The Early Jazz of Gene Krupa

Gene Krupa

Source: Quotation Of

Born on 15 January 1909 in Chicago, drummer, Gene Krupa, expanded the drums ensemble beyond the usual bass, cymbals and snare [Drummer Man]. Famous for his work with Benny Goodman, he is thought to have first recorded with Red McKenzie and Eddie Condon's Chicagoans on December 8, 1927, for Okeh: 'Sugar' and 'China Boy'. The Chicagoans consisted of Bud Freeman at tenor sax along with Condon at banjo, Jimmy McPartland (cornet), Frank Teschmacher (clarinet), Joe Sullivan (piano) and Jim Lannigan. These were the first recordings for all performers involved excepting McPartland who had begun his recording career three years earlier when he replaced Bix Beiderbecke in the Wolverine Orchestra. If McKenzie participated on these tracks in any way they wouldn't have been his first either, he also first recording in 1924. Of all the big jazz names belonging to the Chicagoans it is probably Krupa who became the most famous of all to this day, making a beloved figure of himself as a percussionist beyond only his elite status in the genre of jazz. Krupa could keep a steady beat and made a big bang of which most have heard by now. Which seems a little spooky to me since the year he began recording noise in 1927 was the same that Georges Lemaître formulated the cosmological theory which alternative was Fred Hoyle's Steady State model.

'China Boy'   McKenzie and Condon's Chicagoans

Recorded 8 December 1927 in Chicago   Matrix 82030-B   Okeh 41011

Cornet: Jimmy McPartland   Tenor sax: Bud Freeman

Clarinet: Frank Teschmacher   Piano: Joe Sullivan   Banjo: Eddie Condon

Tuba / bass: Jim Lannigan   Drums: Gene Krupa

Composition: Phil Boutelje / Dick Winfree

'Nobody's Sweetheart'   McKenzie and Condon's Chicagoans

Recorded 16 December 1927 in Chicago   Matrix 82082-B   Okeh 40971

Cornet: Jimmy McPartland   Tenor sax: Bud Freeman

Clarinet: Frank Teschmacher   Piano: Joe Sullivan   Banjo: Eddie Condon

Tuba / bass: Jim Lannigan   Drums: Gene Krupa   Cymbals: Mezz Mezzroe

Composition: Gus Kahn / Ernie Erdman / Elmer Schoebel / Billy Meyers

Several more unissued tracks with Condon followed in 1928 until Thelma Terry and her Playboys recorded 'Lady of Havana', among others, on March 29. From spring to summer that year Krupa found himself recording with Condon in various groups from the Chicago Rhythm Kings, the Jungle Kings, Frank Teschemacher's Chicagoans and a band run by Miff Mole to the Eddie Condon Quartet before recording with Wingy Manone's Club Royal Orchestra in September: 'Downright Disgusted' and ''Fare Thee Well'. Tracks also went down in September with the Wabash Dance Orchestra, partnering with Red Nichols and, again, Wingy Manone. Krupa finished 1928 with Red McKenzie in December, recording 'Crazeology' and 'Can't Help Lovin' That Man' with the Bud Freeman Orchestra.

'Starlight and Tulips'   Thelma Terry and her Playboys

Recorded 29 March 1928 in Chicago   Matrix 145855-4   Columbia 1532-D

Trumpet: Carl Rinker   Clarinet: Bud Jacobson

Clarinet / alto or tenor sax: Mike Platt / Phil Shuken

Banjo: Roy Campbell   Bass: Thelma Terry   Drums: Gene Krupa

Composition: Alfred Bryan / Pete Wendling

'Crazeology'   Bud Freeman & His Orchestra

Recorded 3 December 1928 in Chicago   Matrix 402151-C   Okeh 41168

Trumpet: Johnny Mendell   Trombone: Floyd O'Brien

Clarinet / sax: Bud Jacobson   Tenor sax: Bud Freeman   Piano: Dave North

Banjo: Herman Foster   Bass: Johnny Mueller   Drums: Gene Krupa

Composition: Bud Freeman

In 1929 Krupa supported Red Nichols' Five Pennies before more tracks with Condon and McKenzie, now with the Mound City Blue Blowers. He also performed with Emmett Miller, Red Nichols' Midnight Airedales and Fats Waller in 1929. He began 1930 with Irving Mills and further configurations run by Nichols such as the Louisiana Rhythm Kings. He supported Hoagy Carmichael on May 21, 1930 in NYC toward 'Rockin' Chair' and 'Barnacle Bill the Sailor'. Participants in that session something illustrate the heady talent with which Krupa daily bumped shoulders: Bix Beiderbecke (cornet), Bubber Miley (trumpet), Tommy Dorsey (trombone), Benny Goodman (clarinet), Arnold Brilhart (alto sax), Joe Venuti (violin), Irving Brodsky (piano), Eddie Lang (guitar), Harry Goodman (tuba) and Carson Robison with Carmichael on vocals.

'Barnacle Bill the Sailor'   Hoagy Carmichael & His Orchestra

Recorded 21 May 1930 in NYC   Matrix 62301-1   Victor V38139

Cornet: Bix Beiderbecke   Trumpet: Bubber Miley   Trombone: Tommy Dorsey

Clarinet: Benny Goodman   Alto sax: Arnold Brilhart   Tenor sax: Bud Freeman

Piano: Irving Brodsky   Violin: Joe Venuti   Guitar: Eddie Lang

Tuba: Harry Goodman   Drums: Gene Krupa

Vocals: Hoagy Carmichael / Carson Robison

Composition: Carson Robison / Frank Luther

A load of recordings with Nichols, among others, followed into 1931. In latter 1934 Krupa joined the Benny Goodman operation, having first worked with Goodman on recordings with Nichols' Five Pennies in April of 1929. Krupa remained with Goodman into 1938. Krupa had begun recording with his own orchestras in 1935, a session with his configuration of the Chicagoans on November 19 that year yielding 'The Last Round-Up', 'Jazz Me Blues', 'Three Little Words' and 'Blues of Israel'. Goodman was also a member of Krupa's Swing Band in 1936. Krupa and Goodman would record numerously together in various configurations throughout their careers. Krupa's last recordings were with the Benny Goodman Quartet at Carnegie Hall in NYC on June 29, 1973. Also in that ensemble were Lionel Hampton on vibes, Teddy Wilson on piano and Slam Stewart on bass. Krupa had first worked with Hampton with Benny Goodman in 1936 and would record with Hampton often, both with Goodman and in Hampton's orchestras. Teddy Wilson would drift in and out of his path on various occasions, including Krupa's bands.

'Three Little Words'   Gene Krupa and His Chicagoans

Recorded 19 Nov 1935 in Chicago   Matrix 90462-A   Parlophone R2224

Trumpet: Nate Kazebier   Trombone: Joe Harris

Clarinet: Benny Goodman   Tenor sax: Dick Clark

Piano: Jess Stacy   Guitar: Allan Reuss

Bass: Israel Crosby   Drums: Gene Krupa

Composition: Bert Kalmar / Harry Ruby

'Blues of Israel'   Gene Krupa and His Chicagoans

Recorded 19 Nov 1935 in Chicago   Matrix 90463-B   Parlophone R2224

Trumpet: Nate Kazebier   Trombone: Joe Harris

Clarinet: Benny Goodman   Tenor sax: Dick Clark

Piano: Jess Stacy   Guitar: Allan Reuss

Bass: Israel Crosby   Drums: Gene Krupa

Composition: Gene Krupa

'Sing, Sing, Sing'   Gene Krupa w the Benny Goodman Orchestra

Movie: 'Hollywood Hotel' filmed in Hollywood in July-August 1937

Trumpet: Harry James   Composition: Louis Prima

In 1939 Krupa featured in the Hollywood film, 'Some Like It Hot'. He was such a skilled drummer that it was inevitable that the drum solo be introduced to jazz by him, drum battles to ensue (such as the example further below for 1952).

'Wire Brush Stomp'   Gene Krupa

Movie: 'Some Like It Hot' released 19 May 1939

Composition: Gene Krupa

Krupa and His Orchestra had begun placing titles on Billboard's Top 20 per 'Fare Thee Well' in 1938 sung by Annie Laurie. Eight of his recordings rose to the Top 20 while 7 of them reached the Top 10 beginning 'High on a Windy Hill' in February of 1941. Top 10 titles by Krupa and His Orchestra of which TsorT indicates 'Bonaparte's Retreat' of 1950 to be his best-selling title overall:

   High on a Windy Hill   #2   2/1941   Krupa Orchestra
   It All Comes Back to Me Now   #2   2/1941   Krupa Orchestra w Howard Dulany
   Just a Little Bit South of North Carolina   #9   8/1941   Krupa Orchestra w Anita O'Day
   Let Me Off Uptown   #10   9/1941   Krupa Orchestra w Anita O'Day & Roy Eldridge
   Along the Navajo Trail   #7   10/1945   Krupa Orchestra w Buddy Stewart
   Chickery Chick   #10   12/1945   Krupa Orchestra w Anita O'Day
   Boogie Blues   #9   7/1946   Krupa Orchestra w Anita O'Day
   Bonaparte's Retreat   #9   6/1950   Krupa Orchestra w Bobby Soots

'Drum Boogie'   Gene Krupa Orchestra

Movie: 'Ball of Fire' released 2 Dec 1941

Actress: Barbara Stanwyck voice dubbing Martha Tilton

Composition: Gene Krupa / Roy Eldridge

In 1943 Krupa was arrested for possession of two joints of cannabis and contributing to the delinquency of a minor. He'd spent nearly three months in jail when it was decided that he'd been framed and was cleared of charges ['New York Times']. Continuing to record extensively both with other musicians and his own ensembles, often quartets, highlights of his career include several occasions with Norman Granz' Jazz at the Philharmonic, the first on February 12, 1945 in Los Angeles. (The initial Jazz at the Philharmonic was held on July 2, 1944, in Los Angeles.) Gigs for Granz were reserved to the cream of jazz performers as Krupa broadened his fame among the greater general audience in the forties via film appearances. As mentioned, his composition with Remo Biondi, 'Boogie Blues', reached Billboard's #9 spot in July of 1946, sung by Anita O'Day.

Krupa performed in the 'Timex All Star Jazz Show' for NBC from 1957 into 1959. More than thirty years into his profession, Krupa was hardly history, but a happy drummer long acquainted with people making a fuss of him, when a movie was made about his career in 1959 called 'The Gene Krupa Story' with screenplay by Orin Jannings, direction by Don Weis and Sal Mineo as Krupa. Krupa worked with Condon again in 1961 per 'Chicago and All That Jazz' for NBC. His last performance as a leader listed in Tom Lord's sessionography was a quartet with Eddie Shu on tenor sax, John Bunch at piano and Nobil Totah on bass in April, 1973, at the New School in New York. His last known recordings were held on 29 June 1973 with the Benny Goodman Quartet at Carnegie Hall.

Krupa died of leukemia and heart failure in Yonkers, New York, on 16 October 1973.

Discogs

Shawn C. Martin (Drummer Man)

RYM

SHS

Recordings: Compilations:

Chronological Classics:

1938  1947-1949   1949-1951   1952-1953   1953-1954

Drummin' Man (Columbia C2L 29 / 1963)