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I’m always asking Jazz musicians and Jazz fans what they are listening to or for their opinions about my current listening and/or favorite recordings.
It’s a fun way to get differing opinions about the music.
But when I asked Italian Jazz pianist Dado Moroni what he thought of Dwike Mitchell’s performance on The Catbird Seat from the Atlantic album of the same name, I was momentarily surprised by his answer.
“I cried,” he said.
Although I was taken aback for an instant, I intuitively understood why Dado would react this way to Dwike’s playing on this piece on which he is joined by bassist Willie Ruff and drummer Charlie Smith.
As George T. Simon describes it on the album’s sleeve notes:
“The Catbird Seat, a slow, swinging blues, gets its title because, as bassist Willie Ruff points out, ‘it has such a groovy feeling. There's an old Southern expression, “sitting in the catbird seat” which means you're sitting pretty and everything is groovy, and that's how we felt on this number. In fact, it's how we feel most of the time when we're at home in the club [Dwike and Willie owned The Playback Club in
].’ The piece projects a tremendously funky
feel, but it's also full of musical polish, such as Willie's marvelous articulation,
Dwike's tremendous technique and Charlie's beautifully controlled brush
shadings. Note too the contrast between the long, tremulous, two-chorus
build-up into the lovely, relaxed statement of the theme.” New Haven, CT
The Catbird Seat is a slow burn all the way. The very unhurried tempo at which it is played is one that is rarely heard today and very tricky to execute because there is a tendency to rush or drag.
The intensity is there but you have to let it quietly capture you. The track builds and builds and builds until it reaches an exciting climax. And just when you think it is finished, Dwike offers a different ending from the one that “your ears” are expecting.
Elsewhere in his liner notes, George T. Simon has this to offer by way of background information on what came to be known as the Mitchell-Ruff trio.
“This is thrilling jazz. I know you read such superlatives in almost every liner note, but believe me, the music herein is really something special.
It's modern jazz with the emphasis on the jazz. Like many modernists, both Dwike Mitchell and Willie Ruff are thoroughly-schooled musicians. But, unlike most modernists, they haven't forgotten the basic romping, swinging beat of jazz, and the results here are pretty electrifying.
Maybe, like me, you remember Dwike and Willie when they were just the Mitchell-Ruff Duo. They achieved international fame in 1959 when, as members of the Yale Russian Chorus that was touring the
, they temporarily tossed aside their tonsils,
hauled out piano and bass, and proceeded to regale the Russians with American
At that time the group's jazz feeling was highly personal - almost completely implied. Now though, with the addition of Charlie Smith's drums, you can't possibly miss it. Before his advent, what they were playing had relationship to themselves only, just as in modern art a painting on an infinite canvas can only relate to itself. But now, thanks to Charlie, they have been supplied with a rhythmic framework inside which they are able to create jazz masterpieces with a spatial, or rhythmic relativity that all of us can feel and understand.
Mitchell, a Floridian who graduated from the Philadelphia Musical Academy, and Ruff, an Alabaman who earned his B.A. and M.A. degrees in Music at Yale (they once played together in Lionel Hampton's big band) joined forces last year with Smith, a New Yorker, who has played for Ella Fitzgerald, Duke Ellington and Billy Taylor, at a New Haven club called The Playback. It was founded by Ruff himself, ‘because we needed a place in which we could work out things the way we wanted to, and just stay on until we felt we were really ready to show the rest of the world what we could do.’
For close to a year, the trio worked, played, and, in the case of Ruff and Smith and their families, even lived together. ‘We got so that each of us could feel what the others were going to do without even looking,’ says Smith. By early autumn of 1961 when they felt they were ready, they brought portable recording equipment into the club and recorded the numbers heard herein. The first Artist and Repertoire man to hear the tapes, Atlantic's astute jazz-loving V.P., Nesuhi Ertegun, flipped, and - well, here's the result.”
Dwike Mitchell passed away on
April 7, 2013 at the age of eighty-three.
The editorial staff at JazzProfiles wanted to remember him on these pages with this feature and the following video tribute on which the music is – what else but - The Catbird Suite.