Dave Young
ein kürzerer Post zwischendurch… im Moment scheint es mir hochplausibel, zu sagen, dass sich diese Chicago-Tenor-Schule im wesentlichen aus den Einflüssen von Von Freeman und Gene Ammons speist… insofern fand ich folgendes kürzlich sehr interessant:
Von Freeman: Now, a lot of people say that I have an original sound, but that’s not true at all. Where I got that sound and that conception of playing was from a saxophone player named Dave Young. [From Chicago?] Yes. Dave Young used to play with Roy Eldridge and quite a few other guys. To me he was one of the greatest saxophone players I’d ever heard, bar none. He took me under his wing when I was in the Navy, when we were stationed in Hawaii. I said, „Man, how are you getting that tone you get? You have so much projection.“ And I started using his mouthpiece and his reeds, and he corrected my embrochure a lot. In fact, I would say that most of my formative training on a saxophone was from Dave Young. I had been trying my best to play like Prez and Hawk and whatnot, and his style was what I’d say I was looking for between those two great saxophone players, Prez and Hawk, but it was his own thing and his own way of executing it, and I tried to copy it. I don’t think Dave Young plays any more. I think he’s still around Chicago, but I don’t think he plays any more. He was a few years older than I am. So the sound that I am getting I think is primarily the sound that he was getting. Maybe I’ve refined it a little bit more in all these years I’ve been doing it. But the idea for getting that sound came from Dave Young. Great saxophone player.
Ich hab mich dann mal ein wenig auf die Suche gemacht, wenig überaschend war die Red Saunders Foundation Webpage sehr hilfreich, dort gibt es folgende Biografie von Young und auch ein Foto
David A. Young was born on January 14, 1912 in Nashville, Tennessee. His family moved to Chicago when he was a boy; he was a member of the Chicago Defender Newsboy Band under the direction of Major N. Clark-Smith. He began working professionally in 1932. Among the bands he played in were Frankie „Half Pint“ Jaxon’s, with which he made his first recordings (1933), and Carroll Dickerson’s (1936). From 1936 to 1938 he was a member of Roy Eldridge’s combo, moving on to the big bands of Fletcher Henderson (1938-1939) and Horace Henderson (1939-1940). Subsequently he worked with Walter Fuller, returned to Eldridge for a time, and recorded in 1942 with Lucky Millinder and Sammy Price. During the first half of 1942 he also spent some time in King Kolax’s band. In 1943 he got a significant gig as a leader, taking charge of the off-night band at the Rhumboogie Café on August 2 (the contract was filed on August 19). His contract was renewed on October 21. In November, however, he went back on the road with King Kolax, while Charles Stewart took over the Monday night slot at the Rhumboogie (contract filed November 18).
Young served in the Navy in 1944 and 1945; on returning to Chicago he vowed never to go on the road again (not even to Gary, Indiana, or so he told Charles Walton). He found work as a leader at the Entertainers Cafe (indefinite contract filed on March 21, 1946; another indefinite contract for 4 days a week followed on April 18) before landing the Ritz Lounge gig; in an interview with Dempsey Travis, Young also mentioned working at the Cabin in the Sky during that period. He may have appeared on a January 1946 session backing Dinah Washington under Gus Chappelle’s direction; the personnel is still not known with certainty. Young was definitely on two sessions that trumpeter and singer Bill Martin did with a studio band for Hy-Tone; these were recorded around May and September of 1946.
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Dave Young continued in the music business for another four years, but as a Swing saxophonist who neither made the transition to bebop nor adopted the honk, he must have found the changing musical environment less and less congenial. His gig at the Ritz ended in January 1949 (the last Defender ad mentioning his band ran on January 15); his sextet gave way to a quintet led by King Kolax. According to Young’s interview with Charles Walton […, s. den Link unten]), by 1950 he was working primarily in the strip joints of Calumet City. Young made a couple of appearances on Al Benson’s TV show (which ran from April through July 1950; see our Sax Mallard page for details), but quit after Benson got into a fistfight with Stuff Smith. In November 1951 Young became an advertising salesman for the Chicago Defender; he was promoted to assistant advertising manager in February 1970, and retired from his job with the newspaper in May 1990. Dave Young died in Chicago on December 25, 1992. (He should not be confused with a much younger musician who played trumpet in Sun Ra’s Arkestra in 1955 and 1956, and is said to have left music to become a car salesman.)[und genauso wenig mit dem Tenorsaxophonisten, der bei George Russell spielte, mit dem Bassisten von Element of Crime, einem Bassisten der zB bei Oscar Peterson zu hören ist und ziemlich vielen anderen Leuten ]
Young ist rechts im Bild, neben Pee Wee Jackson (Trompete) und Goon Gardner (Altsaxophon).
Hier hab ich alle Aufnahmen mit Soli von Young gesammelt, die ich finden konnte… Bei den Henderson und Millinder Stücken findet man in der einschlägigen Literatur Unklarheit, ob Young der Solist ist. (Ich persönlich tendier zu Henderson nein, Millinder vielleicht schon). Das zweite Stück von Roy Eldridge hab ich nur dringelassen, weil ich das erste Altsaxophonsolo so toll fand, Young spielt nur im Ensemble. Das Solo ist von Scoops Carey, auch einem Chicagoer… Ob das jetzt Wurzeln des Modern Jazz sind, sei mal dahingestellt, jedenfalls find ich es für 1937 ein absolut bemerkenswertes Solo… Ob Young jetzt den Chicago Sound vorwegnimmt – ich weiß es nicht, aber dass er ein prima Tenorsaxophonist war, das kann man schon hören… (Dass Von Freeman ein bißchen bescheiden ist, kann ja eigentlich keinen überraschen.) Das erste Stück ist von 1933, da ist er offensichtlich noch ein bißchen zickig, sein Stil noch nicht ganz ausgereift… Die als Sammy Price Aufnahmen deklarierten Stücke sind ursprünglich unter dem Namen der Sängerin Mabel Robinson erschienen… das Millinder Stück (Little John Special) ist vor allem deshalb bekannt, weil es eines der ersten „wichtigen“ Soli von Dizzy Gillespie enthält…
Das tolle Von Freeman Interview, aus dem ich oben zitiert hab, findet man hier. Und diesen Aufsatz von John Litweiler über “Tenor Madness: Chicago Style“ kann ich sehr empfehlen…
So… Nachtrag zum Joe Daley Post, hier findet man noch einiges mehr über ihn. Wenn man auf der Seite rechts auf „Bronzeville“ klickt geht es weiter zu Charles Waltons langem Interview mit Dave Young…
Ein Foto von Joe Daley gibt es dort auch…
(Wie man den Links schon entnehmen kann, hat das Jazz Institute of Chicago mittlerweile eine neue Webpage, auf die sie nur einen Bruchteil ihrer alten Artikel mitgenommen haben…)
Und eine letzte Randbemerkung, kommt in der Young Biografie oben ja schon ein bißchen raus – die Macht dieser Musikergewerkschaften in der damaligen Zeit war mir lange nicht bewusst… wenn man sich zum Beispiel den Abschnitt über den legendären Schlagzeuger Ike Day („A word seems called for about Ike Day…“) auf der oben verlinkten Red Saunders Foundation Seite durchliest, kann man sich eigentlich zunächst mal ziemlich wundern, wie autoritär das alle offenbar ablief, etwa
Assistant Cohn informed the Board that Mr. Hughes had called at his office and complained about Jesse Miller walking off the bandstand while a show was in progress because of an argument with one of the performers. In addition to this, Mr. Hughes complained of Ike Day getting drunk and other members reporting for work late.
Member Miller admitted walking off the stand because he was angry, but stated that he realized he did wrong. He explained that there was no set routine for the show and no music. He stated that Ike Day did get drunk and that he had no show experience, which was the root of all the trouble that they were having.[….] informed him that Ike Day and Kermit Scott had been unruly all evening. The musicians were outside as well as some of the entertainers. Atkinson, who was in charge of the orchestra during Miller’s illness, apparently had no control over Day and Scott, and could not make them play. When he talked to Day, he replied in vulgar and profane language that he didn’t care anything about him or Local 208 [die Gewerkschaft]. Scott was drunk and replied in a like manner
(kann man so bruchstückhaft nicht richtig verstehen, but you get the idea… dass es eine Institution gibt, wo man anruft, wenn Musiker besoffen oder mit dreckigen Klamotten auf der Arbeit erscheinen…)
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