Tag Archives: Tiny Parham

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!

“SYNCOPATED CLASSIC”: GREG RUBY AND THE RHYTHM RUNNERS PLAY FRANK D. WALDRON

Frank D. Waldron wasn’t well-known outside the Seattle area, but the music he composed nearly a century ago is memorable.  Greg Ruby and the Rhythm Runners have brought Waldron’s quirky, lively music to life on a new CD.

As Greg tells us in the video above, Waldron’s music is an unearthed treasure. And the band he assembled to play it is superb: Gordon Au, Dennis Lichtman, Charlie Halloran, Cassidy Holden, Julian MacDonough, and himself — with Mike Marshall as a guest on two tracks.

As you’ve gathered from Greg’s video, the project needs funding to reach completion: see here or visit Kickstarter here — where you can contribute the smallest amount and get a tangible reward.  “Every dollar helps a lot.”

I am writing this post for reasons both selfish and altruistic.  First and perhaps most plain: the music is rewarding as a series of surprises: truly idiomatic previously-unheard compositions.  Of course there are Twenties and Thirties songs we haven’t heard before, but people deeply involved in this music know a wide range of compositions.  Waldron’s music has what they would have called “pep,” and it’s not a matter of being a series of rapid one-steps.  Rather, his compositions have memorable melodies, unpredictable turns, and multiple strains.  This CD is the equivalent of finding a folio of new Morton or Parham songs.

And, as I’ve written here, since there are few working bands with fixed personnel these days, the repertoire has understandably narrowed to “something everybody knows,” and that can make for monochromatic performances.  I dream that Greg’s work will stimulate a Waldron revival.

Second, music is more than its notation.  Greg’s Rhythm Runners are a superb group — musicians who respect the compositions but let their individual personalities come out sweetly and convincingly.  I was delighted by Greg’s first CD, WASHINGTON HALL STOMP, which I wrote about about here (and the personnel on that CD is the same as on SYNCOPATED CLASSIC).  I’d like to see this band prosper.

New music, estimable young musicians, a delightful — and well-recorded / well-produced new CD.  I encourage you to support this project.  And Frank D. Waldron thanks you as well.

May your happiness increase!

“IS IT HOT IN HERE?” “NO, IT’S THE BAND”: HOT CLASSICISM ON THE RIVER (KRIS TOKARSKI, ANDY SCHUMM, HAL SMITH) SEPT. 23, 2016, PART TWO

HOT CLASSICISM is the name adopted by Kris Tokarski, piano; Andy Schumm, cornet and clarinet; Hal Smith, drums.  I am proud to know them and happy to hear them.  This is the second part of their set on the Steamboat Natchez during the 2016 Steamboat Stomp; here is the first.

What follows is another lively tour of all the shadings of hot, inspired by the heroes of Chicago, New Orleans, New York, and elsewhere — precision without stuffiness, eagerness without chaos.  The repertoire is classic but not exhausted, and the performances are vibrant.

NOBODY’S SWEETHEART NOW:

MISTER JOE:

JUST GONE:

MY GAL SAL:

TOM CAT BLUES (a duet for Andy and Kris):

STOMP OFF, LET’S GO!:

Wonderful cohesive inspired music.  Follow Kris, Hal, and Andy on Facebook to track down their next gigs.

May your happiness increase!

“FROGGIE MOORE” and SO MUCH MORE: HOT CLASSICISM ON THE RIVER (KRIS TOKARSKI, ANDY SCHUMM, HAL SMITH) SEPT. 23, 2016

hot-classicism

What’s hot, has six legs, and floats?  Easy.  HOT CLASSICISM, the trio of Kris Tokarski, piano; Andy Schumm, cornet and clarinet; Hal Smith, drums, when they’re on board the steamboat Natchez on the Mississippi River — in this case, Saturday, September 23, 2016, as part of last year’s Steamboat Stomp.  But you knew the answer already.  (And in the name of accuracy, they float even when on dry land — musically, that is.)

Here’s the first half of a hot, historical but expansively creative set that this trio performed for us on the boat: with admiring glances at Jelly Roll Morton, Tiny Parham, King Oliver, Bix Beiderbecke, Doc Cooke, Freddie Keppard, Albert Wynn, Sidney Catlett, Punch Miller, and dozens of New Orleans and Chicago hot players whose names you would also know.

This Morton tune is called FROG-I-MORE or FROGGIE MOORE RAG (I think those are all the variants) and Mister Morton said it was named for a vaudeville contortionist.  No doubt:

SUNDAY, a tune that all the musicians in the world love to play, takes me back to Jean Goldkette in 1927, even though the Keller Sisters and Lynch didn’t make it to the boat:

Are your tamales hot?  They should be.  Freddie Keppard’s were:

A beautiful slow groove:

I could be wrong, but I think PARKWAY STOMP is a romp on the changes of DARKTOWN STRUTTERS’ BALL — something that was being done long before ANTHROPOLOGY and ORINTHOLOGY.  The Albert Wynn recording with Punch Miller is also an early Sidney Catlett recording, something the Honorable Hal Smith knows well:

Who remembers Tiny Parham?  Jen Hodge does, and I do, and Milt Hinton did.  So does HOT CLASSICISM:

What a wonderful hot band!  There’s another serving to come, but until then, you might investigate this delight.  And HOT CLASSICISM has gigs to come: follow Kris, Hal, Andy on Facebook.  You will be rewarded for diligence.

May your happiness increase!

RAY SKJELBRED AT THE PIANO: FOR THOSE WHO HAVE GONE BEFORE (SAN DIEGO JAZZ FEST, November 27, 2015)

I read once of how an eminent musician, in a hotel room with musician friends, would open a new bottle of Scotch, and before drinking, pour a little out on the rug and say, “That’s for the guys who have gone before,” or perhaps “That’s for the guys upstairs.”  A libation in honor of the Ancestors.

PIANO keyboard

When Ray Skjelbred plays, no liquids are spilled, but he honors the Ancestors in his own way, by evoking them in his own fashion.  Here are four brilliant evocations that he created at the San Diego Jazz Fest on November 27, 2015.

SKJELBRED solo

Although Ray is a peerless band pianist (hear him with his own group, the Cubs, and many others, lighting the way from within the ensemble) he comes from the glorious tradition, the days when the pianist was the band.  Perhaps it’s a kind of Scandinavian thrift, a genetic offering from his personal Ancestors, who say, “You have these ten fingers; why only use two or three?”

For Tiny Parham, STOMPIN’ ON DOWN:

For Joe Sullivan, GIN MILL BLUES:

Also for Sullivan and his friends, OH, BABY! — and those delightful startling dissonant surprises at the start:

For Oro “Tut” Soper and the shade of Baby Dodds, IT’S A RAMBLE:

I look forward to seeing and hearing Ray (with Dawn Lambeth and Marc Caparone) at the 2016 San Diego Jazz Fest.  Here’s a sample of what that wonderful combination did in 2015:

May your happiness increase!

ECUMENICAL PLEASURES: TERRY WALDO’S GOTHAM CITY BAND at FAT CAT (August 14, 2016) PART ONE: TERRY WALDO, CHUCK WILSON, JIM FRYER, JAY LEONHART, JAY LEPLEY

In my adolescence, I read every jazz book on the shelves of the very well-stocked suburban public library.  I didn’t understand everything I read (when one reads Andre Hodeir’s harsh analysis of, say, Dickie Wells’ later style without having the musical examples at hand, it is an oddly unbalanced experience) but I absorbed as much as I could, from Rudi Blesh to Barry Ulanov and beyond.

I remember clearly that some of the history-of-jazz books (each with its own ideological slant) used diagrams, in approved textbook fashion, for readers who needed an easy visual guide.  Often, the diagram was a flow chart —

Blank-flow-chart

Sometimes the charts were location-based: New Orleans branched out into Chicago, New York City, Kansas City (as if the authors were tracing the path of an epidemic).  More often, they depicted “schools” and “styles”: Ragtime, New Orleans, Dixieland, Chicago jazz, Early Big Bands, Stride Piano, The Swing Era, Fifty-Second Street, Bebop, Modern . . .

Sectarian art criticism, if you will.  You had different dishes for New Orleans and Modern; you didn’t eat Dixieland on Fridays.  And you had to wait two hours before going in the water. It also supported mythic constructs: the earliest jazz styles were the Truth and everything else was degenerate art, or the notion that every new development was an improvement on its primitive ancestor.

The critics and journalists loved these fantasies; the musicians paid little attention.  Although you wouldn’t find Wingy Manone playing ANTHROPOLOGY, such artificial boundaries didn’t bother George Barnes, Joe Wilder, or Milt Hinton (the latter eminence having recorded with Tiny Parham, Eddie South, Clifford Brown, and Branford Marsalis).

Happily, the musicians are able to assemble — in the most friendly ways — wherever there is a paying gig.  No one has to wear a t-shirt embossed with his or her allegiance and stylistic categorization.  Such a gathering took place on Sunday, August 14, 2016, in the basement of 75 Christopher Street, New York City — known in the guidebooks as FAT CAT, although there are many variants on that title.

fatcat-2__large

The leader and organizer of this ecumenical frolic was Terry Waldo, pianist, ragtime scholar, vocalist, and composer.  For this session, his Gotham City Band was Chuck Wilson, alto saxophone; Jim Fryer (the Secret Marvel), trombone and vocal; Jay Leonhart, string bass and vocal; Jay Lepley, drums.

And here are four examples of the good feeling these musicians generated so easily.

DIGA DIGA DOO:

MEMORIES OF YOU (starting with Terry’s elaborate homage to its composer, Eubie Blake):

EVERYBODY LOVES MY BABY (with a funny, theatrical vocal by Terry):

OLD FASHIONED LOVE (sung by the romantic Jim Fryer):

Once again, this post is dedicated to the inquiring scholar from Bahia, who sat to my left and brightened the room.

More to come.

May your happiness increase!

HOT CLASSICISM: The TOKARSKI-SCHUMM-SMITH CHAMBER TRIO IN CONCERT, JANUARY 13, 2016

Kris Tokarski Trio

Here is video evidence of an extraordinary trio concert of the Kris Tokarski Trio — Kris Tokarski, piano; Andy Schumm, cornet / clarinet; Hal Smith, drums — performed at the Old US Mint, New Orleans, on January 13, 2016.  The stuff that dreams are made on:

Albert Wynn’s PARKWAY STOMP:

Tiny Parham’s CONGO LOVE SONG:

Doc Cooke’s HERE COMES THE HOT TAMALE MAN:

SHE’S FUNNY THAT WAY:

Mister Morton’s ode to Joe Oliver, MISTER JOE:

FROG-I-MORE RAG (or FROGGIE MOORE, if you prefer):

In honor of Danny Altier, MY GAL SAL:

ANGRY:

RIVERBOAT SHUFFLE:

Please note: these lovely performances, simultaneously delicate and intense, aren’t copies of the recordings, but evocations of cherished multi-layered creations.  Yes, you’ll hear echoes of Beiderbecke, Keppard, Dominique, Oliver, Noone, Simeon, Livingston, Hines, Morton, James P. Johnson, Alex Hill, Catlett, Benford, Singleton, Stafford, Pollack, Krupa, Dodds . . . but what you are really hearing is the Kris Tokarski Trio, graciously embracing present and past, leading us into the future of hot music.  And in its balance, the trio reminds me of the legendary chamber groups that embody precision and passion in balance, although Mozart, Brahms, and Dvorak created no trios for piano, cornet, and trap kit.  Alas.  They didn’t know what was possible.

I’m thrilled that these videos exist, and although I am fiendishly proud of my own efforts, these are much better than what I could have done.  Now, all I want is the Kris Tokarski World Tour, with a long stopover in New York.

Here is Kris’s Facebook page, and here is  his YouTube channel.  Want more? Make sure your favorite festival producer, clubowner, concert promoter, or friends with a good piano and a budget experiences these videos.

May your happiness increase!