am pleased to announce the “official” release of “Norman Granz Presents Jazz at the Philharmonic, Hamburg, Germany, February 29, 1956. As one of the parties who discovered this previously-unknown recording, I tried from day one to put it in the hands of a record company, so it could be released widely and properly. Sadly, no American company would touch it, and I was even told by the folks who now handle JATP material that this “wouldn’t sell.” This was hard to believe, in that it wasn’t too long ago that this same operation released a 1949 JATP discovery that featured Shelly Manne and Fats Navarro. I won’t mention names. Maybe I will. The company is Concord Jazz, now the owner of Fantasy, now the owner of JATP material. Shame on you.

The good news is that the Fresh Sound record label out of Barcelona, Spain, took this project on and have given it the absolutely stellar, first-class release that it deserves. All the credit in the world must be accorded Fresh Sound founder Jordi Pujol and those associated with the release. Jordi is a man of taste and a man of integrity. His Fresh Sound label and its various imprints are simply spectacular. If it were not for him, an entire generation of young listeners would miss the chance to hear hundreds of jazz legends. And veteran fans are now able to rediscover their favorites.

For those who may have forgotten, this concert featured a scaled-down but quite swinging JATP crew, including Dizzy Gillespie, Roy Eldridge, Illinois Jacquet, Flip Phillips, Oscar Peterson, Herb Ellis, Ray Brown, Ella Fitzgerald, and playing the entire concert on drums, none other than Gene Krupa. Fresh Sound has not only digitally remastered the music, but has included two gorgeous and informative booklets. One was written by yours truly and other is the actual program–in German–from this concert.

The deluxe, two-CD set is extraordinary in every way. It is available all over the web, from places like EJazzLines.com, Worlds Records.com, and many more. I do urge you to go to the www.FreshSoundRecords.com site, if only to check out their hundreds of other great CDs.

Bopworks’ Chris Bennett and I are poised to begin production on the “officially sanctioned” Gene Krupa drumstick. We are just waiting for the official go-ahead by the Krupa Estate. The stick itself, as previously mentioned herein, is an exact duplicate of the 1948 Slingerland model. Each pair will have a replica of Gene’s actual signature. Very, very instrumental in helping to bring all the parties together is drum great and bandleader Mike Berkowitz. Michael, from day one, has been generous with his time and with his knowledge. This could not have happened without him. We are happy to be carrying Michael Berkowitz and the New Gene Krupa Orchestra’s initial CD. We hope and trust that we will have the honor of carrying his forthcoming release. I’ve heard a lot of Krupa tribute bands, including my own, going back to the days of–does anyone remember?–Brent Brace. Michael’s is the best of all. And by the way, Michael Berkowitz will be the first, official “endorsee” of the Gene Krupa model stick (until I try them first).

There is a new drum magazine in the marketplace, and it’s a darn good one. “Traps,” subtitled “The Art of Drumming,” comes from the good offices of Enter Music Publishing of San Jose, CA, edited by industry veteran Andy Doerschuk. Currently a quarterly, “Traps” is an exquisitely designed and produced publication that is heavily geared in favor of jazz. Indeed, their latest–and second issue–is devoted to Jeff “Tain” Watts,” who is given almost book treatment. Other pieces concentrate on the drummers of Blue Note records, the Motown giants. equipment reviews (including Bopworks drumsticks), and an analysis of the drumming of the one and only Mitch Mitchell. With your loyal interest and support, “Traps” will hopefully go monthly. They deserve to. Their stellar stable of writers includes giants like Chip Stern, Bill Milkowski and Bobby Sanabria. I think I’ll give them a call and see if they need another writer. For subscription information, log onto TrapsMagazine.com. I wouldn’t steer you wrong.

Many of our good international visitors are aware that I am in Naples, Florida, the southwestern portion of the state. My most significant other, the great jazz singer and photographer Joy Adams, has just undergone hip replacement surgery here. Joy is directly and indirectly responsible for JazzLegends.com It wasn’t too long ago that I wouldn’t have anything to do with computers. Joy bought me my first one in 1996, and here we are. She is doing very well in rehabilitation and will hopefully be home here in Naples as you read this. I know Joy would love to hear your good wishes via email, so open up your hearts and contact Joy at: DrumAlive@aol.com. Better yet, consider obtaining her superb CD, “Joy Adams Sings the Classics,” listed on the CD page of the JazzLegends.com web site.

Above all, keep swingin’.

Bruce Klauber April, 2007

One of the first records I ever heard was the original “Perdido” from Jazz at the Philharmonic, with tenor saxophonist Flip Phillips playing his soon-to-be-legendary solo, battling it out with Illinois Jacquet, and backed up beautifully by Jo Jones on drums. If memory serves, that JATP recording was made in 1947 at Carnegie Hall, and the music writers say Flip was “forced” to repeat his set-in-stone solo, almost note-for-note, until the JATP ride ended around 1957. I was hooked from day one. I always believed that jazz should be exciting. 

Norman Granz, founder and JATP instigator, was a singular human being. He insisted that all the members of his troupe traveled first class and were treated on a first class basis all the way. He kept mainstreamers like Roy Eldridge, Lester Young and yes, Gene Krupa, in the limelight by making them stars of his tours. He mixed and matched players from different eras. As an example, a JATP front line might have included Prez, Charlie Parker and Coleman Hawkins, backed up by a rhythm section that included Oscar Peterson and Gene Krupa. I’ll never figure out why this isn’t being done today. Why isn’t there a recording, just as an example, of vibist Terry Gibbs and Gary Burton playing together? I could venture a guess, given the personality of Mr. Gary Burton, but it still should be done. 

This is why the “discovery” of our Hamburg, Germany, concert of 1956 is so important. Here, on the same stage for one of the few times in history, were Roy Eldridge, Dizzy Gillespie, Flip Phillips, Illinois Jacquet, Oscar Peterson, Ray Brown, Herb Ellis and Ella Fitzgerald. Backing all of them up from the drums? Gene Krupa. 

Gene was musically a generation behind artists like Ella and Dizzy, but he backed them up so sensitively, so thoughtfully and so happily, that the more than two hours of music presented at this show is simply a total joy to hear. Though it could be my ears playing tricks on me, I swear that Dizzy and Ella never swung harder, and never sounded as happy as they do on these tracks. An added plus, of course, is the wonderful fidelity of these shows, which likely came from a German radio broadcast. 

This is one of the few instances where I fervently believe that these programs should be released by a “major” record company. People need to hear this. If only out of loyalty (Verve did put out most of the original JATP recordings), these tracks were sent to Verve Records, where they are under consideration for future release. But as they say on T.V., “Wait…there’s more.” 

After Norman Granz sold his Verve/Clef/Norgran catalog (and what a catalog it is) to MGM in 1961, he was effectively out of the record business. He came back in a big way in 1973 with his famed Pablo label, and again started putting together all kinds of players from all kinds of eras, on record (Oscar Peterson with Count Basie, Duke Ellington with Joe Pass, et al.). The Pablo imprint, as well as Fantasy Records and several other well-known jazz record labels, is now owned by Concord Jazz. I spoke to the good people at Concord recently about our “newly discovered” JATP release. 

The good news? According to the folks in the archival department at Concord/Fantasy, there are “hundreds” of tapes of JATP concerts–both European and stateside–that sit in the vaults. This may even include the concert at hand, the Hamburg, Germany concert of February, 1956. And more good news is that this archival material may include more unreleased drum battles between Krupa and Rich, Krupa and Bellson, Bellson and Rich, J.C. Heard and Krupa, Jo Jones and Rich, and who knows what else. 

The bad news? We were told, in no uncertain terms, that most of this material will remain unreleased, due to the costs involved of clearing the rights with the surviving artists, the estates of the artists, etc. Concord/Fantasy/Pablo will put one of these things out from time to time (their most recent release being an “unknown” JATP concert that featured Fats Navarro and Shelly Manne), but we were told, point blank, that “it’s just not worth the expense and the trouble.” 

We did, however, get a promise that we would be informed of all of the undocumented JATP drum battles. At least that’s something. 

If I had to pick two “must haves” from JazzLegends.com, it would have to be the “Championship Jazz” DVD of Gene, and these JATP shows. I urge you to get them. I don’t know how long we will be able to carry them. 

And in terms of “special” and “singular,” stay tuned for more news about The Gene Krupa Jazz Trio’s television performance on the “Georgie Jessell Show” of 1954. Certainly, this will be something. 

Finally, my thanks to all of you for your good wishes, thoughts and prayers about my mother, Frances Klauber. She is hanging in there, and just sang the other day with a visiting pianist who was entertaining at the Bryn Mawr Terrace Convalescent Home. She called me the next day complaining about his time. 

We should all live so long…and have good time!!! 

God bless and keep swingin’ 

Bruce Klauber