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Home , Stuff Smith, Svend Asmussen

: Phenomenal Fiddler

By Richard J. Brooks

(Reprinted with permission of Richard Brooks and Fiddler Magazine. This is the first part of the full article first published in the March 2005 issue of Fiddler Magazine. The article will be continued in future issues of the Fiddler’s Rag.)

Svend Asmussen, the world- Svend (pronounced “Sven,” the renowned jazz violinist, is by all “d” is silent) Asmussen’s jazz measures a most remarkable person. style is truly unique and instantly This spry eighty-eight year old is still recognizable. Stéphane Grappelli once performing! I was thrilled to see his told my friend Ed Wadsworth (violin two superb performances at the Oslo with Hot Strings of New Orleans) that Jazz Festival on August 11 and 12, Svend was his favorite jazz violinist – 2003. He has been in the music and – a master of the odd interval. That is Svend Asmussen (Richard Brooks photo) entertainment business for over because his musical phrasings, or seventy years and has recorded over choice of notes, are based on the over the four strings, allowing all thirty albums. styles of horn players, not string strings to be played simultaneously. players. Just as horn players must Svend was very well-known locally Svend was arrested by the Nazis in pause in order to breathe, pauses because of his “trick” fiddling, which 1943, and only a stroke of luck saved accent their playing. helped to establish his reputation as a his life. As a result, the world has very talented musician. By the time Svend Discovers Jazz benefited from his artistry as a Svend was nineteen, he was becoming versatile entertainer and artist: a jazz Svend was born into a musical a known musician playing at dances. family on February 28, 1916, in violinist and singer, a band leader and Svend began his professional , to parents of arranger, a film actor, and an artist career in 1933, singing and playing on German origin. Svend had three (paintings and drawings). His movies violin and vibes [online profile at brothers (Ernst, Johan, Andrea) and a are still shown regularly on Danish www.oldies.com/artist/view.cfm/id/ sister (Grethe). At twelve, Ernst gave television. There is even a winding 3400.html]. His first recordings date up on the violin because it was “no street named after him on the isle of back to 1934. Svend’s solos are fun to watch his seven year old Bornholm in Denmark. Its name is the reminiscent of and Eddie brother surpass his abilities so Danish equivalent of “Asmussen Lang’s “Stringing the Blues” made in quickly,” so he took up the piano Swing.” the late 1920s. However, his musical [Bent Henius’ 1963 biography of life turned upside down the following His latest CD, Still Fiddling, was Svend Asmussen]. released in 2002 and is currently year when he heard . Stuff available. Asmussen has played jazz Among Svend’s earliest jazz later became a personal friend. “He’s recollections was that of the great violin with such jazz greats as Fats still my man,” Svend said. Stuff saxophonist Waller, the Mills Brothers, Josephine changed Svend’s way of thinking playing “Talk of the Town” on the Baker, Edith Piaf, , about music: “Yes, you know –– the piano in Svend’s family living room. , Joe Venuti, Stéphane phrasing to play jazz on the violin. Svend was sixteen, and Hawkins had Stuff–– he didn’t really treat the violin Grappelli, Bucky Pizzarelli, John a great time humoring Svend about Lewis, , Niels-Henning as a violin. He treated it as a horn and his ukulele and toy saxophone! Svend as a vocal. That’s what I try to do. Ørsted Pedersen, , began violin lessons when he was Toots Thielemans, , and When I play ballads, I try to play as seven years old, but by sixteen, he sounded, or Dinah Ulrik Neumann. stopped his formal musical training. Washington. When I play a jazz On April 17 and 18, 2002, I was This was also around the time number, I try to sound like Lester honored to interview him at his home when Svend first heard the 1927-1928 Young or Clark Terry.” in Copenhagen, Denmark. He shared recordings made by Joe Venuti, the Svend wasn’t expected to be a many personal and musical exper- father of , and Eddie Lang. professional musician. Svend was iences with me, and I left with an even Svend was “absolutely impressed.” supposed to be a sculptor and later, a greater appreciation for one of the Svend mastered Joe’s four-string dentist. When his interest in art, greatest talents I have ever met. While violin technique: the bow is taken sculpture, and science diminished Svend said he had forgotten a lot, his apart, the bow stick is placed under because of his musical activities, his memory for details amazed me. the violin, and the bow hair is placed parents suggested a career as a dentist.

Fiddler’s Rag - 3 - March 2005 Svend Asmussen, continued - After one year at dentistry school ships. Svend said that in all of his around the age of twenty, Svend said worldly travels, the best food he ate to his parents: “I can’t stand that any was aboard those ships. longer. I can’t see my future as a was also dentist.” At the same time, he was performing on that 1938 cruise ship developing a reputation and earning along with a Brazilian drummer from money as a musician. Rio de Janeiro. This is where he first In a compromise with his parents, learned this style of music, and where however, he returned to the original he took lessons from a tambourine plan to be a sculptor and attended the player during intermissions. Royal Academy in Copenhagen. His facility at this style is evident During one of his sculpture classes, in three tunes he wrote: “Fiddler In the director of the academy mentioned Rio” and “Calypso Colombo” [CD: to him that he had seen a newspaper Fiddling Around, 1993, Imogena article about his playing dance music IGCD 039], and “Cocoanut Calypso” at a restaurant. When the director [CD: At Slukafter, 1989, Phontastic learned that Svend was earning twice PHONT-NCD 8804]. Svend also as much as he was as the Academy recorded “Limehouse Blues” and Director, he encouraged Svend to “Sweet Sue” with the great continue playing! Argentinean guitarist Oscar Aleman Svend’s technique and style (his [two CDs: Acoustic Disc ACD 29]. choice of notes) is astounding. His Svend modestly remarked, “I know a virtuosity was recognized and few things about Brazilian rhythm and appreciated by all the jazz greats with Argentine tangos.” whom he played. His Svend also plays the alto violin accomplishments are even more (like an enlarged viola tuned the same remarkable when one realizes that he as a viola), tenor violin (a baroque is basically self-taught. When asked instrument tuned one octave below a whether he ever considered a career in violin; its size is between a viola and a classical music because of his cello), viola, cello, bass, guitar, outstanding technique, his reply was, mandolin, piano, vibraphone, flute, “My technique is not for classical standard drums and conga drums, and playing. The real classical technique the musical saw. In 1964, he and you must acquire between your Alice Babs, the famous Swedish seventh and twelfth years –– inside singer, were awarded the best those five years. That’s the period European album of the year for their where you have to study eight hours LP Scandinavian Songs with Alice every day. And I studied only fifteen and Svend. On it, Svend played all the minutes a week [for his weekly instruments and arranged all the lessons].” songs. It was recorded with about Multi-Instrumentalist and Multi- twenty-five overdubs and mixed on Stylist three- and five-track multi-track tape Svend plays many instruments recorders under Svend’s supervision. besides the violin, and many other Multi-track recordings were made styles besides swing jazz. His father possible by the German invention of used to bring home records from the tape recorder, discovered at the Budapest. Svend was first introduced end of WWII, and by Les Paul’s to new musical styles in 1937, at a invention of sound-on-sound local club in Copenhagen that booked recording. Les Paul also invented the a Hungarian Gypsy orchestra and a solid-body electric guitar in 1951. He Brazilian music band. is alive and well today at eighty-eight In 1938, he played swing dance (born the same year as Svend), and music on a Scandinavian cruise ship. occasionally still performs in New Those were luxury cruises lasting for York. Svend was an early months at a time, and were for very experimenter of musical electronic wealthy travelers. Many of the big effects along with his contemporary names in jazz worked on luxury cruise Les Paul. In the 1950s, Svend was Fiddler’s Rag - 4 - March 2005 Svend Asmussen, continued - experimenting with overdubbing on stuff outside. Stinker. The gentleman who is playing along with the slow four-track machines in order to likes flowers [to the audience]. [Loud tune and the voice offers his thoughts. supplement his on-stage gunshot with ricochet sound. Guy falls He is only thinking about eating food performances, and with Wa-Wa down sound] You’ll get flowers – and what his next meal will be. The pedals that he used with Toots tomorrow. [Audience laughs] spotlight moves to the vibraphone Thielemans [“Toots and Svend” or [Svend plays an old-time sounding player who is only thinking about “Yesterday and Today,” 1972] and on square dance fiddle tune with shuffle money for his family and how stingy the Resource LPs [Resource, bow followed by these syncopated Svend is about paying his band. At Asmussen/Thigpen Quartet, recorded words:] Come on pardner, that’s no last, the spotlight moves to the 1973, SONET SLP-2551]. fun, better put down your shootin’ gun. drummer and the audience hears a can Tune your fiddle, join the band, the best The Consummate Entertainer with rocks banging away –– an empty band in all Texas land. Wonderful head. Svend is a consummate entertainer music made by me, in the Death Band and is not satisfied with just being a Valley Symphony. Come on ladies, When asked where he gets his fiddler and band leader. His rapport swing your skirts, don’t mind about ideas, Svend said, “I had a lot of with the audience is legendary and dust and dirt. [More fiddling] thinking about ideas, inspiration from humor pervaded his shows. Svend different fields, from other kinds of said, “They pay just to watch. If they music, like the idea of the audience hearing our thoughts. I did imitations don’t have a good time, you can’t of Italian dance orchestras. I thought expect them to come next time.” His of how to dream up funny situations on-stage antics would have the based on music, so musicians always audience all shaking hands with their would find it interesting, and people neighbors. who were not musical had something Using his multi-track tape recorder, to laugh at at the same time. My Svend recorded backgrounds for trouble was always to find new ideas many on-stage performances during –– one a year at least, for a completely the ’50s and ’60s. Examples include new thing. It’s difficult in a small country with the same audience orchestrations with Svend recording Stuff Smith and Svend Asmussen in the ’60’s all the string parts, five harmony (Richard Brooks photo of earlier photo) always. The press are always after you voices of Alice Babs so she could to renew yourself.” accompany herself on the sixth In another skit in the same show, Svend is a great singer and is (middle) part, and special sound Svend practices his tennis using his fluent in English and several other effects for the band’s skits which were fiddle as the racket. Svend swings his languages. He acknowledges, “I followed by songs related to the skit. fiddle and the audience hears the pre- always had a sort of love for singing. Svend’s band practiced hard to recorded sound of a tennis ball being [But] I wasn’t born with a singing voice.” Many would dispute that synchronize the skit with the pre- hit. After several hits, we hear the assertion. He sang the lead in his recorded sound effects. Recordings of loud sound of glass breaking everywhere. The joke is a huge band. Other members contributed to horses and guns accompanied skits of the two-, three-, and sometimes four- western brawls followed by western- success as it was performed at Glassalen, the glass hall, in Tivoli. part harmony vocal arrangements. like songs such as “Ole Oleanna” [En When asked if the other band Kvall med Svend & Ulrik, 1962, RCA The most ingenious and humorous members enjoyed singing, he said, International] and “Ten Thousand skit that I’ve heard about is one where “Yes, I threatened them to do it Miles.” The following is an excerpt the audience is able to hear the whether they could sing or not.” from a 1966 show performed in thoughts of the band members. The [laughter] house lights are turned off and a Glassalen (the Glass Hall) at Tivoli. Svend taught himself the art of The band members are dressed in spotlight shines on Svend’s face. He arranging for voices (human and western costumes and hats. asks the audience to concentrate on instrument) by listening to popular [Talking to a costumed band member:] his thoughts because there will always American vocal groups of the time. Hey you. You didn’t clap your hands. be some who misunderstand him. They included the Mills Brothers, the Maybe you didn’t like the sooooong With the spotlight on him, Svend Modernaires (which became the HiLo’s), [long pause]. I suppose you don’t know slowly plays the classical melodra- the Boswell Sisters, the Singers my pardner, Stinker, Whisky Stinker, matic-sounding “Avant de Mourir.” In Unlimited, Paul Whiteman’s trio with the Smiling Shotgun. [Huge audience the background, a pre-recorded voice Bing Crosby, and The Smoothies, also laugh] He’s a nice kid. He’s willing to slowly speaks “Svend’s thoughts” in a known as Babs and her Brothers (no shoot his mother for ten dollars. Nice deep tone and in Danish: “I’m wasting relation to Alice Babs). kid. Five dollars. Hey master – mister. my talents on this audience. They (To be continued in a future issue. Excuse me master – mister. [Audience don’t really understand my music.” laughs] Maybe you like flowers. Thanks to Fiddler Magazine. See Flowers, you know – the multicolored The spotlight shifts to the bass player www.fiddle.com to learn about the magazine.) Fiddler’s Rag - 5 - March 2005 Svend Asmussen: Phenomenal Jazz Fiddler – Part 2

By Richard J. Brooks

(Reprinted with permission of Richard Brooks and Fiddler Magazine. This is the second part of the full article appearing in the March 2005 issue of Fiddler Magazine. Born in Denmark in 1916, renowned jazz fiddler Svend Asmussen began his career in the 1930s and is still playing today.)

The Swe-Danes Era –– Fame and was the “Swe-Dane Symphony” in Fortune (almost) which they mimicked a whole orchestra with just their voices. It was Svend came closest to fame and terrifically difficult to do. Svend did fortune with his group the Swe-Danes. all the vocal and instrument arrange- “We had a colossal success, especially ments for the trio. in Sweden. We were on the edge of it [fame and fortune] with the Swe- However, after three years of Danes –– not because I’m a jazz almost constant work, the personal Svend Asmussen (Richard Brooks photo) fiddler –– because we were demands were too much for the three. entertainers.” The Swe-Danes were a In Svend’s words: “We couldn’t think World War II and The Nazi Invasion huge phenomenon traveling through- of a future traveling around in of Denmark out the U.S. and Europe between 1959 American night clubs –– and being World War II was responsible for to 1961. They appeared on the Ed away from our children and wives. So some of the darkest hours of Svend’s Sullivan show several times, and we said ‘no’ to offers of staying in the life. In 1940, the Nazis invaded played the Palladium in London, the U.S.” Norway and Denmark and terrorized Olympia in Paris, and the Coconut Following the Swe-Danes, Alice civilians by the public hanging of men Grove in Los Angeles. Their concerts went on to record with Duke and women who opposed the Nazi in California were well attended by Ellington, and Svend and Ulrik occupation. In Germany, they burned LA’s professional studio musicians. formed a two-man show that toured as many American jazz records as The Swe-Danes were essentially a for a couple of years. “Ulrik and I they could. As Daniel Morgenstern vocal trio group with some hot went on and made sort of an said, “It was kind of symbolic of fiddling for added flavor. They entertaining vaudeville show –– just America, and freedom, and as the included Svend, Ulrik Neumann, who the two of us plus an instrumental trio Nazis never failed to point out, it was was Svend’s Danish boyhood friend and a couple of girls on the stage. I black music, and it was Jewish, and to who played in his band throughout the think we played our two-man show –– them it was a negroid, Bolshevik, ’30s and ’40s, and the Swedish singer it must have been around a thousand Jewish conspiracy against culture. Alice Babs, who was becoming times. So we knew it pretty well.” [www.allaboutjazz.com/ famous for her fabulous voice and Svend continues to have great journalists/morgenstern4.htm] from the movie “Swing it Mister admiration for Alice, describing her However, the Nazis permitted Teacher.” Hence the name Swe-Danes. voice as “angel-like.” “She made a some jazz music to be played in Among their most requested songs comeback in Sweden a year or two Denmark. Svend owned a food and ago –– with a huge music club in Copenhagen called the success. She is seventy- Blue Heaven. It was the first club in eight now and sounds Denmark to have jazz music jams, and like she always did.” became very popular until food and Alice turned eighty on drink rationing made it unprofitable to January 26, 2004. In run. While the Nazis’ official policy 2003, she was presen- was anti-jazz, Nazi jazz enthusiasts ted with the Swedish were among Svend’s fans in his club. government’s medal That may have saved his life. Illis quorum for her On August 29, 1943, Svend was “outstanding and long arrested by the Nazis along with two service as a singer in to three hundred other well-known different musical styles, people. He was neither a politician nor and for her warm and a “freedom fighter” but just a famous positive artistry.” entertainer. He was never given a [www.jazzfacts.com] hearing, nor was he ever told why he The Swe-Danes – Asmussen, Alice Babs, Ulrik Neumann (photo courtesy Richard Brooks) was arrested. Fiddler’s Rag - 3 - April 2005 Svend Asmussen, continued - Svend spent some time in a American fiddling music styles. Copenhagen prison, and was Svend’s first hot jazz violin shipped to a prison in the center solos were recorded in 1935. He of Berlin where he spent three played in the Joe Venuti four- months in isolation in a bug- string style on “Tiger Rag” infested cell. “You were (1935) and later on “Auld Lang isolated. The door was never Syne” (1946). In 1936, he recor- opened. And you were isolated ded with Ulrik Neumann on from the only company you had. guitar, and Victor Borge (known Everything was taken away then as Borge Rosenbaum) on from you –– your watch, piano and vocals. everything –– no reading By 1938, Svend was material. That was a terrible becoming known as a “hot jazz psychological strain.” Svend Asmussen with Benny Goodman fiddler.” That year, he started From his third floor cell, (photo courtesy Richard Brooks) playing on Scandinavian cruise Svend could hear the guards running ships where he met Josephine Baker. down the stairs for cover whenever To play in Benny Goodman’s That is where he first learned about the British troops bombed Berlin. Of band, musicians had to be members of Brazilian drum rhythms and Argen- course, the prisoners remained locked the union. However, union policies tine tangos, and where he took tam- in their cells. Prisoners were required foreigners to live in the U.S. bourine lessons. In 1938, he recorded terrorized by hearing other prisoners for one year and have a sponsor to pay with Oscar Aleman in Copenhagen. being shot. For hours on end, the them before they could join the union. In 1940, he recorded “June Night,” Nazis made him look at pictures of In Svend’s words, “That means you which eventually became Svend’s bald shaven people asking if he had to spend a year in America theme song. Among the hottest pieces recognized them. He didn’t know any without playing or making any recorded in 1941 was Duke of them. Svend remarked, “Nobody money. Petrillo was the head of it, and Ellington’s “Ring Dem Bells.” The asked about human rights at that time it was the strongest union in the world Danish Resistance Museum in in the Nazi prisons.” at the time –– the Musicians Union.” Copenhagen plays Svend’s version in its multimedia tribute to the sacrifices In December, he was released just In 1950, Goodman visited the Danes made during the Nazi as mysteriously as he was arrested –– Copenhagen where his group played occupation of Denmark. without explanation. In his own the first set. At intermission, Good- words: “Suddenly one day they came man sat in the front row and enjoyed American jazz was extremely into the cell and said, ‘Tomorrow you Svend’s group that included Toots popular in Europe after WWII. Music go home to Copenhagen.’ That’s the Thielemans (guitar and harmonica), publishers who wanted to sell their first time I broke down into tears.” Zoot Simms (sax), Dick Hyman sheet music and records to a Two weeks after his release, the (piano), and Ed Shaughnessy (drums). Scandinavian audience hired local whole prison building was bombed Goodman wanted to bring the whole musicians like Svend to record the and almost everyone was killed. group to the U.S., and spent an Danish versions of American popular tunes. In those days, musicians were Svend thinks there might have been evening phoning New York from paid a fixed fee to play on a record. an anti-Nazi Gestapo agent that Copenhagen (expensive in 1950!). But They never received royalties. Svend helped him and several hundred other Goodman was unsuccessful in trying to convince Mr. Petrillo to let them and his band were just grateful to be Danish people get out of the German working in the music business. prisons. work in the U.S. Musicians Union Prevents U.S. A Chronicle of Svend Engagements Asmussen’s Music One of the reasons that Svend is The purpose of not better known in the U.S. and this section is to give internationally is the political the reader a glimpse consequence of the policies of Mr. into Svend’s music James Petrillo, former President of the and his diverse musi- U.S. Musicians Union. Benny cal styles. Although Goodman had been impressed with Svend excels as a Svend’s recordings, and in 1948 he swing jazz fiddler, he also played classical asked Svend if he would consider music as a featured coming to the U.S. to play with him. guest with orchestras, Svend agreed. and he experimented with and Asmussen, Victor Borge, Ulrik Neumann, early 1940s (photo courtesy Richard Brooks) Fiddler’s Rag - 4 - April 2005 Svend Asmussen, continued - In 1945, Svend began performing (1965), and Dieter Reith (organ, and looking much like George in a “show band” –– what he refers to 1967). One biographer suggested that Washington in a white wig, with a as Vaudeville Theater where he “Despite the earlier interest of Benny long draping purple robe, and dressed performed many comedy skits. In Goodman, it was the Lewis recording in blue jeans and cowboy boots made 1946-1949, Svend appeared on BBC session that drew widespread attention to look like an American flag. This television (London). He also worked to his talents.” [www.oldies.com/artist/ was also the decade that he spent with the famous singer Edith Piaf in view.cfm/id/3400.html] In 1966, he playing unconventional chamber 1947. In the 1940s through the 1950s, recorded on the famous Violin music programs with improvisations Svend appeared with his band in LP with Stuff Smith, Stéphane on chorales and vocal music in several films where they usually Grappelli, and Jean-Luc Ponty. hundreds of churches. played comedy roles as musicians. Of worthy note is the unique 1964 In 1981 in Copenhagen, Svend was These shows are still being aired on album Scandinavian Songs with Alice a special guest on Benny Goodman’s Danish television today. [www.def- and Svend. He and Alice sound like last recorded live performance. musikportal.dk/musik- they are playing with an orchestra, but [Svend’s name is misspelled as Sven portal/emner/jazz/svend.zap, it’s only the two of them. Svend Osmussen. Still available.] The 1980s www.beta.webyoda.com/dumboozle/s played , bass, guitar, mandolin, also brought him to the U.S. several vend/svenfilm.html] piano, vibraphone, flute, percussions, times, where he recorded with Bucky By the end of the ’40s, Svend had and arranged the all-male choir (just Pizzarelli (June Night, 1983), Teresa developed his uniquely personal him). Brewer (On the Good Ship Lollipop, musical style with sophisticated vocal In the 1970s he recorded separate 1983), and David Grisman (Svingin’ and instrumental arrangements. LPs with Toots Thielemans (harmo- with Svend, 1987). Grappelli’s description of him as the nica), Subramaniam (violin), Kenny In 1986, Svend appeared with “master of the odd interval” is apt. Drew (piano), and Lionel Hampton Johnny Gimble on the “A Prairie The names of three of his Home Companion” radio EPs (10” 33 rpm records) show. He and David Grisman describe his music perfectly: toured throughout the U.S. in Rhythm Is Our Business, 1987. Svend also recorded Svend Asmussen and His two CDs with his own band: Unmelancholy Danes, and Slukafter (1984), and Fiddler Svend Asmussen Plays Hot Supreme (1989). Fiddle. In the 1990s, Svend In 1950, Svend met Benny formed the band with which Goodman, who was he still plays today: Jacob unsuccessful bringing him to Fischer (guitar), Jesper America. In 1953, Svend Lundgaard (bass), and Aage became a big hit in Germany Tanggaard (drums). Svend with his “modern” music. describes his current band as, The mid- ’50s found him “Being with three wonderful traveling around the world Svend Asmussen (4th from left) with David Grisman (2nd from left) and others, 1987 (photo courtesy Richard Brooks) musicians –– with a jazz playing dance music for musician’s sense of humor. millionaires aboard cruise ships. From (vibes). He and Alice Babs played a Now with a guitar player –– he’s fifty- 1959-1961, he toured with the Swe- few reunion concerts, one of which two years younger [Jacob Fischer] but Danes. was recorded in 1972 as “Antiligen” the age difference disappears when we In 1961, Svend and Ulrik Neu- with Red Mitchell (bass) and Kenny are playing together.” Jacob Fischer is mann (guitar) recorded the Danish Drew (piano). one of the most outstanding guitar Imports LP. This LP is notable The early 1970s were also a time players in the business. He has won because: 1) it was just the guitar and of electronic experimentation. He and numerous awards and is famous violin; 2) he played his sweet- (drums) recorded the throughout Scandinavia. [www.touche sounding Guarnerius; and 3) the Resource album in Copenhagen in music.se/fischer.html] This band standards were all very carefully 1973. It is mostly a rock-n-roll and recorded Fiddling Around (1993), Fit worked out with almost no improve- electric blues LP with heavy drums, as a Fiddle (1996), and Still Fiddling isation taking place. “Honeysuckle electric bass, mini-Moog synthesizer, (1999). Rose” sounds like a ballad! In 1962, electric organ, and electric fiddle with In 1992, Svend played the voice of their vaudeville performance was Wa-Wa pedal and reverb electronic “Kong Morfeus” in the Danish released as the En kvall med Svend effects. version of Little Nemo. [www.beta. and Ulrik LP. In the mid 1970s, he recorded two webyoda.com/dumboozle/svend/svenf The ’60s was the decade when classical LPs: Amazing Strings and ilm.html] Svend recorded with Telemann Today. The cover of the (Thanks to Fiddler Magazine for use of (1962), Duke Ellington (Jazz Violin latter is a reproduction of Svend’s this material. See www.fiddle.com to learn Sessions, 1963), Stéphane Grappelli painting of Telemann playing drums about the magazine.) Fiddler’s Rag - 5 - April 2005 Svend Asmussen: Phenomenal Jazz Fiddler – Part 3

By Richard J. Brooks

(Reprinted with permission of Richard Brooks and Fiddler Magazine. This is the third and final part of the full article that appears in the March 2005 issue of Fiddler Magazine. Born in Denmark, renowned jazz fiddler Svend Asmussen began his career in the 1930s and is still playing today.)

Svend Asmussen Today proofreading a biography of his life which will probably be published in At eighty-eight, Svend is still early 2005. playing music. His Still Fiddling CD, recorded in 1999, was released on his Svend Asmussen lives and eighty-sixth birthday, February 28, breathes music. His remarkable career 2002. [www.storyville-records.com/ spanned almost the entire history of jazz music and leaves us with a Svend Asmussen as a young man asmussen.htm, www.allaboutjazz.com/ (Richard Brooks photo of earlier photo) php/article.php?id=9982] There is an wonderful legacy of over seventy interesting story about the two Jewish years of recorded music. He plans to On stage, Svend prefers the sound melodies on it. In Svend’s own words: continue performing for his favorite of an amplified instrument to an “One of the tunes was sung to me by audiences –– listening audiences in acoustic for the fuller sound. He uses Edith Piaf when we worked together small jazz clubs. American amplifiers like Gallian- in Oslo in 1947. After the show, we Svend’s Violins and Electronics Krueger, which are light and easy to were invited out and we had red wine. travel with. The special effects he uses I would bring my fiddle along and she Svend uses the latest gadgetry to are the basic echo and reverb. Svend would be singing. She said you must enhance his sound. His on-stage also uses a rubber two-opening Tourte play that tune on your fiddle. I was instrument is a Danish-built fiddle mute on some songs. On his electric not very interested at the time. I was about 120 years old that was sold to violin, he uses Danish-made Jargar strings or Swedish-made Prim strings. into Stuff Smith and playing him by his former drummer, Frederik. American jazz. Fifty years later it Because of feedback problems with Svend has a collection of beautiful popped up when I heard David’s CD conventional amplification systems, old Italian violins made by Storioni, [20th anniversary of the David Gris- he added a unique non-piezoelectric Landolphi, and Carcassi. But the best electric violin pickup system called one he owned was a Guarneri that he man Quintet, www.acousticdisc.com/ 1 acd_html/acd20.html]. I said to StringAmp, made by MusikLab in used to record the “Danish Imports LP2. In his own words, “The best one I myself, ‘What was that tune that Edith Denmark. The electronics are hidden from view - located under the had, and was silly enough to sell it too Piaf sang to me –– My Yiddisha early, was a Petrus Guarnerius Momma?’ It turned out [that] at from Mantua. If I had kept it, it least the guitar solo was a little would have been worth ten masterpiece on our recording.” times as much as I got for it. In 2003, Jim Lowe’s website And I miss it, really. It’s the one tribute to Svend listed over I use on the record with Ulrik twenty-five performances in Neumann that we recorded in Denmark, Sweden, and Hollywood. That’s the one I used Norway. However, in 2004 he in about a thousand churches only performed once through the 10 years we played [www.dumboozle.com/ in Scandinavian churches – svend/svendex.html]. Svend 1970 to 1980 or 1975 to 1985.” said of his July 31, 2004 show, Svend believes that 30% of “It was very well received. We the sound we hear comes from got a standing ovation.” the bow. When I asked how he arrived at such a precise In February, 2004, Svend Svend Asmussen Quartet 2004 (photo courtesy R. Brooks) measurement, he laughed and made a generous donation of his said that it was only a guess. He memorabilia to the Carl Nielsen fingerboard and inside the violin. Also said he has some good bows, but his Academy of Music in Odense, visible on the violin’s tailpiece are best bow was made over 100 years Denmark. My visit there in October four white potentiometers, which are ago by James Tubbs in London. revealed over 200 historical the remnants of the StringAmp’s (Thanks to Fiddler Magazine. See photographs and a box full of predecessor Elkit. www.fiddle.com to learn about the magazine.) newspaper articles covering Svend’s entire career. Svend is currently 1 StringAmp pickup system: 2 Danish Imports 1961 Warner Bros - http://www.musiklab.dk/index.html WS-01408 Fiddler’s Rag - 3 - May 2005 Swing Manouche Transcription by Paul Anastasio Svend Asmussen

Am7b5 D7 Gm

Violin b j j & b c Œ œ . j œ œ œ œ #œ œ œ. œ ˙ 1 #œ œ œ œ œ œ Gm G7b9 Cm G+ Cm b j œ œ œ & b Œ‰bœ œ#œ œ bœ. œ œ œ nœ œ œ œ œ Œ œ #œ 6 œ œ nœ D7 Gm D7 Gm A7œ œ b ˙ œ œ œ œ œ j & b œ œ œ. œ œ ŒŒ‰jœ #œ œœ. œ bœ œ œ 11 0 nœ nœ A7 D7 0 Am7b5 D7 œ œ œ œ œ œ bb œ œ œ Œ ‰ J Œ. œ œ#œ œ œ œ œ œ œ #œ & œ œ œ #œ œ ‚4 ‚3 J 16 Cm G7 Gm D7 Gm G7 . . œ œ œ œ nœ œ ˙ b œ œ ˙ bœ œ#œ œ bœ œ œ œ œ œ œ œ œ ˙ & b J Œ‰ œ. nœ œ Ó 21 J Cm F7 Bb b œ œ. œ œ œ œ œ œ œ & b Œ‰œ œ œœœ J ‰ J ‰ J ‰ ˙ œ œ œ œ 26 J J ˙ A7b9 Solo D7 Gm D7 Gm Am7b5 œ. œ œ œ œ œ œ œ bb #œ. œ œ œ Œ œ œ #œ œ œ œ œ j jœ j & œ œ œ œ œ œ #œ œ œ 32 J œ œ nœ bœ . D7 Gm D7 Gm G7b9 œ œ b œ œ#œ œ #œ œ œ œ b˙ œ œ œ œ & b œ J œ œ œ. œœœ œ œ œ œ œ Œ‰j jœ nœ œ œnœ œ 37 J J œ J Cm G7 Cm Adim bœ b œ œ œ œ œ nœ#œ & b œ œ œ Ó ‰ j œ#œ œ nœ œ #œ 42 œ œ œ nœ œ œ nœ œ œ œ Gm Eb7 b œ #œ œ œ ˙ œ œ œ œ nœ œ nœ #œ œ œ œ #œ & b œ bœ œ œ œ #œ 46 œ œ œœ#œ nœ

Fiddler's Rag - 4 - May 2005 0 D7 Db7b9 œ œ b œ nœ œ œ œ œ œ œ œ œ & b #œ œ œ Œ Ó #œ œ œ œ œ 50 D7 Gm œ 3 3 3 0 G7b9œ œ Gm 3 3 3 3 œ ˙. bœ 3 bœ b œ#œ nœ œœ œœ œœ & b ‰ j œ Œ J 3 nœ œbœ œ bœ œ #œ 3 œ œœ nœœ 54 œ œ œ bœ œ nœ œ G7b9œ Cm G7 Cm F œœ bb œ œ œ œnœ œ œ œ. œ œ bœ œ œ #œ#œ & J nœ œ œ bœ œ œ #œ œ œ œ œ#œ œ 57 D7 F Bb A7b9 œ œ œ œ œ œ œ œ œ bb nœ ‰ J œ œ œ œ œœœ ‰ œ#œ nœ œ œ #œ & œ œ œ nœœ œ 61 Gm 3 J 3 Am7b5 guitar solo œ œ œ #œ œ 3 b œ œ nœ œ œ b 3 #œ & œ œ œ œ nœ ŒÓ ∑ 65 œ #œ œ œ

Partial Svend Asmussen Discography (from discography compiled by Joel Glassman)

Evergreens-(Telefunken, BLE 14187) 1965 Hot Violins!-Stuff Smith (w/SA and Poul Olson) Svend Asmussen and Stuff Smith - Live broadcast recording from 2/66 Svend Asmussen & De Gode Gamle (Metronome MLP-15264, 1966) -- live Tivoli performance Violin Summit (w/Grappelli/Smith and Ponty) (MPS)1967 Jazz Fiddlin'Around - SA and Dieter Reith (Murbo Records) 1967 Telemann Today (Polydor) Jazz Pa Stampen (w/Red Mitchell) (Gazell GMG-1216) EP 1969 Amazing Strings (MPS) jazz string quartet (SA overdubs) Yesterday and Today Toots & Svend (Gazell GJCD-1008) Garland-Dr. L. Subramaniam - (Storyville SLP 4075) Chamber Choir with Eric Ericson and SA 1972(Swedish Society SCD 1025) "Dance Along" vol. 1&2 EMI 058.39304 & 058.39305 (France) w/Boulou Ferre "Resource" Asmussen/Thigpen Quartet (SONET SLP-2551) 1974 As Time Goes By (with Lionel Hampton) (Storyville SLP) "Spelar för er" Works by Ellington,Asmussen,Renliden,Bach,Telemann 1977 Prize Winners (with Kenny Drew, NHOP) 1978-Jazz [video] Live in Copenhagen 1986 (with Kenny Drew, NHOP) On The Good Ship Lollipop- (Signature A 26229) June Night-(Signature AK 39150) (also packaged w/Grappelli recording "Live at Carnegie Hall/June Night") [video] Benny Goodman at Tivoli- Svend guests on 3 tunes Svingin' With Svend-David Grisman Quintet (Zebra) [video] Tribute to Floyd Tillman (television broadcast) w/ J. Gimble. String Swing (with ) Jazz and Hot Club style cuts Live at Slukafter (Phontastic NCD 8804) Jazz Fiddler Supreme (Intim Musik 6)1989 Fiddling Around (Imogena IGCD 039) 1994 Fit as a Fiddle (dacapo DCCD 9429) 1998 Still Fiddling (Storyville)2002

Fiddler's Rag - 5 - May 2005