“Everybody Loves My Baby” – George Wettling Jazz Trio (1944)

Black & White; New York, July 1, 1944: Mezz Mezzrow-cl/Gene Schroeder-p/George Wettling-d.

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Here’s Mezz Mezzrow, one of the co-authors of the above book, on clarinet. Like Pee Wee Russell, he also started off playing the sax. Somehow I get the feeling that Mezz was more of an “ideas” guy, or a scenester, rather than a sought-after session player or band leader. I’ll have to read more about him after I finish this book.

George Wettling’s signature drum rolls may sound easy, or rudimentary, but don’t let him fool you–those are hard to play and maintain for that length of time, especially with those consistant and solid rim shots thrown in.

Be sure to visit the link to read more about Mezz: Redhotjazz.com

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4 thoughts on ““Everybody Loves My Baby” – George Wettling Jazz Trio (1944)

  1. Scott Yanow (in his book CLASSIC JAZZ) calls Mezz “an erratic but enthusiastic musician.” Nat Hentoff described him as “the Baron Munchausen of jazz..” At the opposite end of the scale, Hugues Panassie called him the greatest white clarinetist and perhaps the greatest musician of the white race.
    It seems his musicianship was definitely in the ear of the beholder.

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  2. Thanks for the insights and for citing those sources. I’ll have to check out that book. Given the two views, today I’d have to agree with Scott Yanow’s opinion. Maybe that would change if I were to follow Mezz more closely. That happened to me with Pee Wee Russell. I really couldn’t stand his clarinet sound at first–actually for a long time–but now I get excited over those “bent notes” or squawks and honks that he produces, even if he is a little flat or out of breath sometimes. What side of the camp are you on with Mezz?

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  3. I really like Mezz’s playing on EVERYBODY LOVES MY BABY, but overall I’d have to go with Scott Yanow, and between the two extremes of “The Baron Munchausen of jazz” and “the greatest white clarinetist..” I don’t claim to be an “expert” critic – I just go by what appeals to me, so rather than try to rate clarinetists, I’ll just say that if I could only listen to one, it would be Artie Shaw.

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  4. Thanks, Mistermuse. Jazz wouldn’t be the same without the perfectionist Artie Shaw, that’s for sure. I was just listening to some of the songs from his 1940 Gramercy Five sessions with Johnny Guarnieri on harpsichord. I always feel like I’m either watching a movie or in a movie when I hear an Artie Shaw song. I even don’t mind his 1936/37 band with the string section. I think my “desert island” clarinetist would be Edmond Hall, but I sure wouldn’t turn down a Mosaic box set of Artie Shaw if one was given to me!

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