Tag Archives: Bix Beiderbecke

WHERE THE WILD ARCANA GROWS: ANDY SCHUMM and his GANG at GRUMPY’S in DAVENPORT, IOWA (Set Two, August 1, 2018)

Many jazz bands that identify themselves as steeped in Twenties Hot are devoted to the Ancestors and the irreplaceable recordings, but have reduced their  repertoire to a dozen-plus familiar songs: DIPPERMOUTH BLUES, SINGIN’ THE BLUES, TIN ROOF BLUES, THAT’S A-PLENTY, ROYAL GARDEN BLUES, STRUTTIN’ WITH SOME BARBECUE, and so on.  Those songs achieved classic status for good reason, but they quickly come to feel like the same Caesar salad.  (“Mainstream” groups do the same thing with PENNIES FROM HEAVEN, ALL OF ME, SUNNY SIDE OF THE STREET . . . continuing forward to GROOVIN’ HIGH and the bop -OLOGIES also.)

But the noble and flourishing Andy Schumm is not only a marvelous multi-instrumentalist (on this session, cornet, clarinet, tenor saxophone, “Reserphone,” and one voice in the glee club) but a truly diligent researcher — coming up with hot tunes and lyrical songs that rarely — or never — get performed.  At the end of the video presented here, you should observe the thickness of manuscript that he picks up off his music stand, and when he announces the next tune to the band by number as well as title, the numbers are notably three digits, suggesting a substantial “book.”

Andy and his Gang performed two wonderful sets of lively, “new” “old” material at the August 2018 Bix Beiderbecke Memorial Festival in Davenport, Iowa.  The Gang was a streamlined version of the Fat Babies, with Andy; John Otto, reeds; Johnny Donatowicz, banjo / guitar; Dave Bock, tuba, and guest star David Boeddinghaus, piano.  All of this good music was beautifully preserved for us by “Chris and Chris,” whose generosities you know or should know.  My posting of the first set is here.

As far as arcana is concerned, here are the songs performed: CUSHION FOOT STOMP (Clarence Williams), EL RADO SCUFFLE (Jimmie Noone: supposedly the club was the ELDORADO but not all the letters in the sign were visible), AIN’T THAT HATEFUL? (Oliver Naylor), JUST LIKE A MELODY (a Walter Donaldson composition, one known in recent decades thanks to Scott Robinson’s recording of it), FLAG THAT TRAIN (watch out for the Reserphone), I MUST BE DREAMING (a sweet duet for John Otto and David Boeddinghaus), BEER GARDEN BLUES (Clarence Williams, with glee-club vocal; Williams also recorded this melody with different lyrics, perhaps called SWING, BROTHER, SWING, but not the Billie-Basie song), GRAVIER STREET BLUES (Clarence Williams again, his Jazz Kings — thanks to Phil Melnick for catching the title, something I didn’t recognize, which proves my point about arcana), CROSS ROADS (California Ramblers), WAILING BLUES (thanks to Cellar Boys Wingy, Tesch, Bud, and Frank Melrose), an impish Boeddinghaus chorus of WE’RE IN THE MONEY, perhaps a satiric reference to the undernourished tip jar? — and closing with a wild SAN in honor of Jimmie Noone’s Apex Club Orchestra.

Thanks to Andy, John, John, Dave, Dave, and Chris and Chris.  (I see a pattern here, don’t you?)

“Chris and Chris” at the 2015 Steamboat Stomp in New Orleans. Photograph by Bess Wade.

May your happiness increase!

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HOT AND LOVELY: ANDY SCHUMM and his GANG in DAVENPORT, IOWA (August 1, 2018)

CHRIS and CHRIS

Thanks to Chris and Chris!  Here’s the first set at a bar called GRUMPY’S.  Beautifully recorded and annotated, too:

Bix Beiderbecke’s 47th Annual Memorial Jazz Festival 2018 had a pre-arranged gathering at Grumpy’s Village Saloon, Davenport, Iowa, August 1st. The Fat Babies, here somewhat reduced in numbers, but with sit-in David Boeddinghaus on piano and Andy Schumm cornet, clarinet, saxophone, John Otto reeds, John Donatowicz banjo, guitar, Dave Bock tuba, gave us, the lucky ones that day, a jolly good time. This plus-hour full first set was videographed in one-go, in pole position, head on, with a handheld SONY Handycam, FDR-XA100 in quality mode. For those who couldn’t make it to Grumpy’s, this coverage might be the next best thing. Enjoy!

THAT’S A PLENTY (with a special break) / HOT TIME IN THE OLD TOWN TONIGHT / Andy introduces the band / HE’S THE LAST WORD (which I hadn’t known was by Walter Donaldson) where Andy shifts to tenor sax to create a section, and Maestro Boeddinghaus rocks / FOREVERMORE, for Jimmie Noone, with Andy and John on clarinet: wait for the little flash of Tesch at the end / Willie “the Lion” Smith’s HARLEM JOYS / a beautifully rendered GULF COAST BLUES, apparently a Clarence Williams composition [what sticks in my mind is Clarence, as an older man, telling someone he didn’t write any of the compositions he took credit for] / HOT LIPS / Alex Hill’s THE SOPHOMORE, and all I will say is “David Boeddinghaus!” / THE SHEIK OF ARABY, with the verse and a stop-time chorus.  Of course, “without no pants on.” / Bennie Moten’s 18th STREET RAG / GETTIN’ TOLD, thanks to the Mound City Blue Blowers / Andy does perfect Johnny Dodds on LONESOME BLUES, scored for trio / For Bix, TIA JUANA (with unscheduled interpolation at start, “Are you okay?  Can I get that?” from a noble waitperson) / band chat — all happy bands talk to each other / a gloriously dark and grieving WHEN YOUR LOVER HAS GONE that Louis smiles on / and, to conclude, STORY BOOK BALL (see here to learn exactly what Georgie Porgie did to Mary, Mary, quite contrary.  Not consensual and thus not for children.)

A thousand thanks to Andy, David, John, Dave, Johnny, and of course Chris and Chris — for this delightful all-expenses paid trip to Hot!

May your happiness increase!

MONSIEUR HUCK, AVIATEUR

I don’t know if Daniel Huck, alto saxophone, vocal, has a pilot’s license.  But he can certainly soar, do loops and rolls like no one else.  The cheerful-looking man in the mauve shirt, his reading glasses perched on his nose, has surprises for those unacquainted with him.  (As an aside, I know some finicky readers will turn away from this post.  “Who is that?  I never heard of him.”  Too bad.)

This band is called (I believe) JAZZ A BICHON, and these nice videos (there are more) were recorded by the musician-videographer Jeff Guyot at the Hermes Jazz Festival in Frejus, France, on June 10 of this year.  The personnel is Shona Taylor, cornet, vocal; Guy Champeme, clarinet, alto; Marc Bresdin, clarinet, alto, tenor; Philippe Anhorn, piano, vocal; Jean-Pierre Dubois, banjo, tenor guitar; Eric Perrion, tuba; guest star Daniel Huck, alto, vocal.  I knew M. Huck’s work from the Anachronic Jazz Band, but these videos are a special pleasure, building from peaceful to electrifying by my choice.

Here’s a very sweet introduction to M. Huck, on the irresistible tune HONEY.

But wait!  There’s more!  A performance that reminds me of Lillie Delk Christian’s TOO BUSY:

That wonderful one-chorus explosion makes me think of Little Louis — as well as Leo Watson and the recent vocals of Lee Konitz (since time is a field and not a series of beads on a string).  If you can watch it just once, without bobbing your head, you are made of genetic material unlike mine.

And the roaring finale — hilarious and astounding all at once.  Two choruses on SUSIE, from the Wolverines by possibly circuitous routes:

Isn’t M. Huck splendid — singing lines that others couldn’t sing or play — rambunctious, joyous, and precise as well.  It’s a very cloudy day here, with rain predicted, but the sun is out because of him.  Thanks to Jeff Guyot for the videos.  You might want to subscribe to his YouTube channel: it’s better than pharmaceuticals.

May your happiness increase!

CHARLES IN CHICAGO (Part Two, Spring 2018): KIM CUSACK and ANDY SCHUMM at the HONKY TONK BBQ

If you don’t know who CHARLES is, you might want to catch up here.  I thought his beneficence had limits but happily I was wrong.  Yesterday, this note arrived, with musical treats attached.

Dear Michael,

Just a word to say how pleased I was you used my videos of Kim and Andy on JAZZ LIVES.  Makes me feel like chucking my job and videoing full-time.  You’ll have to let me in on your financial secrets.  Ha! 

But here are a few more I shot — hope they are OK.  The room got noisier, but I bet the Lincoln Gardens wasn’t silent either — although I doubt that there were loud kids in the joint.

With every good wish and looking forward to our NYC rendez-vous,

Charles. 

Friends of Fats:

and James P, too:

Quiet, now:

This one’s got some Bix-chords:

and the first half of the Official Carmen Lombardo Tribute:

Carmen wrote some wonderful tunes:

What a nice surprise.

May your happiness increase!

EV’RY STAR ABOVE / KNOWS THE SOUNDS WE LOVE: DANNY TOBIAS, SCOTT ROBINSON, CHRIS FLORY, PAT O’LEARY at THE EAR INN (May 13, 2018)

I’ve been told that I sound like a New Yorker, which doesn’t surprise me, although I think there are many strains of New Yorkishness, all subtly different. But to think I carry the inflections of my native land even when I’m in Sedalia, Missouri, for the Scott Joplin International Ragtime Festival, is pleasing.  So before I walk two blocks to hear more delightful music, I will offer some genuine sounds of New York for you, wherever you may read this.

I made another trip — a pilgrimage, rather, to the shrine for delicate and forthright creative improvisation (call it what you will), The Ear Inn, 326 Spring Street, Soho, New York City, on Sunday, May 13.  And the spiritual guides for that evening convocation were Danny Tobias, various brass instruments; Scott Robinson, taragoto, tenor saxophone, and other instruments; Chris Flory, guitar; Pat O’Leary, string bass.  Here are three splendid songs and improvisations created for us by four splendid players.

Hoagy Carmichael’s ROCKIN’ CHAIR, at a very Bixian tempo:

Victor Young’s SWEET SUE, now ninety years old:

KANSAS CITY MAN BLUES, associated with Sidney Bechet, but theoretically written by Clarence Williams:

I couldn’t stay for the second set — my semester was still hobbling to a close — but I hope to make it to The Ear Inn more often this summer.  You should, too.

May your happiness increase!

FOR BIX, FOR RUBY, FOR EVERMORE (Part Two): The EarRegulars at The Ear Inn: JON-ERIK KELLSO, SCOTT ROBINSON, JAMES CHIRILLO, GREG COHEN, and FRIENDS (March 11, 2018)

Here is my first post about the glorious fun at The Ear Inn on March 11, 2018, featuring SUGAR and SOMEBODY STOLE MY GAL, as played by Messrs. Cohen, Chirillo, Robinson, and Kellso.

And I present two more performances from the same happy evening, with the affectionate spotlight on Mister Braff.

Walter Donalsdon’s IT’S BEEN SO LONG:

and my favorite anthem of hope, WRAP YOUR TROUBLES IN DREAMS — Dan Block, clarinet, and Will Reardon Anderson, alto (left and right) sitting in:

The moral of the story?  As the Sages say, “Get thee to The Ear Inn on Sunday nights.”

May your happiness increase!

FOR BIX, FOR RUBY, FOR EVERMORE (Part One): The EarRegulars at The Ear Inn: JON-ERIK KELLSO, SCOTT ROBINSON, JAMES CHIRILLO, GREG COHEN (March 11, 2018)

I haven’t made it to the Ear Inn (326 Spring Street, Soho, New York City) as often as I’d like: the Monday-morning alarm summoning me to work has become more cruel.  But the Sunday-night sessions that have been going on for over a decade — all hail the EarRegulars! — are a reason to stay in New York forever.

On March 11, the EarRegulars — Jon-Erik Kellso, Scott Robinson, James Chirillo, and visiting hero Greg Cohen — played some songs loosely connected to Bix Beiderbecke and Ruby Braff, cornetists of a certain lyrical tendency who had March birthdays.  Here are two highlights, with more to come:

Maceo Pinkard’s SUGAR:

and the musical celebration of broken romance, SOMEBODY STOLE MY GAL:

Just gorgeous, I think.

May your happiness increase!