time, unfortunately, wish I knew more…

“Love You, Girl” is a beautiful melody sung in a strong tenor voice on top of a simple arrangement of accordion and percussion. The moody, serpentine slow groove and harmonic flutters from the accordion are all that’s needed to float the lover’s passionate incantation.

 

 

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Pablo Rodriguez Lozada, better known as “Tito” Rodriguez (“tito” meaning “uncle” and sometimes “giant” in Puerto Rican Spanish) was a massively popular bandleader, singer and arranger in the 1950s when the mambo and cha-cha craze was at its height in the U.S. During this era he was just about as renowned and requested as the great Tito Puente, another legendary timbalero, who was also Rodriguez’s rival in the salsa and Latin scenes of the 50s and 60s.

This is the other side of Tito Rodriguez, “Desert Dance” (on TICO #10-035A) from the last post, and it is a beautiful, medium-burning mambo called “Donde Estabas Tu?”, “where were you?” in Spanish.

 

 

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I can’t find any information whatsoever about this duo, Jack and Betty, who seem to be lost to history at this point. And it also seems like this is their only record: TEEN 107A, “Satisfied Mind” and 107B, “This Is My Story”.

From 1955, “Satisfied Mind” made a moderate-sized splash as a popular jukebox rendition of this Red Hayes & Jack Rhodes C+W classic which has been covered many times since it was first recorded that same year. Even Jeff Buckley, the 1990s NYC songbird who tragically died way too young at 30yrs old, did a cover of this tune, which is really amazing, and it is available on the Columbia Records release “Live at Sin-E” (Legacy Edition.) This, however, is my favorite take of this beautiful secular hymn. Jack plays the rhythm guitar and Betty plays the organ, and they sing in harmony virtually the whole time. There is also an unknown electric guitar player plucking some great sounding lead lines, wish I knew who that was… The simplicity of the arrangement, the passion in the playing and the singing, and just one hell of a lyric, make for a powerful, haunting piece of Americana.

 

 

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A legendary side man saxophonist for the likes of Aretha Franklin, Freddie Hubbard, Carl Perkins and Gladys Knights and the Pips, Jimmy Coe already had a previous recording career in the 40s and 50s and got his start playing in Jay McShann’s band sharing seats with the everlasting Charlie “Bird” Parker.

“The Jet,” on the small mid-50s Chicago label States Recording Company, is a great little groovy B3 Hammond organ and saxophone jammy-jam, and a relentless 2-and-a-half-minute flight of fancy. This virtually unknown number makes its way into many of my 78s set out in the wilds of nighttime party gigs and clubs.

Happy New Year 2019!

 

Jimmie Coe - The Jet

This version of Jelly Roll Morton’s classic “Wild Man Blues” by jazz clarinetist Johnny Dodds (1892-1940) and his Chicago Boys is my absolute favorite ever; its melody is a New Orleans blues if ever there was one, bub. He recorded this tune several times in the course of his career, all different takes with different approaches to the solos and the arrangements. This one is from a 1938 New York session and features the New Orleans legend towards the very end of his life still playing with so much energy and so much feeling for a song which was “a hit” for him and which he presumably played very often until his premature end. He died in 1940 leaving a tremendous legacy of music and recordings, and this is one of those songs which I will always love and never forget.

Thank you, Mr. Dodds, for this little heart & joy that you left the world.

Charlie Shavers (tpt) ; Johnny Dodds (clt) ; Lil Armstrong
(p) ; Teddy Bunn (g) ; John Kirby (bs) ; O’Neil Spencer (dr)

 

 

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