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Sex & Drugs & Jazz & Jive: Top Ten Stash Records Albums

An early viper, today Bernie Brightman lives in a nice, renovated brownstone overlooking Prospect Park in Brooklyn. A charming, good-humored, graying hipster who at the ripe age of 53 chucked his middle-class businessman’s trip and went back to his reefer roots to establish Stash Records
Larry Sloman in Reefer Madness: The History of Marijuana in America (1979)
Brightman came of age during the late 1930s, when, following a paradigm-shifting night at the Savoy Ballroom in 1938, he became a jazz fanatic and weed connoisseur. Unknown to his conservative parents, he spent much of his free time over the next few years hanging out uptown cultivating his new interests. Brightman's world view was much like that of the self-professed "white negro" and fellow viper

Mezz Mezzrow
clarinet1899 - 1972
Before founding Stash, Brightman dutifully worked in the family business, Brightman Products, which made top-end ladies' handbags. The firm was headquartered on Fifth Avenue and had showrooms in Chicago, Dallas, Los Angeles, Pittsburgh and Miami. Brightman's father passed in 1962. Brightman was by then running his own real estate company. A decade later the family sold the handbag business and Brightman used his inheritance to set up Stash.
Brightman had big ears and Stash's newly recorded albums spanned

Sun Ra
piano1914 - 1993

Miles Davis
trumpet1926 - 1991

Charlie Parker
saxophone, alto1920 - 1955

Earl Hines
piano1903 - 1983
In 1994, Stash subsidiary Daybreak released a musically unremarkable but headline-grabbing recording of President Bill Clinton playing tenor saxophone with a local jazz band during a visit to Czechoslovakia. (Clinton, incidentally, admitted to smoking weed at college but famously said "I never inhaled." As in "I never had sex with that woman" perhaps. But, hey, you can forgive most things in a President who enjoyed jazz).
An early champion of women in jazz, in 1977 Brightman released the double album Jazz Women: A Feminist Perspective, a swing-era compilation. In 1982, he recorded and released one of the few albums made by the criminally underrated and in 2020 largely forgotten swing-to-bop guitarist

Mary Osborne
guitar1921 - 1992

Charlie Christian
guitar, electric1916 - 1942
Brightman ran Stash until he retired in the early 1990s. He passed in 2003, aged 82 years.
Here are 10 of the best Stash albums, released between 1976 and 1990.
STASH RECORDS: 10 FAT ONES

Reefer Songs: 16 Original Jazz Classics
1976
Marijuana prohibition in the US began in the 1920s, when laws criminalizing its possession were introduced in around a dozen states. By the late 1930s, the clamp-down had gone coast to coast, the result of legislative panic induced by hysterical newspaper stories and the 1936 movie Reefer Madness. Stash's debut release is a collection of once-heard, never-forgotten jazz and blues singles celebrating reefer culture which were originally released between 193238. Standouts include

Don Redman
arranger1900 - 1964

Andy Kirk
drums1898 - 1992

Cab Calloway
composer / conductor1907 - 1994

Georgia White
vocals1903 - 1980
Bob Howard
b.1906Reefer Songs struck a chord with a new generation of vipers and over the next two years Bernie Brightman released more albums in the same vein, notably Tea Pad Songs Vol. 1 and Vol. 2 and Weed: A Rare Batch. Another album, 1976's Pipe, Spoon, Pot & Jug, broadened the pharmaceutical recipe to include swing-era songs about opium and cocaine.

AC-DC Blues: Gay Jazz Reissues
1977
With AC-DC Blues, Stash delivered another whammy to "right thinking" society. The tracks, originally released between 1927 and 1936, are about gay people and gay sex. Some are sympathetic, some are simply observational, nonecontemporary terminology notwithstandingare judgemental. In 1935's "B.D. Woman's Blues," Bessie Jackson voices her admiration for butch women (the B.D.s or bull dykes referenced in the song title): "Comin' a time, B.D. women, they ain't gonna need no men....they can lay their jive like a natural man." In 1927's "Foolish Man Blues," however,

Bessie Smith
vocals1894 - 1937
AC-DC Blues followed Stash's unabashedly salacious 1976 collection Copulatin' Blues. Highlights include Bessie Smith's "Do Your Duty" and "I Need a Little Sugar In My Bowl," Lil Johnson's "Press My Button (Ring My Bell)," Lucille Bogan's "Shave 'Em Dry" and Georgia White's 'I'll Keep Sittin' On It (If I Can't Sell It.)" How did the singers get away with these songs in the 1930s? Because they were African Americans making records for other African Americans and as such were mostly off the radar of establishment censors.

Now And Then
1982
A child prodigy, Mary Osborne had her own radio show in her hometown in North Dakota when she was 12 years old, singing country songs and accompanying herself on the guitar. Around 1937, when she would have been 16, she heard Charlie Christian play in a local club. Osborne sat in with the band and became an aspiring jazz musician on the spot. In 1940, she moved to New York City, where she was a regular on 52nd Street, accompanying headliners such as

Mary Lou Williams
piano1910 - 1981

Billie Holiday
vocals1915 - 1959

Benny Goodman
clarinet1909 - 1986

Luiz Bonfa
guitar, acoustic1922 - 2001

Duke Ellington
piano1899 - 1974

Johnny Mandel
arrangerb.1925

Plays The Music Of Don Redman
1982
There's a weed connection in this tribute to swing-era composer and arranger Don Redman. In addition to Reefer Songs' "Reefer Man," Redman was the composer of the haunting instrumental "Chant of the Weed," which is included here (there's also a great version on

Gil Evans
composer / conductor1912 - 1988

Budd Johnson
saxophone, tenor1910 - 1984
George Kelly
b.1915
Rex Stewart
trumpet1907 - 1967

Jay McShann
piano1909 - 2006

Bucky Pizzarelli
guitar1926 - 2020
Richard Wyands
pianob.1928

George Duvivier
bassb.1920

Butch Miles
drumsb.1944

Manhattan Projections
1986
Recorded in 1984, pianist and arranger

Andy Jaffe
piano
Branford Marsalis
saxophoneb.1960

Wallace Roney
trumpet1960 - 2020

Marvin "Smitty" Smith
drumsb.1961

Viewpoint
1987
Another undeservedly obscure album recorded by another distinguished lineup. Trombonist

Steve Turre
tromboneb.1948

Bob Stewart
tubab.1945

Jon Faddis
trumpetb.1953

Mulgrew Miller
piano1955 - 2013

Idris Muhammad
drums1939 - 2014

J.J. Johnson
trombone1924 - 2001

Cedar Walton
piano1934 - 2013

Billy Higgins
drums1936 - 2001

Infinity
1988
Recorded in France and picked up for US release by Stash, the little known Infinity by vibraphone and marimba player

Khan Jamal
vibraphoneb.1946

Pharoah Sanders
saxophone, tenor1940 - 2022

Alice Coltrane
piano1937 - 2007

Byard Lancaster
saxophone1942 - 2012

Sunny Murray
drums1937 - 2017

Ronald Shannon Jackson
drums1940 - 2013

Beauty Based On Science!
1988
Beauty Based On Science! was the fourth album by Downtown New York serio-comic jazz-pranksters the

Microscopic Septet
band / ensemble / orchestra
John Zorn
saxophone, altob.1953

Art Ensemble Of Chicago
band / ensemble / orchestra
Dance
1988
" data-original-title="" title="">Kamal Abdul-Alim's soul-jazz chef d'oeuvre, Dance, has the trumpet and flugelhorn player fronting a deep-pocket septet which includes saxophonist

James Spaulding
saxophone, altob.1937

Rahsaan Roland Kirk
woodwinds1935 - 1977
Rahn Burton
b.1934
Idris Muhammad
drums1939 - 2014

Bobby Watson
saxophone, altob.1953

Live In Holland
1990
This concert recording of the Miles Davis Quintet is a distinguished near-swansong for Stash. It was recorded in Den Haag in April 1960, a year and a few days after the completion of Kind Of Blue (Columbia, 1959). It features that album's band without alto saxophonist

Cannonball Adderley
saxophone1928 - 1975

Bill Evans
piano1929 - 1980

John Coltrane
saxophone1926 - 1967

Wynton Kelly
piano1931 - 1971

Paul Chambers
bass, acoustic1935 - 1969

Jimmy Cobb
drums1929 - 2020
Photo: Have a marihuana. Part of the promo poster for Reefer Madness (1936).
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