I don’t think I have to praise young Mr. Schumm in this post — the video clips I’ve been posting (my own, from Jamaica Knauer and others) are eloquent testimony. But here he is, surrounded by his musical elders, entirely comfortable, playing the music of Bix Beiderbecke that he loves, as well as a few rarities from the period. Those well-known elders are Bob Havens on trombone; Scott Robinson on reeds; Andy Stein on violin and baritone sax; James Dapogny on piano; Marty Grosz, who needs no introduction here; Vince Giordano, ditto; Arnie Kinsella, drums.
Andy opened his set with a slower-than-usual LOUISIANA, whose beginning I missed. I especially admire Dapogny’s tremolos behind Scott Robinson’s Lesterish clarinet, and the way that Andy leaps in. And Dapogny, playing the verse as an unaccompanied interlude, slyly reminds us that Mister Jelly was also in Chicago when Bix and the boys were visiting. I apologize deeply for the lurching of the camera near the end. Was I carried away with emotion or was it something more mundane? Either way, the jazz ship was in no danger of going down:
The second tune was ANGRY (it wasn’t really), which I associate with the New Orleans Rhythm Kings ans George Brunis, from the start of career to the end. That’s some rhythm section! Note the enthusiastic backing Arnie Kinsella gives Bob Havens, and the ferocious way Dapogny lets everyone know that he’s here at the start of his solo, emphasizing that three-note ascending phrase. The tuba isn’t always a melodic instrument, but Vince just forges ahead, creating long-lined inventions that stick in the mind. And I especially love it that Andy Stein said to himself, “This piece needs a baritone saxophone more than a violin,” picks his up, and boots the final chorus along energetically:
Next, from the Bix and Tram book (recording as “The Chicago Loopers”), the Fats Waller tune, I’M MORE THAN SATISFIED. Perfectionists will note that there is a moment, coming out of the ensemble, where the team seems to have forgotten the signals (and what was the esoteric meaning of Dapogny’s right-hand gesture to the band — was it “My hand hurts,” or perhaps, “Could we start this thing, for the love of Jo Trent”?) but the performance recovers nicely. Dapogny’s solo is a model of hot construction, and the rhythm section passage, with Vince finding his low notes and Arnie rocking the temple blocks, couldn’t be better:
And two rarities: ROSY CHEEKS (you can almost invent the bouncy lyrics without ever having heard it sung — it seems an illegitimate relative of BABY FACE, which makes sense in a plagiaristic way). Although few members of this group could have been intimate with the song, it seems to have simple, if not simplistic chord changes, and they leap right in. That no one in the house cheered when Scott Robinson concluded his energetically labyrinthine solo is a mystery indeed. Perhaps they were busily concentrating on their heaped-high plates of food? Notice how Arnie Kinsella drives the band along in the last chorus — his beat more nourishing than what was on those plates:
Then, a song recorded by Harold Austin’s Ambassadors for Gennett in 1930 (what resonance those words have) — an unusual pop tune called MONA*. Andy’s lead is, like Bix’s late work, a both poignant and urgent. The chorus split by and shared by Andy Stein (on baritone) and Scott (on metal clarinet) is a wonderful impromptu creation, again under-appreciated. And the band energetically takes it out, with Andy Schumm showing the way:
To conclude the set (perhaps to everyone’s relief), Andy called NOBODY’S SWEETHEART NOW, much more familiar material. Two endearing things happen at the end of the first ensemble chorus: Marty reaches forward and turns off the light on his music stand, because he doesn’t need it, and Arnie shifts into his own version of Jo-Jones-on-the-hi-hat, to encourage the congregation. Am I the only one who finds such shifts, when done masterfully, absolutely levitating experiences? And then, Scott whispers to Andy — certainly something about trading phrases. What happens next reminds me a great deal of Bix and Tram on YOU TOOK ADVANTAGE OF ME, except we know it’s being created there in front of our eyes, gloriously. More split choruses (Andy Stein and Marty, Vince and Arnie) lead into a final chorus that begins with some tentativeness and then gets heated in a nice “Chicagoan” way just in time for the last eight bars:
Yeah, man! And more Andy Schumm footage to come – – –
*There’s also a fascinating YouTube clip of Austin’s recording — a good hot dance band of the period, with a debatable vocal — that uses period phonograph advertisements as illustrations — don’t miss the naughty postcard and the Hebrew family illustrations! But you’ll have to search it out on your own.