A weblog in English and Dutch about jazz and related music, record collecting and other music projects originally created by Hans Koert.|Een webblog in het Engels en het Nederlands over jazz, jazz-verwante muziek, platen verzamelen en verrassende projecten, oorspronkelijk opgezet door Hans Koert.
Allan Reuss was an American jazz guitarist, who spent most of his career in the famous big bands of the swing era or as a studio musician. He was born in New York City in 1915 and began playing professionally as a banjoist at age 12. He took lessons and learned guitar from George Van Eps, who recommended Reuss to Benny Goodman. Reuss took over Van Eps' chair in Benny Goodman's orchestra in 1935 and played with Goodman on and off until 1943. He also played with Paul Whiteman's String Wing (1939) and joined Jack Teagarden's orchestra 1939-40. Next Reuss was with Jimmy Dorsey (1941-42) and Harry James (1942-43). At the same time he was a frequent session musician in the recording studios in New York until 1945, when he moved to Los Angeles. Here he continued as a studio guitarist and played with Arnold Ross, Coleman Hawkins and Benny Carter a.o. After 1946, he was less frequently on jazz dates, but he took part in occasional reunions with Benny Goodman a.o. and continued studio work in hundreds of various recordings during the 1950s and 1960s as an anonymous musician.
Promo photo 1936
Allan Reuss was an extraordinary guitarist who formed the foundationin in the rhythm section of the swing orchestra . His role was primarily to keep the rhythm going, which he did excellently, but from time to time he had a chance to show off his sophisticated chord style solo playing placing him in the top class of swing guitarists. Below I'll insert some examples of Allan Reuss' solos with various artists.
Benny Goodman
As mentioned above, Allan Reuss joined Benny Goodman and his orchestra in 1935 on the recommendation of George Van Eps. Benny Goodman recorded frequently and was on radio at the time, but only a couple of times Reuss got the opportunity to play solo. An example from November 22, 1935 is heard in If I Could Be With You One Hour Tonight with the full Benny Goodman orchestra
Lionel Hampton
Reuss freelanced as a studio musician from 1937 and was engaged by a.o. Lionel Hampton to take part in some of Hampton's studio sessions for victor. From a session recorded April 26, 1937 Allan Reuss has a short elaborated solo in a version of I Got Rhythm, here titled Rhythm, Rhythm. Participating musicians are Buster Bailey (cl), Johnny Hodges (as), Lionel Hampton (vib), Jess Stacy (p), John Kirby (b), Cozy Cole (d) besides Allan Reuss (g)
Jack Teagarden
Reuss joined Jack Teagarden and his orchestra 1939 and stayed with him through 1940. During this engagement, Allan Reuss had the opportunity to record his own Pickin' for Patsy - his highly sophisticated solo piece with big band. The piece was recorded in New York, May 5 1939 and sounded like this
Variations in Jazz, I Never Knew (Asch 350-3B), 1939
A rather special recording was made for Moses Asch's record label in 1939 featuring Allan Reuss as a member of a pick-up ensemble named Peck's Bad Boys. Reuss contributes some extraordinary solo work which alone is worth this special record
Coleman Hawkins
Allan Reuss moved to Los Angeles, CA in 1945 to continue as a studio musician. For some time he led his own trio, but there were no recordings made. He was engaged by Coleman Hawkins to take part in his recording sessions for Capitol February-March 1945 and did a couple of short solos, a.o. in Stuffy recorded February 23, 1945. Participating musicians are: Howard McGhee (tp), Coleman Hawkins (ts), Sir Charles Thompson (p), Allen Reuss (g), Oscar Pettiford (b) and Denzil Best (d)
Benny Carter
The last solo work by Allan Reuss to be presented here is from a session with Arnold Ross Quintet featuring Benny Carter (as), Artie Berstein (b), Nick Fatool (d), Arnold Ross (p) and Allan Reuss (g) recorded in Los Angeles, April 1946. Three takes of The Moon Is Low were recorded, below is inserted the version uploaded a You Tube to end this small presentation of Allan Reuss
The keep(it)swinging blog likes to honor the Danish jazz violinist Svend Asmussen, who passed away earlier this month at almost 101 years of age. Below some live performances from uploaded videos at YouTube to keep our memory of a great artist alive.
Benny Goodman and Svend Asmussen had met and played together before Goodman's last live performance in Copenhagen at the Tivoli Gardens in 1981. At this concert Goodman and Asmussen shared solo spots in a repertoire of jazz standards, i.e. After You've Gone
Toots Thielemans & Svend Asmussen (YouTube still photo)
Toots Thielemans and Svend Asmussen performed together in a Swedish TV production from around the same time as the Goodman concert above
From a 1986 live performance at Club Montmartre, Copenhagen - It Don't Mean A Thing, If It Ain't Got That Swing
Finally, Svend Asmussen quartet featuring Jacob Fischer (g), Jeper Lundgaard (b) and Aage Tanggaard (dm) from a live performance at Tivoli Gardens, Copenhagen 1993 - Limehouse Blues
The xylophone is a musical instrument in the percussion family that consists of wooden bars struck by mallets. Here the term xylophone refers specifically to a chromatic instrument of somewhat higher pitch range and drier timbre than the marimba. Both the xylophone and the marimba, however, have wooden bars in common, while the vibraphone has metallic bars.
Red Norvo
Red Norvowas one of jazz's early vibraphonists, who helped establish the xylophone, marimba and later the vibraphone as a viable jazz instruments. Norvo began his career 1925 in Chicago where he played in a band named The Collegians and at the same time joined many other bands, even an all-marimba band. At one point he was engaged by Paul Whiteman and later recorded with Frankie Trumbauer (1932) and Victor Young's orchestra (1933). In 1929, Norvo had recorded two sides under his own name for Brunswick, but they were unissued. His first issued session under his own name was recorded on April 8, 1933 in New York for Brunswick. Two self penned tunes were recorded, Knockin' On Wood and Hole In The Wall, issued on BR 6562
Discographical info from Tom Lord Discography Vers. 9.0 (click to enlarge)
Knockin' On Wood, BR 6562
Norvo is accompanied by Jimmy Dorsey (cl), Fulton McGrath (p), Dick McDonough (g) and Artie Bernstein in both tunes, inserted below from YouTube audio-videos - First Knockin' On Wood
The flip side of BR 6562 had the recording of Hole In The Wall
This session pleased Brunswick's recording director Jack Kapp and Norvo was booked for another session. This time, Kapp was out of town and Norvo went ahead and recorded two of the earliest, most modern pieces of chamber jazz yet recorded: Bix Beiderbecke's In a Mist and Norvo's own Dance of the Octopus. Playing marimba instead of xylophone in this session, Norvo was accompanied by Benny Goodman in a rare performance playing a bass clarinet, Dick McDonough on guitar and Artie Bernstein on double bass. Kapp was outraged when he heard the recordings and tore up Norvo's contract and threw him out. Nevertheless, this modern record remained in print all through the 1930s. - The recording of In A Mist and Dance Of The Octopus was made on November 21, 1933 in New York
Discography info, Tom Lord, Vers. 9.0 (click to enlarge)
In A Mist, BR 8236
Both tunes have been uploaded at YouTube and are inserted below, first In A Mist
And here is the remarkable Dance of the Octopus
Both tunes are semi-classical pieces and early examples of chamber jazz. The music is further a guide to Norvo's later career which spanned both swing, be bop and cool jazz - the experience from these early recordings opened the opportunity of experiement and supported Norvo's talent for adapting his chosen instrument the changing vogue in jazz. - A modern performance of Dance of the Octopus is inserted below to remind us that even experimental music can be fun when taken serious
Last month the jazz world commemorated the Centennial of pioneer of the modern jazz guitar Charlie Christian (July 29, 1916 – March 2, 1942). Christian was an important early performer on the electric guitar and is considered a key figure in the development of bebop and modern jazz. Many critics believe that he alone is the link between swing and modern jazz.
Charlie Christian exposing his Gibson ES-150
Charlie Christian was born in Bonham, Texas, but grew up in Oklahoma City. His father was a blind guitarist and singer, his two elder brothers, Edward and Clarence, were musicians, and at the age of twelve Charlie was playing on a guitar that he had made from a cigar box. He was actually first trained on the trumpet which later was a huge contribution to his fluid single-note guitar style. Then, his father and brothers formed a quartet and Charlie got a real guitar. When he grew up, he became a much-admired local musician in Oklahoma, playing an amplified acoustic guitar as early as 1937.
Friends of Christian wishing good luck at his departure for Los Angeles, August 1939
Word of Charlie's skill as a guitar player reached record producer John Hammond, who arranged for Christian to travel to Los Angeles in August 1939 for an audition with Benny Goodman.
Charlie Christian and Benny Goodman
At first Goodman was negative and against engaging Christian but changed his mind after having challenged the young guitarist in a version of the jazz standard Rose Room that went on and on. Goodman was deeply impressed by Christian's playing, engaged him and soon featured him on weekly radio broadcasts and in recordings.
Benny Goodman sextet featuring Charlie Christian
Charlie was mainly featured with Benny Goodman's sextet and before the year was over he was a nationally prominent jazz soloist. Unfortunately his success was as brief as it was immediate. Charlie contracted tuberculosis in mid-1941 and died a few months later.
Charlie Christian playing his ES-150
Christian was among the first jazz guitarists to amplify his instrument in order to match the volume of wind instruments, and he was clearly the most brilliant soloist of his time on electric guitar. He was emulated by many swing-style players, and his posthumous impact on younger be bop guitarists was enormous. He was a regular participant in the Harlem jam sesseions at Minton's at which some of the bop pioneers gathered - in this setting Charlie further developed his playing style.
Charlie Christian playing his ES-250
Charlie Christian remains among the most creative soloists of the swing period, and his co-operate work with Goodman created compositions and memorable recordings that since have become standards in jazz. Below I'll insert some examples of Christian's recordings in order to commemorate his genius as a guitar player.
Charlie Christian was engaged by Goodman in August 1939 and the first studio recording in which he participated was made in New York October 2 for Columbia. Four sides were recorded featuring the BG sextet, two takes of Flying Home, Rose Room and Stardust. Personnel are: Benny Goodman (cl), Lionel Hampton (vib), Fletcher Henderson (p), Charlie Christian (el g), Artie Bernstein (b) and Nick Fatool (dm). Already at this first recording date with BG Christian puts his personal imprint on the session displaying his mastery of both single string and chord solo technique as well as great improvisational skills.
One of the tunes that always will be associated with Charlie Christian and his collaboration with Benny Goodman and the sextet is Seven Come Eleven, first time studie recorded for Columbia November 29, 1939 by the same constellation as above.
Another great solo by Christian with the sextet is featured in Shivers, first time studio recorded for Columbia December 20, 1939, same personnel as previous sessions except Johnny Guarnieri (p) replaces Henderson
In the spring of 1940, Goodman reorganized his sextet, from now on a septet featuring Johnny Guarnieri as regular pianist, but at some occasions replaced by Count Basie. Other new members were Georgie Auld (ts), Cootie Willims (tp) and Dave Tough (dm). One of the often heard and popular recordings by the septet featuring Charlie Christian is Air Mail Special
As mentioned above, towards the end of his all too short life Charlie Christian took part in jam sessions at Minton's, a Harlem club considered the birthplace of be bop and modern jazz. From these sessions recorded May 1941 by Jerry Newman, I'll insert a couple of examples to end this small presentation of Charlie Christian. Here is first a take of the swing standard Stompin' At The Savoy excelling Christian's marvellous improvisational skills
Honeysuckle Rose is a vehicle for more improvisational work by Christian, here re-named Up On Teddy's Hill
Charlie Christian's Centennial was celebrated in the Netherlands on June 3rd in a concert titled Remembering Charlie Christian in The Hague. Musicians featured were Adrian Ingram (guitar), Axel Hagen (guitar), Noah Nicoll (bass), Dick Verbeeck (drums). Compilation of the tunes played at the concert has been uploaded at YouTube in two parts, part 1, here, part 2, here.
The Swing Era of the 1930s emerged with the rise of big bands in the USA. Harlem in NYC had opened the Savoy Ballroom late 1920s, it was the hot spot of the city for dancers to meet and have a great time, both coloured and white people were allowed to attend and dance to music by popular swing orchestras.
Dancing couple at the Savoy Ballroom
Harlem and the Savoy attracted dancers and an audience eager to find amusement, the house orchestra of the Savoy accordingly encouraged the public to Go Harlem
This great swing music was of course played by Chick Webb and his orchestra,Go Harlem was recorded June 2nd 1936
Chick Webb at the drums
Chick Webb had come to NYC in 1925, he led bands in various clubs before settling in for long regular runs at the Savoy beginning in 1931.
Chick Webb and his Savoy orchestra recorded the original version of Stompin' at the Savoy on May 18 1934, a swing tune composed and arranged by Edgar Sampson and since then a standard recorded by numerous other jazz artists
Chick Webb's big band was characterized by a crisp ensemble sound and the leader's disciplined, ferociously driving drum pyrotechnics and further a series of strong compositions and charts by Edgar Sampson. Although the orchestra did not become as influential and revered in the long run as some of its contemporaries, it nevertheless was feared in its time for its battles of the bands at the Savoy Ballroom. A famous encounter with the Benny Goodman orchestra at its peak (with Gene Krupa in the drummer's chair) left the latter band drained and defeated.
Benny Goodman's signature tune at the time was Don't Be That Way (- you can listen to a recorded version by the BG orchestra with arrangement by Edgar Sampson at YouTube, here), however, here's the version by Chick Webb and his orchestra - Webb's orchestra introduced the Edgar Sampson arrangement with this version from November 1934
The Savoy often featured Battle of the Bands where Webb's orchestra would compete with other top bands from opposing bandstands. By the end of the night's battles the dancers seemed always to have voted Chick's band as the best. As a result, Webb was deemed the most worthy recipient to be crowned the first King of Swing.
Although a judge declared Webb's band the official winner in 1938 over Count Basie's, and Basie himself said he was just relieved to come away from the contest without embarrassing himself, surviving musicians continued to dispute the ruling for decades to follow.
Chick Webb and his orchestra
Chick Webb became one of the most competitive drummers and bandleaders of the big band era, his playing technique at the drumset later inspired Buddy Rich and Louie Bellson. Below I'll insert a couple of examples featuring great work at the drumset by Chick Webb. - Here is the Chick Webb orchestra's recording of Clap Hands, Here Comes Charley from March 23 1937
Next follows Chick Webb and his orchestra with their version of Liza, recorded May 1938; the drum solo introducing the well known standard is said to be the leader's "answer" to Gene Krupa's contributions to the Benny Goodman orchestra's famous version of Sing, Sing, Sing
In 1935, Chick Webb hired the teenaged Ella Fitzgerald after she won a talent contest, he became her legal guardian and rebuilt his show around the singer.
In 1938, Chick Webb's orchestra featuring Ella Fitzgerald as solo vocalist had a big hit with the tune A Tisket-A-Tasket, and this was followed by another hit in 1939 with a recording of Undecided
Sadly, Chick Webb died from spinal tuberculosis on June 16, 1939. After his death, Ella Fitzgerald led the Chick Webb band until she left to focus on her solo career in 1942 and caused the band to disband.
Chick Webb and his orchestra's contributions to great big band jazz of the Swing Era will remain, although his band did not become as influential and revered in the long run as some of its contemporaries. Nevertheless, the inserted audio examples above are proof that Chick Webb's band provided us with excellent swing of lasting quality, I think.
'After You've Gone'is a 1918 popular song composed by Turner Layton, with lyrics written by Henry Creamer. It was recorded by Marion Harris on July 22, 1918 and released on Victor 18509. 'After You’ve Gone,' joins 'St. Louis Blues' (1914) and 'Indiana' (1917) as the top three pre-1920s jazz standards. Few compositions of the early 20th century endured the transition to the smooth swing sound of the 1930s and beyond. - Al Jolson introduced 'After You’ve Gone' to the vaudeville audience in 1918. Within a year several other artists had recorded the song, but it was Marion Harris’s rendition that became the most popular.
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In the early 1920s Harris was a popular singer in vaudeville and Broadway shows. One of the first white women to sing blues and jazz songs, she favored songs by African-American writers.
Marion Harris
Marion Harris explained her preference by saying, “You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs.” Harris recorded 'After You’ve Gone' for the Victor Record label, but in 1920 when that label refused to allow her to record W.C. Handy’s 'St. Louis Blues,' she left the label and moved over to Columbia Records, where she did record 'St. Louis Blues,' which became a hit.
Bessie Smith
Another female singer, Bessie Smith - The Empress of The Blues - recorded 'After You've Gone' in 1927, and this version adds the true blues feeling to the tune, a magnificent example of how a natural talent transforms the lyrics of the song to a personal statement - the core experience of blues as well as jazz, I think
Benny Goodman Trio
As mentioned above, 'After You've Gone' was one of the pre-1920s tunes that endured the transition to the swing sound of the 1930s. Many jazz artists and bands recorded the tune in the 1930s and made it a part of the standard repertoire. One of the recordings since hailed as a classic was made by the Benny Goodman Trio in July 1935. Enjoy this swinging version featuring Benny Goodman (clarinet), Teddy Wilson (piano) and Gene Krupa (drums)
Freddy Taylor
One of the famous European recordings of 'After You've Gone' was made on May 4th 1936 by Django Reinhardt and the Quintette du Hot Club de France featuring Freddy Taylor as vocalist. Personnel featured are: Stéphane Grappelli (v); Django Reinhardt (g solo); Joseph Reinhardt, Pierre "Baro" Ferret (g); Lucien Simoens (b); Freddy Taylor (vo)
Despues de haberte ido ( =After You've Gone)
Oscar Alemán y su Conjunto de Jazz recorded 'After You've Gone' for Odeon on October 29th 1955, and only Alemán's great guitar solo in this recording rescues the tune from the syrupy strings in the accompaniment, - an example of a jazz standard almost being spoiled by the usual expectations of record producers and a public only interested in pop ditties. However, mind Alemán's excellent playing and timing that exposes the tune on the edge of swing jazz and pop
Ruud Jacobs remembers 1958 Newport festival as a member of the International Youth Band as a "jazz-feest". Final concerts at the Brussels Expo '58 Hans Koert
The final series of concerts by the 1958 International Youth Band, also known as The Babel's Band or the Tower of Babel's Band, were scheduled in July-August 1958 at the U.S. Pavilion at the Brussels World Exposition. They had to play several matinees to satisfy demands for performances, the liner notes of the album Newport 58 learn. Ruud Jacobs, Dutch bass player remembers it as a happy, but deadly tired period ....
Ruud Jacobs, Dutch bass player, remembers his debut in the International Youth Band at the Newport '58 festival - Today the last contribution: Enjoy all previous contributions
The Atomium - the symbol of the Expo '58 in Brussels
The Brussels World’s Fair, entitled Expo ’58, was the first large exhibition scheduled since the end of World War Two. The previous one had been organized in New York City, 1939. It was Brussels’ fifth World's Fair since 1888 ( 1888, 1897, 1910 and 1935 ). The Expo ’58 is remembered by its Atomium, a giant model of a unit cell of an iron crystal, which still is the logo type of Brussels. It was opened by King Baudouin of Belgium April 1958 and lasted up to October 1958..
Benny Goodman at the cover of an lp entitled Benny in Brussels - vol I ( Columbia P13502)
The US pavilion was quite spacious and included a fashion show with models walking down a large spiral staircase, an electronic computer that demonstrated a knowledge of history, and a color television studio behind glass. US artists were scheduled to perform. One of the major attraction in the US Pavilion was a series of concerts by the Benny Goodman Orchestra, which was scheduled for a lengthy European tour with two concerts in Holland too at the Amsterdam Concertgebouw ( 14th of May, 1958) and the Blokker Auction Hall (15th of May, 1958), both (partly) taped and broadcasted by ABC’s at John Gunther’s High Road program ….. Especially the Blokker concert is in Holland still remembered as a special event. Benny Goodman opened in Brussels the 25th of May, 1958 and several concerts were televised by the Eurovision Television Network to four European countries ( Belgium, England, France and Italy ) simultaneously – an European debut.
Babylonische Jazzband in Blokker ( = A Babel's band in Blokker) (PZC - 20 juni 1958)
As remembered in the previous blog, entitled: The Blokker concert, the International Youth Band had been scheduled in the Blokker auction hall at the 27th of July, but NOT with Sarah Vaughan, as a Dutch newspaper, the PZC (Provinciale Zeeuwse Courant) mentioned in a preview ( 20th of June, 1958) …… Sarah would perform with the International Youth band in Brussels late July 1958. Musicians like Sarah Vaughan and Sidney Bechet (who lived in France) performed as guests with the International Youth Band, which was scheduled for a week ( 29th of July – 3rd of August 1958) at the US Pavilion. They played two concerts a day and Ruud remembered Sarah, who sung with the band as a guest singer as ‘n bijzonder aardige vrouw (= a very friendly woman). At a final jamsession Sidney Bechet joined the band in a tune, later released as Jam Session Final( Vogue (F500203))
(Vrije Volk -2nd of August, 1958)
Returned from his trip to The States Ruud was invited to tell his stories. The VARA network scheduled the Pim Jacobs Trio, featuring Dutch violin player Sem Nijveen as a guest and Michiel De Ruyter, Dutch jazz journalist, interviewed Ruud, but treated him ….. op een wel erg familiaire toon en rookte er stug bij ( = with too much familiarity, while smoking his cigarettes), H. v.d. W. of the Vrije Volk newspaper reported:. ..... Zelfs Sem Nijveen speelde met een sigaret in de mond, wat toch niet erg attent is ten aanzien van de kijkers. (.... Even Sem Nijveen played his violin while smoking .... which is rather improper for the viewers) In the Dutch monthly magazine for Jazz-, Dans- en Amusementsmuziek Rhythm, in an article entitled Twee Maal Amerika, Ruud was asked about his experiences: 't Is fantastisch geweest ( = It was really great) - Amerika was geweldig, gewoon 'n feest. Ik heb er veel opgestoken, dat je alleen dáár, in het centrum van de muziek, kunt opsteken. ( = America was great - like a party. I learned a lot - things you can only learn when you are in New York, at the hot spots of jazz).
Bernt Rosengren, Ruud Pronk and Ruud Jacobs in Loosdrecht 6th of August 1958 (Rhythme nº 108 (Sep-Oct 1958)
Ruud Jacobs remembers the concerts by the great names in jazz ….. When the journalist of Rhythme asked what concerts he had heard and muisicians met, Ruud says: …. O, schei uit .. Dat waren er te veel om op te noemen. (= Oh boy .. too much to list). Toen we eenmaal tijd voor ons zelf hadden, zijn we groots ontvangen. Iedereen had van ons gehoord, ze waren erg vriendelijk. (= We were welcomed everywhere – everybody had heard about us - the people were very friendly). Kwamen we in een club, dan introduceerde Willis Connover – je weet wel, van de Voice of America – ons en dan vroegen ze je direct of je wilde mee spelen. ( = When we enterred a club we were introduced by Willis Connover, the Voice of America as you might know, and often we were invited to join ….. ). Ik heb veel met Gerry Mulligan in zijn nieuwe kwartet gespeeld, waar ook Art Farmer in zit. ( = I played a lot with Gerry Mulligan and his new quartet, featuring Art Farmer). Ook Art Blakey en Miles Davis hebben we uitgebreid ontmoet, ….. (= We also met Art Blakey and Miles Davis, ...). But Ruud also puts our in-grained prejudices about US jazzmen into perspective that all that glitters is not gold ………. Trouwens gek, als je ziet, hoeveel beroemde lui daar van de ene tent naar de andere lopen om met ’n snabbel (sic) wat te verdienen ( = It’s remarkable to learn that even the best and most famous jazz men have to take each gig to earn a living ).
Ruud Jacobs with Bert Rosengren and Dusko Gojkovic at Loosdrecht(Rhythme nº 108 (Sep-Oct 1958)
I have learned a lot of things, things you can learn in the New York clubs - in the hot spots of jazz. The experiences at the 1958 Newport festival were labeled as: ‘n jazz-feest ( = a jazz party) and the Expo'58 concerts at Brussels as: Alleen lof ( = Full of praise) ( a play upon words as the Dutch name for chicory is Brussels Lof ). Back home, he invited some of his friends, colleagues from the trip to Newport, the Swedish tenor saxophone player Bernt Rosengren and trumpeter Dusko Gojkovic from Yugoslavia, to join at the Loosdrecht Jazz festival. A recording from this meeting seems to have survived, Hans Mantel, radio producer told at the Vriendendag of the Dutch Jazz archive as part of the Wereldomroep archives.
Pim Jacobs (left) in Loosdrecht with host of the festival Coen Serré(Rhythme nº 108 (Sep-Oct 1958) )
In Twee Maal Amerika Ruud mentioned that the Tower of Babel orchestra could be heard during the winter season in a European tour ...... als Pim en Cees mee kunnen om een trio te vormen - anders gaat het wat mij betreft niet door. ( = with Pim (Jacobs) and Cees (See) to form a trio. If this isn't possible I won't happen). As far as I know it didn’t happen.
Marshall Brown was invited the next year to create another International Youth Band, with young promising US musicians. One of the members was Ronnie Cuber, now a featured artist on baritone saxophone. Several albums featuring ther 1959 and 1960 International Youth Band have been released.
Nu ga ik toch echt eerst uitslapen. (= Now I'll have a long lie-in). In New York was ’t haast elke nacht drie, vier uur. In Brussel idem-dito. ( In New York we played until dawn, like in Brussels). We hebben – om negen uur ’s ochtends – “welterusten” gewenst en hebben ons stil verwijderd, ( = We said "good night" to Ruud at nine o'clock in the morning and left! (part of the Rhythme interview)
Please have a look at My Jazz Link site with links to all International Youth Band Newport '58 publication, as remembered by Ruud Jacobs.
Hans Koert keepswinging@live.nl Follow the Keep (it) Swinging blog at Facebook or ask its free newsletter
When Ruud Jacobs, Dutch bass player who was invited to play in the International Youth Band at the 1958 Newport festival, returned in Holland, the Babel's band, he was worn out and wanted to have a long lie-in. He had performed with the band its final concerts at the Dutch Blokker festival and the World Exhibition in Brussels: Expo '58. In New York we played until dawn, like in Brussels ......, but it was really a Jazz Feest ..... The final contribution of a long series of blogs dedicated to Ruud Jacobs and his debut at the Newport '58 festival as part of the 1958 International Youth Band.
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Marshall Brown was invited the next year to create another International Youth Band, with young promising US musicians. One of the members was Ronnie Cuber, now a featured artist on baritone saxophone. Several albums featuring ther 1959 and 1960 International Youth Band have been released.
When Ruud Jacobs, Dutch bass player who was invited to play in the International Youth Band at the 1958 Newport festival, returned in Holland, the Babel's band, he was worn out and wanted to have a long lie-in. He had performed with the band its final concerts at the Dutch Blokker festival and the World Exhibition in Brussels: Expo '58. In New York we played until dawn, like in Brussels ......, but it was really a Jazz Feest ..... The final contribution of a long series of blogs dedicated to Ruud Jacobs and his debut at the Newport '58 festival as part of the 1958 International Youth Band. 
