It is possible I have clothing older than jazz trombonist Charlie Halloran, but I am thrilled to let you know about his CD, which contains some wonderful music.
The first thing you might notice about the disc’s cover above — leaving aside the energetic graphic design — is that it advertises a band rather than a soloist, and that is all to the good. When you notice that Charlie has surrounded himself with people who have been making recordings longer than he has — their names follow this extended sentence — you know that he knows quality, as do they.
Who are those people surrounding Mister Halloran and his slide trombone? How about Tim Laughlin, clarinet; Steve Pistorius, piano; Tom Saunders, string bass; Charlie Fardella, trumpet; Walter Harris, drums; Jimbo Mathus, vocals. I know half of this band personally, and even if I’d never heard the CD, their presence would be a living testament to their faith in Charlie and the sincerity and joyous wisdom of his music.
Back to the band and to the overall idea of this disc. Since it is a band whose members embody an ensemble tradition in their work, something is always going on, even surreptitiously, throughout each of the tracks. In fact, the music is dense with surprises: backgrounds behind a soloist, interesting ensemble modifications, a rhythm section that is part Second Line, part timeless Mainstream. But everything has a fluid romping motion underneath it.
And each of the front-line players is perfectly poised, a distinctive voice, immediately recognizable. I’d call the general aesthetic of this disc a modern version of hot lyricism. The Quality 6 swings throughout — no tempo too slow or too fast for dancers — but every note has a particular singing quality. And Jimbo’s voice, tough-tender, is the perfect counterpart to the instrumental glories.
You’ll know that a great deal of music is marketed these days as “authentic” New Orleans. I keep away from any debates on authenticity, but will say only that the music on this disc is not loud jive for the tourists, nor is it museum-safe reverent recreation. It sounds like music, where the individuals are fully aware (in the most affectionate ways) of the tradition but know that their task on the planet is to express themselves — and that’s glorious.
The repertoire is another treat. There are times in my life when a beautifully done JUST A CLOSER WALK WITH THEE has hit the spot, but I take a special pleasure from picking up a disc and seeing, “Wow, they’ve done that song? I can’t wait to hear what they’ve done with it.”
The songs are: In The Gloaming / Bouncing Around / St. Louis Cemetery Blues / Dreaming The Hours Away / The Ramble / Let’s Put Our Heads Together / Beautiful Dreamer / Memphis Blues / If We Never Meet Again / Weather Bird / June Night.
I asked Charlie for his thoughts on the repertoire, and he told me, “Most of these tunes are songs I’ve learned in the past 4 or 5 years and just don’t have the opportunity to play very often. Although, as I’m playing with these veterans more, that is starting to change. I play Dreaming the Hours Away with Steve Pistorius pretty regularly and Tim has been calling If We Never Meet Again at the Palm Court recently. St. Louis Cemetery Blues is a Squirrel Nut Zippers song that we never played when the band was touring, so I really wanted to get that down and have Jimbo, the composer, sing it. I share his love of Stephen Foster, so I thought he would be perfect for Beautiful Dreamer, the arrangement and cadenza I ripped off a bootleg recording of Pops on the Ed Sullivan show via Ricky Riccardi. The Ramble is from those killer, Lawrence Brown heavy, recordings of the Paul Howard band. I get a kick out of how the song holds up to a New Orleans treatment. Bouncing Around I’d only ever played from the music with Orange Kellin’s band. I was trying to give it more just a raggy feel, how a band where not everybody could read might play it, half from memory, approximation. June Night I learned from Ed Polcer, Weather Bird I was thinking of those Jelly Roll trios as much as the Louis/Hines version.
A few more words about Charlie (someone who knows his history but is not condemned to repeat it). The trombone is a delicious but devouring instrument, one that leads the incautious into acrobatics, self-parody, or restrictive styles. Charlie clearly knows the whole range of the instrument from Ory to the present, and although I hear echoes of other big-toned players from Quentin Jackson to Benny Morton to Sandy Williams to Teagarden, what I hear most is an affecting personal synthesis of the Past — operating gleefully and skillfully in the Present. (Did I say he was a wonderful ensemble trombonist, someone who knows how just the right harmony or the right epigram can add so much in just a few notes? And although he knows and can do a properly rough-hewn style, he loves melody and has a deep awareness of contemporary traditional jazz — which words should not scare anyone away. Nothing is fake or faux or glaring here. It all sounds good.)
Enough words for the moment.
Here’s a minute with this amiable expert fellow:
Charlie’s biography, for those who like that thing, is here.
Young Mister H is not someone I greet at the beginning of his brilliant career. He’s already living it, and his debut CD shows it beautifully. The only fault I could find with this issue is that it isn’t a two-disc set. And I do not write those words casually.
May your happiness increase!