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Post Scripts #2

[Since our first Post Scripts on July 13, 2019, readers have continued to respond to Other Aspects posts with interesting comments. Thank you to all who have written. I’ll periodically gather and share items of general interest in these posts called “Post Scripts”. The headings give the name and date of the most recent post being addressed (some posts build upon previous ones). The readers’ comments are in italics, to distinguish from what I write in reply. I edit only in the interest of space and context. Enjoy, and please keep sending your thoughts to KenBossong@gmail.com. Again, if anyone does not wish to be quoted, even anonymously as I’ll be doing it, please just say so when you email me.]

Missing The Trane (7/18/19)

Really, really enjoyed the Coltrane piece. Well-written and an excellent overview of his career, recordings and influences, as well as those he affected.  One of the best short summaries I’ve read about an artist.

Thanks for saying it was “short”, since I can get carried away – especially with a topic like John Coltrane, who deserves a treatise.

Wow, Ken. I just read your Coltrane piece and was blown away. I saw the email linking it earlier in the week, but wasn’t able to read it because I had one helluva busy week. I’m glad I waited until Saturday morning to read it. I could then savor the flowing prose and insights… Even though I knew most of what you wrote of Trane, I liked the way you methodically went through his recordings and evolution. Great perspective.

Thanks for the kind words, and for subscribing. I finally realized how to make that easily available by placing the button up to the right just below the blog’s header. That way, you get new posts without having to do anything.

I’m still hoping to do an in-person presentation of A Love Supreme before the year of its 55th anniversary is over.

The Flores v. Barr Cringe Fest (8/21/19)

I watched the news snippets of the DOJ’s attorney in front of the judges and listened to the judges chastise her for the Trump Administration’s version of what constitutes “safe and sanitary conditions” for minor immigrants. I also read articles following the case. Your legal knowledge and drill down of the case really helped confirm unfortunately what this administration is doing at the border.

I would like to see money spent on better temporary hospitals, housing and vetting stations at the border instead of a wall. Taking care of those people risking their lives to get here while taking time to decide who gets to stay seems logical and humanitarian. We are better than this and what’s happening now. History is not going to be good to this administration especially on the immigration issues, but we shouldn’t be waiting for history to decide the moral responsibility we have as a democratic nation.

How often do we find ourselves saying, “We are better than this”? If there’s one theme to Other Aspects, it’s this: We better be better; it’s up to us. From the same reader a few days later:

Can Trump get rid of the Flores agreement?

Here’s an edited version of how I responded on August 27:

“There is no easy answer to this. It could play out any number of ways. If the Agreement were simply the settlement of a case, that would be one thing. But it’s incorporated into a court order. The executive branch can’t simply ignore or override a court order. Yet, I don’t think res judicata (the thing’s been adjudicated; can’t reopen) applies in the usual way to a case involving ongoing interactions.
A few scenarios:
1) Congress passes legislation comprehensively addressing the issue and obviating Flores. Not happening, which is the subject of my ire going back to the post of 5/10/19.
2) Appropriate agency in executive branch does formal rule-making and issues regulations, which are litigated. This would also involve a lot of time and work.
3) Trump announces he’s defying the court order. Plaintiffs move to hold him in contempt. Mess ensues.
4) The administration does something akin to a hybrid of 2) and 3) not simply defying, but not issuing formal regs either. Perhaps an executive order or something. Litigation ensues.
Looks like 4) has already begun, as one might expect. Trump has announced a plan to abandon Flores, whatever that means, and 19 states have joined in a suit.”

Here’s an update: Shortly after this post, the Trump Administration announced new policies called the “Final Rules”, tossing out the Flores principles (by providing for indefinite detention, diminished safety standards, etc.). Plaintiffs sought continued enforcement of Flores. On 9/27/19 Judge Gee ordered just that, with an injunction against enforcement of the Final Rules. Appeal by the Trump Administration remains pending with the Ninth Circuit Court of Appeals.

…Your Flores blog is the perfect pitch [for a non-technical book about famous legal cases]. In just a few words, you took a complex matter and made it both clear and interesting to read.

Talent and Success in Sports (Part 1, 9/18/19 and Part 2, 10/2/19)

The following is from a reader from inside the Washington D.C. beltway:

Very well done! I enjoyed your analysis despite its “inside Philly BBall” skewing and skewering. We have a process here in Skins Country, too. It consists of:

  • knowing to a certainty every year that the season is a lost cause before any games are played;
  • understanding that Snyder’s strategy is to lose now and lose later;
  • being too ignorant to understand the grammatical subtleties of terms such as “transitive verb;” and
  • being mindful that there is little to choose between “tanking” and monumental incompetence.
    At least we have Max, Steven, Anthony and Juan.

You do have them, and what a remarkably unprecedented World Series they won with the Nationals! I wasn’t kidding about being grateful as an Eagles fan that Dan Snyder owns the Redskins, by the way. Now, if only the Dallas Cowboys could have retained their head coach even longer…The only real difference between tanking and monumental incompetence is intent.

Consider the Kurds and Weigh (10/31/19)

Well said…[Trump] is a deep insult to every veteran who stood up and served our country. I have spoken to my fellow veteran friends about his betrayal of the Kurds and they are livid.
I have run out of adjectives to describe his behavior and am stunned that his “base” cannot see or understand the harm he is doing, much of it irreparable.

Another reader cited a specific line in the post before commenting:

Abandonment of the Kurds to the Turks in Syria is the single most despicable act of a president in my lifetime.

What about the Abandonment of the Iraqis to isis by the prince of darkness? Or how about the thousands of Coptic Christians left to be slaughtered by isis? No help offered … Wouldn’t even allow asylum to the US for them… ask yourself why… Or how about our own soldiers and ambassador left to be slaughtered in Libya to cover up the running of weapons to Syria. Obama let isis run unopposed throughout North Africa while they offered almost daily videos of their beheadings, burning people alive etc… Or maybe we can remember the abandonment of the South Vietnamese in 75 with untold slaughtered by the North Vietnamese after the dems leveled Nixon, then defunded the south’s ability to hold the truce.
[A]t least the Kurds have hundreds of millions in guns and weapons that you and I paid for.   After 19 years of this Middle East crap, The American People are fed up with it.

Prince of Darkness? I don’t recall Miles Davis or Ozzy Osbourne being President.

I believe Obama’s withdrawal of troops from Iraq in 2011 to have been one of his mistakes, premature at best. Perhaps he felt the American people were fed up with this Middle East crap. It was in accord with a status of forces agreement (SOFA) signed by George W. Bush on December 14, 2008 that all US troops would be out of Iraq by December 31, 2011. (Remember the press conference where W had to dodge a couple of shoes flung at him by an Iraqi journalist? That was the one.) The withdrawal followed painstaking analysis in consultation with experts, and months of unsuccessful negotiations with the Iraqi government to keep 3-5000 there. I wish we had. While it would not have prevented the rise of ISIS, 2014 may not have played out so badly had we maintained a presence.

That includes what happened to the Coptic Christians, who have been the victims of persecution for centuries. While 2014 was the worst recent year, the persecution continues to the present. This is one of the outrages in the world that must be addressed by all as simply unacceptable. Of course, we still have wackos who deny the Holocaust.

Obama has called the Libya debacle his “worst mistake”. Gadhafi deserved to be ousted by the US-led NATO intervention (approved by UN resolution), but a lack of planning for what was to happen next left the violent mess it remains. Unfortunately, we failed to learn from W’s declaration of victory in Iraq after toppling Saddam Hussein. We seem astonished when the locals don’t  celebrate by rushing into the streets and setting up an American-style democracy the next day.

Then there was Benghazi, where inadequate security despite warnings left the embassy vulnerable to a deadly attack. The ambassador and three others were murdered; Obama and Hillary Clinton foolishly denied the attack was a terrorist act when they must have known better. Conspiracy theorists had a field day, especially after American arms found their way into the hands of terrorists in Syria. Altogether, Obama may be right that Libya was his worst mistake. Had I been writing a blog back then, my displeasure with Obama’s handling of Libya, Iraq, and other items would have been clear. That doesn’t change my assessment of Trump’s actions.

The misadventures of Vietnam are a whole other ballgame, well beyond the scope of the post. Mistakes go back at least to the Gulf of Tonkin resolution, yet another lesson that if you must misrepresent the truth, there is something wrong with your position. The democrats did not level Nixon, however; Nixon’s behavior leveled Nixon. Back then, reprehensible behavior had consequences. It was over for Nixon when Barry Goldwater, a conservative’s conservative, and Hugh Scott told him his Watergate position was indefensible, which it was, though nothing much compared to current presidential behavior. Now, Senate republicans are led by the likes of Mitch McConnell. [Sigh]

The point remains: Any president makes mistakes, but not Trump; just ask him. He don’t need no stinking experts. Issues are easy when all you care about is what’s best for you. (In an unsettling way, actually, this was no mistake. The president deliberately sought to create a diversion from the Mueller report and Ukraine.) Trump’s unique blend of ignorance, arrogance, dishonesty, corruption, and narcissism make him as spectacularly ill-suited for the presidency as a person can be. It’s interesting that his grave flaws are finally dawning on some of his fans due to his atrocious handling of COVID-19, the only crisis of his presidency not of his own making.

As we see how much worse the pandemic gets than it had to be, the withering criticism is richly deserved. I’m still concerned, meanwhile, about what an increasingly desperate candidate for re-election will do as he realizes he was correct in wanting to run against Bernie rather than Joe. Will there be any inspector generals left? Will any act of telling the truth in the executive branch go unpunished? Will the Trump campaign simply merge into the Department of Justice? After the Memorial Day we just had, one shudders to consider the distress and harm this one man can cause leading up to November.

I, Citizen (12/15/19)

I found it very interesting. I especially thought the part where you spoke about Hamilton was amusing since the majority of its viewers/fans are actually kids or young adults…I think I’ll share this with my government teacher from last year…

It should be safe to share my post with a former teacher, since he is no longer grading you. Meanwhile, I should probably ask you to explain some parts of Hamilton to me.

Thoughts on Choosing a College (1/25/20)

Thanks for posting this, Ken, as we are in the college application process for my youngest daughter. At this time the things that hit home for me were in your summary: do not believe there is only one perfect place for your child, the option to transfer later if things don’t work out, and the chemistry or subjective feel according to the student (something I believe applies more to the girls than the boys).

We don’t want 17 or 18-year-olds thinking their lives are ruined if they didn’t get in to good ol’ Alma Mater. Or somewhere a couple friends want to attend (for no particular reason). Or…

As to the chemistry or subjective-feel thing, my two favorite stories on this point involve one girl and one boy. Since writing this post, I’ve been feeling badly for high school seniors who were relying on college visits this spring to make their final decisions. Hopefully, the post’s checklist helps.

Ken, two comments:
1. Community colleges merit mention. Some of the most dynamic programs geared to actually achieving rewarding employment upon graduation are centered here, and the cost is very reasonable. Moreover, it is a good maturation ground for those who need some maturity before moving on to a four-year school.
2. Changing majors is not so easy at places like Cornell and Penn. This is key info that students and parents need to know before they hand over the check.

These are two good thoughts. The second point is generally true at some schools, and may depend on which majors are involved at others. If a school is particularly renowned in one field, securing admission to the college may not automatically mean that major is available to all. Some places just seem to make things more bureaucratic than others, though my overall sense is that these issues have improved over the years. When frustrated, we used to call red tape the “RU screw” at Rutgers in the 70s, but it is much better there now.

McCoy Tyner, Philly’s Pianist Supreme (3/9/20)

I read your excellent ode to McCoy Tyner, then listened to some of his work. I’m afraid my tin ear doesn’t get it, but then it took me until maturity (some would argue that’s still in the future) to appreciate Mozart, Beethoven, Patsy Cline, Husker Du and Meatloaf. Keep the good stuff coming.

Give McCoy another listen sometime. He really is all that. By the way, what did Husker Du? 

Tony Allen, Fela’s legendary drummer, died [on 4/30]. He wasn’t as iconic, but he was every bit as important [as Fela Kuti].

Indeed, what is Afrobeat without the beat? The list of greats we’ve lost recently is getting way too long. In addition to McCoy and Tony, RIP: Jimmy Heath, Lyle Mays, Henry Grimes, Jymie Merritt, Bill Withers, Bucky Pizzarelli, Wallace Roney, Ellis Marsallis, Lee Konitz, Little Richard, Lucky Peterson, Jimmy Cobb.

Dynamic Duos (5/10/20)

One reader already had a suggestion for a duo:

Dolphy and Mingus

They are on the list and a compelling pair. Also under consideration was Charles Mingus and his long-time drummer, Dannie Richmond. Given the volcanic temperament that accompanied Mingus’s genius, it’s astonishing how long and how consistently Danny played with him – and how well.

Multi-reed virtuoso Eric Dolphy, like his friend Bobby Hutcherson, was one-half of a dynamic duo with a number of colleagues, including the two of them together (Out To Lunch and Iron Man, among other truly great albums).

Again, thank you for reading – and writing.

Ken Bossong

© 2020 Kenneth J. Bossong

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Dynamic Musical Duos

In the tribute to McCoy Tyner (post of 3/9/20), I referred to him and Bobby Hutcherson as a “dynamic duo”. This got me thinking about other such musical pairings. There are many, and what makes the best collaborations special varies tremendously.

Perhaps they push one another, or enhance each other’s strengths by contrast. It might be a case of talents that mesh so perfectly that they seem to have been born to play together. Maybe it’s just inexplicable. Whatever it is in any given case, the listener knows that when these two artists got together, live or in studio, magic happened.  

Here, then, are five dynamic duos to savor: two Blues, two Jazz, and one where Jazz and Blues meet.

Leroy Carr and Scrapper Blackwell

Already familiar with Leroy Carr? If so, you are (or are on your way to becoming) a Blues aficionado. Yet, he should be better known, as one of the greatest and most important early stars of the Blues. His songs have been covered, in whole or in part, by countless artists. Legendary singer/pianists, from Nat King Cole to Memphis Slim to Charles Brown to Mose Allison to Ray Charles and beyond, are in his debt.

Francis “Scrapper” Blackwell’s single-line runs on the guitar perfectly complemented Carr’s piano and vocals – making them the first duo who simply had to be included here. And what piano and vocals they were! Carr’s voice was a remarkably rich yet supple instrument. It might have been the envy of the smoothest crooners, if not being used to sing unflinching blues. Similarly, his piano playing, while firmly rooted in barrelhouse blues piano (the gut-bucket precursor to boogie-woogie), was somehow suavely sophisticated without giving an inch on grit.

Some call Carr the first urban blues musician. He and Blackwell both moved to Indianapolis as children, Leroy having been born in Nashville and Scrapper in Syracuse, South Carolina. Together, they created a sound less raw than early rural blues of the deep South, and paved the way for the plugged-in city blues that later evolved in Chicago and elsewhere. If not urban, they were certainly urbane.

Carr’s very first record, 1928’s “How Long, How Long Blues”, was a big hit for the time. There followed many songs that would take their place among classics of the Blues canon, and Carr wrote most of what he sang. Among them are “Hurry Down Sunshine”, “Midnight Hour Blues”, “Barrelhouse Woman”, “Southbound Blues”, the dance tune “Bobo Stomp” and “I Believe I’ll Make A Change”.

That last one, recorded 8/14/34, may well have inspired Robert Johnson’s “Dust My Broom” in 1936 (which later evolved into Elmore James’ signature song). It features superb lead guitar by Scrapper Blackwell. In truth, he was always more than an accompanist; every one of Carr’s greatest recordings was enhanced greatly by Blackwell’s telepathic interplay. There is some scholarly support for the notion that Scrapper had significant input in the composing as well.

To my ears, the masterpiece is “Blues Before Sunrise”.  It follows the Blues’ standard AAB format (opening line, repeated, then resolved by a closing line), but the lyricism, set to a majestic melody, is striking:

I have the blues before sunrise, with tears standing in my eyes    (X2)
It’s such a miserable feeling, a feeling I do despise…
Today has been such a long, old lonesome day (X2)
I’ve been sitting here thinking, with my mind a million miles away.

While there is grace, majesty, and poetry to his blues, Carr (like most songwriters) wrote about what he knew. His entire, brief life was spent in the Jim Crow era and his recording career (1928-35) straddled the Great Depression. The menace of violence is often present, sometimes front-and-center, and Carr’s lyrics celebrate his alcoholism. The juxtaposition of such content with his pleasing, skillful delivery can be as jarring as it is understandable.

When Carr sang he’d “rather be sloppy drunk than anything I know”, he apparently meant it. In “Hustler’s Blues” he sang, ”Whiskey is my habit; good women is all I crave” before matter-of-factly predicting “I do believe the two will carry me to my grave”. He was right about the whiskey; it shut his organs down in April of 1935, a month past his 30th birthday.

Buddy Guy and Junior Wells

Although they individually established themselves on the Blues scene, Buddy Guy and Junior Wells spent more time touring and recording together than any other dynamic duo mentioned here – despite periodic breaks. An album cover once referred to them as The Original Blues Brothers – an apt description, considering the dues they paid together through the years. I’ve seen Buddy Guy more often than any other musician or group. Nearly half of those shows were with Junior, even though he died 22 years ago, .

Each was a master of his instrument, and each sang more than well enough to be the lead star in a band. Any group they co-led was automatically an all-star band. On harmonica, most players in the generation following Little Walter Jacobs and Sonny Boy Williamson II (Rice Miller, as opposed to Sonny Boy I, John Lee Williamson) clearly followed one master or the other. Wells was the most intriguing blend of the two, combining Walter’s powerful, saxophone-like attack with Sonny Boy’s plaintive lyricism. Among guitarists, Buddy has no peer. Calling anyone “the greatest guitarist” is looking for trouble, of course. So, let’s just say he’s my favorite, because I’ve seen him play things no one else could conceive of, much less attempt.

Junior always struck me as a real character, and top billing seemed more important to him than to Buddy when they were together. Live, they handled it as Muddy Waters might have suggested: A set would begin with the band playing an instrumental or two. Then: “Are you ready for Star Time? Ladies and gentlemen, BUDDY GUY!” Buddy would make his entrance, sing a couple, and then say something like this: “It’s Star Time again. Put your hands together for JUNIOR WELLS!” Junior would sing three or four and then they’d alternate the rest of the set.

Here’s the thing: they did not sulk or go through the motions when not singing. Indeed, they each played their best behind the other. This might help explain why some of the best Buddy Guy records are Junior Wells albums. There are plenty; I’ll mention two.

Hoodoo Man Blues on Delmark (1965) is a landmark as the first urban blues album: (a) for Delmark records; (b) for Junior and Buddy; and (c) to capture a working Chicago blues band in studio as they would sound in a club. It’s Delmark’s #1 seller and appears regularly on “best ever” and “dessert island album” lists. Recommended tracks? Yes, all of them. (Amusing sidenote: early pressings list Buddy Guy as “Friendly Chap”, mistakenly thinking Chess would object.)

Some tracks on It’s My Life, Baby! on Vanguard were recorded live at Pepper’s Lounge in Chicago; others in studio. All capture Junior and Buddy at the top of their game. Even the rather silly “Stomach Ache” features phenomenal guitar by Buddy. The title track is Chicago blues as rip roaring jazz. The top highlight, though, is “Look How Baby” with Junior’s impassioned vocal and a remarkable duet between Buddy’s guitar and Fred Below’s drums. It’s avant-garde blues. (BTW, most of the same tracks, with a few others, also appear on Best of the Vanguard Years.)

The first time I saw Buddy after Junior died in 1998, he spoke of him, then said “Damn, I miss him.”

Ella Fitzgerald and Louis Armstrong

On first blush, this might seem an odd pairing. Yes, they were two icons of American music, but…

Ella was the First Lady of Song, a virtuosic singer’s singer. With perfect pitch and an encyclopedic memory for songs, Ella brought a beautiful and personal tone across a huge range.

Louis had brought unprecedented virtuosity to Jazz on cornet and trumpet, but his voice was gruff and gravelly through a limited range. His approach to singing seemed playful, sly, almost casual. Many know Louis as the cute older fella who had a hit with “Hello Dolly”. That misses not only his earlier Hot 5 and Hot 7 masterpieces that were arguably the most important popular recordings of the 20th Century, but also the astounding gifts he brought going forward.

Jazz impresario Norman Granz brought them together on his Verve record label, and provided them with stellar support. Three albums issued: Ella and Louis, Ella and Louis Again, and Porgy and Bess. Each was met with deserved critical acclaim and commercial success. If you love the great American songbook, you’ll want them all. If you don’t, you still might want them all. Other options include compilation and “Best of” albums.

Riches abound; you can’t go wrong as a listener. “Let’s Call The Whole Thing Off” has never been a favorite of mine, but I couldn’t help but smile at their rendition. Virtually everything else is sublime. What Louis creates as counterpoint to Ella’s lead in the first chorus of “Stars Fell On Alabama” must be heard to be believed. Then they switch and Ella returns the favor. There is “Summertime” as you’ve never heard it, and the best version of “Stompin’ At The Savoy” since Chick Webb’s original.

Any notion that this is a questionable pairing fades quickly into other impressions: (1) While it is true that Louis’s vocal instrument lacked the beauty and range of Ella’s, in his own way he was no less the virtuoso vocalist. And, of course, Louis’s trumpet gave him a second voice. (2) Ella could be as sly and playful as Louis. (3) The cliché that “Timing is everything” is true. (4) In the end, these are kindred spirits as well as other-worldly talents. Their contrasting mastery accentuates each other’s genius.

As in sports, the truly great make it look, or sound, easy.

Art Blakey and Thelonious Monk

Again we have two icons. Pianist Thelonious Monk is often and justly called one of the high priests of Bebop. Actually, he is a genre unto himself, a game-changer who re-imagined space and time in music. Art Blakey served as the talent scout, bandleader, and poly-rhythmic drummer extraordinaire of Hard Bop.

Blue Note co-founder Alfred Lion was one of the few who “got” Monk right away. He acted on his convictions by recording him from 1947 to 1952 even though sales were lackluster. By the time fans, critics and even musicians finally caught on, Monk was elsewhere. But the originals of some of Monk’s greatest compositions (e.g. ”Straight, No Chaser”, “Epistrophy”, “Misterioso”, “Evidence”, “I Mean You”, “’Round Midnight” “In Walked Bud” and “Criss Cross”) are on these early Blue Note records. On every one of them, the drummer is Art Blakey.

So, the uncanny chemistry between Monk and Blakey had early origins. It helped that Monk was a particularly percussive pianist and Blakey was (along with Max Roach) the most melodic of drummers. They went their separate, legendary ways, but any recording on which they both appear is a must-have. The early Blue Notes are highly recommended, of course. My favorite, though, and indeed one of my all-time go-to records, is a reunion on Atlantic records (#1278) aptly called Art Blakey’s Jazz Messengers With Thelonious Monk.

Any of the six tracks is a marvel. I use “I Mean You” in presentations to demonstrate all that is possible in Jazz when great players, who are also great listeners, improvise. Never coasting when comping (accompanying a soloist), Blakey and Monk are constant sources of ideas, perfectly fitting whatever the soloist is creating. At one point behind Bill Hardman’s trumpet solo, Monk’s piano and Blakey’s drums have such a call-and-response blizzard going, I can’t imagine how Hardman kept his bearings. Such instantaneous and spontaneous invention leaves one in delighted awe. So does Blakey’s drum solo, a poly-rhythmic tour-de-force.

Big Joe Turner and Pete Johnson

Shortly after Jay McShann passed away on December 7, 2006, a radio station (probably NPR) aired an archived interview with the pianist/bandleader that contained a notable story. The story (paraphrasing it from memory) was of an impressionable young McShann on his first night in Kansas City.

He was a pianist from Oklahoma looking to make a name for himself in the Big City. His first stop was at the largest musical venue in town. When he stepped inside the cavernous space, he saw a piano player on stage banging out furious boogie-woogie. There was also a very large man making his way up to the stage.

McShann wondered what the man clambering up the steps was going to do. He wasn’t carrying an instrument, and there was nothing awaiting him on the stage – not even a microphone. He reached center stage just as the pianist completed one chorus and began the next. Opening his mouth as he turned toward the audience, Big Joe Turner filled the room with sound. Big Joe Turner didn’t need a microphone, no matter how large the room – especially when singing with Pete Johnson.

Jay McShann was transfixed as chorus after chorus washed over him, singer and pianist pushing each other to ever greater heights. He quickly realized two things: (1) He was in the right place; and (2) he had work to do if he was to make his mark in this town.

Any list of the greatest boogie-woogie pianists includes Johnson, along with Albert Ammons, Meade Lux Lewis, and Jimmy Yancey. The form is either bluesy Jazz or jazzy Blues, or both, combining the feel of the Blues with the swing of Jazz. Propelled by insistent bass patterns played with the left hand, boogie-woogie freed pianists to improvise blues-drenched melody endlessly with the right hand. Recordings featuring Johnson, Ammons, and Lewis in various combinations (occasionally all three) in rollicking face-offs make for exhilarating listening, but there’s no better way to hear Pete Johnson than backing Big Joe.

It takes nothing away from the great Jimmy Rushing (“Mr. Five-by-Five”) to call Turner the best of the Kansas City Blues shouters. Those thinking they’re unfamiliar have probably heard him belt out the original “Shake, Rattle and Roll” among other essential precursors to Rock‘n’Roll. These rhythm and blues staples are as entertaining as they are important, but earlier work with Pete Johnson had already long established Big Joe as the Boss of the Blues.

Friends and collaborators since teen years in Kansas City, Turner and Johnson paved the way for a boogie-woogie craze ignited by their appearance at John Hammond’s legendary Carnegie Hall concert From Spirituals To Swing on December 23, 1938. Their seminal work isn’t always easy to come by, but the Atlantic label got them together again in 1956 for Turner’s The Boss of the Blues Sings Kansas City Jazz. Highlights include versions of classics like “Roll ‘Em Pete” (probably the song that first inspired Jay McShann), “Cherry Red”, and one of the greatest covers of Leroy Carr’s “How Long Blues” ever recorded.

Conclusion

There are dynamic duos, presumably, in all musical genres, but those settings in which improvisation is central provide extra room for dynamism to flourish. Thus, we focus here on Jazz and Blues. (That, and the fact that I don’t have anything to say about Simon and Garfunkel you haven’t heard before, or thought yourself.) A long list of pairings to consider immediately came to mind; narrowing down which duos to include was the hard part.

If you’re thinking “How could he not do ________ and ________?” , well, maybe I should have. If this post is well received, it won’t take much persuading to do it again. I also feel the urge to write about unsung heroes: that is, great but relatively unknown or perpetually underappreciated musicians who have made a difference.

Happy listening!

Ken Bossong

© 2020 Kenneth J. Bossong