Tag Archives: Late Hour Boys

THE SOUNDS OF NEW ORLEANS (on DISC)

Three recent CDs from the George H. Buck family of labels are unusual sound-pictures of the riches of New Orleans jazz.

GEOFF BULL IN NEW ORLEANS (GHB BCD 203) is a CD reissue of trumpeter Bull’s first American session (October 1977, first issued December 1999).  Although Bull says that his first influences were George Lewis and Bunk Johnson, the music he made at Preservation Hall on this recording is far from what we would expect: light, floating, subtle.

A good deal of this is due to his beautiful playing, at times reminiscent of Bunk at his most lyrical (think of the American Music trios with Don Ewell); Bull can also sound like Marty Marsala or Henry “Red” Allen, but he is his own man, with a relaxed conception.  Making this session even more memorable is clarinetist Raymond Burke, free to roam in the front line alongside Bull.  Bassist James Prevost is a melodic swinger, and the rhythm section is completed by two strong individualists: Sing Miller, piano and vocal*; Cie Frazier, drums.

Rather than choose a program of Preservation Hall favorites, Bull and friends opted for pretty tunes not often played: PECULIAR / DO YOU EVER THINK OF ME? / A PORTER’S LOVE SONG TO A CHAMBERMAID / ONE FOR THE ROAD (a leisurely blues) / I’M NOBODY’S BABY / ALL ALONE / NEVERTHELESS / TUCK ME TO SLEEP IN MY OLD ‘TUCKY HOME* /JEEP’S BLUES / ZERO (I NEVER KNEW WHAT A GAL COULD DO) / THE NIGHT WHEN LOVE WAS BORN* / LET JESUS FIX IT FOR YOU* / HONEY – WHEN I GROW TOO OLD TO DREAM*.The results are sweet thoughtful jazz, conversational music that musicians play for their own pleasure.

My own Geoff Bull tale is musically rewarding: I hadn’t heard him play before encountering him (unbeknownst to me) in an after-hours jam session during the 2010 Whitley Bay International Jazz Festival.  Here’s his performance (with Michael McQuaid’s Late Hour Boys) of MAMA INEZ — Geoff’s rangy, relaxed lyricism is a standout:

Two volumes of rare, previously unheard material from producer Joe Mares’ archives (he was the younger brother of trumpeter Paul) are fascinating, and not only for their rarity (GHB BCD 522 and 530, available separately).  Almost all of the material is in excellent fidelity, and this selection from Mares’ collection — which, when transferred to CD, filed twenty-seven discs — comes from concerts and local clubs as well as radio broadcasts between 1948 and 1953.  Students of New Orleans jazz will be thrilled by new material from their heroes, captured live; others will simply find the music energetic, varied, and refreshing.

Volume One begins with the hilarious HADACOL RAMBLE — with an ensemble vocal chorus — that is somewhere between folk-song, medicine show, down-home comedy, and vaudeville routine advertising the miraculous benefits of Hadacol, a New Orleans patent medicine apparently far more efficacious than Geritol or Serutan.

Other delights on this disc include appearances by Johnny Wiggs, Irving Fazola, Bujie Centobie, Raymond Burke, and Dr. Edmond Souchon.  The repertoire is often familiar, but the musicians play INDIANA (for instance) as if it had not been worn out by decades of bandstand tedium.  The songs are HADACOL RAMBLE / HADACOL RAMBLE (vocal) / I’M GOIN’ HOME / BASIN STREET BLUES / ROYAL GARDEN BLUES / TIN ROOF BLUES / THE WORLD IS WAITING FOR THE SUNRISE / DIPPERMOUTH BLUES / AT THE JAZZ BAND BALL / SAVOY BLUES / THAT’S A PLENTY / HIGH SOCIETY / BASIN STREET BLUES / MUSKRAT RAMBLE / BILL BAILEY — and the collective personnel is Sharkey Bonano, Tony Dalmado, George Hartman, Johnny Wiggs, Pinky Vidalcovich, Irving Fazola, Harry Shields, Raymond Burke, Bujie Centobie, Julian Laine, Emile Christian, Jack Delaney, Roy Zimmerman, Bill Zalik, Burt Peck, Stanley Mendelsohn, Frank Federico, Edmond Souchon, Sherwood Mangiapane, Chink Martin, Arnold Loyocano, Johnny Castaing, Fred King, Roger Johnson, Monk Hazel, Abbie Brunies — a fine mix of veterans and less-familiar players — but everyone solos with fine brio and no one gets lost in the ensemble.

The second volume is equally good — with most of the same players remaining.  (This selection adds Tony Almerico, Tony Costa, and Lester Bouchon.) Three standouts are the fine Stacy-inspired pianist Jeff Riddick (heard on seven selections), inspired work from drummer Ray Bauduc (on five), and Jack Teagarden — whose performance of BASIN STREET BLUES is especially inspired and happy, contrary to my initial expectations.

The songs are CLARINET MARMALADE / ALICE BLUE GOWN / THE WORLD IS WAITING FOR THE SUNRISE /PECULIAR / THE LAND OF DREAMS / INDIANA / SHE’S CRYING FOR ME /MISSOURI TWO BEAT / BASIN STREET BLUES / WHO’S SORRY NOW? / TIN ROOF BLUES / MARIE / HIGH SOCIETY / I’M A DING DONG DADDY / I’M GOIN’ HOME.

If you find yourself tired of routine performances of the “classic” repertoire, these three discs will be a refreshing corrective.

May your happiness increase.

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MICHAEL McQUAID’S LATE HOUR BOYS at WHITLEY BAY (July 9, 2010)

At my first Whitley Bay International Jazz Festival last year, I met and instantly liked the young Australian jazz virtuoso Michael McQuaid — he plays alto saxophone, clarinet, and cornet — but didn’t get to hear him in his natural settings.  This year the fates were kinder: I saw Michael and the little hot band he leads, the Late Hour Boys, in two sets. 

After the first one, someone asked me what I thought.  Without thinking for a second, I replied, “Scalding!”  I think you will see that I wasn’t being hyperbolic.

The Late Hour Boys take their name, some of their repertoire, and their joyous attitude from the late Ade Monsborough, who named his group this way not because they favored midnight performances, but because he assembled his personnels at the last minute.  Michael McQuaid’s LHB summon up the kind of hot improvisation I associate with Spanier and Bechet, with a bare-knickle version of Soprano Summit in its closing choruses. 

You’ll hear evocations of Johnny Dodds and Pete Brown, of Teddy Bunn and Milt Hinton and Zutty Singleton.  It’s a two-man all reed front line, with Michael and the peerless wit Jason Downes switching off on clarinet and alto; the rhythm is taken care of by the splendid John Scurry on banjo and guitar and Mark (the Eel) Elton on bass.  Ian Smith, who also played cornet with Ade some years back, is a driving homespun drummer and washboardist who sings with great effectiveness — tenderly on a ballad, raucously on a jump tune.  And this band jumps for sure.

Here’s a rollicking CANDY LIPS (I’m STUCK ON YOU) from the Clarence Williams book:

Here’s a wartime composition by Monsborough, SORRY TO BE LEAVING:

PUT ‘EM DOWN BLUES is not the usual homage to Louis and the Hot Five.  It has its own romping momentum.  Although I don’t quite understand the emotional / romantic nuances of the lyric, I believe anything that Ian sings:

RAIN is a pretty tune that no one else seems to remember; Ian is in the moment on his sweet vocal:

EUROA, a Monsborough composition, honors a place that Michael suggests is improved by the song:

MELANCHOLY, which harks back to the glory days of 1927 Chicago with Johnny Dodds and Louis Armstrong:

BLAME IT ON THE BLUES, which I associate with Sidney Bechet and Albert Nicholas, intertwining:

Michael and the Late Hour Boys also have a new CD out which entirely captures the exuberance of these video performances.  Listening to it is also a much more focused experience, since you don’t have a running-shoes-for-sale poster in the background.  It is a limited edition, so I don’t know if this posting is too late, but I hope not! 

Check it out at http://www.jasondownes.com/lhbcd.

JAZZ CORNUCOPIA! (Whitley Bay, July 2010)

Mike Durham, the fine trumpet player, festival organizer, and wit, sent along the following list.  For those who have never been to the Whitley Bay International Jazz Festival — and 2010 is THE FINAL ONE — this list will be both enticing and mysterious.  This is the schedule of which bands will be playing at what times during what is sure to be a thrillingly music-packed weekend.  It takes place in a well-appointed hotel, and the “Cotton Club,” the “Sunset Cafe,” “Kelly’s Stables,” and the “One Cent Club” are rooms of varying sizes in the hotel. 

The schedule both exalts and terrifies.  I was saying to my first class the other morning (we are concluding MACBETH) that the universe is limitless, but the first choice, no matter how small, that one makes, renders other choices impossible.  So it is at Whitley Bay: if I want to  hear The Four Pods of Pepper (Spats Langham, Frans Sjostrom, and Norman Field) joined by Rico Tomasso, that makes it impossible, according to Newtonian physics, for me to be at “Kings of Stride” at the same time.  Of course, I could hear the first set of the Pods and then scamper in for some Stride after the break.  One must have a plan!  Or I could do what I did last time: stay where my heart led me and then wander . . .

I’ll have my video camera, of course, and Elin Smith will have hers, but it isn’t the same thing as being there.  Consider yourself encouraged to join in the fun, even if you don’t have a camera. 

Find out more at http://www.whitleybayjazzfest.org/

 
WHITLEY BAY JAZZ FESTIVAL 2010 – DAY BY DAY, ROOM BY ROOM, HOUR BY HOUR (OR JUST ABOUT!)
 
FRIDAY
 
                             Noon-3.00                                                           3.00-6.00                                              7.00-9.00                                          9.00-Midnight
 
Cotton Club         Hot Antic Jazz Band                                   Blue Devils                                    New Century Ragtime Orch           Les Rois du Foxtrot

Sunset Café         La Retaguardia J B                                      N ew Orleans Rascals                      Bohem Ragtime J B                     Red Hot Peppers

Kelly’s Stables     Late Hour Boys                                          Schumm’s Bixologists                     Hot Antics                                   Bent Persson’s N Y Orch

One Cent             Jeff & Anne Barnhart                                West Jesmond R Kings           Kings of Stride                              Four Pods + Rico Tomasso
 
 
SATURDAY
 
                            Noon-3.00                                                           3.00-6.00                                              7.00-9.00                                              9.00-Midnight
 
Cotton Club        Blue Devils                                                    Les Rois du Foxtrot                          New Orleans Rascals                              La Retaguardia
Sunset Café        Bohem Ragtime J B                             Flaming Reeds                                  Red Hot Peppers                                   Winteler’s Serenaders
Kelly’s Stables   Schumm’s Bixologists                       Hot Antics                                           Spats & Rhythm Boys                               Cecile Salvant 
One Cent           K Stephen’s Hot Club Trio                 Litton & Nichols – Ragtime          Late Hour Boys + Rico Tomasso           Doc Bastide’s Owls
 
 
SUNDAY
 
                              Noon-3.00                                                           3.00-6.00                                      7.00-9.00                                           9.00-Midnight
 
Cotton Club        Chalumeau Serenaders                                 Bohem Ragtime J B                         Les Rois du Foxtrot                              Hot Antics (Grand Finale)
Sunset Café        Winteler’s Jazz Serenaders                          New Orleans Rascals                   La Retaguardia                            Schumm’s Bixologists
Kelly’s Stables   Late Hr Boys/Cecile Salvant (Billie H)        Field’s Novelty Orch                  M Seuffert Sextet             Winteler’s Jazz Serenaders
One Cent            Jeff & Anne Barnhart/Boogie Piano         Banjorama/Fidgety Fingers         Hot Jazz Trio