Daily Archives: January 2, 2012

LOUIS ARMSTRONG MONTH (January 2012) with RICKY RICCARDI at the NATIONAL JAZZ MUSEUM IN HARLEM

What could be simpler?  The fine Louis Armstrong scholar Ricky Riccardi given room to stretch out at the National Jazz Museum in Harlem during January 2012.  (The Museum is located at 104 E. 126th Street • Suite 2D • New York, New York 10035.)

Here’s Ricky’s sketch of his presentations at the Museum — and one where he’ll be joined by “the All-Stars,” David Ostwald, Dan Morgenstern, and George Avakian:

January 3 – 7 p.m. Birth of the All Stars 1947-1953

On this night, I’ll chart the birth of the All Stars, covering Town Hall, Carnegie Hall, Symphony Hall, Edmond Hall, Earl Hines, the early Decca pop hits, Louis as King of the Zulus, the bop wars and a lot more.

January 7 – 12-4 p.m. Ricky Riccardi and The All Stars

This is the one you don’t want to miss as I’ll be leading a panel comprised of David Ostwald, Dan Morgenstern and George Avakian (aka The All Stars) to talk about the last 25 years of Louis’s life: seeing Louis live, visiting with him at home, working with him in the studio, dealing with Joe Glaser, Louis the civil rights pioneers, myths about the All Stars, you name it. I’ll have my trusty iPod and a bunch of DVDs so anything that comes up (or is requested) will also be played.

January 10 – 7 p.m. Louis on film

This event will take place at The Maysles Institute (343 Malcolm X Blvd / Lenox Ave, between 127th and 128 streets). After I started my Armstrong blog in 2007, I became something of a repository for rare Armstrong footage, with collectors around the world sending me DVDs of Louis on TV and in performance. I’ll be screening some of my favorite gems this evening, spanning 1950 to 1971.

January 17 – 7 p.m. Ambassador Satch 1954-1957

Back to my chronological exploration of the All Stars, this was a very thick period so I’m going to take my time, discussing the “W. C. Handy” and “Satch Plays Fats” albums, the “Ambassador Satch” tour, the Edmond Hall edition of the All Stars, projects like “Satchmo: A Musical Autobiography” and “Porgy and Bess” and Louis’s offstage stances on Little Rock and his refusal to go back to New Orleans.

January 24 – 7 p.m. Hello, Dolly! – 1958-1964

Continuing the journey, I’ll deal with Louis’s massive European 1959 tour (I’ll show some footage, too) and heart attack in Spoleto that same year. I’ll also focus on the many great projects that Louis embarked on in the early 60s with Dave Brubeck, Duke Ellington and the Dukes of Dixieland. This evening will culminate with the recording of “Hello, Dolly” that put Louis back on top.

January 31 – 7 p.m. What a Wonderful World – 1965-1971

The final evening will close the story, opening with Louis’s triumphant tour of the Iron Curtain in 1965 and following that with his gradual decline as his health–and chops–began to fade. I’ll have plenty of rare audio and video this evening, going right up to last year of Louis’s life.

If you can’t get to the museum, you can visit Ricky’s blog here

Or you can investigate his thoroughly entertaining book here

Every month is Louis Armstrong Month, but let’s (in the words of Irving Berlin) start the New Year right!

Advertisements

“DEAR BIX”: ANDY SCHUMM and his GANG at WHITLEY BAY, November 4, 2011 (thanks to Flemming Thorbye and Elin Smith)

Young Mr. Schumm may be one of the most avidly-recorded musicians in jazz, but he deserves every pixel and gigabyte for his clarion playing and easy, thoughtful leadership (watch how casually and effectively he shapes a performance onstage).

Here Andy and his most excellent colleagues create a swinging homage to that other young man from Davenport, Iowa.  All this took place just after lunch on the first day of the 2011 Whitley Bay Classic Jazz Party.

Once again I am relying on the kindness of video-friends for this material: the very generous Elin Smith and the globe-trotting Flemming Thorbye.

Flemming and I knew each other through YouTube and through email, but this was our first encounter in person: he’s just as amiable live as he is in cyberspace, no small accomplishment.  You can see much more of his jazz — including one of the best bands I know, the Scandinavian Rhythm Boys, here.

The Gang features Andy on cornet,with Norman Field, reeds; Kristoffer Kompen, trombone; Martin Wheatley, banjo and guitar; Paul Asaro, piano; Frans Sjostrom, bass saxophone; Josh Duffee, drums.  I mean no disrespect to the players, now dead, whose voices we hear on the OKehs, Victors, and Columbias — but this Gang swings along with a grace that comes from their current vantage point on the music they inhabit.

An easy-rocking SUNDAY (Elin) begins with an instant improvisation on the theme by Norman on C-melody, then everyone gets a taste: admire Martin Wheatley’s solo and backing to Frans, then the young daredevil Kristoffer:

CLARINET MARMALADE (Thorbye) starts hot and doesn’t let up — enjoy Norman’s ruminative second chorus and Paul Asaro’s James P. Johnson flourishes. (A digression: the balding fellow with a video camera at the bottom right is your humble correspondent — watching yourself from the back is an odd experience. Memo to self in 2012: try to sit still):

BALTIMORE (Thorbye) is another of those endearing Twenties songs named for a dance craze that might never have existed.  Or have we explored this question already?  The music, the music transcends. Praise to the Master, Frans Sjostrom, and his colleagues in the back row:

For those who like exercises in comparative viewing, here’s Elin’s take on BALTIMORE:

And — thanks to that Queen of the Dance, Bridget Calzaretta, here’s a link to silent footage of happy Brits doing the BALTIMORE, synchronized to a Fred Rich record of the song:

Hoagy Carmichael’s FREE WHEELING, later RIVERBOAT SHUFFLE (Thorbye) is taken at just the right tempo — with the ghosts of Jelly Roll Morton and Jack Teagarden visiting for brief interludes.  Those in the know will catch and laugh at Andy’s editorial commentary during the breaks in the final chorus:

SINGIN’ THE BLUES was one of the Bix records that caught and held me four decades ago — this version has much of the same balance between forward propulsion and sweet musing.  Thanks to Elin:

This version of YOU TOOK ADVANTAGE OF ME (Elin) doesn’t have Bing, but Andy and Norman embark on a chase chorus that’s original but won’t scare the children:

THAT’S MY WEAKNESS NOW (Thorbye) is — if we’re going to be candid — a bouncy Twenties tune without much scope.  But, once heard, I can’t get it out of my system.  This version stuck, too — pay close attention to Josh, pushing the band along — not that these players need pushing!:

LOUISIANA (Elin) unites Bix, Bing, and Basie –a wholly trinity of creative music:

More to come!