Daily Archives: January 6, 2009

FABLED JAZZ VIOLIN DELIGHTS

 stuff-smith-plusI don’t ordinarily endorse the productions of an entire CD label, but Anthony Barnett’s ABFable series of reissues is something special: rare music, beautifully annotated and transferred, delightfully presented.  Barnett’s notes are erudite but never dull.  Each CD I’ve heard has been a joyous experience in preconception-shattering. 

I used to think of jazz violin improvisation beyond Joe Venuti and Stephane Grappelli as a mildly inconvenient experience.  Grudgingly, I acknowledged that it was possible to play compelling jazz on the instrument, but I was politely waiting for Ray Nance to pick up his cornet. 

Barnett’s CDs have effected a small conversion experience for me — and even if you don’t have the same transformation take place, they are fun to listen to over and over again. 

Visit www.abar.net for pricing and a wealth of fascinating information, including rare photographs. 

As I write this, my favorite of the three new issues below is PROFESSOR VISITS HARLEM, but the other two are neck-and-neck, with the pun wholly intentional. 

All of the ABFable CDs are also available through Cadence Magazine at www.cadencebuilding.com.   

 ABCD1-018 PROFESSOR VISITS HARLEM
or, Swingin’ Till the Girls Come Home

Anthology of Swing String Ensembles 1930s–1950s incl. unreleased tests and broadcasts
The first documentation of American and European mid-period adventures
in swing string ensembles with two or more bowed instruments
Includes a private jam session by Jimmy Bryant, Harold Hensley, Stuff Smith

ABCD2-019/20 BLOWS ’N’ RHYTHM
Fiddlin’ the Blues

The hottest bows in Rhythm ’n’ Blues, Blues ’n’ Rhythm, Rock ’n’ Roll
and Fiddle Curiosities 1939–1959
2CD anthology incl. 20 page booklet with essay by blues authority Howard Rye
including unreleased and rare discoveries by
Leon Abbey, Remo Biondi, Clarence Black, Clarence Gatemouth Brown, Jimmy Bryant
Pre-Papa Johnny Creach, Bo Diddley, Joe Giordano, Don Bowman aka Sugarcane Harris
Ray Nance, Richard Otto, Ray Perry, Stuff Smith, Eddie South, Ginger Smock and others
including unidentified violinists, one of which is an important addition to 2CD I Like Be I Like Bop
Includes two never-before-released Abbey tracks and eight newly identified Black tracks
six never-before-released Smith tracks and two newly discovered Smith rarities
two newly identified South takes and four newly identified Smock rarities

ABCD1-021 EDDIE SOUTH
Best Years of My Life
DARK ANGEL ALBUM SETS

Three eight–title album sets released in 1940 and 1946 under the title Dark Angel of the Violin
two of which have never before been rereleased in any form plus new transfers of a 1940 session on which
the South orchestra, augmented with members of the John Kirby orchestra, accompanies Ginny Simms
Important
These Dark Angel of the Violin album sets are not the 1944 Dark Angel of the Fiddle
transcriptions released on CD Soundies noted in CD links below

Advance subscription offer
Order direct from UK all four CDs (two singles, one double) and receive 12% discount

UK £41.50 / Rest of Europe €61.50 / US$69 including discount and airmailing
plus purchase any of our previous releases at half price

violin2

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FOUR STRINGS IN MY FUTURE?

Two days ago on Maui, we wandered into a second-hand store in Wailuku and I saw a beautiful ukulele hanging on the wall.  In the grip of musical hubris and hopefulness, I asked to see it and improvised a simple Thirties single-note riff, impressing the Beloved, who said, “I didn’t know you could play!”  “I didn’t either,” I replied.

mele-curly-kpa-tenor-2-holeSince I was quite young, I have made half-hearted attempts at learning a number of musical instruments.  Some of those nstruments ornament my apartment, although I am cautious lest it turn into a one-bedroom version of a music store / pawnshop. 

The ukulele has appealed to me for a long time, because I had the notion that it might be fairly simple to play — four strings rather than some more intimidating number, and not a great deal of aesthetic ambition attached to it (unlike, say, the violin).  It also has a Jazz Age history — on all the Twenties and Thirties sheet music I collect, the line above the treble clef has chord diagrams for imagined ukulele players to read off the page — and the diagrams are just my speed, a diagram of the four strings with a dot on each string to show where the novice should place his or her fingers. 

I haven’t bought the ukulele yet, although we visited the Mele store, where Peter (the resident self-taught virtuouso) tried to teach me to play YOU ARE MY SUNSHINE, with middling results. (I am a recalcitrant, stubborn pupil.)   The second-hand store was closed today, and I refuse to pay full price unless I am compelled to by circumstances.  I also don’t plan to turn into Arthur Godfrey, Don Ho, or Tiny Tim, never fear.  My aesthetic model is Cliff Edwards. I don’t aspire to starring in Technicolor, being the voice of a Disney character, or dying penniless, but his swinging insouciance is immensely appealing.

There are many wonderful Ukulele Ike clips on YouTube — too many to up or download, so you might want to investigate them on your own.  I’ll report back about the results of my four-string quest.

(On YouTube, you can also see a brief clip of Buster Keaton at home in 1965, happily croaking his way through “June Night,” accompanying himself on a tenor guitar with a fair deal of skill.  Who knew?)