A MORTONIAN PARADISE, PLUS (ANDREW OLIVER / DAVID HORNIBLOW): A BLOG, TWO VIDEOS, and an e-78, TOO.

When I go to my computer in the morning — a twenty-first century act as natural to us as making a fire in the stove for breakfast must have been years ago — and I see that the Complete Morton Project (a/k/a Andrew Oliver at the piano and David Horniblow at the clarinet, bass clarinet, or alto saxophone) has been at it again while I have been sleeping or attempting to grade student essays, my first feeling is pride — pride that I am living in a world where such beauty is being regularly given to us for free.  Of course, my second thought is, “Oh, no!  I’m falling behind!”  But David and Andrew have been very forgiving, and I have received no lowered grades for tardiness.  And they offer their creations open-handedly and open-heartedly.

Here is the aptly named PEP:

and the NEW ORLEANS BUMP, which should induce dancing everywhere.

I especially like David’s growly evocation of Cecil Scott and other “dirty” clarinetists — the world as it was before Benny smoothed everything out:

There’s more information and music here on Andrew’s blog — which also shows off the considerable talents of the Vitality Five and the Dime Notes — and you can subscribe to these weekly YouTube bouquets of sound here.  And (while I was tidying up the kitchen) the Vitality Five issued their February 2018 e-78: details here.

How will I keep up?  I don’t know.  But it’s a delightful struggle for sure.

May your happiness increase!

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BIRD, BECKETT, and THE BEAT: JEFF HAMILTON, CLINT BAKER, ROBERT YOUNG (February 16, 2018)

That’s Jeff Hamilton, piano; Clint Baker, cornet; Robert Young, bass saxophone, brought to us by rara avis Eric Whittington of Bird & Beckett Books at
653 Chenery Street, San Francisco, California: (415) 586-3733, and captured on video by the indefatigable RaeAnn Berry of that same city.

Photograph by Angela Bennett

I needed to share CRAZY RHYTHM with you for Jeff’s splendidly playful introduction and what happens next:

Clint switches to clarinet for IF I HAD YOU:

and sings on a frolicsome I’M CRAZY ‘BOUT MY BABY:

What musical evening would be complete without Alex Hill’s DELTA BOUND?

Bird and Beckett offers a variety of music, readings — a wise comfortable place.  And books.  Of course.

At this writing, RaeAnn has posted fifteen videos, found here.  Her YouTube channel introduced me to the wonders of California hot almost a decade ago, so I value her continued work.

And to Clint, Jeff, Robert, and Eric: thanks for keeping the heat on.  We need it.

May your happiness increase!

BEAUTY, SO RARE: HIDDEN TREASURES FROM JAZZ AT CHAUTAUQUA: JON-ERIK KELLSO, SCOTT ROBINSON, BOB HAVENS, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS (September 23, 2012)

When it’s good, you know it.  When it’s sublime, you feel it.  Here are four previously unseen treasures from the sprawling JAZZ LIVES vault of video sweetness, recorded at the Hotel Athenaeum in Chautauqua, New York, on September 23, 2012, during the delightful gathering of cosmic energies once called “Jazz at Chautauqua,” the creation of Joe Boughton and then Nancy Hancock Griffith.

We take so much for granted, and on paper, this set might just have seemed another pleasing interlude in a long weekend of delights — a Sunday-brunch set focused on the music of Louis Armstrong.  With other players, even such an inspiring theme could have turned into genial formula.  But not with Jon-Erik Kellso, trumpet; Bob Havens, trombone; Scott Robinson, metal clarinet, tenor saxophone, and taragoto; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.

How they soar.  How tenderly they caress the music.  You’ll experience it for yourselves.

First, a WEARY BLUES that gently piles delight upon delight, a  great piece of Hot Architecture reaching toward the sky:

and, with some priceless commentary from Scott Robinson — erudite comedy gently coming to earth as a loving tribute to Joe Muranyi, who loved to play BIG BUTTER AND EGG MAN:

“Right on it,” as they say, with Mr. Robinson on the tenor, for ONCE IN A WHILE, where the rhythm section shines:

If the closing ninety seconds of that performance doesn’t make you jubilant, then perhaps you should consider seeing a specialist.

What could be better to close off such a glorious episode than an expression of gratitude, in this case, THANKS A MILLION, beginning with a Kellso-Sheridan duet on the verse:

I find that performance incredibly tender: gratitude not only from the musicians to the audience, but to Louis and the worlds he created for us.

Perhaps it’s true that “you can’t go home again,” but if I could book a flight to Buffalo in the certainty that I would see this band again, I’d be packed and ready.  Maybe it’s because I can’t get back to this morning in September 2012 in some temporal way that I feel so deeply the precious vibrations these ministers of swinging grace offer us.  Bless them.  It was a privilege to be there, an honor to be allowed to capture this for posterity.

Watch this with full attention; savor it; share it; exult in it.  Let us never take beauty for granted.

May your happiness increase!

SWAT THE DIRT: DAVID HORNIBLOW / ANDREW OLIVER PLAY MORTON (and an e-78 as well!)

As the Silvercup bread sign used to say, radiant in the night sky, BAKED WHILE YOU SLEEP.  Or SWUNG WHILE YOU REST.  Whatever: those men are here again, David Horniblow, clarinet and bass clarinet; Andrew Oliver, piano — for their and our weekly benevolence of Jelly Roll Morton.

That Tinge again . . . sensuous and undulating (a composition Jelly only recorded for Allan Lomax at the Library of Congress sessions):

Here’s DIRTY, DIRTY, DIRTY — a 1940 composition that sounds as if it is going to be very simple and has its own twists and turns.  (I wonder how often it was played on the jukeboxes?)  And the combination of low-register bass clarinet and luminous piano is quite intoxicating:

Subscribe to their YouTube channel here — or enjoy all six offerings with fine commentary on Andrew’s blog here.  Fine music, intelligent compact explications, and inspiring generosity from these two stellar players.

Wait.  You haven’t had enough IRRESISTIBLE JAZZ for the moment?  Look at what The Vitality Five is up to, and you’ll recognize some splendid hot players here as well (David, Andrew, Michael McQuaid, Nicholas Ball, Martin Wheatley):

May your happiness increase!

A SUNNY BLUES IN F: THE FINALE TO “FOREVER WEIRD” (The Kitchen, December 9, 2017) featuring THE MICROSCOPIC SEPTET, THE JAZZ PASSENGERS, and THE KAMIKAZE GROUND CREW

For the story behind this riotous explosion of joys, please visit part one and part two of JAZZ LIVES’ exclusive multi-media coverage, where I posted all of The Microscopic Septet’s set.  Very little could follow Dave Sewelson’s passionate singing of I GOT A RIGHT TO CRY, but saxophonist-visionary Phillip Johnston did not want us to go out into the snowy night feeling lachrymose.

He’d asked members of the other two bands, the Jazz Passengers and the Kamikaze Ground Crew, to hang around for the finale if they felt like it (and no one wanted to miss anything the Microscopic Septet was playing) so at the end, he assembled a giant “JATP-style” jam session on a blues in F he’d written, DON’T MIND IF I DO, for the three bands.

It was clear that if everyone took even twenty-four bars apiece, we would be at the Kitchen well past closing time, so the musicians quickly arranged to play solos in tandem, trade choruses or parts of choruses — a heartwarming reminder that improvisation is more than simply playing one’s instrument, and a delightful reminder of the great players of the Thirties and Forties who could create a whole short story in eight bars.

Here’s the result, first a few minutes of jovial rustling-around, which I think is priceless, then ten minutes of rocking cheerful collective improvisation:

and a lovely postscript, an appreciative review by “TG” in THE NEW YORK JAZZ RECORD:

What a gift to everyone at The Kitchen, which (with the permission of the three bands) I am now able to share with you.

May your happiness increase!

FEBRUARY 14, AT AN ANGLE

This song was a hit in 1931-2.  YouTube offers many amiable dance-band recordings.  Here I present four, two modern and two classic.

George Probert, soprano; Chris Tyle, cornet, vocal; Mike Owen, trombone; John Royen, piano; Lars Edegran, guitar; Bernie Attridge, string bass; Hal Smith, drums.  1998.  (Thanks to Chris for singing and playing from the heart.  And Hal keeps everyone pointed in the right direction, heartbreak or no.)

Bobby Gordon, clarinet; Keith Ingham, celeste; Hal Smith, drums.  1996.

THE performances, when the song was new, including the verbally treacherous verse, with Bing at one of his many peaks.

Finally, Louis and the Chicago band — with that muted lead.  “Bring it out, saxophones!” And the final bridge, a history of jazz in itself:

If Valentine’s Day is to you just a celebration of commodified love, it will pass.  When the stores close for the night, the tired sales help is already putting 50% OFF stickers on the candy boxes, but it would be gauche to bring some chocolate to the Love Object on the 15th.

The music, however, rings on wonderfully without interruption.

May your happiness increase!

IT’S SAD BUT TRUE: UNA MAE CARLISLE (1915-56)

If Una Mae Carlisle is known at all today, it is as a jazz footnote and “friend-of”: protege (perhaps mistress) of Fats Waller; singer on the lone and lovely record date that Lester Young’s band did in 1941; composer of WALKIN’ BY THE RIVER, someone recording with Danny Polo, John Kirby, Big Nick Nicholas, Buster Bailey, Ray Nance, Budd Johnson, Walter Thomas.  Sadly, her life was very short, made even shorter by illness.  I propose that she deserves admiration for her own art, not just for her associations with greater stars.

Una Mae had all the qualities that would have made her a success, and she did get some of the attention she deserved.  She had a big embracing voice; she could croon and swing; she was a splendid pianist — more than a Waller clone.

Here are two samples of her genial, casual art, in 1940 and 1941.  First, the song she composed (its title suggested by John Steinbeck).  The wonderful small group is Benny Carter, trumpet; Everett Barksdale, guitar; Slam Stewart, string bass; Zutty Singleton, drums.  Una Mae plays piano. Were Ed Berger here with us, he could tell us how Benny came to be in that studio — perhaps a rehearsal for his own Bluebird big-band date a few days later:

Here is one side from the famous session with Lester Young, Shad Collins, Clyde Hart, John Collins, Nick Fenton, Harold “Doc” West in 1941:

I come from that generation of listeners who discovered the sides with Lester through a lp compendium called SWING! — on Victor, with notes by Dan Morgenstern.  I think I was not alone in listening around Una Mae, regarded at best as someone interfering with our ability to hear Lester, purring behind her.  But if we could have shaken ourselves out of our Prez-worship for three minutes, we would have found much pleasure in Una Mae’s singing for its own sake, not in comparison to Billie.  As I do now.

This small reconsideration of Carlisle’s talents springs from a nocturnal prowl through eBay, then on to YouTube, then Google, then here — a familiar path, although the stops are not always in that order.

First, an autographed postcard, 1940-2, when she was recording for Bluebird:

I then visited  YouTube to find — to my delight — two brief but very entertaining film clips (from the 1948 BOARDING HOUSE BLUES) where her magnetism comes through:

I savor her ebullience — while trying to ignore the thinness of the song (which, in fairness, might be more sophisticated than GOT A PENNY, BENNY, which Nat Cole was singing a few years earlier) — and her expert piano work, with its small homages to Fats and Tatum.

I write the next sentence with mixed emotions: it cannot have hurt her fame in this period that she was slender and light-skinned.  Had she lived, she might have achieved some of the acclaim given other singer-entertainers, although I wonder if her easy accessibility would have hampered her with the jazz purists of the Fifties, while making her a pop star of sorts.  Certainly her last recordings (1950) show her being targeted for a large popular audience, which is to say the songs are awful and beyond.

The other song from BOARDING HOUSE BLUES is equally thin, built on RHYTHM changes — but it is not the THROW IT OUT YOUR MIND that Louis and the All-Stars performed in WHEN THE BOYS MEET THE GIRLS (1965):

Looking for more information on Una Mae, I found that others had — admiringly and sadly — done deep research here and elsewhere.  Because the internet encourages such digressions, I now know more about mastoiditis than I would have otherwise.  It shortened her life.  The disease is now rare.

I present all this as a collage in tribute to someone who should not be forgotten.  And I think of Una Mae as one of the talented people who died just short of great fame.  I can imagine her, as I can imagine Hot Lips Page, on the television variety shows of my childhood, appearing in the nightclubs I was too young to go to.

Although the lyrics are those of a formulaic love song, the mood is apt for her epitaph.  May she live on in our hearts:

May your happiness increase!