Deep Henderson
Waldo's Gutbucket Syncopators
Hot Jazz Vol. One
Featuring Roy Tate, Bob Butters, Frank Powers, Terry Waldo, Jim Marshall, Blaine "Kid" Garver and Tom Hyer
Engineer: Bill Finan
G.H.B. Records Stereophonic GHB-55
From the back cover: Many authorities in the field of classic jazz agree that there are certain factors that produced and sustained the fine performances found in the bands of Jelly Roll Morton, King Oliver, Bennie Moten, etc. These factors are: arrangements that assured the full use of harmony, improvised solos by highly competent musicians, and a relaxation that could only come from an understanding of and a feeling for the style. This recording combines all of these.
It is certainly not by chance that WALDO'S GUTBUCKET SYNCOPATORS made this record, or that it was recorded in the southwestern Ohio area. This locale has had a long history of musical excellence which is further exemplified here. The region has made important contributions to the history of jazz, but it was during the New Orleans revival of the forties and fifties that the Cincinnati-Dayton area attracted the most attention.
Possibly the first of the revival bands playing in the area was the DIXIELAND RHYTHM KINGS, sporting musicians such as Carl Halen, Gene Mayl, and Tom Hyer. It was during this early period that the famous JAZZ DISC and KNICKERBOCKERS sides were made (now available on GHB-7), Carl Halen organized a new band, the GIN BOTTLE SEVEN PLUS TWO, later called THE GIN BOTTLE SEVEN. This band played regularly in Cincinnati and Dayton, while the legendary Sheik Coyle and Pat Patterson performed in the Hamilton, Ohio area.
The musical climate created by these local bands attracted George Lewis to perform in many of the universities in this region. His attention to southwestern Ohio possibly prompted the formation of later jazz bands, including the CALHOUN STREET STOMPERS in which Frank Powers played. In 1957 the QUEEN CITY JAZZ BAND was formed, and by the fall of 1958 it included Roy Tate on trumpet, Frank Powers on clarinèt. Some time later Tom Hyer joined with his drums. It was this aggregation, with Frank Powers writing arrangements, that made the QCJB recording for the short-lived TOAD label.
When Frank Powers was working with the DRK, Terry Waldo happened on the scene. Terry had organized and led THE NEW MAHOGANY HALL STOMPERS, a seven-piece traditional jazz band with its home base in Columbus, Ohio. By early 1970, Terry, Roy Tate, Frank Powers, and Tom Hyer felt that there was an opportunity to form a band to play traditional jazz as it should be played. The band played its first job in Dayton, at a Village Inn Pizza Parlor. Terry had started on tuba but switched to piano when Fred Gary, the original pianist, left the band. Steve Ley of the Purdue University SALTY DOGS played trombone and brought with him Jim Marshall on banjo. The job lasted six weeks and the band then moved to Columbus, Ohio. It was here that Bob Butters replaced Steve Ley on trombone. It was during this period on April 19, 1970, that this album was recorded.
The best way to express the raison d'etre for the album is to quote Frank Powers: "This band, this recording, is in the nature of a crusade to prove something about what traditional jazz might be. It is directed to the attention of intelligent people who regard jazz as an art form. Most of us are tired of commercial dixieland and are disturbed by the narrow limits (musically) of current pop music. I believe that traditional jazz musicians have an insight that gives their view of contemporary popular culture a perspective."
THE MUSICIANS
Ralph Emerson Waldo, III (Terry), piano and leader, displays a versatility as varied as his talents. His primary musical interest is classic ragtime piano, but he also plays tuba, banjo, and string bass. Terry provided the impetus and enthusiasm that has sparked this recording. His single-minded dedieation transmitted itself to other members of the band. In addition to WALDO'S GUTBUCKET SYNCOPATORS, Terry has organized THE COLUMBUS RAGTIMERS, a three-piece ragtime group performing in the Columbus, Ohio area and the NEW MAHOGANY HALL STOMPERS, a seven- piece traditional jazz band which played in central Ohio from 1965 to 1968. He has often performed with Gene Mayl's DIXIELAND RHYTHM KINGS since 1963, and on occasion he has played with THE BOLL WEEVILS, TURK MURPHY'S JAZZ BAND, and various RED GARTER BANJO BANDS.
Frank Powers, clarinet and arranger, started on piano in a high school band THE CIRCLE CITY BLUE BLOWERS, in his hometown of Akron, Ohio. Later, after finding a $2.00 Albert system clarinet in a junk shop, he switched to clarinet.
Frank is well known as a serious record collector and a student of jazz, possessing a large collection of jazz-oriented music. Much of the good taste in the sound and selection of material of the SYNCOPATORS can be attributed to him. He has played with THE GIN BOTTLE SEVEN, the DIXIELAND RHYTHM KINGS, the BOLL WEEVIL JAZZ BAND, and the QUEEN CITY JAZZ BAND. He has recorded with the QUEEN CITY JAZZ BAND, the BOLL WEEVIL JAZZ BAND, and with George Brunis, supported by one of Gene Mayl's groups. Frank arranged for the Queen City album, as well as writing all the band arrangements used in this re- cording.
Roy Tate, Jr., traded his bicycle for a trumpet at the age of fourteen and has been playing ever since. His style certainly gives the band much of its personality. Few players display the emotional impact of his performances. It is apparent that his style profoundly influences the musical direction of the group. Roy has played with the CALHOUN STREET STOMPERS, Gene Mayl's DIXIELAND RHYTHM KINGS, and has recorded with the QUEEN CITY JAZZ BAND.
Bob Butters had his own band during the college years, the DINNER MUSIC SOCIETY OF UPPER BEACON STREET. He also played occa- sionally with Walt Gifford's band at Harvard, THE CRIMSON STOMPERS. Between 1947 and 1951 he became an informal member of the house band at the Old Savoy Cafe in Boston. Here he spent time in the musical company of artists like Wild Bill Davison, Henry "Red" Allen, Jimmy McPartland, Phil Napoleon, Omer Simeon, Bud Freeman, etc. From 1951 to 1958 Bob played and recorded with the GIN BOTTLE SEVEN. Frank Powers first heard him with this band at the Sinton Hotel Mayfair Room in 1954. Since that time Bob has performed with Gene Mayl's DIXIELAND RHYTHM KINGS and Eddie Bayard's BOURBON STREET FIVE.
Jim Marshall began playing tenor banjo as well as five-string in 1959. He played with a local Indianapolis group and later with the Purdue University SALTY DOGS, then led by trombonist Steve Ley. (Steve brought Jim to the attention of WALDO'S GUTBUCKET SYNCOPATORS.) Jim has worked with the BOLL WEEVIL JAZZ BAND in the Ragtime Festival in St. Louis.
Blaine "Kid" Garver, tuba, the youngest member of the Syncopators (age 19), attends Ohio State University majoring in music. He has been performing professionally since the summer of 1969, occasionally filling in on string bass and baritone. Blaine also plays in a three-piece polka band THE POLKA DOTS, currently appearing in the Columbus area. WALDO'S GUTBUCKET SYNCOPATORS has found a convert in Blaine, who says that his " ambition is to be a good all-round tuba player and never give up traditional jazz."
Tom Hyer, drums, has been playing professionally since 1946. He has played with virtually every band in the central Ohio area. In 1948 Tom joined the DIXIELAND RHYTHM KINGS and has continued to work with later Gene Mayl bands. Starting in 1953, he joined the GIN BOTTLE SEVEN, playing with them at various times in the ensuing years. He played with Frank Powers in the LOSANTIVILLE RHYTHM MAKERS in 1961 and with the QUEEN CITY JAZZ BAND in 1962. Tom has recorded with the GIN BOTTLE SEVEN, the DIXIELAND RHYTHM KINGS, the QUEEN CITY JAZZ BAND, and the BOLL WEEVIL JAZZ BAND.
THE MUSIC
Much of the freshness and vitality of many early classic jazz performances can be attributed to the selection of musical material. WALDO'S GUTBUCKET SYNCOPATORS present here a collection of tunes all of which were written, and many recorded, before 1926. Each tune was selected because it imparts a feeling of the twenties and provides ample opportunity for solo and ensemble playing. These are not recreations of earlier performances but are original interpretations that wed talent and imagination to produce all of the excitement of the classic presentations.
HERE COMES THE HOT TAMALE MAN, written circa 1925 was a pop tune which received notice because of two recordings by the DOC COOK ORCHESTRA OF CHICAGO, which included famous New Orleans trumpeter Freddie Keppard Cook recorded the piece twice, once in June, 1926 with a small group out of his band (COOKIE'S GINGERSNAPS) and again in July, 1926 with the larger DOC COOK ORCHESTRA. In this arrangement, the Syncopators evidence a swinging quality seldom found in renditions of this number.
KISS ME SWEET was written around 1923 by A. J. Piron and Steve Lewis, two fine New Orleans musicians. Lewis was the pianist in PIRON'S NEW ORLEANS ORCHESTRA which recorded the number in 1923 and again in 1924. The later version remained unissued. Butterbeans and Susie, a vaudeville singing team, also recorded the tune in 1924 accompanied by Clarence Williams and King Oliver.
ORIGINAL RAGS, written in 1899 was Sectt Joplin's first published rag. It was recorded by Jelly Roll Morton as late as 1939. Morton often used this tune to demonstrate his alleged transformation of ragtime to jazz. Here we have the rag played with jazz band instrumentation and building the same feeling of momentum and exhilaration as the piano version.
SOUTHERN STOMPS, copywrited circa 1923, was written by Richard M. Jones, pianist and composer of a number of piano pieces and Dave Peyton, leader of PEYTON'S SYMPHONIC SYNCOPATORS, a band which at one time included King Oliver. Oliver's band recorded this number in 1923. Much of the feeling and sensitivity of the Oliver performance has been retained in this arrangment.
BROADWAY ROSE is a pop tune that was recorded in 1920 by the ORIGINAL DIXIELAND JAZZ BAND. This is probably its first recording since that time.
BLACK BOTTOM STOMP, written by Jelly Roll Morton and recorded by his RED HOT PEPPERS in 1926, remains a jazz classic. It was also recorded in 1926 by RED AND MIFF'S STOMPERS. This version closely follows the Morton arrangement, retaining all of the vitality and drive in- herent in the tune.
WHY COULDN'T IT BE POOR LITTLE ME was written by Isham Jones around 1924 and was originally recorded by Fletcher Henderson in 1925 with a young Louis Armstrong on trumpet. Later that same year in was recorded by Muggsy Spanier and THE STOMP SIX. This mid-twenties pop tune was revived in 1933 by Benny Goodman who made a fine recording of it with his orchestra which included Jack Teagarden.
DEEP HENDERSON, copywrited in 1926, became a standard instru- mental feature of the 1920's. It was recorded by the COON-SANDERS ORCHESTRA in April of that year. The numerous breaks and strains in this Frank Powers arrangement are a challenge to a band's ability to maintain a high level of enthusiasm and movement.
ENTERTAINER'S RAG, written by Jay Roberts and copywrited in 1912, is one of the more obscure rags. This piano number has sometimes been confused with the more popular Scott Joplin number, THE ENTER- TAINER. This version, one of the few recorded performances of the rag. features Terry Waldo on piano.
STAMPEDE, written by Fletcher Henderson, was recorded by his or- chestra in 1926 and also by the SAVOY BEARCATS in that same year. The JEAN GOLDKETTE ORCHESTRA with Bix recorded it in 1927 but it was unfortunately, never issued. Red Nichols and Miff Mole also recorded it in 1926 as RED AND MIFF'S STOMPERS. Henderson again recorded the tune in 1937. The number of recordings of this fine jazz composition and the calibre of the recording artists attest to its quality. This version by WALDO'S GUTBUCKET SYNCOPATORS carries on the tradition and retains all the fire and exuberance of the original. Some will find it the most exciting cut on the album. – Bob Fertig
Here Comes The Hot Tamale Man
Kiss Me Sweet
Orignal Rags
Hesitation Blues
Southern Stomp
Broadway Rose
Black Bottom Stomp
Why Couldn't It Be Poor Little Me
Deep Henderson
Entertainer's Rag
Stampede
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