I'm published

Dave James · February 15, 2009

I sent a note to Marc Myers at JazzWax after his Friday post about the Manne Black Hawk CD's. This morning, my comment were published on his blog. Also, perhaps more significantly, note the reference to Organissimo from Bill Forbes.

Shelly Manne. Following my Friday post on Shelly Manne & His Men at the Black Hawk, comments from readers and Manne fans poured in. It's gratifying to know that the drummer is still appreciated and has such a large following.

From Charles Landy:

"You are correct: Manne is easily overlooked. His Deep People, At the Manne Hole series, and 2-3-4 albums are superb. Some months ago, I suggested you get the recent Japanese reissue of The Soft Land of Make Believe. It is unusual, and I think the music is terrific. Of course, I would like to see your thoughts on it. Needless to say, your blog is a daily must!"

From Bruce Armstrong:

"Your post on Shelly Manne really made my day. I came of age musically in Los Angeles while attending college in the early and mid-1960s. I was at Shelly’s club in Hollywood (the “Manne-Hole”) many times over the years. It was always a bonus when “The Men” alternated sets with guest artists (usually on weekends). Believe me, they never took a back seat to anyone.

"You were right to recommend Vol. 1 as the starter. Over the years, whenever a fellow musician would tell me that West Coast jazz could not compare to East Coast hard bop, I would play a couple of cuts off Vol. 1, like Our Delight or Poinciana, my personal favorite. They were usually converted immediately.

"On several occasions I had the opportunity to talk with Shelly while I was at the Manne-Hole. I was just a college student then and totally unknown to Shelly. But he had the very nice manner of always treating me and my friends as equals, as though we were fellow “A- list studio players that he saw every day. There was never any talking down to us. A great guy, as well as one of the most musical drummers who ever lived. The day I received the news that he had died it felt like I had lost a member of my family.

"Thanks again for a great tribute to a great group of musicians!"

From Brian Sheridan:

"Wow, what a crazy coincidence. I had been listening to Manne's Peter Gunn stuff and wanted more. At Emusic.com, they have all five of the Black Hawk albums, and I have been going back and forth on which ones to download for this month's selections. The service also provides most of the other Manne and his Men releases."

From James Wardrop:

"Boy, you really hit me in the heart today with this one. I have been collecting recordings since the late 1950s. To this day, Vol. 1 is probably the one record I have played most over the years. I never heard Manne in person. Fortunately he was blessed with great engineering during his recording career, and your comment on his brushes was on the money."

From Dave James in Portland, Ore.:

"Without question, this is among the finest, if not the finest example of live recorded jazz extant. No one drives a band like Shelly Manne, and, as you point out, he does so very subtly. No drum solos, no bombast, no look at me; he manages to be in the background and the foreground all at the same time.

"I've long thought that Victor Feldman [pictured] is what makes this set so special. Russ Freeman was no slouch, but there's something about the way Feldman comps and solos that really makes it tick. His approach to piano was so percussive (after all did get his start on the drums) that with his preference for locked hand chording, it almost feels at times like there are two drummers on board, not one.

"Whatever is behind what this group brings to the table, it's pure magic. We just need to thank our lucky stars that Manne had the presence of mind to recognize that what was occurring at the Black Hawk that weekend was special and that it needed to be heard.

From Bill Forbes in Manchester, England:

"I'm pleased to report that these great albums are not 'largely forgotten and vastly under-appreciated,' at least not with members of the Organissimo jazz discussion forum! They get frequent mentions and always very positive ones. For me, the greatest highlights are Victor Feldman's piano solos. I'm not normally given to national pride, but I regard Victor as one of Britain's greatest exports!

"I read somewhere that Cannonball Adderley [pictured], before hiring Feldman, played Victor's Black Hawk piano work to members of his quintet, before asking if they would play with him. Only after receiving a very definite "yes" did he reveal the pianist's identity and unexpected background! I saw Victor play once—on vibes at Ronnie Scott's Club in London during a return home for Christmas in 1959. Deservedly, he was treated like a returning hero!"

Up over and out.