Tag Archives: reinvention

CLASSIC SONGS MADE NEW: RANDY SANDKE, HARRY ALLEN, ANDY SCHUMM, JIM DAPOGNY, GLENN HOLMES, BILL RANSOM at JAZZ AT CHAUTAUQUA 2011

One of the eternal pleasures of jazz improvisation is that — as Hot Lips Page is supposed to have said, “the material is immaterial.”  So in the hands of inspired improvisers, it doesn’t matter how elderly or familiar the song is: their task and delight is to reimagine and levitate what we thought we already knew by heart.

This happened when Randy Sandke, trumpet; Harry Allen, tenor sax; Andy Schumm, cornet; Jim Dapogny; Glenn Holmes, bass; Bill Ransom, drums, took the stage in mid-September 2011 at Jazz at Chautauqua for three “good old good ones.”  Listen closely: there’s an innate respect for the original songs and their associations, but an inventive originality throughout.

WRAP YOUR TROUBLES IN DREAMS (for Bing Crosby and the many musicians inspired by him):

SWEET LORRAINE (music for sensitive brass, by way of Jimmie Noone and Nat Cole):

THE SHEIK OF ARABY (for Valentino and the aforementioned Lips Page):

Old chestnuts made fresh and lively!

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DEEP PASSION: MENNO DAAMS – DAVID LUKACS and FRIENDS

It’s been a wonderful day for swinging jazz — tender and hot — because I found these four performances on YouTube. 

The peerless (and under-heralded) trumpeter, arranger, composer Menno Daams has started his own YouTube channel (“menno779”) and its videos include these four delightful performances by the “Daams-Lukacs Orchestra” of jazz classics — homages to Bix, to Louis, and Duke — that are evocations rather than copies even when they seem to be hewing closely to the originals. 

The orchestra — well-rehearsed without being stiff — is composed of Menno on trumpet (and arrangements); David Lukacs on clarinet;  Ronald Jansen Heijtmajer, alto saxophone; Frank Roberscheuten, tenor saxophone;  Chris Hopkins, piano; Ton van Bergeyk, guitar; Jan Voogd – bass.  Their website is www.myspace.com/daamslukacsorchestra

For the Bixians in the audience (among whom I number myself) here is a delicate reading of I’M COMIN’ VIRGINIA at just the right tempo (with Chris’s feathery commentary throughout, even suggesting Fats and Teddy, approvingly) before the streamlined closing chorus:

Taking on SINGIN’ THE BLUES is just as difficult, because the 1927 recording is so much a part of our shared history, but this version is just lovely, with its own room to breathe, echoing Berigan as well as Beiderbecke (with lovely work by Ronald on alto).  That blissful chorus in the middle split between Chris and Frank sounded as if Teddy and Lester had decided to honor Bix in 1938:

SAVE IT PRETTY MAMA originally came from Don Redman but has been associated with Louis for nearly eighty years now, and for good reason.  Menno shows just how well he knows that tradition, and the band is in the groove with him.  The tiptoeing reed interlude that follows his solo suggests the Alec Wilder Octet, which is always a good thing, before Chris reminds us that Earl Hines liked this composition as well, and David has his say before a neat ensemble rocks this one to a sweet conclusion: 

And, to end this too-brief program, a subtly intense reinvention of RING DEM BELLS which suggests the great Hampton recording as well as the Ellington originals.  Catch Menno’s delighted grin at Chris’s interpolation of some Willie “the Lion” Smith in his solo.  And then the band offers us (as an encore) an on-the-spot alternate take! 

What a phenomenal small group — with a perfectly integrated subtle rhythm section as well. 

To go back to the Twenties, I’d have to say, “The way this band rocks is just too bad.”

My title comes from a Lucky Thompson line, but it fits here: you don’t learn how to play like this overnight, and you don’t do it with such skill without having a deep passion for swinging jazz as part of your essential self.