Zutty Singleton (1898-1975) (by Jack Lincoln)

First jazz bands copied the rhythm produced by second line

timekeepers and percussionists of parades and funeral processions
in New Orleans , although a sophisticated rhythmical language
emerged in jazz which distinguished it from blues and other popular
styles of the time.
Two drummers practically dominated the trad period known as Baby
Dodds and Zutty Singleton
Arthur James Zutty Singleton born in Bunkie, Louisiana May 14th
1898.
Came from a musical family (Uncle Willie Bontin Bontemps played
bass, guitar and piano) Opted for drums due to admiration of second
line rhythms he heard in marching bands.
Played in many groups in his career and would never settle in one
band. Desired by many due to his unique expressive style and
ability to adapt to any situation.
One of the most influential drummers to emerge from early New
Orleans jazz which contributed to ensuring that the drums would
play an important role in the music as Singleton was one of the first
drummers to make a drum solo important in the music. Also one of
the first users of wire brushes to create new colour and tonal
textures.
First gig with pianist/composer Steve Lewis at the Rosebud Theatre
and also spent time with the Robichaux Orchestra until the start of
WW1 in which he served in the navy.
Freelanced with Papa Celestin, Louis Nelson and Toms Roadhouse
Band; added an important dimension with percussion skills to every
band he played with but wanted his own group, formed his own
group with a residency at the Orchard Cabaret before joining Luis
Russell in 1921.
Played on riverboat bands for two seasons, returned to New Orleans
briefly to play again with the Robichaux Orchestra before leaving for
St Louis, found plenty of work such as Charlie Creath (then he
married his sister)
Returned to New Orleans joining Charlie Lawsons band before
leaving for Chicago, playing in bands alongside Louis Armstrong,
Dave Peyton, Jimmie Noone and Vernon Roulette.
After playing in Armstrongs band he rejoined Dave Paytons group.
At this time he also played in Jimmie Noones band and the Carroll
Dickerson band (which featured Louis Armstrong) During the period
between 1927 and 1929 Singleton frequently recorded with Louis
Armstrong and his Hot Fives/ Hot Sevens; most tracks of which
would become classics. Also recorded in a trio with Jelly Roll Morton
and Barney Bigard. These recordings enhanced his popularity and
sent his name across as a top drummer.
At the end of 1929 like many other big name jazz artists he
migrated to New York where he played with Dickersons group and
briefly Allie Ross before leading his own band with a residency at the

Lafayette Theatre. Like most other musicians the Great Depression

had an impact on Singletons career, however he managed to find
work in many bands including Fats Waller, Otto Hardwick, Bubber
Miley, Vernon Andrade and later Tommy Laidner and Pike Davis.
In 1933 when touring with Norman and Irene Selby Singleton was
stranded in Chicago where he stayed put for 4 years playing with
Dickerson and his own band big name venues such as Three Deuces
and the Flagship before joining Roy Eldridges group.
Returned to New York working with Mezz Mezzrows Disciples of
Swing and later working with Sidney Bechet. For most of 1939 and
1940 he led his own group playing at now famous venues such as
the Village Vanguard.
During this time swing had increased in popularity and most
musicians were out of jobs, however Singleton had been able to
adjust to playing swing and big band music with ease; a trait which
always allowed him to find work.
Moved to the West Coast in 1943 leading his own quartet during a
long residency at Bill Bergs, played with T-Bone Walker and Paul
Howard as well as being prominently featured on radio (Orson
Welles show) Played with Teddy Bunn, Slim Gaillard Trio, Wingy
Manone, Art Hodes, Nappy Lamare, Joe Marsala and Buddy Hackett
at various times throughout the decade.
During this time despite the rise of Bebop seemingly killing out
New Orleans musicians, Singleton yet again showed his flexibility
with his abilities enabling him to play with Dizzy Gillespie and
Charlie Parker at various times.
Went to Europe in November 1951, exciting audiences with his
mature playing style and playing some of the finest drum solos of
his time. Singleton stayed in Europe until 1953 playing again with
Mezz Mezzrow and later the Bill Coleman All-Stars.
Returned to New York working at clubs and casinos such as the
Metropole. Joined Wilbur de Paris briefly in 1954 before yet again
free lancing.
Joined Tony Parentis band in 1963 whilst playing with his own bands
on the side, playing New Yorks top clubs such as Ryans in the
middle of the 60s. Briefly left his residency there to play the New
Orleans Jazz Festival in 1969 before returning.
Suffered a stroke in 1970 which resulted in him retiring from music,
died July 14, 1975 at the age of 77.
Throughout his long career played with the biggest artists such as
Jack Teagarden, Earl Hines, Coleman Hawkins, Joe Sullivan, Bud
Scott and Luis Russell to name a few, had a huge influence on
following drummers with his influence being heard in all jazz genres
to come including swing, bop, post-bop and even fusion.
Can be said he played a huge role in jazz history as he was
contributed strongly to drums becoming a vital part of a jazz band
and creating standard jazz vocabulary still used by drummers today.

Smilin The Blues Away

Composer- Originally thought to be Jelly Roll Morton, claimed to be
stolen from Harrison Smith and Ben Garrison
Recording Info- Recorded 17/12/1929
Personnel- Barney Bigard (cl), Jelly Roll Morton (Piano), Zutty
Singleton (drums
Form- 8 bar blues
8 bar intro of improvising clarinet, Zutty playing freely on drums
in his expressive style, Piano playing in ragtime style
Two 8 bar choruses of soloing clarinet which features minimal
vibrato, large use of staccato quavers and arpeggiating patterns
to outline chords. Zutty plays the snare in his expressive second
line style.
Stop time with hits on the 4th and 1st beats of every 2nd and 3rd
bar with drums rolling on these beats. Improvising clarinet over
the top throughout.
Clarinet solos over another chorus, piano and drums reintroduced
Clarinet drops out as piano takes a solo, drums revert to brushes
to provide a different texture whilst highlighting beats 2 and 4.
Jelly Roll Morton plays the solo in his signature ragtime style over
2 choruses
Piano ceases to play bass lines for a chorus which creates a
large amount of space highlighting further Singletons use of
brush technique in creating a lighter texture
Stop time piano solo, right hand solos whilst left hand plays bass
line hits with drums, drums move to playing with sticks
Piano plays a final chorus with drums highlighting beats 2 and 4
again.
Clarinet re-enters playing 2 choruses,melodic and relatively high
in its register
Stop time figure occurs again, clarinet plays much more scalic
3 choruses of soloing, clarinet plays glissandos and note bends
Stop time figure yet again with 1 chorus ending.
King Porter Stomp
Composer- Jelly Roll Morton
Performed by Zutty Singleton and his Orchestra
Recording info- Recorded 5/06/1940, New York, Decca
Personnel- Zutty Singleton (Drums) Bernard Addison (Guitar) Red Allen
(Trumpet) Lil Hardin-Armstrong (Piano) Pops Foster (Bass) Benny Morton
(Trombone) Edmond Hall (Clarinet)
Form: Stomp Progression |I |VI7|ii |ii |IV-VII|I-VI7|ii7-V7 |I| (stomp
progression is named after the King Porter Stomp itself)
Piece begins with an intro of trombone and trumpet playing
sustained chords (Chords are Ab, Db, Bb and Eb or I, IV, ii, V) During
this Singleton is prominently featured playing a second line groove
on the snare.

Chorus features typical Traditional Jazz polyphony with the trumpet

playing the lead melody, clarinet playing a counter melody which
accompanies the lead and the trombone playing another
countermelody which strongly outlines the chords. During this the
drums, piano and bass outline the beats of 2 and 4 strongly.
Following this the trumpet and clarinet play a harmonized soli figure
which ascends in triplets with the drums performing snare rolls
before the clarinet takes a solo over 2 choruses. During this the
clarinettist creates a motif similar to the main melody adding slight
variations each time.
The trumpet then takes a 2 chorus solo, first playing in a low
register before expanding up to a relatively high register.
The trombone then takes a solo which outlines the chords with
occasional blues licks.
The clarinet takes another 2 chorus solo before Singleton takes over
with a drum solo. Throughout the solo Singleton employs his second
line style drum patterns and snare rolls to great effect before
expanding into the use of the bass drum, toms and cymbals.
Throughout this solo the horns play a backing figure on beats 2 and
1 on bars 4 and 1 respectively.
Following this the band returns to a similar polyphonic style of
playing similar to the main chorus except this time completely
improvised. This lasts for 4 choruses with the trumpet steadily
screaming higher in its register and the other instruments
continuing their role in the music.
Bibliography
Diaire, David. (1963) Jazz Musicians of the Early Ears, to 1945. Jefferson,
North Carolina and London: McFarland & Company Inc., Publishers.
http://www.redhotjazz.com/zutty.html
http://www.angelfire.com/fl4/moneychords/stompprogression.html
https://archive.org/details/ZuttySingletonAndHisOrchestraKingPorterStomp
http://www.allmusic.com/artist/zutty-singleton-mn0000813802
http://www.drummerworld.com/drummers/Zutty_Singleton.html