Category Archives: Hotter Than That

“FUTURISTIC RHYTHMS: IMAGINING THE LATER BIX BEIDERBECKE,” by ANDY SCHUMM AND HIS SINK-O-PATORS”

Even to the casual viewer, this CD, just out on Rivermont Records, is immediately enticing.  For one thing, and it cannot be undervalued, it has The Name on its cover — the dear boy from Iowa.  Catnip to many.  Then, Joe Busam’s lovely funny cover, perfectly evoking Jim Flora’s work — as well as presenting a band led by the splendid Andy Schumm.  It also (in that band name) has an inside joke for the cognoscenti, who turn hot and cold on request.  Some will delight in the concept, jazz time-travel, brought to us by the erudite Julio Schwarz Andrade, imagining what Bix would have played in a variety of contexts had he lived longer.  The conceit does nothing for me (I think the dead have the right to be left alone, not dressed up for Halloween) but I love the music, thrilling in its ease and subtlety.

Hearing Andy Schumm, cornet; Ewan Bleach, clarinet and tenor saxophone; Andrew Oliver, piano; Martin Wheatley, guitar; Tom Wheatley, string bass; Nicholas D. Ball, drums — now, that’s a rare pleasure.  You can see the song titles below, and the Musical Offering is neatly divided between a scattering of familiar tunes and some deeply lyrical ones that have become obscure.  (I hadn’t heard THINGS and OUT OF A CLEAR BLUE SKY before, and WHY CAN’T YOU BEHAVE is memorable to me only because of a wondrous recording by Spike Mackintosh.)  The first ten songs were meant to be the official recording session, with the last two — hot “warm-up” performances added as a delightful bonus: we’re lucky the recording equipment was switched on.

Back to the music.  There are lovely little touches.  MOTEN SWING uses the riffs from the 1932 Victor recording, and the lyrical numbers still retain the slight bounce one would have heard in Thirties “rhythm ballads.”  Indeed, the whole session has the delightful motion of, perhaps, a Marty Grosz session from the end of the previous century.  This, of course, is helped along considerably by the wonderful Martin Wheatley — hear him on RAIN and elsewhere.  The CD also reminded me most happily of sessions by Marty and by Ruby Braff because of the cheering variety of approaches within each performance.  I offer the rubato Oliver-Schumm verse to  THE NEARNESS OF YOU as a heartening example, followed by a poignant Bleach tenor solo.  There’s none of the usual tedium that results from a surfeit of ensemble-solos-ensemble.  (I think of certain live sessions in the Seventies I attended where after the requisite single ensemble chorus, the clarinet always took the first solo.  Routine of this sort has a chilling effect.)

The members of the rhythm section, Messrs. Oliver, Wheatley, and Ball, add their own special bounce to the music.  I know Andrew Oliver these days as a Mortonist and have known Nick Ball as a scholar of pre-Swing drumming, but they aren’t antique in any way.  And the two Wheatleys, father and son, are a wonderful team: the right notes in the right places.  As fine as Andy and Ewan are, one could listen to any track on this disc solely to revel in, and learn from, this rhythm team.  As an example, OUT OF A CLEAR BLUE SKY.

Ewan Bleach is new to me and delightful: his work on either horn is floating and supple, and I never felt he was reaching for a particular phrase that someone had recorded eighty years ago.  His solos have their own lithe charm and his ensemble playing is the great work of an intuitive conversationalist who knows when to add a few notes and when to be still.  I looked in Tom Lord’s discography and found that I’d already admired his work with the Basin Street Brawlers.  I hope the reaction to this CD is such that Mr. Bleach gets a chance to record a horn-with-rhythm session of his own.

And Andy Schumm.  Yes.  I just heard him in person in my Wisconsin jaunt, and he hasn’t ceased to amaze and please, whether leaping in to his solo, playing a wistful coda, or lyrically purling his way through one of the rhythm ballads I’ve mentioned above.  To my ears — here comes another heresy — he isn’t Bix, nor is he the reincarnation of Bix.  He is Andy Schumm, and that’s a wonderful thing, with its own joyous surprises.

Buy it here.  I did.  You won’t regret it.

May your happiness increase!

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IT’S SO GOOD: THE RHYTHM ACES (ROY RUBINSTEIN, KIM CUSACK, ANDY SCHUMM, JIM BARRETT, JOHN WIDDICOMBE) March 26, 2018: PART THREE

What follows is, of course, organic, locally sourced, cage-free, and pasture-raised.  Hot jazz that’s naturally sweet . . . no additives.  This is the third part of a two-hour performance by the Rhythm Aces, led by trombonist Roy Rubinstein, and featuring Kim Cusack on clarinet, alto, and vocal; Andy Schumm on cornet and clarinet; Jim Barrett, banjo; John Widdicombe, string bass — as they won the crowd at the Breakwater in Monona, Wisconsin, on March 26, 2018.  Here is what I recorded for parts one and two.

ARKANSAS BLUES (with Andy doing some very touching Hackett curves and wiggles):

DIPPERMOUTH BLUES, for Louis and Papa Joe:

POSTMAN’S LAMENT (which I associate with Johnny Wiggs and Dr. Souchon, as well as my own contemporary reaction to carrying a heavily loaded knapsack):

and what was seasonal music then, a little tardy now, Berlin’s EASTER PARADE:

More to come — and some surprises — from my Wisconsin sojourn.

May your happiness increase!

“CARE TO DANCE?”: ANDREW OLIVER and DAVID HORNIBLOW PLAY MORTON

It’s Those Men Again: pianist Andrew Oliver and reedman David Horniblow for our weekly benificence of Jelly Roll Morton: their gift to us, the Complete Morton Project, to which you certainly should subscribe . . . it’s free, beautifully done and recorded.

More unpretentious erudition here.

First, THE CRAVE, the nearly-hypnotic exploration of the Spanish Tinge, which Jelly recorded for the Library of Congress in an extended take, and for General as a 10″ 78.

Here’s what we crave in 2018:

MINT JULEP is less famous, but was commercially recorded for Victor in 1929, when Morton took a slightly cut-down version of the Luis Russell band into the studios:

Thanks go to Andrew and David for our weekly helpings of lyrical swinging hot jazz — finely-tuned dance music as well.

May your happiness increase!

UNEARTHED TREASURES: MARTY GROSZ, DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, JON BURR, RICKY MALICHI at JAZZ AT CHAUTAUQUA (September 22, 2012)

A few more previously unseen beauties from the September 2012 appearance of Marty Grosz and his Sentient Stompers at the much-missed Jazz at Chautauqua, held at the Hotel Athenaeum.

Faithful readers will know I and my team of Oxford University-trained archaeologists have been uncovering marvels this year, featuring (collectively) Marty, Andy Schumm, Scott Robinson, John Sheridan, Kerry Lewis, Pete Siers, Jon-Erik Kellso, and Bob Havens.  The findings are on view here, and here,  and here.  Don’t push; don’t crowd.  All of them, including this post, come with great gratitude to Nancy Hancock Griffith, and those of us who were there know why.

And now, three more marvels by the gentlemen listed in the post’s title.  For the uninitiated, Marty Grosz, guitar and occasional banter; Duke Heitger, trumpet; Dan Barrett, trombone; Scott Robinson, taragoto, tenor saxophone; Dan Block, clarinet, bass clarinet, and trumpet; Rossano Sportiello, piano; Jon Burr, string bass; Ricky Malichi, drums.  And you’ll notice that these splendid improvisers are also sight-reading Marty’s arrangements, another thing to admire them for.

First a very Ellingtonian approach to the theme of erotic expertise:

Then, a swinging arrangement of TOO MARVELOUS FOR WORDS, with an intro that sounds like BIG CHIEF DE SOTA (also circa 1937) and with room for a wonderful surprise: Dan Block on trumpet:

Musical savagery from the early Thirties, with Dan Block’s bass clarinet solo:

What treasures!  To me, worth more than unearthed Troy.  But that’s just me.

May your happiness increase!

TREMENDOUS NEW JELLY: FOUR FROM DAVID HORNIBLOW and ANDREW OLIVER

In the Nineteen-Forties, when “traditional jazz” was once again greeted with enthusiasm, small illicit record labels looked to make money off the demand for music not otherwise available, and many pirated music that the major labels were not reissuing.  Often the label names were official-sounding; sometimes hilarious.  I’ve included a few samples here.

One bootleg pressing of Jelly Roll Morton’s music (I believe on the “XX” label) had as artist credit TREMENDOUS OLD JELLY.  When I looked online for this artist credit, I was greeted with pictures of royal jelly, fruit preserves, and more.

It would have been a fine title for this blogpost, except for one thing: pianist Andrew Oliver and reedman David Horniblow, both tremendously talented, make new music, and they’ve been sharing their duets every week.  And here, on Andrew’s blog, all manner of delicious secrets will be revealed.  For one: what popular song, written two years after SWEET PETER, owes some of its melodic shape to Morton?  (Thanks to Professor James Dapogny for recognizing the lineage.)

David and Andrew plan to perform all 107 Morton compositions, and I have no doubt they will reach the summit of that wondrous mountain.  Here are the four most recent.

FREAKISH (no doubt named for its unusual harmonies):

SWEET PETER, rarely played but irresistible:

A truly joyous KANSAS CITY STOMPS:

Finally, a deliciously sauntering DEAD MAN BLUES:

These two young men are deliciously adept, aren’t they?  See and hear all twelve performances to date here.

May your happiness increase!

HOT IN THE HEARTLAND: THE RHYTHM ACES (ROY RUBINSTEIN, KIM CUSACK, ANDY SCHUMM, JIM BARRETT, JOHN WIDDICOMBE, March 26, 2018): PART TWO

A hot time was had by all last Monday night at the Breakwater in Monona, Wisconsin, when the Rhythm Aces swung out: Roy Rubinstein, trombone; Kim Cusack, clarinet, alto saxophone, vocal; Andy Schumm, cornet, clarinet; Jim Barrett, banjo; John Widdicombe, string bass.  Here is the first part of their heated rhapsody.

And some more of that good noise.

MY MONDAY DATE (as scored for two clarinets and rhythm section, in honor of Jimmie Noone’s Apex Club Orchestra):

TROG’S BLUES (by and about clarinetist / cartoonist Wally Fawkes):

BILL BAILEY (sung by Kim with the essential-to-the-narrative verse):

More to come, thank goodness.

May your happiness increase!

THE HORACE GERLACH FAN CLUB, or ANYTHING CAN SWING: THE ORIGINAL DOWNHOME JAZZ BAND (Toledo, Ohio, February 25, 2017)

On Benny Goodman’s “Camel Caravan” radio show — circa 1938 — there was a feature called ANYTHING CAN SWING, and what follows is a fine illustration.

Louis Armstrong followers like myself know the sacred and mysterious name of Horace Gerlach — co-composer with Louis of three masterpieces: SWING THAT MUSIC, I’VE GOT A HEART FULL OF RHYTHM, and IF WE NEVER MEET AGAIN.  I’ve featured them on this blog as performed by Louis, Marty Grosz, Banu Gibson, and others.

But I’ve never had occasion to spotlight the fourth Gerlach opus, which probably made him the most money, DADDY’S LITTLE GIRL.  In some traditional weddings, it is the song the bride and her father have their ceremonial dance to.  (I don’t know how this makes the groom feel, but leave that to you to ponder.)

Thanks to my friend and friend of JAZZ LIVES Laura Wyman — CEO of Wyman Video — we have this hot performance of DADDY’S LITTLE GIRL by the Original Downhome Jazz Band (February 25, 2017, Ye Olde Durty Bird, Toledo, Ohio) captured on video for everyone to enjoy, whether or not there is a daughter in the house.

The ODJB is Dave Kosmyna, leader, cornet, vocal; Chris Smith, trombone; Ray Heitger, clarinet; James Dapogny, piano; Pete Siers, drums, and do they beat it out:

Laura has also shared many fine hot videos on her YouTube channel.  Wyman Video (expert, discreet, and informed) can come and video your event: fee schedule available on request. Weddings, recitals, hot bands, basement jam sessions: you name it.

For now, I will muse upon the invisibility of Horace Gerlach: composer, arranger, friend of Louis.  Anyone have a portrait of the man to share?

May your happiness increase!