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!