[Dixielandjazz] Jess Stacy

[Burt Wilson]

Let's listen to Jess Stacy himself.

There was a PBS documentary done on Benny Goodman in the mid-90's and Jess
was interviewed to talk about Goodman. It is one of the most hilarious
pieces I, as a musician, have ever seen on TV. All of a sudden they cut to
Jess, talking about Goodman, and he says, "I don't know, but it must be
written somewhere that as soon as you become a bandleader you turn into a
pr-ck."

I about fell off my chair laughing.

Jess is one of my three favorite piano players along with Don Ewell and a
person who so far seems to be neglected by this list--Paul Lingle.

Since I was a habitue (accent grave over th "e") of Santa Cruz all my life,
I remember the time I was with a theatrical company doing theater at the St.
George Hotel in 1951. Lingle came in one afternoon and sat down at the
hotel's piano and played "Mable Leaf Rag" with gloves on. (and his overcoat,
as it was foggy out) He was known for playing "Dance of the Witch Hazles"
with gloves, but this time he played Maple Leaf.  Great piano player.

Burt Wilson

-----Original Message-----
From: dixielandjazz-admin@ml.islandnet.com
[mailto:dixielandjazz-admin@ml.islandnet.com]On Behalf Of Stephen
Barbone
Sent: Sunday, November 17, 2002 9:12 AM
To: Jim Denham
Cc: Dixieland Jazz Mailing List
Subject: Re: [Dixielandjazz] Jess Stacy


Listmates & Jim

Thanks for the insight Jim. I was not aware of that. Never connected he dots
as to
why Stacy left Goodman and always wondered what happened. Come to think of
it,
Stacy in a trio or quartet format with Goodman would have been very
exciting.

Makes me wonder if Goodman:

A) Known for his demanding ways and for his insistence on precise musical
performancs by his sidemen,  perceived Stacy, because he was mostly self
taught,
as lacking the ability to perform in such a manner in a small group setting.
And
so, Henderson, a lesser pianist but more formally trained would better fit
the
mold?

B) Known for his business acumen, wanted to keep the small groups integrated
which
would  mean more commercial success while enhancing his place as a forward
thinking personality, even if sacrificing jazz musicianship of the pianist.
Was he
that cynical?

C) Just didn't like Stacy beause perhaps Stacy pushed him by letting him
know that
Stacy felt he could help the trio/quartet performances with his "strong left
hand"? Goodman certainly had enough ego to think: "I don't need no stinkin'
strong
left hand".

D) None of the above.

There is a book out on Jess Stacy, published by "Jazzology Press" that may
shed
some light on things. One thing for sure, it is a shame that this man, who
exhibited such great talent in that solo on "Sing Sing Sing,  went into
virtual
retirement after about 1947.


Cheers,
Steve Barbone

Jim Denham wrote:

> Steve,
>
> As I understand it, Stacy was always frustrated by Benny Goodman's refusal
to
> let him work with the Trio and Quartet. He (Stacy) never said a bad word
about
> Teddy Wilson (or anyone else, come to that - except Lee Wiley!), but he
let it
> be known that he thought his strong left hand would give a propulsion to
the BG
> small groups that Wilson failed to provide. The final straw came when
Wilson
> left and BG started using Fletcher Henderson (fine arranger, weak pianist)
with
> the small groups: Stacy left the BG band and joined the more agreeable
ambience
> of the Bob Crosby Orchestra and Bob Cats.
>
> Stacy was one of the great pianists, to rate up there with Hines, Waller
and
> James P. What a pity he more or less retired from music in later years. I
have
> a CD of a Marion McPartland broadcast "with guest Jess Stacy" from
December
> 1981, where Jess plays and reminisces. His playing is very rusty and
no-one
> should judge him on the showing of this broadcast: but flashes of the old
magic
> are still there.
>
> Yours,
>   --
> Jim Denham


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