Mark Stryker Profile picture
Feb 12 4 tweets 2 min read
Source of this footage is Soupy Sales’ late-night TV show in Detroit in 1956. I had a chapter about Soupy ready to go in “Jazz From Detroit” but had to cut it at 11th Hour for space. He found this kinescope of Brownie in his garage in the mid ‘90s. #JazzFromDetroit
Here are some of the other jazz musicians Soupy had on his show in Detroit between 1953-59: Bird, Monk, Miles, Duke, Armstrong, Lester Young, Hawkins, Milt Jackson, Chet Baker, Getz, Earl Hines, Yusef Lateef, Pepper Adams, Tommy Flanagan.
I know what you’re thinking: Where are the damn tapes? Alas, none survive. The early shows were live & none were saved except for a few shows Soupy paid to have kinescoped to document his comedy characters. One of the shows saved in this way just happened to have included Brown.
Later shows were shot on videotape, but the station reused tape—common practice —and so they were all erased. I spoke with Soupy about all of this in 1996 and he told me some great stories. I wrote it all up for @freep at the time but had expanded that piece for the book ...

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More from @Mark_Stryker

Dec 23, 2021
1. The Lead Sheet LP Packaging Thread.

Earlier I posted the inner liner from Bobby Hutcherson’s 1978 LP “Highway One” (Columbia), which includes five lead sheets from the material on the record. An inadvertent nudge by @natechinen led me to pull a lot more examples of the genre.
2. Most of these are from a handful of labels that did this a lot — Enja, Artists House, Horizon (A&M), but other labels sometimes got in on the action. I’m not posting the transcribed solos that were sometimes included, because, well, this has already taken up WAY too much time.
3. Let’s start with a reposting of the Bobby Hutcherson and George Cables songs included with “Highway One.” Columbia, 1978. Image
Read 26 tweets
Dec 8, 2021
1. The Sage and Soul of Detroit and The Conscience of Jazz
My obituary for maestro Barry Harris has posted at npr.org/2021/12/08/106…. What follows is an annotated playlist of recordings & videos. As always, the music survives. It's all here: Truth and Beauty.
2 “Hopper Topper,” 1950. Barry’s debut record. “Cherokee” changes with no theme. Striking confidence for a 20-year-old. The even attack, precise beat & jabbing left hand remind me of Horace Silver. The young Frank Foster comes directly out of Sonny Stitt.
3 “All The Things You Are" (1958). Will Austin/Frank Gant. Barry’s first LP as a leader opens w/ a ballad at a walking tempo. Improvised curtains of lovely double-time melody. All-Detroit trio, produced for Argo in Chicago by another Detroiter, Dave Usher.
Read 22 tweets
Dec 7, 2021
1. Greg Tate (1957--2021)
Greg Tate was a heavyweight champ among American cultural critics. There was nobody like him. Not his voice on the page nor the synapses in his brain that made supple and insightful connections nobody else would think of and at lightening speed.
2. He once said, "I have come to occupy a somewhat unique position in the constellation of African American writing by keeping one ear to the street, one ear to the academy & a phantom third hearing organ to my own little artsy-fartsy corner of Gotham & Brooklyn’s Black bohemia."
3. He was inimitable. As always, the work survives. His essay collections "Flyboy in the Buttermilk" and Flyboy 2" are an imposing legacy -- especially the former, which belongs on the shelf with Ellison, Baldwin, Murray, Crouch, and Baraka.
Read 12 tweets
Oct 1, 2021
1. Alert! There's video of Elvin Jones w/Duke Ellington. I've heard audio of Elvin's brief post-Coltrane stint w/ Duke in 1966, but I've never seen video until today. Now, where the hell is the rest of this concert? (Skeets Marsh is the second drummer.)
2. There's a backstory (natch). Elvin's experience with Duke was not a happy one. Elvin spoke about it with Whitney Balliett of the New Yorker for an essential profile in the magazine in 1968, published under the title "A Walk to the Park."
3. "I joined him in Frankfurt, and my stay with him lasted just a week and a half, through Nuremberg and Paris and Italy and Switzerland. I was new. It was difficult for the band to adapt to my style and I had to do everything in a big hurry, trying to adapt to them.
Read 12 tweets
Sep 30, 2021
Happy birthday to the innovative bassist Oscar Pettiford, born Sept. 30, 1922, and gone in 1960 at the tragically young age of 37 (viral infection). Here his is in 1959, playing his composition "The Gentle Art of Love."

via @YouTube
Pettiford often gets overlooked -- he's namechecked perhaps but not often studied. When folks think about the development of the bass they often go from Blanton to Ray Brown, maybe a quick sidestep for Mingus, and then on to Paul Chambers. But Oscar is critical.
He was on the scene a little before Brown, and O.P. was the first to grasp the chromatic language of Bird and Dizzy and their rhythmic phrasing. He really played bebop. Ray is right in there too of course. But no Oscar, no PC -- and no Ron Carter.
Read 5 tweets
Apr 12, 2021
1. Maestro @herbiehancock turns 81 today. Herbie is great in so many ways, but perhaps this doesn't get said enough: He's one of the best accompanists in jazz history. What are the greatest examples of Herbie "comping" on record? Please chime in with faves. I'll start with a few.
2. Stella by Starlight w/Miles, 1964. What an intro! 4 rubato bars of perfection. Telepathy w/Miles is off the charts, Herbie playing in the cracks. Harmony, touch, melodies & rhythms link Miles phrases in ballad or swing time. Same thing behind George.
3. Snuff w/JMac, 1964. 32-bar modal structure. B-flat minor for 8 bars, B-flat 7 for 8, chromatic bridge, then back to B flat 7. Herbie’s rhythmic hook up w/Roy Haynes--whew! He's alert to the blues behind Jackie but wanders harmonically behind Tolliver.
Read 10 tweets

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