Red Norvo’s “Secret” Session

Vibraphonist Red Norvo was one of the leading figures in “swing” jazz prior to the United States involvement in World War II, but I am embarrassed to admit that he has received almost no attention on this site. Indeed, it may well be the case that the only time I wrote about him involved his contribution to the Benny Goodman Orchestra on an SWR JAZZHAUS album in its Big Band Series. Fortunately, this Friday will see the release of an album with Norvo as leader.

Cover of the album being discussed (from its Amazon.com Web page)

The title of the album is The Secret Session; and, as readers can probably guess, there is a story behind that title. In the early Forties, Norvo was leading a septet performing with trumpeter Shorty Rogers, Eddie Bert on trombone, Aaron Sachs on reeds (clarinet and alto saxophone), pianist Hank Kahout, Clyde Lombardi on bass, and drummer Specs Powell. However, once it was evident that the United States would enter the war, Norvo would lose at least some of those musicians to the draft. As a result, he arranged a recording session in late 1942, knowing that it would be the last for some time. All seven of these musicians can be seen in the photograph on the above album cover.

Most important is that Norvo was generous in giving all of his musicians solo opportunities. As a result, the album is a “snapshot” of how jazz was improvised during the “swing era.” Mind you, listeners that are more interested in the “high fidelity” of the recording than they are of the content itself are likely to be disappointed. Nevertheless, it would be fair to say that any attentive listener will be able to appreciate the many nuances that emerged from this “secret session.”

The good news is that, exactly one year after D-Day (June 6, 1944), Norvo was back in action at the WOR Recording Studios in New York. On that occasion he led his “Selected Sextet,” whose other members were trumpeter Dizzy Gillespie, Charlie Parker on alto saxophone, and Flip Phillips on tenor saxophone on the front line with rhythm provided by pianist Teddy Wilson, Slam Stewart on bass, and drummer Specs Powell. One of the selections at that session was Harold Arlen’s “Get Happy.” which could not have been more appropriate for the end of World War II.