The Tupper Saussy Quartet
A progressive jazz group from Sewanee in the mid-50s and continuing with different members into the mid-60s.
History[edit | edit source]
Founded by Tupper Saussy while a student at Sewanee, this jazz group would go on to perform into the late '60s in various forms.
While several albums were credited as the quartet, many also were credited to Tupper Saussy himself thos including some of the same musicians, although the performers from the "Jazz at Sewanee" 10" did not appear in the mid-60s recordings.
The final album notably included Charlie McCoy as a member. Fred Foster, who founded Monument records, was credited as producer on the 60s albums as well as wrote the liner notes for that final album in 1965. Performer, composer, conductor Bill Justis also arranged on one of the albums.
After this group, Saussy briefly experimented with a jazz-influenced psych-pop group called The Wayward Bus, that included a single with psychic Dan Hoy, before he founded the more popular The Neon Philharmonic with Don Gant.
Liner Notes[edit | edit source]
On the 1954 album "Jazz at Sewanee" written by Sewanee music professor and critic Charles T Harrison:
The repertory of "progressive jazz" presented on this record suggests two reflections: that the fecundity of jazz, as a basic form, is by no means exhausted; and that this current version of the jazz idiom, like some of its predecessors, provides an admirable medium for the inventiveness of young musicians. It would seem to be peculiarly congenial to such performers as are represented here: young men of intellectual range and resourcefulness, and of a catholic musical sophistication. No other type of jazz has exhibited a similar eclecticism or a similar challenge to the exercise of wit.
The most characteristic feature of the Tupper Saussy Quartet is its exploitation of a peculiarly intimate melodic relation between piano and guitar. Like other groups of the kind, the Quartet engages in mobile exploration of the rhythmic resources of the several instruments - in every possible combination. Here, as everywhere in the performance of progressive jazz, the most interesting musical attribute of the genre is its strongly contrapuntal impulse - not confined by the rules of learned polyphony, but free to ignore the restraints of rhythm and harmony. The genius of this music is its nice accommodation of cleverness and sensitiveness.
On the 1963 album "Discover Tupper Saussy," jazz great Dave Brubeck provided the liner notes:
Dave Brubeck discovers Tupper Saussy:
Not too many summers ago (I think it was five) I heard an unusual pianist with an unusual name at the Music Inn in Lenox, Massachusetts. He was then very young and the job was a "summer gig" --"an excursion to the North," he explained, "and a chance to hear the well known jazz groups that played the Music Barn, as well as to earn money to tide over the next college year."
What this young pianist did not realize was that many of the "well known musicians" he had come North to hear were leaving Music Inn very impressed with what they had heard.
Not only did his piano playing knock me out, but what a name! When I was first introduced to him, I misunderstood his name to be "Cup and Saucer" and that's what he's been to me ever since.
A few years later, my Quartet had an engagement at Sewanee, Tennessee, at the University of the South and I had an opportunity to talk with Tupper again. He seemed happy and content with life as it was, and I had the feeling that he might not choose to wage the battle all musicians must face to get themselves recorded and presented to a larger public. That is why this album is a very pleasant surprise for me. I feel that a great talent has just begun to emerge.
His compositions and the choice of the material on the album show him to be at home with many varied approaches. I had not realized that he was developing as a writer because I had heard him only as a solo pianist. As a matter of fact, my favorite tracks on the album are his compositions, "Melissa" and "Contrary Waltz."
A very good follow-up album would be to present Tupper Saussy as a solo pianist. All he'd have to do for my money would be to recreate what I heard years ago at Music Inn, when I first had the pleasure to discover Tupper Saussy for myself.
- Dave Brubeck. Weston, Connecticut 1963.
On the 1964 album "Said I to Shostakovich" liner notes uncredited:
The Performance & The Artists:
The fantasia is a musical form in which the composer is improvisor, free to neglect or to modify existing conventions, rules, and techniques in order to satisfy his artistic needs. The result is what has been called a "free flight of fancy". Often, the composer will discover that in abandoning traditional form he will, in his work, unconsciously devise newer forms. Thus, the fantasia is a highly exciting and spontaneous musical type, whose soul is not unlike that of jazz.
The pieces contained in this album are fantastias. Mr. Saussy admits to contriving only the predominant feelings and first themes prior to the recording session.
The result is a brilliant performance by Mr. Saussy, a sensitive and masterful pianist; Mr. Moore, who is remarkably responsive to every rhythmic flutter, to every melodic nuance and harmonic turn; and Mr. Kirkham, whose resourceful percussion brings to the music an ecstasy peculiar to jazz.
At first hearing, some of these works might seem to the listener shocking. But with a minimum of familarity, one perceives Mr. Saussy's pattern, that each piece is contained within a form, and that each piece is a complete and eloquent musical statement.
The Music:
The Shivers: The opening statement is a chilling series of rolls which, punctuated by Doug Kirkham's percussion, unfolds into something of a higher temperature. In an early section, bass viol and piano depart from the strict four-quarter time to play several bars of six-eight. An antipenultimate series of exclamatory rimshots reintroduces the shivering dissonance to form a coda.
The Gumbie Cat: A bumbling scherzo, meant to describe Old Possum's (and T. S Eliot's) big, meddlesome cat. Arhythmic left and right hand contrapuntal movement suggest a mousechase, terminating in three large, treble chords. The Gumbie cat then settles back down as staccato triads nestle deeply into the bass. Moore's ending on a leading tone suggests that the Gumbie may strike again.
Backyard: A frolicking piece built on the happiest (and often the most naive) chord in music: the major triad. Notice Saussy's phenomenal closing cadenza.
A Rather Unusual Twist: A serious musical application to a popular rhythmic cliche.
Wealtha: A beautiful ballade comprised of unusual turns of harmonics, Wealtha is an expansive lyricism. The shimmering, metallic sounds are produced by Doug Kirkham. He is flipping a half-dollar beside the microphone.
Said I To Shotakovitch: Perhaps this is an expression of Saussy's admiration of Shostakovitch's music. It seems to stand as a kind of invitaton to those composers who have but lingered on the fringe of the wonderfully accomodating jazz idiom. The piece is composed of two main sections. The first contains a brilliant drum-burst and terminates with the final statement of the major theme, based on a descending triad. There is a restless period of bass viol and drums, into which Saussy introduces a light, playful melody reminiscent of the humor of Shostakovitch. The piece ends on a furious chromatic descent of thirds.
The Centaur: An unusual construction built on the diatonic scale. The opening phrases are abstract and academic, but the excursion opens into a warmly interesting jazz chorus employing an exciting variety of harmonics. Saussy closes this piece with a reiteration followed by a diminishing descent of triplets.
Scherzo With Slapped Bass: Moore's consummate knowledge of bass viol techniques is made perfectly clear here. Notice the piano's frenetic duplication of his slapped triplets in the middle section and at the coda.
Vienna: Whereas the rhythmic accompaniment is playing in three-quarter time, Saussy is playing with a decidely five-quarter feeling. The first section abounds with melodic imitations and inversions – a pleasant four-part counterpoint – and after a sprinkling of light cadenzas, Moore and Kirkham set a driving rhythmic stage for an elevating passage which resolves into a variation on the opening statement.
The Fool: A delightful divertisement that brings to mind the handsprings, funny faces, and other antics of the court fool.
On the 1965 album "A Swinger's Guide to Mary Poppins" by Fred Foster :
Here is Mary Poppins as you've never heard it before. Tupper Saussy's warm, amusing piano and Charlie McCoy's engaging harmonicas (he uses several, and often changes instruments in the midst of a melodic line) take the magical Poppins music through the realm of jazz, giving it fresh, new life.
Saussy admits that there was a temptation for the group to make the astonishingly simple chords of the original Sherman score more complex, which is the usual approach in jazz interpretation. "But rather than transform Mary Poppins to contemporary jazz harmonies," Saussy says, "we decided to apply a contemporary jazz feeling to the Mary Poppins aura, thus preserving the original intentions of the composers."
The music on this album, therefore, is quaint and swinging.
Of Tupper Saussy, CASHBOX Magazine said: "Once every few years a jazz 88'er emerges with such drive and vitality that he stands head and shoulders above his peers. Tupper Saussy is such a pianist." On Saussy's first album, DISCOVER TUPPER SAUSSY (Monument MLP 8004 SLP 18004), Dave Brubeck said: "A great talent has just begun to emerge ... his playing knocked me out."
Charlie McCoy's earthy harmonica is oft recorded and can be heard on dozens of hit pop records. Working with the Saussy group, this is his jazz debut.
Doug Kirkham, drums, and Bob Moore, bass, have worked with Saussy for years. Not long ago, Moore's orchestra enjoyed a huge success with its recording of MEXICO on Monument.
Within this album is a wide range of emotions, from the haunting CHIM-CHIM-CHEREE to the driving SUPERCALIFRAGILISTICEXPIALIDOCIOUS; from the windswept LET'S GO FLY A KITE to the wistful STAY AWAKE; from the knock-down, drag-out STEP IN TIME to the plaintive FEED THE BIRDS.
Whether or not you're a jazz buff, you're sure to welcome this fresh look at one of the happiest motion pictures ever made.
Incidentally, Tupper saw the film (three weeks after it opened in Nashville) on a cold, rainy evening at the 9 o'clock showing. Inside the theatre were 23 adults and one child.
He could hear every word the actors spoke.
Fred Foster President, Monument Records
Members[edit | edit source]
on the 1954 10" "Jazz at Sewanee":
Chuck Kneeland - Bass
Bobby Barbham - Drums
Ken Followill - Guitar
Tupper Saussy - Piano
on the 1963 album "Discover Tupper Saussy" :
Bill Justis - Arranged By
Bill Porter - Engineer
Dave Brubeck - Liner Notes
Fred Foster - Producer
Bill Vandervort - Technician
Tupper Saussy - Piano
on the 1964 album "Said I to Shostakovich" :
Loyce Moore - Bass Viol
Doug Kirkham - Percussion
Tupper Saussy - Piano, Written-By
Bill Porter - Engineer
Fred Foster - Producer
on the 1965 album "The Singer's Guide to Mary Poppins" :
Tupper Saussy - piano
Charlie McCoy - harmonica
Doug Kirkham - drums
Bob Moore - bass
Fred Foster - liner notes
Releases[edit | edit source]
as The Tupper Saussy Quartet:
1954: "Jazz At Sewanee" (10") on RCA, cat# 30M-2105
as Tupper Saussy:
1963: "Discover Tupper Saussy on Monument, cat# SLP-18004
1964: "Said I To Shostakovitch" LP on Monument, cat# SLP 18027
as The Tupper Saussy Quartet with Charlie McCoy:
1965: "The Swinger's Guide to Mary Poppins" LP, on Monument, cat# SLP 18034
External references[edit | edit source]
https://www.discogs.com/artist/7733005-The-Tupper-Saussy-Quartet
http://www.rsteviemoore.com/kitscans/tupper.html
https://rateyourmusic.com/artist/tupper_saussy
http://weeklywire.com/ww/05-18-98/memphis_n_fea.html
https://www.npr.org/2007/04/01/9269288/tupper-saussy-an-elusive-nashville-cat?sc=emaf