Sutton Mutton - Carl Kress

Originally recorded on August 8, 1939, in New York City for the Decca Label, Sutton Mutton is one of Carl Kress’ more popular solo guitar compositions and can be found in Mel Bay's Masters of the Plectrum Guitar. Kress Recorded all seven of his solo guitar pieces between November of 1938 and August of 1939 with Peg Leg Shuffle and Sutton Mutton being the more jazz-themed of the seven. While Kress was a highly regarded, and well compensated, jazz guitarist in the 1930s, his portfolio of solo music effortlessly threaded the line between jazz and impressionism and using the word “jazz” alone to describe his compositions only dulls their uniqueness in the repertoire of jazz guitar. (I will reserve for another day a more thorough discussion about impressionism and Carl Kress as Sutton Mutton firmly leans towards the jazz idiom).

Sutton Mutton begins in cut time with bold chordal movement in Db major emphasizing a syncopated pulse that carries throughout the first 16 bars [Fig 1] (see Afterthoughts section regarding my thoughts on the first two measures). It is an assertive melodic line that outlines the Maj6 chord with chromatic movement between the 2nd and 3rd. Close intervals and second inversion triads add to the assertiveness of the first 16 bars while the syncopated rhythm maintains a jazz-tinged bounce. Unfortunately, The melody of the next seven bars doesn’t have the same weight as the first measure.

Fig 1

After the second ending of the first theme, the key changes to F major though the sheet music keeps it in Db. The key change to F major provides a contrasting softness to the first 16 bars’ sharp-edged tone. The new melodic theme is more open and outlines chord changes with larger interval jumps and use of extensions. But, it is the changed emphasis of the syncopated rhythm that provides the foundation to this contrasting section before quickly modulating back to Db for a reprise of the opening melody. The reprise ends with a five bar modulation in ¾ to G major and a gradual slowing of tempo. Playing the last five bars is a true exercise in finger control and strength and can be a challenge to many when trying to keep to what is written.

The middle section of Sutton Mutton moves to 4/4 and is played at a slower tempo*. It begins with a gentle melody and subtle bounce (encouraged by the dotted 16th notes) building to an expressive high G on the first string accentuated by the meno mosso (an immediate slowing of tempo). Whereas the first section makes use of jazz themes and is grounded in its use of chords as a source for melody the second section is impressionistic in nature with a bright and airy single note melody accentuated by its lack of chords supporting the melody. Kress foregoes a formal modulation back to Db and instead uses a briefly held arpeggiated Ab13 to lead us back to the original theme. Returning to the main theme and tempo, I tend to forego the written final 16 bars of Sutton Mutton and instead play the entire first section again ending with the last two bars of the piece as written while adding a Db major arpeggio and Dbmaj9 chord as did Bucky Pizzarelli on the April Kisses CD.

Those looking for an introduction to early jazz guitar will do well to spend time studying Sutton Mutton. The use of jazz themes and syncopation mixed with a middle rubato section should make this a candidate for anyone’s solo guitar repertoire. I have made a short lesson on the first eight bars of this song here for those interested.

Sutton Mutton - Lesson

Note: For those looking for further reading on Carl Kress and his solo compositions you will find The Guitar in Jazz: An Anthology by James Sallis a valuable companion.

*The written tempo is Moderato for the entire piece but the middle section only states, “Rhythmically but slowly”.

Afterthoughts...

The first six beats of Sutton Mutton [Fig 1] kept reminding me of something and it just wouldn’t go away until I figured it out. My introduction to this song was on Bucky Pizzarelli’s April Kisses. The CD contains several early solo guitar pieces by several different guitarists; One being George Van Eps. Going back to this CD for reference while writing this entry I realized that the first six beats of Sutton Mutton [Fig 2] were extremely similar to the first six beats of Squattin’ at the Grotto by Van Eps. What’s the correlation? Is there a correlation? Sutton Mutton was recorded in 1939 and Grotto was published in 1939 but beyond that I have nothing. I don’t know if Kress and Van Eps ever hung out together or played together so unless someone reading this wants to provide any insight I’m going to chalk it up to this type of chord movement and rhythm being a common mechanism for the chordal guitar players back then. P.S. George M. Smith’s Test Pilot has a related chordal mechanism and rhythm in the first two bars after the intro as well.