JazzWax

How to Get a Close Shave, Pt. 3

A high-quality shaving brush is a very personal item and typically survives the user. Over the past few days, many readers have written me about their father's or grandfather's shaving brushes, either by sending me a photo or relating a story about how they admired a brush growing up and now use it or have it on a shelf. I, too, feel brushes have a soul—how they look, how they lather up, how they treat your face and how they stand at attention hoping to be chosen for your next shave. They develop a personality over time with characteristics and charm. [Photo above of Walter Riva of Riva Brushes, courtesy of Riva Brushes]

To extend the life of a top sharing brush, care is required. When you shave, you shouldn't expose the brush to scalding hot water. You also shouldn't abuse the bristles by hard swirling it in a soap container or in a bowl. Instead, the brush should be moved back and forth, like a paint brush, to load up soap. This technique limits bristle breakage and bristle loss.

When you're finished shaving, rinse the brush thoroughly in luke-warm water. As I rinse the bristles of my brushes, I continually squeeze the base gently to be sure that the water emerging is free of suds. Once I see only water emerging, I hold the brush lightly at the base of its bristles and flick the brush gently a few times to rid the bristles of excess water. Don't do this with the bottom of the handle, since sharp flicking will likely cause brush whiplash and damage the knot.

Next, I take the brush and gently run the head back and forth over a dry towel for about 40 to 50 light strokes, so any stray moisture is wicked off. Then I let it stand to fully dry. Some people like to place it upside down in a stand. Either way works, provided you clear the brush of all soap and loose water.

Speaking of brushes, today I want to introduce you to Walter Riva, one of the world's finest brush makers. He lives and works in Italy, which has a long and noble shaving tradition. After all, you don't see too many Roman statues of guys with beards. And Michelangelo's model for David surely was an advanced shaver. I own several Riva brushes and love them dearly.

For one, they are beautiful to look at and hold. For another, I love Italy, from the food and music to the architecture and fashion. But most important, many of Walter's brushes are one-of-a-kind models. They are stunning, and yours will likely have no duplicate. As you'll see, Walter has a powerful artistic eye and terrific taste, not to mention a warm heart. To shop RIva Brushes, go here and then access the store page at Etsy by scrolling down to the orange button, which will take you here. Etsy is like eBay, except there is no bidding, just buying. I've purchased many shaving items on Etsy and have always had a terrific experience.

Recently, I reached out to Walter by email to learn more about him and his passion:

JazzWax: Walter, where did you grow up?
Walter Riva: I grew up in a small town in northern Italy on the shores of Lake Maggiore, not far from the Swiss border. My love for the area in which I grew up led me to live and locate my workshop just a few kilometers from my childhood town.

JW: What sort of town is it?
WR: It’s a small town where the Ticino River and its woods frame the area and the trees mark the passing of the seasons with their colors.

JW: Were your parents artisans?
WR: My parents were not artisans by profession. My grandfather and his two brothers immediately after World War II were artisans and painted buildings. They also made frescoes on walls. When I was born in 1966, they had already given up their craft. But while growing up, I came across buildings in the area with their works still intact on walls. I remember their landscapes painted outside houses on walls. One of my uncles painted pictures on canvas, too. I inherited one, a landscape. He died young.

JW: Did you study in the arts?
WR: No. My studies were directed towards technical and mechanical subjects. I've always been interested in understanding how things work.

JW: How did you develop an eye for design?
WR: I believe my eye for design comes from my careful observation and passion for nature. Nature has an order and an ability to create perfect and harmonious shapes. It’s quite remarkable, don’t you think?

JW: How did you learn to work with wood?
WR: My passion for woodworking has always been inside of me, in a latent way. My father delighted in making artifacts and small wooden furniture. Seeing him at work when I was growing up inspired me, especially in recent years, to create something that could combine my two passions—my love of nature and my love for traditional shaving.

JW: How many different types of wood do you work with for your brush handles and which woods are they?
WR: Not many types. All are rather uncommon. These include Italian heather briar—the same used for the production of smoking pipes—fossil oak that is 3,000 to 5,000 years old, Sicilian olive wood, briars and some spalted woods.

JW: How do you find your wood—is there a vendor?
WR: Some wood I collect from the forest on our family’s property. Others come from small agricultural entrepreneurs in southern Italy. The fossil woods come from Ukraine and are sent to me with their radiocarbon dating.

JW: How do you cure the wood and sculpt it?
WR: The first long and important phase is the seasoning. Once they are ready, I work the pieces with typical woodworking tools and my lathe.

JW: Were you ever an apprentice to artisans or an engineer?
WR: No, I have never been an apprentice artisan. My inspiration came from nature and designs that look and feel good to me.

JW: How many brushes do you make a year?
WR: The quantity is limited, since my brushes are not a series production—meaning the same models being turned out to meet production numbers. However, the total has grown from 120 pieces last year to a projected 300 pieces this year.

JW: Do you sketch out designs first?
WR: I don't do sketches or drafts. I start with an initial idea, but every single piece of wood I use is different from the others. While I work the wood, it tells me the shape that is best based on its veins, bird's eyes, knots, colors and so on.

JW: Which ones sell best now?
WR: My best sellers are those in Italian heather briar.

JW: Is a horse knot made from horse hair (pictured above)?
WR: Yes. And the horse knots I use are made exclusively with the horse's tail.

JW: Is the bristle stiffer than boar?
WR: No, it’s actually softer than boar, more like boar softened from extensive use.

JW: What would you say sets your brushes apart?
WR: Appearance, attention to detail, uncommon materials and precision, even though they are made from uncommon materials and often joined with pewter or resin.

JW: In addition to the wood and the design, you also take great care to load up the brush so that it’s a plush experience, yes?
WR: Certainly. The sensations users experience during use are very important. Ergonomic shapes and high-level knots are paramount for me. I want users to feel a sizable handle and the wood's texture, and to admire how the brushes look.

JW: Do you shave with one of your own brushes—or do you have a beard and there’s no need?
WR: I shave every day with my brushes, taking the opportunity to try prototypes and come up with ideas for future designs.

JW: What’s the difference between a bulb brush and a fan?
WR: They are very similar. The fan opens more on the face than the bulb, which results in a different feel on the face. A bulb is tighter in shape, with more backbone when soap is applied to the face, creating a scrubbing sensation.

JW: And the difference between Manchurian and silver-tip badger?
WR: Manchurian and silver tip come from different parts of the badger's fur. Silver tip is softer while Manchurian—also known as a “two-band”— offers the stiffest backbone, which is ideal for exfoliation of the skin when using on the face.

JW: What are the pros and cons of synthetic brushes?
WR: The recent synthetic knots perform very well. In my opinion, they are excellent. They are immediately ready for use, whereas natural brushes require a break-in period. However, the luxurious feel of a high-quality badger knot on your face cannot be replicated with synthetic fibers.

JW: What else do you sell in addition to brushes? And are you planning to expand? Or are you happy with the way things are now?
WR: Every now and then I make a few luxury pens, but rarely. I remain focused on shaving brushes, where there is much to explore in design and creation.

JW: What’s your favorite shaving soap and razor now?
WR: One of my favorite shaving soaps now is Taylor of Old Bond Street's Tobacco Leaf (here). It's very earthy. Like you, I have a collection of vintage razors. My two favorites are the stainless steel straight razor J.A. Henckels Friodur Mod.250, produced in 1982. My favorite double-edge razor is the Gillette adjustable Fatboy from 1958.

JW: What is your desire when making brushes, that the buyer has what kind of experience?
WR: My first desire is to earn my customers’ admiration by offering a high-quality product and providing the very best service. My second desire is to help transform shaving from a boring routine to a special, personal moment to repeat with pleasure.

JazzWax shaving album: Today's shaving album is Count Basie's One More Time, with arrangements by Quincy Jones.

How to Get a Close Shave, Pt. 2

Yesterday, in Part 1 of my series on shaving with a double-edge razor, I laid out for you why I decided to dedicate a week of posts to my daily grooming ritual. Yes, I was badgered into it. Today, I'm going to tell you about my experience in search of the best double-edge razor, blades, brushes and shaving soaps and which ones are the absolute best in each category. All of this comes after two years of in-depth research to minimize the extent of trial and error, which can become costly if you don't figure things out in advance. Again, the following isn't directed at men exclusively. Everyone I know who sells products in the "wet shave" space has talked about the rising interest by women, and there have long been double-edge razors for the female market. [Photo above of a 1959 Gillette Fatboy nickel revamp at Razor Emporium here]

So here we go:

Double-edge razors. I have 16 mint-condition double-edge razors that date back to the early 1920s. Each has a different personality in terms of how it shaves and how it must be handled to do its job efficiently without causing havoc. Twelve of them were made by Gillette. These include two "New Improved" models from 1921 and '22, a Sheraton open-comb razor with early twist-to-open butterfly doors from the mid-1930s, a gold Big Boy from the late 1930s, a "New Improved" bar handle razor from the late 1930s whose previous owner shared with me an amazing story about it, a 1956 Super Speed red tip, two Fatboy razors from 1958 and 1961, and a black-handle Super Adjustable 109 from 1969, the first production year. I enjoy them all. Most were purchased on eBay by waiting for the appearance of a desired model in perfect condition. Two of the Gillette razors were purchased at Razor Emporium. I also have a Japanese Feather razor and two new Maggard models that were bought at Maggard Razors.

My favorite: That would have to be the red tip Super Speed. In my opinion, the mid-1950s Super Speeds marked the pinnacle of Gillette's double-edge razor technology. The red tip delivers a perfect shave, time after time. My second favorite razor is the Gillette adjustable Fatboy. The design is visually perfect and the razor feels terrific in the hand. It also delivers a fantastic shave, giving you the ability to shift gears with a twist of a dial mid-shave. [Photo above of a Gillette red tip Super Speed]

The Super Speed line pre-dated the adjustable technology and came in three different color tips indicating the razor's level of aggressiveness in terms of blade exposure. In general, the red tip was the heaviest and most aggressive, the silver flare tip was moderate and the blue tip handle (pictured above) was lighter and least aggressive. It was marketed to first-time shavers and to women who wanted a gentler shaving experience on legs and underarms. Here's Matt Pisarcik of Razor Emporium to explain...

The best for new shavers: I'd recommend a new Maggard model. The handles of the two I own are solid stainless steel and deliver amazing shaves. I love open comb models because by "riding the head," meaning rolling the razor back onto the head slightly as you shave, you minimize the risk of nicks and cuts. I have the chrome MR5 handle paired with the V2 open-comb head. I also have chrome MR8 handle—one of the heaviest handles on the market—also with the V2 open-comb head. Either one is superb and forgiving, depending on how heavy you favor the hold. Both are relatively inexpensive, in the $30-$35 range complete. The beauty of Maggard is they let you choose the handle and then a head. The two screw together. [Pictured above is the family of Maggard-made razors; click to enlarge]

Women may want to explore the MRP or MRG handles, which are thinner and lighter. There's also the vintage Lady Gillette (a 1961 model pictured above), which dates back to the early 1960s.

Blades. Not all disposable double-edge razor blades are alike. Some are thinner and sharper than others, others are less aggressive. There is no best blade. Your choice is purely subjective, depending on your growth and your razor's level of aggressiveness. I've tried at least 30 different kinds. Probably the sharpest blades I've encountered are by Feather and Kai, both Japanese makers. The mildest are probably the Astra blades. 

My favorites: I adore the Rapira Swedish Supersteel, followed by the Rapira Platinum Lux and Gillette Platinum. The best-kept secret of double-edge razor shaving is the absurd low price of the disposable blades. You can buy 100 Rapira Swedish Supersteel blades for $9.50 at Amazon in packs of five. Personally, I use a blade a week. Others use a new blade every other day. So if you're like me, you'll get two years of shaves for $9.50. Or just buy five packs and spread your low investment among different brands until your face falls in love.

Brushes. This is where the bristle meets the skin. All you really need to know about brushes are the type of bristles, the knot size and knot shape. That's it. There's no one best kind. Again, this is about personal preference and budget. [Pictured above, a Riva stabilized spalted beech tree and resin shaving brush; 26mm Manchurian knot; go here]

There are synthetic brushes, brushes made of boar hair, horse hair and badger. I'm a badger guy. The badger category divides neatly into several different levels of quality, starting with the least expensive with the basic "pure badger." Moving up the quality ladder, there's "best badger," "super badger," "silvertip badger," "Manchurian badger" and "high-mountain badger." Manchurian is a stiffer badger bristle so it's better at exfoliating the skin as you lather up. My 10 brushes fall into the last three categories.

Knot size will give you a sense of the diameter of the brush. If you like a large, full brush, you'll want a knot size between 30mm to 35mm. If you want a less robust brush but still large, 28mm is ideal. Then comes the 26mm, which is good. In my experience, brushes that are smaller may tend to require more work to lather up and will cover less area of your face. The only drawback to the larger brushes other than the expense is the large amount of soap it loads up and extended period required to wash the excess soap from the bristles once you've finished.

Shape divides into two categories—bulb and fan. In general, the bulb shape flares round and then comes in on top, like a tulip. The fan has a V shape and tends to be a bit floppier when lathered up. Both are terrific for different reasons.

Favorites: I own brushes made of super badger, silvertip, Manchurian and high-mountain of varying sizes, but most are 28mm. I did extensive research before purchasing each one, so all of my brushes are wonderful. They are made by Italy's Riva, England's Simpson, Germany's Thater and Shavemac, and France's Plisson, which still operates the world's oldest shave-brush factory.

Visually, Riva makes the most beautiful brushes. The handles are gorgeous works of art, and the brushes are dense and strong. But I also love my other brushes for different reasons. I'll post an interview with Walter Riva of Riva Brushes later this week. He makes each one by hand, so you're buying from a true artisan.

Soaps. I'm a soap-a-holic, always in search of the very best lather experience. How "holic?" Let's put it this way: I have different soaps for different seasons of the year. Spring tends to be fern, floral and wet stone scents; summer is beachy and citrus; fall is pine, musk and cedar; and winter is bay rum, spearmint, juniper and cologne. I'm a big believer that shaving soap should transport you to places far away. This turns shaving into a 15-minute mini vacation. For me, shaving soap is all about a sophisticated and intriguing scent and the quality of the soap and its protective quality when applied. Always remember, with a double-edge razor, you're dragging steel. Soap is first and foremost about laying down a slick surface.

My favorites: Since I rotate soaps seasonally, I'll give you my list of favorites that I'm using now. All deliver a slam-bang lather. My current favorites include:

• Dr. Jon's Rose of Phyrgia vegan soap—a complex dark rose scent with sweet spices. The way a rose bush would smell in a heavy rain toward dusk.
• Dr. Jon's 8th Dimension—also a complex scent that smells like a new-car glove compartment, stereo packaging from the 1980s and the first day of public school after the halls have been freshly painted.
• The Sudsy Soapery's Pine & Cedar—delivers a true pine (not Pinesol) scent with musky cedar notes. Topping it off is menthol that leaves your face frosty cool.
• Turtleship Shave Co.'s Pine—will make you feel you're on a terrific mountain hike in a dense fir forest.
• Scapicchio's Shaving Cream—from Italy's family of straight razor shavers, Scapicchio's is a singular, fresh barber-shop scent that tells you immediately you are in Bovino, Italy, without a care in the world and about to have a hot towel applied to your face.
• Le Pere Lucien's Cedre-Patchouli—a sophisticated leathery, suede scent from France that smells like fresh wood chippings and high-end incense.
• Noble Otter's Lonestar—a warm scent reminiscent of hay bales, week-old cut grass and horse saddles warmed by the early autumn sun.

Other tips: Getting your beard (or for women, your legs and underarms) prepped for a double-edge shave, you need to be sure your hair is soft and pliable. Otherwise, you'll wind up with ingrown hair, razor burns, scraping or nicks. Ugly stuff.

My prep: I apply Palmolive Renfrescante shaving cream that comes in a tube from Italy for starters, aggressively working that into my beard. After applying hot water and working the green paste to moisten the whiskers, I apply Italian Proraso menthol pre-shave and work it in. Finally, I add a light coat of Germany's Speick tube shave cream as a base before working up a lather with my brush and applying. After thoroughly soaking the brush, I give it a couple of gentle snaps to flick off the excess water and work the brush on the product to load up the soap. Then I work the soapy brush in a heavy coarse-textured marble bowl to produce a thick lather. I love the feel of heavy stone and so do my brushes.

• Palmolive Menthol, go here.
• Proraso pre-shave, go here.
• Speick tube shave cream, go here.
• Marble bowl, go here.

Tomorrow, an interview with Walter Riva of Riva Brushes, followed by Brad Maggard of Maggard Razors on Thursday and Matt Pisarcik of Razor Emporium on Friday.

JazzWax clips: A good way to pick up tips on shaving techniques and shaving supplies is via YouTube videos. There are hundreds of different shavers hard at work worldwide. Many, however, tend to be a bit much for one reason or another. In addition to loving Matt Pisarcik's highly educational, easy-going clips, I rather enjoy Kevy Shaves. I love his soothing Scottish accent and his banter, and he seems like an all-around good guy. In other words, a gentleman shaver. Here's his latest...

And if you ever find yourself in Bovino, Italy, with a face of stubble, here's the Scapicchio's family in action...

JazzWax shaving album: Here's Tuesday's album to accompany your shave—Robert Menescal's A Bossa Nova, from 1963...

How to Get a Close Shave, Pt. 1

This week, I thought I'd do something a little different. I assure you, music will be involved, but it's not going to be the focus of my next five posts. Rather than post on jazz, which is typically enjoyed in the evening, I'm going to look at the activity that takes place early each the morning for most of us and how you can make shaving much more interesting and enjoyable. My posts are for men and women, since both undertake the task. [Photo above of DR Harris shaving brushes]

For years, close friends have been begging me to post on shaving, to share what I know about vintage double-edge razors, brushes, blades, cream and the shaving process. They know how obsessed I am with the seemingly dull chore because I'm constantly raving about new discoveries. My passion dates back to a trip to Europe in the 1980s, when I wound up in a shaving shop in London's Mayfair. More recently, my interest shifted into high gear following my accidental discovery of the St. James's section of London in 2014 (pictured above). Back then, I wrote a piece for The Wall Street Journal on the numerous grooming (and clothing and accessory) shops for gentlemen hidden in this exclusive neighborhood just down the hill from the Ritz London hotel and Fortnum & Mason emporium (go here).

My journey through St. James's was like a 19th century English fairy tale, where curiosity pulls the story's main character deeper and deeper into the woods. One shop led to the next and to the next and to the next. I began at DR Harris, and continued to Truefitt & Hill, Floris, George Trumper, Taylor of Old Bond and quite a few others. Upon entering these establishments, I was immediately hit with the crisp, fresh scent of shaving soaps, antique lotions, sterling after shaves and a wealth of pre- and post-shave products. Quaint glass cabinets were stocked with brushes of all sizes along with straight razors and double-edge razors. Some of these shops even offered a hot shave and a haircut in the back. Best of all, the clerks were thoroughly knowledgeable, cheery and helpful. A metrosexual paradise. [Photo above of Truefitt & Hill in London, courtesy of Truefitt & Hill]

My obsession with the history of shaving and the development of shaving technology deepened during the pandemic. Hey, we all needed something to take our minds off the universal tailspin taking place and the dread that the lockdown and lethal threat of Covid-19 would never end. In the two years since the pandemic's start, I've researched and explored every aspect of what is commonly called "wet shaving." This includes double-edge razor technology, razor blades so sharp they can take a finger off, brushes that require care, shaving soap and a regimen of post-shave treatments. My search for the absolutely perfect shave had begun.

I started by researching the history of vintage safety razors made by Gillette, the General Motors of the shaving business. The company's first double-edge safety razor—the kind that requires a thin blade, it's two edges exposed on each side once placed snugly on the razor's head—dates back to 1903. The inventor, King Camp Gillette, was an American born in Wisconsin who decided to improve on existing, clunky safety razors by creating a disposable wafer-thin blade. His invention would quickly retire the diabolical straight razor, which had been around for the past 200 years. Before that, a hunting knife and axe head did the job. More history can be found here.

Double-edge razors have always been about performance, efficiency and comfort, and Gillette led the way. As the patent on the company's "Old Type" model expired in 1920, Gillette unveiled its "New" improved line in 1921, which offered advanced assembly and more accurate execution. The "Good Will," "Big Boy," "Sheraton" and other assorted models of the 1930s were followed by the "Tech" line in the 1940s and the "Super Speeds" of the late 1940s and 1950s. [Photo above of a Gillette "New" model from the early 1920s]

By the late 1950s, Gillette offered a safety razor that could be adjusted mid-shave for different levels of aggression. This razor became known as the "Fatboy," one of the most admired vintage razors today. Variations followed,  including the introduction of the sleeker, black-handle adjustable Super Speed of the late 1960s. With the arrival of the college boom at the dawn of the 1970s, Gillette's cartridge era began in the fall of 1971 with the twin-blade Trac II. Next up was the Atra in 1980, the Sensor in 1989 and the Mach3 in 1998. In 2005, P&G bought Gillette, and Gillette unveiled the Fusion line. [Photo above of a replated Gillette adjustable "Fatboy" from Razor Emporium]

This week, I will post on my favorite gear for a perfect shave and advice if you're just getting started. I'll post about favorite brushes, blades and soaps as well as a solid post-shave regimen to care for the skin. It takes time to get used to double-edge razors and to develop the right shaving techniques depending on the contour of your face. Once you've mastered the process, the result will be skin as smooth as polished marble. I'll also have Q&A interviews with three of my favorite vendors—Matthew Pisarcik of Razor Emporium in Arizona and the maker of REX razors, Walter Riva of Riva Brushes in Italy and Brad Maggard of Maggard Razors, a Michigan company with a massive supply of soaps, razors, brushes and shaving gear. Nothing has been acquired for free. As with music, this series is just another side of my obsessive nature.

All three vendors offer product advice by email to men and women who have given up on disposables. Why bother turning shaving into a process? Why not. When you shave with vintage double-edge razors, you're shaving with history. What's more, you're using a century's worth of technology and gear someone bought the year it came to market, have used over time and passed along until it wound up in your hand. You're holding the past and the present and getting a feel for what shaving was like as the decades rolled on. And it's way cheaper than collecting vintage cars. Not to mention, shaving this way transports you to a different era and gives your day a terrific start. Why do dull when you can do interesting. [Photo above of Maggard Razors]

JazzWax clips: Here's the history of the Gillette safety razor...

Here are models of Gillette safety razors over the first 25 years...

Here are models in the 1930s...

And here are razors from 1930 to 1970...

JazzWax shaving albums: Each day this week, I'll feature a different album that will clear your head and let you focus:

Here's Bobby Hackett's A Time for Love (1967)...

Ernie, Marcos and Nancy

In The Wall Street Journal this week, I interviewed actor Ernie Hudson for my "House Call" column in the Mansion section (go here). Ernie is best known for co-starring in Ghostbusters (1984) and now stars in The Family Business, L.A.’s Finest and NBC’s Quantum Leap. Ernie's childhood story is amazing. He never knew his mother or father. Raised by his grandmother, he was set aside in school with other minority students as "unlearnables." It wasn't until he was a senior that a teacher realized how bright he was and pulled him out. By accident, Ernie saw a play in Detroit and realized that acting was what he was born to do and ran with it. [Photo above of Ernie Hudson, courtesy of Ernie Hudson]

Sirius XM. If you missed me on Sirius XM last week, you can listen to the hour-long show on Black Sabbath's Vol. 4 and how the album, which turned 50 this month, changed rock history. Go here...

Interview, Part 2. Bret Primack (above) has posted Part 2 of his on-camera interview series with me a few weeks back. There will be seven parts in all. Go here...

If you missed Part 1, go here.

Rock Concert in San Francisco. A special thanks to my dear friend Rob Hyman, songwriter (Time After Time) and keyboardist for The Hooters, for sending along a photo taken by his son, Nicky, and his girlfriend at San Francisco's City Lights bookstore. Looks like I'm in good company! Thanks Nicky!!

Pre-order now! My new book out December 6 is perfect for holiday gifts. Make sure you send the recipients of your gift to my new website, where you'll find a Spotify playlist with all 55 of the book's songs so you can read and listen at the same time. Order here.

Rock Concert last night was No. 2 in Amazon's Interviews category and will be out in paper this fall. Order here.

Marcos Valle and Paula Morelenbaum (both pictured above, photo by Marc Myers) were fabulous on Wednesday night. By the end of the set, the audience was mentally on the beach in Rio. Glorious to catch up with Marcos and the band backstage after. It has been too long.

Ramsey Lewis (1935-2022), a pioneer of soul-jazz piano, died on September 12. I last interviewed Ramsey for The Wall Street Journal in 2015 (go here). To read pianist Joe Alterman's memories of Ramsey, go here. In tribute to Ramsey, here's his trio's biggest hit, The 'In' Crowd, a 1965 cover of Billy Page's hit for Dobie Gray a year earlier...

Billie Holiday slept here. Have $14 million, excluding costs and renovations? You can own Billie Holiday's brownstone in Manhattan. The 6,300-square-foot, seven bedroom, six bath multi-family townhouse at 26 West 87th St. dates back to 1900 and was once home to the jazz singer. Unclear whether she owned the entire building or owned or rented an apartment and on which floor. If you buy the building, I'm sure you'll find out soon enough. Take a photo tour here. [Photo above of Billie Holiday's former residence by Evan Joseph Photography]

Joe Kennedy Jr. Last week, following my post on violinist Joe Kennedy Jr., I heard from singer Nancy Harrow (you can read my interview with Nancy here):

Hi Marc. Joe Kennedy Jr. was John Lewis’s cousin. He played on my album, "The John Lewis Album for Nancy Harrow (1981)." It was a treat to see him perform one of his impassioned solos. I have a vivid image still in my mind of how he looked and sounded playing.

Antonio Carlos Jobim. Last week, Carl Woideck sent along a note informing me of the Instituto Antônio Carlos Jobim website. There, you can choose Jobim scores, parts, photos and other categories. As Carl notes, "It’s not the most intuitive site, but trial and error will guide you." To access the archive part of the site, go here.

Sarama Joy's album, Linger Awhile (Verve), is out today here. Here's Misty from the album...

Mike Jones, the wonderful jazz pianist who performs nightly with Penn & Teller at Rio Las Vegas, is out with a new album, Some Strings Attached. He's joined by guitarist Graham Dechter and bassist Alex Frank. As Mike noted, "The album is a tribute to the piano-bass-and-guitar trios of yore! Of course, our inspiration was the Oscar Peterson Trio albums with Barney Kessel and Ray Brown, and the Nat King Cole Trio recordings with guitarist Oscar Moore and bassist Wesley Prince."

To listen and order, go here.

Here's Gone With the Wind...

Gone With the Wind

Prestige All Stars radio. On Sunday, Sid Gribetz of WKCR-FM in New York will be spinning the many late '50s records by the so-called Prestige All Stars and talking about them from 2 to 7 p.m. As Sid notes, "Back then, Prestige Records produced a series of albums with ad hoc arrangements of medium sized bands playing extended improvisations. Some of these sessions included sophisticated original compositions and arrangements by Teddy Charles and Mal Waldron, while others would more directly be free-wheeling jam session-styled workouts on standards and the blues." Listen from anywhere in the world by going here.

John Coltrane radio. On September 23, WKCR will be presenting its annual "John Coltrane Birthday Broadcast," playing the music of the tenor saxophonist for 24 hours. The broadcast starts on Thursday night, September 22, at 11:59 p.m. (ET) and continues until Friday at midnight. Listen from anywhere in the world by going here.

And finally, Oliver Dowling in Dublin turned me on to a tremendous jazz guitarist last week—Hugh Buckley. Here's Hugh playing an original composition called Kindred Spirit. I do hope someone out there asks me how to get in touch with Hugh to record him on a solo album...

Backgrounder: Frank Wess's 'Trombones & Flute'

Frank Wess was a swinging big-band tenor saxophonist and flutist and a lyrical player in small groups, especially those he led. One of my favorite ensemble albums by Wess is Trombones & Flute, which he recorded for Savoy in July 1956. The personnel featured a chunk of the Count Basie band, in which he played at the time.

The lineup included Jimmy Cleveland, Henry Coker, Benny Powell and Bill Hughes (tb), Frank Wess (fl), Ronnell Bright (p), Freddie Green (g), Eddie Jones (b) and Kenny Clarke (d), with arrangements by tenor saxophonist Frank Foster, Wess's Basie bandmate.

Here's the entire album without interruption by ads...

Other ad-free Backgrounders in my series:

• Zoot Sims Plays Bossa Nova, go here.
• Lee Morgan: Lee-Way, go here.
• Bossa Nova for Swinging Lovers, go here.
• Leon Spencer: Louisiana Slim, go here.
• Bossa Nova Modern Quartet: Bossa Nova Jazz Samba, go here.
• Bill Evans & Luiz Eça: Piano Four Hands, go here.
• Ray Brown Trio: Don't Get Sassy, go here.
• Os Tatuis: Os Tatuis, go here.
• Waltel Branco: Mancini Tambem É Samba, go here.
• Jack Wilson Plays Brazilian Mancini, go here.
• Conjunto Copacabana Bossa: Bossa, go here.
• Ella Fitzgerald: Ella Swings Lightly, go here.
• Charles Earland: Charles Earland, go here.
• Kenny Burrell: Crash! w/ Jack McDuff, go here.
• Jack McDuff: The Heatin' System, go here.
• Horace Silver: Horace-Scope, go here.
• Antonio Carlos Jobim: Wave, go here.
• Sonny Stitt: Sonny Stitt Plays, go here.
• Sonny Stitt with Bennie Green: My Main Man, go here.
• Johnny Hodges and Earl Hines: Stride Right, go here.
• Lionel Hampton: Bossa Nova Jazz, go here.
• Johnny Hodges & Ben Webster: Cellar Session, go here.
• Bill Evans: Solo Sessions Vol. 1, go here.

Who Was Joe Kennedy Jr.?

Yesterday I posted on a new box set from Fresh Sound featuring the complete recordings of Ahmad Jamal's Three Strings between 1951 and 1955. In the post, I wrote that in the late 1940s Ahmad played in a Pittsburgh group called the Four Strings that never recorded. The Four Strings folded after Joe Kennedy Jr., the quartet's violinist, left and Ahmad decided to move to Chicago. So who was Joe Kennedy Jr.? [Photo above of Joe Kennedy Jr.]

Bill Kirchner wrote me early yesterday morning:

Marc, Joe Kennedy Jr. was a dear friend of mine. You might be interested in his Wiki entry, which reads in part: "Joe Kennedy Jr. (1923 – April 17, 2004) was an American jazz violinist and educator. Kennedy was born in Pittsburgh, Pennsylvania. He performed and recorded with pianist Ahmad Jamal and was director of jazz studies at Virginia Tech from 1984 to 1995. Kennedy performed with Benny Carter, Toots Thielemans, Billy Taylor and the Modern Jazz Quartet.

"He also appeared at major international jazz festivals, including the North Sea Jazz Festival and Monterey Jazz Festival. In April 1989, my nonet performed a concert at Virginia Polytechnic in Blacksburg, Va., where Kennedy had been director of jazz studies for a decade. He was the nonet's guest soloist and played on our last five tunes.

"For an approximation of how the Four Strings sounded, put on "Listen to the Ahmad Jamal Quintet" (Argo, 1960), which was arranged by Kennedy. He and guitarist Ray Crawford were added to the trio of Jamal, bassist Israel Crosby, and drummer Vernell Fournier. Here are some key Joe Kennedy Jr. records":

Here's Listen to the Ahmad Jamal Quintet (1960)...

Here's It's You or No One, with Kennedy and Toots Thielemans on guitar, harmonica, whistling and foot-tapping, from Accentuate the Positive (1962)...

Here's I Love You, from Strings by Candlelight (1962), featuring Joe Kennedy, Jr. (vln), Hank Jones (p), Kenny Burrell (g), Milt Hinton (b), Osie Johnson (d) plus strings, including Julius Held and Gene Orloff (vln)...

Here's the Billy Taylor Quartet's Where've You Been (1980)...

Here's On Green Dolphin Street, from Magnifique!, on the Black & Blue label (1980), featuring Kennedy (vln), Hank Jones (p), Major Holley (b) and Oliver Jackson (d)...

Here's John Lewis's Kansas City Breaks (1982), with Kennedy on violin...

A special thanks to Bill Kirchner.

Ahmad Jamal: Complete Okeh, Parrot & Epic

The list of musicians who've had an enormous impact on jazz's direction is a relatively short one. From Coleman Hawkins and Lester Young to Charlie Parker, Kenny Clarke, Miles Davis, Horace Silver, Shorty Rogers, Sonny Rollins, Clifford Brown, Bill Evans, John Coltrane and beyond. Routinely skipped over, for some odd reason, is Ahmad Jamal.

Now Fresh Sound has released an extraordinary two-CD box that is sure to get you to reconsider: Ahmad Jamal's Three Strings — The Complete Okeh, Parrot & Epic Sessions, 1951-1955. The music that turned Miles Davis's head around some 70 years ago still sounds extraordinary. While Bill Evans often is credited with launching the conversational piano trio, that honor really belongs to Ahmad. Evans perfected it. As Ahmad plays on this box's recordings, you can hear him feeding ideas to his guitarist and bassist and them feeding him harmony lines back to play off of.

Ahmad was born in Pittsburgh, Pa., and began playing piano at age 3, with lessons starting at 7. Ahmad told me in 2013 that his spare approach on the piano and fondness for the upper range of the keyboard was most influenced by orchestral sensibilities. His first job out of high school in 1947 was with George Hudson's band in Pittsburgh. In early 1948, he joined a group called the Four Strings—piano, bass, guitar and violin.

When Joe Kennedy Jr., the violinist, left the quartet, Ahmad moved to Chicago and played locally. He formed the Three Strings in 1951 with guitarist Ray Crawford and bassist Eddie Calhoun. The relaxed chamber feel of the ensemble was a hit at local lounges and clubs, and soon caught the ear of executives at Okeh Records. The trio recorded four songs for the label in October 1951.

Next came four sides for Epic in May 1952, followed by four for Parrot in January 1954 and the trio's first album in May, Ahmad Jamal Plays (Parrot) and second, Ahmad Jamal Trio (Epic), in October 1955. From 1950 to 1952, the group's bassist was Calhoun. Richard Davis took over on bass from 1953 to 1954 and then Israel Crosby in 1954.

As I wrote in my Wall Street Journal essay on Ahmad in 2013:

Mr. Jamal's distinctive style—melodies played on the piano's upper-most notes combined with elegant and brief mid-keyboard chord clusters—had been revered by jazz musicians since his first recordings in 1951. Miles Davis so admired Mr. Jamal's lyrical, space-rich approach on "Surrey With the Fringe on Top," "A Gal in Calico," "Billy Boy" and other early recordings by the pianist that he had his pianist, Red Garland, record them virtually the same way. The Ahmad Jamal Trio's conversational approach also left a lasting impression on many pianists, including Oscar Peterson, Red Garland, Bill Evans, Phineas Newborn Jr. and Herbie Hancock.

What's more, Jamal's I Don't Wanna Be Kissed and New Rumba were clearly used as the basis for Gil Evans's arrangements for Davis on Miles Ahead in 1957. Think about it. Ahmad's piano style had so knocked out Davis that he had Red Garland copy them for his quintet, almost note for note, and he had Gil Evans use Ahmad's recordings as reference tracks. Davis didn't have Garland interpret Ahmad's approaches but play them almost identically. Gil Evans didn't deviate much, either.

When I asked Ahmad whether Davis had initially tried to recruit him for his quintet in the mid-1950s, he said Davis hinted about it but that the request was absurd: "I was the leader of a group just like Miles. I was doing fairly well financially with my group and there was no incentive for me. Why would I give up calling my own shots?" True enough.

The other thing about Ahmad's Three Strings trios was their grace. As the new Fresh Sound box shows, all 37 of Jamal's tracks are glorious. Song after song is beautiful and elegantly arranged and executed. Like Miles Davis early on, Jamal had enormous respect for space and simplicity.

Given the impression Ahmad left on Davis, one can argue that Ahmad also inspired the trumpeter to take on pop songs, a move that led Davis to be signed by George Avakian at Columbia in 1956. The rest is history. Slice that any way you wish, but this accomplishment alone makes Ahmad a major jazz influencer. Ahmad would become even more refined after 1956, when he formed a traditional trio with Crosby on bass and Walter Perkins on drums. His 1958 album, But Not for Me, recorded live at Chicago's Pershing Lounge, with Vernell Fournier on drums, would appear on the Billboard best-sellers chart for 107 weeks. 

If you're unfamiliar with Ahmad Jamal, this box is the place to start. The music has been remastered, and Jordi Pujol has authored a well-researched and highly informative 24-page booklet loaded with superb photos and other graphics. As you'll hear, Ahmad should be on that master list of modern-jazz game-changers.

JazzWax tracks: You'll find Ahmad Jamal's Three Strings: The Complete Okeh, Parrot & Epic Sessions, 1951-1955. (Fresh Sound) here.

JazzWax clips: Here's It Could Happen to You...

It Could Happen to You

Here's Excerpts From the Blues...

Excerpts From the Blues

Here's Don't Blame Me...

Don't Blame Me

Here's It's Easy to Remember...

It's Easy To Remember

Bonus: Here's Ahmad with Israel Crosby on bass and Vernell Fournier on drums on CBS's broadcast of Jazz From Sixty-One in 1960 playing Darn That Dream. See how many jazz legends you can pick out standing around the piano...

Roberto Magris: 'Duo & Trio'

I've known Roberto Magris for many years, dating back to the early days of this blog. In fact, I first interviewed him in 2008 by email (go here). The Italian jazz pianist is enormously gifted as a player and composer, and I love his feel on the keyboard. He swings, and his chords are always hip, not to mention his breathtaking runs. Now he's out with an album of trio and duo recordings made in 2012 and 2019, respectively. It's called Roberto Magris: Duo & Trio.

The duo recordings feature Roberto with the late Mark Colby on tenor and soprano saxophones. The trio recordings are with Elisa Pruett on bass, Brian Steever on drums and, on two tracks, Pablo Sanhueza on congas. The duo session was recorded in Chicago, home of Roberto's long-time label, JMood Records. The trio recording was made in Lenexa, Kan.

Chicago is where Roberto first met Colby, in 2016, and the two hit it off musically. They recorded seven tracks in a few hours in 2019 with the expectation of doing additional recording. But Colby became ill and died of complications from cancer in 2020. [Photo above of Mark Colby and Roberto Magris]

The duo tracks with Colby are Roberto's Cool World!, Leonard Bernstein's Some Other Time, Roberto's Papa's Got a Brand New Rag, the standard Old Folks, and Roberto's In the Springtime of My Soul and Blues for Herbie G. The G stands for Geller. Alto saxophonist Herb Geller, an expatriate living in Germany, and Roberto were close and recorded Il Bello del Jazz, a fabulous album released in 2006, and An Evening With Herb Geller & The Roberto Magris Trio: Live in Europe 2009.

Aware that the duo material wasn't enough for a complete album, Roberto and JMood dug into the archives and found trio tracks from another unfinished project. So the two were combined, with the duo pieces occupying the even-numbered tracks on the album's playlist and the trio works occupying the odd-numbered slots. The trio tracks are Elmo Hope's Bellarosa, Sonny Clark's Melody for "C," the standard Cherokee, Andrew Hill's Samba Rasta and A Rhyme for Angela by Kurt Weill. Listen as Roberto turns Cherokee into a completely different song using the chord changes.

Roberto and Colby on the duo tracks have enormous synergy together and remind me of the musical relationship Roberto had with Herb Geller. On this new release, you can hear Colby's Stan Getz influence. The trio material is even more spectacular, with Roberto's firm bop attack reminiscent of pianist Hampton Hawes.

Roberto's new album is truly special, particularly the way in which the two different formats were combined, leap-frogging over each other. And Roberto's playing is lush and on point and his technique stellar, shifting from bop to a more introspective and moody feel. As Roberto wrote in his letter to me, "Marc, I hope you'll like to have a listen, review and share it with your friends, readers and listeners." You bet, Roberto. Too lovely not to share.

JazzWax tracks: You'll find Roberto Magris's Duo & Trio (JMood) here.

JazzWax clips: Here's Cool World!...

Cool World!

Here's Bellarosa...

Bellarosa

Here's Cherokee...

Cherokee

And here's Old Folks...

Old Folks

Jack McDuff: Live at Parnell's, 1982

In June 1982, Brother Jack McDuff was in Seattle to play a week-long run at Parnell's, the city's major jazz club. Joining the organist was an alto saxophone, a guitarist and drummer whose names are unknown. McDuff even brought along his own Hammond B3 organ for the date. Fortunately, the club's resident sound engineer, Scott Hawthorn, who was friends with McDuff, recorded the quartet. Now we can hear what this monster combo sounded like with the release of the previously unissued and digitally restored Jack McDuff: Live at Parnell's (Soul Bank). [Photo above of Jack McDuff in 1982 courtesy of Richard Davenport and the McDuff Family]

But releasing the music wasn't a smooth ride. As the liner notes relate:

Recorded [by Scott Hawthorne] on C60 cassettes through the venue's fairly basic sound desk, there were obvious shortcomings with the condition of the recordings themselves, tape degradation, flutter and the fact they were converted to MP3 in the very earliest days of that technology. Another serious problem was the organ's Leslie speaker, as Scott explains: “The Leslie 147 speaker cabinet had a rip in the bass woofer. The thing sounded fine until Jack would step on a B-flat or A bass pedal, and then a very loud buzz ensued."

Enter Soul Bank Music and the label's A&R chief, Greg Boraman, who played some of Hawthorne's original tapes for a friend, Claudio Passavanti, of audio production company Dr Mix. As Boraman notes, Passavanti explained how new audio technology might upgrade the recordings. Boraman made detailed notes on the location and severity of each audio issue. Then Passavanti followed those notes, moving through the recordings second by second to remove noise and faults, one at a time. Passavanti also consulted with Christoph Hartwig and the development team at iZotope, the maker of the technology used for the restoration process, on particularly knotty issues.

Since the original source of the live music was old analogue tapes, care was needed to gingerly remove some of the background hiss and other ambient sounds. Finally, after four or five passes, the most balanced sonics were achieved. Then Passavanti mastered the result for digital formats. As for the vinyl, Boraman writes, he approached Frank Merritt at The
Carvery in London and explained the back story. Merritt further tweaked Passavanti’s work so the new master could be used to cut the lacquers for the vinyl format.

As the liner notes rightly point out:

Listeners on all formats of this album will still hear, in places, remnants of the original tapes' imperfections and occasional touches of the buzz of Jack's torn Leslie speaker. But all things considered, especially when compared to the recordings as they were, only the most cynical critic would say the end results were not worth the considerable effort.

Congrats to Soul Bank. The 15 tracks on this album sound fantastic and natural: Make It Good, Untitled D Minor, Deja Vu, Fly Away, Another Real Goodun', Blues in the Night, Satin Doll, A Night in Tunisia, Killer Joe, Greensleeves, Take the A Train, Wives and Lovers, Walkin' the Dog, Lover Man and Blues 1 & 8.

Best of all, McDuff is in top form, as are the backing musicians. What has always set McDuff apart is his deep groove and his in-the-pocket arrangements on songs. I'm sure he could swing the Star Spangled Banner if he chose to take it on—and you'd look forward to hearing it. Each song on the album has a different musical personality, and all of the sidemen are given a chance to shine on solos. McDuff doesn't disappoint, nor does the album's sterling fidelity. The crew that worked on this recording saved a superb slice of jazz that took place 40 years ago. Others who come across tapes of important jazz dates might want to consider the same technology.

Brother Jack McDuff died in 2001.

JazzWax tracks: You'll find Jack McDuff: Live at Parnell's (Soul Bank) on digital formats here and vinyl here.

JazzWax clips: Here's Déjà Vu...

Here's Fly Away...

And here's Blues in the Night...

Rick, Marcos and Esther

In The Wall Street Journal this week, I interview painter Rick Lowe for my "House Call" column in the Mansion section (go here). Rick's new solo exhibit, Meditations on Social Sculpture, just opened at New York's Gagosian Gallery in Chelsea. Inspired by dominoes and social interactions of everyday people, Rick's work is earthy, massive, colorful, textured and breathtaking. He's also a great guy. [Photo above of Rick Lowe by Brent Reaney, courtesy of Gagosian]

Below are a few of Rick's works that I snapped at his opening on Thursday...

Here's Rick on his work...

Also in the WSJ, my Opinion essay on how Black Sabbath's Vol. 4, released 50 years ago this month in 1972, paved the way for hard rock and heavy metal (go here).

SiriusXM. I'll be on SiriusXM with Nik Carter and Alan Light for an hour on Monday night at 8 p.m. (ET) on Channel 103 (Faction) or Channel 780 (Volume). I'll be talking with Nik and Alan about the importance of this album and its lasting influence.

Me, in pieces! Bret Primack last week turned the tables on me and conducted a seven-part, on-camera interview series. Thanks to Bret, a long-time and dear friend, for his insightful questions. Part 1 is up now (go here); a new part will be up each week going forward...

And don't forget to pre-order my next book, Anatomy of 55 More Songs, a large followup to my 2016 bestseller, Anatomy of a Song. Go here.

If you want to read about my other books or give a listen to the new Spotify playlist I just embedded at my book site so you can listen to the music while you read Anatomy of 55 More Songs, go here.

Queen Elizabeth II (1926-2022). There was something oddly parental about the Queen's death last week. Her death hit many people like the passing of a mother or grandmother. You don't fully realize how monumental someone is until that person is gone and you consider their accomplishments and legacy. Unfortunately, most of us only know the woman through characterizations in The Queen and The Crown. It seems so strange in our transparent culture that someone who was the most recognized person in the world floated through life like a statue, virtually unknown and expressionless. Be sure to read two elegantly written masterpiece obits yesterday, one by The New York Times and the other by The Washington Post, here and here. 

See Marcos Valle at Birdland. If you can't make it to New York next week to catch Brazilian bossa nova legend Marcos Valle during his run at Birdland (September 13-17) see and hear him from home. Dan Podkulski emailed to let me know that Marcos's performance will be live-streamed from the club on September 15 at 9:15 p.m. (ET) for $15 at FlyMachine.com. Go here.

Phil Schaap, the late jazz-radio host on WKCR-FM in New York whose shows were notable for his wealth of granular information on jazz and jazz legends, has a newly designed site. It's clean look is loaded with his many taped shows, from his beloved Bird Flight to his birthday broadcasts. Fortunately for us, two energetic admirers of Phil—Charles Iselin and Matthew Rivera—have devoted long hours to the site's redesign and are now watching over it. The new site is here. [Photo above of Phil Schaap]

Esther Phillips. I've long loved Odyssey's 1977 recording of Native New Yorker, but I had no idea that Esther Phillips (above) covered it on a studio album. Here she is live at Onkel Pö's Carnegie Hall in Hamburg in 1978 delivering a smashing cover of the disco hit....

Esther Phillips radio. Kim Paris of the FM Radio Archive sent along a link to a live CTI performance by Esther Phillips in Châteauvallon, France, in 1972 here.

Bill Holman tribute. On October 19 through 23, the Los Angeles Jazz Institute will pay tribute to composer, arranger and tenor saxophonist Bill Holman at the Four Points Sheraton Hotel at LAX airport in Los Angeles. For information, go here and scroll down, or call (909) 939-0777. Book by October 7.

For a list of the staggering number of bands performing and the swinging arrangements by Bill to be covered, go here and scroll down.

Jay Maisel's jazz and street images. Last week, Paris photographer Gilles D'Elia sent along links to 1950s jazz portraits and streets scenes by magnificent photographer Jay Maisel, whose photo of Miles Davis appears on the cover of Kind of Blue.

Maisel's jazz portraits are here.

Maisel's street scenes are here.

Claus Ogerman. Last week, saxophonist and arranger Frank Griffith in London sent along a link to arranger Claus Ogerman's scores. Go here. [Photo above of Claus Ogerman]

Creed Taylor and Joey DeFrancesco radio. Chris Cowles, host of Greasy Tracks on WRTC-FM in Hartford, Ct., recently put together a three-hour show of tracks off albums produced by the late Creed Taylor (above) and records by late organist Joey DeFrancesco. Listen from anywhere in the world by going here.

And finally, here's Linda Ronstadt singing Frenesi...