Kid Ory’s Creole Jazz Band: The Crescent Sessions

The blue links on song titles go to the referenced recordings on Archive.org. 

Hal Smith: Jeff, we have discussed Kid Ory’s historic recordings with Jelly Roll Morton, King Oliver, Louis Armstrong, Johnny Dodds and other greats in previous articles. I’d like to remind our readers that if they will take the time to create a password, they can access the online version of The Syncopated Times—which includes clickable links to all the recordings we have mentioned.

Jeff Barnhart: YES, Hal, our readers will find it very rewarding to listen to the musical selections we discuss; without that aural stimulus and support of our words, some it is probably gobbledygook!

HS: In our last installment, we covered the 1944 broadcasts that Kid Ory’s Creole Jazz Band made for Orson Welles. 1944 was also the year that Ory’s new band made its first commercial recordings. Those sides were recorded in Los Angeles on Aug. 3 for the Crescent label, owned by the Turkish-born jazz advocate Neshui Ertegun and Marili Morden, proprietress of the Jazz Man Record Shop in Hollywood. This first session included jazz standard by Bennie Moten, two originals by Ory and a third for which he claimed composer credit (“Get Out Of Here”). There were two changes to the group that played on the Orson Welles broadcasts: the wonderful New Orleans clarinetist Omer Simeon replaced Wade Whaley and another Louisianan, Alton Redd, played drums.

The songs on the recording session are “Get Out Of Here,” “South,” “Blues For Jimmie” and “Creole Song.” What are your thoughts on this premiere Revival-era recording by Ory’s band?

JB: The first thing that’s obvious to me is that the band swings with abandon, perhaps in the safety of the recording studio they felt they could “let loose!” Live broadcasts (like they did for Welles) bring some level of stress. Moreover, they went from being watched over by a very sympathetic and enthusiastic Orson Welles to an equally supportive ally in Neshui Ertegun.

“Get Out of Here” starts with a 8-bar section in Bb, played twice through, which gives way to a second 16-bar theme in Eb, played twice. Back to the first section played twice and once more through the second. All of this is ensemble leading into the only solo, and that’s by Omer Simeon. His two choruses of hot clarinet are beautifully supported by Buster Wilson’s stomping barrelhouse piano and Ed Garland’s driving bass. The three outchoruses are propelled by Alton Redd’s hard backbeat on the snare and just don’t let up! It’s a very abrupt ending, but that’s a minor gripe.

Hal, you and I listened Bennie Moten’s original version of “South,” and this version couldn’t be more different. It’s loose and swinging, while incorporating some nice tight harmonies for the horns on the verse (unusually played twice). The 16-bar chorus features one-bar breaks on bars 2, 4, 6. a two-bar break on bars 7-8, and more one-bar breaks on bars 10 and 12. Omer Simeon takes the breaks on the first chorus, while Ory takes the honors on the second time through. Simeon is sinewy, Ory is smeary (one of his signature phrases fills the two-bar break, and it’s delightful!!

Verse played again twice (on the second one Ory plays an almost operatic countermelody!) leads us to more choruses with breaks, this time drums take the one bar breaks, and bass gets the single two-bar break in the middle. The big surprise is the band finishing the tune by playing the verse a final time, and out! Two things I noticed is that Ed Garland played two-beat throughout this side, and the tune crept up in speed as it went along. Overall, this is an iconoclastic version of a trad jazz standard that it would be fun to hear current bands replicate!

We first encountered “Blues For Jimmie” during one of Orson Welles’ broadcasts, played by the band for their fallen friend Jimmie Noone on April 19, 1944. Ory liked playing this blues using the “Tin Roof Blues” so much that he incorporated it into the band’s repertoire, hence its inclusion at this recording session four months. Nice press rolls by Alton Redd accompany the solos: Ory gets the first, followed by a muted but torrid Carey solo. Carey switches mutes to lead the band through the final two choruses. Another emotional rendering of tune that no doubt brought memories of the great Jimmie Noone to these musicians as they played their hearts out.

I had to listen to “Creole Song” twice before I decided I liked it. Maybe that’s become I’m a chord player, and there are only two of them in this tune!! However, the groove grabbed me. Highlights for me are Ory’s first recorded vocal (am I right here, Hal?)—I only wish I knew what he was singing in his Creole French!—and the intensity the band builds to on the outchoruses!

Hal, before you lead us into the next session the band recorded, I hope you have some observations to add!

HS: You know, I have heard more than one version of “Creole Song” where the trumpeter was unsure which part he was supposed to play! I actually found a rough translation of the lyrics. As I recall, the main theme is basically “Madam two-foot, you’re no good!”

Omer Simeon’s solo on “Get Out Of Here” is the highlight of the whole session, as far as I’m concerned. Everyone plays great, but the band sounds even better on the subsequent dates. Let’s move on to one of them: Feb. 12, 1945; again in Los Angeles, but with Joe Darensbourg replacing Omer Simeon. This session was recorded for Seattle Jazz Fan “Doc” Exner and the four sides were released on his vanity label. These are a little difficult to find, as there were not a lot of copies pressed and the records also did not sell very well. “Dippermouth Blues” begins right on the first chorus, without the traditional diminished-chord intro. Mutt Carey and Ory are red-hot and the rhythm section really kicks things along. This was the first side I heard where Buster Wilson took a piano solo, and you sure can tell who mentored him!

“Savoy Blues” is taken at a slower tempo than Ory used on later recordings of the same song. Darensbourg plays a lovely low-register solo. Buster Wilson follows with more of Mr. Jelly and Papa Mutt plays a haunting muted solo before Ory’s traditional chorus with the two-bar glissando. The session produced the first of many commercial recordings of “High Society” by the Ory band and, more interestingly, a strutting version of “Ballin’ The Jack” with a fantastic vocal by Bud Scott, excellent short solos by Ory and Wilson and hot muted lead by Papa Mutt. The two-bar riff on the choruses following the last vocal stayed in the routine through the 1950s.

What stands out for you on this session, Jeff?

JB: Darensbourg is a sweeter player than Simeon and Ory and Carey rise to the occasion keeping the intensity going. And, YES, Buster Wilson is paying homage to the great Jelly Roll Morton; coming out of his first chorus his phrasing makes you worried he got turned around and then it’s him turning you around!! Spellbinding stuff, Hal! Every time the band played “Dippermouth Blues,” it must’ve brought memories back to guitarist Bud Scott, who had a stint on banjo with King Oliver in 1926.

I’ve always preferred “Savoy Blues” at the tempo performed here. It has a laid-back feel a quicker tempo doesn’t allow. As you point out, my friend, Darensbourg continues his sweet playing; it’s like a sip of Southern Comfort. The quiet figures he plays behind Ory’s solo chorus leading into the glissando beautifully accents the Kid’s figures. I only wish they weren’t shackled to a 3-minute recording time as another chorus or two would’ve been the perfect dessert to the feast.

Darensbourg starts getting hot in “High Society,” although he surprised me by playing the melody to the trio with Ory’s backing (trombone traditionally taking that chorus with clarinet doing the noodling). During that legato rendering of the famous melody, Buster Wilson takes the opportunity to provide some strutting Jelly-like fills. The fanfare leads us into the famous clarinet chorus, which Darensbourg ably executes with Ory now playing the melody softly behind him. Again, the timing restrictions allow for only one outchorus, but the band makes the most of it!

I loved hearing Bud Scott sing the ragtime-era tune “Ballin’ The Jack!” And while I love the riff you mention, I wonder why we have to hear it four times (yes there RE four outchoruses, and the repetitive riff played on the middle break of all four does little to diminish the building excitement. I wonder if “Doc” Exner had a hand in choosing the repertoire since it was his boutique record label?

Hal, I’m glad you mentioned how rare these sides are; that comment leads me to a question. Expecting the Exner how did Ory’s records for Crescent (and as we’ll see next, Decca) sell in general? While only a few hundred miles away from San Francisco where the Lu Watters’ Yerba Buena Jazz Band was holding sway, the music coming from these bands couldn’t be more disparate—although, I must say I love both styles equally. Was the general public buying these recordings holding Ory’s outfit as the representation of what had been going on in New Orleans in the early days? I’d love your thoughts on this before we move to the next session.

HS: The Exner records didn’t have good distribution, but the Crescent sides did. They were subsequently reissued on Jazz Man and finally on Good Time Jazz. Cary Ginell’s book Hot Jazz For Sale is the best source for information on the origins of Crescent, Jazz Man and Good Time Jazz. The latter two labels also made recordings of Bunk Johnson and George Lewis available to listeners both here and abroad.

Next in our chronology are Ory’s recordings for yet another label: Decca. These sides were recorded in Los Angeles in March, 1945. Once again, we are treated to performances of “High Society” and “Muskrat Ramble” as well as a vocal duet between Kid Ory and his sister-in-law Cecile on “Blanche Touquatoux” and a lovely, relaxed but HOT version of “All The Girls Go Crazy”—which includes my all-time favorite piano solo by Buster Wilson.

The personnel on this date is the same as on the Exner sides, with one significant change: Minor “Ram” Hall on drums. “Ram” laid down a magic carpet of press rolls, perfectly-timed cymbal crashes, a pulsing beat on the bass drum and an unusual approach to the ride cymbal with left and right hands playing the same beat. Fortunately, he made numerous recordings, broadcasts and television appearances with the Ory band so that his playing can almost always be heard clearly. Minor Hall’s drumming—together with Ed “Tudie” Garland’s wonderful bass playing—is a cornerstone of the “Ory Sound” from 1945-1955.

For my taste, “All The Girls” is the best track from this session…wonderful tempo, great dynamics, the aforementioned piano solo, interplay between (muted) Carey and Ory on the last ensemble—and that rhythm section!!! Do you agree?

JB: I sure do, my friend! Most current bands that play this song take it at tempo-de-polka and this is stompy, and right in the pocket! The beautiful interplay between the horns stepping forward to take the lead while the others continue playing exciting backup. Really this is entirely full ensemble excluding Buster Wilson’s wonderful solo. “High Society” has a few changes from the previous version, including a nice bass break during the first trio section, and some more bouncing piano accompaniment. AND, during Darensbourg’s clarinet solo, this time both Mutt Carey (playing melody) and Ory back him.

On the final chorus, Ory takes melody allowing Carey to improvise behind him. I think I like this version even better then the other one! “Muskrat Ramble” is always welcome to my ears! Great solos for trombone, piano and clarinet lead to the famous “roar” chorus and two more ensembles closing with Ory’s famous tag. Whew!

“Blanche Touquatoux” delights as we hear that hypnotic part-bamboula part-something else rhythm that continues through Ory’s and Cecile’s singing their creole patois, and then Minor Hall leads the band into a strong swing feel to ride out the side. Hal, you said things would improve from the first (already just fine) Crescent sides, and bro, you don’t lie! What’s next?

HS: We’re going with Crescent again, for a session recorded Aug. 5, 1945 with the same personnel as the previous four sides, except the inestimable Omer Simeon is back on clarinet. First up is an exciting version of “Panama” with Papa Mutt pointing the way through the various strains as Ory and Simeon dance around the lead. Ory in particular sounds inspired here. Simeon’s three solo choruses are delightful, with Carey and Ory “goosing” the clarinetist along. By the way, when Turk Murphy’s band played “Panama,” Turk and whoever was on cornet would play this same phrase behind the clarinet solos. He definitely picked that idea up from hearing Ory!

Bud Scott is the featured vocalist on “Under The Bamboo Tree,” a 1902 composition by Cole and Johnson. Just think—the youngest musician in the Ory band was a baby when this was written! I have always loved this performance; the perfect ensemble playing, Minor Hall’s snare drum accents, Buster’s Morton fills and that marvelous vocal! “Careless Love” has such a relaxed feel, with “Tudie” playing some great syncopated figures behind the ensemble and the wonderful solos by Simeon, Ory and Carey. Bud Scott and Ram Hall really locked in to keep the rhythm moving without sounding forced and Carey uses some riffs from “Savoy Blues” very effectively on the last chorus.

The final number is Ory’s “Do What Ory Say” with a spirited vocal by the composer and responses by the band (Bud Scott’s voice is easily recognizable). Simeon’s clarinet solo hits a bullseye (again). The syncopated bass phrases, Morton piano licks, and the steady 4/4 guitar and drums make this side swing like crazy. The phrase that Papa Mutt plays several times following the last vocal is one that I heard Papa Ray Ronnei play in person—many times. One of my favorite licks! There are live and commercial recordings by Ory of this same song at a slower tempo, but it works wherever it is kicked off!

What appeals to you from this group of recordings, Jeff?

JB: I’d have an easier time listing what doesn’t appeal to me…that would be nothing!! Hal, we’ve covered the tune “Panama” in its own edition of our column, but this performance didn’t make that article, so it’s great to revisit it here! Again, with a 3-minute time limit, the tempo is brisk, but we enjoy two times each through the A-section, although they skip the B-section so we can hear the lovely C-section twice as well. On the fourth section, Ory has a terrific repeated phrase.

I’m glad you mentioned Turk using the riff utilized by Ory and Carey behind Simeon’s clarinet solo; that’s where I first heard it! I’ll just mention two further tings about this version of the old New Orleans favorite: Simeon is the only soloist, so we enjoy ensemble throughout this tune, and rather than settling on the famous familiar riff that usually ends “Panama,” the band keeps it loose and this version is better for that!

Except for Vaudeville star Marie Cahill’s version from 1917, and a handful of others that same year by the likes of Arthur Collins and Macdonough and Bieling, I can’t find another recording of this tune until this one. I wonder if Ory was inspired to record it because Judy Garland and Margaret O’Brien sang it the year before in the Hollywood musical Meet Me In St. Louis. Regardless of why it was chosen, the band plays it hot and sweet, and you perfectly described the highlights, Hal.

Truly, this is one of the nicest versions of “Careless Love” I’ve ever heard. It was already overplayed when Ory and Co. got to it, but they play it with sincere emotion. Simeon’s solo sounds as if it was worked out beforehand; it’s SO cohesive and is really an alternate composition over the chords. Ory plays the melody for the first half of his solo (NEVER a bad idea) and then tailgates the rest. I find Mutt Carey’s solo to tell the most meaningful story of the lot. As you, I also love how Mutt quotes the famous phrases Ory played on “Savoy Blues” on the final chorus of this ancient blues. Spectacular!

When you hear other bands play “Do What Ory Say,” quite often you think he might be saying “Stop massacring my tune!” This is one of these tunes best heard in its original form by the original group, although it itself is a redo of Lil Hardin Armstrong’s 1926 tune “Gatemouth.” (Ory played on the original record!) I’m not sure if it’s the simple chord structure or the iconic phrases that sound so hackneyed when merely replicated by lesser bands, but I’d not been able to groove on this tune until you reintroduced the original to me, Hal! The rhythm section is just about perfectly locked in! With that cushion, the horns achieve a buoyancy I’ve not heard from any other ensemble playing this tune. The band is having so much fun with the vocal as well (again, I’ve heard current bands aim for that joie de vivre and miss it by a kilomètre).

Hal, I’m enjoying our exploration of Ory’s pre-Good Time Jazz recordings so much, I’d like to continue with the Ory story next month. Are you up for that?

HS: Absolutely! The last eight Crescent recordings from 1945 are some of the very best sides by the Ory ensemble. And we will hear yet another veteran clarinetist who brought his own distinctive sound to the Creole Jazz Band. Can’t wait to write about these!