his music from this account, and bear Bunk Johnson them in mind when listening to Bunk’s last records. Accept or reject the music on AN APPRECIATION them according to your own standards. My intention is to explain the motives which BY harold drob led to the making of these recordings, not to sell Bunk Johnson as a musician. I leave that to Bunk himself. Harold Drob is a New York jazz fan who I saw Bunk Johnson for the first time on was responsible for Bunk Johnson’s last January 8, 1946, at Stuyvesant Casino. I recording date, which he calls the only will never forget the date - and I remember sessions to be made with a band entirely it only partly because I was discharged of Bunk’s own choosing. Sides from this from the army that day. 1947 date are receiving belated first This was the first band composed release this Fall, as an LP on the Columbia entirely of New Orleans musicians that I label. had ever heard. I immediately accepted (In this first of two articles, Drob, who the entire band, and perhaps was even came to know Bunk quite well, gives his more impressed with the others than with impressions of the man, reveals some Bunk. But I was sure that he was the best little-known facts about his ”revival” career, trumpet player that I had ever heard in and details the gradual growth of the person, because he always played what I author’s own appreciation of Bunk. In next considered to be correct lead in ensembles. month’s issue he will describe the I was not as sure of how the trombone and recording date. clarinet parts should sound, but being a The Record Changer considers this a rabid Dixie New Orleans fan I wanted to unique and undoubtedly controversial jazz hear ”tailgate” trombone and a full, flowing document. It is also a fascinating personal clarinet. The more complicated the trumpet study of the ”education” of a non-untypical part, the more confused the ensemble jazz fan. - The Editors) sounded to me. I wanted the trumpet to ______play the melody in the most direct way in order to give the other horns the opportunity One of the most vital and important to play as elaborately as they wished. (At experiences in my life has been the some time in the past I had come to the appreciation of Bunk Johnson and his conclusion that Louis Armstrong was the music. I believe that virtually all of this most disrupting force in New Orleans recordings and much that has been written music, because he gave up playing lead about him in the past have misrepresented and played his complex solo style in the man and his abilities. As far as I am ensembles. His tremendous influence on concerned, the only accurate and other trumpet players even made New complete evidence of his abilities as a Orleans horns like Lee Collins and Punch trumpet player and a leader are to be Miller follow him away from the traditional found in his last series of recordings, made lead style.) Bunk was for me therefore, in December, 1947. To explain why I strictly on the strength of his lead. believe this to be so, I am presenting the I was at Stuyvesant every night that following story. week, which ended the engagement. I was I sincerely wish that I were able to make so overwhelmed by the music that I never this explanation through any medium other thought about any shortcomings that the than a first person narrative. Believe me, I band might have. I understood that they have tried many approaches, and have would be back in town in a month or so, resorted to this method only after all others and passing time found me eagerly failed. I hope that the reader will be able to awaiting their return. In the meantime, I glean the significant facts about Bunk and had their records to listen to, especially the 1 AM sides, which were closest to the sound could handle the New Orleans repertoire of the band as I had heard it. and did not particularly care to hear the The first indication I had that anything pop music that Bunk insisted on playing. I was wrong was shortly before they returned could in no way condone Bunk’s failure to for the second Stuyvesant engagement. I limit himself to the type of music the others ran into the late Gene Williams, sponsor of could play. I remember being especially the first engagement. He had just returned intolerant of the answer Johnson gave a from Los Angeles, where he had heard Kid fan who requested a tune, ”I could play it Ory’s sound for the first time. Gene for you but the rest of the band doesn’t remarked that now he ”understood what know it.” I thought that a leader should Bunk meant when he talked about a band” defend his men, not attack them in public, and that he realized that the band with and that he should have said, ”We don’t George Lewis and Jim Robinson was no know it.” band at all. All this was way over my head. For a while I tried to stay away from the I had records of Ory’s band and didn’t like Stuyvesant, but something made me keep them very much. They seemed much less coming back. Finally I realized that I was spirited than the AM Bunks; they sounded coming to listen to Bunk, and Bunk alone. I arranged rather than freely improvised. stopped listening to the rest of the band Gene finally admitted that I probably could and was able to get my kicks from the old not understand what he was talking about man, who was usually playing well and and only would if I could hear it for myself, often superbly. But George and Drag still since the records of Ory’s band did not had a strong influence on me. I was aware sound like the band at all. that Bunk could not work with these I did learn that Bunk was dissatisfied people, but I had no idea which musicians with his band, that almost immediately he he could work with, if any, and I thought had wanted to replace Robinson with that with a trumpet player like Kid Howard, Sandy Williams, and that Bunk couldn’t George Lewis and the others would have a stand playing with Baby Dodds. This also great band. made no sense to me; I was sure Jim was After the band closed for the second a far greater trombonist than Sandy and time their records no longer satisfied me. that Baby was the greatest drummer in the That same disunity was there, though I world. I guess it was then that I began to had never realized it before. But Bunk had build up a personal dislike for Bunk, even me hooked. So, when I found out that he though I had only had a few typical jazz- was to play a concert at Orchestra Hall in fan-type conversations with him. I attributed Chicago in September, 1946, I went out to his dissatisfaction to jealousy (Jim, George, hear him. It was a fiasco. Bunk arrived two and Baby had large followings) and a mean hours late and didn’t even try to play well. nature. But I was learning things. Bad as Bunk When the band returned to Stuyvesant was at the concert, the band (Howard, this impression of Bunk became more Preston Jackson, Don Ewell, Johnny pronounced. I became very friendly with Lindsey, and Snags Jones) gave him very Lewis and Slow Drag and everything that sympathetic support. This was the first they told me bore out my suspicions. To evidence I had of a band working with the them Bunk was a nasty old man who was lead, instead of every man going his own trying to make them unhappy and show way. them in a bad light by playing tunes that I was still very much confused and were unfamiliar to them and using keys come back to New York trying to make a they had never played in before. little sense out of the whole thing. I wanted By now I was aware that there were to hear Bunk, but could not understand fractions in the band. Like many other why he was apparently making it so hard fans, I held Bunk entirely responsible for for me to hear him properly. the disunity. I thought Lewis and Robinson 2 Then Gene Williams went to San that until they could perform it flawlessly. Francisco to promote Kid Ory’s band. A Then they put the music aside and began good friend of mine, who heard this band, to take liberties with the arrangement. But tried to describe it in a letter. The best he they did not attempt to insert their own could do was say that they played together ideas until they were sure that they knew much in the way that Jelly Roll Morton’s exactly how the tune went and what each band played on Black Bottom Stomp. He man’s part was supposed to be. Mutt was called it the greatest musical experience the real leader of this band once they that he had ever had. By now I had no started playing. Ory might decide what choice but to go out to ‘Frisco and hear for they were going to play but Mutt set the myself. pace. Gene was right: the records of this My first reaction to the Ory band was band did not demonstrate their abilities. that it was either the best or the worst I On their records they played only Dixie, had ever heard. They certainly played and never got a chance to show all the together, but on first hearing seemed too other styles of music they could handle. slick, every routine was so patly worked Now the Bunk Johnson side of the story out. Then I realized that the second was starting to make sense. I could now performance I heard of a tune was imagine how Bunk’s band, if composed of different from the first and that the slick versatile and sympathetic musicians, sound was the result of always playing would sound. I could understand how together, making every performance sound unhappy he must have been with the very tightly arranged. Mutt Carey played limited Stuyvesant group. For the first time excellent lead. He could play many I had an idea of the sort of circumstances different styles, always with the utmost of under which I wanted to hear Bunk play. restraint, and the band understood him I had heard dubs of some of the Jelly perfectly. It was a revelation to hear them. Roll Morton Library of Congress sides, and They could really play every kind of music found that I agreed with Jelly’s definition of and all of it was most enjoyable. They jazz, especially that “Jazz music is to be played pieces like Mood Indigo and played soft and sweet, with plenty rhythm. Sophisticated Lady without losing any of the When you got your plenty rhythm and Ellington flavor, while adding their own New plenty swing it becomes beautiful. . . . You Orleans touch. They played Lunceford-type never distort the melody. You always have and swing tunes, like Tuxedo Junction and the melody going some kind of way. . . . Christopher Columbus, using the familiar Jazz is a style of playing that can be applied arrangements as a basis. They did hit to any type tune, it merely depends on your parade and cowboy tunes, waltzes and ability for transformation.” The Ory band rhumbas; they played every tune as the was a most simple and direct example of all average square would expect to hear it, but that Jelly had to say. with a flavor and swing all their own. The On my way back East I learned that melody was always prominent and the Bunk was to play at a session at the Twin things they added were always in keeping Terrace in Chicago. I arranged my trip with the nature of the tune. Bunk’s home so that I could make it. I walked in Stuyvesant band had sounded the same as Bunk was warming up and the first few no matter what tune it was playing, with no notes I heard made me feel entirely at difference in approach between Milenburg home. Joys and You Always Hurt the One You This session was another fiasco. Bunk Love. But this band used every dance was in with a group that made no attempt band idea that I had ever heard before and to play with him and acted as if every one made them part of their way of playing. of them was the leader. But his own One day I was fortunate enough to playing was great. Now I had to talk to catch one of their rehearsals. They started Bunk Johnson. He was the greatest with a stock arrangement and rehearsed musician I had ever heard and I had to get 3 his ideas first hand. Under the pretext of veteran said that he wanted to record bearing regards from Gene Williams and Deep in the Heart of Texas! What kind of Bunk’s other friends I had seen in San material was that for a man who had been Francisco, I struck up a conversation with a member of Buddy Bolden’s Band? They the old man. Bunk told me how important told him that they wanted to record him ragtime music was to him and that he playing as he did in the old days and hoped to be able to come back to New would like him to make some of the old York with a band that would be able to play favorites and a couple of blues. (Bunk told this music. He said, “Ragtime is standard me that he tried to explain that as far as he and due to come back. It takes a real good was concerned when you played the blues band to play ragtime properly. A good once that was enough, because the blues reading band.” was only one tune no matter what you ______called it. But they insisted on two blues.) Bunk was very happy to get the chance Back in New York, I spent a great deal to make a comeback, and he did not press of time with Gene Williams, and learned them to do as he wished. He told them that from him the Bunk Johnson story, he would be very glad to go to New beginning with his rediscovery. I think it Orleans and get a band together. He was important now to go back and tell that sure that he could get Big Eye Louis story as I pieced it together from what I Nelson, for one. Big Eye was immediately learned from Gene (and later on from Bill vetoed because his clarinet paying had Colburn, Bill Russell, and Bunk himself): been disappointing on the Kid Rena When Gene and the others went to New records and they hoped to find a younger Orleans in the spring of 1942 to record and stronger clarinetist. There was one Bunk, their approach was purely a musician on the Rena records who had historical one. They were trying to knocked them all out and they wanted to document the last feeble notes of an old record some more of him. This was Jim man who had apparently once been a Robinson. They thought that Jim would great trumpet player. Bunk was already in salvage the records in case Bunk was real his sixties. He hadn’t played at all for eight terrible. When Bunk realized that he would years and, in the bargain, needed false have to play with Robinson, Gene told me teeth to play at all! They also believed that that he immediately said, “If Jim Robinson Bunk came from an era in which all the is to be the trombone player then I know musicians were unschooled and played no just the clarinet player for this band: George written music whatsoever. They thought Lewis.” That is how Bunk first became that Bunk would only be able to play the connected with these two “emergency tunes that have become identified with musicians,” as he called them. Bunk picked New Orleans: blues, rags, and stomps. Decou and Young and wanted Johnny St. Their sole intention was to try to recapture Cyr. St. Cyr was not available, so Lewis’ the good old days that Bunk talked about buddy, Lawrence Marrerro, was used instead. in his letters. Furthermore, they had In spite of the fact that neither the band expected to have to lead Bunk by the nor the tunes were to his satisfaction, hand. He was obviously out of touch with Bunk reached a peak on these records New Orleans, having retired years before that he never duplicated again until his to New Iberia, and they would have to very last ones. Then Williams and Russell attend to all the details, including the began the “Bunk Johnson is the greatest” choice of a band and tunes. campaign. What they found was overwhelming. There is no denying that on these initial Bunk was anything but feeble, physically records George and Jim play far better or mentally, and had his own ideas about than they ever did with Bunk later, and that what he wanted to do. Imagine their the rhythm section was better than later surprise when right off the bat this old ones. The records were most unusual and 4 the jazz-fan world accepted the fact that know how to find the nearest bar.” Having Bunk was still a very fine New Orleans found the situation completely hopeless, trumpet player. It was only natural to Bunk went back home, still without having connect him with the band. Only a few had a decent opportunity to play. people knew that he had not chosen Lewis Gene Williams, who was a witness to the and Robinson, and nearly everyone Boston deal, decided that the time had thought of George and Jim as being in the come to let Bunk be the leader of “his own same class with Johnson. band.” By that, Gene meant the band Bill Some time later Bunk went out to Russell had recorded in New Orleans with California by himself. He tried to explain Lewis, Robinson, Slow Drag, Marrerro, and his requirements to Colburn, Blesh, and Baby Dodds. However, Bunk in no way his other sponsors, but no one seemed to considered this “his band.” He tried to understand what he was talking about. explain that he could get a band together to Bunk was put to work once a week with a play “some fine dance music for the band that consisted of the remnants of Lu dances,” but Gene was adamant. Finally Watters’ Band. They generally refused to Bunk agreed, but in a letter to Williams play any tune written after 1930, and were insisted that this would be “Bunk Johnson’s still developing as musicians. Colburn, Olden Time Band” and not his dance band, who had the advantage of having heard since these fellows could only play the old Ory’s band, which experience the eastern time tunes. Bunk followers lacked, realized Bunk’s Bunk still tried to show Gene his position before anyone else. But by the dissatisfaction in every way possible. He time he did, Bunk was back East. even traveled to New York by himself, to Next was Boston and Sidney Bechet. show that he didn’t feel he belonged with Bunk often talked to me about that deal. the others. After two weeks, he wanted He really thought that he was going to get Williams to send Jim Robinson home and a chance to play some good music with hire Sandy Williams. Baby Dodds was Sidney. Bunk went to Boston with the carrying on and playing a lot of solo highest hopes. He even went so far as to drums; when Bunk suggested, firmly that bring some sheet music with him. When Baby stop all those “explosions,” Baby Bunk pulled out his music, Sidney answered back. Bunk wanted him fired, apparently thought he was trying to take too. Gene wouldn’t do it. Since Williams over the band. Bunk tried to explain that had hired the whole band, Bunk felt he he was only trying to help make it a better could not single-handedly fire any man he band, but he was told in no uncertain hadn’t hired in the first place. Bill Colburn terms that Sidney was the leader and that came to town and explained to Gene that his suggestions were not welcome. This this was not the band for Bunk. Gene attitude antagonized the old man. In decided to send the band home and go to addition Bechet had no intention of giving California to hear Kid Ory’s band, Colburn up the soprano sax for the clarinet during having insisted that only by doing so could Bunk’s stay with the band – although he fully understand. Bunk went home Johnson had understood he would do so. expecting to hear from Williams within a Bunk had no desire to compete with what month. he called “the fish horn,” and at first went While Williams was in California, Benjamin so far as to refuse to play whenever Menshell, the owner of the Stuyvesant Bechet picked it up. Casino, who had realized how great a draw Things kept getting worse and Bunk the band was, approached Bunk about began drinking on the job. The climax came returning to play. Having written to when Sidney instructed the bartender in the Williams and received no reply, Bunk place not to serve Johnson. Bunk told the began to dicker with Menshell. Menshell bartender: “I’m not a child. I’m 65 years of was afraid that without Lewis and Robinson age and if I want to drink some whiskey I it wouldn’t be successful, and insisted on 5 them. Bunk was able to pick his own pianist hapless jam sessions. It was at this time and drummer. He hired Don Ewell and that I really got to know him personally. intended using George Thompson, who had By this time I was prepared to find an been Bechet’s drummer when Bunk was in entirely different man than the one I had Boston. But Thompson was not available. originally pictured. I could justify all the Bunk didn’t know any drummers in town, but actions that I had found detestable before. knew that Kaiser Marshall had played with I felt I had a tremendous advantage over Henderson. On that recommendation Bunk those people who tried to help him in the hired him, but Kaiser was off on some kick of past, and was ready to approach the man, his own and played so badly that Bunk had to confident that at least I would not repeat fire him. One night Marshall was so far off in any mistakes that anyone had made his own world that Bunk had to bang on his before. I became a regular visitor of Bunk’s bass drum in order to get his attention. That and talked to him a great deal. My respect night he gave Kaiser notice. for Bunk Johnson increased with each ______succeeding visit. His personality was as engaging as his music. Louis Armstrong That fills in the gaps in the Bunk Johnson once said, “Just to hear that man talk story up to the time that he finished his sends me.” His memory was fantastic and second engagement at the Stuyvesant he could recall incidents that had Casino. At that time, Gene Williams was happened fifty hears before in the greatest looking for the money to sponsor a band of detail. His truthfulness has often been Bunk’s own choice. Gene had a mystical doubted, but he never told me a verifiable approach to Bunk and looked for hidden story which I found to be at all untrue when meanings in everything the old man had to I checked it. say. But, as I later found out, his quotes His personal pride and integrity were were accurate even though he distorted unusual. Having complete faith in his their meaning. From him I learned that abilities, he would never compromise Bunk’s musical ideas were no different himself, no matter what the situation. He from those of Morton and Carey. They never played anything other than what he boiled down to these requirements for a considered the correct way to play trumpet band: (1) a group of good reading in a band. He was never able to musicians, (2) careful rehearsals, (3) a understand why he was expected to play repertoire that includes everything in the the same tunes night after night. The jazz line of dance music, (4) the band must fans, who clamored for High Society, play for dancing, (5) the melody is the Sister Kate, and Careless Love set after most important thing, (6) there must be a set, annoyed him. He wanted no one, least leader who gives direction to the band, of all non-musicians, to tell him how to and (7) the others must be willing and able play. Bunk told me that he once quit Pete to follow the leader. Lala’s Café, a choice job in New Orleans, By now this was exactly the kind of a because Lala objected to Bunk’s wearing a band I wanted to hear. But Gene refused blue shirt. “A man tells you how to dress to take any practical viewpoint and and the next thing you know he’s telling seemed to think that he could raise money you how to play.” for Bunk without having any concrete plan His trumpet style was as pure and direct of operations. Neither he nor Bill Colburn, as possible. He never used mutes or tried who joined Gene in New York, ever had for freak effects. At one time he had any success with their fund-raising doubled on saxophones, but he told me he attempts. gave up the instrument when slap- In the meantime, Bob Maltz brought tonguing became popular. He thought it Johnson to New York to play at the concerts incorrect to play sax that way and Maltz was beginning to sponsor. Bunk preferred not playing it at all. His music gigged around at concerts and various reflected his way of life. He did his bet, 6 provided that he was dealt with honestly. with him for any length of time; he could He was a man of his word and expected always divert you with his humor. He everybody else to be the same. When a seemed to enjoy life to the fullest extent. man didn’t treat him in the way he His vitality was contagious and following expected, Bunk felt under no obligation to him around required more activity than keep his end of the bargain. If he was most people forty years younger were treated as if he were a fool he acted like ordinarily willing to expend. His mind was one. The punishment for doing him wrong as keen as any I have come across. He was often far from fitting the crime, was, without question, the most fascinating especially in the case of people who did person I have ever known. not know him well, and in many cases harmed Bunk’s reputation as well as the wrong doer. John Schenk, promoter of the Chicago Orchestra Hall fiasco, had asked Bunk to pick his band. Bunk replied that that he did not know any Chicago musicians but would be willing to play with anyone except Baby Dodds. When Bunk received a copy of the program he noticed that Dodds was also to appear. So he arrived in Chicago two hours after the concert was scheduled to begin and gave his minimum performance. The only way you could do business with Bunk was according to his rules. Actually all that he demanded was that you appreciate what he could do and be honest with him. These were the only conditions under which he would perform at his best. At 68, he was the physical equal of a man of 30. He never considered himself to be old and, even though he referred to himself as “old man Bunk,” wanted no special consideration because of his age. He thought that Miff Mole and Mutt Carey played well “considering their ages.” These men were years younger than Bunk. But if somebody said that Bunk played well for his age he became indignant. He was extremely proud of his every accomplishment, physical or mental. Bunk once asked me to help him move. When I arrived everything was altally knocked over Bunk’s stand. Seeing his ready picked and ready to go. Even though he had been living on the fifth floor, he carried everything, including his trunk, down the stairs by himself. Actually all that he had wanted me to do was to get him a cab and direct the driver to his new home. Bunk had an acute sense of humor and had a steady flow of truly amusing jokes and stories. It was impossible to be angry 7