Jeff Barnhart: Welcome, dear reader! This month, we are continuing our exploration of the music of New Orleans cornet player Johnny Wiggs, whose recorded output began in 1927. If you missed part one of the Wiggs story, we encourage you to check it out, as the music was simply glorious. Hal, our plan this time is to continue where we left off in the mid-1950s and include some originals by Wiggs and his coterie. What delicacies are you serving up for us?
Hal Smith: Jeff, let’s step back in time chronologically, to 1949 and the first contemporary recording of a Johnny Wiggs original composition…
“Congo Square” features the same three-beat rhythm that Lil Hardin Armstrong used in “Yes, I’m In The Barrel” from the first session by Louis’ Hot Five. However, “Congo Square” stays in D minor, where “Barrel” ended up in F major. By the way, Congo Square in New Orleans—an early gathering place for African-American slaves—is often referred to as the Birthplace of Jazz. It has also been credited with the introduction of the habanera rhythm to the United States. Johnny Wiggs’ composition was used as the theme song on the New Orleans Jazz Club’s weekly radio program, starting in 1949.
Lester Bouchon—best known as a tenor saxophonist—plays an intense clarinet solo before the time changes to 4/4. Wiggs enters, with an extreme vibrato. In part one of our Johnny Wiggs discussion (TST September, 2024) he mentioned the “Bottle men” in New Orleans playing the blues on tin horns as they came through the neighborhoods collecting junk. Could Wiggs have been thinking about the way they sounded when he played this wild solo? The great pianist Armand Hug is the next soloist, followed by another New Orleans great: trombonist Santo Pecora. Their solos are terrific, as you would expect. Next, the ensemble plays an arranged-sounding chorus, then takes the song out with bassist Tony Greco and drummer Freddie King moving things right along.
Actually, all four of the titles recorded by this group were Johnny Wiggs originals. Next is “Bourbon Street Bounce,” with a ragtime-like first strain. Pecora plays a terrific tailgate chorus, followed by Bixian Wiggs, honky-tonk piano by Hug and an outstanding clarinet chorus by Bouchon, who also wails over the last ensemble. Greco plays a nice bass bridge and King’s backbeats on the snare drum really make the band rock.
Before we talk about the next two Wiggs compositions, what do you hear on these sides. Jeff?
JB: Oh yeah!! “Congo Square” is such a sultry track! So laid back and in the pocket. The beginning is positively sinister. The repetition of three quarter notes sets up a screamingly sinewy outburst by Lester Bouchon that sent chills up my spine the first time I heard it! He seems to be bending the clarinet in half. THEN, Wiggs brings his cornet to bear, accompanied by long tones from trombone and clarinet, and growls through his choruses, each phrase punctuated by a HUGE vibrato as favored by the earlier cornetists he’d admired and learned from.
Armand Hug (one of my personal heroes) plays some haunting, plaintive trills in thirds while his left hand continues the rhythm favored by Jimmy Yancey he began using during the cornet solo. He opens up away from that in his second chorus, which leads into a single chorus by trombonist Pecora, that in turn takes us into an arranged riffing ensemble punctuated by some swinging piano statements from Hug and into a final take-no-prisoners ride out. Johnny Wiggs’ composition is really nothing more than a blues in D minor, but it’s superb!
His “Bourbon Street Bounce” is a raggy tune with a theme utilizing the “three over four” melodic trope first published in 1906 by Charles L. Johnson in his “Dill Pickles Rag.” The band starts with the final four bars of the chorus into a strutting ensemble on the 32-bar theme (AABA). The bridge ends with a surprise by pianist Armand Hug who throws in a break from another well-known raggy piece, Jelly Roll Morton’s “Grandpa’s Spells!” The next chorus begins with trombonist Santo Pecora, strongly supported by some Mortonesque piano tickling by Hug. Hal, it’s amazing to me how different Wiggs sounds on this side compared to the previous one; he was a real chameleon while retaining his own voice, wasn’t he? I love how BOTH Hug and clarinetist Bouchon ride over the first sixteen bars of the final chorus! As long as Andy prints my exclamation: “This stuff kicks ASS!” Hal, what’s next?
HS: In his liner notes, Wiggs explained the title of his “Ultra Canal”: “In the old days the city was laced with canals, and the country people used to come in on barges to sell their produce. They’d sit up on the high fence that ran alongside the canal, all dressed for town in their stiff starched clothes, celluloid collars, high-button shoes, and very broad straw hats. Betty [Mrs. Johnny Wiggs] and I always referred to people like that as ‘Ultra-Canal!’” In any case, it has a jaunty feel, with wonderful Santo Pecora playing the lead on the first strain, great front line polyphony on the second strain and an inspired piano chorus by Hug on the trio. Next, an ensemble dogfight, a delightful split chorus between Wiggs and Bouchon, a hot half-chorus solo by Pecora and the ensemble keeps the temperature boiling as they take the second half out. The various sections of this composition sound like a LOT of other New Orleans songs; too many to list here! (Jeff, maybe you can think of a couple, just as examples?)
JB: Well, Hal, referencing the intro and the first strain, the first tune that comes to mind is “High Society.” It shouldn’t be omitted that the figure Wiggs and Bouchon play behind Pecora’s lead on the first section is VERY difficult to flawlessly execute without copious training and chops. No cracks here at all! The trio uses the chord sequence that we find in literally dozens of multi-strain tunes from (with very minor variations) “High Society” to “1919 Rag,” “Buddy’s Habit,” and “South Rampart St. Parade.” Yet, Wiggs is saying something new with the descending melodic line of the trio (almost a retrograde of “High Society”). I wish they’d had more time; I’d love to have heard the earlier strains twice before leading to the key change.
HS: The “Two Wing Temple Church” in New Orleans was the inspiration for the next number. Wiggs wrote, “We used to go down there and listen to Rev. Utah Smith who sang almost identical to Louis. I was so taken with it that I named the song ‘Two Wing Temple in the Sky’.” The rubato intro hints at a standard, gospel-like song, but this could have almost come from the pen of Hoagy Carmichael. The melody and chords don’t quite go where you would expect. The ensemble and solo playing (especially Hug’s) is exemplary. There are two takes, and the second one is not only better musically; it even has a Chicago-like bridge on the last chorus, with lowered volume and an implied shuffle rhythm. I would enjoy playing this one with a band, rather than some of the more commonly-performed “gospel” numbers. What do you think, Jeff?
JB: Amen. Brother! This is a righteous romp! I definitely hear elements of Hoagy’s “Washboard Blues!” The band is tighter during the rubato section of this tune on the 2nd take, as well as into and back out of the in-tempo ensemble section. On both, Wiggs is testifying with his horn like the preacher who inspired this piece. [Side note: We can’t call this piece a “song” as there aren’t words. Although I wonder if any were ever written? Hal, did anyone in this ensemble sing? I’ve only yet heard banjoist Doc Souchon warble (last month during part I of this series), and he’s not on this track.] Besides the second take being more polished, it’s a treat to compare the solos contributed from Bouchon, Wiggs, and, as you point out, especially Armand Hug’s on either take! What he plays is simply gorgeous. He pulls back on the feel without falling behind and it’s just beautiful; very moving. Actually, having just now listened again to both takes back-to-back, I confess I prefer the first take…it has more fervor and abandon! Lead us on, Brother!
HS: I can’t recall any recordings where Johnny Wiggs sings, but he should have! Otherwise, we can agree to disagree on which is the better take, but there is a lot to like on each one.
Next is a 1954 recording of Wiggs’ “King Zulu Parade”—a tribute to one of the most anticipated events of New Orleans’ Carnival season. Doc Souchon warns the “small fry” to “stand back!” then Wiggs blows the four-note call for a drum roll-off. He could not have sent that signal to a better source: Paul Barbarin! This side matches “If Ever I Cease To Love” (which we discussed last month) for an authentic parade feel. Except for a trombone-clarinet duet, the entire performance is ensemble. Sherwood Mangiapane’s powerful brass bass adds just the right touch to the Carnival atmosphere. Pianist Jeff Riddick is only faintly audible, but Dr. Souchon can be clearly heard, playing flawless rhythm. And through it all, Paul Barbarin proves that he is the King of parade drummers! This really is an excellent march, but unfortunately it has become an obscurity in the traditional jazz repertoire. What are your thoughts on this one, Jeff?
JB: First, Hal, I’d like to declare that EVERY tune I’ve heard so far deserves to be resurrected by appropriate and able bands throughout the classic jazz community! There is a goldmine of musical riches here. “King Zulu Parade” starts with a vocal “crowd scene” effect leading to Souchon’s admonition for the “small fry” to remove themselves from the King’s path! I only heard two notes from Wiggs leading to the drum roll-off, but no matter, it’s the only way to get the parade in line! And they do march along; if you’re sitting still during this one, check that you still have a pulse!
As with a couple of the other multi-strain tunes, I wish each section were played twice; they’re too good to shoot by so quickly. And, YES, I’m grooving on the solid, punchy brass bass of Sherwood Mangiapane (who must’ve lived up to the translation of his surname—“eat bread”—to prepare for this tune!). This one track has virtually everything I love about early New Orleans Jazz: plenty of tailgate, multi-themes, both parade AND swinging drums, a forceful horn lead, slithery, oily clarinet (but with sweet tone)…and that infectious beat. Grab a parasol!
We ought to mention that the bulk of what we’re listening to is available on GHB BCD-507 for what I’m sure is by now a very reasonable price. And folks, CDs DO play on your DVD players (no video obviously) so keep buyin’ ’em!
Hal, you sent me three more of Wiggs’s originals and I’ll leap in on the first one! We’re going back slightly in time to 1951 for a tune with a STELLAR line-up! We’ve met some of the names in last month’s column and herein as well. New faces (and lips, and fingers) include Tom Brown on trombone, Harry Shields (the ODJB’s Larry Shields younger brother) on clarinet, one of my favorite New Orleans pianists, Stanley Mendelson (better known as pianist for the original Assunto Brothers’ Dukes of Dixieland), AND the one and only legendary Ray Bauduc on drums! Well, gosh, HOW can they fail?
Turns out they can’t! “Chef Menteur Joys” is simply full of surprises, one of them being that the title doesn’t reference a chef!! (Hal, I’ll leave that one to you!). As composer, Wiggs references bunches of previous tunes while saying something fresh yet again. Strain A is in Bb and is a rewriting of the classic “Jazz Me Blues;” the harmonies, form, and even melodic phrasing match perfectly—in fact, a band could try playing the first strains from both tunes at the same time and I think it would work! The interlude to the second section is identical as well. Now, the first surprise: Wiggs gives us a 32-bar trio-like march strain for the B section (still in Bb and using the changes from “Buddy’s Habit.”). It showed up early for me and I was on the edge of my seat.
The ensemble playing is relaxed, with plenty of space to allow for the polyphony to naturally unfold. A return to section A leads us to the biggest surprise: halfway through the four bar interlude we previously heard, the band switches from Bb to Eb and into a THIRD section! It’s a very lyrical 16-bar melody that takes us from ensemble to a lovely clarinet solo and then Tom Brown beginning his ride with a sly reference to “Coquette.” He’s capable but not exciting. Wiggs blows with abandon and Mendelson gets some great novelty licks in his outing, as well as some walking tenths in the left hand. The band storms back in for one ensemble out with a short ending. Hal, this one made me very happy!
HS: This is a fantastic performance, with terrific playing by everyone. It is worth the slight change to our chronological study! Not only did Wiggs write a great tune; he really made it stomp and strut with his unique cornet style. I happen to like Tom Brown’s trombone solo, and we should remember that HE brought a jazz band “up north” even before the Original Dixieland Jass Band! Harry Shields played great ensemble clarinet and a real New Orleans-style solo. Ray Bauduc sounds unusually restrained, but that allows us to hear all the beautiful syncopations in Mangiapane’s bass playing. Stanley Mendelson was a jewel on piano. And as usual, Doc Souchon’s guitar provides a steady pulse in the heart of the rhythm section. The origin of “Chef Menteur” is disputed: A Native American (Choctaw) chief with a penchant for lying or a dishonest Governor Kerelec? Either way, “Chef Menteur” roughly translates to “lying chief.”
The title of the next Wiggs original is more racy: “Gallatin Street Grind.” Gallatin Street in New Orleans was the center of vice in the decades preceding the establishment of Storyville. (Incidentally, Johnny Wiggs’ uncle, Sidney Story, was the alderman who introduced the city ordinance to limit vice to a specific Red Light District. The resulting area was called “Storyville,” to the embarrassment of Alderman Story!)
“Gallatin Street Grind,” recorded for Good Time Jazz in 1956, is a bouncy number that evolves into a real stomp. Clarinetist Raymond Burke and ex-ODJB trombonist Emile Christian sound just as great as they do on other Wiggs sessions. Souchon, Mangiapane and drummer Santo Pecoraro (cousin of the famous trombonist, retaining the original spelling of the family name) provide a solid rhythm with a nice mix of 2/4 and 4/4. There are also some non-New Orleans moments in this song: Wiggs’ very Bix-like phrasing on cornet and Armand Hug’s piano solo, which is closer geographically to Cape Girardeau, Missouri, than the Crescent City!
There are more Johnny Wiggs originals, but I think a good closer for this current discussion is “Pelican Panic”—recorded by Doc Souchon’s Lakefront Loungers in 1958. Besides Wiggs and Souchon, the personnel includes Paul Crawford, trombone; Raymond Burke, clarinet; Knocky Parker, piano; old reliable Sherwood Mangiapane on string bass and tuba and the nonpareil Paul Barbarin on drums! Any pelicans in the vicinity must have raised their eyebrows at Knocky Parker’s Joe Sullivan-like tone clusters on the introduction!
After the first ensemble the World-Class rhythm section really kicks things along behind Raymond Burke’s masterpiece of a clarinet solo and Wiggs’ red-hot muted chorus. Parker’s piano chorus must have caused exclamation points to leap from the pelicans’ heads (and possibly some of the session musicians’ too): a wild mix of Bob Zurke’s contrary-motion, Sullivan-like smashes and even a quote from the latter’s “Del Mar Rag.” Like Armand Hug’s chorus on “Gallatin Street Grind,” Parker’s piano solo has nothing to do with New Orleans—but it’s exciting!
The full ensemble plays the penultimate chorus at a reduced volume before stomping it home. Listen to that last bridge: low register clarinet, tremolos on the piano, syncopated bass and hot choked cymbal to bring the ensemble back in. What a sound! You know, Jeff, we have already mentioned the fact that Johnny Wiggs’ originals tend to be derivative. But they are still great compositions!
JB: “Gallatin Street Grind” starts with some exemplary New Orleans ensemble playing through each of the three sections (again the first two only played once, damn it!). For me, Wiggs begins his solo in a shout style and then becomes more introspective so I hear the Bix allusion you made (and I can hear that the late cornetist Jim Cullum must’ve been influenced by Wiggs as he was coming up the ranks). The piano solo is Hug on fire; he sounds more like Johnny Parker on this one with his stomping and pounding! The trombone solo is simply a clear statement of the melody, and there’s NEVER anything wrong with that. The two ensemble ride-outs beautifully build into a short, simple ending. Nice! I found an alternative version with trombonist Tom Brown listed as leader but with an almost identical line-up to “Chef Menteur Joys” (with Ray Bauduc replaced by Eddie Tchantz) and it rocks nicely along as well; Wiggs is very assertive on his solo contrasting with the side under his own name.
Hal, you covered “Pelican Panic” so throughly I’ll have little to add (although I found another take of this tune by Jim Cullum’s Jazz Band so that might support my theory that Cullum was aware of, and perhaps influenced by, Wiggs!). I’ll say that Knocky Parker really gives it a go!! He forcefully propels this entire side! Also, I loved trombonist Paul Crawford’s counterpoint during the bridge of the first chorus. Burke brings a real arc to his solo and Wiggs’s solo is supported by the amazing rhythm section, especially Souchon’s guitar! Knocky Parker has some fun quoting “Little Rock Getaway”—or “Del Mar Rag” as you indicated—during his stomping, smashing solo (he really should’ve been called “Knockout” Parker!) and we’re treated to two outchoruses by this fabulous ensemble!
I couldn’t think of better way to wrap up this discussion on the music of Johnny Wiggs than “Pelican Panic,” however we might not yet bid him “adieu” as I’m hoping you’ll agree to diving into banjoist/guitarist/vocalist Doc Souchon’s music next month, which will mean some more Johnny Wiggs!
HS: Yes, indeed. I look forward to talking with you about Doctor Edmond Souchon—the man and his music. In fact, I will contact a friend who knew “Doc” very well and may have some good information to share with us.
JB: I’m already looking forward! “See” you then!
