Jazz for aficionados

Rok, here is a musician we haven't covered, "Johnny Lytle".

Life and career[edit]Lytle grew up in Springfield, Ohio in a family of music, the son of a trumpeter father and an organist mother. He began playing the drums and piano at an early age. Before studying music in earnest, he was a boxer, and was a successful Golden Gloves champion. During the late '50s, Lytle continued to box, but landed jobs as a drummer for Ray Charles, Jimmy Witherspoon and Gene Ammons. Then he switched from drums to vibraphone and toured with organist Hiram "Boots" Johnson from 1955 to '57. He formed his first group in 1957 with saxophonist Boots Johnson, organist Milton Harris and drummer William "Peppy" Hinnant. He impressed the Grammy award-winning producer Orrin Keepnews who signed him to his Jazzland label in 1960.

Lionel Hampton, considered one of the top vibes players in the world, said Lytle was "the greatest vibes player in the world." Lytle was known for his great hand speed and showmanship. He was also a songwriter, penning many of his own hits, including "The Loop," "The Man," "Lela," "Selim," and the jazz classic "The Village Caller." Lytle recorded more than 30 albums for various jazz labels including Tuba, Jazzland, Solid State and Muse. Throughout his career he performed and recorded with jazz greats including Louis Armstrong, Lionel Hampton, Miles Davis, Nancy Wilson, Bobby Timmons and Roy Ayers. Lytle was such an admirer of the music of Miles Davis that he wrote "Selim" (Miles spelled backwards) in honor of Davis. He also featured his son, Marcel Lytle, on several recordings, as a vocalist and drummer.

Lytle never recorded with any of the major record labels and that could be why he never gained the status of a jazz icon like some of his peers. Feeling he would lose control of his music and creative development; he played what came natural to him, and being with a major label might not have afforded him that opportunity.

He found success early in his career with chart-topping albums like A Groove, The Loop, and Moonchild. From his swinging uptempo tracks to his soul-satisfying ballads, Lytle knew how to keep a groove. And with a nickname like "Fast Hands," he could always keep the attention of an audience. In addition to his musicianship, his gregarious personality made him a popular attraction on the jazz circuit. Even though he did not experience the same success he was privileged to during the '60s, he did continue to record and build a respectable catalog of music with recordings in the '70s,'80s and '90s.

Lytle remained a popular concert attraction in the U.S. and Europe; his last performance was with the Springfield (Ohio) Symphony Orchestra in his hometown on November 18, 1995. He was survived by his wife Barbara Jean Lytle, his son Marcel Anthony (of Atlanta), Michael-Lamont (of Toronto), and daughter Ayo Michelle Hagans (of Springfield) At the time of his death, Lytle was scheduled to begin recording a new CD on the Muse label. In his hometown of Springfield, Ohio, the street where he used to live was renamed Johnny Lytle Avenue in his honor.

http://www.youtube.com/watch?v=inv1dVgOe9k

http://www.youtube.com/watch?v=FcBVTVgSu_U

These are standards I found by him on "You tube". He did a tune back in the 60's that really caught my ear, but I can't think of the name of the tune; don't you find that aggravating. I guess it's called getting young.

Enjoy the music.

O-10:

I was not aware of Johnny Lytle. The clips were awesome! Esp 'St Louis Blues'. In the manner of Ray Charles, he played it so slow, it made you wanna scream! Both were great.

There is quite a bit of his stuff on Amazon. I will look for the one with St Louis Blues for sure. And since I now know a little history of him, it's a slam dunk for me.

See, there are 'undiscovered' gems right here in the USA!

BTW, as I was reading your post, Lou Rawls, singing 'Saturday Night Fish Fry' was in the player. It features Lionel Hampton!! Love the vibes.

Thanks for the find. I get the Baroness' book tomorrow.

Cheers

A few comments about some recent clips and mentions:

Rok, Benny "At Carnegie Hall" was my very first jazz record. I don't know how obvious it's been based on past posts, but I love Benny and that style of music in general. Personally, I don't understand how a truly comprehensive discussion on jazz can take place without substantial mention and discussion of players like Goodman, Artie Shaw, Harry James and others from that period. The level of artistry, within that style, is fabulous; not to mention their contribution to paving the way for the more modern players. I would like to see more of it on this thread.

I am sure O-10 meant the comment as a generalization, and I certainly don't know what he considers a "good living", but while it is true that many jazz artists didn't get their due, just as many made very good livings. Going back in time, and speaking of Benny, sidemen in his band (and others) made upper-middle-class incomes, and the leaders did very well. Today, someone like Wynton, makes in excess of 2 million a year, and sidemen in his band have incomes in excess of $200k.

Grover is one of the "pop" saxophone players who consistently receives the respect of other musicians; he can really play! His recording of Operatic arias "Aria" is beautiful and shows a sensitivity that so many pop saxists don't have. Highly recommended.

My grandmother used to say: "if you don't have anything positive to say...."

I wish I could share my fellow enthusiasts' enthusiasm for Johnny Lytle. I find his playing rudimentary and lacking in sophistication. There are various reasons why some players fade into obscurity; in this case the reason is obvious IMO. His improvising on "St Louis Blues" is almost like that of a young jazz student in music school; he doesn't make all the changes and resorts to the same blues scale over the changing harmonies. He may have "speed"; but, so what? He uses way too much sustain pedal which makes his playing sound "swimmy". And what is up with those xylaphone (bells) at the end of "Summertime"? Huh?

OK, how do I really feel about .....?

Johnny Lytle:
Dang!! The Frogman is a hard taskmaster.
Lytle is a 'soul-Jazz' player. The 'groove' is the thing. Almost like instrumental R&B. And, as you yourself have done in the past, to indicate a player's ability: He played with Armstrong, Lionel Hampton, Miles, Nancy Wilson, and Bobby Timmons etc.... And recorded over 30 albums.

The bells on 'Summertime'? I don't know what that was. St Louis Blues? I liked the tempo and the 'groove'. This is not 'Giant Steps' type improvisation. Was not even the intent. Lounge music.

Give Mr Lytle some love! :)

Cheers

Frogman, as always, I appreciate your comments. All music is subjective, and jazz is more subjective than most genres of music. I approach music from a purely subjective point of view; while I read history, I listen to music; consequently, when what I read disagrees with what I hear, the book goes in the library, while the music goes in the record collection.

Johnny Lytle's "St. Louis Blues" comes on slow and easy, like that St. Louis woman with her diamond ring; and I know a lot about them. I believe Rok stated the case for Johnny Lytle quite eloquently.

Charlie Parker and the other giants of jazz that "Nica" supported made a lousy living. Although Wynton makes a fantastic salary, he's an exception.

While I'm quite aware of Benny Goodman, Harry James, and Artie Shaw; as close as my music collection will come is Stan Kenton. His big band is well represented in my collection, and his range of music is as wide as the Pacific Ocean. I know Rok remembers when he was in the Columbia Record Club, and we received those records we didn't order, but you could send them back; well Kenton's records didn't go back.

http://www.youtube.com/watch?v=x3EkI3ISz28

http://www.youtube.com/watch?v=TN9sp6ApX4o

Here are a couple of tunes by Stan, maybe Leersfool could enlighten us on the unusual brass horns.

Enjoy the music.