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Jazzletter 93023 P.O. Box 240 , Ojai, Calif. Jazzletter 93023 Aug. 15, 1982 V01. 2 No. 1 the album for Welk, I was asked to accompany him. I found the LGIIOFS often—ridiculed bandleader considerate, intelligent, and People kept calling me last weekend about your latest knowledgeable. The album was scorned by nearly all the jazz Jazzletter, some of them quite outraged by the piece on Duke people, most of whom never heard it, but there was much good Ellington. Now that I have finally seen it, I am glad to say that I music in it. am not. It is basically sound and far better than the one you wrote Stanley Dance, Vista, California in High Fidelity in l974, although you repeat the errors about Juan Tizol was born in Puerto Rico. Juan Tizol being Cuban and Duke being divorced in his “young While we're on the subject offirst-year errors, here are some years”. more: What I most objected to in your High Fidelity essay was the Phil Woods turns out to be not Anglo-Saxon after all. He is meme to Duke as “very vain”. He really wasn't, although he Irish and French. Which only goes to prove that Anglo-Saxons in t to great pains to maintain an urbane public image . That jazz in America are even scarcer than I thought. was surely justifiable from a business viewpoint, and keeping the Herbie Haymer, not Herbie Steward, played tenor on Kay band together through thick and thin, as Mercer explained in his Kyser’s Pushin’ Sand, which I heard recently. It isn't as good as I book, dictated a number of strategems he might not have rememberfrom childhood. Iguess I wasjust mind-blown that that otherwise have employed, to survive. band couldplay anything beyond Popacatepetl (Sleeping Flame I did not, as you suggest, see Duke as a god, nor myself as “a of Lovel. ' guardian of the icon”. I happen to be a practicing Catholic and I Sirenes is not a part of Debussy’s La mer but one of the know about false gods. Duke was, however, the most brilliant Nocturnes. man I ever met, certainly the most fun to be around, and essentially a very good man. Much more remains to be written Fingers lives. about how he supported relatives, dependants, and sick Robert Frank, Marina del Rey, California musicians. After his death, I was much concerned with the preservation of his music and unreleased tapes, so I tried to help He certainly does. _ Mercer to this end as much as I could. As I’m sure you know, there was no will, and Mercer was faced with enormous problems, I note that in your June issue you are truly even-handed, having including taxes. lfelt I owed him a debt of loyalty, and Icontinue used “right-wing” pejoratively once and “left-wing” a single time. to think that he has not generally had the support he deserves. I believe your $30 subscription rate is absurd. The level of your Duke’s escapades with the ladies were just as well-known as June effort surely qualifies as graduate-level college material, and Paul Gonsa1ve’s part in the Vegas drug bust, especially in $300 would be more appropriate (diploma included, of course). England, where Paul died and where my one-paragraph “attack” But then, at $300, only we right-wing tycoons could afford it. I am you appeared in ajazz magazine. I questioned the necessity for enclosing gift subscriptions for two friends. u to dwell on those subjects so soon after the deaths of both A humble suggestion. The Jazzletter, excellent as it is, cannot men. survive on subscription income. If I’m a typical non-musician You intimate that I may have resented your mentioning the subscriber, many of us are passionate aboutjazz and would gladly “girls”. So far as I was concerned, and particularly when we were make an annual donation to support the publication. You might working on Music Is My Mistress, they often proved a nuisance. study the tactics of William J. Buckley Jr. who annually gets his Nearly all felt they had the inside track and were indispensable. To handy little band of true believers to contribute $200 or more to a considerable extent, too, Duke was womanized, because he keep his little National Review afloat. l’m sure the folks over on could not keep women away even when he wanted to. They the New Republic side do the same. amused him, of course, and he dealt with them with charm and Hank Maller, MD, Sherman Oaks, California gallantry whatever the nature of the relationship. The main liaisons were sketched by Mercer in his book in the hope of You may regret saying that, Hank. If it comes down to that, spiking the guns of gossips and keyhole voyeurs. The Jewell and you'll be the first guy I hit on. George books offer examples of what he anticipated. One further point: the occasional sloppiness of the band on one- The Reluctant Romantic nighters was also well known, but on such occasions Duke was often surprisingly happy and relaxed. Sometimes he contributed Part I to it by dealing another hand of cards when the band was On one of those folding chairs designed no doubt by the same supposed to be on the stand. Musical departures from the misanthrope who invented the wire coat-hanger and those ordinary then resulted in creativity as_ the guys came up with modern medicine bottles that only a child can open, I was original ideas in unexpected solo roles. But when they closed enduring a chamber-music concert with a friend who, at that time, ranks, or when they were hot, as Johnny Mandel said, they could had a full beard. This occasion, which would have slipped swiftly outplay anyone, except perhaps Fletcher Henderson’s band in its from memory but for a small event that came at the end of it and Coleman Hawkins heyday. more important events flowing out of it, occurred in the ornate I believe much of what you say about Guy Lombardo could white marble rotunda of the city hall of Ventura, California. apply to Lawrence Welk. When Johnny Hodges came out to make Perhaps a thousand yards away lies a strip of sand beyond which Copyright 1982 by Gene Lees the Pacific Ocean begins its long march to China, Japan, artichoke.) And clarinet players everywhere know his work. The Polynesia, and India. My friend and I, both of us far from the principal clarinetist of the Cleveland Symphony, who was about crimson autumns and white winters of our respective childhoods, to perform his Concerto for Clarinet after diligently studying the were listening to European music on the final frontier of Western record, recently phoned him for suggestions. Jerome Richardson, civilization —- which is probably where we both always wanted to himself a fine saxophonist, clarinetist, and flutist, said “I was a be. Benny Goodman fan until I heard Artie Shaw, and that was it. He The orchestra comprised eleven musicians. The audience, went to places on the clarinet that no one had ever been before. He despite casual California attire, had the air of earnest interest would get up to B’s and C’s and make not notes but music, (concealing many a wandering thought on other subjects) melodies. He must have worked out his own fingerings for the common to chamber-music recitals, and I tried to keep a certain high notes, because they weren’t in the books. To draw a rough amusement from showing in my face. Then the orchestra turned analogy, Artie Shaw was at that time to clarinetists what Art to a piece by Gounod. The respect of Twentieth Century Tatum was to pianists. It was another view of clarinet playing. A audiences for Nineteenth Century composers has anesthetized us lot of people loved Benny Goodman because it was within the to Gounod’s mediocrity. The piece opened with a long major scope of what most clarinet players could play and therefore could chord that for some reason I recognized to be E-flat, which is the copy. But Artie Shaw took the instrument further.” opening chord of P.D.Q. Bach’s' Schleptet in E-flat Major. That’s Barney Bigard said that, to him, Artie was the greatest clarinet the piece where the orchestra plays an interminable tonic triad player who ever lived. Superlatives are of course questionable, if followed by an even longer dominant chord during which the only because none of us has heard every clarinet player who ever musicians begin to faint and crash to the floor. My friend chose lived, or for that matter who is living now. But it is safe to use that moment to whisper in my ear, “You have to admit, this is these: pretty dull music,” and in my effort to maintain the proprieties I He was the most celebrated and the most glamorous of the big- nearly choked. band leaders and he made the most headlines, in part becafif The Gounod, fortunately, was followed by a nice Dvorak piece marriages to famous beauties such as Ava Gardner, Lana T r, and then some Stravinsky. During the course of both works, my and Evelyn Keyes, and in part because he did what in America is friend drew my attention to the two young clarinetists in the unthinkable: he walked out on success. The headlines have orchestra. After the performance he made it a point to speak to yellowed by now, but what he left behind, in a business that still one of them.
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