Salt Peanuts

Last updated

"Salt Peanuts" is a bebop tune composed by Dizzy Gillespie in 1941, co-written by drummer Kenny Clarke. The song was copyrighted on October 13, 1941 and credited to both musicians. It has also been erroneously cited as Charlie Parker's. [1] Parker himself publicly credited Gillespie as the composer on May 15, 1953, as may be heard on the Jazz at Massey Hall live recording. The original lyrics have no exophoric meaning. Instead, they are a skat/bebop vocal which matches the octave note interval played predominantly throughout the song. [2] The Pointer Sisters subsequently included vocalese lyrics for their rendition of Salt Peanuts as recorded on their That's a Plenty album.

Contents

Composition

"Salt Peanuts" is a contrafact of "I Got Rhythm": it has the same 32-bar AABA structure and harmony, but its melody is different. [3] It is a simple piece – "a four-measure riff phrase played twice in each A section, and a slightly more complex bridge (which incorporates the ubiquitous 9–7–8 figure twice)". [3]

While the verbal exhortation "Salt Peanuts, Salt Peanuts!" is closely identified with Dizzy Gillespie, the musical motif upon which it is based predates Gillespie/Clarke. Glenn Miller recorded sound-alike "WHAM (Re-Bop-Boom-Bam)" on August 1, 1941, and prior to this it appeared as a repeated six-note instrumental phrase played on piano by Count Basie on his July 2, 1941 recording of "Basie Boogie". [4] Basie also played it in a recorded live performance at Cafe Society later that year.

The refrain also appears in the song "Five Salted Peanuts" by Charlie Abbott and Bert Wheeler which was recorded by both Tony Pastor & His Orchestra and The Counts & The Countess in 1945.

Performances

The first known recording was by Georgie Auld, Coleman Hawkins and Ben Webster as the Auld-Hawkins-Webster Saxtet, released on the Apollo label in 1944. [5] Bebop historian Thomas Owens described the version recorded by Dizzy Gillespie and His All-Stars in May 1945 as "the definitive version". [3] The lineup was Gillespie (trumpet), Charlie Parker (alto sax), Al Haig (piano), Curley Russell (bass), and Sid Catlett (drums). [6]

In 1978, President Jimmy Carter sang the two-word lyric of "Salt Peanuts" with Gillespie in a White House concert. [7] [8] This was the first White House Jazz Concert [9] and was the only time that a president has performed a jazz song while in office. [10] [11] According to Gillespie, Carter (who was also nicknamed "The Peanut Farmer") requested the song, and Gillespie responded that he would "play it if [Carter] will come up here and sing it with us." [12]

See also

Related Research Articles

<span class="mw-page-title-main">Bebop</span> Subgenre of jazz music developed in the U.S. in mid-1940s

Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.

<span class="mw-page-title-main">Charlie Parker</span> American jazz musician (1920–1955)

Charles Parker Jr., nicknamed "Bird" or "Yardbird", was an American jazz saxophonist, band leader, and composer. Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies. He was a virtuoso and introduced revolutionary rhythmic and harmonic ideas into jazz, including rapid passing chords, new variants of altered chords, and chord substitutions. Primarily a player of the alto saxophone, Parker's tone ranged from clean and penetrating to sweet and somber.

<span class="mw-page-title-main">Don Byas</span> American jazz saxophonist

Carlos Wesley "Don" Byas was an American jazz tenor saxophonist, associated with swing and bebop. He played with Count Basie, Duke Ellington, Art Blakey, and Dizzy Gillespie, among others, and also led his own band. He lived in Europe for the last 26 years of his life.

<span class="mw-page-title-main">Lucky Thompson</span> American jazz saxophonist

Eli "Lucky" Thompson was an American jazz tenor and soprano saxophonist whose playing combined elements of swing and bebop. Although John Coltrane usually receives the most credit for bringing the soprano saxophone out of obsolescence in the early 1960s, Thompson embraced the instrument earlier than Coltrane.

<span class="mw-page-title-main">Minton's Playhouse</span> Jazz club and bar in New York City

Minton's Playhouse is a jazz club and bar located on the first floor of the Cecil Hotel at 210 West 118th Street in Harlem, Manhattan, New York City. It is a registered trademark of Housing and Services, Inc. a New York City nonprofit provider of supportive housing. The door to the actual club itself is at 206 West 118th Street where there is a small plaque. Minton's was founded by tenor saxophonist Henry Minton in 1938. Minton's is known for its role in the development of modern jazz, also known as bebop, where in its jam sessions in the early 1940s, Thelonious Monk, Bud Powell, Kenny Clarke, Charlie Christian, Charlie Parker and Dizzy Gillespie pioneered the new music. Minton's thrived for three decades until its decline near the end of the 1960s, and its eventual closure in 1974. After being closed for more than 30 years, the newly remodeled club reopened on May 19, 2006, under the name Uptown Lounge at Minton's Playhouse. However, the reopened club was closed again in 2010.

"Hot House" is a bebop standard, composed by American jazz musician Tadd Dameron in 1945. Its harmonic structure is identical to Cole Porter's "What Is This Thing Called Love?". The tune was made famous by Dizzy Gillespie and Charlie Parker as a quintet arrangement and become synonymous with those musicians; "Hot House" became an anthem of the bebop movement in American jazz. The most famous and referred to recording of the tune is by Parker and Gillespie on the May 1953 live concert recording entitled Jazz at Massey Hall, after previously recording it for Savoy records in 1945 and at Carnegie Hall in 1947. The tune continues to be a favorite among jazz musicians and enthusiasts:

<span class="mw-page-title-main">Howard McGhee</span> American jazz trumpeter

Howard McGhee was one of the first American bebop jazz trumpeters, with Dizzy Gillespie, Fats Navarro and Idrees Sulieman. He was known for his fast fingering and high notes. He had an influence on younger bebop trumpeters such as Fats Navarro.

<span class="mw-page-title-main">Rhythm changes</span> Common 32-bar chord progression in jazz

Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III7–VI7–II7–V7, a progression which is sometimes given passing chords.

"A Night in Tunisia" is a musical composition written by American trumpeter Dizzy Gillespie around 1940–1942. He wrote it while he was playing with the Benny Carter band. It has become a jazz standard. It is also known as "Interlude", and with lyrics by Raymond Leveen was recorded by Sarah Vaughan in 1944.

<i>Jazz at Massey Hall</i> 1953 live album by the Quintet

Jazz at Massey Hall is a live jazz album recorded on 15 May 1953 at Massey Hall in Toronto, Canada. Credited to "the Quintet", the group was composed of five leading "modern" players of the day: Dizzy Gillespie, Charlie Parker, Bud Powell, Charles Mingus, and Max Roach. It was the only time that the five musicians recorded together as a unit, and it was the last recorded meeting of Parker and Gillespie.

Confirmation is a bebop standard composed by saxophonist Charlie Parker in 1945. It is known as a challenging number due to its long, complex head and rapid chord changes, which feature an extended cycle of fifths. Jazz educator Dariusz Terefenko has pointed out the speed and intricacy of "Confirmation's" "harmonic rhythm", which he notes is typical of the bebop era.

<span class="mw-page-title-main">Moose the Mooche</span>

"Moose the Mooche" is a bebop composition written by Charlie Parker in 1946. It was written shortly after his friend and longtime musical companion Dizzy Gillespie left him in Los Angeles to return to New York City. Parker had been a long time heroin addict and some historians suggest that the song was named after the drug dealer, Emry "Moose the Mooche" Byrd, who sold him drugs for several years before being arrested.

"Anthropology" is a bebop-style jazz composition that is credited to Charlie Parker and Dizzy Gillespie. Parker stated in 1949 that Gillespie had played no part in its writing, and that others had added the trumpeter as co-composer.

"Ko-Ko" is a 1945 bebop recording composed by Charlie Parker. The original recorded version lists Parker on alto saxophone with trumpeter Miles Davis, double bassist Curley Russell and drummer Max Roach. Due to the absence of Bud Powell, Dizzy Gillespie was enlisted to play piano, instead of his usual trumpet. Pianist Sadik Hakim, then known as Argonne Thornton, was also known to be present at the session. Rumors persist to this day about precisely who played trumpet and piano on this piece; some claim it's young Miles Davis who plays trumpet and Gillespie comping at piano, on both takes; most claim Gillespie plays trumpet and, or instead of, piano; some claim Hakim is the pianist on all or part of one or both of the takes. However, Miles Davis confirms in his autobiography that he did not play trumpet on "Ko Ko":

"I remember Bird wanting me to play "Ko-Ko," a tune that was based on the changes of "Cherokee." Now Bird knew I was having trouble playing "Cherokee" back then. So when he said that that was the tune he wanted me to play, I just said no, I wasn't going to do it. That's why Dizzy's playing trumpet on "Ko-Ko," "Warmin' up a Riff," and "Meandering" on Charlie Parker’s Reboppers, because I wasn't going to get out there and embarrass myself. I didn't really think I was ready to play tunes at the tempo of "Cherokee" and I didn't make no bones about it."

"Little" Benny Harris was an American bebop trumpeter and composer.

The Metronome All-Stars were a collection of jazz musicians assembled for studio recordings by Metronome Magazine, based on its readers' polls. The studio sessions were held in the years 1939–42, 1946–53, and 1956, and typically consisted of two tracks which allowed each participant a chance to solo for one chorus. Earlier recordings feature more swing style, while the later sessions tend more toward bebop.

"Groovin' High" is an influential 1945 song by jazz composer and trumpeter Dizzy Gillespie. The song was a bebop mainstay that became a jazz standard, one of Gillespie's best known hits, and according to Bebop: The Music and Its Players author Thomas Owens, "the first famous bebop recording". The song is a complex musical arrangement based on the chord structure of the 1920 standard originally recorded by Paul Whiteman, "Whispering", with lyrics by John Schonberger and Richard Coburn (né Frank Reginald DeLong; 1886–1952) and music by Vincent Rose. The biography Dizzy characterizes the song as "a pleasant medium-tempo tune" that "demonstrates...[Gillespie's] skill in fashioning interesting textures using only six instruments".

"Good Bait" is a jazz composition written by American jazz piano player and composer Tadd Dameron and by band leader Count Basie. It was introduced in 1944 and was popular in the 1940s and 1950s.

<i>Rainbow Mist</i> 1992 compilation album by Coleman Hawkins

Rainbow Mist is an album by the American jazz saxophonist Coleman Hawkins compiling recordings from 1944 originally released by Apollo Records that was released by the Delmark label in 1992.

References

  1. Yaffe, David (2005). Fascinating Rhythm: Reading Jazz in American Writing, p.17. ISBN   0-691-12357-8. "Charlie Parker's 'Salt Peanuts'".
  2. "Salt Peanuts": Sound and Sense in African/American Oral/Musical Creativity, Clyde Taylor Callaloo (Oct.1982)
  3. 1 2 3 Owens, Thomas (1996). Bebop . Oxford University Press. p.  15. ISBN   978-0-19-510651-0.
  4. Jazz Forum: The Magazine of the International Jazz Federation. International Jazz Federation. 1974. p. 50.
  5. "Cover versions of Salt Peanuts by Auld-Hawkins-Webster Saxtet". SecondHandSongs.
  6. Martin, Henry; Waters, Keith (1 January 2011). Jazz: The First 100 Years. Cengage Learning. p. 201. ISBN   978-1-4390-8333-8.
  7. "WASHINGTON TALK: BRIEFING; 'Salt Peanuts'". The New York Times. 1987-05-08. ISSN   0362-4331 . Retrieved 2018-07-31.
  8. Chinen, Nate (June 1, 2003). "George Wein: A Great Day in Washington". JazzTimes.
  9. Trescott, Jacqueline; McLellan, Joseph (1978-06-19). "A Who's Who of Jazz on the South Lawn". Washington Post. ISSN   0190-8286 . Retrieved 2018-07-31.
  10. Horowitz, Murray; Spellman, A.B. (August 1, 2001). "Charlie Parker: 'Jazz at Massey Hall'". NPR. Retrieved 31 July 2018.
  11. Reich, Howard (March 28, 2016). "Before time runs out, how about a White House jazz summit?". The Chicago Tribune. Retrieved 31 July 2018.
  12. Franklin, Benjamin (2008). Jazz & Blues Musicians of South Carolina: Interviews with Jabbo, Dizzy, Drink, and Others. Univ of South Carolina Press. pp. 29–30. ISBN   9781570037436.