This is a second short playlist of versions of the classic American song, "St. James Infirmary," to follow up on the initial list presented last Saturday.
We start with a version from George E. Lee & His Orchestra. Lee was the older brother of Julia Lee who became quite popular as a pianist and vocalist.
One of the great New Orleans trumpeters to come out of New Orleans after Louis Armstrong, Henry 'Red' Allen performed this song while touring England with the Alex Welsh band. Incidentally, Allen was with King Oliver's Band when this was recorded in 1930 under Oliver's name.
There have been so many great recordings from this from the likes of Eric Burdon, Lou Rawls, and Van Morrison. In this vein we have Tom Jones and Rhiannon Giddens singing it.
Next up is the great James Booker.
There are so many other choices I could have chosen including solo acoustic renditions from Josh White Snooks Eaglin, Doc Watson or Dave Van Ronk. Other versions I might have selected include those Trombone Shorty at the White House, various Brass Bands, Preservation Hall Jazz Band, Dee Dee Bridgewater, or Cassandra Wilson. To end this playlist though I have selected Jon Batiste & Stay Human from the 2018 New Orleans Jazz & Heritage Festival.
James Carroll Booker, that genius of New Orleans piano tradition, passed some 30 years ago on November 8, 1983, several months after Rounder issued his final studio recording Classified. Rounder has just issued an expanded version Classified: Remixed And Expanded to celebrate the Thirtieth Anniversary of the original release of along with a documentary about Booker, Bayou Maharajah: The Tragic Genius of James Booker. This new expanded Classified adds alternate takes and previously unissued recordings from the October 1982 sessions that produced the original LP.
Booker is a revered figure in the history of New Orleans music who incorporated the inventions of Professor Longhair into his repertoire that ranged from boogie blues, New Orleans R&B, jazz and classical. His legacy as a pianist, vocalist and songwriter shines even brighter three decades later. His influence is heard in such performers as Dr. John, Harry Connick Jr., Tom McDermott, John Boutté and Henry Butler. Booker played on a number of studio recordings in addition to ones he made under his own name (he is on keyboards on Freddie King’s Cotillion Recordings for example). In the booklet accompanying this reissue we get Scott Billington’s essay in addition to Bunny Matthews original 1983 notes. Billington’s essay provides this overview and cites a number of those who might be called Booker’s musical children.
To use a term associated with Duke Ellington, Booker was “Beyond Category.” The depth of his repertoire is suggested by the performances here including the opening signature title tune that opens this compilation which opens with some nice solo playing before joined by a small backing trio that included legendary tenor saxophonist, Alvin ‘Red’ Tyler. The contents of this include a Professor Longhair medley, two takes on Lloyd Price’s Lawdy Miss Clawdy (one of which is solo), Warsaw Concerto (which explains why he was sometimes called the Bronze Liberace and along with Madame X displays how accomplished he was a s pianist of classical music), a medley of Tico Tico / Papa Was a Rascal / So Swell When You're Well, (and this last number was one Aretha recorded), his solo piano reworking of Little Willie John’s Hit All Around the World, a manic vocal on King of the Road, the classic Art Neville ballad, All the Things You Are, and “Yes Sir, That's My Baby,” the one selection on which he plays the organ (with the sounding like he is playing a calliope for a carousel). This last track is one of the several with Red Tyler’s saxophone. Among these selections, a highlight is the Fats Domino flavored, One For the Highway, again with Red Tyler taking a choice tenor solo.
Thirty years after being originally released, Classified remains as a cornerstone of James Booker’s recorded legacy. His genius is well served by this well thought out and expanded reissue.
I received my review copy from Rounder Records. Here is a trailer for the film documentary, Bayou Maharajah: The Tragic Genius of James Booker.
It is easy to label both pianist Tom McDermott and clarinetist Evan Christopher as traditional jazz musicians, but both transcend that simple label.McDermott, a pianist rooted in ragtime and Jelly Roll Morton, has also become renown for his interpretations of the Brazilian choro idiom and the music of New Orleans legend James Booker. Christopher has become one of the most highly regarded clarinet players today and is a 2011 Jazz Journalists Association nominee, who has also exhibited abilities to excel beyond traditional jazz as evident by his European gypsy jazz recordings and his intriguing interpretations of modern jazz including a marvelous medley of Ornette Coleman’s Lonely Woman and Ramblin’, and John Coltrane’s After The Rain.
The new album by the pair, Almost Native (Threadhead Records) takes it title from the fact that someone asked Tom if he was born in New Orleans, and after he answers he moved there in 1984, they respond, “”Oh, well you’re almost a native then.” This latest recording is a duo recording of originals by the pair, eight by McDermott, and two by Christopher that displays the considerable empathy between them which enhances the lyricism at root of both their styles.
The music moves from the wistfulness of the opening Tango Ambiguo (Ambiguous Tango), the indigo charm of Christopher’s slow Waltz For All Souls which evokes George Lewis’ bluesy playing, the raggy playfulness of Le Manège Rouge (The Red Merry-Go-Round), to the the atmospheric Spooky Blues (For Booker)/Quite Enough Blues, with McDermott’s spare, restrained playing effectively setting the mood. There is a bit of cheeky humor for “The Don’t-Mess-With-My Two-Step, a piano solo, followed by a delightful and playful, Chorando Em Paris (Playing Choro In Paris). The last original recording here is a march, March of the Pony Girls, which exhibits all the warmth and humor the two exhibit throughout this.
A bonus track, the lively Irresistível (Irresistible), derives from McDermott’s New Orleans Duets and concludes a thoroughly charming recording. It is available from www.louisianamusicfactory.com, cdbaby, itunes and other sources. Tom McDermott’s website is www.mcdermottmusic.com and Evan Christopher's website is www.clarinetroad.net.
Evan Christopher and Tom McDermott doing an in-store performance
at the Louisiana Music Factory on Decatur Street in New Orleans.
The late James Carroll Booker III was one of the most unique and brilliant of the New Orleans pianists, recording on Imperial as a young teenager, later recording an organ instrumental, Gonzo, named after a character in a movie about drugs that became a minor hit, and doing hundreds of recording sessions including New Orleans R&B dates, and with artists as diverse as Ringo Starr, the Doobie Brothers and Freddie King.
Plagued by personal demons, perhaps arising from a lifelong battle with drugs and alcohol (which he attributed to a prescription he was given after being hit by ambulance in his youth), his behavior was often erratic and his music could be extremely extroverted or painfully withdrawn inward. A child prodigy, he played Chopin as a child, and was drawn to the music of Errol Garner and Liberace. As indicated he played on countless sessions, although made few recordings under his own name. Like his moods, his playing could be inconsistent. While it was usually marvelous, he could ramble on, noodling. The various nicknames he had, Little Booker, Gonzo, Junco Partner, the Bronze Chopin or the Black Liberace, may give you an idea of what to expect.
Rounder has added, to the few albums issued under his name, two new albums drawn from over 60 hours of live recordings of Booker playing the upright piano at New Orleans’ Maple Leaf Bar, perhaps his steadiest gig. These provide a fascinating glimpse at one of major piano stylists of recent pop music idioms. Resurrection of the Bayou Maharajah and Spiders on the Keys present slightly different perspectives on Booker’s art.
Resurrection is comprised primarily of medleys of vocals along with his pounding boogie accompaniment while Spiders is an instrumental album. There is some overlap in the material. Tico Tico and Papa Was a Rascal can be heard on both, although in different forms. The latter tune is pure Booker, as he reworks the melody of St. Louis Blues. The vocal version contains outrageous lyrics including a warning to watch out for the CIA. Booker’s singing is also outrageous, suggestive somewhat of Professor Longhair, and may be an acquired taste.
His song medleys often feature changes in tempo and mood. Many of the songs on Resurrection have some connection with New Orleans R&B, such as All By Myself, Lawdy Miss Clawdy and Junco Partner. His use of cross rhythms is reminiscent of Professor Longhair, although his piano playing is more ornate. Booker’s originality will be evident from listening to these. Furthermore, he could play songs very differently at different times. The version of Junco Partner, is quite different from a previous recording of his I had heard. And then he could follow that with Chopin.
His versatility, and command was uncanny, leading to the admiration of many including Harry Connick, Jr.. Spiders is all piano and, includes interpretations of pop tunes, including Eleanor Rigby and the unlikely choice of A Taste of Honey. Particularly nice is Gonzo’s Blue Dream, which suggests Professor Longhair’s Tipitina. His solos have some disassembly of the melodies, but his style primarily is one of embellishing the melody. In any event, these two CDs make for fascinating listening, and both have been frequent visitors to my compact disc player.
Its been some time since James Booker left this plane of existence. The review appeared in slightly different form in the December 1993 Jazz & Blues Report (issue 187) and these recordings are still available.
Many may be familiar with the song "Junco Partner". The song was written and originally by James Wayne although most are probably familiar from more modern recordings by Professor Longhair, James Booker and Dr. John (On his Gumbo album). He also has another recording Traveling Mood that Snooks Eaglin recorded for Imperial and Black Top (This link to Dan Phillips blog Home of the Groove has a nice label shot of the Imperial 45) and also nicely done by Dr. John on his live recording on Hyena, Right Place, Right Time.
On the post-war blues internet group at yahoo, this interesting link of Wayne's dealings with California judicial and mental health systems was provided and it is worthy of further publicizing. People v. James Douglas Wayne
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