Tag Archives: Walter Donaldson

WHERE THE WILD ARCANA GROWS: ANDY SCHUMM and his GANG at GRUMPY’S in DAVENPORT, IOWA (Set Two, August 1, 2018)

Many jazz bands that identify themselves as steeped in Twenties Hot are devoted to the Ancestors and the irreplaceable recordings, but have reduced their  repertoire to a dozen-plus familiar songs: DIPPERMOUTH BLUES, SINGIN’ THE BLUES, TIN ROOF BLUES, THAT’S A-PLENTY, ROYAL GARDEN BLUES, STRUTTIN’ WITH SOME BARBECUE, and so on.  Those songs achieved classic status for good reason, but they quickly come to feel like the same Caesar salad.  (“Mainstream” groups do the same thing with PENNIES FROM HEAVEN, ALL OF ME, SUNNY SIDE OF THE STREET . . . continuing forward to GROOVIN’ HIGH and the bop -OLOGIES also.)

But the noble and flourishing Andy Schumm is not only a marvelous multi-instrumentalist (on this session, cornet, clarinet, tenor saxophone, “Reserphone,” and one voice in the glee club) but a truly diligent researcher — coming up with hot tunes and lyrical songs that rarely — or never — get performed.  At the end of the video presented here, you should observe the thickness of manuscript that he picks up off his music stand, and when he announces the next tune to the band by number as well as title, the numbers are notably three digits, suggesting a substantial “book.”

Andy and his Gang performed two wonderful sets of lively, “new” “old” material at the August 2018 Bix Beiderbecke Memorial Festival in Davenport, Iowa.  The Gang was a streamlined version of the Fat Babies, with Andy; John Otto, reeds; Johnny Donatowicz, banjo / guitar; Dave Bock, tuba, and guest star David Boeddinghaus, piano.  All of this good music was beautifully preserved for us by “Chris and Chris,” whose generosities you know or should know.  My posting of the first set is here.

As far as arcana is concerned, here are the songs performed: CUSHION FOOT STOMP (Clarence Williams), EL RADO SCUFFLE (Jimmie Noone: supposedly the club was the ELDORADO but not all the letters in the sign were visible), AIN’T THAT HATEFUL? (Oliver Naylor), JUST LIKE A MELODY (a Walter Donaldson composition, one known in recent decades thanks to Scott Robinson’s recording of it), FLAG THAT TRAIN (watch out for the Reserphone), I MUST BE DREAMING (a sweet duet for John Otto and David Boeddinghaus), BEER GARDEN BLUES (Clarence Williams, with glee-club vocal; Williams also recorded this melody with different lyrics, perhaps called SWING, BROTHER, SWING, but not the Billie-Basie song), GRAVIER STREET BLUES (Clarence Williams again, his Jazz Kings — thanks to Phil Melnick for catching the title, something I didn’t recognize, which proves my point about arcana), CROSS ROADS (California Ramblers), WAILING BLUES (thanks to Cellar Boys Wingy, Tesch, Bud, and Frank Melrose), an impish Boeddinghaus chorus of WE’RE IN THE MONEY, perhaps a satiric reference to the undernourished tip jar? — and closing with a wild SAN in honor of Jimmie Noone’s Apex Club Orchestra.

Thanks to Andy, John, John, Dave, Dave, and Chris and Chris.  (I see a pattern here, don’t you?)

“Chris and Chris” at the 2015 Steamboat Stomp in New Orleans. Photograph by Bess Wade.

May your happiness increase!

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HOT AND LOVELY: ANDY SCHUMM and his GANG in DAVENPORT, IOWA (August 1, 2018)

CHRIS and CHRIS

Thanks to Chris and Chris!  Here’s the first set at a bar called GRUMPY’S.  Beautifully recorded and annotated, too:

Bix Beiderbecke’s 47th Annual Memorial Jazz Festival 2018 had a pre-arranged gathering at Grumpy’s Village Saloon, Davenport, Iowa, August 1st. The Fat Babies, here somewhat reduced in numbers, but with sit-in David Boeddinghaus on piano and Andy Schumm cornet, clarinet, saxophone, John Otto reeds, John Donatowicz banjo, guitar, Dave Bock tuba, gave us, the lucky ones that day, a jolly good time. This plus-hour full first set was videographed in one-go, in pole position, head on, with a handheld SONY Handycam, FDR-XA100 in quality mode. For those who couldn’t make it to Grumpy’s, this coverage might be the next best thing. Enjoy!

THAT’S A PLENTY (with a special break) / HOT TIME IN THE OLD TOWN TONIGHT / Andy introduces the band / HE’S THE LAST WORD (which I hadn’t known was by Walter Donaldson) where Andy shifts to tenor sax to create a section, and Maestro Boeddinghaus rocks / FOREVERMORE, for Jimmie Noone, with Andy and John on clarinet: wait for the little flash of Tesch at the end / Willie “the Lion” Smith’s HARLEM JOYS / a beautifully rendered GULF COAST BLUES, apparently a Clarence Williams composition [what sticks in my mind is Clarence, as an older man, telling someone he didn’t write any of the compositions he took credit for] / HOT LIPS / Alex Hill’s THE SOPHOMORE, and all I will say is “David Boeddinghaus!” / THE SHEIK OF ARABY, with the verse and a stop-time chorus.  Of course, “without no pants on.” / Bennie Moten’s 18th STREET RAG / GETTIN’ TOLD, thanks to the Mound City Blue Blowers / Andy does perfect Johnny Dodds on LONESOME BLUES, scored for trio / For Bix, TIA JUANA (with unscheduled interpolation at start, “Are you okay?  Can I get that?” from a noble waitperson) / band chat — all happy bands talk to each other / a gloriously dark and grieving WHEN YOUR LOVER HAS GONE that Louis smiles on / and, to conclude, STORY BOOK BALL (see here to learn exactly what Georgie Porgie did to Mary, Mary, quite contrary.  Not consensual and thus not for children.)

A thousand thanks to Andy, David, John, Dave, Johnny, and of course Chris and Chris — for this delightful all-expenses paid trip to Hot!

May your happiness increase!

STEVE PIKAL, “SWINGIN’ THE BASS,” with DALTON RIDENHOUR at the 2018 Scott Joplin International Ragtime Festival (June 1, 2018)

Steve Pikal, characteristically morose. Photograph by Andrea Canter.

String bassist / perpetual motion machine Steve Pikal is a marvelous force of nature.  Ask any musician who has been privileged to play alongside him.  His time is splendid, his inventiveness astonishing, his energy a delight.  He has perfect pitch — you can’t lose him! — and he finds the right notes.  He takes his playing tremendously seriously, but his work is joyous, and his ego almost invisible.  When I suggested to him that I do a bass-instruction video about him, he laughed and said he was self-taught so he didn’t know what he would have to offer.

Music elevates him, and the only time I’ve ever seen him without a smile is when he’s been studying a new chart with intentness.  I quote, “Swingin’ the Bass with all you great cats as often as I can is my mission. Gotta love it!!

What follows, slightly less than three minutes, is one of those occasions where I thank my lucky stars that I have a video camera and microphone, it was ready to go, and I was carrying it.

All through the Scott Joplin International Ragtime Festival, free musical programs were sprinkling the air with notes — some a few blocks away at Gazebo Park, but most under the red-and-white tent pitched a block away from the Hotel Bothwell.  I had gone back to the hotel to get my camera and fresh batteries to record an evening’s concert performance, and was on my way to the theatre . . . when delightful strains of Swing filled the air.  It was Steve, apparently joining pianist Dalton Ridenhour for a number.  It sounded so good: jazz pheronomes, that I began to record the second half of their improvisation on MY BLUE HEAVEN, which owed a good deal to Walter Page and perhaps Johnny Guarnieri — but most of all to Pikal and Ridenhour. It makes me happy every time I revisit it:

I hope that the Fates offer another chance — when I am early and ready — to see, hear, and record Steve and Dalton again.  There will be a plenitude of Pikal-powered joy on this site (the Holland-Coots Jazz Quintet and the Rock Island Roustabouts) and there are several new CDs that feature him, most notably GROOVUS (with Brian Holland and Danny Coots).

What a wonder he is, and how fortunate we are to have him.

May your happiness increase!

JOYOUSLY CONNECTED: “BLOCK PARTY,” featuring DAN BLOCK, ROB BLOCK, NEAL CAINE, TADATAKA UNNO, AARON KIMMEL

Dan Block, Rob Adkins, Ehud Asherie at Casa Mezcal, October 25, 2015

Dan Block is high on my list of heroes — lyrical, inventive, quirky, passionate, expert, warm.  I could go on, but it would just be prose.  Better than prose is his new CD, BLOCK PARTY: A SAINT LOUIS CONNECTION (Miles High Records) which features him on tenor saxophone and clarinet alongside his very talented brother Rob, guitar; Neal Caine, string bass; Tadataka Unno, piano; Aaron Kimmel, drums.  And the subtitle?  Dan, Rob, and Neal are from the Mound City.  And it’s even more of a family affair: Dan’s daughter Emma did the artwork and photography; cousin Joe Schwab (of Euclid Records) wrote the liner note.  If you want further evidence of the eminences involved here, Andy Farber and Mark Sherman produced the session; Bill Moss was involved in the mastering.

Dan does so many things well — no, splendidly — that it would be foolish to expect that a CD of his would be monochromatic, although listeners will not feel an artificial reaching after “innovation” from one track to another.  But he brings a deeply felt intelligence to his music; his range is wide.  Consider the song list: DINNER FOR ONE, PLEASE, JAMES (which I associate with Marty Grosz and British dance bands of the Thirties); NO, NO, NO (by the little-known songwriter Phil Springer, who wrote SANTA BABY and HOW LITTLE WE KNOW — read about Springer here); LIGHT BLUE and SMOKE SIGNAL (unhackneyed jazz classics by Monk and Gigi Gryce, respectively); WONDERFUL ONE (by Ferde Grofe, 1922); CHANGES (Walter Donaldson, both associated with Paul Whiteman, the latter with Bix and Bing); BY THE FIRESIDE (a gorgeous Ray Noble melody); OPTION CLICK (Block’s own response to modern technology); THERE AIN’T NO LAND LIKE DIXIELAND (associated with Bix and Tram); IT WAS WRITTEN IN THE STARS (lovely Harold Arlen).

The song list might seem homage to Dan’s many working associations, from Twenties recreations to free-blowing contemporary jazz, but all of the performances are at heart  melodic, curiously inquiring of the music, treating the originals with love but not as museum pieces.  Dan’s spacious imagination does not pop compositions into stylistic cubbyholes (“This goes in the Hank Mobley section; this goes in the Harmony Records file”): the music is animated by affection and ease.

Although I’ve heard and admired Rob Block in person several times in New York, this is a wonderful re-introduction to his lyrical, swinging selves.  Like brother Dan, he is technically fluent, yet his phrases breathe and his solos have logical shapes.  He plays the guitar; it doesn’t play him.  Listen to the fraternal joy on WONDERFUL ONE, for one example.  The members of the rhythm section are spectacularly good in duo and trio and as soloists: I found myself listening to several tracks a second and third time to savor what they were doing, memorably uplifting.

As a player, Dan is . . . what superlatives do I write here?  He respects melodies but also adores surprises; he never plays a predictable phrase but takes us on his journeys — which are quietly thrilling.  I’ve known him as clarinetist, saxophonist, even trumpeter, pianist, and singer, for almost fifteen years now, and a Dan Block performance is something I cherish.  The casual but expert arrangements on this CD are also great gifts to us.  No piece goes predictably from ensemble to solos to ensemble; each performance contains splendid little landscapes, as solos give way to duets.  The result is often elegant but never slick.  I’ve been playing and replaying this disc, always with delight.  I would even suggest that listeners begin at the end, with the touching duet for the brothers Block on IT WAS WRITTEN IN THE STARS.  Obviously the title is true.

If you know Dan’s work, you will find this disc exceedingly rewarding; if he’s new to you, I guarantee you will have found a new hero.  BLOCK PARTY can be found here and here (with sound samples).

May your happiness increase!

NINETY MINUTES at HIGH HEAT: THE FAT BABIES SWING OUT at the BIXFEST (Davenport, Iowa, August 4, 2017)

For no particular medical reason aside from age-based entropy, I’ve slowed down the mad pace of recent years.  At my most passionate peak of obsession and love, I flew or drove to seven or eight jazz festivals or parties in twelve months.  I haven’t given up, just slowed down.  One of the festivals I was sorry to miss was the Bix Beiderbecke Memorial Jazz Festival held in Davenport, Iowa, at the start of this August.  I knew that — unlike the tree in the metaphysical forest — that the bands I love would play even if I were not there to video them — but still.

So I was very glad that “jazzmanjoe100” recorded the wonderful music that Hal Smith’s SWING CENTRAL  performed at that festival.  And I am delighted that “CANDC” did the same for several sets: the one most pleasing being by The Fat Babies.  “CANDC” isn’t an impossible-to-pronounce word; rather, it stands for “Chris-and-Chris,” (pronounced as a rapid triplet) a Swedish pair, immaculately dressed as if going out for a carriage ride c. 1917: he videos; she dances.  In general, they both light up the place.

As do The Fat Babies, the beloved brainchild (b. 2010) of string bassist Beau Sample; featuring Andy Schumm, cornet, clarinet, and other instruments; Dave Bock, trombone and tuba; John Otto, reeds; Paul Asaro, piano and vocals; Johnny Donatowicz, banjo and guitar; Alex Hall, drums.  For this set, alumnus and guest Jonathan Doyle joined in on clarinet and tenor.

For this set, they offered their usually varied program that leans towards the esoteric, which is always a nice change.  They began with a hot CHANGES MADE, and then summoned up 1926 Luis Russell (in Chicago, before the incandescent days of Red and Higgy) with SWEET MUMTAZ.

I must ask: is MUMTAZ another slang word for muggles, muta, or pot?  Google has not been terribly forthcoming.

Then, SHE’S CRYING FOR ME from old New Orleans, Jon Doyle’s evocative SWEET IS THE NIGHT, and a heady — c. 1925 Henerson — MANDY, MAKE UP YOUR MIND.

Paul Asaro sings THE SPELL OF THE BLUES, which I associate with 1928 Bing; WILL YOU, WON’T YOU BE MY BABE? — splitting its associations between McKinney’s Cotton Pickers and 1934 Louis.  It’s followed by Tiny Parham’s ROCK BOTTOM, a reed feature on THE BATHING BEAUTY BLUES, a sweet LAZY WEATHER (do I correctly think of the underrated 1936 Don Redman band here?) and a closing romp with Clarence Williams 1933 HARLEM RHYTHM DANCE.

And another wonderful helping.

Paul starts things off with I DON’T CARE (obviously not the case!), and then they move to the Nichols-associated SALLY OF MY DREAMS.  Then Walter Donaldson’s SAY YES TODAY (memorable in the Roger Wolfe Kahn version), followed by the Tiny Parham CLARICE — a wonderful hot rhythm ballad with a tango interlude.  Then, Ellington’s BIRMINGHAM BREAKDOWN; Paul and Johnny Donatowicz summon up Bing and Eddie Lang on DID YOU EVER SEE A DREAM WALKING? — always a good question to ask.

Next, Willard Robison’s DEEP ELM, and Frank Bunch’s FUZZY WUZZY — talk about obscure yet delightful.  Then, FOR MY BABY, a 1927 hit, mixing hot dance and romance; Paul essays TEA FOR TWO all by himself, and beautifully, echoing Don Lambert’s habit of mixing tunes with THINKING OF YOU, APRIL SHOWERS, I’M CRAZY ‘BOUT MY BABY, KEEPIN’ OUT OF MISCHIEF NOW, FRENESI, and a few whose title proved elusive, for a wonderfully low-key display of virtuosity — where he resists the temptation to triple the tempo.

Finally MONA, thanks to Harold Austin’s New Yorkers (a double obscurity to me), and Benny Carter’s KRAZY KAPERS, based on DIGA DIGA DOO — precious to me in its 1933 incarnation and in its 2017 one: the final chorus is my idea of jubliation.

Quite a good deal of beautifully played hot and sweet music indeed.  What makes this band notable, for me, is their mastery of the late Twenties – mid Thirties hot dance sound (with arrangements that summon up the original records and in some cases, build on their glories), soloists who are convincing on a jungle romp or a danceable ballad.  But the band as a whole sounds so good: their intonation, their voicings, so people used to listening for the hot sixteen bars also find themselves admiring the ensemble.  As I do, as you will.

May your happiness increase!

JUST AN HOUR OF LOVE: DAWN LAMBETH, MARC CAPARONE, RAY SKJELBRED (June 23, 2017)

Heroes and friends: Ray Skjelbred, Dawn Lambeth, Marc Caparone, at the San Diego Jazz Fest, Nov. 2015.

To some JAZZ LIVES’ viewers, what follows will simply be another set recorded at a recent jazz festival — America’s Classic Jazz Festival at Lacey, Washington (through the great generosity of videographer RaeAnn Berry).

And if those viewers, possibly glutted with stimuli, perceive only that, who am I to deny that perspective?  But to me, performances that allow us to revel in the joy created by singer Dawn Lambeth, trumpeter Marc Caparone, and pianist Ray Skjelbred, are more than special.  In their swing, lyricism, courageous improvising while respecting the songs, they are remarkable offerings.

We begin with Ray and Marc having a good time — a la Louis 1928 — with BASIN STREET BLUES, a song so often reduced to formula that this version is thrilling:

The leader joins in for a touching IT’S THE TALK OF THE TOWN:

I fell in love with this from the introduction on!  I’ll go back to stevia some day:

Who remembers Paul Denniker?  But this beauty of a tentative love song, ‘S’POSIN’ — is always a pleasure:

Ah, Marc and Ray think of Henry “Red” Allen: always a good idea:

Another evocation of Red circa 1936, THE RIVER’S TAKIN’ CARE OF ME.  I love the lyrics and the idea that the River gives me breakfast — not poached eggs on English muffin, but recalling the days when one went fishing and cooked one’s catch of the day immediately.  Huckleberry Finn, anyone?

Isham Jones!

And Walter Donaldson:

One of those wonderful songs that brings together Louis and Fats:

Walter Donaldson’s YOU — also recorded by Red Allen and others:

I know I am going to see Marc, and Dawn, and Ray — separately and perhaps together — at this year’s San Diego Jazz Fest . . . so this is indeed something to look forward to.  For the moment, we have this hour of love, thanks to the musicians and to RaeAnn.

May your happiness increase!

DAWN LAMBETH and CONAL FOWKES (SAN DIEGO JAZZ FEST: November 27, 2016)

DAWN headshot

The music that Dawn Lambeth and Conal Fowkes create sounds real, fresh, and full of feeling.  Here they are at the 2016 San Diego Jazz Fest: the last set I saw on Sunday, November 27, 2016, a divine way of wrapping up a splendid weekend of music and friendship.  And since this isn’t a studio session, with engineers to help things along, you can see and hear its authenticity: we watch and listen as it is being made.

CONAL

and another Walter Donaldson bouquet, this one associated with Billie in 1936:

I hope that 2017 will bring more opportunities for this pair to perform and record . . . and there are a few more shining examples of heartfelt music from this set I will share with you.

May your happiness increase!