Given Jazz Age assumptions about which bands were supposed to play what, and the frequency of jazz-tinged instrumentals in Joe Candullo‘s discography, it’s remarkable that the violinist and bandleader was able to record quite a bit of music other bands were simply expected to play. The same ratio of hot to sweet music was the norm for Duke Ellington, Bennie Moten or Charlie Johnson.
Occasionally double standards come in handy. Had the Candullo band’s family trees or repertoire been different, they might just be another jazz band, or another (most likely forgotten) dance orchestra. Luckily, the “novelty” of these players’ backgrounds draws attention to real musical discoveries. The tight ensemble, instrumental variety and tense but energetic beat on “Black Bottom” reveal some distinct archaic pop:
Candullo added his own sound to several tunes that Moten, Fletcher Henderson and King Oliver also recorded. Doc Cooke‘s band, featuring the pugilistic Freddie Keppard on cornet, gave “Brown Sugar” a raucous, red-hot treatment, while Candullo’s version simmers the themes and instrumental textures into a warmer feel [follow the link to listen]:
Historian and collector Mark Berresford notes that “why and how Candullo and his men got to record such material is a mystery.” By the Swing era, the sounds of Harlem, New Orleans, Kansas City and other territories were well known in popular music. Yet saxophonist and bandleader Charlie Barnet‘s unabashed admiration for Ellington, Henderson and Count Basie would earn him a reputation as a derivative stylist, a second-rate soloist and another pop musician getting rich off of others’ creativity. Assuming that musicians can play great music without innovating, Barnet left behind plenty of upbeat, passionate music. It’s fairly obvious (and not just from the titles) where performances such as “The Duke’s Idea”
and “The Count’s Idea”
come from, but the emulation is sincere, flattering and far from an exact duplicate of its source material. Barnet was clearly a student of Coleman Hawkins’ tenor and Johnny Hodges’ alto, but does that make his own sax any less swinging and assured? He was also one of the few big band leaders to frequently incorporate the soprano saxophone. It adds a shimmering lead and tongue-in-cheek blues statements to “Pompton Turnpike”:
Thank goodness audiences and critics have moved beyond evaluation by association: just ask Elvis Presley, Jimi Hendrix, Leontyne Price, Eminem, Karmin…