Tag Archives: Rivermont Records

THE GERANIUMS UPON THE WINDOW SILLS (April 6, 1933)

In these uncertain times, I feel the need to make room for silliness — goofy archaic cultural history that also sounds pleasing, and if anyone takes issue with the implications of the lyric, the offense lasts at most a few seconds more than three minutes. The song itself is not necessarily a great work of art, but it stayed with me, because of the creamy sound of the orchestra and the winsome vocal.

The song itself — I DO! — is a collaboration between John Jacob Loeb, Paul Francis Webster, and Lester Banker.  The first two names are familiar: Loeb was in part or wholly responsible for SEEMS LIKE OLD TIMES, GOT THE JITTERS, ME MINUS YOU, BOO HOO, and A SAILBOAT IN THE MOONLIGHT; Paul Francis Webster wrote lyrics for — memorably — THE SHADOW OF YOUR SMILE, I GOT IT BAD, SECRET LOVE, BLACK COFFEE, and LOVE IS A MANY-SPLENDORED THING; about Lester Banker, I can find almost nothing except composer credit for WALTZ IN BLUE.  Perhaps he was the person who said, “Why don’t we write a song called _____ about ______ ?” and then either went to the men’s room or got coffee for everyone.

I heard the song for the first time this year, thanks to a Rivermont Records collection, SHADOWS ON THE SWANEE, 1932-1934: ISHAM JONES AND HIS ORCHESTRA.  (You can also learn more about this reissue — which contains two incredibly rare home-recordings of the Jones group — here.)

What you choose to make of the culture that produced this song, with its sweet-goofy-earnest promises, I leave to you.  I suspect that in 2020 it will be a kind of litmus test, but I’d rather listen to this record than analyze its unspoken biases:

Just remember.  One, no putting in the living room.  Two, make sure there are plenty of Rivermont Records to listen to (since Jones Victor 78s fetch appalling prices on eBay).  Three, get a prenup.

And if all of this is too dusty for you, perhaps this modern icon will help?

May your happiness increase!

HAPPY BIRTHDAY OR ANNIVERSARY, BOYS! CHICAGOANS in CALIFORNIA, CONTINUED (The CHICAGO CELLAR BOYS at the SAN DIEGO JAZZ FEST, November 25, 2018)

I read recently that the Chicago Cellar Boys were celebrating being a band for two years: I don’t know whether we should wish them HAPPY BIRTHDAY or HAPPY ANNIVERSARY, but my impulse is to celebrate them: their wonderful mixture of exactitude and abandon is so very inspiring, so hot, so sweet.  How do we celebrate here at JAZZ LIVES?  We share video that you haven’t seen before unless you were at the gig.  That’s what we do!

KEEP SMILING AT TROUBLE, not only a good song but a fine life-maxim, performed in the style of the Apex Club Orchestra, with its verse as well:

ROSY CHEEKS, with an idiomatic vocal chorus by Paul Asaro:

Clarence Williams’ BOTTOMLAND, played at a yearning tempo:

A word about husbands who suffer; take it seriously or not, POOR PAPA:

Another song related to Jimmie Noone’s small band, which performed at the El Dorado Club — I read that EL RADO SCUFFLE was named because some of the lighting on the club’s sign was not working:

SO TIRED, which is obviously not the Cellar Boys’ theme song:

SWEET EMMALINE, recorded in 1928 by Clarence Williams.  Is there any truth to the rumor, half-remembered, which has Clarence saying, late in life, that he wrote none of the music for which he took credit?

A great band!

Incidentally, parents in the JAZZ LIVES audience are surely familiar with “the terrible twos,” where the toddler says NO to everything, dramatically.  The CCB say NO to many things: inauthentic music, badly played music, striped vests, stuffed pets on the gig, poor-quality snacks in the musicians’ room, too-tight polo shirts.  To wonderful music they say YES, as do we.

Two other bits of relevant information.  The Cellar Boys will be back at this year’s San Diego Jazz Fest, and they will have copies of their debut CD, BUSY ‘TIL ELEVEN, which is a Rivermont Records production.  Also for Rivermont, they’ve recorded a microgroove 78 rpm record (four songs) if it isn’t sold out by now.

And if you’ve never seen a copy of THE SYNCOPATED TIMES, you owe it to yourself to click on the bright-blue rectangle below, which is there for some good reasons.

May your happiness increase!

OUT WEST: THE CHICAGO CELLAR BOYS at the SAN DIEGO JAZZ FEST: ANDY SCHUMM, JOHN OTTO, PAUL ASARO, JOHNNY DONATOWICZ, DAVE BOCK (Nov. 25, 2018)

These Boys don’t disappoint in their hot and sweet renditions of Twenties and Thirties Chicago-style jazz and pop music.  The CCB are Andy Schumm, cornet, clarinet, tenor saxophone; John Otto, clarinet, alto saxophone; Paul Asaro, piano, vocal; Johnny Donatowicz, banjo, guitar; Dave Bock, tuba.  I recorded these performances on November 15, 2018, at the San Diego Jazz Fest.

BLUES IN A MINOR honors the Blue Ribbon Syncopators, a reasonably obscure territory band from Buffalo, New York, who recorded this song in 1925 for OKeh.  It’s not a blues; it’s not in A minor.  An error in labeling?  You’re on your own:

Jelly Roll Morton’s dark lesson in keeping your own counsel, BIG LIP BLUES:

Clarence Williams’ rousing CUSHION FOOT STOMP (and I need a good answer about the etymology of the title):

The very pretty melody, A GARDEN IN THE RAIN:

Cliff Jackson’s (stride pianist with intriguing bass patterns, also leading the “Krazy Kats”) THE TERROR:

I have more video of the CCB in various places, but you should also know about their debut CD for Rivermont Records, BUSY ‘TIL ELEVEN, and that wonderful new oddity, a 10″ 78 rpm microgroove stereo vinyl record — a limited edition of 550 copies — that plays four songs in lovely fidelity while its ornate label rotates at the reassuringly high speed of a vanished time and place.  Learn more, hear more, and buy more here.

May your happiness increase!

“BUSY ‘TIL ELEVEN,” A CHARLESTON LESSON, and OTHER ECSTASIES: The CHICAGO CELLAR BOYS at the JUVAE MINI-FEST: ANDY SCHUMM, JOHN OTTO, PAUL ASARO, JOHNNY DONATOWICZ, DAVE BOCK (March 30, 2019)

This started out as a video post — a sharing of platefuls of joy — of music from one of my favorite bands, the Chicago Cellar Boys — and then their wonderful debut CD, BUSY ‘TIL ELEVEN, landed in my mailbox.  So it’s now a CD review also.  You can learn more about the Rivermont Records CD here.  And in that same place you can hear some convincing sound samples as well.  For once, words seem superfluous.

If you like Twenties music, hot and sweet, expertly played, wonderfully recorded, thoroughly annotated, you will delight in this disc: twenty-one songs, many thoroughly rare, all uplifting and varied.  The band is thoroughly playful (the title is not a song in itself, but a line from one of the songs performed by pianist-vocalist Paul Asaro).

Perhaps you’ve sat long enough.  In the mood for vigorous aerobics?

Before you delight in the Chicago Cellar Boys performing at the Juvae Jazz Mini-Fest last March 30, here’s some relevant dance instruction:

The hot music that follows was performed in Decatur, Illinois, by the Boys: Andy Schumm, cornet, clarinet, tenor saxophone, arrangements; John Otto, clarinet, alto saxophone; Paul Asaro, piano; Johnny Donatowicz, banjo, guitar; Dave Bock, tuba.  Now, roll up the carpets and put the pets outside.

Here’s one for Charlie Johnson’s Paradise Orchestra and Sammut of Malta:

And a statement of intent, courtesy of Coon-Sanders:

Willie “the Lion” Smith’s particular brand of uptown hedonism:

A rare Fats Waller tune describing someone entranced by the dance:

Finally, Cliff Jackson’s THE TERROR (which is only scary for those who choose to play it):

I feel thinner already, and I’ve only intermittently left my chair.  May the Boys flourish; nay they have so many lucrative gigs that they have to turn some down; may their CD sell out (if it hasn’t already).

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!

“IT’S FAT LIKE THAT”: MORE FROM THE FAT BABIES at the EVERGREEN JAZZ FESTIVAL (July 30, 2016)

Rainbow One

One of the great pleasures of the summer of 2016 was the Evergreen Jazz Festival in Evergreen, Colorado.  There I and others enjoyed the Carl Sonny Leyland trio with Clint Baker and Jeff Hamilton; the Kris Tokarski trio with Tim Laughlin and Hal Smith (and guest star Andy Schumm), and the Fat Babies, with Beau Sample, Andy Schumm, Dave Bock, John Otto, Jonathan Doyle, Paul Asaro,  Jake Sanders, and Alex Hall.

I’ve posted videos from the Fat Babies’ July 29 set here.  And some especially Fat music here. And even here.

Here are three more from the next day’s frolic.

The first, a composition from 1925 where Louis Armstrong plays slide whistle as well as cornet with his Hot Five, WHO’S IT . . . which I am assuming might have something with playing tag or an adult version rather than being a metaphysical inquiry into the slippery parameters of identity.

whos-it

Here are the Fat Babies romping through the thickets of swing:

Another Louis-related item, I AIN’T GONNA PLAY NO SECOND FIDDLE, which he recorded with Perry Bradford’s Jazz Phools as well as with Bessie Smith:

and Jimmie Noone’s APEX BLUES:

And here is my review of the band’s latest CD — on the Delmark Records label, SOLID GASSUH — a disc whose virtues I do not exaggerate.

Support The Fat Babies!  They’re remarkable.

May your happiness increase!

SO FAT, SO GOOD (Part One): THE FAT BABIES at the EVERGREEN JAZZ FESTIVAL (July 29, 2016)

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Wonder of wonders (continue) with the Miracle Boys of Hot, The Fat Babies, at their July 29, 2016.  Even the elk were swinging.  They are (of course) Alex Hall, drums; Beau Sample, string bass; Paul Asaro, piano / vocal; Jake Sanders, guitar / banjo; Jonathan Doyle, John Otto, reeds; Dave Bock, trombone; Andy Schumm, cornet, clarinet, arrangements.

MANDY, MAKE UP YOUR MIND:

PLEASURE MAD (later known as VIPER MAD, by Sidney “Bash-shay” in any case:

HE MAY BE YOUR MAN (BUT HE COMES  TO SEE ME SOMETIMES):

and a quick but satisfying set-closer, MAPLE LEAF RAG, Charles LaVere 1935 style:

So hot it’s delightful.  And another whole Evergreen set to come.

And . . . the Babies have three CDs out on the Delmark label: CHICAGO HOT, 18th and RACINE, and the new Baby, SOLID GASSUH, as well as two featuring Paul Asaro on Rivermont, WHAT A HEAVENLY DREAM (devoted to Fats) and SWEET JAZZ MUSIC (for Jelly).  Lay in a supply.  They say it’s going to be a cold cold winter.

May your happiness increase!

“OH, FAT THAT THING!” THE FAT BABIES, featuring PAUL ASARO and JOHN OTTO, PLAY FATS WALLER (Evergreen Jazz Festival, July 29, 2016)

The most difficult part of this blogpost has been trying to find a polite title for the congenial combination of THE FAT BABIES and THOMAS “FATS” WALLER, but I think I’ve managed to be as little offensive as possible.  I hope.  No suggestions solicited, please.

Here are three performances by that wonderful octet — Andy Schumm, cornet; Dave Bock, trombone; John Otto and Jonathan Doyle, reeds; Paul Asaro, piano and vocals; Jake Sanders, banjo / guitar; Beau Sample, leader / string bass; Alex Hall, drums — at the Evergreen Jazz Festival in Evergreen, Colorado, on July 29, 2016.

THE FAT BABIES, before Jonathan Doyle had joined the band.

THE FAT BABIES, before Jonathan Doyle had joined the band.

From Fats’ first published song (based on THE BOY IN THE BOAT, as we know), onwards to a sadder one:

Finally, the delightful Jimmy McHugh tune that Fats made his own — performing it in the 1935 film KING OF BURLESQUE.  (Then, it got taken up by Louis and others, happily):

On all these performances, the ebullient Paul Asaro — striding, singing, and smiling — stands out, as he always does.  Paul has made two CDs — tributes to Waller and Morton — with the Fat Babies, issued on Rivermont Records.

More to come from Colorado — and if you’re near Chicago, you can hear The Fat Babies live.  http://www.thefatbabies.com/ is their website and performing schedule.  And — even more! — I’m waiting for a copy of their latest release, correctly titled SOLID GASSUH (!) on Delmark Records.

Hotter than a fat baby, for sure.

May your happiness increase!

THE COMFORT OF SWING: ROB ADKINS, DAN BLOCK, DALTON RIDENHOUR at CASA MEZCAL, APRIL 12, 2015 (Part One)

The music I love conveys deep feeling in a few notes; it engages me.  I may not know the players as people but I feel their friendship in sounds.  When the music is spirited but calm, expert but experimental, playful without being goofy, I feel at home in the world, embraced by dear sounds.  It can happen in the first eight bars of the first song.

I had one of those wonderful musical interludes at Casa Mezcal on Orchard Street in April of this year — one of the divine Sunday afternoon sessions often led by Tamar Korn.  But when Tamar is out of town, her friends do their best to make sure we feel wonderful — instrumentally speaking.

Rob Adkins, musically and emotionally trustworthy — with his bass, with his fingers, with his bow — picked two great players to make up an uplifting trio: Dan Block, clarinet and tenor; Dalton Ridenhour, piano.  Here are some selections from the first half of the afternoon.  Yes, there’s audience chatter, but try to feel compassion for the people whose Sunday brunch is their social highlight, an escape from their apartments.  Or, if you can’t ascend to compassion, just listen to the music.  It’s what I do.

I’VE GOT A FEELING I’M FALLING:

NIGHT AND DAY (One):

NIGHT AND DAY (Two) — the reason for the break was that the battery in my Rode microphone passed out and could not be revived by the battery EMT crew, so there is a gap.  Imagine it as the music missed while Jerry Newman put a new acetate on the turntable and lowered the cutting arm.  Or not:

I NEVER KNEW:

YOU’D BE SO NICE TO COME HOME TO:

EVERYBODY LOVES MY BABY:

A few words about the players.  I’ve been admiring and following Dan Block for over a decade now: his music is a bright light in a sometimes murky world, always surprising but in its own way a deeply kind phenomenon. When he puts any horn to his lips, what comes out is intense yet playful: I’ve been moved to tears and have had to stifle laughter — the best kind — listening to his music.

Rob Adkins is terribly modest and gently low-key, but he reminds me — without saying a word — of Milt Hinton’s axiom that the bass was the foundation of the band.  Harmonically, rhythmically, emotionally, morally.  He knows and loves his instrument, and he plays for the comfort of the ensemble, never egotistically — although he is proud to swing and he is always ready to be lyrical. And as you can see and hear here, he is a great catalyst.

Dalton Ridenhour gets a few more words.  Because the Music Business — as distinguished from the music — encourages non-musicians to make people into commodities, into products, I first encountered Dalton as “a ragtime pianist” and a “stride pianist.”  These little boxes are accurate: he can play superbly in both idioms.  But when I actually heard Dalton — both words need emphasis here — I understood that his musical soul was much more expansive than the careful reproduction of one idiom.  He’s a free bird, someone whose imagination moves through decades and idioms with grace.  You’ll hear his brave light-heartedness through this session (I also had wonderful opportunities to hear him at the Atlanta Jazz Party this year: more about that in time) — he makes music, something that is very rare and very endearing.  So far, he has only one solo CD, but ECCENTRICITY on Rivermont Records (2o12) is a constant delight. I urge you to “check it out,” as they used to say on Eighth Avenue in New York City in the Seventies, and you will hear that Dalton has all the accuracy and sparkle of the Master, Dick Hyman, with his own very personal warmth.

And a small personal caveat.  Some of my listeners, who love making connections between the Now and the Hallowed Past, will leap to do this and hear Lester Young – Nat Cole – Red Callendar, or perhaps Lucky Thompson – Oscar Pettiford, etc.  I know it’s meant as high praise.  “Sounding Like” is a great game, and I do it myself.  But I beseech such wise historiographers to for once leave the records behind and hear the music for itself.  It is even more magnificent when it is not compared to anything or anyone.

There will be more music from this trio to come.  I look forward to someday encountering them again as a group.  Such things are possible and quite wonderful.

May your happiness increase! 

THE REAL STUFF, ONE FLIGHT UP: CARL SONNY LEYLAND,KIM CUSACK, BEAU SAMPLE, ALEX HALL: “STOMPIN’ UPSTAIRS”

When it comes to food, we might not know how to create something authentic in the kitchen, but we certainly know what the real thing tastes like, whether it’s a tomato from the garden, genuine ethnic cuisine, or good home cooking.  It doesn’t have to be fancy: a slice of good bread is true nourishment.

Deciding what’s “authentic,” “the real stuff,” “the truth,” in jazz or any other art form can be exhausting, sure to create debate among the faithful.

But most of us would agree that we admire musicians who not only know their instruments superbly, but can make music that is both deep and intuitive — playing from the heart, evoking joy, sorrow, creating melodies while keeping the rhythm moving.  We want to remember the music once the applause has died down, once the disc has faded into silence.

Pianist / singer / composer Carl Sonny Leyland and reed master Kim Cusack are authentic through and through.  Their music comes from deep experience and deep feeling: it conveys the wonderful balance of exuberance or grief and the craft to express it fully and convey it whole to us.  Thanks to Bryan Wright’s Rivermont Records, we can experience their casual assurance first-hand in a new quartet recording, STOMPIN’ UPSTAIRS, where they are given the best support from bassist Beau Sample and drummer Alex Hall — names familiar to anyone who’s delighted in the Fat Babies.

Carl-Kim CD FinalSome compact discs charm us initially but pall after a few songs.  Not this one. It’s a series of delights — the songs take us to different places without administering violent shocks, and the sound is reassuringly natural.  The songs are AT A GEORGIA CAMP MEETING / BLUE PRELUDE* / CHEROKEE / CORRINE CORRINA* / IF I HAD YOU / THE BLUE ROOM / UPSTAIRS BOOGIE / WE THREE* / THE LOVE NEST / TANGERINE / RAMBLIN’ MIND BLUES / WHISPERING / TELL IT TO THE JUDGE.

Starting from the back, the rhythm playing couldn’t be better: the right notes, the best harmonies, a light yet powerful beat.  Beau and Alex don’t use or need attention-getting tricks: they play for the band in the most reassuring, uplifting ways.  

I have heard Kim on clarinet (in person) for the past few years, and admire his playing greatly: a sweet-tart evocation of people like Darnell Howard — with no affectations, no showing-off, just heart, intelligence, wit, and power. But I hadn’t ever heard Kim play alto saxophone before, and on this often-abused instrument he is a little-celebrated master: you’ll have to hear him to know what I mean.

And Mister Leyland.  I’ve had the privilege of learning from him at every performance, taking lessons in creativity, intensity, relaxation, and joy.  But I fear that some casual listeners have already decided the little boxes he fits in to: “boogie-woogie pianist” and “blues singer.”  Yes, but no.  Carl Sonny Leyland is a great improvising jazz artist and a wonderfully moving singer: hear his WE THREE and BLUE PRELUDE to understand that he is delivering the best messages straight to our hearts.

The band — as a quartet — knows how to do the cakewalk, how to rock that thing, how to swing their upstairs room so that the house is swaying, how to feel a ballad, how to have a good time.  STOMPIN’ UPSTAIRS is a small flat package of infinitely expandable pleasure — with two extra added attractions. One, perhaps only record collectors will appreciate — but the format of the back cover is a hilariously exact homage to a Columbia Records design circa 1954. You’ll know it when you see it.  And the liner notes, written by Mister Leyland, are just like him: wry, perceptive, funny, never pretentious.

I have a wall of compact discs and more music than I can possibly ever listen to again, but I’ve been playing STOMPIN’ UPSTAIRS regularly and frequently.     

Here is the Rivermont Records’ page where you can hear samples of seven of the songs . . . and where you can buy the CD.  I predict you will want to do just that.  (And no one at Rivermont would be upset if you browsed around their other offerings, featuring a wide variety of good sounds — archival and modern.)

May your happiness increase!

VANESSA TAGLIABUE YORKE: “THE RACINE CONNECTION”

What it looked like at the 2012 Bix Fest, thanks to Tom Warner, Phil Pospychala, Andy Schumm, Dalton Ridenhour, Josh Duffee, and the engaging singer Vanessa Tagliabue Yorke:

This performance and ten others are now available on a Rivermont Records CD called “Vanessa Tagliabue Yorke: The Racine Connection,” and it’s a thorough pleasure.

8938525

When most people go to a jam session, club, concert, or festival, if the music is superb, there’s often the regret mixed with the joy: “Wow, that was wonderful. Wish I could hear that again!” The new Rivermont Records CD makes it possible, and a delight.  For one thing, Vanessa isn’t simply a record-copyist (although she does a very effective Annette Hanshaw homage on IF YOU WANT THE RAINBOW).  Rather, she comes to this music with a winning combination of heartfelt emotions and deep understanding.

980x980-8B5E4682-CC3A-4405-AD6EB222A991968E

She has a rangy, eloquent voice — no squeaky-girl Betty Boopisms for her — and at times she evokes the raw yet controlled passion of Piaf.  And her musical range is equally spacious, as evident in the songs selected: BLUE RIVER / WE JUST COULDN’T SAY GOODBYE / THOU SWELL / BACK WATER BLUES / THE VERY THOUGHT OF YOU / IF YOU WANT THE RAINBOW / BLACK BOTTOM / LOVELESS LOVE / PETITE FLEUR / IN THE WEE SMALL HOURS OF THE MORNING / THEM THERE EYES / NEBBIA.  That three or four of those songs go beyond what one might expect at a Bix Festival — and that they are rendered with great feeling and depth — is tribute to Vanessa’s artistic honesty and breadth.

And when this earnest swinging singer is accompanied by great musicians Andy Schumm, Dalton Ridenhour, Yves Francois, John Otto, Dave Bock, Frank Gualtieri, Jason Goldsmith, Leah Bezin, MIke Waldbridge, and Josh Duffee, you know there is fine playing in solo, ensemble, and accompaniment to go along with Vanessa’s voice.  Ten of the twelve selections were recorded “live,” in performance, which is all to the good: I’ll choose that “live” sound, which makes a listener feel as if (s)he is right there, over the pure — and sometimes tense — acoustic environment of a studio any day.

You can find this CD — and many more refreshing ones, present and historical — here.  I predict that Vanessa is at the start of a long and rewarding series of performances and CDs.

May your happiness increase!

THE JAZZ BOOKSHELF: CANNONBALL, MINGUS, and DOCTOR JAZZ

The jazz library expands in rewarding ways: three different kinds of reading matter, each one an unusual experience.

Walk-Tall-cover

Cary Ginell’s WALK TALL: THE MUSIC AND LIFE OF CANNONBALL ADDERLEY (Hal Leonard) is a refreshing book.  Reading it, I wondered why Cannonball had had to wait so long for a full-length portrait, but was glad that Ginell had done the job.

Even though Adderley was seriously influential in his brief lifetime — and the influence continues, although usually uncredited — his life was more businesslike than melodramatic.  WALK TALL is not a recounting of Cannonball’s encounters with the law, or self-destructive behavior.  It is a swift-paced, admiring narrative of Julian Adderley’s life and times, from his beginnings in Florida to his “discovery” at the Cafe Bohemia in New York in 1955 to stardom and a his death only twenty years later.

Ginell has had the cooperation of Adderley’s widow Olga, who contributes several personal narratives to the book, as does Capitol Records producer David Axelrod.  But the biography is compact (slightly more than 150 pages of text) with introductions by Dan Morgenstern and Quincy Jones — and its briskness is part of its charm, as the book and its subject roll from one recording session to the next, from Miles to Nancy Wilson to the famous Quintet.

Adderley himself comes through as an admirable character as well as a marvelous improviser and bandleader, and Ginell avoids pathobiography, so the book is not a gloating examination of its subject’s failings.  (Aside from keeping candy bars in his suitcase, Adderley seems to have been a good-natured man, husband, and musician.)

WALK TALL is also properly focused on Adderley, rather than on his biographer’s perceptions of his subject.  Ginell is at work on another book — a biography of Billy Eckstine — and I hope he continues to profile these “known” but underdocumented figures in jazz.  (I knew and admired Ginell’s work because of HOT JAZZ FOR SALE, his delightful book on the Jazz Man Record Shop, the music and personalities around it — read more here.)

MINGUS SPEAKS

MINGUS SPEAKS, taken from 1972-74 interviews conducted by John F. Goodman, is an invaluable book.  But the experience of reading it is entirely different from what one encounters in WALK TALL.

Reading MINGUS SPEAKS is rather like being dropped into hours of uninhibited monologue by Mingus on every subject that appeals to him, including race, the Mafia, Charlie Parker, sex, his own music, contemporary social politics, the avante-garde movement in jazz, Mingus’ colleagues on the bandstand and off, his emotional relations with Sue Mingus, theology, philosophy, his own fictionalized selves, and more.

It is as close as any of us will get to spending hours in the company of an artist we admire — and once again we are reminded of the distance between the artist and his / her creations.  Mingus comes across as a maelstrom of ideas, words, and theories, which is only apt, whether that was his reality or a self he inhabited for Goodman’s benefit.  (The book is, however, much more lucid and less fragmentary than RIFFTIDE, the transcription of Jo Jones’ swirling recollections published a year or so ago.)

Interspersed between the lengthy interview sections are commentaries by Sy Johnson, who orchestrated Mingus’ later music (he also provided some beautiful photographs), Dan Morgenstern, George Wein, Max Gordon, Paul Jeffrey, Teo Macero, editor Regina Ryan (who worked with Mingus on BENEATH THE UNDERDOG), documentary filmmaker Tom Reichman, and others.   The book has its own website, which is illuminating; here is the publisher’s website as well.

Journalist Goodman has done jazz history an immense service; would that there had been people with tape recorders following other heroes around with such energy and devotion.  I find it odd, however, that he is credited as the book’s author, not its editor: he asked the questions and recorded the responses, had Mingus’ words transcribed . . . but this is a book by Mingus, even posthumously.

DOCTOR JAZZI had not heard of the Dutch jazz magazine DOCTOR JAZZ, which I regret — it has been publishing for a half-century — but it is not too late to make up for the omission.  What might put some monolingual readers off is that more than half of the prose in the magazine is in Dutch, but its reach is wide, both in genres and in musical styles.

There most recent issue contains wonderful photographs of modern groups (Les Red Hot Reedwarmers) and heroic figures (a drawing of Ma Rainey and her gold-coin necklace, taken from a Paramount Records advertisement), reviews of CDs on the Lake, Rivermont, and Retrieval labels, as well as DVDs.  DOCTOR JAZZ reaches back to the “Oriental” roots of ragtime at the end of the nineteenth century and forward to pianist Joe Alterman, with side-glances at Dan Block’s latest CD, DUALITY, and the late singer Ann Burton.

Particularly enlightening are the profiles of musicians who don’t always receive the attention they deserve, from trumpeter Avery “Kid” Howard to gospel pioneer Herbert L. “Pee Wee” Pickard, as well as musicians new to me — guitarists Robby Pauwels and Cor Baan and string bassist Henny Frohwein.  There’s also the fourth part of a historical series on jazz in India.  Because my Dutch is poor, I haven’t made my way through the whole issue, guessing at cognates and intuiting meaning through context, but DOCTOR JAZZ appears to be well worth investigating: thorough, well-researched, and informative.  And it’s from the people who brought us the very satisfying DINNERTIME FOR HUNGRY COLLECTORS, so I can vouch for their good instincts.  More information here.

May your happiness increase!

“WHAT A HEAVENLY DREAM”: PAUL ASARO and THE FAT BABIES PLAY FATS WALLER AND HIS RHYTHM (Rivermont Records)

Fats Waller left us in 1943.  Both he and his swinging little band — his Rhythm — are inimitable.  But jazz musicians have a good deal of fun trying, in their own ways, to evoke their joyous spirit.  And their efforts give us joy, too.  Dick Wellstood had his Friends of Fats; Mark Shane has FATS LIVES!

2222pic

The most recent — and highly successful — effort is captured on a new Rivermont Records CD: PAUL ASARO and THE FAT BABIES: WHAT A HEAVENLY DREAM / THE FATS WALLER RHYTHM PROJECT (BSW-2222). Paul Asaro has been a sweetly propulsive pianist and equally fine singer for some years now, and this CD captures him in great form with a band of musicians who are working on his level — the hot Chicago band led by string bassist Beau Sample, with Alex Hall (drums); Jake Sanders (guitar); John Otto (reeds); Andy Schumm (cornet).

How good is this session?  Two critical reactions will have to suffice here.  One is that I received the disc in the mail (a holiday present from a jazz friend!), listened to it last night and this afternoon, and am impelled to let you know about it as soon as possible.  The second is a small experiment I conducted — and it’s one of those you can indeed try at home in complete safetly.  I put the CD into the Beloved’s computer (two rooms away) and let it start up.  “Is that Fats?” she said immediately.  When I explained that it was a modern band in the Waller spirit, she said, “Wow, they are swinging like mad.”  And the Beloved knows Swing.

On the surface, this project looks familiar: fourteen songs, all but one of them recorded by Fats and the Rhythm between 1934-1941.  But there is nothing formulaic about this disc.  For one thing, there’s no lengthy renditions of AIN’T MISBEHAVIN’, KEEPIN’ OUT OF MISCHIEF NOW,  or HONEYSUCKLE ROSE.  Some of the songs are familiar — YOUR FEET’S TOO BIG, TRUCKIN’, BLUE TURNING GREY OVER YOU — but the majority are lesser-played, and some are deliciously obscure: YOU’RE MY DISH, ABDULLAH, GOT NO TIME, and WINTER WEATHER. Paul sings on several of the songs, but he is wise enough not to attempt Fats’ particular brand of theatrical jocularity.  And the players are on their own to tell their own stories — a great thing.

What distinguishes this disc from other Waller-inspired evocations is its overall gentleness and sweetness.  Yes, a number of the performances are up-tempo romps so that Paul can show off his considerable stride chops and the band can make any good-sized building sway back and forth, but much of the disc is devoted to sweet-tempered rhythm ballads — coaxing rather than stomping. Paul is responsible for this musical worldview, which makes the CD easy to love rather than difficult to endure (many CDs, however well-meant, grow tedious because of a sameness of approach) but the players here offer their most friendly selves.

The rhythm section of Hall, Sample, and Sanders chooses simplicity over virtuosity; they glide rather than push, and the music breathes beautifully.  John Otto is characteristically subtle on tenor and clarinet, with none of the dramatics Fats’ reedmen sometimes drifted towards.  And then there’s Andy Schumm — making the whole enterprise glow with a delicate sound that of course recalls a mid-Thirties Bix . . . but I thought more often of the young Bobby Hackett on the Decca Dick Robertson sides and, at times, what would have happened if Joe Smith had lived.

This edition of the Rhythm — 2012 style — is precious, and I  can only hope that Paul and company achieve their next dream,  which is a CD of songs Fats never recorded done in this blissful way.

Here’s  the Rivermont Records Facebbok page, and their website.  (Visit the website and hear excerpts from the disc.)

But wait!  There’s more.  This recording is available both as standard audio CD and also as an audiophile-grade vinyl LP limited to 500 copies (in your choice of crystal clear or standard black vinyl). BONUS: Each LP includes a complimentary CD copy of the entire album.  Enjoy the album on vinyl and CD for the same price as the CD alone.

Yum yum yum, to quote Mr. Waller.

May your happiness increase.

ANDY SCHUMM MAKES A RECORD!

Cornetist Andy Schumm doesn’t do things the usual way — so, with the help of pianist Bryan Wright (the head of his own Rivermont Records), he has made his first record, something we’ve been waiting for . . .

a two-sided 10″ microgroove 78 — a limited edition of 500 copies.

Andy’s chosen two pieces of Twenties esoterica, DOWN IN GALLION (from John Williams’ Synco Jazzers) and THE SWING (really WASHINGTON AND LEE SWING).  Here’s more information about the disc, and a YouTube video that shows that both the performance and the sound are wonderful:

http://www.rivermontrecords.com/592.html

And if “limited edition” makes you think that this 78 will be out of your price range, it’s $16 plus shipping (complete with whimsically ornamented sleeve).