Tag Archives: Martin Wheatley

A BOWLFUL OF JELLY: DAVID HORNIBLOW and ANDREW OLIVER PLAY MORTON, and a new e-78 too!

Not ‘T’was the Night Before Christmas, but a visit to the land of Mortonia, reliably, gorgeously: the place where sweet, hot, plenty rhythm is the national anthem and the cosmic heartbeat. I mean the Complete Morton Project, with Andrew Oliver, piano, and David Horniblow, various reeds of assorted sizes and timbres.

BIG LIP BLUES, a sermon on the virtues of respectful taciturnity, here melancholy and mobile both in its instrumental form:

SHAKE IT, which seems a simple bounce but has its own remarkable surprises:

Early Jelly — his NEW ORLEANS BLUES, with that majestic bass saxophone:

For the senior citizen who has or does everything, a positively joyous GRANDPA’S SPELLS:

The Registrar has informed me that some of you have not subscribed. Remember the final exam is coming up!

An extra bonus for the faithful nomads in the Land of Hot: the Vitality Five’s latest e-78, a treat not to be missed:

The Vitality Five, if you’ve not met them, is David and Andrew, plus loyal souls and true Michael McQuaid, Nicholas D. Ball, and Martin Wheatley: the best in their line.

May your happiness increase!

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A LORD, A FROG, A DAY, SOME JOYS, AND A SPLASH OF VITALITY: DAVID HORNIBLOW and ANDREW OLIVER PLAY MORTON

What blessings these nimble deep fellows are giving us!  Two live duet performances of Jelly Roll Morton’s music every Tuesday: David Horniblow, reeds, and Andrew Oliver, piano: the Complete Morton Project.  And they show no signs of becoming weary.

I have to catch up, so here are four lovely offerings.  With a surprise at the end.

One of my favorite Morton compositions.  Even though I miss the vocal, the song itself has such sweet energy.  It’s MISTER JELLY LORD:

And another classic that I love — whether it’s FROG-I-MORE or FROGGIE MOORE (the contortionist?):

Here’s a rollicking performance of a Morton composition that I think few know, EACH DAY:

And what is for me the real prize, MILENBERG JOYS (home of variant spellings) performed at the most luxuriant dance tempo, sinuous and lyrical:

But wait!  There’s more!  The latest e-78 from the Vitality Five:

The Five adds Michael McQuaid, Martin Wheatley, and Nicholas D. Ball to the already heady mix of David and Andrew: joyous hot carbonation bubbles away.

May your happiness increase!

“FUTURISTIC RHYTHMS: IMAGINING THE LATER BIX BEIDERBECKE,” by ANDY SCHUMM AND HIS SINK-O-PATORS”

Even to the casual viewer, this CD, just out on Rivermont Records, is immediately enticing.  For one thing, and it cannot be undervalued, it has The Name on its cover — the dear boy from Iowa.  Catnip to many.  Then, Joe Busam’s lovely funny cover, perfectly evoking Jim Flora’s work — as well as presenting a band led by the splendid Andy Schumm.  It also (in that band name) has an inside joke for the cognoscenti, who turn hot and cold on request.  Some will delight in the concept, jazz time-travel, brought to us by the erudite Julio Schwarz Andrade, imagining what Bix would have played in a variety of contexts had he lived longer.  The conceit does nothing for me (I think the dead have the right to be left alone, not dressed up for Halloween) but I love the music, thrilling in its ease and subtlety.

Hearing Andy Schumm, cornet; Ewan Bleach, clarinet and tenor saxophone; Andrew Oliver, piano; Martin Wheatley, guitar; Tom Wheatley, string bass; Nicholas D. Ball, drums — now, that’s a rare pleasure.  You can see the song titles below, and the Musical Offering is neatly divided between a scattering of familiar tunes and some deeply lyrical ones that have become obscure.  (I hadn’t heard THINGS and OUT OF A CLEAR BLUE SKY before, and WHY CAN’T YOU BEHAVE is memorable to me only because of a wondrous recording by Spike Mackintosh.)  The first ten songs were meant to be the official recording session, with the last two — hot “warm-up” performances added as a delightful bonus: we’re lucky the recording equipment was switched on.

Back to the music.  There are lovely little touches.  MOTEN SWING uses the riffs from the 1932 Victor recording, and the lyrical numbers still retain the slight bounce one would have heard in Thirties “rhythm ballads.”  Indeed, the whole session has the delightful motion of, perhaps, a Marty Grosz session from the end of the previous century.  This, of course, is helped along considerably by the wonderful Martin Wheatley — hear him on RAIN and elsewhere.  The CD also reminded me most happily of sessions by Marty and by Ruby Braff because of the cheering variety of approaches within each performance.  I offer the rubato Oliver-Schumm verse to  THE NEARNESS OF YOU as a heartening example, followed by a poignant Bleach tenor solo.  There’s none of the usual tedium that results from a surfeit of ensemble-solos-ensemble.  (I think of certain live sessions in the Seventies I attended where after the requisite single ensemble chorus, the clarinet always took the first solo.  Routine of this sort has a chilling effect.)

The members of the rhythm section, Messrs. Oliver, Wheatley, and Ball, add their own special bounce to the music.  I know Andrew Oliver these days as a Mortonist and have known Nick Ball as a scholar of pre-Swing drumming, but they aren’t antique in any way.  And the two Wheatleys, father and son, are a wonderful team: the right notes in the right places.  As fine as Andy and Ewan are, one could listen to any track on this disc solely to revel in, and learn from, this rhythm team.  As an example, OUT OF A CLEAR BLUE SKY.

Ewan Bleach is new to me and delightful: his work on either horn is floating and supple, and I never felt he was reaching for a particular phrase that someone had recorded eighty years ago.  His solos have their own lithe charm and his ensemble playing is the great work of an intuitive conversationalist who knows when to add a few notes and when to be still.  I looked in Tom Lord’s discography and found that I’d already admired his work with the Basin Street Brawlers.  I hope the reaction to this CD is such that Mr. Bleach gets a chance to record a horn-with-rhythm session of his own.

And Andy Schumm.  Yes.  I just heard him in person in my Wisconsin jaunt, and he hasn’t ceased to amaze and please, whether leaping in to his solo, playing a wistful coda, or lyrically purling his way through one of the rhythm ballads I’ve mentioned above.  To my ears — here comes another heresy — he isn’t Bix, nor is he the reincarnation of Bix.  He is Andy Schumm, and that’s a wonderful thing, with its own joyous surprises.

Buy it here.  I did.  You won’t regret it.

May your happiness increase!

JAMES BIRKETT AND EMMA FISK PLAY VENUTI AND LANG, WITH GREAT AFFECTION AND EXPERTISE

The back covers of the long-playing records of my youth often were adorned with thumbnail photographs of other record covers, and this solicitation, “If you’ve enjoyed this LONG PLAY record, you’ll be sure to enjoy . . . .”

If you savor beautifully recorded chamber jazz, swinging yet leisurely, you’ll be sure to enjoy the new CD by guitarist James Birkett and violinist Emma Fisk, devoted to the music of Joe Venuti and Eddie Lang.

Since Eddie’s death in 1933, there have been many attempts to recreate the magic the two Italian boys from Philadelphia created: Venuti himself always looked for guitarists who could come close to Eddie’s splendors: Dick McDonough, Frank Victor, Tony Romano, Bucky Pizzarelli, Carl Kress, Perry Botkin, Bobby Sherwood, George Barnes, Tony Gottuso, Danny Perri, Barney Kessel, Lino Patruno attempted to fill that role on record dates and more.

As I write this, Nick Rossi, Kris Tokarski, and Glenn Crytzer are involved in similar small group projects, and I know I am leaving someone out.  Matt Munisteri does a peerless Lang behind John Gill’s Bing.  Martin Wheatley and Spats Langham both understand him deeply.

Venuti was a hard act to follow — I am leaving aside the sometimes cruel practical jokes — but he was often in love with speed and execution, and many violinists have tried to out-Joe Joe, playing his intricate originals faster and faster.  (Performance speeds have been inching up for decades: consider the Django-phenomenon.)  And for most instrumentalists, not just string players, tone gets sacrificed to speed.

Emma Fisk, a romantic at heart, doesn’t turn Joe into unicorns-and-rainbows on this CD, but she does remind us of Joe’s affectionate side, the part of his character that would linger over long tones and leisurely phrases.  She doesn’t slow everything down, but she does change the mood from headlong briskness to a kinder, easier embrace.  In this she is partnered splendidly by the elegant guitarist James Birkett, who is lyrical beyond everything else.  He is new to me, but he is kind to the ears at every turn, without being overly sentimental.  So even the faster numbers on this disc — RAGGIN’ and MY HONEY’S — are sweet saunters instead of being mad sprints.  The music breathes comfortably and well.

Here you can witness Emma and James making music — video and audio — through the media of Vimeo, Soundcloud, and YouTube.  And here you can celebrate the Spring, reward yourself for good behavior, or warm someone’s heart — by buying one or more of these life-enhancing discs.

A delightfully mournful sample, James’ EDDIE’S LAMENT:

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!

SWAT THE DIRT: DAVID HORNIBLOW / ANDREW OLIVER PLAY MORTON (and an e-78 as well!)

As the Silvercup bread sign used to say, radiant in the night sky, BAKED WHILE YOU SLEEP.  Or SWUNG WHILE YOU REST.  Whatever: those men are here again, David Horniblow, clarinet and bass clarinet; Andrew Oliver, piano — for their and our weekly benevolence of Jelly Roll Morton.

That Tinge again . . . sensuous and undulating (a composition Jelly only recorded for Allan Lomax at the Library of Congress sessions):

Here’s DIRTY, DIRTY, DIRTY — a 1940 composition that sounds as if it is going to be very simple and has its own twists and turns.  (I wonder how often it was played on the jukeboxes?)  And the combination of low-register bass clarinet and luminous piano is quite intoxicating:

Subscribe to their YouTube channel here — or enjoy all six offerings with fine commentary on Andrew’s blog here.  Fine music, intelligent compact explications, and inspiring generosity from these two stellar players.

Wait.  You haven’t had enough IRRESISTIBLE JAZZ for the moment?  Look at what The Vitality Five is up to, and you’ll recognize some splendid hot players here as well (David, Andrew, Michael McQuaid, Nicholas Ball, Martin Wheatley):

May your happiness increase!

RICO RINGS THE BELL! (Mike Durham Classic Jazz Party, November 5, 2016)

Anointed by Louis in 1968, Enrico Tomasso is a glowing force of nature: he never lets us down.  I’ve been able to hear and admire him a few times in Newcastle, England — which is the source of the performance below — but Rico and his charming family (that’s Debbie, his wife, and Analucia, their daughter) also visited New York City for a few delightful days earlier this month.  Thanks to Ricky Riccardi, I was able to be on the scene.  Yes, I had my camera.  More about that soon.

At the 2016 Mike Durham Classic Jazz Party, Rico was one of the stars of a set of orchestral jazz devoted to what was happening in Los Angeles.  And Louis visited the West Coast in 1930, so we had the immense privilege of hearing and seeing Rico play and sing a few of Louis’ great specialties, SHINE, I’M A DING DONG DADDY, and ONE HOUR.  I’d posted the first and last songs already, but thought it wouldn’t bother anyone if they were all here, at once, in their passionate finery.  The band is Keith Nichols, piano; Andy Schumm, trumpet; Alistair Allan, trombone; Claus Jacobi, Richard Exall, Jean-Francois Bonnel, reeds; Emma Fisk, violin; Martin Wheatley, banjo and guitar; Phil Rutherford, bass; Nick Ball, drums.

SHINE:

I’M A DING DONG DADDY:

ONE HOUR:

And should you fall into the trap of reflexively assuming that any song called SHINE must be racist, please read this and learn the truth.

Thanks again to Eric Devine for invaluable technical expertise!

The Mike Durham Classic Jazz Party will take place October 27-29 this year.  I can’t be there and Rico has other commitments, but it will still be great fun.

May your happiness increase!