Svend Asmussen may be the
finest little-known jazz performer in the world. A bit of a child
prodigy, Asmussen's recording career spans more than 60 years. As
a young man, Svend was something of a novelty performer, beginning to
excel on the violin, but also performing on vibes, and other
instruments, as well as being a vocalist.
As a more mature performer he explored and recorded in a wide variety
of styles, including that of the Indian subcontinent. Now, as an
elder statesman of the instrument, his jazz violin virtuosity takes a
back seat to no one, including his contemporary, the much better known
Stephane Grappelli.
Perhaps the primary reason that Asmussen is not well known in the
United States is that he has preferred to make his native Denmark the
headquarters of his operations and has made only infrequent appearances
in the U.S., most notably at the 1967 Monterey Jazz Festival "violin
summit" with Ray Nance and Jean-Luc Ponty.
The story of Asmussen's life would make a pretty good movie. In the
late 1930s, Svend worked in Denmark with touring artists such as Fats
Waller, The Mills Brothers, and Josephine Baker. In 1939 he was
quite a hit in London, Hamburg, and Paris. But the outbreak of
war in Europe postponed other proposed tours and projects. The Nazis
hated American Jazz. At one point Asmussen was arrested and
incarcerated in Berlin. After the war, he became the most popular
entertainer in Denmark, if not all of Scandinavia. At that time,
his popularity extended beyond jazz, as he was perceived primarily as a
club, vaudeville, and radio performer. There were also many film
appearances and credits, some of the details of which may be found on a
separate pages.
During the period 1958 to 1961, Asmussen, along with popular Swedish
singer Alice Babs and guitarist Ulrik Neumann, formed a trio entitled
the "Swe-Danes," a sort of music hall/pop vocalese group. They
were the most popular act of their time in Scandinavia and also toured
the United States to acclaim, appearing in venues (Hollywood's Cocoanut
Grove, New York's Waldorf-Astoria) from coast to coast. Their
"Scandinavian Shuffle" was nominated for a Grammy in 1960. Mr.
Asmussen's career outside of jazz is mostly beyond the scope of this
page, but I couldn't resist including this remarkable picture of the
Swe-Danes. From left to right, that's Svend, Babs, and
Ulrik. Click the image for a larger version.
Asmussen's early influence was Joe Venuti, but it was a visit to
Denmark by Stuff Smith that rekindled his interest in jazz. He
certainly had the opportunity to be better known abroad. On more
than one occasion, he turned down invitations from Benny Goodman to
join the clarinetist's famous group. Apparently, he was
comfortable to remain a big frog in a little pond. This is too
bad, as it makes one's mouth water to imagine what the fabulous Goodman
"small groups" might have produced if Asmussen had been added to the
likes of Gene Krupa, Teddy Wilson, and Lionel Hampton. A
suggestion of the possibilities can be heard on an elusive 1978 album
featuring a collaboration with Hampton.
Stephane Grappelli (originally
surname was spelled with a 'Y') would have earned himself a place in
Jazz History books if only for his important role in the Quintette of
the Hot Club of France, featuring the dazzling virtuosity of Django
Reindhart. Grappelli's violin was the perfect foil to Reindhart's
guitar in this piano-less group. Fired by Reindhart's tremendous
rhythmic powers, Grappelli's contributions to recordings by the
Quintette like Lime House Blues, China Boy and It Don't Mean A Thing
(all 1935) and Them There Eyes, Three little Words and Swing '39 (these
latter three tracks from 1938-39) were admirable in their execution.
Occasionally Grappelli would play piano, as when harmonica virtuoso
Larry Adler recorded with the group in 1939, the year when Reindhart
and Grappelli, violin, recorded (with delightful results) as a duo (all
Django Reindhart). Grappelli born (1908) and raised in Paris was
involved with music at a very early age. By 12 years, he had acquired
his first violin- just one of several instruments he learned to play.
He began professionally with theatre bands, eventually being introduced
to jazz music. A French jazz musician, Philippe Brun, introduced
Grappelli to Reindhart. Soon after that meeting they put the idea of
Quintette into practice. When World War II commenced, Grappelli and the
band were touring Britain. While the others returned to Paris Grappelli
decided to stay. During the next six years he became a popular figure
in London with habitues of nightlife in general and in musical
entertainment in particular, working with local musicians in the local
clubs. In 1946, he returned to Paris, renewed association with
Reindhart, but he magic of pre-war days did not re-appear too often.
Between 1948-55 worked in Club Saint Germain, Paris, and in the latter
year played nine-month residency in St. Tropez. During the '70s
Grappelli has played throughout Europe, in Clubs, concerts and
festivals, has and broadcast televised extensively, and has been a
regular visitor to the recording studio.
In 1966, Grappelli was recorded in concert in Switzerland, together
with fellow jazz violinist Jean-Luc Ponty, Stuff Smith and Svend
Asmussen (Violin Summit). Since then he has recorded frequently in
London. A live date at the Queen Elizabeth Hall (Stephane Grappelli
1972) finds him responding to an enthusiastic audience. Elsewhere he
has recorded with much success, with Americans Gary Burton (Paris
Encounter), Bill Coleman (Stephane Grappelli-Bill Coleman), Roland
Hanna, (Stephane Grappelli Meets he Rhythm Section) and Barney Kessel
(I Remember Django).
