“FREE, GENEROUS, AND RADIANT”: MALO MAZURIE’S “TAKING THE PLUNGE”

There are many ways to encounter the hallowed music of the past with integrity. One is to study it with such reverent adoration that one can become one’s idol, reproducing Bix’s SINGIN’ THE BLUES, Hawkins’ BODY AND SOUL, Lester’s SHOE SHINE BOY. This is not easily done and may be a lifelong quest. When it succeeds, a kind of magic happens: the audience can imagine that their hero is standing arm’s length away and they are in at the creation. Vince Giordano and the Nighthawks do this splendidly and have done so for decades.

The brilliant trumpeter Malo Mazurie can perform this music with ardor and expertise. On YouTube, you will see him splendidly being Bill Coleman in 1937 or a myriad of fabled hot brass players, in situations where he and other marvelous musicians are asked to play jazz first recorded eighty or a hundred years ago. It is a mystical world where SUMMERTIME is “a modern tune.” And, as Malo shows us in videos of live performance and discs made in the studio, he floats through that world with great style, honoring and summoning up Louis, Bix, Cootie and others.

His is a great art. But many of the musicians I know who can become other people onstage look forward to situations that allow and encourage them to be themselves. “Don’t you want to hear what I sound like?” might be the relevant question, said out loud or stifled. We admire the heroes of this art precisely because they were innovative in their time. Now, innovation within and beyond the tradition, created with ingenuity and affection, feels right.

Back to our hero, alive and flourishing in 2024.

But first, a few mnutes of delightful history. I first encountered him as one of THREE BLIND MICE, an extraordinary trio of Malo, trumpet; Felix Hunot, guitar, and Sebastien Giradot, double bass. Here they explore Willie “the Lion” Smith’s ECHOES OF SPRING with gentle audacity:

When I began to write this post, I soon found out that Malo, even when his name was not on the CD cover in bold type, was an essential part of record dates in the past decade that I love and return to; Felix Hunot’s THE JAZZ MUSKETEERS, David Lukacs’ DREAM CITY, Attila Korb’s THE ROLLINI PROJECT, the second volume of SATCHMOCRACY by the Jerome Etcheberry Popstet. He’s recorded several times with another hero of mine, the tenor saxophonist Michel Pastre. The recorded evidence shows why he is someone the finest players want on their sessions: he is a fluent player, erudite but not stiff, able to read the charts, improvise nobly, and change course in two bars without ever faltering.

TAKING THE PLUNGE is his first CD as a leader. On it, Malo and a splendid yet spare rhythm section of Noe Huchard, piano; Raphael Dever, double bass; David Grebil, drums, offer a guided tour of the country where Past and Future are best friends and go out for breakfast:

Malo is not only a master of his unforgiving instrument but also a wonderful composer. Hear his THE HOUSE OF SISTERHOOD, a gentle homage to the worlds of Billy Strayhorn:

and his gracious, inquiring CANDLELIGHTS:

The first track on the CD is Malo’s version of Morton’s THE PEARLS that I am particularly fond of:

Malo wrote, “This project represents a significant milestone for me, as it has been brewing for about a decade, but its fruition took time. So, after 4 relocations, 3 lockdowns, and 2 children, it was time! It was decided: this album would not be a revolution in jazz history nor a methodical exercise in style. It would simply be an unpretentious reflection of everything I love and that influences me in music.”

The repertoire is deep in what some might call “traditional jazz”: Ellington’s CREOLE RHAPSODY, Louis’ SOMEDAY YOU’LL BE SORRY, Bix’s DAVENPORT BLUES, Morton’s THE CHANT, SINGIN’ THE BLUES, in addition to the performances above. They are both respectful melodic explorations and candid reimaginings. Occasionally the performances of songs we know so well have a slight tilt. What I am reminded of is the sensation I had, as a child, seeing my house from across the street: completely familiar but not in an expected place. When I crossed the street and went “home,” it was reassuring to be there, but I had seen my house be two places at once. A gift.

In addition to the familiar jazz classics, Malo also offers, for good measure, seven original compositions — and they are original, not simply improvisations on more famous harmonies. H also encouraged the rhythm section “to play more open, to be wilder, be themselves (keeping the swing and the groove of course),” while he is playing “himself.” He says, “You can still hear some influences as they are all my heroes.”

Malo’s own words get to the heart of things. “This album represents for me a musical exploration, a journey through the styles and emotions I have felt since my discovery of the cornet at the age of seven . . . . Without attempting to achieve stylistic feats, I have endeavored to bring a contemporary and unique touch while preserving the conciseness of the message.

We sought to make this collective exploration free, generous, and radiant.”

Those are imposing and noble words, but when you hear TAKING THE PLUNGE, I think you will find them an accurate description of the music, lilting, personal, and vivid, that Malo and friends have created.

May your happiness increase!

SHE HAS A HEALTHY SEXUAL DRIVE: DAVE STUCKEY, DAN BARRETT, CLINT BAKER, RILEY BAKER (Jazz Bash by the Bay, Monterey, California, February 29, 2024)

I could begin by casting a disapproving eye at a culture that treats exuberant female sexuality as a disorder, but you can figure that out for yourself. BESSIE COULDN’T HELP IT, however, is slightly subversive: the lyrics slyly celebrate unfettered desire in action while pretending to disapprove. We can guess why Bessie “yelled with delight,” and, as Martha Stewart used to say, “It’s a good thing.” On the sheet-music cover, note that a) Bessie is being pursued by Lilliputian admirers, and b) she is gorgeously larger-than-life.

The song became a sort of jazz standard because of recordings by Louis Armstrong and Hoagy Carmichael (the latter session including Bix Beiderbecke and Jack Teagarden); its first recording was by composer Byron Warner’s “Seven Aces,” and it has enjoyed special popularity with bands in the UK and Australia, for reasons I haven’t yet figured out.

It’s here because the charming impromptu performance is the first one I heard in the delightful jazz weekend called the Jazz Bash by the Bay, in Monterey, California, on February 29, a set featuring Dave Stuckey, guitar, vocals, and moral leadership; Dan Barrett, trumpet, trombone, vocal; Clint Baker, clarinet, trombone, trumpet, vocal; Riley Baker, double bass, trombone, vocal. Count up the doubling and you have an eloquent compact orchestra. It’s a pared-down version of Dave’s “Hot House Gang,” one of our favorite groups.

“THE BIG FOUR,” presented here, two by two:

and

And here’s Bessie, not someone with a disorder than needs medical help, but a hot heroine:

There will be more from this swinging quartet, and more from Monterey.

Bessie, I am sure, “could help it,” but why in the name of Eros would she have wanted to? Ileave you with that thought.

May your happiness increase!

“THE UNOBSTRUCTED ORCHESTRA”: DICK HYMAN, BUDD JOHNSON, ARNIE LAWRENCE, HAYWOOD HENRY, BRITT WOODMAN, EDDIE BERT, NORRIS TURNEY, JOE NEWMAN, BOBBY ROSENGARDEN, BUCKY PIZZARELLI, GEORGE DUVIVIER, ERNIE ROYAL (Nice Jazz Festival, July 10, 1979)

Something remarkable from the characteristically expert New York Jazz Repertory Company, here, captured on French television at the Nice Jazz Festival, led by Dick Hyman. “The Unobstructed Orchestra” improvising on I GOT RHYTHM changes: Budd Johnson, tenor saxophone; Arnie Lawrence, alto saxophone; Haywood Henry, baritone saxophone; Britt Woodman, trombone; Eddie Bert, trombone; Norris Turney, alto saxophone; Joe Newman, trumpet; Dick Hyman, piano; Bobby Rosengarden, drums; Ernie Royal, trumpet; Bucky Pizzarelli, guitar; George Duvivier, double bass. Also in the band are Dick Sudhalter, Pee Wee Erwin, Jimmie Maxwell, trumpet; Bob Wilber, reeds; possibly Mike Zwerin, trombone.

Dick Hyman

What strikes me even more is that this segment is the middle portion of a ninety-minute presentation by the NYJRC, an outdoor concert in three parts. The first was a forty-five minute evocation of Bix Beiderbecke, featuring Sudhalter, Wilber, Hyman, and guest Spiegle Willcox: you can visit that brilliant concert https://youtu.be/uJgtK2HWfjM. After “The Unobstructed Orchestra,” the NYJRC welcomed trumpeter Erskine Hawkins to the stand, and he (with Haywood Henry) proceeded to bring back his version of big-band swing.

The NYJRC could do it all. Here, they create a Basie-flavored improvisation, riffs and all in the right places, on I GOT RHYTHM changes — giving these stellar musicians a chance to leave the manuscript paper behind for twenty minutes and blow. Gorgeously, and without obstruction.

New York Jazz Repertory Company, Grande Parade du Jazz, Nice, France, July 10, 1979.

The extraordinary Dick Hyman celebrated his 97th birthday a few days ago. He is too expansive to have a celebration limited to one day only, so let this add to the joy he has so generously given us.

May your happiness increase!

ADD STOMP, STIR VIGOROUSLY (Part Two): THE SIERRA STOMPERS with ANDY SCHUMM (MARC CAPARONE, NATHAN TOKUNAGA, HOWARD MIYATA, BRIAN HOLLAND, KATIE CAVERA, PAUL HAGGLUND, GARETH PRICE, and NATALIE HANNA MENDOZA, Jazz Bash By the Bay, Monterey, California, March 4, 2023)

SPREADING JOY! (Part One): THE SIERRA STOMPERS with ANDY SCHUMM (MARC CAPARONE, NATHAN TOKUNAGA, HOWARD MIYATA, BRIAN HOLLAND, KATIE CAVERA, PAUL HAGGLUND, GARETH PRICE, Jazz Bash by the Bay, Monterey, California, March 5, 2023)

If you missed the first part of this set, click the box above. We’ll wait.

Here’s Part Two.

For “the dear boy” from Iowa, I’LL BE A FRIEND (WITH PLEASURE), featuring Andy Schumm:

Katie Cavera, a/k/a the California Sunshine Girl, sings about underutilized resources, TOO BUSY:

MAPLE LEAF RAG, by four ragtime professors: Brian, Paul, Katie, Gareth:

For Papa Joe and Little Louis, NEW ORLEANS STOMP:

A legendary meteor shower, a classic song, and Natalie Hanna Mendoza:

We want to see this band much more than ONCE IN A WHILE:

More to come. But I’m sure you’re awake now.

May your happiness increase!

BEAUTIFUL SOUNDS FROM TURTLE BAY RECORDS: HANNAH GILL, THE NEW WONDERS, THE BIX CENTENNIAL ALL STARS

Amidst the gloomy tedious rumble of Bad News in Jazz: “No one listens to anything pre-Coltrane,” “The CD is dead,” “Where are the new artists who are going to keep hot music alive?” there is a basketful of tangible good news from Turtle Bay Records. No matter what technology you embrace: “vinyl,” “digital download,” or the fabulous invalid, the compact disc, this enterprising company has something to improve your mood.

Before you read on, listen to this:

Many people know Ms. Gill from her work from Post Modern Jukebox, but I hadn’t: this video came up on YouTube (the Turtle Bay Records channel) and I was entranced. Her Facebook page notes that she graduated high school in 2015, which should give you some idea of her youth, but she has a delightfully warm adult sensibility and mature approach to her songs. Her Turtle Bay CD, EVERYBODY LOVES A LOVER, contains eleven performances of splendid songs that aren’t done often, if at all: the most familiar ones are AUTUMN LEAVES, IT’S A SIN TO TELL A LIE, and LULLABY OF THE LEAVES. The other songs — by Jule Styne, Harry Warren, Al Dubin, Sammy Cahn, Walter Donaldson, and Irene Higginbotham — are prizes, and I applaud Ms. Gill for bringing them up from the basement or down from the attic. Her accompanists, quiet or boisterous, are among the best jazz / swing dance players today.

and

Obviously, great care has been taken with every aspect of production . . . but the important thing is that it sounds good, full of expertise and emotion, all the way through. I’d like to hear Ms. Gill do a session of low-key ballads and rhythm ballads with a wise piano accompanists (think Ella and Ellis Larkins): she could pull it off with grace.

Turtle Bay has a soft spot for young women singers: their catalogue includes Tatiana Eva-Marie, Sweet Megg, and Molly Ryan, all artists with distinctive ways with a song.

Next, a reissue of a 2016 session by the stellar hot band, THE NEW WONDERS, whose hearts belong to Bix Beiderbecke, Red Nichols, Fud Livingston, Miff Mole, and other luminaries of the hot New York scene circa 1924-31. They are that wonderful hybrid of hot improvisation and precise resurrection of music not often heard.

and

Here’s what I wrote about the first issue of this music in 2018. Even if you don’t have the patience to read my review, the title will tell you my feelings.

WONDER-FULL: THE NEW WONDERS’ NEW CD

Authenticity but no archaeology: these young men thoroughly inhabit the music that was nearly a century old at the time, with no “wasn’t this old-fashioned” winking at melody or lyrics, but complete conviction. The New Wonders are a remarkable bunch: I first encountered them in person in 2017, thanks to Brice Moss, and here’s a sample of them al fresco:

At this very moment, a band many miles from New York is working its way through a song associated with Bix, Red and Miff, or other luminaries of the time, and we bless them, but there’s no one to touch The New Wonders for their mixture of precision and exuberance.

Finally (for the moment) a extravagant gift package — two discs, a novella-sized booklet with insightful essays and color photographs, and three previously unheard performances — called CELEBRATING BIX by The Bix Centennial All Stars, reissuing the 2003 Arbors Records bonanza. If you didn’t know about this issue when it came out, you can repair that omission now. Here’s THE JAZZ ME BLUES at a sweet, unhurried tempo:

This was a thrilling issue when it came out, as the names above suggest. The songs are AT THE JAZZ BAND BALL / PROUD OF A BABY LIKE YOU / DEEP HARLEM / RIVERBOAT SHUFFLE / DAVENPORT BLUES / THE JAZZ ME BLUES / BLUE RIVER / I NEED SOME PETTIN’ / I’M COMIN’ VIRGINIA / LONELY MELODY / CLEMENTINE / TRUMBOLOGY* / FROM MONDAY ON / SINGIN’ THE BLUES / THERE’LL COME A TIME / CHINA BOY* / JUST AN HOUR OF LOVE* / BORNEO / CLARINET MARMALADE / ‘WAY DOWN YONDER IN NEW ORLEANS / SAN / DEEP DOWN SOUTH. And the performances honor Bix without copying the limitations of the hallowed recordings. These recordings have lift and joy, especially because of the rhythm section players who have heard post-Bix swing: Mark Shane, Joe Ascione, Vince Giordano, Greg Cohen, Matt Munisteri, Howard Alden. The arrangements by Peter Ecklund and Dan Levinson are accurate but often streamlined, with Bix’s choruses scored for two or three trumpets / cornets. The result is neither sluggish nor mournful: Bix didn’t look backward and scored his earlier work, but he would have loved to play with these musicians.

Since it’s a two-CD set, one more sample is fitting, an easily rocing DEEP DOWN SOUTH:

We have to thank Scott Asen of Turtle Bay Records — someone with taste and the wisdom to be guided by the musicians — for these great gifts, and I look forward to more delights. Your birthday is coming up, or perhaps no one got you what you wanted for the last one, so visit Turtle Bay Records for hours of pleasure.

May your happiness increase!

“TRIBUTE TO JEAN GOLDKETTE,” also BIX, TRAM, and BILL CHALLIS: The New York Jazz Repertory Company at the Nice Jazz Festival, July 14, 1976.

Here is the music from New York Jazz Repertory Company’s half-hour “Tribute to Jean Goldkette”: Jimmie Maxwell, Bernie Privin, trumpet; Dick Sudhalter, possibly cornet; Eddie Bert, Al Cobbs, trombone; Bob Wilber, Johnny Mince, clarinet, alto saxophone; Budd Johnson, Eddie Barefield, clarinet, tenor, baritone saxophone; Dick Hyman, piano, transcriptions, arrangements; Bucky Pizzarelli, guitar; Milt Hinton, string bass; Bobby Rosengarden, drums.

SUNDAY / ‘WAY DOWN YONDER IN NEW ORLEANS / I’M GONNA MEET MY SWEETIE NOW / IN A MIST (Hyman) / CLEMENTINE (From New Orleans) / SINGIN’ THE BLUES [with vocal break at 17:45!] / CLARINET MARMALADE [Solos abound, with wild Hyman and reed section trades] //

French radio broadcast from the Nice Jazz Festival, “Grande Parade du Jazz,” July 14, 1976:

Beautiful music, splendidly played: simultaneously historical and timeless.

May your happiness increase!

“SIGN IN, PLEASE” (2023 Edition): LOUIS, BILLIE, JUNE, BUSTER, MILDRED, LEO, GUS, BOOTS, BOYD, KAHN, KLOOK, SHORTY, MILLI(E), THE JAZZ GIANTS, SWOPE, TEDDI, WARNE, RUBY, BIRD and HAWK

eBay. Yes, eBay! The national museum, treasure chest, attic . . . with these signatures collected over the past year.

GUS ARNHEIM:

BOOTS MUSSULI:

BOYD RAEBURN:

BUSTER BAILEY:

JUNE CHRISTY:

ART KAHN:

KENNY CLARKE:

LEO WATSON:

MEADE LUX LEWIS:

CARMEN MASTREN:

MILDRED BAILEY:

PETE JOHNSON:

SHORTY ROGERS:

THE JAZZ GIANTS:

EARL SWOPE:

TEDDI KING:

MILLI(E) VERNON:

and

WARNE MARSH:

RUBY BRAFF:

and

LOUIS ARMSTRONG to STEW PLETCHER:

and

and

BILLIE HOLIDAY:

and

COLEMAN HAWKINS and CHARLIE PARKER:

and

That should be enough for the moment. Without being didactic, I propose that the names here are a wide-ranging history of the music in themselves, and if any are new to you, a little online research will open doors, or rabbit-holes, of pleasure and knowledge.

Most of the items above are no longer being offered for bid, and eBay is caveat emptor at its finest. Odd inexplicable pricing, and forgeries — some of them quite unintelligent — are blandly offered as “rare.” (Al Jolson, dead in 1950, could not have signed his name on a record issued seven years later. An antique photograph of a young man with a cornet looks nothing like the dear boy from Davenport.) But the signatures above are, as far as I can tell, both genuine and precious.

May your happiness increase!

“AT THE JAZZ BAND BALL” / “SALUTE TO BIX”: RANDY SANDKE, DAN BARRETT, KEN PEPLOWSKI, SCOTT ROBINSON, MARTY GROSZ, MARK SHANE, LINC MILLMAN, DAVE RATAJCZAK (Bern Jazz Festival 1993)

This post celebrates no anniversary in the brief life of Bix Beiderbecke: it’s always a good time to honor the man, the music, and “his era,” which this stellar band did at the Bern Jazz Festival in 1993.

Randy Sandke, cornet; Dan Barrett, trombone, trumpet-1; Ken Peplowski, clarinet; Scott Robinson, bass saxophone, C-melody saxophone; cornet-1; Mark Shane, piano; Marty Grosz, guitar, vocal*; Linc Milliman, string bass, tuba; Dave Ratajczak, drums. Bern Jazz Festival 1993.

Four or five excerpts from this concert have been posted on YouTube by various people, but I believe this is the first presentation of the complete concert in the best sound and clarity.

FIDGETY FEET / MY PRETTY GIRL (1) / SINGIN’ THE BLUES – I’M COMIN’ VIRGINIA / CHANGES* / MISSISSIPPI MUD in German* / THERE AIN’T NO SWEET MAN THAT’S WORTH THE SALT OF MY TEARS* / BECAUSE MY BABY DON’T MEAN ‘MAYBE’ NOW* / IN A MIST (Shane) – CANDLELIGHTS / SORRY / WAIT ‘TILL YOU SEE ‘MA CHERIE’ (Barrett, Shane, Millman) / RIVERBOAT SHUFFLE / CHINA BOY (Peplowski, Shane, Ratajczak) / I’LL BE A FRIEND ‘ WITH PLEASURE’* / AT THE JAZZ BAND BALL / Encore: CLARINET MARMALADE // Interview with Marty Grosz //

Note: this band recorded a longer tribute to Bix and his era in Hamburg, Germany, on May 1, 1993, which was issued on CD as “The Bix Beiderbecke Era,” Nagel-Heyer (G)CD002 [CD] and as part of (G) CD008, “Jazz at the Musikhalle.”

Gorgeous thoughtful hot and pensive music: a model performance that honors the past and stands on its own.

May your happiness increase!

HAPPY BIRTHDAY, BENT PERSSON!

November 2014, Bent Persson (right) and a humble admirer at the Whitley Bay Jazz Party. Photo by Andrew Wittenborn.

BENT PERSSON is a true hero of mine, and I know I have company around the world. I think of his friendly kind enthusiasm in person — he is ready to laugh at the world’s absurdities — and the soaring trumpet player, at once exact and passionate, who makes Louis and his world come alive in the brightest ways.

I first met Bent in the way that we used to find our heroes in the pre-internet era, sonically. In the middle Seventies, I was passionately collecting records. That meant that I would spend the day in New York City visiting record stores, coming home when I had used up my money. I prowled through Happy Tunes One and Two, Dayton’s, and J&R Records near City Hall, where I spotted a record on a label I hadn’t heard of before (“Kenneth Records”) featuring Bent Persson (someone new) playing his orchestral versions of the Louis Armstrong 50 Hot Choruses book published in Chicago, 1927. Perhaps it was $6.99, the price of two DJ copies or cutouts, but I took the risk. It was electrifying, joyous, and hot beyond my wildest expectations. Here’s what it sounded like.

HIGH SOCIETY, in duet with pianist Ulf Johansson Werre (1977):

I kept on buying every record (then CD) on which he appeared, and he visited the US now and again — although I wasn’t at liberty to meet him — to make sublime hot music, some of it captured in videos from the Manassas Jazz Festival.

CHINATOWN, with Kenny Davern, Jim Dapogny, Tomas Ornberg, and Steve Jordan (1988):

and duets with Jim Dapogny, CHICAGO BREAKDOWN and BLACK BOTTOM STOMP (1985):

At some point, I had acquired a computer and an email account, and was writing for THE MISSISSIPPI RAG, so I remember starting a correspondence with Bent — admiring and curious on my part, friendly and gracious on his. In the intervening years of record collecting, I understood that Bent was a Renaissance man of hot trumpet (and cornet): yes, Louis, but also Bix, Red, Cootie, and others, and no mere copyist, but a great understander and emulator, always himself while letting the light of his heroes shine through him. A great scholar as well, although that might be too obvious to write.

Finally the circumstances of my life changed so that I could fly — literally and figuratively — and in 2009 I made my way to the Whitley Bay Jazz Party, which I attended every year until 2016, video camera at the ready, approaching my heroes, shyly beaming love and gratitude at them. Bent knew me slightly from our correspondence, but I recall coming up to him, introducing myself, hugging him, and saying that he had been a hero of mine for decades. He took it all with good grace.

I created more than a hundred videos of Bent in that series of delightful parties, and I will share only four: you can find the rest on YouTube with a little earnest searching.

CLEMENTINE with Norman Field, Spats Langham, Frans Sjostrom (2009):

DUSK with Frans and Jacob Ullberger (2009):

LOOKIN’ GOOD BUT FEELIN’ BAD with the Red Hot Reedwarmers (2009):

and for an incendiary closer, DING DONG DADDY with Enrico Tomasso, Spats Langham, Kristoffer Kompen, and other luminaries (2015):

Please don’t let the apparent historical nature of these videos fool you into thinking that Bent has hung up his horns and dumped his valve oil into the trash.

He is still performing, and there were gigs with BENTS JAZZ COCKTAIL as recently as mid-August (what a well-dressed crew!) Visit Bent’s Facebook page for the most current news of his schedule.

This is the most fragmentary celebration of Bent, a man devoted to his art but also a first-rate human being who beams when he talks about the family he adores. If he is new to you, I hope you have been as uplifted and electrified by his music presented here as I have been for almost fifty years. If he is a shining light to you, here is another occasion to thank him for being and sustaining the glories of jazz.

It is, although across too many miles, another hug, so well-deserved.

May your happiness increase!

HOT SERMONS: STILL MORE FROM THE NEW YORK CLASSIC SEVEN: MIKE DAVIS, ANDY SCHUMM, COLIN HANCOCK, SAM CHESS, VINCE GIORDANO, RICKY ALEXANDER, JAY RATTMAN (St. John’s Lutheran Church, New York City, May 18, 2022)

Photograph by Rob Rothberg

This band rocked the church. Seismically, I mean. Christopher Street will never be the same.

I’ve shared several segments from this concert, and here’s the last dynamic offering. From the back, the New York Classic Seven are Colin Hancock, drums; Jay Rattman, bass saxophone; Vince Giordano, banjo; Andy Schumm, piano; Ricky Alexander, clarinet, alto saxophone; Sam Chess, trombone; Mike Davis, trumpet, vocal.

(For new visitors to this site: if you click on the post’s title, the still photographs below — if they are what you see — will open to reveal video-performances.)

For Bix, of course. THERE’S A CRADLE IN CAROLINE:

Hot needs sweet in the perfectly balanced cosmos, so here’s Romantic Mike Davis, pleading GUILTY. We pardon him:

And the gloriously futuristic BONEYARD SHUFFLE:

Here’s Andy Schumm’s Gershwin-inspired composition, LET’S DO THINGS:

A beautiful mini-Whiteman consideration of MY BLUE HEAVEN:

Don’t be afraid of the title. Colin and Mike aren’t truly ANGRY:

And the extravagantly “primitive” JUNGLE CRAWL by Tiny Parham:

What would a program of Twenties jazz and pop be without a song saying how much better everything is in the American South? Here’s a stellar example, THAT’S THE GOOD OLD SUNNY SOUTH:

This was the second — wonderful — US appearance by this band. If you want to hear them again, tell festival organizers and club-owners, tell your wealthy friends. They’re raring to go and play, as you can see and hear. And we need this kind of musical uplift.

Thanks again to Janet Sora Chung and St. John’s Lutheran Church (Christopher Street, New York City) for making this aesthetic gift-box possible, and for permitting me to video-record and share it.

And thanks to Red, Bix, Miff, Fud, Pee Wee, JD and TD, McDonough, Eddie, Challis, Artie, Vic, Adrian, and three dozen other luminaries for their inspiration.

May your happiness increase!

THE IMMORTAL BOB BARNARD (1933-2022)

Wikipedia, where almost-cooked facts are arranged for our pleasure, tells me today that Bob Barnard, “an Australian trumpet and cornet player,” born November 24, 1933, died yesterday, May 7, 2022. I heard the news yesterday from the very fine friend of the music John Trudinger. My first reaction was double: I felt as if I’d been pierced right through my chest, but at the same time I heard a great golden sound, that of Bob’s glowing horn. And I thought of what Bobby Hackett had said of Louis Armstrong’s “death,” that Louis was alive as long as we could hear him.

I was fortunate to see and hear and even chat with Bob on his visits to New York and to Jazz at Chautauqua, which is why I start with his rare character. He had his own center, a sweet equanimity. He was ready to find the world both welcoming and amusing, and although I never heard him tell a joke (or be mean at someone’s expense), he always looked as if he was ready to start laughing — of course, not when the horn was at his lips, when he was completely serious. I think of him with a gentle amiability, head slightly cocked at the latest absurdity but ready to make everything right through music.

Along with that ease in the world, and perhaps its foundation, was a lovely mature courage. When he led groups at Chautauqua and elsewhere — musicians who didn’t usually play together or who (let me whisper this) always know more obscure repertoire, he was beautifully unflappable. He called tunes that he knew everyone would enjoy, but when he announced BOULEVARD OF BROKEN DREAMS or GIVE A LITTLE WHISTLE I could see the faintest looks of “What the hell is this? How does the bridge go?” among the very experienced musicians on the stand. Bob called a medium tempo and started playing the melody . . . wordlessly teaching by example, “THIS is how it goes. Follow me and I won’t let you get lost.” And no one did.

I hope that my readers know what an unforgiving instrument the trumpet (or cornet) is, how demanding . . . and if they don’t know, they pick one up sometime and attempt a clear tone, held notes, the barest semblance of agility.

Bob, Pat O’Leary, Scott Robinson, Matt Munisteri at The Ear Inn, 2010.

Bob is — not was — an absolutely spectacular brass virtuoso. But one with deep-seated taste and grace. He came out of Louis and Bix, but with a keen sense of their songful lyricism: the only one who approached his mastery in this is Connie Jones. He was also fearlessly agile all over the range of the horn. I think of Bob’s limber, audaciously sweet playing as skywriting or acrobatics on the highest diving board.

Here’s a sample from Bob’s visit to The Ear Inn, September 26, 2010, with Scott Robinson, tenor saxophone; Matt Munisteri, guitar; Pat O’Leary, string bass:

and also in sweetly Louis-inspired mode, performances with John Sheridan, piano; Arnie Kinsella, drums, at Jazz at Chautauqua, September 16, 2010.

I LOVE YOU, SAMANTHA (from High Society):

LYIN’ TO MYSELF (from the glorious Deccas):

and, finally, THE SKELETON IN THE CLOSET. Originally I thought that bringing this performance forward to mark Bob’s moving on would seem a failure of taste, but I think he would laugh at the juxtaposition, never one to take himself too seriously:

And a beautiful interlude from Bob’s last recording session, JUST MY LUCK, with guitarist Ian Date in March 2016:

Bob made his first recordings in 1949, and readers who know him will have their own favorites. But you can hear his style, his joy, his lyrical exuberance in these performances. And if you knew him, even glancingly, as I did, you hear the friendly singular man, in love with melodies, in every note.

He lives on and will live on in those sounds.

May your happiness increase!

“OH BABY!”: ANDY SCHUMM, DAN LEVINSON, JOHN SHERIDAN, KERRY LEWIS, ARNIE KINSELLA (Jazz at Chautauqua, September 19, 2013)

News flash: the song is OH BABY — with or without comma and exclamation point — thanks to Rob Rothberg for the gentle correction. But I don’t have the time to fix the PETTIN’ references, so I hope readers will forgive me my ignorances, plural. The music remains!

It’s a wonderful song — verse and chorus — first made memorable in jazz by Bix Beiderbecke and the Wolverines, then by Bud Freeman’s Summa Cum Laude Orchestra and several other Bix-inspired groups.

The undocumented but hot version I present here comes from September 19, 2013, at the informal-jam session held before the Jazz at Chautauqua weekend officially began. The hero-participants are (from the back) Arnie Kinsella, drums; Kerry Lewis, string bass; John Sheridan, piano; Dan Levinson, clarinet; Andy Schumm, cornet:

and, just because JAZZ LIVES needs a regal guiding spirit, here’s someone who is always teaching the lesson: know when to pet, know when to stop:

WE STILL MISS JOHN SHERIDAN (Jazz at Chautauqua, September 20, 2013)

Here are two savory solo piano performances by John Sheridan, almost a decade ago, having his own kind of intent fun at the piano in the parlor of the Hotel Athenaeum, the Friday afternoon before the proceedings officially began.

John had a vast repertoire, so these two performances — riotous yet exact, meditative yet focused — are simply two aspects of his multifarious self. I invite you to savor them, and also share my slight amusement at John’s crisp rapport with the listeners, never mean-spirited but always slightly brusque, at least on the surface.

COME BACK, SWEET PAPA, by Paul Barbarin and Luis Russell, made immortal by Louis Armstrong in Chicago, 1926. Verse and chorus, delightfully orchestral and vivid:

and the other end of the emotional spectrum, a ruminative impressionistic THE LEGEND OF LONESOME LAKE by Eastwood Lane, a composer and composition Bix Beiderbecke knew well:

It’s easy to say that artists are immortal as long as their art is within reach, and it’s true . . . but I wish the telephone would ring and John would be on the other end. Seeing and hearing him, however, is a delight, even if tinged with regret.

May your happiness increase!

TRIBUTE TO BIX: DICK SUDHALTER, GEORGE BARNES, JOE VENUTI, MARTY GROSZ, MICHAEL MOORE, RAY MOSCA (Grande Parade du Jazz, July 23, 1975)

Since I’ve been collecting recordings of jazz music in every conceivable form for over fifty years, I don’t always know what I have — which makes for a certain disorganization. (Some people I know have spreadsheets, indices, notebooks of their holdings: not me.) But it also makes for delirious surprises, one of which I will share with you.

The eminent (and generous-spirited) jazz writer and historian Derek Coller was at the 1975 Nice Jazz Festival, an experience I envy. But he also brought along a portable cassette recorder, and sent me copies for me of the tapes he achieved. Wonderful gifts. The sound isn’t recording-studio, and there is talk from enthusiastic fans, but the results are priceless.

Here is the last set of July 23, 1975: Dick Sudhalter, cornet; George Barnes, electric guitar; Joe Venuti, violin; Marty Grosz, guitar; Michael Moore, string bass; Ray Mosca, drums, paying tribute to the dear boy from Davenport, Iowa. Everyone is in wonderful form — even though Joe is characteristically a little overbearing — but the hero of this set is George Barnes, leaping in at wonderfully odd angles, honoring a musician and an inspiration.

JAZZ ME BLUES / SUNDAY [a few measures missing, possibly the tape being turned over] / BLUE RIVER (Sudhalter-Grosz) / SWEET SUE (Sudhalter out) / SINGIN’ THE BLUES / SAN //

Somewhere, Bix is grinning, because these noble creatures had the right idea: follow their impulses, and who knows what’s coming next? — rather than bowing down to the past. I hope you agree.

May your happiness increase!

WITH DISPATCH AND VIGOR: MARTY GROSZ and FRANK CHACE and FRIENDS, 1951

Marty Grosz, young, spiffy.

One of Marty Grosz’s favorite vaudeville bits is to announce the next number, and say “. . . performed with dispatch and vigor,” and then motion to two musicians near him, saying, “That’s Dispatch, and that’s Vigor.” How old it is I don’t know, but it still provokes a laugh from me and the audience. (The expression goes back to the eighteenth century and before: it crops up in a letter from George Washington, which would please Marty if he doesn’t already know it.)

Perhaps the earliest recording we have of Marty (then playing a four-string guitar) and his miraculous colleague Frank Chace dates from 1951, issued on a limited edition 10″lp by THE INTENSELY VIGOROUS JAZZ BAND. The personnel is John Dengler, cornet; Marty Ill, trombone; Frank Chace, clarinet; Hal Cabot, piano; Marty Grosz, guitar; Stan Bergen, drums. Princeton, New Jersey, May 1951. I have a copy here somewhere, but it proves elusive. From what I remember of the liner notes, Marty and Frank were ringers, added to the Princeton students’ band of the time.

Frank Chace, young, ferociously intense.

Through the good offices of the very generous collector Hot Jazz 78rpms — who shares marvels regularly on his YouTube channel — I can offer you all of this rather grainy but certainly precious disc. But before you leap into auditory splendor, may I caution you: not everyone on this session is at the same level, but it would be wrong to give it only a passing grade as “semi-pro college Dixieland.” Close listening will reveal subtleties, even in the perhaps overfamiliar repertoire. Marty, Frank, and John shine. And the three Princetonians, none of whom went on to jazz fame, play their roles. With dispatch and vigor.

NOBODY’S SWEETHEART NOW:

BUDDY BOLDEN’S BLUES (a memorable Chace chorus):

THE CHARLESTON:

I FOUND A NEW BABY:

THE SHEIK OF ARABY (my favorite):

BASIN STREET BLUES:

AT THE JAZZ BAND BALL:

and, yes, WHEN THE SAINTS GO MARCHING IN with some of its original luster intact:

Intense, vigorous, and joyous too. And if you hear echoes of Eddie, Charles Ellsworth, Bix, and their friends, that’s not a bad thing.

May your happiness increase!

SWING IN THE SMALL ROOM: ANDY SCHUMM, DAN LEVINSON, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS (Jazz at Chautauqua, September 19, 2013)

My time machine won’t go back to 1935 and the Reno Club, nor to Fifty-Second Street, no matter how hard I twist the dials, but it does go back to 1970 — audio only — and 2009 — adding video. One of the great pleasures of this century for me was being allowed to bring my video camera to what was Jazz at Chautauqua and then took on different names and a different venue. We miss it terribly. But some wonderful evidence remains.

It was held during a long weekend late in September at the Athenaeum Hotel in Chautauqua, New York, and its founder Joe Boughton had certain rituals in scheduling. Friday afternoon, solo piano recitals in the parlor; Friday night, Saturday afternoon and evening, and Sunday afternoon were for organized sets in the large ballroom.

A session in the ballroom — opening or closing ceremonies, c. 2012.

But Thursday night was informal, because musicians and guests arrived as they could — for me, it was about a seven-hour trip there whether I drove or flew to Buffalo — but certain rituals were observed. I believe the open bar opened itself around 5 PM, and the line for the buffet dinner began also. At around 6, music began in the smaller back room, and I learned quickly to bring my plate, my knapsack of video equipment there rather than dining like a civilized person at a table among others. (“I can always eat, but I can’t miss this set,” I reminded myself.)

I’m not exaggerating when I say some of the best musical moments of this century, for me, took place on those Thursday evenings. Sometimes the piano wasn’t perfect, or I had to sit behind friends and shoot video with their heads as part of the scenery, but those sessions are joyous memories. And they exist to be shared with the faithful. The little ad hoc groupings didn’t have official leaders, but someone might suggest a tune that everyone knew, they would agree on a ley and tempo, and magic would happen.

It did on Thursday, September 19, 2013, thanks to Dan Levinson, clarinet and tenor saxophone; Andy Schumm, cornet; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums. They did three classic standards; they had fun; so did we.

A SAILBOAT IN THE MOONLIGHT, which suggests what might have happened if Bix had lived into 1937:

Irving Berlin’s always-gratifying RUSSIAN LULLABY:

and, after some discussion, the 1928 SWEETHEARTS ON PARADE, more a sprint, and such fun:

There will be more, in time, and all memorable.

All hail the living Gentlemen of the Ensemble: long may they be vibrant. But, damn it, how we miss John Sheridan.

May your happiness increase!

BIX, 1979: THE NEW YORK JAZZ REPERTORY COMPANY at the Grande Parade du Jazz: DICK HYMAN, DICK SUDHALTER, BOB WILBER, SPIEGLE WILLCOX, NORRIS TURNEY, HEYWOOD HENRY, BUCKY PIZZARELLI, GEORGE DUVIVIER, BOBBY ROSENGARDEN (July 10, 1979)

I have a real affection for the recordings and performances of the New York Jazz Repertory Company: a floating all-star ensemble I saw in person in 1974 and 1975, honoring Louis and Bix, among others.

At their best, they were expert, passionate, and evocative — the supporting players were the best studio players / jazz improvisers who could sight-read with elan and then solo eloquently. And they always had the best ancestral guest stars: in the concerts I saw, Ruby Braff, Ray Nance, Vic Dickenson, Taft Jordan, Chauncey Morehouse, Paul Mertz, and Joe Venuti. I can’t leave out the superb guidance and playing of Dick Hyman, whose idiosyncratic brilliance is always a transforming force.

Later in the Seventies, someone, probably George Wein, understood that the NYJRC was a compact, portable way of not only reproducing great performances but in taking jazz history, effectively presented, on the road, to France, the USSR, and elsewhere. Thus they made appearances at festivals and did extensive tours — bringing POTATO HEAD BLUES with Louis’ solo scored for three trumpets, frankly electrifying, as I can testify.

Here they are at the Nice Jazz Festival, making Bix come alive by (with some exceptions) not playing his recorded solos, gloriously. And the rhythm section swings more than on the 1928 OKehs, which would have pleased Bix, who didn’t want to be tied to what he’d played in 1923. Occasionally the “big band” tends to be a fraction of a second behind where one would like it, and Spiegle Willcox uncharacteristically gets lost in a solo . . . but the music shines, especially since this is the joyous evocation of Bix rather than the too-often heard elegies for his short life. My small delight is that someone — Pee Wee Erwin — quotes SHINE ON, HARVEST MOON in the last sixteen bars of AT THE JAZZ BAND BALL. And Dick Sudhalter and Bob Wilber positively gleam throughout.

The collective personnel: Dick Hyman, piano, leader; Dick Sudhalter, cornet, flugelhorn; Spiegle Willcox, trombone; Bob Wilber, clarinet, reeds; Bucky Pizzarelli, guitar; George Duvivier, string bass; Bobby Rosengarden, drums; Pee Wee Erwin, Ernie Royal, Jimmie Maxwell, trumpet; Budd Johnson, Arnie Lawrence, Norris Turney, Haywood Henry, reeds; Britt Woodman, Eddie Bert, and one other, trombone.

RIVERBOAT SHUFFLE / DAVENPORT BLUES (Sudhalter, flugelhorn – Hyman) / IN THE DARK (Bucky, Hyman, Duvivier) / ‘WAY DOWN YONDER IN NEW ORLEANS (Sudhalter, Turney) / IN A MIST (Hyman) / CLEMENTINE (Sudhalter, unid. tbn, Bucky, Hyman / JAZZ ME BLUES (Sudhalter, Spiegle, Wilber, Hyman — playing Bix’s solo) / SWEET SUE (Spiegle, Bucky, Wilber, Sudhalter playing the 1928 solo) / SINGIN’ THE BLUES / AT THE JAZZ BAND BALL //

This televised presentation was designed to show what the NYJRC could “do”: a varied selection of music across decades and styles. I will post another segment, by “The Unobstructed Orchestra,” soon.

Forty-five minutes of the past made completely alive.

May your happiness increase!

Postscript, which could be called ON THE FUNCTION OF CRITICISM. A few minutes after I’d posted this, someone I don’t know wrote to comment on YouTube: I offer an edited version: “The great weakness of this re-creation is Z, I am sure he plays all the notes, but somehow it does not work at 100%. L was still a good mainstream player and the rythm section is very adequate, P consistently good.”

I find this irksome, perhaps out of proportion to the size of the offense, and, of course, everyone is entitled to their opinion. But to make it public, in print, is upsetting to me — as if the commenter had been invited to my house for dinner and, upon being served, told me that my place settings were somehow not up to his standards. I do not like everything I hear, but I think “criticism” of this sort contributes nothing to the discussion, except, perhaps, a buffing of the ego of the commentator, who Knows What’s Good.

I am aware that this is hugely anachronistic, out of place in 2021, but I bridle when my heroes are insulted . . .

DICK HYMAN / RUBY BRAFF IN CONCERT: “EUPHONIC ORGANISATION” (11.9.85, Norfolk, England)

Dick Hyman and Ruby Braff — a wonderful CD, by the way

Because I followed Ruby Braff around circa 1971-82, I had many opportunities to see him in a variety of contexts. But I saw him in duet with Dick Hyman only twice, I think, and neither time was Dick playing the gorgeous pipe organ he has at his command here. Thank goodness for the BBC, which took the opportunity of recording Ruby and Dick in concert at a spot which had an actual Wurlitzer pipe organ.

I’d heard this forty-minute session on a cassette from a British collector, but only this year — through the kindness of a scholar-friend did I get to see the performance and have an opportunity to share it with you. The details:

Dick Hyman, Wurlitzer pipe organ; Ruby Braff, cornet, introduced by Russell Davies. SLEEPY TIME DOWN SOUTH / THEM THERE EYES / LOUISIANA / HIGH SOCIETY / WHEN I FALL IN LOVE / JITTERBUG WALTZ (Braff out) / BASIN STREET BLUES. Recorded for broadcast on the BBC at the Thursford Fairground Museum, Norfolk, UK. A few audio and video defects come with the package: the occasional pink hue, the slight static. I’m not complaining. Annotations thanks to Thomas P. Hustad’s definitive bio-discography of Ruby Braff, BORN TO PLAY (Scarecrow Press, 2012).

Music that impresses the angels and moves the heavens. And speaking of blessedness, let us honor the durably lovely Dick Hyman, still making celestial sounds.

May your happiness increase!

HEARD ON THE STREET: JON-ERIK KELLSO, MATT MUNISTERI, JAY RATTMAN, RICKY ALEXANDER (The EarRegulars at The Ear Out, June 27, 2021)

Jay, Ricky, Matt.

Jon-Erik.

The very Place. (326 Spring Street, Soho, New York City.)

CLEMENTINE (from New Orleans):

LOVE IS JUST AROUND THE CORNER (either Hudson or Greenwich, depending on your direction):

I’ve already posted MY BUDDY, but I think it’s sublime:

and just in case you missed it, here is I WANT TO BE HAPPY, with Danny Tobias joining in:

These wonderful explosions and expressions — with a rotating stock company of swinging friends — are happening every Sunday afternoon, 1 to 3:30. What gifts we are being given!

May your happiness increase!

STOMPING AT SUNDOWN: COLIN HANCOCK’S RED HOT EIGHT at THE MORRIS MUSEUM, MORRISTOWN: MIKE DAVIS, VINCE GIORDANO, TROY ANDERSON, JULIAN JOHNSON, ARNT ARNTZEN, ALBANIE FALLETTA, DAN LEVINSON (June 10, 2021)

The band.

The scene, that hot night in Morristown.

The purveyors of joy were Colin, trumpet, tenor saxophone, and imagination; Vince Giordano, bass saxophone, string bass, tuba, and vocal; Dan Levinson, clarinet, alto saxophone; Troy Anderson, tenor and soprano saxophone; Mike Davis, cornet, trombone, mouthpiece, vocal; Julian Johnson, drums; Albanie Falletta, resonator guitar, vocal; Arnt Arntzen, banjo, guitar, vocal.

I’ve already posted MILENBERG JOYS, BIG BUTTER AND EGG MAN, HERE COMES THE HOT TAMALE MAN, CLARINET MARMALADE, WHISPERING, EIGHTEENTH STREET STRUT, and YOU’VE GOTTA SEE MAMA EVERY NIGHT — one pleasure for each day of the week.

Here are two Twenties classics, glorious hot music, the last evidence of what was a stunning evening.

LOUISIANA:

and FIVE FOOT TWO, EYES OF BLUE:

Now. This concert ended (for those who were there) and the nine performances I’ve posted are also, in their own way, glorious yet finite. Suppose you thirst for more of the hot music Colin and friends create? If you live in New York City or nearby, you can visit him on various gigs . . . but you might also want to have a little shiny plastic hour of superb joys for your very own. Hence, I urge you to investigate his new CD on the Rivermont Records label, COLLEGIATE.

and here’s what I had to say about it just a few days ago:

“THERE’S SOME KIND OF MAGIC GOING ON”: “COLLEGIATE,” by THE ORIGINAL CORNELL SYNCOPATORS (Rivermont Records, 2021)

May your happiness increase!

“THERE’S SOME KIND OF MAGIC GOING ON”: “COLLEGIATE,” by THE ORIGINAL CORNELL SYNCOPATORS (Rivermont Records, 2021)

Words later. First, this magical video:

I’ve admired Colin Hancock since 2017, when I heard the first disc by the Original Cornell Syncopators — a group of wonderfully gifted college students who were majoring in everything except music — who romped through Twenties tunes with enthusiasm, vigor, and feeling. They are my living answer to “Jazz is dead.” “Young people only want to play Charlie Parker solos.” “No one under seventy really knows how to play Hot,” and other widely-circulated falsehoods.

I knew that Colin and “the Syncs,” as those in the know, call them, had recorded a new CD for Rivermont Records, its repertoire focused on music composed, played, recorded by Twenties ensembles with connections to college life. From what I know of Colin and a number of his colleagues, I expected that the results would be well-researched and historically accurate, and that I would hear music new to me, played idiomatically. I knew that the results would also be fun, spirited, enthusiastic: playful rather than white-gloves dry reverence. I knew the band would be mostly Youngbloods (with the exception of guest pianist Ed Clute and banjo-guitar master Robbert VanRenesse) that they would be ethnically diverse, with women as well as men sharing the limelight as instrumentalists as well as singers.

Yesterday I had errands to do, so I brought the disc with me to play in my car — my mobile studio — and I was astonished by how compelling it was, how fine — well beyond my already high expectations. I know it’s an oxymoron, but the words “ferocious polish” kept coming to my mind as I listened, and if you’d seen me at a red light, you’d wonder why that driver was grinning and nodding his head in time. I hadn’t read the notes (a forty-page booklet, with contributions by Julio Schwarz-Andrade, Colin, Hannah Krall, Andy Senior, Bryan Wright) and had only a vague idea of the repertoire, so in some ways I was the ideal listener, ready to hear the music without the historical apparatus and the assumptions it would necessarily impose.

I will write here what another reviewer would save as the closing “pull quote”: if you take any pleasure in the music that was American pop — not just hot jazz — before the Second World War, you will delight in COLLEGIATE.

You can hear selections from the recording, purchase a CD or download the music here. There are tastes from COLLEGIATE, MAPLE LEAF RAG, CONGAINE, ORIGINAL DIXIELAND ONE-STEP, CATARACT RAG BLUES, SAN, PERUNA, EVERY EVENING, SICK O’LICKS, IF I’M WITHOUT YOU — songs whose names will conjure up Twenties joys, Earl Hines, Jimmie Noone, Scott Joplin, and the ODJB . . but other songs and performances have connections to Ted Weems, Hal Kemp, Curtis Hitch, the Princeton Triangle Club Jazz Band, Jimmie Lunceford, the Cornell Collegians, Zach Whyte’s Chocolate Beau Brummels, Charlie Davis, Stu Pletcher and Carl Webster’s Yale Collegians.

What’s so good about it? The selections are beautifully played — with joy and spirit — and expansively recorded. When the whole ensemble gets going (and do they ever!) I thought I was listening to what the Paul Whiteman Orchestra must have sounded like in its heroic orchestral glory: the band and the recording have expansive life. And the solos are lyrical as well as hot, fully “in the idiom.” A good deal of this music has its roots in the Middle West rather than the South . . . so even though it may strike people who revere Louis as I do as heresy, the disc is delightful living proof that other, convincing, kinds of hot improvised music were being played and sung that owed little to Armstrongiana except for ingenuity and rhythmic enthusiasm.

I think of it as a good-natured rebuke to another stereotype, that “collegiate jazz” of the Twenties was primarily groups of young men jamming on pop tunes and originals of the day — I think of Squirrel Ashcraft and his friends, and it’s true that this CD has a goodly share of small-band hot . . . but that oversimplification is rather like saying that the Twenties = flappers, flivvers, and raccoon coats. The research that Colin and others have done results in a presentation that is imaginative and expansive: the twenty performances here are a kind of aesthetic kaleidoscope, all of it coming from similar syncopated roots but with delightfully varied results. No cliches.

And maybe it wouldn’t have made a difference, but the music produced by college students and graduates a hundred years later has a kind of spiritual authenticity. There is a good deal of thin, fragile “authenticity” out there among people attempting to play “vintage” music: this recording is real, both grounded and soaring.

The ensembles are wonderfully cohesive: that the players aren’t full-time musicians is something amazing. And there are vocal trios. I want nothing more. Everyone here is magna cum laude. And there was, as trumpeter-vocalist Lior Kreindler says in the video, marveling, “magic going on.”

May your happiness increase!

SONATAS IN THE SUNSHINE (Opus One): RICKY ALEXANDER, JAY RATTMAN, MATT MUNISTERI at The Ear Out, June 27, 2021

As James Chirillo has been known to say after a particularly satisfying session, “Music was made.” That it was, last Sunday afternoon in the bright sunshine (and cooling breezes) in front of the Ear Inn on 326 Spring Street, Soho, New York City. The EarRegulars were Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Jay Rattman, bass saxophone; Ricky Alexander, clarinet and tenor saxophone. But before a note had been played, Jon-Erik noticed that the Check Engine light was shining from his trumpet, so he absented himself for a bit to get it looked at, secure that music would be made in his absence. (He came back before the set was over.)

This was a novel instrumentation, one that might have been either earthbound or unbalanced in the hands of lesser musicians. But the synergy here was more than remarkable, and the pleasure created in each chorus was palpable. This hot chamber trio — soaring, lyrical, rambunctious — performed six songs in their trio set. Here are the first three, to be savored.

SUNDAY, which goes back to 1926 (think Jean Goldkette and Cliff Edwards) but was also a favorite of Lester Young. Here, the Mini-EarRegulars also play the verse, an unexpected pleasure:

UNDER A BLANKET OF BLUE was one of Frank Chace’s favorite songs, and I think of the tender version by Ella and Louis. A rarity, though: when was the last time you heard a group play it?

And Edgar Sampson’s rocking BLUE LOU:

A fellow listener turned to me between songs and said, marveling, “Aren’t they grand?” I agreed, as I hope you would have also.

Much more to come.

May your happiness increase!