Tag Archives: Andy Schumm

MARTY GROSZ’S “BIXIANA”: “I’M LOOKING OVER A FOUR-LEAF CLOVER” (Jazz at Chautauqua, September 2011)

Days gone by, but not days beyond recall — afternoons and evenings in September 2011 at the Athenaeum Hotel in Chautauqua, New York — for the late Joe Boughton’s annual jazz weekend.  Because I am feeling more than a little melancholy at the news of the end of the Cleveland Classic Jazz Party, I thought I’d share some music from the glory days — to ease the feelings.

Here is one stomping example of the goodness that I was privileged to witness from 2004 to 2017.  It comes from a Marty Grosz set devoted to songs associated with Bix Beiderbecke, performed in styles he wouldn’t necessarily have known.  (Marty’s opening interlude reminds me pleasantly of Alex Hill’s MADAM DYNAMITE, recorded two years after Bix’s death.)

The band includes Marty, guitar and inventive arrangements; Andy Schumm, cornet; Dan Block and Scott Robinson, reeds; Dan Barrett, trombone; Jim Dapogny, piano; Jon Burr, bass; Pete Siers, drums, performing a song I know from the Goldkette Victor — a song of romantic optimism that is perhaps now best known in the banjo-and-let’s-all-sing genre, but it gets up and moves around nicely, not only because of the hot solos, but because of the truly varied and rich arrangement:

“We’ll always have Chautauqua.  And Cleveland,” says some famous film actor.

May your happiness increase!

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HAL SMITH’S “PRETTY WILD”: A TRIBUTE TO WILD BILL DAVISON (Cleveland Classic Jazz Party, Sept. 16, 2017)

Ruby Braff, who could be ungenerous in his quick assessments of fellow musicians, said of Wild Bill Davison, “He had drama,” and he was right.  Even at the last stages of Bill’s life, when he was working his way through one time-tested solo after another, he was never lukewarm.  And it wasn’t simply a matter of volume or tempo, but an intensity that burned through the most romantic ballad he played.  And he inspired everyone around him.  I saw this in person several times in New York City in the Seventies, and those who saw Bill will agree.

For the 2o17 Cleveland Classic Jazz Party, drummer / jazz scholar Hal Smith realized a long-held dream, a Davison tribute band he has called PRETTY WILD, honoring the two sides of Bill’s musical personality and the album he made with strings.  This version of Hal’s band had Randy Reinhart, cornet (becoming Bill without resorting to copying or caricature); Dan Barrett, trombone; Andy Schumm, clarinet; Rossano Sportiello, piano; Howard Alden, guitar; Joel Forbes, string bass.  They rocked the ballroom in the best Davison-Condon tradition, playing themselves at all times.

Here’s the set.  Make sure your seat belt is securely fastened.  Have your fire extinguisher accessible.

I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME:

SHE’S FUNNY THAT WAY, a ballad Bill loved to burn through:

A Commodore classic from the ODJB book, FIDGETY FEET:

BLUE AGAIN, Bill’s ballad feature (inspired by Louis):

A dangerously hot BEALE STREET BLUES (how I wish George Avakian, the guiding genius of so much hot music, could hear this):

Finally, a nearly violent THAT’S A-PLENTY (catch the trading of phrases among Randy, Andy, and Dan):

After Wild Bill and the band had burned through their first number, he would often take the microphone and leer at the audience, a gum-chewing W.C. Fields with a cornet, “I see that you like dinner music.”  Hal and PRETTY WILD make sure that dinner is always hot and ready.

May your happiness increase!

“HAVIN’ MYSELF A TIME”: PETRA VAN NUIS, ANDY SCHUMM, DAN BARRETT, ANDY BROWN, SCOTT ROBINSON, FRANK TATE, RICKY MALICHI (Cleveland Classic Jazz Party, Sept. 16, 2017)

Photograph by Bill Klewitz

My title comes from a wonderful, lesser-known song by Ralph Rainger and Leo Robin, from a minor Paramount Pictures comedy, TROPICAL HOLIDAY — with Ray Milland, Dorothy Lamour, Martha Raye (possibly playing a matador) and Bob Burns.

We know the song because it was recorded by Billie Holiday in 1938.

And it was performed anew by Petra van Nuis and Friends at the 2017 Cleveland Classic Jazz Party.

Petra had herself a time with some of the best players I know: Ricky Malichi, drums; Frank Tate, string bass; Andy Brown, guitar; Andy Schumm, cornet; Dan Barrett, trombone; Scott Robinson, reeds; Noah Won, piano.

Petra, if you are new to her or her work, can also be seen having a wonderful swinging time at Cleveland here on Sunday morning with an entirely different cast of luminaries: John Di Martino, Nicki Parrott, and Hal Smith.

Rather like our swing ideal Rebecca Kilgore, Petra doesn’t choose to drown herself in melancholy on the bandstand: even when she sings EVENIN’, the brisk tempo reminds us that the grim lyrics are only half the story.  Her outlook is optimistic, as you will see and hear in these four wonderful performances.

She began with an upbeat song, almost a century old, SAVE YOUR SORROW:

After that encouraging beginning, Petra moved to “an old Billie Holiday song,” but you’ll notice she doesn’t attempt to be the Lady — no meow, no rasp:

Another song identified with Billie and Basie (built on DIGA DIGA DOO, I now know by hearsay), SWING, BROTHER, SWING — also a policy statement from the van Nuis camp:

And finally, a real pleasure.  Petra is tall and svelte, but here she extends an affectionate embrace to those who, like me, ruefully are neither.  It’s Fats’ SQUEEZE ME, with the shade of Mildred Bailey in the wings, grinning:

It is so dreadfully unpopular these days to suggest that jazz of any kind is “happy music”; to some it conjures up nightmarish visions of striped jackets and straw boaters.  But Petra and a first-class band create joy.

And here is her website, where you can see other videos, learn all about her and the Recession Seven, and find out where she’ll be appearing next.

May your happiness increase!

MORE FROM THE FAT BABIES in DAVENPORT, IOWA (August 3, 2017: Bix Beiderbecke Memorial Fest, Putnam Museum)

What follows seems — very reassuringly — like a tour through the landscape in which Bix Beiderbecke lived, and the ways in which he created it to his own dimensions.  It’s a leisurely concert given by The Fat Babies, who are Andy Schumm, cornet; Dave Bock, trombone; John Otto, Jonathan Doyle, reeds; Paul Asaro, piano; Johnny Donatowicz, banjo / guitar; Beau Sample, string bass, leader; Alex Hall — taking place at the Putnam Museum in Davenport, Iowa, as part of the 2017 Bix Beiderbecke Memorial Jazz Festival.

The nice video is yet another gift from “CANDC,” or “Chris-and-Chris,” who’ve also given us this delight — ninety minutes, two sets of the Babies, from the next day’s performances.

The songs are FIDGETY FEET / SUSIE /  BLUE RIVER /RIVERBOAT SHUFFLE / WHEN / OUR BUNGALOW OF DREAMS / OH, BABY! / SINGIN’ THE BLUES featuring a Whiteman coda / WOLVERINE BLUES (in the Wolverine Orchestra style, arranged by Andy Schumm) / I’LL BE A FRIEND “WITH PLEASURE” [vocal by Paul Asaro]/ FUTURISTIC RHYTHM / SLOW RIVER / I’M COMIN’ VIRGINIA / MY PRETTY GIRL.

May your happiness increase!

NINETY MINUTES at HIGH HEAT: THE FAT BABIES SWING OUT at the BIXFEST (Davenport, Iowa, August 4, 2017)

For no particular medical reason aside from age-based entropy, I’ve slowed down the mad pace of recent years.  At my most passionate peak of obsession and love, I flew or drove to seven or eight jazz festivals or parties in twelve months.  I haven’t given up, just slowed down.  One of the festivals I was sorry to miss was the Bix Beiderbecke Memorial Jazz Festival held in Davenport, Iowa, at the start of this August.  I knew that — unlike the tree in the metaphysical forest — that the bands I love would play even if I were not there to video them — but still.

So I was very glad that “jazzmanjoe100” recorded the wonderful music that Hal Smith’s SWING CENTRAL  performed at that festival.  And I am delighted that “CANDC” did the same for several sets: the one most pleasing being by The Fat Babies.  “CANDC” isn’t an impossible-to-pronounce word; rather, it stands for “Chris-and-Chris,” (pronounced as a rapid triplet) a Swedish pair, immaculately dressed as if going out for a carriage ride c. 1917: he videos; she dances.  In general, they both light up the place.

As do The Fat Babies, the beloved brainchild (b. 2010) of string bassist Beau Sample; featuring Andy Schumm, cornet, clarinet, and other instruments; Dave Bock, trombone and tuba; John Otto, reeds; Paul Asaro, piano and vocals; Johnny Donatowicz, banjo and guitar; Alex Hall, drums.  For this set, alumnus and guest Jonathan Doyle joined in on clarinet and tenor.

For this set, they offered their usually varied program that leans towards the esoteric, which is always a nice change.  They began with a hot CHANGES MADE, and then summoned up 1926 Luis Russell (in Chicago, before the incandescent days of Red and Higgy) with SWEET MUMTAZ.

I must ask: is MUMTAZ another slang word for muggles, muta, or pot?  Google has not been terribly forthcoming.

Then, SHE’S CRYING FOR ME from old New Orleans, Jon Doyle’s evocative SWEET IS THE NIGHT, and a heady — c. 1925 Henerson — MANDY, MAKE UP YOUR MIND.

Paul Asaro sings THE SPELL OF THE BLUES, which I associate with 1928 Bing; WILL YOU, WON’T YOU BE MY BABE? — splitting its associations between McKinney’s Cotton Pickers and 1934 Louis.  It’s followed by Tiny Parham’s ROCK BOTTOM, a reed feature on THE BATHING BEAUTY BLUES, a sweet LAZY WEATHER (do I correctly think of the underrated 1936 Don Redman band here?) and a closing romp with Clarence Williams 1933 HARLEM RHYTHM DANCE.

And another wonderful helping.

Paul starts things off with I DON’T CARE (obviously not the case!), and then they move to the Nichols-associated SALLY OF MY DREAMS.  Then Walter Donaldson’s SAY YES TODAY (memorable in the Roger Wolfe Kahn version), followed by the Tiny Parham CLARICE — a wonderful hot rhythm ballad with a tango interlude.  Then, Ellington’s BIRMINGHAM BREAKDOWN; Paul and Johnny Donatowicz summon up Bing and Eddie Lang on DID YOU EVER SEE A DREAM WALKING? — always a good question to ask.

Next, Willard Robison’s DEEP ELM, and Frank Bunch’s FUZZY WUZZY — talk about obscure yet delightful.  Then, FOR MY BABY, a 1927 hit, mixing hot dance and romance; Paul essays TEA FOR TWO all by himself, and beautifully, echoing Don Lambert’s habit of mixing tunes with THINKING OF YOU, APRIL SHOWERS, I’M CRAZY ‘BOUT MY BABY, KEEPIN’ OUT OF MISCHIEF NOW, FRENESI, and a few whose title proved elusive, for a wonderfully low-key display of virtuosity — where he resists the temptation to triple the tempo.

Finally MONA, thanks to Harold Austin’s New Yorkers (a double obscurity to me), and Benny Carter’s KRAZY KAPERS, based on DIGA DIGA DOO — precious to me in its 1933 incarnation and in its 2017 one: the final chorus is my idea of jubliation.

Quite a good deal of beautifully played hot and sweet music indeed.  What makes this band notable, for me, is their mastery of the late Twenties – mid Thirties hot dance sound (with arrangements that summon up the original records and in some cases, build on their glories), soloists who are convincing on a jungle romp or a danceable ballad.  But the band as a whole sounds so good: their intonation, their voicings, so people used to listening for the hot sixteen bars also find themselves admiring the ensemble.  As I do, as you will.

May your happiness increase!

RICO RINGS THE BELL! (Mike Durham Classic Jazz Party, November 5, 2016)

Anointed by Louis in 1968, Enrico Tomasso is a glowing force of nature: he never lets us down.  I’ve been able to hear and admire him a few times in Newcastle, England — which is the source of the performance below — but Rico and his charming family (that’s Debbie, his wife, and Analucia, their daughter) also visited New York City for a few delightful days earlier this month.  Thanks to Ricky Riccardi, I was able to be on the scene.  Yes, I had my camera.  More about that soon.

At the 2016 Mike Durham Classic Jazz Party, Rico was one of the stars of a set of orchestral jazz devoted to what was happening in Los Angeles.  And Louis visited the West Coast in 1930, so we had the immense privilege of hearing and seeing Rico play and sing a few of Louis’ great specialties, SHINE, I’M A DING DONG DADDY, and ONE HOUR.  I’d posted the first and last songs already, but thought it wouldn’t bother anyone if they were all here, at once, in their passionate finery.  The band is Keith Nichols, piano; Andy Schumm, trumpet; Alistair Allan, trombone; Claus Jacobi, Richard Exall, Jean-Francois Bonnel, reeds; Emma Fisk, violin; Martin Wheatley, banjo and guitar; Phil Rutherford, bass; Nick Ball, drums.

SHINE:

I’M A DING DONG DADDY:

ONE HOUR:

And should you fall into the trap of reflexively assuming that any song called SHINE must be racist, please read this and learn the truth.

Thanks again to Eric Devine for invaluable technical expertise!

The Mike Durham Classic Jazz Party will take place October 27-29 this year.  I can’t be there and Rico has other commitments, but it will still be great fun.

May your happiness increase!

APPLY HEAT: “HOT CLASSICISM” (KRIS TOKARSKI, ANDY SCHUMM, HAL SMITH) IN NEW ORLEANS, SEPTEMBER 25, 2016

I’ve posted a good deal by this very satisfying band: Kris Tokarski, piano; Andy Schumm, cornet and clarinet; Hal Smith, drums, hereherehere — and a few other posts.  You could search them out without too much fuss.

Their first CD!

Because to me this music is very lively, spicy, and energizing, here are a few more gratifying performances from their evening gig in New Orleans’ Snug Harbor (during the last Steamboat Stomp) on September 25, 2016.

Very mellow, very groovy, SHE’S FUNNY THAT WAY:

Is there a causal link — that she was once FUNNY THAT WAY and now she’s NOBODY’S SWEETHEART?  Calling all psychotherapists and cultural critics:

Even though it’s a warm August, chiles are good for you, so HERE COMES THE HOT TAMALE MAN:

The title of this Irving Berlin classic causes great merriment in the balcony, A PRETTY GIRL IS LIKE A MELODY:

Albert Wynn’s 1928 ecstasy, PARKWAY STOMP:

FORTY AND TIGHT (“Use your imagination,” says Kris.):

And the rallying call for this magnificent trio, STOMP OFF, LET’S GO:

Restorative, curative, no prescription needed: “Apply Hot Classicism to the inflamed area and the afflicted soul. Repeat as desired.”

May your happiness increase!