Tag Archives: Paul Barbarin

“SONG OF THE ISLANDS,” VARIOUSLY (1930-2006)

I’m going to allow myself the freedom of not writing the history of this song, nor posting all the versions, but simply offering a few that please me immensely.  This post is in honor of Doctor J, who knows why it is.

A little introduction (2006) by the Manhattan Ragtime Orchestra, who closed sets with it: Jon-Erik Kellso, Brad Shigeta, Orange Kellin, Morten Gunnar Larsen, John Gill, Skye Steele, Conal Fowkes, Rob Garcia:

Louis gets to introduce his own performance:

and here’s the lovely 1930 version, with magnificent Louis (yes, I know that’s redundant) and his “Rhythm Boys” drawn from the Luis Russell band, starring J.C. Higginbotham and Pops Foster.  Apparently Paul Barbarin plays vibraphone and the band’s valet plays drums: he swings!

And a more contemporary version I treasure because it seems to convey decades of vernacular music performance, making the transition from waltz-time to quietly majestic rocking (yes, Louis is standing in the wings, very happy).  I imagine the opening choruses as a tea-dance or perhaps a summer band concert in a gazebo in the town park, and then the band takes on restorative color and swing, never aggressively but with sweet eloquence. The group is the 1987 Red Roseland Cornpickers, featuring Bent Persson, Claus Jacobi, and Keith Nichols, and this is taken from my prized “long-playing record” on the Stomp Off label:

Details for those who crave data: Bent Persson (tp-2,vcl) Folker Siegert (tb-3,vcl) Claus Jacobi (as-4,ts-5,cl-6,vcl) Engelhard Schatz (cl-7,sop-8,ts-9,vcl) Lothar Kohn (as-10,g-11,vcl) Joachim Muller (bassax-13,cl-14,as-15) Keith Nichols (p,vcl) Gunter Russel (bj-12,vcl) Ulf-Carsten Gottges (d)  Gottingen, January 4 & 5, 1987.  SONG OF THE ISLANDS: (2,3,4,6,7,9,12,13,14,15, Bent, Folker, Claus, Engelhard, Lothar, and Keith, vocal).

In these stressful times, this music evokes warm days, cool nights, tropical beaches, and fresh pineapple.

May your happiness increase!

 

CONTRITION OR VENGEANCE? RICKY ALEXANDER, DAN BLOCK, ADAM MOEZINIA, DANIEL DUKE, CHRIS GELB at CAFE BOHEMIA (Nov. 22, 2019)

I think WHO’S SORRY NOW? (note the absence of the question mark on the original sheet music above) is a classic Vengeance Song (think of GOODY GOODY and I WANNA BE AROUND as other examples): “You had your way / Now you must pay” is clear enough.  Instrumentally, it simply swings along. It seems, to my untutored ears, to be a song nakedly based on the arpeggiations of the harmonies beneath, but I may be misinformed.  It’s also one of the most durable songs — used in the films THREE LITTLE WORDS and the Marx Brothers’ A NIGHT IN CASABLANCA — before being made a tremendous hit some twenty-five years after its original issue by Connie Francis.  Someone said that she was reluctant to record it, that her father urged her to do it, and it was her greatest hit.)

Jazz musicians loved it as well: Red Nichols, the Rhythmakers, Frank Newton, Bob Crosby, Lee Wiley, Sidney DeParis, Wild Bill Davison, Harry James, Benny Goodman, Benny Carter, Eddie Heywood, Woody Herman, Buck Clayton, Sidney Bechet, Paul Barbarin, George Lewis, Big Bill Broonzy, Archie Semple, Charlie Barnet, Raymond Burke, Rosy McHargue, Oscar Aleman, the Six-and-Seventh-Eighths String Band, Kid Ory, Teddy Wilson, Earl Hines, Miff Mole, Hank D’Amico, Teddi King, Kid Thomas, Bob Scobey, Franz Jackson, Chris Barber, Matty Matlock, Bob Havens, Ella Fitzgerald, Armand Hug, Cliff Jackson, Ken Colyer, Jimmy Witherspoon, Jonah Jones, Capt. John Handy, Jimmy Rushing, Tony Parenti, Claude Hopkins, Jimmy Shirley, Bud Freeman, Ab Most, Benny Waters, Peanuts Hucko, Billy Butterfield, Kenny Davern, Humphrey Lyttelton, Bill Dillard, New Orleans Rascals, Barbara Lea, Allan Vache, Paris Washboard, Bob Wilber, Lionel Ferbos, Rosemary Clooney, Rossano Sportiello, Paolo Alderighi, Vince Giordano, Michael Gamble . . . (I know.  I looked in Tom Lord’s online discography and got carried away.)

Almost a hundred years after its publication, the song still has an enduring freshness, especially when it’s approached by jazz musicians who want to swing it.  Here’s wonderful evidence from Cafe Bohemia (have you been?) at 15 Barrow Street, Greenwich Village, New York, one flight down — on November 22, 2019: Ricky Alexander, tenor saxophone; Chris Gelb, drums; Daniel Duke, string bass; Adam Moezinia, guitar, and special guest Dan Block, tenor saxophone:

That was the penultimate song of the evening: if you haven’t heard / watched the closing STARDUST, you might want to set aside a brief time for an immersion in Beauty here.  And I will be posting more from this session soon, as well as other delights from Cafe Bohemia. (Have you been?)

May your happiness increase!

GIVE US A SHOUT: DAN BARRETT’S “BLUE SWING” at ASCONA (July 2, 2000)

My dear friend Michael Burgevin was the first person I knew who used the expression “Give me a shout,” when he meant “Call me when you can,” or “Be in touch,” and it’s almost archaic these days.  But I know MB would enjoy what I am about to post.

It’s only a few minutes long, but it is both Prime and Choice — and the result of the kind energetic generosity of our friend Enrico Borsetti, who took his video camera to the JazzAscona, Switzerland, and captured a set by Dan Barrett’s Blue Swing — a noble band that had, alongside Dan, Jon-Erik Kellso, Brian Ogilvie, John “Butch” Smith, Ray Sherman, Eddie Erickson, Joel Forbes, and Jeff Hamilton.

Here’s a wonderful blues with flourishes, composed by Luis Russell and Charlie Holmes for the splendid band (featuring also Henry “Red” Allen, J. C. Higginbotham, Albert Nicholas, Paul Barbarin, and Pops Foster) the former led from 1926-34, named for the Saratoga Club, where they romped:

I’ll let Jon-Erik have the last word: “Can’t believe this was 17 years ago already. Fond memories of playing with Dan Barrett’s Blue Swing at the JazzAscona fest in Switzerland. “Saratoga Shout” by Luis Russell. I miss our friend Brian Ogilvie, the tenor player here, very much, he left us much too young. I also miss this band, one of the finest I’ve been a part of.”

And Enrico, our Benefactor, promises to share the rest of the set with us. Grazie, amico!

As we know, sometimes The Past comes out of the darkness and raps us sharply across the bridge of the nose.  In this case, it’s given us a very warm hug.

May your happiness increase!

PAPERS WITH DEPTH: LOUIS, “SINGLES WELCOME,” JIMMY RYAN’S, BARBARIN in BOSTON

Yes, I’ve been nosing around on eBay again . . .

First, Louis c. 1952: possibly Russ Phillips, Milt Hinton, Cozy Cole, Louis, Barney Bigard, in front of some startled-looking patrons (did the flashbulb make them jump?):

LOUIS 1952 candid

then, a handbill from 1970, when Vic Dickenson had left the Bobby Hackett Quintet to join the World’s Greatest Jazz Band.  “Singles welcome”:

WGJB Hacket flyer

and a Jimmy Ryan’s flyer from 1963:

RYAN'S 1963 front

and if you needed it explained to you by Virgil Thomson, here you are:

RYAN'S 1963 inside

Perhaps you’d like some New Orleans music in Boston, May 12, 1952:

BARBARIN at SAVOY 1952

It’s pleasing when collectors clean out their troves and put them up for sale. Otherwise, how would we live vicariously?

May your happiness increase!

BENT PERSSON HONORS LUIS RUSSELL at WHITLEY BAY (Nov. 3, 2013)

Some of the hottest music of the late Twenties was created by Luis Russell and his Orchestra.  That band could “romp,” to use Pops Foster’s perfectly accurate verb, in ways that blended New Orleans polyphony and the awareness of how musicians in a big band could play effectively as sections.  Russell wrote wonderful arrangements and the band showed off a galaxy of soloists — Red Allen, Charlie Holmes, Albert Nicholas, J. C. Higginbotham, Teddy Hill, Greely Walton, Will Johnson, Pops Foster, Paul Barbarin (later editions of the band, captured on record, also included Dicky Wells, Rex Stewart, and a sweetly vocalizing Vic Dickenson).  The band also backed Louis Armstrong on memorable records — and it became the nucleus of Louis’ Decca band as well.

If someone asked me to define “swing,” it would be easy to do by playing the Russell PANAMA or JERSEY LIGHTNING — perpetual motion machines that amaze and delight.

Trumpeter / arranger / scholar Bent Persson has long loved the Russell band, not only for its soloists but for its ensemble beauty — and last year at the Whitley Bay Classic Jazz Party he offered a full plate of joy, taking us in time and space to the Saratoga Club in 1929-1930.  He was aided in this journey by Jeff Barnhart, piano and vocal; Henri Lemaire, string bass; Richard Pite, drums; Jacob Ullberger, banjo and guitar; Andy Schumm, trumpet; Kristoffer Kompen, trombone; Jean-Francois Bonnel, Lars Frank, Stephane Gillot, reeds.

SARATOGA SHOUT:

DOCTOR BLUES:

NEW CALL OF THE FREAKS (with its classic vocal: is it an invitation or a command?):

LOUISIANA SWING:

ON REVIVAL DAY (purification of the Spirit thanks to Reverends Jeff and Kris):

POOR LI’L ME, with an extraordinary vocal by Jeff:

SARATOGA DRAG:

HONEY, THAT REMINDS ME (which was Vic Dickenson’s first recorded vocal):

Oh, what a band! — both in the original and in the energetic evocation here.

All of this wonderfully uplifting jazz was performed (in 2013) at the Whitley Bay Classic Jazz Party where many of these musicians will be performing in the 2014 version in a few days.

May your happiness increase!

“IS IT WARM IN HERE OR IS IT JUST THE BAND?” CLINT BAKER’S NEW ORLEANS JAZZ BAND IN PISMO BEACH, JANUARY 26, 2014 (Part Two)

Loosening our collars and wiping our brows — all in the name of hot music.

Clint Baker’s New Orleans Jazz Band swung out on Sunday, January 26, 2014, at the Central Coast Hot Jazz Society’s concert held in Pismo Beach.  Clint himself played trombone and euphonium and sang.  With him were Marc Caparone, cornet; Mike Baird, reeds; Carl Sonny Leyland, piano, vocal; Bill Reinhart, banjo; Katie Cavera, string bass and vocals; Jeff Hamilton, drums. The wonderful Dawn Lambeth sang a few songs, which you can hear and see here.

If you didn’t make it down to Pismo, here’s the first instrumental set.

And a second helping of delightful music:

William H. Tyers’ PANAMA (with a parasol parade, no extra charge):

Katie Cavera asks, respectfully, WON’T YOU COME HOME, BILL BAILEY?:

Headgear or other clothing optional, but PUT ON YOUR OLD GREY BONNET:

J.C. Higginbotham asks, politely, GIVE ME YOUR TELEPHONE NUMBER:

After the number is received, the proper response might be I WOULD DO ANYTHING FOR YOU (thanks to Alex Hill and Claude Hopkins):

Clint and his bands are active at a variety of gigs and festivals and swing dances.  If you want to experience this hot music for yourself, click  here to plan your next swing outing.

May your happiness increase!

HOTTER THAN THAT! CLINT BAKER’S NEW ORLEANS JAZZ BAND IN PISMO BEACH, JANUARY 26, 2014 (Part One)

It was indeed warm in Pismo Beach, but my title refers to what was happening indoors.

Clint Baker’s New Orleans Jazz Band swung out this last Sunday, January 26, 2014, at the Central Coast Hot Jazz Society’s concert held in Pismo Beach.  Clint himself played trombone and euphonium and sang.  With him were Marc Caparone, cornet; Mike Baird, reeds; Carl Sonny Leyland, piano, vocal; Bill Reinhart, banjo; Katie Cavera, string bass and vocals; Jeff Hamilton, drums. The wonderful Dawn Lambeth sang a few songs, which you can hear and see here.

Here’s another helping of delightful music.

Paul Barbarin’s THE SECOND LINE:

Father Leyland explains it all with BEALE STREET BLUES:

WHEN I GROW TOO OLD TO DREAM:

A special request from Dottie Baird, not to be ignored: WHEN MY DREAMBOAT COMES HOME:

EVERYBODY LOVES MY BABY:

Clint and his bands are active at a variety of gigs and festivals and swing dances.  If you want to experience this hot music for yourself, click  here to plan your next swing outing.

May your happiness increase!

HOTTER THAN THAT: KUSTBANDET PLAYS “PANAMA” (1985)

Thanks once again to Franz Hoffmann, this more contemporary treasure — the Swedish band KUSTBANDET performing its own very rocking evocation of the 1929-30 Luis Russell Orchestra (original stars Henry “Red” Allen, J. C. Higginbotham, Charlie Holmes, Albert Nicholas, Pops Foster, Paul Barbarin) playing the living daylights out of W.H. Tyers’ atmospheric piece, PANAMA:

Franz dates this as September 27, 1985 for NDR-TV, and thinks the personnel is Claes-Goran Faxell, Bent Persson, Ola Palsson, trumpet; Jens Lindgren,trombone; Goran Eriksson, Jan Akerman, Erik Persson, reeds; Ake Edenstrand, piano; Hans Gustafsson, banjo; Bo Juhlin, brass bass, bass trombone; Goran Lind, bass; Christer Ekhe, drums.

Bent Persson plays Red Allen; Jens Lindgren does Higgy.  I don’t know the reed section by name, or else I would surely credit them.  Two questions: can anyone read the autograph / inscription on Goran Lind’s bass?  It looks like a real treasure.  And it may just be my point of view, but I am astonished at how serene . . . calm . . . impassive this television audience is.  One fellow, at about 2 minutes in, to the bottom right of the frame, is fanning himself.  That reaction I understand.

I never leap to my feet and shout YEAH! because I have a video camera in my hand, but this performance made me want to do just that.

AT THE HOP: CLINT BAKER’S NEW ORLEANS JAZZ BAND (Part One): AUG. 20, 2011

Getting the kitten down from the tree is heroic, as is untying the maiden from the railroad tracks as the train bears down on her.  But so is what Clint Baker and his New Orleans Jazz Band did at Mountain View, California, on August 20, 2011 — making the room and the dancers vibrate with a sweet intensity.

Here’s the evidence.  Clint led the band on trumpet, with Jim Klippert (trombone), Robert Barics (clarinet), Carl Sonny Leyland (piano), Jason Vanderford (banjo), Sam Rocha (bass and tuba), Jason (or J.) Hansen (drums).  I had watched and heard versions of this band at Cafe Borrone (through the generosity of Rae Ann Berry and her Magic Tripod) and they are superb, but I was unprepared for the hot energy that emanated from this group — no microphones except for Clint’s announcements — and took over the room.

They began their set with AVALON, effectively wiping out any associations with Benny Goodman or Al Jolson:

Then, Clint sang James P. Johnson’s ONE HOUR and the band followed his entreaty in the best spirit:

Drummer Paul Barbarin is a beloved figure to me because of the way he drove both the Luis Russell band and the Louis Armstrong Orchestra (1935-39).  But he also composed BOURBON STREET PARADE and the jolly THE SECOND LINE:

SWEET LOTUS BLOSSOM, a paean to some herb or other, was a feature for singer-banjoist Jason Vanderford.  Knocked me right out!

MILENBERG JOYS (or GOLDEN LEAF STRUT, a cousin of the BLOSSOM above) just romped:

TEXAS MOANER BLUES points backwards in time to Sidney Bechet and Louis Armstrong, but it seems vigorous in its moaning splendor today:

And the set closed with Clint’s swinging exercise in New Orleans group therapy (with help from Dr. Klippert from Vienna), YOU TELL ME YOUR DREAM:

The dancers loved it, as I did.  And there’s another, equally hot set to come.  And this event was sponsored by WEDNESDAY NIGHT HOP — check out their site for information on future events:

http://wednesdaynighthop.com/events/CaliforniaWorkshop2011.php

MORE FROM CLINT BAKER’S NEW ORLEANS JAZZ BAND at DIXIELAND MONTEREY (March 6, 2011)

Through the magic of YouTube and the generosity of Rae Ann Berry, I had been watching the extraordinary Clint Baker lead bands, generate swing, and dazzle on a good number of instruments for years before I was privileged to meet him.

He turned out to be a real kindred spirit: funny, genuine, candid.  And he throws himself into whatever musical environment he finds himself, never standing back at a reserved distance.  His groups swing — you can take that for granted — but Clint has different varieties of swing for different musical contexts — as you will hear in this set.

Clint’s New Orleans Jazz Band is clearly a group of friends, which is always a plus.  There’s Marc Caparone on cornet; Howard Miyata on trombone; jazz patriarch Mike Baird on reeds; Dawn Lambeth on piano and vocals; Jeff Hamilton on piano and drums; Katie Cavera on guitar and vocals; Paul Mehling on bass . . . a versatile band of shape-shifters who are true to their own deep conception of rocking improvised music.

The set began with a funky ONE SWEET LETTER FROM YOU (its antecedent more Bunk than Hamp): Uncle How had to scurry from one set to another but did make it!

Katie came to the microphone to do one of her specialties, DO SOMETHING, what I think of as the flapper’s sweetly impatient updating of TO HIS COY MISTRESS, or “Shut up and kiss me, will you?”  I’ve posted several versions of this song from Monterey, and each one’s been a pleasure:

Now that we’ve gotten the erotic carpe diem out of the way (at least for the moment), it’s time to honor Paul Barbarin with BOURBON STREET PARADE and the appropriate vocal chorus:

Something a little closer to the North: the lovely singing of Dawn Lambeth (with Jeff Hamilton taking over at the piano bench) — turning this New Orleans street parade into a time-travel back to the Vocalion studios with everyone making it up for the first time on THEM THERE EYES:

And Dawn follows with the tender THEY CAN’T TAKE THAT AWAY FROM ME.  Listen closely to her sweet, original phrasing — a delight:

I knew MILENBERG JOYS was going to be something special when the ever-useful Jeff moved back to the drums, Dawn regained her seat at the piano, and Clint broke out his cornet.  Please sit a safe distance from the monitor!  The brass interplay is just extraordinary.  I was wiping the sweat from my brow, and I was only videorecording.  Later that day, I caught Clint taking a break betwen sets and I approached him with my best ominous look.  “That MILENBERG JOYS you played earlier caused me a real problem,” I said unhappily.  “Why?  What happened?” he said with the deep gloom of a teenage boy whose misdeed has been found out.  “It was so hot it melted part of my camera, you know!” I said, and he relaxed and grinned.  I felt guilty for tormenting him, but it was worth it:

I’LL SEE YOU IN MY DREAMS is often the closing song of a set — and this would have satisfied any dreamy jazzlover, with Dawn’s gentle, heartfelt vocal:

But this is a New Orleans band . . . so they had to go out with something assertive, even something feline.  Here’s TIGER RAG, which begins with a loud MEOW.  It offers more of that two-cornet arson!  And sharp-eyed cornet detectives will note that at some point in the performance (probably during the banjo solo) Marc and Clint switched cornets, although surely keeping their own mouthpieces.  No matter: this music brings down the house even when you watch it with your eyes closed:

Glorious!

And for those who can’t miss a minute or an alternate take . . . you should know that the devoted Rae Ann Berry has put her own videos of this band on YouTube (see “SFRaeAnn”) and you might find the variations in cinematography and sound of interest.  I know I do.  And I imagine someone with two computers, synchronized, digging Clint and this band in surround-sound-and-Hot-Cinerama.

MEL LEWIS on JAZZ DRUMMING

Here’s a link to a website that offers a series of 1989 interviews that master drummer Mel Lewis (1929-1990) did with Loren Schoenberg on WKCR-FM — exploring the history of jazz drumming from Baby Dodds to Elvin Jones:

http://www.pas.org/experience/oralhistory/mellewis.aspx

A master musician commenting on his ancestors (including Stan King, Paul Barbarin, and Tiny Kahn) and colleagues — invaluable!

JAZZ THROUGH THE LENS (on eBay)

This remarkable photograph of Paul Barbarin, New Orleans drummer, when he was driving the Louis Armstrong Orchestra (1935-39) is autographed to Midge Williams, who sang with Louis at the time (as did Sonny Woods, to handle the sweet numbers and to give Louis a rest).  It’s no longer possible to call up Joe Glaser and offer to hire Paul Barbarin, but this photograph — with all those lovely cymbals on hangers, temple blocks and a gong (take that, Sonny Greer!)  — makes us recall that such a thing was once possible.

More from Mr. Strong, the top picture particularly meaningful to me: from one of the Decca sessions that paired Louis with Gordon Jenkins — and someone I never noticed before, half-hidden behind Louis, the Blessed Milton Gabler.  The lower photo depicts Louis in front of what resembles a smaller late-Forties big band, but it’s all mysterious now.

Jean Goldkette and his Orchestra: I’ll rely on one of my scholarly Bixian readers to identify this one: time of day, place, and personnel, please!

I can’t tell whether this rather odd cover collage (was it an art director or someone with a pair of scissors and no supervision?) comes from the same session as the Louis-Jenkins shot above, but this cover is especially dear to me, since it’s one I stared at often through my childhood while listening to the music contained inside.  (And I still have my copy from a half-century ago, which pleases me immensely — considering the way objects evanesce and disappear.)

SWING OUT!: BENT PERSSON PLAYS RED ALLEN (July 9, 2010)

Bent Persson never lets us down — as a trumpeter or a jazz scholar who teaches by his own example. 

One of the high points of this year’s Whitley Bay International Jazz Festival this year was his two-hour presentation of the music of Henry “Red” Allen from 1929 to 1934.  The concert emphasized the music Red made (often under his own name) as a member of the incredibly swinging Luis Russell Orchestra, with the wildly heated recording group the Rhythmakers, and a few of his early Vocalions. 

Bent’s group had Michel Bastide, trumpet; Paul Munnery, trombone, a reed section of Michael McQuaid, Jean-Pierre Bonnel, Robert Fowler; Jeff Barnhart, piano / vocals; Jacob Ullberger, banjo / guitar; Henri Lamaire, bass; Josh Duffee, drums; Cecile Salvant, vocals. 

Here’s Bent — one of my heroes — with a band full of splendid soloists and sight-readers (!) playing music that I have been admiring for a long time — hot, rhapsodic, always surprising.  Although record companies looked to Red as “the answer” to Louis Armstrong, Red always went his own way, a sort of delightful sideways approach to familiar phrases and harmonies.  And Bent and the band do him justice here, honoring the shades of J. C. Higginbotham, Albert Nicholas, Pops Foster, Paul Barbarin, and other giants. 

The program began, most appropriately, with SWING OUT:

Feeling poorly?  Consider the DOCTOR BLUES (although one never knows if the title refers to a healer or the need for one:

Bent called upon his impromptu vocal trio (Cecile, Jeff, and Michel) for the refrain in NEW CALL OF THE FREAKS.  Who knew that New Orleans musicians were so deeply involved in recycling programs?

SUGAR HILL FUNCTION celebrates good times uptown:

And for the theologically-minded, Cecile offers ON REVIVAL DAY (with delightful echoes of Bessie Smith, too):

LOUISIANA SWING was the title of a fine Luis Russell collection, and it is apt here, considering that the Russell band was filled with New Orleans masters:

POOR LI’L ME again features the soulful Cecile:

SINGING PRETTY SONGS is, always surprisingly, exuberant rather than balladic:

Watch out for the law!  Cecile offers an admonitory PATROL WAGON BLUES:

And a true romper from a King Oliver Victor session (its title in the spirit of an unsupervised terrier puppy) SHAKE IT AND BREAK IT:

Hot enough for anyone!  And there’s more to come in Part Two – – –