Tag Archives: Tiny Parham

JEN HODGE ALL STARS: “ALL’S FAIR IN LOVE AND JAZZ”

I sat down for a meal with string bassist / bandleader / singer Jen Hodge last year in New York City, and I was pleased to encounter a person I could admire as much as the music she’s been making: candid, friendly, playful, intelligent.  And her new CD reflects all these qualities.  Since it doesn’t have liner notes, I offer — unsolicited — a few paragraphs.

First, facts: the Jen Hodge All Stars are Jen, string bass, vocals; Chris Davis, trumpet; Connor Stewart, clarinet, tenor saxophone (whom I also met and admired); Josh Roberts, guitar; Marti Elias, drums.  You’ll note the absence of trombone and piano — for the true traditionalists — but you won’t miss them.  In fact, this instrumentation gives the disc a remarkable lighter-than-air quality.  The band soars and rocks.  Here’s a taste.  Admire their dynamics, too:

As soloists, each of the players is superb and sometimes superbly quirky: their imaginations are not hemmed in by constricting notions of appropriate styles, regions, or dates.  No one quotes from Ornette (at least I didn’t notice it if it happened) but everyone on the disc knows that the music didn’t stop when Lil and Louis separated.  The soloists fly with a fervent lightness, and they couldn’t be better as ensemble players.

A particular pleasure of this disc is that its members tend to burst into song, at widely spaced intervals, individually or in combination — a very touching duet on SMOKE RINGS for one.  On SHOUT, SISTER, SHOUT, Jen is aided and abetted by the hilariously expert “Jen’s Male Chorus,” whose identities you will learn after purchasing the music; other vocals are by Arnt Arnzen, Bonnie Northgraves, and Jack Ray — he of the Milk Crate Bandits.  HEY LET’S DRINK A BEER is given over to Jen and Bonnie, who suggest vocally they are Fifties carhops at the drive-in, on roller skates — perilously cute but they also know judo.

One could divide the CD’s repertoire into the Familiar and the New, the Familiar being DARDANELLA; BLAME IT ON THE BLUES; IF I COULD BE WITH YOU ONE HOUR TONIGHT; SHOUT, SISTER, SHOUT; SMOKE RINGS, VIPER’S DREAM; HELL’S BELLS; STOMPIN’ AT THE SAVOY; ROCK BOTTOM; ROCKIN’ IN RHYTHM.  But that designation of “The Familiar” would not be so accurate.  The JAZZ LIVES audience could hum or even sing perhaps seven of those songs, but I would be hard put to do the first eight bars of Fletcher Allen’s VIPER’S DREAM, Art Kassel’s HELL’S BELLS, or Tiny Parham’s ROCK BOTTOM.

Incidentally, I am not revealing too much by writing that Jen has a Platonic crush on Tiny Parham, which comes out with her recording a Parham song or two on each of her CDs.  It was not possible in this universe for Jen to ask Tiny to the Junior Prom, so these bouquets must suffice.

Here’s the hilariously quirky HELL’S BELLS, flying along in sixth gear:

And “The Familiar” songs are never handled routinely: each performance has a pleasing surprise at its center.  On my first listening, I was now and again happily caught off balance: I thought I knew how a band would end — let us say — IF I COULD BE WITH YOU — but the arrangement here was not predictable, although it was not so “innovative” to violate the mood of the song.  ROCKIN’ IN RHYTHM has traces of the Braff-Barnes Quartet versions, with a brief and delightful excursion into Jo Jones’ solo patterns of his later decades.  STOMPIN’ AT THE SAVOY, worn threadbare through repetition, is lively and fresh here.  The “New” material sometimes hints at familiar chord shapes: MY DADDY ROCKS ME, THEM THERE EYES, but the originals are cleverly enticing.

All I know is that I’ve played this disc several times straight through “with pleasure” undiminished.  And I know I am not alone in this.  I delight in hearing evidence that the Youngbloods are swinging so hard, with such taste, and individuality . . . and I delight in the particulars of their music.

Here is Jen’s Facebook page.

You may purchase this music in every imaginable form (except bright blue flexible celluloid 7″ discs and cassette tapes) here which also happens to be Jen’s website).  And I hope you will.

May your happiness increase!

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WONDER-FULL: THE NEW WONDERS’ NEW CD

There are many ways to honor the tradition, in jazz as well as the other arts.  Let us say you are a young musician who falls in love with an artifact — the OKeh record of TIGHT LIKE THIS by Louis Armstrong and his Hot Five in 1928.  You can use the recorded music as an inspiration to go your own way, to play something that honors Louis but is your own creation.  Or, equally honorable, you can transcribe the recorded evidence, and offer to a new audience a live performance that comes as close to the original as possible, or one that allows for individual variation within the hallowed architecture of the original.

Vince Giordano and the Nighthawks — the great progenitor — and the newer groups such as the Original Cornell Syncopators and the New Wonders follow the latter path gloriously, sometimes recreating and re-enacting, sometimes honoring the original architecture while painting the interior windowsills periwinkle.

From left, Jared Engel, banjo; Joe McDonough, trombone; Jay Lepley, drums; Ricky Alexander, reeds; Mike Davis, cornet, leader; Jay Rattman, bass saxophone; Dalton Ridenhour, piano. Photograph by Jane Kratochvil

There are many ways in which the New Wonders are special.  For one thing, they offer repertoire that has not been overdone — no SINGIN’ THE BLUES, no STRUTTIN’ WITH SOME BARBECUE.  They draw from recordings made by the California Ramblers, the Chicago Loopers, Tiny Parham, Red Nichols, the Goofus Five, and others — wonderful pop tunes that haven’t been played in ages. And they are a great paradox, for their approach is exact (reproducing pieces of arrangements, both instrumental and vocal, that are not easy to do) but loose.  They are not museum curators, but they are not only playing the songs and moving on . . . and there is a spirit of great fun and ebullience without the least mockery or condescension.  A performance or a recording by the New Wonders is a convincing bit of theatre: as if this group of beautifully-dressed young men had come to your house with the sweet notion of bringing 1927 back for a few hours.  And they do it with love: the music can be precise and tender, or hot and bumptious — all in the space of a few songs.

I saw them create such wonders last August in Brice Moss’ pastoralia, and it was memorable, as you can observe here.  But there were limitations to the sound my microphone could capture, and this was the pianoless New Wonders.  So I am delighted to announce their debut CD, titled THE NEW WONDERS, so that no one can mistake it for anything else.  It’s a delightful banquet of sounds from Messrs. Davis, McDonough, Alexander, Rattman, Engel, Lepley, and Ridenhour, as they playfully work their way through FLAMIN’ MAMIE; REACHING FOR SOMEONE; I’M MORE THAN SATISFIED; BONEYARD SHUFFLE; POOR PAPA; I GET THE BLUES WHEN IT RAINS; I’D RATHER CRY OVER YOU; PERSIAN RUG; CLORINDA; I NEED LOVIN’; SMILE, DARN YA, SMILE; JUNGLE CRAWL; I’M WALKING BETWEEN THE RAINDROPS; SHE’S FUNNY THAT WAY; THE BALTIMORE.

I may be accused of ageism, but there is something particularly pleasing to hear these reasonably young (at least to me) musicians immerse themselves in music made by young musicians — an enthusiastic freshness.  And there’s another delightful oddity in the New Wonders’ presentation: the vocal choruses.  In my youth, we made fun of Wes Vaughan, we lifted the needle over Irving Kaufman (unless there was a hot obbligato) and in general, we waited for Bing to come along and make everything all right.  Four members of The New Wonders sing (Lepley, Rattman, Alexander, and leader Davis) and they do it splendidly, not only in solo — verse as well as chorus — but in reproducing the intricate vocal parts from the Chicago Loopers date, CLORINDA and I’M MORE THAN SATISFIED — with great style, earnest without being stiff.  Replaying this disc, I found myself looking forward to those beautifully-executed vocal outpourings, and I think you might share my pleasure.

Al fresco, August 2017

Here you can find out more about Mike and the band, and here is the band’s Facebook page.  And . . . . here is the CDBaby page for the new CD.

But the best way to buy a band CD is at the gig — maybe you’ll get it signed, and you have the direct economic transfer of giving money to the musicians who have just played for you, so here is the event page for the New Wonders’ CD release party — Tuesday, March 13, 2018, from 8-10 PM at Norwood, 241 W 14th St, New York, New York 10011.  Mike points out, “Norwood is a members-only club. In order to attend this event all tickets must be purchased in advance. NO tickets will be sold on the premises.”  And I won’t be able to make this gig, so those of you who are waiting for more videos might have to be in attendance, if possible.  It will be Wonderful.

May your happiness increase!

SWINGING FOR THE KID: HAL SMITH’S “ON THE LEVEE JAZZ BAND”

Edward Ory — that’s the Kid to those of us who admire and keep his name and music alive — is a fabled figure.  His 1925-28 Chicago recordings with Louis Armstrong, King Oliver, Luis Russell, Johnny Dodds, Lil Hardin, George Mitchell, Jelly Roll Morton, Ma Rainey, even Tiny Parham are bedrock masterpieces of the pre-World War Two jazz canon, and many bands celebrate them.

But the California climate — whether you consider the ground-breaking 1922 recordings or the evidence of Ory’s second career — must have agreed with him, because the music he made from 1943 on, while less celebrated, is as gratifying, to some even more so.  In the middle Forties, Ory’s band was not a formulaic “trad” group; like Bunk Johnson, he played popular songs.  Rather than have a two-beat rhythm section with banjo, tuba, and a pianist playing their impressions of an older style, the Ory band carried a rhythm guitarist, a string bassist who mized 2/4 and 4/4,  and often had the elegantly down-home pianist Don Ewell keeping things light, bright, and swinging.  At its most gliding, the Ory band suggested a fraternal meeting of New Orleanians still in beautiful form and a swing rhythm section with hints of Basie’s . . . quite a lovely blend.

Ory’s music of the Forties and Fifties  has been well-documented on disc, because the band was caught live on radio broadcasts, and, later, for Norman Granz, but I think many lovers of “traditional jazz” associated him with a rough-hewn trombone style over their idea of “traditional” rhythms.  That is, until the superb drummer and jazz scholar Hal Smith assembled a group of congenial players for his new “On the Levee” Jazz Band, its title referring to a San Francisco club owned by Ory, where he and his band played from 1957-61.

I asked Hal about his first awareness of this period of Ory’s music, and he told me, Back when I bought my first Lu Watters record, the owner of the record store handed me the Watters LP, looked at the label and said “Oh — ‘Good Time Jazz.’ I have another Good Time Jazz record here that someone ordered, but never came in to pick up.” The LP she offered me was “Kid Ory’s Creole Jazz Band, 1954.” I gladly accepted it, and from the first hearing the combination of Ory’s tailgate trombone and the swinging rhythm section (Minor Hall, Ed Garland and Don Ewell in particular) became some of my favorite sounds in Jazz.

Hal later told me, Based on our performances in New Orleans and Pensacola, I think the On The Levee group most closely resembles the GOOD TIME JAZZ ensembles, circa 1953 – 1955. A lot of that is due to Kris’ admiration for Ewell, and Josh Gouzy’s Ed Garland-inspired bass. (Ory’s sound changed considerably after Ewell and Garland left, and even more in the late ’50s and early ’60s).

The band has already played gigs in New Orleans and in Pensacola, Florida, with Clint Baker nobly filling the Ory role; Ben Polcer, trumpet; Joe Goldberg, clarinet; Kris Tokarski, piano; Alex Belhaj, guitar; Joshua Gouzy, string bass; Hal Smith, drums.  And early in 2018 they will again play in New Orleans . . . and will appear at the San Diego Jazz Fest in November.  I am sure that there will be many other opportunities to hail this group in between.

For now, here is the band’s website, and here are a few videos.  Many more are on YouTube, and the site has a whole cloud of audio-only performances, more than enough to roll up the rugs (if anyone does that) and invite the neighbors over for swinging cheer.

WEARY BLUES:

DOWN HOME RAG:

CARELESS LOVE:

PANAMA:

Many bands are playing this repertoire, but few are doing it in this fervent;y swinging way.  And since the club no longer exists on the Embarcadero — 987 would be part of the Ferry Plaza Maketplace — we should embrace this new band, so nicely keeping a jazz legacy vibrantly alive.

May your happiness increase!

MORE HOT JAZZ IN THE GARDEN OF EDEN (Part Three): THE NEW WONDERS (MIKE DAVIS, JOE McDONOUGH, RICKY ALEXANDER, JARED ENGEL, JAY RATTMAN, JAY LEPLEY): AUGUST 20, 2017

The days are getting shorter, darker, and cooler.  There’s little that I can do to combat this, but I offer this third part of a glorious August afternoon as a palliative for the descent into winter.

Thanks to the energetic Brice Moss, I was able to attend and record a lovely outdoor session featuring The New Wonders — Mike Davis, cornet, vocal, arrangements; Jay Lepley, drums; Jay Rattman, bass saxophone and miscellaneous instrument; Joe McDonough, trombone, Ricky Alexander, reeds; Jared Engel, plectrum banjo.  There’s group singing here and there, which is its own idiomatic delight.  This is the third of three posts: here is part one, and here is part two — both segments full of wondrous hot music.

And now . . . . a Hot one in Hot slow-motion, no less steamy — NOBODY’S SWEETHEART:

Did someone say “The Chicago Loopers”?  Here’s CLORINDA, with vocal quartet:

A serious question for sure, ARE YOU SORRY?

Another paean to the South from songwriters who may have gone no deeper than Battery Park, THAT’S THE GOOD OLD SUNNY SOUTH:

We’d like it to be a valid economic policy — THE BEST THINGS IN LIFE ARE FREE:

DEEP BLUE SEA BLUES, with a surprising double for Jay Rattman:

Who needs an umbrella?  I’M WALKING BETWEEN THE RAINDROPS:

and an emotional choice, I’D RATHER CRY OVER YOU:

Deep thanks, as before, to Brice, family, friends, and to these splendid musicians, for making an Edenic idea come to life.

And I don’t have the delicious artifact yet, but The New Wonders did and have finished their debut CD.  I am willing to wager that it will live up to the band name.  Details as I know them.

May your happiness increase!

MORE HOT JAZZ IN THE GARDEN OF EDEN (Part Two): THE NEW WONDERS (MIKE DAVIS, JOE McDONOUGH, RICKY ALEXANDER, JARED ENGEL, JAY RATTMAN, JAY LEPLEY): AUGUST 20, 2017

On August 20, 2017, there was a return to Eden.  It didn’t make the papers, possibly because social media wasn’t attuned to hot jazz in bucolic settings (Brice Moss’s backyard in Croton-on-Hudson) but it still felt Edenic, thanks to the New Wonders (Mike Davis, Jared Engel, Jay Lepley, Joe McDonough, Ricky Alexander, and Jay Rattman) and thanks to generous fervent Brice, of course, and Anne, Aubrey, Odysseus, Liana, Ana, and Chester.

This is the second part of the great revelation: the first part is here.  I urge you to visit that first part — not only to hear more splendid music in the most welcoming surroundings, but to read the enthusiastic words Brice has written about this band.  And the proof is in every performance by the New Wonders.

AIN’T THAT A GRAND AND GLORIOUS FEELING, courtesy of Annette Hanshaw:

Tiny Parham’s JUNGLE CRAWL:

A very successful experiment.  The pretty LOVE WILL FIND A WAY, by Noble Sissle and Eubie Blake (from SHUFFLE ALONG) reimagined as if Bix and His Gang had performed it:

Not a suggestion, but a command: SMILE, DARN YA, SMILE:

And a serious request: I NEED LOVIN’:

For Red, Miff, and Fud: HURRICANE:

What they used to call Orientalia, PERSIAN RUG, with a completely charming vocal from Mike:

There will be a Part Three, joyously.  Have no fear.  And soon, I am told, the New Wonders’ debut CD will appear.

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!

“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!