Thank you for visiting this blog, where I write about my favorite music: jazz and hot dance from the pre-World War II era with occasional posts about European Baroque and early Classical music. I’ve also written for All About Jazz, Boston Classical Review, The Boston Musical Intelligencer, Early Music America, The Syncopated Times, and VJM.
I’m not a professional musician or scholar. This is a personal blog based on my subjective opinions and amateur research.
Hopefully, this website can attract new listeners, intrigue experienced ones, and encourage scholars and professional writers to investigate these topics in greater detail. Above all, this blog is here to encourage discussion and shed light on the music.
Older posts may not reflect my current viewpoint. Thanks for reading!
The Pop of Yestercentury 
Hello,
I am working on a jazz documentary and I would like to contact you via email directly.
Thank you,
Valeria Rios
rios.orangethenblue@gmail.com
[…] Cool in Your Ears, Not Cold in the Ground Skip to content HomeAnd We’re Back…About ← India’s Jazz Age, for Your […]
– BOB ZURKE INSPIRES THEOLONIOUS MONK –
It has been well documented that Monk was inspired by Mary Lou William’s “Walkin’ And Swingin'” – “Rhythm-a-ning” – and John Kirby’s “Pastel Blue” – “Blue Monk”.
Thanks to your blog, this morning, I discovered that Bob Zurke’s performance of “Tea For Two”, with the Bob Crosby Band in 1938, is the genesis of Monk’s still-unique version of the same tune. Recorded in New York, March 10, 1938 for Decca.
Zurke’s spectacular reharmonization begins at 2:39 –
In Chicago, on January 18, 1940, Zurke returned to Youman’s theme, recording it with his own big band – Bob Zurke and his Delta Rhythm Band. At 2:17, there begins an even more extensive, i.e. full chorus reharmonization. Monk could have heard this version as it was issued on Victor & was probably widely distributed.
The 1940 version has been reissued on HEP CD – and is available on iTunes.
I would love to hear the version Squirrel Ashcraft recorded in Chicago, 1938 – a duo of Zurke and Joe Rushton on clarinet.
Zurke was also mentioned “Jelly Roll” Morton as a favorite contemporary player. As told to historian Alan Lomax on May 23, 1938, “There’s only a very few jazz pianists, if there’s any, that as I state today. So far as the present time, musicians as pianists, I don’t know of but only one that have a tendency to be on the right track, and that’s Bob Zurke of Bob Crosby Band. Far as the rest of ’em, all I can see is ragtime pianists in a very fine form.””
Bob Zurke died on February 16, 1944, just weeks after his 32nd birthday.
Cheers,
Andrew
I’ve been looking for that duo recording too, also to hear Rushton on clarinet. The line from Zurke to Monk, wow…
Fascinating connections, Andrew! Thanks for sharing them here, and for reading!
I’ve got an lp of the 30s Ashcroft home recordings, dont remember what
‘s on it but I can don my miner’s helmet & do a basement search when I get back to town
I’m there!
Better late than never and with much thanks to cornetist Scott Black, here’s that Zurke/Rushton duet!
https://audioboom.com/boos/3074610-bob-zurke-joe-rushton-coquette-take-2
Hello Andrew–Lewis Porter here, jazz historian (and acquaintance of Andrew Homzy et al)–getting back to that Tea for Two by Zurke and Rushton, Scott Black only posted Coquette–will we ever get to hear that Tea for Two? THANKS
Hello Andrew! You posted a great photo of bass clarinet In your post from Jun 24 2013 “Jazz Bass Clarinet Before Dolphy”. I was wondering if it would be ok to use it in a e-book that I’m editing. It’s a music education book for elementary students. Let me know!
Go right ahead. Thanks for asking and good luck with the ebook.
Cheers! Will give credit to you in photo details.
This blog makes me happy. I love the tone and sincerity of your writing. I too am a non-musician, non-professional whose taste-for and interest-in early jazz preceeds my knowledge of the form, and your blog has served as a guide that I can relate to, not as an intimidating know-it-all encyclopedia. Thank you.
I was saddened last year when you wrote that you were giving it up. I foolishly never came back to check it after that and today I find that there is a lot of new material for me to dig into. Oh joy! I need to pace myself. Keep up the good work.
I am embarrassed that after receiving compliments for my writing that all I can say is “wow.” Thank you so much for reading, for reaching out and above all for such kind words. It is honestly so very rewarding to know that this blog has been helpful.
How serendipitous to have stumbled upon your article about Larry Binyon, AND that today, of all days, I should find it on his birthday! Larry was my father-in-law!
In the sixties I accompanied him to many recording sessions when he was an agent for the Musicians Union Local 47. It was a wonderful treat to tag along with him for dinner at Musso and Frank Grille before a session. He possessed a wonderful sense of humor and I loved hearing his stories about “the good old days” in Chicago and new York.
Sadly, I heard him play the flute only once. I walked in as he was sitting on the bed playing a very sweet tune for his ill, 8 year old step-daughter. I was delighted to have heard at least 45 seconds before he discovered that I was listening. I asked him to please continue…but he declined. He always called me “Daughter”…and I recall him saying, “Daughter, there is nothing sadder than an old cat who has lost his lip.” It made me sad…
Shortly thereafter he developed leukemia, lung cancer, and had suffered a mild heart attack, his third marriage ended and came to live with us. Those were bittersweet days, filled with his wonderful stories, laughter and tears. I loved him dearly and after my marriage to his son, Claude, ended, I continued my relationship with him.
I loved reading your article and I’m thrilled that you have remembered him in your article for the talented guy he was. Thank you! He will live forever in my heart…
Elena Binyon Kern
art4elena@aol.com
Thank you so much for writing and sharing these memories of your father-in-law! Mr. Binyon’s versatility and sound/style on multiple instruments has impressed me for a long time and it was fascinating to research his life and music. It is a pleasure to hear that you enjoyed this article and I really appreciate your providing further insights into this remarkable musician.
I’m navigating down the Golden Gate road and find myself here. I have struck gold! I cannot listen or read fast enough.
Thank you so much for taking the time to share such kind words! I’m very glad that you’re enjoying this website. All the best to you, Bruce.
In this and future articles about the ragtime-to-jazz transition, you may want to include the two 1912-1913 discs that Gus Haenschen made with the drummer in his native St. Louis. Both recordings were discussed by Allen Lowe in “That Devilin’ Tune,” and are now available on YouTube. Search “Sunset Medley” and “Country Club Medley,” in which Haenschen plays a song he wrote which later became “Underneath the Japanese Moon” (with lyrics by Gene Buck) in the Ziegfeld Follies of 1914. I was fortunate to know Gus Haenschen quite well, and I know that he recorded the two medleys before 1914, not in 1916 as some sources have claimed.
I’m actually going to copy your comment and add it to the comments on the rag-a-jazz article on this website. Thank you for commenting and sharing ideas for further listening/understanding.
I’m quite interested in that session – do you happen to know if they were cut in St. Louis of NYC? I’m trying to collate all sides from the session – Rust (1974) lists only Maple Leaf Rag (M61070) and Admiration – I recently acquired Admiration (M 61071) and Honky Tonky (M61068), the Chris Smith tune, which I believe is published closer to 1916. The titles I have feature a larger group with banjos/tipples, piano & trombone.
Hello! New here and just found your wonderful blog. What a wealth of information! I actually discovered while searching for information on my grandfather William S. Fletcher who played trombone and sang with the Jean Goldkette Orchestra and the Hotel Tuller Orchestra in Detroit. He also played in the pit band for the Fox Theatre and knew the Dorsey brothers. We don’t have much information about his career and would love any information and pictures you might have. If you look, he sings lead on a couple of Goldkette’s records!
Hello, Carol! Thank you so much for reaching out to me and for your kind words about my blog. Unfortunately, I don’t have any information or materials about your grandfather but I recommend that you post on Albert Haim’s Bixography forum:
http://www.network54.com/Forum/27140
Dr. Haim’s website is an incredible repository for information about Bix Beiderbecke and his associates (including Jean Goldkette’s band) as well as a virtual meeting space for listeners, researchers and collectors around the world to share their knowledge. I think that this forum is a great place for your own research. Good luck!
I enjoyed seeing our Jazz Consortium Big Band sax section photo in your interesting 2013 post about Big Band sax sections! Keep up the good work! —Roy Vombrack
Thanks so much for writing. It’s a great photo!
Hi Andrew. I’m looking for any information on Joe Herlihy’s band, specifically the involvement of Johnny Williams the drummer. Your blog post was a great find, and I’m wondering if you have any other detailed accounts or documentation, or could point me in the right direction. Thank you!
Hi, Tim. Thanks for reading and the kind words. Unfortunately, I don’t know much about Williams (beyond what can be found in discographies). The Bixography forum does have a few items pertaining to him:
https://www.tapatalk.com/groups/bixography/search.php?st=0&sk=t&sd=d&sr=posts&keywords=johnny+williams&start=20
You might post a query for the forum’s many knowledgeable commenters. I’ll also ask around. I’m sorry I couldn’t be more helpful. Best of luck with your research!
Thanks! That is helpful.