They Called it Jazz - Zutty Singleton
The Heartbeat of Jazz
They Called it Jazz - Zutty Singleton
AUTHOR: By Hal Smith
Originally Published Jan 2011
Recently, jazz pianist Ray Skjelbred was listening to the 1941 recording of “The Last Time I Saw Chicago” by The Three Deuces, withvclarinetist Pee Wee Russell, pianist Joe Sullivan and drummer ZuttyvSingleton. As Singleton launched into an accented press roll behind Russell’s wailing clarinet, Skjelbred virtually pointed his finger at Singleton and declared, “That guy’s a genius!” A majority of drummers, other instrumentalists and listeners agree!
Arthur James Singleton was born in Bunkie, Louisiana on May 14, 1898. His lifelong nickname was bestowed upon him as an infant. (“Zutty” is Creole for “cute”). He began drumming at an early age and played professionally with the legendary New Orleans pianist Steve Lewis. During this time Singleton became one of the first drummers in New Orleans to play brushes extensively.
He served in the U.S. Navy during World War I, then returned tovNew Orleans. In the early ’20s he joined the orchestra of Fate Marable, and went to work on the Streckfus riverboats. With Marable, he gained another nickname: “Face.” In years to come, Singleton addressed most acquaintances in this way, and they returned the compliment!
The riverboat work eventually took Singleton to St. Louis, where he joined the orchestra led by cornetist Charlie Creath. After hours, he played sessions with Bix Beiderbecke, Frank Trumbauer and a St. Louis musician who would become a lifelong friend and associate— Pee Wee Russell. In the Gateway City, Singleton also met his soon-to-be bride, Marjorie Creath (Charlie’s sister).
In 1925, the Singletons relocated to Chicago, to take advantage of that city’s thriving musical scene. Zutty soon fell in with an old acquaintance, Louis Armstrong, and the two New Orleanians maintained a busy schedule playing dances, shows, clubs and recordings. The drummer played briefly with Doc Cook and his Orchestra and put in a longer stint with a trio led by clarinetist Jimmie Noone. One night during the trio engagement, Noone reportedly turned to Singleton and asked him to take a drum solo. Years later, describing the drum solos to author Martin Williams, Singleton recalled humming the melody to himself, marking off the internal four- and eight-bar phrases and ending the solo exactly at 12, 16 or 32 bars, depending on the song.
Zutty’s playing inspired many younger Chicago drummers. Dave Tough picked up his accented press rolls. George Wettling borrowed some of his unique snare drum patterns. Sid Catlett was deeply influenced by the melodic solos, using the entire drum set. In 1938, Gene Krupa played many of Singleton’s tom-tom rhythms on one of the most famous drum features of all time — “Sing, Sing, Sing,” At the end of his solo, Krupa also appropriated
Zutty’s four strokes on the cowbell to cue the orchestra back in! In the late ’20s, Singleton recorded a number of classic sides with Louis Armstrong and Earl Hines. He used an unusual percussion device called “bock- a-da-bock cymbals” on “Sugar Foot Strut” and “Monday Date” while other recordings demonstrated his mastery with brushes and his strong pulse on the bass drum.
In 1929, Armstrong and Singleton went to New York. A session from July of that year produced one of the best recordings ever made by Louis or Zutty — “That Rhythm Man.” The incandescent trumpet and vocal and the swinging drums are nonpareil.
The two New Orleanians parted company, though Singleton stayed on for awhile in New York. Between 1929 and 1932, his drumming was heard on a number of classic records, including a trio date with Jelly Roll Morton and Barney Bigard and the spectacular “Rhythmakers” sides featuring Henry Red Allen, Pee Wee Russell, Joe Sullivan, Eddie Condon, Pops Foster and others.
Zutty returned to Chicago, working as a sideman and sometimes leading his own groups. He continued to record memorable sides, such as those with Charles LaVere, Banjo Ikey Robinson and Roy Eldridge.
When a steady engagement with Eldridge ended in 1937, Singleton once again decided to try his luck in New York. The second time was a charm. He was soon working regularly at Nick’s in Greenwich Village, then at Jimmy Ryan’s on 52nd Street. He also spent a considerable amount of time in recording studios, with Lionel Hampton, Jelly Roll Morton, Mezz Mezzrow, Art Hodes, Sidney Bechet, Pee Wee Russell and others. Singleton’s 1940 record of “King Porter Stomp” (with his own band) was one of the most rhythmically intense sides of that particular year. The only other record from 1940 that could possibly match it was Bud Freeman’s “Prince of Wails” with Dave Tough’s fiery cymbals relentlessly driving the band.
However, the recordings that show Zutty Singleton at his best were the “Three Deuces” sides, made for Commodore in 1941. The band name celebrated a musicians’ hangout in Chicago and reunited three musical comrades who formed a mutual admiration society — Pee Wee Russell (clarinet), Joe Sullivan (piano) and “Face” on drums. These records really tell the Zutty Singleton story — swinging press rolls and snare drum fills, explosive rimshots, propulsive ride cymbal, hypnotic tom tom rhythms, melodic solos and judicious use of woodblock, cowbell (and ratchet)! Russell and Sullivan were clearly enjoying every quartervnote of the superb drumming. Listeners who have a soul will feel the same inspiration when they hear these desert island recordings.
The first televised jazz concert, with a band led by Eddie Condon. In 1943, he took time off from his busy schedule in New York City to make a trip to Hollywood. There he appeared onscreen and was heard on the soundtrack of the film “Stormy Weather,” playing with a combo led by his old friend Fats Waller.
Despite the fact that the onscreen action was “synched” to a prerecorded soundtrack, it is a joy to watch Zutty work his musical wonders during an uptempo passage on “Ain’t Misbehavin’.” (Waller also recorded a number called “Moppin’ and Boppin,” which featured a drum solo, but it was not included on the soundtrack. Thankfully, it was later released by RCA Victor).
After a brief return to New York, Zutty and Marge headed west to Los Angeles. During his long residency in Southern California, Singleton played with an astonishing roster of musicians, including Kid Ory, the Firehouse Five Plus Two, the Bobcats, Slim and Slam, Albert Nicholas, James P. Johnson, Charlie Parker and Dizzy Gillespie! Zutty’s incredible musical instinct allowed him to play just the right thing in each musical situation, whether playing a rideout chorus over a fire siren, or following the complex playing of.
A year later, Singleton took part in Parker and Gillespie. He was heard on Orson Welles’ broadcasts featuring the Kid Ory band, “Lamplighter” broadcasts with Bob Crosby’s Bob Cats, seen onscreen in “New Orleans” (with Armstrong, Ory and Billie Holiday), “Love that Brute” (with Eddie Miller) and on the “Dixieland Jamboree” TV series with Nappy Lamare. He recorded with the Capitol Jazzmen, Barney Bigard, Wingy Manone and Kay Starr and appeared at the very first traditional jazz festival — the “Dixieland Jubilee” in Los Angeles.
The Singletons eventually returned to New York, this time permanently. In 1951, Zutty went to Paris with a band led by Mezz Mezzrow. Though the band experienced a number of musical and personal problems, “Face” received a hero’s welcome from French jazz fans who were well aware of his distinguished musical background.
Back in New York, he worked briefly with Roy Eldridge, then played a long stint in a trio with clarinetist Tony Parenti and pianist Dick Wellstood at the Metropole. When Jimmy Ryan’s moved to a new location, Zutty led the band. He continued to record, with Sidney Bechet and Lil Armstrong, Dick Wellstood and Tony Parenti, Henry Red Allen, the DeParis Brothers and more. And despite the traditionally-oriented recordings he made, Singleton enjoyed hearing contemporary musicians such as Thelonious Monk.
In the late 1960s and early 1970s he appeared at the Manassas Jazz Festival in Virginia. A number of the sessions were recorded and issued by Festival Director Johnson McRee, including a two volume set from 1967 of “Zutty and the Clarinet Kings.” This set contains one of Singleton’s best melodic solos — a clear statement of the melody on “Chinatown, My Chinatown,” which should be required listening for any drummer who expresses an interest in soloing! He also played several unaccompanied solos for the French- produced film “L’Aventue Du Jazz.”
After suffering a stroke in 1970, he retired from music and passed away in New York City on July 14, 1975. Pianist Jess Stacy once remarked that Singleton’s drumming “was a foundation on which wonders could be built.” Zutty Singleton’s recordings, and comments from those who heard him in person, confirm Stacy’s assessment. His drumming was the heartbeat of jazz.
