“Stardust Stomp” is perhaps the most unusual recording of Carmichael’s immortal composition “Stardust.”

Joined: 12:00 AM - Jan 01, 1970

2:43 PM - May 13, 2018 #1


 
 
S D Records was founded in 1944 by Chicago record collectors John Steiner and Hugh Davis. S D reissued jazz recordings from the 1920s and 1930s and new recordings either by artists from that period or by younger artists who played in a traditional style.
 
“Stardust Stomp” was recorded in Chicago on Jan 31, 1944 by Tut Soper on piano and Baby Dodds on drums. Very little is known about Tut Soper. See
 
https://www.allmusic.com/artist/tut-soper-mn0001285917
 
Bixophiles will remember Tut as the pianist in Marty Grosz’s “Hooray for Bix” LP.


 
Here is a youtube video of the recording.
 
https://www.youtube.com/watch?v=W7_OXAsB5bg
 
 
 
 
 
 
 
 
 
 
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Joined: 4:56 PM - Mar 15, 2018

12:30 AM - May 14, 2018 #2

Looks like a pseudonym... but it isn't!
He was in the Band Teschemacher was rehearsing when he died.
https://www.questia.com/magazine/1P3-22 ... of-chicago
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Joined: 12:00 AM - Jan 01, 1970

1:20 PM - May 15, 2018 #3

Here is some information about Tut. From the excellent page  http://campber.people.clemson.edu/sd.html


The complete recordings of Tut in the S D series.
SD3. Tut Soper, piano | Baby Dodds, drums
Oro "Tut" Soper (p, vcl -1); Warren "Baby" Dodds (d, vcl -2).
Jack Gardner's apartment, Chicago, January 31, 1944
13144-1 Oronics [No. 1] (Soper) S D 5000 A
13144-2 Butter & Egg Man (#1) -1, 2 unissued
13144-3 Butter & Egg Man (#2) -1, 2
13144-4 That's a Plenty Baby Dodds 2
13144-5 Oronics No. 2 (Soper) unissued
13144-6 A It's a Ramble (Soper) S D 5001 A
13144-7 Right Kind of Love -1 unissued
13144-8DP 57 Thou Swell (Rodgers-Hart) S D 5001 B
13144-9 Keeping Myself for You unissued
13144-10 DP 7 Stardust Stomp (Carmichael) S D 5000 B
13144-11 Oronics No. 3 (Soper) unissued
13144-12 Tea For Two (drum novelty) Baby Dodds 2, Dan [Jap] VC-4013, VC-7015
Pianist Tut Soper was born Oro M. Soper on April 9, 1910. In the early 1920s, Soper made a record on OKeh with a group of kids, all 13 and under, called The Five Baby Shieks. Besides Soper on piano, they included Art Elefson on drums, Howard Snyder on sax, and Elmer Fearn on violin. By the late 1920s he was a regular in Chicago clubs, despite being underaged, and performing with Bunny Berrigan, Wingy Mannone, Boyd Brown, and Floyd Town. After years of playing in bands, in the late 1930s Soper went solo, introduced vocals to his repertoire, and played in such clubs as the legendary Three Deuces (222 North State).

By the war years, Soper could be found in the famed "Randolph Street" nightclub district. He was playing around the corner from Randolph Street at the Capitol Lounge on State when his S D recordings were made. Steiner and Davis teamed Soper up with Dodds in pianist Jack Gardner’s apartment for the session. Gardner owned a particularly fine piano, which is why the session was held in his place, at 102 East Bellevue, a basement apartment located in the same complex as John Steiner's. Jazz fans tend to revel in improvisation, and Down Beat columnist George Hoefer loved the idea at how "impromptu" the recording was, as Soper and Dodds had never met before, and had to feel each other out in the recording process.

Lord lists "Oronics No. 3" as being released on S D 5000, but Hoefer in his "Hot Box" column of 15 June 1944 lists the title as simply "Oronics," and gives the master number as 13144-1. He goes into detail how the "first test" of the number turned out to be the best, and ended up being used for release. We'll go with Hoefer on this; besides, the matrix numbers on S D 5000 back him up.
Down Beat reviewer John Lucas—who tended to give favorable reviews to his collector colleagues’ product—cited these releases as "some of the finest jazz piano waxed in many years." He raved about each one of the songs, and concluded, "The rip-rattling drum accompaniment provided by the one and only Baby Dodds simply could not be touched by anyone else. If Soper is super, Dodds is at once devastating, dynamic, and droll!"
In a lengthy review published in the October 1944 issue of The Jazz Record, George Avakian gave effusive praise to S D 5000 and 5001. "Picture Earl Hines in the full flower of his wildest period, playing as though it were his last chance to explode through with vital ideas of earth-shaking consequence. This is Tut Soper; an exciting, intensely live pianist whose work doesn't merely "send" you the way many agitated instrumentalists can—it reaches out, grabs you by the throat, and shakes and chokes hell out of you" (p. 3). Avakian contrasted Soper's genuineness and avoidance of clichés with the mannerisms of "the present-day frantic clique," into which he went so far as to lump "such hopeless musicians as Lionel Hampton, Art Tatum, Roy Eldridge, Dizzy Gillespie, and a whole string of trumpet players, electric guitar virtuosos, and Hazel Scotts" (p. 3). Out of the four, Avakian declared that "[t]he originals—Oronics and It's a Ramble—are my pet sides, displaying Tut's talents in two tempos and two moods, both nonetheless full of his overall excitement. The first is sheer panic, but good; the Ramble is reflective and rather interestingly developed from the melodic view. The others are Soper franticizations of Thou Swelland Star Dust, and the tunes improve under his manhandling." (p. 3.) Of Dodds' contributions, Avakian complained (p. 11) that the drummer "loses much of his subtlety" on Oronics, but praised him for his rapport with Soper elswhere on the session.
John Chilton described Soper as one of the leading pianists in Chicago, and credited him with working with Bud Freeman, Wild Bill Davison, Boyce Brown, Bud Jacobson, and Eddie Wiggins, among others. In the early 1950s, Soper worked in California with Muggsy Spanier and Marty Marsala. He toured with Eddie Condon in 1960.
Soper in his later years worked mostly as an insurance salesman for the Chicago Motor Club. He died in March 1987. His obit described him as a former jazz pianist, who had played for 50 years in "some of Chicago’s most famous jazz clubs and with the bands of Gene Krupa and Bud Freeman."
Soper sources: M/Sgt. George Avakian, "Records—Old and New," The Jazz Record, October 1944, pp. 3, 11; George Hoefer Jr., "The Hot Box," Down Beat, 15 June 1944; [John Lucas] "Diggin’ The Discs," Down Beat, 15 July 1944, p. 8; Catherine Jacobson, "Oro ‘Tut’ Soper," Jazz Vol. 1, No. 10 (December 1943): 8-9; "Oro Soper" [Obit], Chicago Tribune, March 24, 1987; Tom Lord, The Jazz Discography, Volume 21 (West Vancouver, B.C.: Lord’s Music, 1999): S1057.

Another source: Tut Soper's Memories of Chicago By Whyatt, Bert | IAJRC Journal, December 2010.

Tut's grandparents from both sides were German. In the 1930 census he is  an orchestra musician. In the 1940 census he is a nightclub musician. He was buried in Elm Lawn Cemetery in Elmhurst.

The title of his composition "ORONICS" based on his first name; reminds me of Bixology, Trumbology, Gregorology, etc.

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