A couple recently contacted me through this website after moving and finding a music notebook they were given on November 26th, 1983, for their kindness to John. The story is that Janis crossed John's path while he hitchhiked on a Tennessee highway; something in her heart made her stop to help this long-bearded, disheveled man. She took him home, where she and her husband, Rob, gave him food and shelter for the night. The next day, when they dropped John off further down the road, John handed them the notebook, saying one day it might be worth something.
I do find it a miracle that Rob came across a notebook he and his wife have held on to for 27 years and happened to do a Google search on John Lewis Bartee within a couple of weeks of this site coming online.
I recently spoke with Rob by phone, and they seem to be a couple with a nature of extending a hand to a fellow human in need. Yes, it is nice to know that quality still exists in our world. Rob will arrange to get me scanned images of the notebook's pages so I can see what they might hold. I will make them available to Kevin Pawlak at the University of Arizona School of Music so that they can compare them with John's work in the Shaw Archive. Hopefully, the actual notebook can be made available in the future as a remembrance of John in the proper setting; the Georgia Music Hall of Fame in Macon, Ga, comes to mind.
The titles: NB California - I am going to guess NB stands for Newport Beach.
Brighter than Brite
Tic Tac Toe
It's too early to know whether there is anything new in the three compositions included in the notebook, but it would be great if John could share some Music with us from beyond. If anything, the notebook may help identify previously uncredited works.
I do want to note the title of the blog, Serenading the Demons... because even my own Mother seems to have this look of terror on her face when she asks why I named it that. I didn't name it; John did... well, at least what I have come to understand about him influenced me. It is in no way based on anything evil. It is more about how music can calm the most savage beast... If John did have any demons within his life, any hardships, sadness... I feel he found solitude and love in the Music. It was the one constant in his life; even when he was walking down a deserted highway with not a nickel to his name, his music was there for him, always a faithful friend.
I want to publicly thank Jose Madera, longtime member of the Tito Puente Orchestra and son of Machito founding member Jose "Pin" Madera, for highlighting key, often overlooked aspects of Machito's history. His insights have opened the door for future generations to better understand the origins and significance of the great Afro-Cuban/Latin band Machito. In a recent written statement, he has shed more light & clarity on the origins of the band's sound than a large number of books & articles have in the last 50 years.
For so long, magazine editors, book publishers, record company liner notes & credits, and the like have focused first on producing a product to sell to the consumer. The media is often so concerned with how to "spin" a story to draw an audience that it overlooks the importance of seeking the TRUTH, which is essential to building audience trust.
Sometimes it takes people like Mr. Madera to clarify misconceptions and poor research. In a world where information spreads rapidly, we must learn to read critically and seek the truth ourselves, empowering the audience to become active participants in understanding history.
I created this blog as a means to document my search & discovery of my great-uncle John Bartee. My Grandmother told me of her talented brother as a child in the 60's in hopes that I would allow her to start teaching me the piano one summer when I visited her and my Grandfather on my own. I never learned the piano which was a bad move, for the ability to create music is a door to a world painted with calming sounds & rich emotions.
I never learned to play an instrument, but I never forgot the way she talked about her brother. Some years ago after my Grandmother died my Mother knowing of my hobby of documenting family history ask me to include John in my search. Just maybe I might find him out there some where. That was about 15 years ago, I know my computer was not searching the Internet with a operating system like today when I started. Information was shared on bulletin board type chat rooms with just white type on black screens. And now to think all this HTML code is behind these words, with pictures, live video & music. Technology has really brought the World & its People in to our homes.
But it was harder back then to get a lot of information, I wasn't in the position to hire a private detective to find John and I really wouldn't have had much information to give them to start. I knew his name & date of birth... that he was a musician who could play many instruments... being very talented with the sax, clarinet & piano. Not until I did find him did family members seemed surprised that they hadn't told me he was an Arranger.
So years passed by and the best I could really do was check the social security death index and pray he was not listed every year in January. Apparently the updates in the list didn't happen overnight back in January 2002, too bad because he died December 17, 2001 in Gallup, New Mexico. And I wouldn't find him for another year, when I looked again in 03. The day I found him listed I know for a second I thought of never getting the chance to meet him in person. But, if I had found him while he was alive, that might have been the end of this journey... I would have never had the world of Music open itself to me, I would not have spent hours & hours digging, searching records & books on the Internet, in the local Library... three days at the Library of Congress. During all the hours of searching for John, the Music slowly unfolded... the sounds from the 30's to modern day Jazz, the musicians... their lives... the good & bad of the music business. The Music had meaning because it had life behind it.
I called the Gallup, New Mexico Police Department the day I found the record for John listed on the Social Security Death Index. I now had a social security number issued in the state of New York for him. The woman at dispatch worked to put his name, date of birth and SSN in her system in between the calls for Gallup emergencies. She came up with a John Bartel but the SSN and birth date matched. She read a summary of information in the report under his name. He had been picked up about 1996 in what was termed a welfare call. Described as an elderly man that seemed confused & not sure where he was, seems he had got off a cross- country bus bound for Flagstaff at the wrong stop based on the bus ticket he had on him. With just the clothes on his back for his safety they took him to The Little Sister's of the Poor retirement home. Upon learning this I then contacted the home & when I told the woman that answered I was the great-nephew of John Bartee she became very excited, telling me not to hang up she was going to get someone. Sister Gonvague picked up the phone and stated she had given up hope that John had any family out there that cared about him. I responded .. I did and I had been looking for him for years.
My journey began on that day. That first conversation with Sister Gonvague shed light on some things John had shared with her those last five years of his life that she cared for him. He had spoke of a son that he hadn't seen since the boy was young. He only spoke of one person in the Music business during those five years, Jimmy Dorsey. I was told of the first time she walked John though a room that had a piano, she said his face lit up, although when he would try to play at different times his age & memory had taken its toll on his gift. But she made it very clear, he was a Music Arranger and he had the brightest blue eyes.
I found John's son a couple of months ago after a long search, he is 70 and last saw John at age 8... He goes by another last name of the father that raised him. I have shared what I know of John with him and our family will always leave the door open for him to know more of John's extended family. If John had not mentioned the son to Sister Gonvague, and she had not told me, I would have never known to look.
I need some assistance in locating a picture I saw back in 2003. I thought I had seen it originally in the book, Jimmy Dorsey: A Study in Contrasts. I got hold of the book again last week and its not there. Then I remember I had looked at the book, Tommy & Jimmy by Herb Sanford... even remembering the picture of the New Years Eve costume party. Got the book... party pictures there... the picture I am looking for is not. Well, my local Library where I got what ever book I saw this picture apparently likes to get rid older books for newer ones, so I can't find the picture I once saw.
The picture is of Jimmy Dorsey and another man walking toward the photographer. I believe it was a full page picture on the left side page of the book. In 2003 I had no idea what John looked like other than in 1936 & 2000. I have since gotten the 1946 picture of him in California. The man in the picture with Dorsey caught my eye for some reason and not knowing what John really looked like in the 40's at that time I took a closer look. The caption identifies Jimmy Dorsey but the other man is listed as UNKNOWN. It may be in a book on Latin Jazz that has a 2 page picture of the Machito Orchestra in the center & the same picture of Machito as the cover I believe. The book may be just a general reference book on music history. But I would like to compare the picture of John in 1946 to the unknown man in this missing but existing & published picture of Jimmy Dorsey. It may even have been taken on the same day as the one I have on the John Lewis Bartee post.
I know a lot of you read about the Big Bands & Music History. One way or another lets identify that unknown man.
I thought I'd put up this post in hopes that it might bring in some information on another individual with ties to Artie Shaw, along with Harry James, Charlie Barnet & Pete Rugolo off the top of my head. Russell Brown, a trombonist (& sometimes vocalist). Mr Brown's name was stuck in my head as he is listed as a copyist on many of the Shaw Scores from the 37-38 time period, while also playing in the band. Many of the scores that have his hand on them have had a 3rd trombone added. It also just happens he is listed with John on Back Bay Shuffle.
In the past few days, his grand-daughter Marci has started posting for information on this long lost family member that not even her father got to know. Back in 2007 another grandchild, E. Brady was also seeking information on him through a daughter he may also have had.
As in my own search I have come cross many people in the music business that were lost to families they once had for many reasons & life didn't allow them to find their way back. And, many talented musicians that never received their ovation for work we still enjoy today. I will keep an open post available here for people to acknowledge & tell the stories of those that never got their 15 minutes in the spotlight. Somewhere someone cares where they are.
As a family member that has searched to pull together the pieces of a relative's life, I know many times there are good & bad stories about the persons we seek to find. But it is more important to just find anything so as to have a remembrance of them. Small clues can led to great rewards.
My search of John Bartee's life has had a happy reward, two months ago I was finally able to find the son he spoke of to the Nun who cared for him the last years of his life. A son that had not known anything of John since he was a boy of 8, he is now 70 with a different name which made him all the harder to locate. This man now has the knowledge of who John's parents & siblings were, and a little about the music John heard.
Please feel free to post & exchange information here.
Update August 10, 2010: I recently found on the Social Security Website that the S.S.Administration will forward a letter at no charge to a missing relative. This is only in the case of a family emergency and if that member has no other way of receiving word of a death, illness, etc. You will need to know legal name , date of birth, & the full names of both parents. The letter will be opened & read by the S.S.Administration to verify that it is an emergency situation, so keep this in mind. If the individual is working & paying into S.S. or receiving benefits, the letter will be forwarded to their last know address. It will be up to the individual contacted if they want to respond. I could have found John prior to his death if I had known about this.
An in depth study of hundreds of songs and their origins from Chick Webb & Cab Calloway in 1934 to Artie Shaw in 1949.
The evolution of Latin / Afro-Cuban has a hidden cousin.
Song by song I will work to identify, or clarify the Composer / Arranger & dates associated with recording.
I will start by addressing this recording, Roots of Mambo. A series of tunes that the producers of this album seemed to feel played some roll in the evolution of the Mambo. This is a French production and until recently many European Countries only acknowledged 50 years of copyright, England has extended this, but many re-recording productions do not honor the rights of the original performers & composers.
Translated French Album Notes: The Mambo - also known as Afro, Latin jazz or Cubop - is the result of a marriage between Afro-Cuban and American jazz. He continues to swing the years the United States before moving to bebop.Explosive cocktail of mirth, music of all busty, Mambo provides an irresistible feeling of nostalgic warmth for years that dancing is inextricably linked.
Eric Remy & Patrick Frémeaux This album, issued by the world-famous publishers, Frémeaux & Associés, has been restored using the latest technological methods.This album, Issued by the world-famous publishers, Frémeaux & Associates, has-been restored using the latest methods technologique.An explanatory booklet of liner notes in English and a guarantee are included. Audio Rights: Frémeaux & Associates - The Audio Library (Our collective memory to listen).
. The books sound Frémeaux & Associates are produced by the best specialists to receive analog and digital restoration recognized worldwide, are subject to an explanatory booklet in French and a certificate of guarantee.. The mark Frémeaux & Associates has received over 800 awards for his work in museum preservation and dissemination of audio heritage.
1. No Noise - Recorded Dec 1948 Mercury Released 1949 / Previously Titled Killer Joe Recorded 1947. (Previous Detailed Post) Never a question of Composer - John Lewis Bartee
(The Individuals/Corporations receiving John's Composer Royalties please step forward to acknowledge how you came about ownership.)
2. Rhapsody in Rhumba - Cab Calloway / Released 1940 I originally connected this tune to Artie Shaw's - Hold your Hat, or Hold your Hats depending on the arrangement or performance. John is given Arranger credits for HYH in 1937-38, Yet in the early radio recording the announcer clearly gives complete credit for this original number & arrangement to Shaw. And a year or two later the melody within it, is in Rhapsody in Rumba. Here we see Rhapsody included in Roots of Mambo - Were Shaw, Calloway & Bauza working together, or was John Bartee the common link in the creation of this number. Also, considering John's involvement in this Mambo Sound started with a melody in Hold your Hats and continued at least until Shaw recorded the Latin numbers in 1949. I'd say a blind man could see he was in the middle of the mix from the beginning.
(Mambo#3 recorded by Machito & No Noise appear to have music files reversed on preview site)
CD
Piste
Titre
Artiste principal
Durée
Enregistré en
1
1
Saint louis blues
Havana Yacht Club Orchestra
00:02:41
1931
1
2
The peanut vendor 1
Sebastian New Cotton Club Orchestra
00:03:23
1930
1
3
The peanut vendor 2
Duke Ellington And His Orchestra
00:03:21
1931
1
4
Doin the rumba
Cab Calloway And His Orchestra
00:02:58
1931
1
5
Moonlight fiesta
Duke Ellington And His Famous Orchestra
00:02:54
1935
1
6
Caravan 1
Duke Ellington And His Famous Orchestra
00:02:43
1937
1
7
Conga brava
Duke Ellington And His Famous Orchestra
00:02:59
1940
1
8
The congo conga
Cab Calloway And His Orchestra
00:03:01
1938
1
9
Chili con conga
Cab Calloway And His Orchestra
00:03:05
1939
1
10
Rhapsody in rumba
Cab Calloway And His Orchestra
00:02:47
1940
1
11
Yo eta cansa
Cab Calloway And His Orchestra
00:03:00
1940
1
12
Goin conga
Cab Calloway And His Orchestra
00:02:51
1940
1
13
No quiero swing
Mariano Merceron Y Sus Muchachos Pimient
00:03:32
1943
1
14
Caravan 2
Duke Ellington And His Orchestra
00:02:51
1945
1
15
Bijou
Woody Herman And His Orchestra
00:03:23
1945
1
16
Mambo 1
Arcano Antonio
00:03:06
1946
1
17
Mambo 2
Orch Noro Morales
00:02:47
1948
1
18
Cubana be cubana bop 1
Dizzy Gillespie And His Orchestra
00:05:57
1947
1
19
Cubana be cubana bop 2 afro cuban suite
Dizzy Gillespie And His Orchestra
00:07:11
1947
1
20
Algo bueno
Dizzy Gillespie And His Orchestra
00:03:00
1947
2
1
Swedish suite
Dizzy Gillespie And His Orchestra
00:02:51
1949
2
2
Tabu
Dizzy Gillespie And His Orchestra
1948
2
3
Manteca 1
Dizzy Gillespie And His Orchestra
00:03:07
1947
2
4
Manteca 2
Dizzy Gillespie And His Orchestra
00:07:46
1948
2
5
Guarachi guaro 1
Dizzy Gillespie And His Orchestra
00:03:13
1948
2
6
Guarachi guaro 2
Dizzy Gillespie And His Orchestra
00:08:53
1948
2
7
Caravan 3
Dizzy Gillespie And His Orchestra
00:02:57
1951
2
8
Tin tin deo 1
Dizzy Gillespie And His Orchestra
00:02:42
1951
2
9
Tin tin deo 2
Burns Dave
00:02:48
1948
2
10
Mambo 3
Machito And His Afro Cubans
00:06:06
1950
2
11
No noise
Machito And His Afro Cubans
00:04:55
1949
2
12
How high the moon
Machito And His Afro Cubans
00:03:51
1949
2
13
Bop champagne
Machito And His Afro Cubans
00:05:16
1949
2
14
Mambo is here to stay
Machito And His Afro Cubans
00:03:11
1949
2
15
U bla ba du
Machito And His Afro Cubans
00:03:16
1949
2
16
Gone city
Machito And His Afro Cubans
00:02:52
1949
2
17
Tropicana
Walter Gil Fuller And Orchestra
00:02:58
1949
2
18
Hey pretty baby
Erskine Hawkins And His Orchestra
00:02:45
1950
2
19
Opportunity
Erskine Hawkins And His Orchestra
00:02:45
1950
2
20
Casbah
Tadd Dameron And His Orchestra
00:03:00
1949
2
21
Lamento
Aime Barelli Et Son Orchestre
00:02:51
1949
Credits for the above:
Havana Yacht Club Orchestra , Castro Andres, Castro Antonio, Castro Manolo, Gonzalez Daniel, Portela Guillermo, Castro Juanito, Suao Luis, RubioMc Clure Red Mac Morris, Scott Harold, Graven Luther, Hite Les, Johnson Marvin, Jones Charlie, Prince Henry, Simons Moises, Duke Ellington And His Orchestra , Whetsol Arthur, Jenkins Freddy Posey, Williams Charles Cootie, Nanton Joe Tricky Sam, Tizol Juan, Hodges Johnny, Carney Harry, Bigard Albany Barney, Cab Calloway And His Orchestra , Culley Wendell, Dickerson Roger Quincey, Wright Lammar, Wheeler De Priest, Harris Arville, Brown Andrew, Thomas Walter, Prince Earess, Kenny , Perkins , Irving Mills, Duke Ellington And His Famous Orchestra , Stewart Rex, Brown Lawrence, Ellington Duke, Hardwick Otto, Cheatham Doc, Collins Shad, Randolph Irving, Johnson Keg, Jones Claude, Coots , Davis , Haughton Chauncey, Berry Chu, Mills Irving, Baron , Tuvim, Payne Benny, Barker Danny, Hinton Milton, Calloway Cab, Harding , Socarras , Iznaga , Mariano Merceron Y Sus Muchachos Pimient , Merceron Mariano, Anderson Cat, Hemphill Shelton, Jordan Taft, Nance Ray, Woody Herman And His Orchestra , Berman Sonny, Candoli Secondo Conte, Candoli Pete, Hefti Neal, Lewis Irv, Harris Willard Bill, Kiefer Ed, Pfeffner Ralph, Burns Ralph, Arcano Antonio, Antonio Arcano Y Sus Maravillas , Inconnu , Lopez Orestes, Orch Noro Morales , Morales Noro, Buenos Ruben, Dizzy Gillespie And His Orchestra , Gillespie Dizzy, Bailey Benny, Burns Dave, Wright Elmon, Kelly Ted, Shepherd Bill, Brown John, Russell George, Cook Willie, Harris Benny, Duryea Andy, Hurt Sam, Tarrant Jess, Fuller Walter Gil, Tarrant Jesse, Henry Ernie, Lecuona Ernesto, Pozo Gonzalez Chano, Gayles Joe, Payne Cecil, Wilson Gerald, Graham Bill, Smith Stuff, Jackson Milton, Heath Percy, Jones Al, Coltrane John, Burrel Kenny, Forman James, Moody James, Boyd Nelson, Blakey Art, Machito And His Afro Cubans , Bauza Mario, Davilla Frank, Edison Harry, Stewart Al, Woodlen Bob, Johnson Gene, Parker Charlie, Skerritt Fred, O Farrill Chico, Madera Jose Pin, Bartee , Phillips Flip, Johnakins Leslie, Hamilton , Sampson Edgar, Becke Pepe, Walter Gil Fuller And Orchestra , Dalee Mustapha, Massey Bill, Salaam Abdul, Johnson Charles, Rasheed Haleen, Ross Clarence, Tarrant Rip, Erskine Hawkins And His Orchestra , Hawkins Erskine, Johnson Bobby, Lowe Sam, Sulieman Idrees, Hall Rene, Range Bob, Wood Michael, Mitchell Jimmy, Smith B, George D, Tadd Dameron And His Orchestra , Navarro T Fats, Winding Kay, Shibab Sahib, Gordon Dexter, Dameron Tadd, Russell Curley, Clarke Kenny, Aime Barelli Et Son Orchestre , Barelli Aime, Caturegli Alex, Mauclair Jean, Gay Georges, Simino Marcel, Vasseur Benny, Migiani Armand, Aldegon Jean, Bartel Joe Works of Cab Calloway
1939 - 1941
1. For the Last Time I Cried Over You
2. Twee Twee Tweet
3. Pluckin' the Bass
4. I Ain't Gettin' Nowhere Fast
5. Chili Con Conga **
6. Tarzan of Harlem
7. Jiveformation, Please
8. Vuelva **
9. Bee Gizendt
10. Give, Baby, Give
11. Sincere Love
12. Do It Again
13. Pickin the Cabbage
14. Chop Chop Charlie Chan
15. Paradiddle
16. Boog It
17. Calling All Bars
18. Do I Care, No No
19. Lone Arranger **
20. Feelin' Tip Top
21. Topsy Turvy
22. Hi Di Hi Serenade
23. Who's Yehoodi?
24. Fifteen Minute Intermission
25. Rhapsody in Rhumba **
26. Come on With the 'Come On'
27. I Don't Stand a Ghost of a Chance
28. Bye Bye Blues
29. Papa's in Bed With His Britches On
30. Silly Old Moon
31. Boo Wah, Boo Wah
32. Sunset
33. Yo Eta Cansa
34. Cupid's Nightmare
35. Levee Lullaby
36. Are You Hep to the Jive
37. Goin' Conga **
38. Hot Air
39. Lonesome Nights
40. Chicken Ain't Nothin' But a Bird
41. Worker's Train
42. North of the Mohawk
43. Make Yourself at Home
44. Run Little Rabbit
45. Willow, Weep for Me
46. You Are the One in My Heart
47. Are You All Reet?
48. Ebony Silhouette
49. Hep Cat's Love Song
50. Jonah Joins the Cab
51. Geechie Joe
52. Special Delivery
1935 - 1940
1. Good Sauce from the Gravy Bowl
2. Keep That Hi-De-Hi in Your Soul
3. Miss Otis Regrets (She's Unable to Lunch Today)
4. I Ain't Got Nobody
5. Nagasaki
6. Baby Won't You Please Come Home
7. I Love to Sing-A
8. You're the Cure for What Ails Me
9. Save Me, Sister
10. Love Is the Reason
11. When You're Smiling
12. Jes' Natch'ully Lazy
13. Are You in Love With Me Again?
14. Copper Colored Gal
15. Frisco Flo
16. Wedding of Mr. and Mrs. Swing
17. Hi-De-Ho Miracle Man
18. Don't Know if I'm Comin' or Goin'
19. My Gal Mezzanine
20. That Man Is Here Again
21. Reckin'
22. Congo
23. Swing, Swing, Swing
24. Wake Up and Live
25. Manhattan Jam
26. Moon at Sea
27. I'm Always in the Mood for You
28. She's Tall, She's Tan, She's Teriffic
29. Go South Young Man
30. Mama, I Wanna Make Rhythm
31. Hi-De-Ho Romeo
32. Queen Isabella
33. Savage Rhythm
34. Every Day's a Holiday
35. Jubilee
36. In an Old English Village
37. (Just an) Error in the News
38. Minor Breakdown (Rustle of Swing)
39. Bugle Blues
40. One Big Union for Two
41. Doing the Reactionary
42. Rustle of Swing
43. Three Swings and Out
44. I Like Music (With a Swing Like That)
45. Foolin' With You
46. Azure
47. Skrontch
48. We're Breakin' Up a Lovely Affair
49. Peck-A-Doodle-Do
50. At the Clambake Carnival
51. Hoy-Hoy
52. Miss Hallelujah Brown
53. Conga-Conga
54. Boogie Woogie
55. There's a Sunny Side to Everything
56. Shout, Shout, Shout
57. Mister Paganini, Swing for Minnie
58. Jive (Page One of the Hepster's Dictionary)
59. Penguin Swing
60. Do You Wanna Jump Children?
61. I'm Madly in Love With You
62. April in My Heart
63. Blue Interlude
64. F.D.R. Jones
65. Deep in a Dream
66. Tee-Um, Tee-Um, Tee-I, Tahiti
67. Angels With Dirty Faces
68. Long, Long Ago
69. Afraid of Love
70. Ratamacue
71. Ad-De-Dey
72. New Moon and an Old Serenade
73. One Look at You
74. Ghost of Smokey Joe
75. Floogie Walk
76. Trylon Swing
77. Utt-Da-Zay
78. Crescendo in Drums
79. (Hep-Hep!) The Jumpin' Jive
80. For the Last Time I Cried Over You
81. Twee-Twee-Tweet
82. Pluckin' the Bass
83. I Ain't Gettin' Nowhere Fast
84. Chili con Conga
85. Tarzan of Harlem
86. Jive Formation, Please
87. Vuelva
88. Bee Gezindt
89. Give, Baby, Give
90. Sincere Love
91. Do It Again
92. Pickin' the Cabbage
93. Chop, Chop. Charlie Chan
94. Paradiddle
95. Boog It
96. Calling All Bars
97. Do I Care? No, No
98. Lone Arranger
99. Feelin' Tip Top
100. Topsy Turvy (Hard Times)
101. Hi-De-Ho Serenade
102. Who's Yehoodi?
103. Fifteen Minute Intermission
104. Rhapsody in Rhumba
105. Come on With the "Come On"
106. Ghost of a Chance
107. Bye Bye Blues
1938 - 1939
1. Skrontch
2. We're Breakin' Up A Lovely Affair
3. Peck-A-Doodle Do
4. At The Clambake Carnival
5. Hoy-Hoy
6. Miss Hallelujah Brown
7. The Congo-Conga
8. The Boogie-Woogie
9. There's A Sunny SIde To Everything
10. Shout, Shout, Shout
11. Mister Paganini-Swing For Minnie
12. Jive (Page One Of Hepster's Dictionary)
13. Do You Wanna Jump, Children
14. I'm Madly In Love With You
15. April In My Heart
16. Blue Interlude
17. F.D.R. Jones
18. Deep In A Dream
19. Tee-Um Tee-Um Tee-I, Tahiti
20. Angels With Dirty Faces
21. Long Long Ago
22. Afraid Of Love
23. Ratamacue
24. Ad-De-Dey
1938 - 1941
1. Rustle of Swing
2. Foolin' With You
3. Floogie Walk
4. Trylon Swing
5. Utt-Da-Zay
6. Crescendo in Drums
7. (Hep-Hep!) The Jumpin' Jive
8. Pluckin' the Bass
9. Jiveformation, Please
10. Bee Gezindt
11. Pickin' the Cabbage
12. Chop, Chop, Charlie Chan (From China)
13. Lonesome Nights
14. Chicken Ain't Nothin' But a Bird
15. Workers' Train
16. Willow Weep for Me
17. Are You All Reet?
18. Hep Cat's Love Song
19. Jonah Joins the Cab
20. Take the "A" Train
21. Chattanooga Choo Choo
22. St. James Infirmary
1930 - 1939
1. St. Louis Blues
2. St. James Infirmary
3. Minnie The Moocher
4. Sweet Georgia Brown
5. You Rascal, You
6. Strickly Cullud Affair
7. Aw You Dawg
8. The Man From Harlem
9. Eadie Was A Lady
10. The Lady With The Fan
11. Zaz Zuh Zaz
12. Kickin' The Gong Around
13. Keep That Hi-De-Hi In Your Soul
14. Miss Otis Regrets (She's Unable To Lunch Today)
15. I Ain't Got Nobody (And Nobody Cares For Me)
16. Nagasaki
17. Jess's Natu'lly Lazy
18. Jive (Page One Of The Hepster's Dictionary)
19. The Ghost Of Smokey Joe
20. Utt-Da-Zay
21. (Hep-Hep!) The Jumpin' Jive
22. Tarzan Of Harlem
Post Updates: Aug 8, 2010
Le Mambo – encore appelé Afro, Cubop ou Latin jazz – est le fruit d’un mariage entre les musiques afro-cubaines et le jazz américain. Il prolonge les années swing aux Etats-Unis avant d’évoluer vers le be-bop. Cocktail explosif de gaieté, musique plantureuse entre toutes, le Mambo procure un irrésistible sentiment de chaleur teintée de nostalgie pour les années dansantes auxquelles il est indissociablement lié. Eric Rémy & Patrick Frémeaux Droits audio : Frémeaux & Associés - La Librairie Sonore (Notre mémoire collective à écouter).
Les ouvrages sonores de Frémeaux & Associés sont produits par les meilleurs spécialistes, bénéficient d’une restauration analogique et numérique reconnue dans le monde entier, font l’objet d’un livret explicatif en langue française et d’un certificat de garantie. La marque Frémeaux & Associés a obtenu plus de 800 distinctions pour son travail muséographique de sauvegarde et de diffusion du patrimoine sonore.
This album, issued by the world-famous publishers, Frémeaux & Associés, has been restored using the latest technological methods. An explanatory booklet of liner notes in English and a guarantee are included.
From at least 1938 to 1944, John lived in New York City near the corner of W. 121st Street & Morningside Drive, with Columbia University nearby. Just a walk across Morningside Park and a couple of blocks away, he could reach the Apollo. I am sure during his time in New York, in these creative days of jazz and African-American music, he was influenced by many talented artists performing at different venues. From 'Rent Parties' to the most popular clubs, it had to be an exciting place to be, a Jumping Town. A place that influenced his 1941 composition, 'The Mayor of Jump Town'.
Here's a glimpse of the Apollo; watch it now and immerse yourself in a legendary moment in music history.
The 1955 Apollo Theatre show is a landmark in African-American cultural history, showcasing legendary performers and inspiring generations.
For a link to the video source and more information about the Apollo Theatre's rich history and its role in shaping jazz and African-American culture, click here and experience the legacy firsthand.
In 1967, Billboard Magazine devoted much of its September 2nd issue to acknowledging the 70th anniversary of Robbins-Feist-Miller Music Publishers, known in the music industry then as "the Big Three". Due to copyright, we can't link to that original Billboard Magazine September 1967 issue or provide a look back at The Big Three. Its roots began in 1897, when Leo Feist opened an office in New York City to print his own songs after publishers turned him away. In 1916, Jack Robbins arrived in New York City and joined his uncle, Maurice Richmond, a music industry pioneer. In a short time, Robbins, a tiger of Tin Pan Alley, became a driving force in musical publishing, building an ever-growing roster of talent. Jack Robbins later merged and absorbed other music publishing businesses, leading to his close involvement with MGM and the placement of musical talent & scores in the motion pictures of the day.
In 1935, a young Judy Garland auditioned for Ida Koverman, Louis B. Mayer's influential secretary, and Jack Robbins, MGM's talent chief. After hearing her, they brought in the studio rehearsal pianist, Roger Edens, and sent for Louis B. Mayer, head of MGM Studios, to hear her. He listened quietly, and after she finished singing, he immediately said, "Please prepare a contract for the services of Judy Garland as an actress." Other sources state Burton Lane brought "Frances Gumm aka Judy Garland" in to see Jack Robbins that day.
Billboard Magazine published an article in its July 8th, 1946 issue based on a letter it received from Mr. Robbins. His letter & remarks refer to the May 25 issue, which contained a review of the Machito Orchestra and arranger John Bartee.
Because of Billboard's copyright, I will let the article & letter from Mr. Robbins' letter, along with the original review of Machito, speak for themselves. (NOTE - click on the word page in the document to see the complete review)
JOHN BARTEE scored a Columbia short for Noro Morales and is making up .arrangements for Pepi Campellio's new band, while still continuing his regular arranging for Machito's Orchestra, of the London Club
The "Sound" of Machito was important, for it fused Big Band Swing/Jazz with Cuban/Latin elements. This became the basis for much of modern-day "Latin" music, or, as Mr. Mario Bauza preferred to term it, "Afro-Cuban" music. Another overlooked individual who was a decade ahead of others in this fusion was Don Aspiazu, who always envisioned Cuban music intermarrying with American music, as it later did with the mambo. He returned to Cuba around 1940, and in 1943 he died in obscurity.
On December 17, 2001, in Gallup, New Mexico... John Bartee also died in obscurity.
Given Mr. Robbins' longtime involvement & place in music industry history. I find his review of the facts as they existed in 1946, compared to the recognition John Lewis Bartee receives today, very out of balance, given the weight of Mr. Robbins' words.
In the last years of his life, Sister Gonvaque said John spoke of two individuals: the son he hadn't seen since the boy was 8, and a man he felt was truly good, Jimmy Dorsey. And a man he felt was truly good, Jimmy Dorsey. I'm dedicating this blog page to the memory of Mr. Dorsey, out of the respect and admiration I believe John had for him as a musician and man.
This is one guy who seemed to be liked by all.
"So Rare"
Don't miss the movie,
The Fabulous Dorseys (1947)
At the bottom of the post
I had to make sure you saw this last one; it was fun!
Double-click on All YouTube Links for the source of Video Feed & Information
The Fabulous Dorseys (1947) Movie
For a link to the video source and more information, click here.
Yeah... I like some of his music. I do understand his desire to evolve, which I find inspiring. You can see this in just about any creative individual, especially one working alongside other creative souls. Your breakthroughs & small discoveries feed the energy in you & those around you. They return that energy of ideas to you, allowing you to stretch beyond your previous boundaries. And then, like Mr. Shaw, you have other goals and desires in life. Only as individuals can we honestly admit to ourselves when we have successfully reached the goals we set. Just because the groupies and fans want more doesn't mean it's their life... it was his, and he seemed to have no trouble changing when he was ready. That included wives; I understand the appearance of morality and marrying the girl. But after a couple of mismatched unions you'd think maybe a short test drive was in order, or maybe forget about marriage and just take the bus.
Years ago... after I found the physical John Bartee, I began the long, frustrating search for who John was. The man who was estranged from his extended Southern family. A family that, for the most part, had lost track of him or maybe had just given up on him living his life in their world. I put together a letter and some information about John and I sent it to Mr. Shaw. I got a notice back that his assistant & caretaker, Larry Rose (a man who should get sainthood), had signed for it. I hoped he might know something about John; Artie Shaw's story shows the importance of thorough research. It really didn't matter. If I had a clue someone had crossed paths with John, I tried to contact them. I knew he was old and having health problems, but he was still alive, and so many of those I tried to contact always seemed to have just died before I was able to question them.
I was shocked that he answered the phone himself that Sunday afternoon. It really did set me back, not like an awestruck fan, but more like the nerves before you give a speech and drop your notes. Your mind just gets mixed up with what you had planned to ask. The day of the phone conversation, I wrote a short script of our brief conversation and posted it on a big band forum where I had been posting for information. A few fans were upset, claiming I had no right to bother the man and it was low of me to tape the call; I didn't tape the call. Once the phone was down, I wrote out the short conversation. If I had just posted that I had reached him by phone, the old farts would have asked me, 'What did he say?' For a while after the call ended, I couldn't believe I'd actually gotten him on the phone, easy as if I had called a friend. I think many long-time hardcore fans were jealous that, for a few minutes, I had spoken with the MAN himself. I know I got a couple of emails from guys on the forum who wanted the phone number, saying they were so-and-so, they could get him to open up. Right... I wouldn't send them the number; I just told them how I went about getting it, not where it was, and let them do their own homework. You know, all those years they dreamed of his music, they could have picked up the phone themselves to tell him of their favorite song. They didn't do it because they knew he HATED the groupies & the fans. He played the music for himself, the cash & the women... who wouldn't, given the chance & ability. I do know I pulled myself together quick after the initial shock; I introduced myself and asked if he had received my package. He didn't seem as mad, but he was irritated that I might be a star-struck fan going to drool over him; in retrospect, he actually gave me a little of his time. The more time that has passed, the more I think he was quite like many short-tempered men of his generation who had even bigger old cusses as role models. Add to that a hearing aid, an unknown frustration for those who depend on them. He's always had a reputation for a short fuse with what he saw as meaningless people, to him, in his life.
Fact is... maybe if we had a few Artie Shaws walking around today, we wouldn't have so many little boys with their heads up their ass running the country. Grumpy old men of the past didn't let a younger generation sit still and relax because something was always wrong. If something was wrong, it was your fault, and you better make it right to suit them. I believe his son, Jonathan, might call it The Puckered Asshole Effect: you stay wide awake... able to think & react swiftly around these types of guys; you don't let your guard down. If you do... they will get you right where you think... in some creative way. Mr. Shaw let me know his health was not good, and he was dealing with all the crap that goes along with that. He said he didn't know anything about John, but it was more like how one responds when you can't remember the simplest thing and a crowd is watching your every move. You are more pissed at yourself for not remembering anything than at those watching and questioning you. I don't think I liked him that day, but he began to grow on me.
Through people like Keith Pawlak, curator of the Artie Shaw Archives, and Kevin Ritter, who has done hands-on research with the Archive, I have gained some information on John's work for the Shaw bands. Then there are the many faithful followers of the Big Band sound; through their work to keep its memory alive, I have found assistance in my search for John Bartee, along with a growing appreciation for the Music, the era, and its participants.
Tom Nolan has also shed new light on Artie Shaw's life in his newly released book, Three Chords for Beauty's Sake. It is a very good, balanced account with many details and firsthand accounts of Mr. Shaw's life. I had to reference the book to settle an ongoing disagreement with a big band librarian about the tune Back Bay Shuffle, composed by Teddy McRae, with the Mosaic Records liner notes crediting John Bartee with the original arrangement around 1937/38. Christopher Popa states Mosaic did a bad job researching for the notes they included. He is partially right; they give no real credit to people like Keith Pawlak & the University of Arizona for doing all the work. They took most of the information straight from the online inventory we all can access. But in the past few weeks, Mr. Pawlak has confirmed to me that the original arrangement is indeed in John Bartee's hands; he had a working relationship with the 37/38 band. This is further supported by his "known" arrangements for Shaw of Hold Your Hat, recorded on April 28, 1937 & I Fall in Love with You Every Day, 1937, unrecorded ArtieShaw #206/104. All of this was made very clear with the research material Kevin Ritter posted on the Big Band Forum back in the Summer of 2003 regarding many facts about the Shaw Music based on actual documents.
Regarding the account I was asked to review as proof that John couldn't have arranged "Back Bay Shuffle." It's a nice story from Teddy McRae about how the Webb & Shaw Bands were in Boston at the same time & spent time observing each other perform. I am not sure whether Mr. Nolan heard it firsthand or if it came from McRae's interview, which is part of the Jazz Oral History Project, now cared for by The Institute for Jazz Studies at Rutgers University. McRae jokes with Shaw that he is going to write a Hit tune for him. The idea is said to have come from the fact that, after the bands finished playing in Boston on Saturday night, they had to make a mad dash to Back Bay Station to catch the 1:05 AM train back to New York City. If they missed that train, they were stuck in Boston all day Sunday because nothing moved on Sunday in those good old days. Part of the sound McRae was trying to create was the sound of the train wheels on the tracks as it rounded the last bend into the station, as the musicians raced and shuffled to get to the platform in time. I am sure that is a true piece of the puzzle in some form; the story will be better each time you repeat it yourself. The story doesn't prove John didn't arrange the band's recording.
I believe Mr. Popa had only seen John's name associated with the 1949 band, so he concluded that John could have only reworked Back Bay Shuffle in 49. What would have been the point? John was brought in for the 5 Latin Compositions, 3 of which were recorded. Why John... because since 1941 he was the lead arranger for Machito, the top Latin Dance band, and Artie Shaw, like other bandleaders, wanted Afro-Cuban or Latin scores for their books. It was what was Hot at the time. Before Machito, John arranged for Cab Calloway while Mario Bauza & Dizzy Gillespie were in the band. I wrote Mr. Popa that I had no problem with anything he writes. I can't; it is his opinion, but I believe you need to know some facts about an individual before you state whether they could or couldn't have done something.
My search isn't just seeking opinions based on 70-year-old stories. Sometimes you need a little physical proof at times to pull the story together. Memories change... just as the story of why the Shaw Band started playing "Begin the Beguine" in Tom Nolan's book: a dozen different versions. So, Mr. Popa can write whatever he likes... he can say there is no way John had a hand in that original BBS score, but it will be much harder to show he didn't, given the documents created over 70 years ago. Kevin Ritter stated years ago that John Bartee was an unexpected piece of the puzzle, so because of unknown events, he wasn't well documented at the time; do we ignore that he existed? If I stated that one of John's brothers told me John had worked on arrangements for some band leader that died in a plane crash during WWII. Would you say it could never have happened, or would you look into the connection that John may have developed with Jerry Gray, who moved on from Shaw to be the arranger for Glenn Miller? Then it's not too far to Eddie Sauter's door, and creative individuals inspire each other. John existed and was an overlooked participant in the music industry. History does not always allow for a complete understanding of the original event & players. But when you speak of history, you must put forth all the pieces you can find, even if it means rewriting the history you previously wrote. If not... there is no true history, or at least a true presentation of the known facts; we are left with an illusion.
I want to add one last thing to this post. Artie had two sons, and like John, neither man, for whatever reason, had long-term relationships with their sons. Artie's son Jonathan has grown into a very colorful individual but, unlike his father... I believe you are more likely to be smiling when you walk away from a conversation with him. Jonathan shares some very insightful revelations about his father in Tom Nolan's book, which I think most Sons will understand. A few years back, he worked with Johnny Depp on a film based on Shaw's life; well, Artie was still around, and it seems he may have drained all the excitement from what could have been a great film project. A film that... if at least co-scripted by Jonathan, who has a gift for painting a very honest and vivid picture of life. Add a creative director who can tell a story that brings old fans and young people who have no clue who Artie Shaw was to the theaters. If the complete Shaw is presented.with Mr. Depp as the unpredictable Artie Shaw, where he is allowed to show his true ability to become the character. Shaw would be reborn to a completely new generation. And you older fans getting up there in years are going to want to find a new generation to take care of those great record collections you have in the den.
Here is a look into the mind of Jonathan Shaw; you may be shocked... but if you can't smile at the picture he paints, you need to start watching more Lawrence Welk. "Dinner with Artie Shaw"
