[ Post a Response | Lonnie Donegan Discussion Forum ]
Posted by ROGER RETTIG on May 5, 2008, 3:55 pm, in reply to "Some new aspects regarding Denny & Les"
76.7.32.163
Hi, Lutz
There's no question that the whole approach to recording has changed beyond recognition today. Back in the 1950s a group like Lonnie's (meaning one that relied upon improvisation and self-arranging) would have a bare minimum of time in the studio allocated, and would have been expected to be pretty well 'ready to go' at that very time.
Checking the 'Showcase' sleeve, it seems that six tracks were recorded on 22/8/56 and two more the next day. It's sobering to reflect that such a successful album was completed in a matter of a few hours! We all know how good it is, too!
Let's consider: Lonnie himself would have been well-prepared - he would have known the songs, and, perhaps, would have already worked out what he was going to do vocally. Don't forget, too, that he'd already been on jazz LPs where the same rules applied - go in the studio and play the songs you've already been 'practicing' on your live gigs.
THE MUSICIANS:
Nick, Denny and Mickey were new to Lonnie's group, but this simplistic material would have presented NO problem to such seasoned musicians. Traditional sequences and basic chord-changes - all they had to do was apply their instincts and feel to the music. There was nobody nit-picking over a slightly-fluffed fill - if the track felt good, I bet it was 'in the can'.
DENNY WRIGHT vs. JOHNNY BOOKER-MARTYN:
I'm sorry. I just don't buy that tale of him getting a call at the last minute. There is no way that Donegan would have depended on such an inexperienced player as Johnny Booker-Martyn on such an important date. I had a long series of email conversations with JBM before he passed away , and he himself was under no illusions about that. He said Denny was already booked for the session, and he said the thought of him (JBM) being even playing in the same room as the great Denny Wright was a laughable one.
When he pushed LD on that point, Lonnie told him that he needed him (JBM) there on rhythm-guitar (!!!)
JBM told me that, once he and Wally had discussed the situation, he had no intention of showing up at the session, and there was no question of his 'oversleeping'. They had both figured out that all Lonnie needed him for was to 'steal' 'Don't You Rock Me, Daddy-O' from their (The Vipers) repertoire, the song Lonnie had heard them play at their gig the night before.
Denny may very well have been 'in his pyjamas' that day - and with a borrowed Hofner in a 'cardboard box' (yes, I heard all these tales from LD himself, too) - but that was more likely a case of Denny Wright oversleeping!!
THE SESSIONS:
As great a player as Denny was, the easy and nonchalant brilliance of his contribution to that album would have been taken in his stride. An intro like the one he forged on 'Wreck Of The Old 97' would have just fallen out of his 'bag of tricks' in an instant, even if a lesser player might have struggled for something half as good.
NB: 'Daddy-O' and an updated 'Rock Island Line' were also recorded on the second day of the 'Showcase' sessions.
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LES BENNETTS:
Les would have been far less 'able' in such a situation. He just didn't have Denny's years of experience, or his fluidity.
Here's how I see it....
Les was put in an almost-identical situation with the recording of 'Lonnie Rides Again'. FIFTEEN songs cut in two days (22-23/10/59). The results? Well, perhaps a matter of opinion, but a far less comfortable-feeling album. Stilted and rushed and, again in my opinion, even Lonnie himself doesn't sound as 'strong' as he did on 'Showcase'.
Could it be that Pye had demanded an album and he just scraped the barrel for material? Is that also borne out by the hastily-contrived LP sleeve itself, with not even a picture of Lonnie on the front!!!??? I don't think 'Tops...' was Donegan's finest hour by any means.
BUT....
On the singles where Les has had time to prepare, he does a much better job, His solos, while I don't like his style or tone, sound committed and have a hook to them - 'Tom Dooley' and 'Fort Worth Jail' are examples.
MY CONCLUSION?
Denny's impromptu work (check out 'Muleskinner Blues'!) was always going to be superior to Les' because he was, simply, a better musician. Les himself did quite well, but only when he had time to work out his best effort.
However, when Denny had time to 'work on it' ('Dead Or Alive', 'Daddy-O', 'Cumberland Gap') - watch out!!!
I have many more thoughts on all of this, but I fear I've tried your patience too far as it is (that is IF you're still reading this!)
I haven't mentioned Jimmy in this post - time for that later.
Have a wonderful (as everyone seems to say to everyone else here in Florida...)
Roger R.
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