Joe Venuti Plays Jerome Kern

 

Yesterdays

Joe Venuti Plays Jerome Kern

A Golden Crest Jazz Classic

Golden Crest Records CR 3101

1960

From the back cover: Because there are so few practitioners with the gifts of a Joe Venuti, the violin as a powerful jazz instrument is little known in the present scene, and all but forgotten from the past. A few record collectors remember Darnell Howard who played with Jellyroll Morton in the Twenties, and there are others who recall Eddie South who played a jazz fiddle along 52nd Street in the Thirties. But nobody new has come along since then with a similar feeling for the jazz idiom. Almost single-handedly Joe Venuti has kept the fiddle vitally alive, but then his roots go deep-right back to the soil that produced Beiderbecke, Berrigan, Goldkette, Red Nichols, Fletcher Henderson, and even the Dorseys when they were known as the Scranton Sirens. And like so many of the others he developed in that controversial cradle of talent, the original Paul Whiteman band. What is astonishing is that Venuti still plays with such verve and virility, with such an endless flow of fresh ideas, that listening to him now you'd think he was still a kid fresh out of Philadelphia.

The most obvious reason for Joe Venuti's iron durability is unquestionably his fantastic technique-gleaned originally from six solid years of conservatory study where, as a youngster, he startled his professors with jazz improvisations. But other violinists have possessed an excellent technique, yet when approaching jazz seem unable to remove the potted palms from their bows. Venuti is unique in that respect; he has so overwhelmed the instrument with his own sense of urgency that in listening to him you wonder how mere wood and gut can speak so forcibly. In view of his example one wonders why the younger crop of jazzmen have not rediscovered the fiddle for their construction of new sounds. Certainly they have not hesitated to raid the symphonic arsenal, as it were, to bring color and vibrancy to their music. As a result there are an increasing number of virtuosi on the oboe, flute, harp, French horn, tuba and even the harpsichord – none of them traditional jazz solo instruments. But the break-through in fresh uses of the jazz fiddle remains almost the sole possession of the old master himself.

Venuti's career began in a music-loving family who were all adept on the violin, cello and mandolin. He went to grammar school with the great guitarist, Eddie Lang, for many years they were associated with each other professionally. They began playing "straight" with a pianist in Atlantic City in the early Twenties, but spent a good deal of time, as Joe remembers it, holding jam sessions in the men's room where it wouldn't disturb the patrons. It was in Atlantic City that they met the Dorsey brothers, fresh out of Scranton, and they sat in with them on occasion. Years later, during one of their periodic break-ups, Jimmy Dorsey joined the Joe Venuti band for a brief spell. Joe later joined the original Red Nichols group that played the Pelham Heath Inn during the Twenties. Later he played with both the Paul Whiteman and Jean Goldkette organizations – all the jazz immortals were his compatriots and they grew in stature through the free exchange of ideas. From the Thirties on Venuti has always led his own groups playing the traditional big-time circuits – from the Strand Theatre on Broadway to films in Hollywood. He is a particular favorite of Bing Crosby's; the friendship goes all the way back to the Whiteman days when both were with the band.

Within the trade the legend of Joe Venuti is great and the stories of his zest for fun are endless. He has never been one to discourage laughter, and his own predilection for clowning has cost him engagements. They tell of the time the manager of a Kansas City hotel asked the Venuti band to play more gently for the lady luncheon guests. As the manager walked off the floor Venuti turned to the band and said, "Okay, fellows, let's give 'em Nagasaki!" They almost blasted the manager off the floor and with him the remainder of their engagement. And once during a stage show at the Strand the male singer with the band, new to the stage, walked right over the footlights and into the orchestra pit. As he climbed back over the footlights again, trying to find the spot, Joe is said to have fallen flat on his back from laughter as the show continued on its merry way.

The sidemen who have worked with him all remember him with affection, and recall there was always a happy time with Joe around. Listening to him play Gershwin and/or Kern should make you happy, too. – ARNOLD SUNDGAARD

Also from the back cover: About the Players – The selection of men assisting Joe was inspired. Tony Gottuso is undoubtedly one of the finest guitar men on the scene today. His activity in both television and recording studios is a testament to his great capabilities.

Jack Zimmerman on bass, besides being one of New York's outstanding bass men, is also an excellent arranger and conductor. Many of Jack's works are heard daily on radio and TV in the "better" advertising jingles.

Bobby Donaldson is known as a musical drummer. His intuitive approach to playing has made him a leader in the field of rhythm. Bobby will be remem- bered as one of the outstanding members of the Benny Goodman Septet.

Ellis Larkins on piano personifies the perfect ac- companist. In listening to this record, you will note the constant interplay and finesse of this outstanding artist. Ellis is known for his work with the great Ella Fitzgerald.

One of the most unusual aspects of this album is that many of the "takes" were "firsts". The routine was set on the spot and the result is a spontaneous jelling of fluid ideas and, most of all, "swing". The esteem and respect that musicians on this date hold for the artistry of Joe can be sensed in this recording.

Kakua

A Fine Romance

Smoke Gets In Your Eyes

Look For The Silver Lining

Why Was I Born

Who

Yesterdays

Make Believe

Ol' Man River

Lovely To Look At

All The Things You Are