Tag Archives: Michael McQuaid

TRANSLUCENT SERENADES: “DUETS FOR NO REASON AT ALL IN C”– MICHAEL McQUAID and CURTIS VOLP (Bandcamp, 2020)

Artwork by Nicholas D. Ball

I’ve known the multi-instrumentalist and jazz scholar Michael McQuaid for ten years now (we first met at the Whitley Bay Jazz Party, on a bus from the airport, if I remember); I just became Facebook friends with guitarist Curtis Volp.  This post is to let you know about their brand-new CD — can I call it a CD if it only, for the moment, exists intangibly? — available here.  There you can hear the first track for free, no obligations implied or expressed.

Some words, not mine, but right on target:

Established hot jazz authority Michael McQuaid and youthful guitar virtuoso Curtis Volp team up for a dynamic yet intimate series of duets, for no reason at all – other than musical enjoyment, of course.

The album features a surprising array of tunes from the 1920s and 30s, ranging from familiar favourites like ‘The Man I Love’ and ‘Melancholy’ to unjustly neglected gems such as ‘Forget-Me-Not’ and ‘If I Can’t Have You’.

Though inspired by the likes of Bix Beiderbecke, Johnny Dodds, Frank Trumbauer, Annette Hanshaw, Eddie Lang and Teddy Bunn, the duo achieves a fresh new sound through their warm and witty musical dialogue.

Some facts, now that you’ve figured out the personnel.  The songs are THERE AIN’T NO LAND LIKE DIXIELAND TO ME / WITHOUT THAT GAL! / FOR NO REASON AT ALL IN C / MELANCHOLY / THE MAN I LOVE / LOTS O’MAMA / MOONLIGHT ON THE GANGES / BLUE RIVER / FORGET-ME-NOT / LOOKING AT THE WORLD (Thru’ Rose-Colored Glasses) / IF I CAN’T HAVE YOU / WAITING AT THE END OF THE ROAD / BECHET’S STEADY RIDER /

And another sample:

Some random observations, because it seems important to me to make the JAZZ LIVES readership aware of this music right now.  I’m on my third playing, because when the “disc” ended the first time, I was shocked.  “Is it over?  Is that all?” which you can take as a positive endorsement.

The music is nicely varied — in tempo, in mood, in emotions and emotional associations.  Several of the more morose songs (you’ll know them when you hear them) are taken a little more brightly than is conventional, but the approach works.  Both Michael and Curtis are free, imaginative players, but they clearly love the melodies, so no track is a blowing exercise on the chord changes.  The person who has been deep in the music for a half-century (wait, that’s me!) can find subtleties to admire, but this is also unashamedly “pretty” music that wouldn’t scare the new kitten back into the closet.

The repertoire is of a certain era, and the playing is spiritually and chronologically appropriate — there are no quotes from 1958 Rollins or Wes here — but it isn’t a museum tour, with a guard glowering at us to keep our distance and not touch the precious OKeh icons.  Their approach is loving but not timid, reverent but not imitative (except in their FOR NO REASON AT ALL, which has its own little individualistic nuances).  Occasionally I felt as if I’d wandered into an alternate universe of “What if?” as in “What if Tram and Lang had had a whole side to themselves to play BLUE RIVER?” Although Curtis reminds me beautifully of Salvatore Massaro, he isn’t a clone; Michael knows so many reed players so deeply that there’s no danger of him getting buckled into one cosplay suit and never being able to free himself.

I admire this session all the more because I know how risky duet improvisations are when the two musicians are in the same space, can make mutual eye contact to signal changes in the itinerary, and can prance simultaneously together.  Somehow, I think watching the monitor and listening through earbuds doesn’t make it easier, and I rejoice at the warmth of their duet.

Incidentally, there are no jokes, no gimmicks, no earnest or comic vocals, but the musicians are having fun — this is a very lively jovial session, and Curtis even shouts “Yeah!” on BECHET’S STEADY RIDER.  Appropriately.

This is beautiful fulfilling warm music, a real accomplishment.  I think you’ll love it.  I certainly do.

May your happiness increase!

“YOU CAN GO AS FAR AS YOU LIKE WITH ME”: STILL MORE FROM A VISIT TO CHAMBERSBURG, PENNSYLVANIA: JULY 22, 2015 — JOSH DUFFEE’S GRAYSTONE MONARCHS (ANDY SCHUMM, MIKE DAVIS, JIM FRYER, MICHAEL McQUAID, JASON DOWNES, JAY RATTMAN, TOM ROBERTS, JOHN SCURRY, LEIGH BARKER, JOSH DUFFEE)

This post is part three of three.  I wish it were part three of ten, but one can’t be greedy.  Here’s part one, and part two.  And here is the 1927 Oldsmobile.

And now . . . . four classic performances that we all associate with Jean Goldkette, Bill Challis, Bix Beiderbecke, and Frank Trumbauer, music conceived in 1927 and revisited for enthusiasm, style, and expertise in 2015.

I’M COMIN’ VIRGINIA:

IN MY MERRY OLDSMOBILE (the 4 / 4 version), with Mike Davis blowing a scorching chorus where the vocal once was:

CLEMENTINE (From New Orleans), the last side this band recorded for Victor:

MY PRETTY GIRL:

It was an honor to be there, and it is a privilege to share these dozen performances with you.  Blessings on the musicians, on Chauncey Morehouse’s friends and family, and, as before, this post is dedicated to Susan Anne Atherton.

May your happiness increase!

“IDOLIZING”: MORE FROM A VISIT TO CHAMBERSBURG, PENNSYLVANIA: JULY 22, 2015 — JOSH DUFFEE’S GRAYSTONE MONARCHS (ANDY SCHUMM, MIKE DAVIS, JIM FRYER, MICHAEL McQUAID, JASON DOWNES, JAY RATTMAN, TOM ROBERTS, JOHN SCURRY, LEIGH BARKER, JOSH DUFFEE)

Here‘s the first part of my trip to the Capitol Theater in Chambersburg, Pennsylvania — Chauncey Morehouse’s home town — including performances of I’M GONNA MEET MY SWEETIE NOW, SLOW RIVER, DINAH, and MIDNIGHT OIL by Josh Duffee’s Graystone Monarchs, a wonderful orchestra of musicians from New York, Iowa, and Australia.  And, yes, that gun is loaded.

Here are the next four delightful performances.

THE PANIC (a musical satire on the unwise rush to get married):

CONGOLAND, a Morehouse composition, whose title Josh explains:

And back to the Goldkette book, with the ODJB’s OSTRICH WALK:

And the hot-romantic IDOLIZING (which is all that seems worthwhile):

This post, as are the others in this series, is dedicated to Susan Anne Atherton.

May your happiness increase!

A VISIT TO CHAMBERSBURG, PENNSYLVANIA (Part One): JULY 22, 2015 — JOSH DUFFEE’S GRAYSTONE MONARCHS (ANDY SCHUMM, MIKE DAVIS, JIM FRYER, MICHAEL McQUAID, JASON DOWNES, JAY RATTMAN, TOM ROBERTS, JOHN SCURRY, LEIGH BARKER, JOSH DUFFEE)

I hadn’t heard of Chambersburg, Pennsylvania before the summer of 2015, when drummer-percussionist-archivist Josh Duffee announced his intention of giving a concert with his ten-piece Graystone Monarchs to celebrate the appearance of the Jean Goldkette Orchestra at the Capitol Theater on May 4, 1927, which was a triumphant evening, made even more so because Chambersburg was legendary drummer Chauncey Morehouse’s home town.

As you will see, the modern evening was triumphant also.  And a fact that says something about Josh’s devotion to the jazz heritage — the 2015 concert was free to the public (I am sure the 1927 one wasn’t).

Of course, I asked Josh if he needed a videographer, and he did, so you can see highlights of that concert here.  The band — expert and hot — was Josh on drums; Leigh Barker, string bass; John Scurry, banjo / guitar; Tom Roberts, piano; Jason Downes, Michael McQuaid, Jay Rattman, reeds; Jim Fryer, trombone; Andy Schumm, Mike Davis, trumpets.

Twelve performances from this evening have been approved for you to enjoy, and I have taken the perhaps unusual step in presenting them in three portions, as if you’d bought two new records from the local Victor dealer and would have weeks or more to savor them.  But eight more performances will follow.

An exuberant start:

SLOW RIVER, arranged by Bill Challis, who told Phil Schaap he hated the limp melody and tried to bury and sabotage it:

DINAH, harking back to the 1926 version featuring Steve Brown:

And the fourth “side,” from Chauncey’s days with the 1935 Russ Morgan orchestra:

More lovely music to come.

May your happiness increase!

A SURPRISE FROM BREDA 2019

One of the blog-categories I created is “SURPRISE!” and the video below is an especially nice one.  I’ve admired the playing and fortitude and wit of Michael McQuaid and Nick Ward for a decade or so now, and although Andrew Oliver came along later (think of the Complete Morton Project) he is breathing the same exalted air.  The other gentlemen of the ensemble are new to me, more or less, but I embrace them as well.

Here, from a July afternoon at the Breda Jazz Festival, is a neat package of twenty-plus minutes of hot / sweet jazz:

The musicians are Michael McQuaid, clarinet, soprano saxophone, and trumpet;
Antoine Trommelen, soprano saxophone; Andrew Oliver, piano; Nick Ward, drums; Bart Wouters, string bass; Curtis Volp, banjo.

The songs are CHINA BOY, SOMEDAY SWEETHEART, SHREVEPORT STOMP, AFTER YOUVE GONE, and the aura is somewhere between a homespun Summit Reunion and the Bechet-Spanier Big Four . . . neither of which bothers me in the least.  Thanks to Paul Dunleavy for being the efficient man on the spot with a functioning camera: as a member of his professional guild, I want to see him get credit.

Some surprises I don’t like: no popping paper bags in back of me, no jury-duty notices in the mail, my doctor saying, “I don’t like the looks of this at all,” but I’m ready for more surprises like this one, any time.

May your happiness increase!

WHEN BEING “MAD” IS PLEASURE (1924, 1938, and 2017)

Our subjects today are the overlap of “madness” and “pleasure.”  Please be prepared to take notes.

“But first, this,” as they used to say on public radio.

PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren’t issued, except for this one.  Did the record company find it too direct to be acceptable?  Here’s Ethel Waters’ version, clear as a bell:

Perhaps the song continued to be performed with those lyrics, but I don’t have any evidence.  However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O’Neil Spencer:

There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?

While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks!  12 pounds!) to share with you.  A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham’s International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.

Here are three samples, videoed by me, songs and personnels named:

and

and

I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience.  The Party continues to do its special magic splendidly, a magic that videos only partially convey.  This year it’s November 1-3, and details can be found here.  And if you search JAZZ LIVES for “Whitley Bay” or “Durham,” you will find a deluge of posts and videos.

But this post isn’t exactly about the Party as such, nor is it about my videos.  Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling.  It’s called PLEASURE MAD: ‘LIVE RECORDINGS FROM MIKE DURHAM’S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007).  As I wrote above, 36 live performances in beautiful sound.

And the sound is worth noting, with delight.  At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could.  But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years.  Torstein is a phenomenal player, so I may be permitted this digression:

He’s got it, for sure.  And his recordings are wonderful.

Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie “the Lion” Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:

And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle.  If I’ve left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.

I think it’s taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay.  A few highlights, deeply subjective: Martin Litton’s sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham’s NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis’ WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN’ BLUES with layers and textures as rich as great architecture.  You will find your own favorites; those are mine of the moment.

My advice?  If you can, get thee to the Party, where seats are going fast.  Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades.  If you can’t get to the UK, you can still purchase the set, which I urge you to do.

The CD is obtainable from website: https://whitleybayjazzfest.com
email:wbjazzfest@btinternet.comFor more information, contact patti_durham1@btinternet.com.

And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, “Well, Officers, I’m PLEASURE MAD!  Would you like to come in?” And all will be well.

May your happiness increase!

SWEETLY UPLIFTING: The MICHAEL McQUAID SAXOPHONE QUARTET

I’ve been thinking about the saxophonist Chuck Wilson, who left us on October 16 (my post about him is here).  Chuck came from a tradition where the saxophone made beautiful melodic sounds and blended with other reeds — he was a consummate section leader.  It’s a tradition sometimes overlooked today, where it occasionally feels that everyone wants to be a soloist, at length.

But the tradition has been splendidly recalled and embodied by our friend, the brilliantly imaginative multi-instrumentalist, Michael McQuaid in his recent musical gift to us: four musical cameos inspired by the Merle Johnston Saxophone Quartet of 1929-30.  The arrangements by Michael — lovely translucencies, swinging and tender — were recorded “with minimal rehearsal” (I emphasize this to hail the professionalism of the players) in the UK on July 27, 2018.

I think of these performances as modern reworkings of classical string quartets, but with a particular harmonic delicacy applied to popular songs of the day, with hot solos implied, delightful counterpoint, and a compositional sense: each arrangement and performance has a wonderful logical shape, a light-hearted emotional resonance.  Each performance rewards repeated listening.  (I cannot play MY SIN just once.)

The remarkable players are Michael McQuaid (first alto); David Horniblow (second alto); Simon Marsh (tenor); Tom Law (baritone).

IT WAS ONLY A SUN SHOWER, which I associate with Annette Hanshaw, Barbara Rosene, and Tamar Korn:

OUT OF THE DAWN, by Walter Donaldson, from 1928, recorded by the Dorsey Brothers Orchestra:

WASHBOARD BLUES, whose arrangement is inspired by the 1926 recording by Hitch’s Happy Harmonists, with composer Hoagy Carmichael at the piano:

MY SIN, by DeSylva, Brown, and Henderson, also associated with Annette Hanshaw:

I wasn’t the only one astonished by the arrangements and the playing, and I wrote to Michael to ask, “When’s the CD coming out?  When’s the concert tour?”  No one else is making music like this anywhere.

Michael responded on Facebook:

Once again, this video features great playing from some of London’s best saxophone players. Their musicality is all the more remarkable when one considers this is closer to sight-reading than a fully-rehearsed ensemble.

A few of you have asked whether I’m going to release these recordings. Well, yes – they’re on YouTube anytime you want! But properly producing a full album of this material would require significant rehearsal followed by hours in the studio, and hence probably a wealthy philanthropic benefactor (please message me if that might be you!).

In the meantime, I’ll keep writing saxophone quartet arrangements until I have a whole concert’s/album’s worth. It’s been great reading your positive words on these videos, and I’m glad if I’ve been able to draw attention to the Merle Johnston Saxophone Quartet and their beautiful 1929 records. Our musical heritage is filled with many such neglected treasures, ready to leap into the present (and the future) with only a little of our time and attention.

Since some readers might not have heard the originals, here (courtesy of generous Enrico Borsetti) is the Merle Johnston Saxophone Quartet playing BABY, OH WHERE CAN YOU BE?:

I haven’t found out much about Merle, except that he played clarinet, alto, and tenor, was born in upstate New York, and lived from 1897 to 1978, and was a renowned saxophone teacher.  Michael told me that Merle’s students included Larry Teal and Joe Allard (each became a highly influential saxophone teacher in his own right), as well as famous players such as Buddy Collette and Frank Morgan. His legacy is probably more lasting as a teacher than as a player or bandleader!

Merle’s recording career — according to Tom Lord — ran from 1923 to 1930, with Sam Lanin (alongside Red Nichols), Isham Jones, Seger Ellis, the Ipana  Troubadours, Jack Miller, a young fellow named Crosby.  He was friends with Leo McConville, and he led his own band called the Ceco Couriers, which alludes to a radio program supported by a product: in this case, CeCo radio tubes, advertised in the October 1928 POPULAR SCIENCE (the tubes “cost no  more but last longer”).

Did Merle leave the New York City studio scene after the stock market crash for the security of a teaching career?  Can it be that no one interviewed him or one of his pupils?  Incidentally, when I do online research on someone obscure and find that one of the resources is this — a JAZZ LIVES post I wrote in 2011 — I am both amused and dismayed.

“Research!” to quote Lennie Kunstadt.  Calling David Fletcher!

And here’s another gorgeous quartet record, this one of DO SOMETHING:

I post the two Merle Johnston “originals” not to show their superiority to the modern evocations, but to celebrate Michael’s arranging and the playing of the Quartet: to my ears, fully the equal of the antecedents.

Listen once again, and be delighted.  I am sure that Chuck is pleased by these sounds also.

May your happiness increase!

“WHAT A DAY!”: JANICE DAY and MARTIN LITTON’S NEW YORK JAZZ BAND, LIVE IN LONDON (September 19, 2018)

I’ve admired the wonderful singer Janice Day and pianist Martin Litton for some years now, in person, CD, and video.  They are remarkable originals who evoke the jazz past while keeping their originalities intact.  Martin is a splendidly inventive improviser, able to summon up the Ancestors — Earl, Fats, Jelly, Teddy — without (as they say) breaking stride.  But he’s not merely copying four-bar modules; he’s so internalized the great swinging orchestral styles that he moves around freely in them.  Janice is deeply immersed in the tender sounds of the Twenties and Thirties — from Annette Hanshaw forwards — and she is such a crafty impersonator that it’s easy to forget that she, brightly shining, is in the midst of it all.

 

 

Janice and Martin had a splendid opportunity, on September 19, 2018, to appear — as Janice Day with Martin Litton’s New York Jazz Band — at The Spice of Life, Cambridge Circus, London. The band is Martin Litton, piano and arrangements, Martin Wheatley on guitar, Kit Massey on violin, David Horniblow on bass sax, Michael McQuaid on reeds and trumpet. And here are two quite entertaining performances from the Annette Hanshaw book.

Here’s MY SIN:

and LOVER, COME BACK TO ME:

Just the right mix of wistful and swinging.  Twenties authentic but not campy, and did I say swinging?  I wish Janice and Martin and their splendid band many more gigs (and more videos for us).

May your happiness increase!

LONDON’S HOTTEST RHYTHM JUGGLERS: THE VITALITY FIVE, “SYNCOPATION GONE MAD”

I’ve had an alarm clock / clock radio at the side of my bed for decades now, and its message is unvarying and irritating. Time to go to school!  Time to go to work! Time to move the car to avoid a ticket! 

But playing the new CD by The Vitality Five, its title noted above, I thought if I could rig up a musical machine that would, at first softly, play one of their glorious lively evocations of a vanished time, I would be much more willing to get out of bed and face the world.

The Vitality 5 is inherently not the same as many other bands performing Twenties hot repertoire.  For one thing, the 5’s reach is informed and deep: of the seventeen songs on this disc, perhaps four will be well-known to people who “like older jazz.”  Be assured that even the most “obscure” tunes are melodic and memorable.  More important to me is the 5’s perhaps unstated philosophy in action.  Many bands so worship the originals that they strive to create reverent copies of the original discs, and in performance this can be stunning.  But the 5 realizes something in their performances and arrangements that, to me, is immensely valuable: the people who made the original records were animated by joyous exuberance.

The players we venerate were “making it up as they went along,” as if their lives depended on it.  Theirs did, and perhaps ours do as well.

So these performances are splendidly animated by vivacious personality: they leap off the disc.  I don’t mean that the 5 is louder or faster, but they are energized.  You can’t help but hear and feel it.

Facts.  The band has been together since 2015, and it is that rare and wonderful entity — a working band.  Two of its members should be intimate pals to JAZZ LIVES readers: David Horniblow, reeds, and Andrew Oliver, piano — they are the one and only Complete Morton Project.  The other three members who complete the arithmetic are special heroes of mine, people I’ve admired at the Whitley Bay / Mike Durham jazz parties: Michael McQuaid, reeds and cornet; Martin Wheatley, banjo; Nicholas D. Ball, drums.

And they are superb players — not only star soloists, but wonderful in ensemble, making the 5 seem much more a flexible orchestra than the single digit would suggest.  They are, as Louis would say, Top Men On Their Instruments.  Each performance has its own rhythmic surge, the arrangements are varied without being “clever,” and the band is wise enough to choose material that has a deep melodic center — memorable lines that range in performance from sweetly lyrical to incendiary.  The back cover proclaims that there are “17 CERTAIN DANCE HITS!” and it’s true.

A final word about repertoire — a subject whose narrowing I find upsetting, as some “Twenties” groups play and replay the same dozen songs: this disc offers songs I’d either never heard before (JI-JI BOO) or not in decades (THE SPHINX) as well as classics that aren’t simply transcriptions from the OKeh (FIREWORKS, EVERY EVENING, COPENHAGEN) — across the spectrum from Nichols-Mole to Clarence Williams to McKinney’s Cotton Pickers and more.

I know it’s heresy to some, but the Vitality 5 performs at a level that is not only equal to the great recordings, but superior to them.  A substantial claim, but the disc supports it.

Visit here to hear their hot rendition of COPENHAGEN — also, here you can buy an actual disc or download their music.  Convinced?  I hope so.

And to the Gentlemen of the Ensemble: if you perfect the Vitality Five Rise-and-Shine machine, suitable for all electric currents, do let me know.  I’ll be your first purchaser.  Failing that, please prosper, have many gigs, and make many CDs!

May your happiness increase!

“STOMP IT RIGHT NOW!”: DAVID HORNIBLOW, ANDREW OLIVER, MICHAEL McQUAID, NICHOLAS BALL PLAY JELLY ROLL MORTON

The Complete Morton Project showers us with gifts musical and even zoological, once again.

I’M LOOKING FOR A LITTLE BLUEBIRD, which has the flavor of a late-Twenties pop song, which is a compliment:

An extraordinary romp through BLACK BOTTOM STOMP:

I have no idea who MISSISSIPPI MILDRED was, if she existed at all, and what Morton’s conception about the women’s names that became part of song titles, aside from ‘NITA and MABEL, sweet and fussy, respectively:

And now, properly credited, “Nicholas D Ball – Drums and goat / Michael McQuaid – Reeds, cornet, and beastliness / David Horniblow – Bass sax and caprine outbursts / Andrew Oliver – Piano, cornet, and vocables, show us “It’s beastly hot in here!”

And here is Andrew’s blogpost on these four selections.  Alas, no more information seems to have surfaced on Lew LeMarr, the wild laugher on HYENA STOMP and the goat on this:

May your happiness increase!

MORTONIC CAPERS: ANDREW OLIVER, DAVID HORNIBLOW, and SURPRISE GUESTS MICHAEL McQUAID and NICHOLAS D. BALL

Two kinds of surprise, one subtle and one cinematic-vaudevillian-theatrical from the Complete Morton Project.  More details here.

First, DIXIE KNOWS — a composition Morton never recorded — played beautifully by Andrew Oliver, piano; David Horniblow, clarinet:

Then, a party!  The Complete Morton Project invited two friends over, increasing the band by 200%: Michael McQuaid on reeds and Nicholas D. Ball on drums and hilarity — for HYENA STOMP:

Should you be tempted to dismiss HYENA STOMP as pure goofiness, listen to Morton’s Library of Congress solo rendition:

Anyone who thinks of Morton as a limited improviser who didn’t swing should be given a fifteen-minute immersion in that performance, which I marvel at.

But HYENA STOMP (in the 1927 Victor version) is elusive in one detail.  I tried to find out about Lew LeMar, who says, “That’s terrible, Jelly!” and then does the laughing — choose your own adjective.  I know there is a tradition of laughter being recorded as part of an act (consider the OKeh LAUGHING RECORD and later, LAUGHIN’ LOUIE) but I can find no information on the exuberant Mr. LeMar.  Even William Russell’s seven-hundred page Morton scrapbook has no entry for him in the index.

And thus I am free to imagine.  Did Jelly and Lew know each other from vaudeville?  Had they met at a theatre or bar, with Jelly saying, “I’ve got a record date in three days and I want you on it?”  Or was LeMar appearing on another Victor recording at the same time?  Was he the recording supervisor’s idea?  Was HYENA STOMP — very close to one strain of KING PORTER — created for LeMar?  What was union scale for vocal effects?  This unsolved mystery pleases me.  But it makes me smile, which is a good thing in itself.  Let us hope that we always have reasons to laugh.

May your happiness increase!

THEY KEEP KEEPIN’ ON: ANDREW OLIVER / DAVID HORNIBLOW PLAY MORTON

More from the Complete Morton Project, with never a letup: Andrew Oliver, piano, and David Horniblow, reeds.  They seem so supercharged that even I, who spend more time at the computer than my MD would like, lag behind.  Here’s a roundup of recent delights.

From Morton’s 1938 solo session, HONKY TONK MUSIC:

and Morton’s paean to his common-law wife, Anita Gonzales, SWEET ANITA MINE:

and the rather dark and somber, I HATE A MAN LIKE YOU, recorded by Morton and Lizzie Miles in 1929:

I wouldn’t feel right ending this blogpost on that particularly dark note, so Andrew and David romp for us through THE NAKED DANCE, which must have been exhausting as well as thrilling:

Not surprisingly, Andrew and David and their colleagues have to eat, pay utility bills and rent, do laundry — all things that require funding — so in addition to watching these free videos (that concept unhinges me a bit when I consider an economy for artists who offer us such beneficences for nothing) — I encourage you to support them in tangible ways.  If you live in England or thereabouts, go to gigs — the Dime Notes, the Vitality 5, and others; if you are not so close, you can support their efforts buy purchasing CDs, and get some fine music for yourself in this fashion, through a monthly series of e-78s (what a gentle oxymoron of epochs contained there).

David explains: “So this month’s Vitality Five e78 – available on Spotify, Itunes, Deezer etc etc, features a couple of things I did for the band. Firstly the spooky faux-exotic ‘Sphinx’ – originally recorded by the Original Dixieland Jazz Band in London, 1920. The ODJB prided themselves of their supposed roughness and musically illiteracy (although that was more hype than reality). As a contrast, ‘Deep Blue Sea Blues’ pays homage to two of the great sophisticates of 1920’s saxophone, alto player Bobby Davis – ably recreated by Michael McQuaid – and the high priest of the bass sax, Adrian Rollini. Follow the link if you fancy a listen https://vitalityfive.com/…/06/17/sphinx-deep-blue-sea-blues/.”

Here’s a sample of their May e-78 of EVERY EVENING:

Truly remarkable.  And generous in ways hard to imagine but glorious to receive.

May your happiness increase!

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!

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!

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!

JOHN SCURRY’S SINGULAR VIGNETTES: REVERSE SWING: “POST-MATINEE”

You might not have heard of the splendid musician John Scurry, but that can be remedied right away.  Here’s a whimsical, swinging sample — elating even if you are allergic to cats:

John and I have a long yet intermittent musical friendship.  I know I heard him on a variety of Australian jazz recordings with, among others, Allan Browne and Bob Barnard, but we did not meet in person until July 2010 at the Whitley Bay Classic Jazz Party, where he performed as part of Michael McQuaid’s Late Hour Boys, captured here with John on banjo, playing that often abused instrument with grace.  In time, I began to hear John as a guitarist but even more importantly as a composer.  And I heard tales of his small ingenious band, REVERSE SWING, which I described here.  I’d not heard the band, but John’s explanation of the title (enclosed in the post above) made me an enthusiast, taking it on faith.

As a serious but relevant digression, John is also a lyrical painter and photographer, imbuing “common” objects with resonance that makes me think of the painter Giorgio Morandi.  The cover is his, and when you purchase the disc, the photographs inside are his also.

In 2011, John — along with Andy Schumm, Jason Downes, Josh Duffee, Leigh Barker, and Michael McQuaid, was part of the Hot Jazz Alliance: they gave concerts and toured in 2014 and 2015.  I saw them at Dizzy’s Club Coca-Cola in the latter year and followed John and a larger ensemble led by Josh to Chambersburg, Pennsylvania — Chauncey Morehouse’s home town — for a concert of Morehouse / Goldkette music.  In the lobby of John’s hotel, we had a long conversation, and I believe he said a REVERSE SWING disc was in process and I (perhaps not subtly) offered my services as a pro bono liner-note writer.  (I’d done the same for the HJA disc.)

And so it came to pass . . . that I heard REVERSE SWING, and was captivated by it.  The seventeen compositions on the disc are all John’s, varied in mood and approach: the CD feels like a leisurely sweep through a hall of evocative paintings.  Or a slim volume of short stories.  It’s not a “trad” band nor a post-bop ensemble — the performances swing — but a group that draws on a tradition of improvising over strong, sometimes quirky melodies and surprising harmonies.

The basic personnel is Eugene Ball, trumpet; Michael McQuaid, clarinet, alto saxophone; Matt Boden, piano; Howard Cairns, string bass, concertina; John Scurry, guitar — with additional cameos by Shelley Scown, vocal; Danny Fischer, drums; James Macaulay, trombone; Phil Noy, alto saxophone.

I know that the combination, for some more staid listeners, of original compositions and a band of less well-known musicians might be slightly intimidating, but we all have sufficient shelf space devoted to Our Favorite and Sometimes Predictable Bands . . . REVERSE SWING well deserves your attention.

Here are my notes:

In A VISION, Yeats wrote that the spirits visited him “to give him metaphors for poetry.” For inspiration, all I can claim is Facebook, where, a few hours before this disc arrived I had seen a famous Mississippi restaurant, The Dinner Bell, with a round table, seating twenty, two dozen entrees on its rotating center. As I listened to REVERSE SWING, I thought of diners moving from one serving dish to another, each one different in content, texture, seasoning, all harmonizing memorably.

A didactic annotator could fill pages saying what this track Sounds Like and what band / musician he Is Reminded Of, but I will leave such fetishes to those who cannot find pleasure without them. Scurry’s music, although irresistibly swinging, is MUSIC first, jazz second: melodic, surprising but inevitable (to steal from Whitney Balliett) with its bright eyes on us, sometimes teary, sometimes winking, even tenderly sleepy. I imagine a dance programme ranging from uptown funk to pastoralia, or soundtrack music for a never-seen Dennis Potter project.

Of John’s light-hearted but distincitve compositional art I can write only that I kept smiling and saying to myself, “Look what he’s doing THERE!” Each song is complete and shapely: a painting or photograph in itself, which is apt. I am also thrilled to hear so much of his guitar playing out in the open, concise yet emotive in solo, prancing in ensemble. Of the other players I write, as would Louis, that they are Topmen On Their Instruments, masters of Tonation and Phrasing. I’d never heard Shelley Scown sing before, but I bow low before her sweet elegance.

Alec Wilder would have admired this; Ellington, too. I want a second and third volume.

Now, something from the Uncollected Scurry-Steinman Correspondence.  I’d asked John — so that I could understand the musical scenes better — where the compositions came from, and he wrote me this.  Its length is my doing, not his immodesty, because I frankly badgered him to tell me everything, because I find the artist’s motivations fascinating — and how often do we have the artist ready to tell all through a series of emails?

“This CD is a selection of tunes of mine written over some years and conceived specifically for this recording. I can liken it to having an exhibition of paintings wherein there is no articulated concept or theme at play, rather a gathering of works that hopefully cohabit together and make sense musically. Most of the pieces were kept relatively short so as to state them as tunes in their various guises and feels and not as extensive flights of improvisation. Part of the joy in producing this body of works was in having the privilege of playing with my fellow musician friends developing and coaxing these melodies into life as new presences. Some have been recorded previously such as “Yes’” and “By practised Skill”. These two, put to music from two poems by Dashiell Hammett written in 1927 (from memory) with the words and poetic form fitting well in 32 bar and 24 bar formats common to the period. With the song “How Calm the Sea is Tonight,” when I put it together melodically and with the words, my original thought was to use Shelley Scown to sing it. I had imagined her singing for several years before actually meeting her. She made a wonderful recording called “Angel” with Paul Grabowsky and the late Allan Browne and Gary Costello respectively. Her voice had a lilting purity that I thought would embody the song. The song I developed verbatim from the last paragraph of a brief magazine story told by a woman reflecting on her life in a whaling town in southern New South Wales. Hence its folk ballad sense. The melody was originally created as a sound backdrop for a short animation. I finally met Shelley last year at a memorial concert for my old comrade Allan Browne where we were both performing and the circle was completed. Shelley’s other vocal,”Your Face”, I fess up to the words. In the spirit of all those who have gone before, another song about longing and the tactility of memory.

“Virology” was conceived for the band “Virus” that I played with regularly for many years. Strangely we never played this tune. Some of the tunes have personal connections such as “A Walk Around Tom” which is for my oldest brother who sadly has severe short term memory recall. A big jazz aficionado in his day with what he referred to as progressive jazz and, like my immediate next brother, a huge influence. “Post Matinee” for me has cinematic overtones. Sometimes meaning in a non literal way evolves out of the process of connecting time signatures and chord structures. My first paid employment, albeit brief, was as a ten year old theatre attendant selling screen news magazines at our local theatre. The theatre is long defunct but maintains its physical presence as an apartment block in Windsor, Melbourne. Going to the Saturday matinee every week was like church. A few years back I made a small painting of the then ex Windsor Theatre and called it “Post Matinee”.

Two more with poetry connections. “ Tonight I Can Write the Saddest Lines” is by Pablo Neruda. The first seven words of the opening stanza are enough to create the feel and melodic context for the resultant song. “Last Trams” is titled after the poem by Australian poet Kenneth Slessor. Originally, from memory, I think I was playing around with the changes to “Baby Won”t You Please Come Home”.

Some fauna related pieces. “Otis the Cat” is not the guy you are sharing a cell with; he is my dear friend of eighteen years, our cat Otis. Unbridled sentimentality to the fore. “A Blackbird Skipped Quivering Between Things” Yes, I know. Behind every title is a story. Oddly enough titles emanate from the spirit of the work. We are visited daily by a blackbird family in search of morsels of cat food. They stop and start skipping across grass and verandah and at a pinch have the odd quiver. I came across a lovely quote by a French art critic who was lauding the paintings of Berthe Morisot, Manet’s sister, and he stated with reference to the light in her paintings that there was “a quivering between things”. Hence my theft which seemed apt at the time. A little waltz with an inadvertent homage to American folk traditions, as our music from my first memories is a great melting pot of American popular song plus a smattering of British music hall and folk song, not to forget the centrality of hymns. “Sad Songs” is a tune without words which it almost demands. It started off as “Sad songs and bad songs,” a would be letter to a recently deceased musical friend, reassuring him as to his boy’s welfare, but somehow it turned into a sort of optimistic cowboy song. They can assert themselves with a life of their own, these songs.

The last piece I shall comment on is “Thomas and Green,” named for the street corner where I grew up. My first encounter with live music was not “Honey Hush” or “Buttons and Bows” that blared regularly on the radio, but the mellifluous sounds of tenor horns and cornets from the Salvation Band that would appear of a Sunday evening on that corner. Howard Cairns grew up in a Salvo family, his dad being a Major in it. Howard inherited his father’s concertina so we conceived honouring that connection in the chorale “Thomas and Green” as a coda to the album.”

Here the wise and curious listener can hear more, purchase a disc or a download.  I recommend all these actions.  REVERSE SWING is quietly, subversively remarkable.

May your happiness increase!

THE LIFE-FORCE, SCORED FOR FIVE MUSICIANS

Some phenomena are so strong or so evident that they make commentary superfluous.  You don’t need The Weather Channel to tell you when it’s snowing, and you don’t need me to explain the next three brief video performances. However, if you plan to watch them on your phone, beware, because the energy contained here might blow your SIM card across the room.

For those who desire explication, there are credits at the end of each video.  (The videos themselves are gorgeous: usually I find most multi-camera shoots more jumpy than required, but here, all praise to the videographers.)

THAT’S NO BARGAIN:

VOODOO:

HIGH FEVER:

Not that there isn’t a place for loose and long renditions of ROYAL GARDEN BLUES in my world, but this band and these performances are very cheering alternatives to much of what is offered as pre-World War Two hot music.

For those who thrive on data, here is the relevant YouTube channel, and here is the band’s website (in all its permutations).  This is the band’s gig schedule for July and August — unfortunately for me, somewhat distant from New York, but perhaps we shall rendez-vous sometime.  And here is what I wrote about the band’s debut CD.

Now, if you’ll excuse me, I’m going to bundle up my computer and take it to Byron and Henry, my very trusted repair-wizards.  It began to tremble during the final video, and that worries me.

May your happiness increase!

“DIASPORA”: MICHAEL McQUAID, ANDREW OLIVER, NICHOLAS D. BALL

A few nights ago, I was sitting in my apartment, entertaining friends (one of them the fine guitarist Larry Scala) and I was playing 78s for them.  After a particularly delightful performance, which may have been the Keynote I WANT TO BE HAPPY with Roy, Emmett Berry, and Joe Thomas, or 46 WEST 52 with Chu Berry, Roy, and Sidney Catlett, I turned to them and quietly said, “Music like this is why some bands that everyone else goes wild about do not appeal to me.  I’ve been spoiled by the best.”

But there are glorious exceptions to my assessment of the present.  One of the shining musicians of this century is  Michael McQuaid — heard on a variety of reeds and cornet, even possibly breaking in to song when it seems right.  I first heard him live in 2010 and admired him powerfully, and although our paths don’t cross often (we meet every few years, not only in Newcastle but also in Chambersburg, Pennsylvania, and in New York City) he remains a model to me of what can be created within and without those venerable musics.  (Full disclosure: he quotes from JAZZ LIVES on his blog, but I simply take that as evidence of his good taste in literature.)

Michael, informally

If you’d like to read a brief biography of Michael, you can do just that here, but I will offer three salient facts: he is Australian by birth; he has been playing professionally for twenty years even though he is a mere 35; he and the lovely Ms. Anna Lyttle will take up residence in London in November 2017.

Michael, feeling the spirit

His newest CD, DIASPORA, is an exceptional pleasure.  It’s a trio CD — Michael’s first as a leader in this format — where he is nobly paired with pianist Andrew Oliver and percussionist Nicholas D. Ball.  When you click on the title above, you can hear selections from the disc, and if so moved, then purchase it from Bandcamp or CDBaby.

But enough commerce.  I’ve found it daunting to review this CD in a hurry, not, I assure you, because I had to dig for adjectives, but because each performance — none of them longer than a 12″ 78 — is so dense with sensation, feeling, and music, that I feel gloriously full and satisfied after each track.  I couldn’t compel myself to listen to this disc, stuffing in track after track at one sitting: too much glorious stuff was going on.  So I promise you that it will not only appeal at the first listening but for many more to come.  Michael, Andrew, and Nicholas D. are strong personalities but willing to merge their egos into a band, which in itself is a deep reward for us.

The music here is nicely contradictory: comforting but full of surprises, aesthetically familiar but never rote.  “Clarinet, piano, and traps,” as they would have written in 1928, lends itself to all sorts of formulae: the Goodman / Dodds / Noone “tribute” album.  Or, more loosely, “Chicago jazz.”  DIASPORA, it is true, nods affectionately to early Benny, Wingy, Leon, the Halfway House boys, Fats, Bud Jacobsen, Charles LaVere, and others, but it is not a series of copies: it’s as if Michael, Andrew, and Nicholas D. have made themselves so familiar with the individual songs and the idioms they came from that they are at ease and can thus speak for themselves.  There is so much shining energy in their playing: nothing seems forced or tense.  And although this would be marketed as “hot jazz,” some of the finest moments in this recital are sweet, rueful, tender: Fats’ CHELSEA, for one.

I asked Michael for his thoughts about the CD, especially because there are no liner notes, and he told me that he wanted to let the music speak for itself, and that DIASPORA has been on his mind for some time: “I wanted to do a project featuring my OWN playing rather than a larger group with a more democratic purpose. I also wanted to record in a very good studio, because I think the clarinet is rarely recorded well . . . it’s just me and my Albert system clarinet! And my colleagues, of course.”  [Note from Michael: the recorded sound is superbly natural.]

The songs Michael chose are admiring homages to various clarinetists without imitating them.  “For instance, ‘Do Something’ was imagined as a hypothetical Don Murray/Arthur Schutt/Vic Berton collaboration; ‘Tiger Rag’ asks ‘what if Rappolo and Jelly Roll made a trio side?’.”

I’d asked Michael about his original compositions.  “‘Black Spur’ takes its name from a treacherous mountain road to the north east of Melbourne, while ‘Diaspora’ is a Beguine/Jazz mix, paying tribute to the musical styles (and peoples) scattered widely throughout the world by the time of the 1920s/30s.  Of course, there’s a link there to the album title as well; an Australian, playing music of American origin (broadly speaking) with an American and a Briton, recorded and mixed in London and mastered in Helsinki!”

I hope all my readers take the opportunity to hear DIASPORA: it’s music that travels well.

May your happiness increase!

ÉLAN VITAL: THE VITALITY 5 ROCKS!

vitality-5

The VITALITY FIVE (and its band-within-a-band, the VITALITY THREE) are the real thing, and the quintet has released its debut CD, which is a complete delight.  They are a hot jazz band; their performances marry ferocious energy and precise delicacy.

Drum roll, please?

THE FAMOUS “VITALITY FIVE” JAZZ BAND of London.
Featuring internationally-renowned Syncopators from three corners of the globe :

Mr. MICHAEL McQUAID : Clarinet, Alto Saxophone & Trumpet.
Mr. DAVID HORNIBLOW : Bass Saxophone & Clarinet.
Mr. MARTIN WHEATLEY : Banjo & Guitar.
Mr. ANDREW OLIVER : Pianoforte.
Mr. NICHOLAS D. BALL : Drums & Percussion.

I know three of these Syncopators in person and will vouch for their Credentials of Hot.  Their biographies can be found here.

But mere words have their limitations, so here is audio-visual evidence:

and a Morton trio:

and some Nichols-Mole-Livingston-Berton modernism:

The repertoire on this CD says a great deal about the players and their overall conception.  Familiar hot tunes: EAST COAST TROT, MOJO STRUT, SMOKE-HOUSE BLUES, SHE’S CRYING FOR ME, WA WA WA — and the less familiar MOTEN STOMP, KANSAS CITY BREAKDOWN (both early Bennie Moten), CLARINETITIS (another Benny), STEAMBOAT STOMP (Boyd Senter), DIXIE (Adrian Rollini, for his wife), the pop tune IF YOU WANT THE RAINBOW, and the never-played DESDEMONA, BLACK RAG, REVERIE, RETOUR AU PAYS, suggesting a deep immersion and erudition about this period of music.  Although the credits say “transcriptions,” it’s easy to see that when you “transcribe” WA WA WA or SMOKE-HOUSE BLUES for this singular ensemble, it is much more a transformation.  And it’s thus a lively reimagining.  JAZZ LIVES viewers with memories will know Michael McQuaid, Nicholas Ball, and Martin Wheatley as peerless musicians; I assure that David Horniblow and Andrew Oliver are nothing short of spectacular.  In fact, the entire ensemble has an appealing looseness precisely because they are honoring the originals and the originators without striving to provide copies of the records.  So this is hot jazz of the middle Twenties that is also aware that it is no longer 1926, which is fine with me.

All I know is that it took an act of will to pry the disc out of the player.  The band’s website is here.  To purchase the CD, visit here.  I can assure you that this quintet superbly lives up to the band’s name.

And thanks to Julio Schwarz Andrade, of course.

May your happiness increase!

MORE SEAGOONERY, BY POPULAR REQUEST (MIKE DURHAM CLASSIC JAZZ PARTY, November 8, 2015)

IF I GIVE UP THE SAXOPHONE

Several audience members and a musician-friend wrote in after yesterday’s post featuring Keith Nichols and the Seagoon Serenaders, asking if I would post more.  Happy to oblige!

Here you can find out more about Keith’s inspiration, THE  GOON SHOW, a radio series from 1951-60.

The Serenaders are Keith, piano; Emma Fisk, violin; Frans Sjostrom, bass saxophone; Spats Langham, guitar; Nick Ball, drums; Malcolm Sked, bass; Lars Frank, Thomas Winteler, Michael McQuaid, reeds (Michael doubling cornet). Dance music of the highest order.

The first song of the set is the old Chicago standard, SOMEDAY SWEETHEART, with an explanation of the group’s inspiration by Keith as well as a vocal:

IF I GIVE UP THE SAXOPHONE (WILL YOU COME BACK TO ME?) was a hit for Eddie Cantor in the 1929 film WHOOPEE — written by Irving Kahal, Sammy Fain, and Willie Raskin.  I suspect that the song is an outgrowth of the instrument’s popularity early in the decade and the large number of amateur players:

I don’t know how much Goonery there will be at the 2016 Mike Durham Classic Jazz Party (November 3-6) but there will be some.  Musicians are often great comic improvisers, and they honor the guiding spirit of the party: Mike was both witty, sometimes dangerously so, and he had a stockpile of jokes that was astonishing.

See you there.

May your happiness increase!

“THE MOOCHE”: THE SEAGOON SERENADERS at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 8, 2015)

MOOCHE

What happens when vestiges of THE GOON SHOW meet early jazz, under the benignly unsettling leadership of Keith Nichols?  I present a brilliant example below.  Keith’s presentation, mixing satire and Hot, was called THE SEAGOON SERENADERS, and it came alive at the Mike Durham Classic Jazz Party on November 8, 2015:

Once when we get past the hilarity, the Serenaders launch into a very delightful performance of Ellington’s THE MOOCHE (named, I am told, for a contemporary dance), complete with clarinet trio and hot cornet chorus.  That’s Keith, piano; Emma Fisk, violin; Frans Sjostrom, bass saxophone; Spats Langham, guitar; Nick Ball, drums; Malcolm Sked, bass; Lars Frank, Thomas Winteler, Michael McQuaid, reeds (Michael doubling cornet on this performance).  Dance music of the highest order.

A nice mixture of hot jazz, occasionally leavened with comedy, can be found this November 3-6.  Details here.

May your happiness increase!