It’s time to mark a centennial. Everett G. Earl was born on April 10, 1914, in Corona, Queens, and years later he said he couldn’t recall a time when he wasn’t playing the piano. He was mainly self-taught but he had big ears; he grew up in the New York City of James P. Johnson and Willie the Lion, and by age 13 he knew enough stride piano to play at rent parties and YMCA dances.
By age 17 Earl was already on the road, traveling as far west as St. Louis on the RKO Theatre circuit. During his Boston stops, he stayed at the Railway Club on Yarmouth Street, a combination rooming house and speakeasy, where the jazz was quite good. In 1933, the Railway Club asked Earl to stay on as the resident piano man, and he did—thus becoming one of the first, if not the first, jazz musician to move from New York to Boston rather than the other way around. In 1934 Earl joined Joe Nevils’s Alabama Aces, and after that went to Eddie Levine’s nightclub, Little Harlem, on Mass Ave.
In 1936 Earl organized an eight-piece group to work at Little Harlem. Its members included Ray Perry, doubling on reeds and violin; alto saxist Jackie Fields, who in 1939 would play on the legendary “Body and Soul” recording of Coleman Hawkins; and bassist Slam Stewart, then a student at the Boston Conservatory. “The Boston musicians liked to play with me because I had that New York feel,” Earl later recalled.
Jan 27, 1953: Mariano’s Boston All Stars Record for Prestige
If you liked modern jazz, and you were in Boston in the early 1950s, Charlie Mariano was your man. You don’t have to take my word for it. When I interviewed Ray Santisi for The Boston Jazz Chronicles, he said Mariano was the best of the town’s modern alto players, no question. So did Herb Pomeroy in his interview. And so did Dick Johnson in his, and Johnson went on to say Mariano was the best ballad player he ever knew.
You can judge for yourself, on a recording made on this day, 61 years ago.
Charlie Mariano is no stranger to this blog, of cours. He was the star soloist with the Nat Pierce Orchestra, and he was part of Boston’s first jazz festival with his band, the Boptet. The people at Prestige Records recognized Mariano as one to watch, and he recorded his first album for that label in 1951, a 10-inch LP titled The New Sounds from Boston. And in spring 1953, he’d make a modest proposal to a handful of his sympatico musician buddies: “let’s start a jazz workshop.” The hands-on, learn-by-doing school they started in a Stuart Street office building was eventually integrated into the Berklee School, but that’s getting ahead of the story.
January 26, 1953 was a good day for Boston pianists: Al Vega recorded for Prestige, and Dick Twardzik opened with Alan Eager at the Hi-Hat.
Prestige Records wanted to capture some of the young modernists working in Boston, so they recorded Al Vega’s Trio, with Jack Lawlor and Jimmy Zitano, at the Ace Recording Studio on Jan. 26, and Charlie Mariano’s group at Ace on the 27th. The Al Vega Trio was released as a 10-inch LP, Prestige 152.
Meanwhile, Lester Young was a last-minute cancellation at the Hi-Hat, and saxophonist Alan Eager was called to replace him. Eager used a Boston rhythm section of Dick Twardzik, then known for his work with Serge Chaloff; drummer Gene Glennon, who worked with Twardzik and Chaloff on Cape Cod in 1951; and Bernie Griggs, the Hi-Hat’s house bassist. Twardzik and Griggs were on Mariano’s session the next day, along with trumpeter Herb Pomeroy, in what may have been his recording debut, and drummer Jimmy Weiner.