Tag Archives: Chloe Lang

THREE PATHS, ONE RESULT: “CHLOE”

This one’s for Chloe Lang.

I have a new obsession (among many) the singing, late and early, of Eva Taylor.  I’ve always been deeply connected to the song CHLOE (or CHLO-E) ever since I heard the recording Louis and Gordon Jenkins made of it.  And Henry “Red” Allen remains a hero.

Thus:

Eva with a Clarence Williams group, 1928:

Red and his little recording / jukebox swing band in 1936:

And the Master of them All:

All three paths head — in their own ways — to Beauty.  I know someone will dismiss the first recording as “sweet” rather than hot, although the instrumental playing in the second half is quite delightful.  But the great tenderness of her voice!

And some will be put off by the chorus on the last recording, which for me works perfectly as a dramatic statement, the voices providing counterpoint to Louis’ soaring trumpet and voice that I would not think of changing.  (And the question “Is that you, honey?” is always appropriate.)

I cannot imagine a fault anyone could find with Red’s version.

Everyone’s entitled to deeply subjective “taste,” but I feel sad for the listener who cannot put aside the preconceptions and hear the Beauty.  Or, better yet, the Beauties.

May your happiness increase.

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HAVE YOU HEARD?

Upon hearing the news, Chloe Lang (the West Coast JAZZ LIVES mascot) was suddenly wide awake and wanted to know more!

What news?

How about a new CD compilation of live recordings  featuring pianist Ray Skjelbred and hot cornetist Jim Goodwin from Port Costa, CA gigs?  The CD is called — simply — RAY SKJELBRED ABD JIM GOODWIN / RECORDED LIVE IN PORT COSTA, and it’s issued on Ray’s own label, “Orangapoid,” number 104.  All the music was recorded at the Bull Valley Inn.

So far it’s available only at Ray’s gigs — which is a good thing: you get to see him and take this home, too! — but I wonder if he would be willing to sell it to those not likely to get to the West Coast soon.  Postage and packing are a nuisance, but you could ask — sweetly — at http://www.rayskjelbred.com.

Lovely songs: SLEEPY TIME GAL, PLEASE BE KIND, THE DAY YOU CAME ALONG, RUSSIAN LULLABY, THE RIVER’S TAKING CARE OF ME, LAZY BONES, EVERYONE SAYS “I LOVE YOU,” CHARLESTON, TWO SLEEPY PEOPLE, BLACK AND TAN FANTASY, SWEET SUE, MY DADDY ROCKS ME, LIVIN’ IN A GREAT BIG WAY, HOW LONG HAS THIS BEEN GOING ON?

You’ll notice some lovely ballads and rhythm ballads, early Ellingtonia, rocking dance music, nods to the Marx Brothers, Red Allen, Bing Crosby, Fats Waller, the blues, Bill Robinson . . . good bones, as they say!

The players — of course Ray and Jim, but also Mike Duffy, string bass; Tom Keats, rhythm guitar; Brett Runkle, washboard, Lueder Ohlwein, banjo; Dan Barrett, trombone; John “Butch” Smith, soprano sax; Norvin Armstrong, piano.  Ray sings — wonderfully — on EVERYONE and IN A GREAT BIG WAY.

What’s so special about this disc, all sixty-nine minutes of it?

This is the kind of music that great jazz players create for themselves when there is a congenial audience or none at all: relaxed, swinging, small intense masterpieces of hot architecture where the second chorus builds in elegantly rough-hewn ways upon the first.  It’s the kind of music that rarely makes it whole into the recording studio — and since the Bull Valley Inn is no longer anyone’s music mecca (we drove serendipitously through Port Costa in the summer of 2011: it looked like the set for a Western that hadn’t been completed) . . . . and since Jim is dead, this CD is priceless evidence of days gone by.  And the past leaps to life in our speakers!

Even Chloe thought so.

For Goodwin in searing hot form, here’s the Sunset Music Company from 1979 romping through I NEVER KNEW with

The band was led by banjoist Ohlwein, with Goodwin, Barrett, clarinetist Bill Carter (temporarily filling in for John Smith), bassist Mike Fay, drummer Jeff Hamilton: every one of their recordings on Dan’s BLUE SWING FINE RECORDINGS is worth hearing.

And in case you’ve never seen or heard the eloquent Mr. Skjelbred, here’s a sample, TISHOMINGO BLUES, recorded by Rae Ann Berry in 2009:

Imagine them together — musing, cracking private musical jokes, digging deep into the songs they are playing.  Heart-stirring music from the first note to the last.

P.S.  I count myself very lucky: having met and / or heard Barrett, Hamilton, Smith, Fay, Carter. Norvin Armstrong – – – and I’ll get to shake Ray Skjelbred’s hand at the Jazz Bash by the Bay this March 2.  Wow!

“CHLOE (Song of the Swamp)”: THEME AND VARIATIONS

Written in 1927 by Gus Kahn and “Neil Moret,” the pseudonym of Charles N. Daniels, this song is both lovely and durable.  The sheet music says it is to be played or sung “in a tragic manner,” but liberties are always allowed here.  

Duke Ellington: thanks to Tricky Sam Nanton, Barney Bigard, Jimmie Blanton, Sonny Greer, Juan Tizol, Wallce Jones, Ben Webster — that astonishing Victor Orchestra of 1940:

The Blessed Henry “Red” Allen, 1936:

The magnificient Louis Armstrong with Gordon Jenkins, circa 1952 (don’t let the swooshing strings and crooning voices put you off):

And Miss Chloe Lang (photographed by Lorna Sass).

The inevitable postscript is this recording of CHLOE, one I also knew in my childhood — cheerfully undermined by Spike Jones and his City Slickers:

Ancient vaudeville, with pokes at Ted Lewis, of all people, but still memorable fun.

Everybody sing!

Chloe! Chloe!

Someone’s calling, no reply
Nightshade’s falling, hear him sigh

Chloe! Chloe!

Empty spaces in his eyes
Empty arms outstretched, he’s crying

Through the black of night
I’ve got to go where you are
If it’s dark or bright
I’ve got to go where you are

I’ll go through the dismal swampland
Searching for you
For if you are lost there
Let me be there, too

Through the smoke and flame
I’ve got to go where you are
For no place can be too far
Where you are

Ain’ no chains can bind you
If you live, I’ll find you
Love is calling me
I’ve got to go where you are.

LOVE IS CALLING US: ALL MONEY GOES TO THE MUSICIANS!

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