Why are these two men so elated?
Andrew (left), piano, and David (right) reeds, otherwise known to a loyal contingent of supporters as the Complete Morton Project, recently announced on Facebook that they have recorded the last of the Jelly Roll Morton compositions they set out to record more than a few months ago. By my count, they have created 94 videos. I’ve fallen behind, so this post is an affectionate but tardy attempt to gather up what you and I might have missed. Eleven of the best! And for inspired unstuffy commentary on the Morton cornucopia, visit Andrew’s blog here.
CROC-O-DILE CRADLE, never recorded, existing only in manuscript (found, I believe, by Vince Giordano):
The most excellent WOLVERINE BLUES (not a blues) where David begins with Volly DeFaut’s 1925 clarinet solo:
CREEPY FEELING, an extended meditation from the Library of Congress sessions:
LONDON BLUES, which has a long pedigree:
PONCHARTRAIN, named for the New Orleans lake:
CRAZY CHORDS, which has fragments of 1930 modernism here and there, and David’s interpolation of the “rather dreadful” clarinet solo from the recording:
STOP AND GO, from Morton’s last compositions for big band:
MUSHMOUTH SHUFFLE (I’d love to know the thought or stimulus behind many of Jelly’s titles):
A late frolic, SWINGING THE ELKS, with a particularly exuberant solo by Andrew before David picks up the bass saxophone to solo on this flying march:
SPORTING HOUSE RAG, recorded late, sounds like an early showpiece: here, again, scored for piano and bass saxophone:
May your happiness increase!