Tag Archives: Complete Morton Project

“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!

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THAT’S LIKE IT OUGHT TO BE: DAVID HORNIBLOW and ANDREW OLIVER PLAY MORTON, CONTINUED

In this case, a song title is a perfect embodiment of a musical endeavor — the Complete Morton Project of David Horniblow (reeds) and Andrew Oliver (piano) — brilliant players and imaginers both.  They’ve been astonishingly posting two new performances of Mister Jelly Lord’s music for much of 2018, and I have been happily reposting them here.  Read more on Andrew Oliver’s blog.

From doctorjazz.co.uk, with this explication: Mark Miller sends the following pictorial advert for a previously unknown engagement featuring “Jelly Roll” Morton and His World Famous Victor Recording Orchestra at Madison Lake, New York from The Brookfield Courier, dated Wednesday, 26th June 1935, page 4, columns 6—7.

Here’s THAT’S LIKE IT OUGHT TO BE:

On that performance, David plays Barney Bigard’s solo precisely — no easy task.  He’s written, “The clarinet player on the original recording is the great Barney Bigard, and his style was so compellingly odd that I’m playing it note-for-note, and on a vintage Albert System Selmer clarinet which is very similar to the instrument he would have played it on. Excessively nerdy I guess.”  To which I must respond, “‘Nerdy,’ my Aunt Fanny.  ‘Extraordinary’ is more like it.”  And Andrew’s playing is explosively fine.

GAMBLING JACK, frolicsome and certainly rare:

Incidentally, deep Mortonians will know this already, but the music you are admiring was often not scored or recorded by piano and clarinet — so these performances are much more ambitious than transcriptions of recorded performances.  More from Andrew’s blog about the next two songs here.

LOAD OF COAL (which had the then-young drummer William “Cozy” Cole on the original recording, so I have always thought its title a pun):

As shown by the Gennett label, STRATFORD HUNCH was at first a piano solo, but it lives many lives:

STRATFORD HUNCH became — slightly streamlined — CHICAGO BREAKDOWN, and was recorded by Louis Armstrong in 1927 in a band arrangement that, among other things, omits Morton’s introduction — but features brilliant playing by Louis and Earl Hines.

Since David and Andrew pay Louis’ record homage, I include it here as well.  And if anyone thinks Swing didn’t start until 1936, please offer the closing chorus of this recording as refutation:

Back to Mister Jelly for a moment, to comment with admiration that Andrew and David have created twenty-two videos to date, and they intend to keep going until they reach one hundred.  What splendid diligence, I say.

May your happiness increase!

FOUR BY TWO: DAVID HORNIBLOW / ANDREW OLIVER PLAY JELL ROLL MORTON

Student: “Professor, I’ve fallen behind in my work.  I’ve been having a hard time keeping up with the Complete Morton Project, the weekly series of performances by David Horniblow, reeds, and Andrew Oliver, piano.”

Professor: “I understand.  Just be sure to watch, listen, and marvel.”

Student: “Thank you, Professor.  May the Stomp be with you.”

Professor: “You too.”

Here’s FRANCES, so sprightly because the demeaning adjective has vanished:

Something more pensive, COURTHOUSE BUMP.  The law can make one that way:

and, going back a week, OIL WELL, Jelly’s mocking nickname for Harrison Smith, who dreamed he would make his fortune in petroleum:

and finally, SIDEWALK BLUES, shorn of its comic trappings:

Thank you, Andrew, David, and of course, Mister Jelly Roll.  By now, my astute readers have already subscribed to the Complete Morton Project’s YouTube channel.  And here is my most recent post, with details of Andrew’s blog, the Vitality Five’s new e-78, and more healing jive, something I don’t take lightly these days.  Nor should you.

May your happiness increase!

A MORTONIAN PARADISE, PLUS (ANDREW OLIVER / DAVID HORNIBLOW): A BLOG, TWO VIDEOS, and an e-78, TOO.

When I go to my computer in the morning — a twenty-first century act as natural to us as making a fire in the stove for breakfast must have been years ago — and I see that the Complete Morton Project (a/k/a Andrew Oliver at the piano and David Horniblow at the clarinet, bass clarinet, or alto saxophone) has been at it again while I have been sleeping or attempting to grade student essays, my first feeling is pride — pride that I am living in a world where such beauty is being regularly given to us for free.  Of course, my second thought is, “Oh, no!  I’m falling behind!”  But David and Andrew have been very forgiving, and I have received no lowered grades for tardiness.  And they offer their creations open-handedly and open-heartedly.

Here is the aptly named PEP:

and the NEW ORLEANS BUMP, which should induce dancing everywhere.

I especially like David’s growly evocation of Cecil Scott and other “dirty” clarinetists — the world as it was before Benny smoothed everything out:

There’s more information and music here on Andrew’s blog — which also shows off the considerable talents of the Vitality Five and the Dime Notes — and you can subscribe to these weekly YouTube bouquets of sound here.  And (while I was tidying up the kitchen) the Vitality Five issued their February 2018 e-78: details here.

How will I keep up?  I don’t know.  But it’s a delightful struggle for sure.

May your happiness increase!

IN THE KINGDOM OF JELLY (Opus Five): DAVID HORNIBLOW and ANDREW OLIVER

Those generous authentic swinging gents — David Horniblow, reeds; Andrew Oliver, piano — are back to give us some more Morton, in what they have (generously and reliably) created, the Complete Morton Project, a weekly series of gifts — Mister Morton’s compositions played imaginatively, with emotion.  And here is this week’s delightful offering: BIG FAT HAM and DEEP CREEK.

The eponymous HAM — named in honor or in satire?  Perhaps a dream of dinner:

and, with David on alto, the yearning blues DEEP CREEK:

You can keep up with David and Andrew here (their YouTube channel) or here (Andrew’s blog — which has his performance schedule as well).  Or, I’ve chronicled their four earlier offerings on JAZZ LIVES here.  Andrew and David also have lives away from the video camera: you can find out with a minimum of effort where they will be playing, in duet or as members of a goodly number of bands.

I hope there are many people applauding their expertise and generosities.  How fresh and lively Morton’s music sounds — not a hint of the dusty archives — reminding me once again how dashing it must have been in its time, and, now, when played by Oliver-Horniblow, how much dazzle it has.

May your happiness increase!

MORE, MORE MORTON (Opus 2 and 3): MESSRS. ANDREW OLIVER and DAVID HORNIBLOW

This new endeavor — performing and recording all of Jelly Roll Morton’s compositions at the rate of two a week, scored and sometimes reimagined for clarinet or other reeds (David Horniblow) and piano (Andrew Oliver) is generous, expert, and ultimately joyous.  I’ve fallen slightly behind, so this post offers weeks two and three.  Here is the first part, garlanded with deep praise from Moi.

A few words.  In this technological age, artists are under pressure to give their work away for free — I’m part of this skewed exchange — and the results are sometimes uneven.  But the Complete Morton Project, although it has no dusty air about it, no scent of the museum, is beautifully considered and executed, and the results are not only graciously offered but superbly inventive.  I find that when I listen to a Morton orchestral recording, I hear the band, which is not a bad thing: here, the clarity of presentation makes me hear David and Andrew, of course, but the music is almost visible as it purls by.

GOOD OLD NEW YORK, with David on bass clarinet:

The deeply mournful WHY?:

The mysteriously titled FICKLE FAY CREEP:

and Morton’s evocation of Bert Williams, which makes me think of his poker-playing routine:

Here’s the link to the CMP on andrewoliver.net — elegant commentary also, not didactic — and on their YouTube channel.  To get a regular weekly delivery of this expert pleasure right to your door, you don’t have to have money deducted from your paycheck or sign an agreement.  Simply watch, feel delight, and tell your like-minded friends: that, I think, will be all the reward Andrew and David yearn for.  Thank you, Benefactors!

May your happiness increase!