Take 5 With Jimmy Noone

New Clarinetist Jimmy Noone was a pioneer of early jazz. His Wikipedia entry summarizes his career - 'Jimmie Noone (April 23, 1895 – April 19, 1944) was an American jazz clarinetist and bandleader. After beginning his career in New Orleans he led Jimmie Noone's Apex Club Orchestra, an influential Chicago band that recorded for Vocalion and Decca Records. Maurice Ravel acknowledged basing his Boléro on a Jimmie Noone improvisation. At the time of his death, Noone had his own quartet in Los Angeles and was part of an all-star band that was an important force in reviving interest in traditional New Orleans jazz in the 1940s."

For this Take 5 we look at his somewhat brief but influential career. he led a group at the Apex Club whose personnel also included Joe Poston (alto saxophone), Earl Hines (piano), Bud Scott (banjo and guitar) and Johnny Wells (drums). Later an Alex Hill would take over the piano chair. We start with what is likely his most famous recording, 'Sweet Lorraine."

Next up is a recording of "A Monday Date," that Earl Hines also recorded with Louis Armstrong.

Tampa Red and Georgia Tom as The Hokum Boys made "It's Tight Like That," a popular number of the era. Here is Jimmy Noone's recording.

He continued to lead groups in Chicago into the 1930s. Here he is heard with a group that included Gus Kelly on trumpet and Preston Jackson on trombone performing "Sweet Georgia Brown."

By the 194s he moved to California, leading a quartet as well as playing in an All-Star group that included Kid Ory that was broadcast over the air and hosted by Orson Welles. Here they perform, 'High Society."

Benny Goodman and countless other clarinet players were inspired and influenced by Noone. Noone was supposed to continue as part of the band on Orson Welles' broadcast, but his sudden passing was noted by Welles and memorialized by the band on the broadcast by "Blues For Jimmy." I add as a bonus the 1944 recording by Kid Ory to this playlist.

Take 5 With Henry 'Red' Allen

One of my favorite jazz trumpeters of the swing era is Henry 'Red' Allen. Son of a legendary Brass Band leader, he first came to notice as part of Luis Russell's Band with whom he made some memorable recordings. He was also in Fletcher Henderson's Big Band in the thirties and later formed a small group similar to Louis Jordan. In the fifties, until his passing in 1967, he played predominantly in a trad jazz vein.

Here he is with Luis Russell's Big band where he is featured on trumpet on "Jersey Lightning." Pops Foster is on bass and J.C. Higginbotham on trombone.

Here is a fabulous recording with Red Allen's trumpet the highlight along with Coleman Hawkins in "Queer Notions" from Fletcher Henderson.

Later in the Mills Rhythm Band, they recorded this feature for Red Allen, "Ride Red Ride," which he would record numerous times including with Coleman Hawkins on a 1957 RCA Victor album.

The first time I heard Red Allen was listening to Phil Schaap over WKCR on Saturday Nights when he opened with "The Crawl." This was simply a stunning jump blues and we have a soundie of them performing this.

Finally, we find him in a swing-trad vein from the classic television show "The Sound of Jazz" performing "Rosetta." Besides Coleman Hawkins and Pee Wee Russell, there is Vic Dickenson on trombone, Rex Stewart on cornet, Jo Jones on drums, Danny Barker on guitar, Milt Hinton on bass and Nat Pierce on piano.

I could easily have chosen many more tunes by him. There is such joy in Red Allen's playing and his music is well worth sampling.

Marvelous Reissue of Albums By George Lewis and Jimmy Yancey albums

One of the unexpected pleasures of the recent Sony Box set celebrating 50 years of Preservation Hall was the inclusion of some selections from a series of albums issued on Atlantic shortly after that fabled venue opened. It led to my checking into the availability of these albums. They have been issued on the Collectables label in a series of two albums on one CD. One CD, includes an album by a band led by The George Lewis Band of New Orleans, Jazz at Preservation Hall, reissued with an album Pure Blues, by legendary blues and boogie pianist Jimmy Yancey. Included are the original liner notes by Rev. A.L. Kershaw for Lewis and Ralph Gleason, George Hoefer and Art Hodes for the Yancey (with Hodes personal memories being quite moving).

The George Lewis Band of New Orleans included Kid Howard on trumpet; Jim Robinson on trombone; Alcide ‘Slow Drag’ Pavageau on bass; Emmanuel Sayles on banjo; and Joe Watkins on drums. On a few tracks the personnel include Snookum Russell on pianol “Papa John’ Joseph on bass; and Joe Watkins on drums. Lewis is amongst the greatest clarinetists of New Orleans jazz with his simple, blues-drenched style and he also was recorded extensively. This album of his is amongst the best recorded and contains a number of staples of his repertoire including Salutation March, Down By the Riverside, Careless Love, Burgundy Blues and St. Louis Blues along an amiable version of Jelly Roll Morton’s Winin’ Boy Blues. The selections with a full group are marvelous with the interplay between Lewis’ clarinet, Howard’s trumpet and Robinson’s tailgate trombone. Then there is Burgundy Blues, with the other horns sitting out on what is perhaps Lewis’ most celebrated number. The spare backing helps contribute to the melancholic tone of a stunning blues performance. This is amongst the best sounding as well as best recordings of George Lewis that I have heard.

Jimmy Yancey was a ground keeper for the Chicago White Sox (during World War I he played in the Negro Leagues) and also one of the greatest blues and woogie woogie pianists that one might fine playing rent and house parties in Chicago. He was a pioneer in the boogie woogie idiom and an influence on Albert Ammons and Meade Lux Lewis. Atlantic recorded Yancey and his wife Mama Estelle Yancey in 1951 a few months before he passed away. These would be his last recordings although he had been recorded by Jazz Information, Solo Art , Session, Victor and Vocalion. 

One aspect of these performances, on which bassist Israel Crosby lends a light touch, is the focus on slow blues instrumentals (and accompaniments), while his earlier recordings had more in the nature of stomps and boogie woogies marked by his immediately recognizable touch and endings. Yancey’s Bugle Call comes closest to illustrate this aspect of his music, but much of this focus on on his atmospheric slow blues like on Mournful Blues or the musical poetry of his rendition of Leroy Carr’s How Long How Long Blues. The spare left-hand bass supplements the treble runs which focus on feeling and not flash. This same mood is present for another version of this heard here on which Mama Yancey so movingly sings. It is one of five vocals by Mama Yancey heard here which also include her take on the traditional, Make Me a Pallet On The Floor, again with Jimmy Yancey’s simple, moody backing. These vocals, like Yancey’s instrumental performances, are blues performances of the highest order and like the Lewis album would be easy to recommend if they had been issued separately. To have these combined on one release makes this album even easier to recommend.

I purchased this. Here is a video from 1962 of George Lewis performing.

Wonderful Celebration of 50 Years of Preservation Hall

A half century ago, several New Orleans lovers decided to present performances of some of the living masters of traditional New Orleans Jazz in a setting removed from the hucksterism that was part of the Bourbon Street scene at the time. It was an opportunity to present such artists as George Lewis, Jim Robinson, Billie and DeDe Pierce, Sweet Emma Barrett, Alton Purnell, Kid Howard, Percy Humphrey and so many others in a setting that gave them a respect their artistry merited. These concerts evolved in what we know as Preservation Hall, and while these artists became legendary in traditional jazz and have all passed on, Preservation Hall and the Preservation Hall Jazz Band have become iconic and institutions.

Celebrating a half century is a new box set on Columbia/Legacy by the Preservation Hall Jazz Band, The 50th Anniversary Collection. It is taken from several sources including three of the albums Atlantic issued in a series of Jazz at Preservation Hall along with recordings made by Preservation Hall itself and some of those issued on CBS (later Sony). From recordings documenting the bands that played at Preservation Hall to the contemporary editions of the Preservation Hall, one has a richness of music and performances. Also included are some of collaborations with artists from outside Preservation Hall that were on some of the more recent recordings of the Hall. There are some previously unissued recordings among the 57 tracks that are spread across the 4 CDs in this box.

Old and new are intermixed throughout. For example, the first disc opens with the late Allan Jaffe introducing the band on tour followed by a rollicking Eh La Bas by Billie and DeDe Pierce from 1966, followed by the 1986 Band with Percy and Willie Humphrey on Oh Didn’t He Ramble. Then we hear from the same 1986 session Narvin Kimball singing I Get the Blues When It Rains, which is followed by a 2008 recording of St. James Infirmary, with Clint Maedgen with a hyperactive vocal and a hot latin-infused groove. Then there is a 2009 rendition of Ice Cream, a perennial of the George Lewis and other bands half a century ago and then we go back to 1967 for a marvelous rendition of the Humphrey Brothers led band doing the Leroy Carr classic In the Evening (When the Sun Goes Down), with pianist James ‘Sing’ Miller handling the vocal, and George Lewis’ 1962 recording of Down By the Riverside. 

Here is the Preservation hall Jazz Band performing at Wolf Trap National Park in Virginia

There is such a richness of material here that I will only reference some of the gems that include the marvelous rendition of In the Evening, referred to above; I’m Alone Because I Love You, featuring the irascible Sweet Emma Barrett; a wonderful Do Lord from 1994 featuring Wendell Brunious singing and on trumpet and a band that included Ellis Marsalis on piano, and Dr. Michael White on clarinet; Billie and DeDe Pierce’s St. James Infirmary, with Billie’s vocal, and George Lewis’ clarinet; Pete Seeger and friends joining for a spirited We Shall Overcome; Tuba Fats’ vocal on His Eye Is On The Sparrow; Nellie Gray, a marvelous vocal by Percy Humphrey on a previously unissued 1986 recording; a rendition of Lil Liza Jane, with Louis Jones on trumpet and benefiting from Shannon Powell’s R&B tinged drums and vocal; Kid Howard’s vocal on the George Lewis Band’s rendition of In the Sweet Bye and Bye; and I’ll Fly Away, from the 2010 collaboration with the Del McCoury Band.

Other gems include Blue Yodel #9, a revival of the Jimmie Rodgers country recording that Louis Armstrong played on the original; George Lewis’ hauntingly beautiful Burgundy Blues; Sweet Emma leading the group on Chimes Blues, originally recorded by King Oliver’s at a historic 1923 session for Gennett; a marvelous take on “Sing On,” a staple of the Brass Bands repertoire; the spirited 1976 take of Joe Avery; Shake That Thing, a revival of a late twenties Sam Morgan recording with a vocal by Clint Maedgen and nice interplay between Charlie Gabriel on clarinet, Freddie Lonzo on trombone and Mark Braud on trumpet; the lovely 1966 Freight Train Blues, with Billie Pierce’s heartfelt vocal and clarinet by George Lewis; and Punch Miller’s 1962 rendition of the languid Nobody Knows The Way I Fell This Morning.

More gems include the bluesy collaboration with Tom Waits of an old Mardi Gras chant Tootie Ma Is a Big Fine Thing; a nice rendition of Paul Barbarin’s Bourbon Street Parade; Ralph Johnson’s clarinet rendition of Sidney Bechet’s Le Petit Fleur; One More ‘Fore I Die, another collaboration with the Del McCoury Band with lovely clarinet by Clarinet Gabriel and mandolin by Ronnie McCoury; Percy Humphrey vocal on the spirited Shake It and Break It; the beautiful funeral march Westward Dirge that is played straight with little improvisation; and Richie Haven’s moving vocal on Trouble on Mind, with considerable restraint shown in the Band’s backing.

In addition to the music, Bruce Boyd Raeburn provides an overview of Preservation Hall’s history. Current Hall Creative Director, Ben Jaffe whose father Allan had a similar role with the Hall for several decades, provides his own commentary on each of the selections contained in this box set. My advance copy only had the booklet's text, so I cannot comment of any photos or other graphic material included in the accompanying booklet. I trust these will complement the excellent music. 

This is a joy and soulfulness of all of the performances here (not simply the ones I have highlighted) on this celebration of 50 years of what is truly a cornerstone of American culture, not simply music. 

I was provided an advance copy to review from Legacy Media Relations. It is scheduled to be in stores today, which is when this review is posted. Here are the Preservation hall Jazz Band and the Del McCoury Band from the David Letterman Show.

Leroy Jones' Fond Memories of the Fairview & Hurricane Band

One of the pleasures for this writer at this year’s French Quarter Festival was to see and hear Leroy Jones and the Original Hurricane Brass Band. What was notable was they played more of a traditional Brass Band repertoire and what was notable was their clean intonation as well as the performance eschewed the funky style of most contemporary New Orleans Brass Band. But to hear a band that handles some of the traditional repertoire in the manner of the legendary bands like the Inward, Eureka, Olympia, Excelsior and Doc Paulin’s Band was a true delight, not to mention Jones own playing along with the others including trombonist Freddie Lonzo.

Back in 2005 Jones issued on his own label New Orleans Brass Band Music: Memories of the Fairview & Hurricane Band. In his notes he mentions his fond memories of the Fairview and Hurricane Brass bands. The former was under the leadership of Reverend Andrew Darby, pastor of the Fairview Baptist Church as well as church member and New Orleans legend, Danny Barker. Later the Hurricane Band came into existence and some of its members would form the Dirty Dozen Brass Band. Anyway, Jones put together this recording to evoke the older bands with a fresh twist and flavor. He did the arrangements on familiar numbers and assembled a band that included Calvin Klein on trombone, Alonzo Bowens on tenor saxophone and clarinet; Ron Espino on sousaphone; Kerry ‘Fat Man’ Hunter on snare drum and Cayetano “Tanio’ Hingle on bass drum. On one selection, Jones wife, Katja Toivola handles the trombone solo.

This is a delightful recording which exhibits the same swinging grooves and clean, but spirited ensembles and solos that were exhibited at the festival. Most of the performances will be familiar from the opening Lily of the Valley, the slow drag tempo used for Just a Little Walk With You, the peppy Lord, Lord, Lord, Muskrat Ramble, and South Rampart Street Parade. They standard out with the relaxation in the performances and the lack of frenzy. Dixieland favorites like When the Saints Go Marching In and Back Home In Indiana, also share these virtues as the two drummers set forth the rhythm and then the band kicks in. Furthermore, all three horns are excellent soloists. I was most familiar with Jones playing on a variety of sources but Bowens saxophone also constantly impressed while Espino also proves his capabilities on the cumbersome sousaphone on Indiana.

This is available from the Louisiana Music factory, www.louisianamusicfactory.com. Leroy Jones own website is http://www.satchmo.com/leroyjones/main.html.

I purchased this CD. Here is part of their French Quarter Festival performance.

George Lewis at Congo Square in 1951 and 1952

Many will be aware of my appreciation of the New Orleans Jazz Clarinetist, George Lewis, who was a central figure of the New Orleans revival in the forties and then a major part of the traditional New Orleans jazz scene of the fifties, sixties and beyond. An older release on George Buck’s American Music imprint is Municipal Auditorium, Congo Square 1951 and 1952 by George Lewis’ Ragtime Jazz Band. Included are two performances that were part of charity concerts organized for the National Society for Crippled Children sponsored by the New Orleans Jazz Club.

Lewis’ Band on both occasions included Percy Humphrey on trumpet, Jim Robinson on trombone, Alton Purnell on piano, Alcide ‘Slow Drag’ Pavageau on bass and Lawrence Marrero on banjo. In 1951, Louis Barbarin subbed for Lewis’ regular drummer, Joe Watkins, while in 1952, Albert Walters joined Humphrey on trumpet. Included are five performances from 1951 and six from 1952, although “Bugle Boy Boy March” from 1951 has limited fidelity because of its source material.

The 1951 selections open with a terrific Panama Rag with Lewis clarinet snaking around Humphrey’s lead and Robinson’s potent tailgate style. Just a Little While To Stay Here is a spirited treatment of the hymn where Lewis takes off on his solo with Purnell’s honky tonk piano pushing him along before his own break accented by Lewis with Marrero’s banjo adding to the percussiveness of the playing here. Louis Armstrong’s influence is evident from Humphrey’s sizzling trumpet and Purnell’s vocal on Heebee Jeebies.

The 1952 concert opens with The Star Spangled Banner, played fairly straightly before they launch into a dynamic rendition of the staples of Lewis’ repertoire, Climax Rag, with the two trumpets adding perhaps more sizzle than usual and Lewis taking a highly energetic solo. The is a little raggedness between the two trumpets for the head of the exciting Bugle Call Rag. Perhaps the highpoint is Lewis’ rendition of his classic, Burgundy Blues, with just rhythm backing (Marrero’s chords being effective) Lewis on this superb piece of instrumental blues that was a signature number for him. After his pensive playing, the group ends its performance with a spirited Down in Honky Tonk Town.

A decade later, when Preservation Hall opened, the Lewis Band was the model for the type of music presented, and these musicians were the foundation for the Hall’s own bands as it became the institution it is today. George Lewis at Municipal Auditorium, Congo Square 1951 and 1952 is another excellent release of Lewis’ music that George Buck has issued on American Music and other labels. With so many excellent Lewis recordings available, the music on this one still stands out as among the better ones. This is available directly from www.jazzology.com as well as finer retailers like the Louisiana Music Factory (www.louisianamusicfactory.com).

This was a purchase and here is the George Lewis Band in performance with Kid Howard on trumpet I believe.

Dirty Dozen Asks What's Going On

With JazzFest having concluded this past weekend, it is worth looking back at an album the Dirty Dozen, one of the pioneering bands of the modern Brass Band scene issued after Hurricane Katrina with their interpretation of a classic Marvin Gaye album. This review originally appeared in the October 2006 Jazz & Blues Report (Issue 287). I purchased the CD.

Like others from their home city of New Orleans, the members of The Dirty Dozen Brass Band have been greatly affected by the aftermath of Hurricane Katrina. With some friends they have their new album, What’s Going On, (Shout Factory), which reinterprets the classic Marvin Gaye album on a recording that is very relevant in light of the catastrophic events of last year in which the band members, like so many, lost their homes, and so much more.

More than their homes, they were distressed about the loss of their communities and personal treasures; photo albums and mementos of their travels were all destroyed. “I’m not talking about clothes and shoes and material things, but family albums,” says Roger Lewis. “I have a 7-year-old daughter. I had pictures of myself as a child, but I can’t share them with her because they were destroyed. All she’s really going to know is her dad as a 64-year-old man.”

The album opens with Chuck D rapping on the title track with a justified bitterness as the Dozen provides a sobering backing with Revert Andrews contributing a strong trombone solo. This followed by Betty Lavette take on What’s Happening Brother as she sings “Are things really getting better like the newspaper says … I just don’t understand what’s going on in this land … will the Tigers win the pennant, do they stand a chance …” with the tenor sax reaching to the higher registers behind her. Flyin' High (In The Friendly Sky), is taken at a medium tempo with a rather nice rendering of it before the tempo picks up as the members chant “Help Me Somebody,” with some nice spirited playing as the tune rides out. Nice trumpet leads Save the Children which also includes some nice sax work including Roger Lewis’ baritone, original member Kirk Joseph provides a foundation on the sousaphone and Jamie Mclean’s guitar brings African flavoring and rhythm. Ivan Neville guests on God Is Love, as Joseph and Lewis add the deep bottom behind his vocal as the brass punctuate the lyrics. G. Love raps the lyrics Mercy Mercy Me (The Ecology) with the Dozen providing a sharp funk groove before the Dozen get a groove going on Right On, as Revert Andrews takes the lead on trombone prior to Kevin Harris’ tenor sax. The last instrumental, Wholy Holy, is rendered almost as a funeral dirge before they conclude with Guru rapping on Inner City Blues (Make Me Wanna Holler), concluding a very thoughtful and moving recording.

A portion of the proceeds from this CD will be donated to the Tiptina’s Foundation, benefiting the musical community of New Orleans.

Evan Christopher Follows Sidney's Footsteps

Once again nominated in the Jazz Journalists Association’s Awards for clarinet, Evan Christopher has a new release in his Clarinet’s Road series, In Sidney’s Footsteps (STR Digital Records). This edition was recorded in Paris with a band that includes David Blenkhorn on guitar; Julien Brunetaud on piano; Sébastien Girardot on bass and Guillaume Nouaux on drums. As indicated by the title, the music of Sidney Bechet is inspiration for the music here, although not all the performances are of songs recorded by Bechet.

Christopher is brilliant on this recordings from the opening I Got a Right to Sing the Blues through the jaunty rendition of When I Grow Too Old to Dream that closes this recording. His clarinet sings with warmth, bluesy expression, fluidity and melodic invention supported by a fabulous band whose members complement the leader and add their own stamp. Pianist Brunetaud and guitarist Blenkhorn shine on their solos as well as their accompaniments and the rhythm duo get the right groove.

Photo © Ron Weinstock

Delights include Christopher’s driving boogie woogie Cinq Minutes! (Boogie), which allows Brunetaud to display his considerable facility along with some rather hot playing from Christopher and a spotlight on drummer Nouaux as well as Christopher’s lovely and wistful interpretation of Bechet’s famous Petite Fleur, with guitarist Blenkhorn adding embellishments as well as a tasteful solo.

Bechet’s Blues In The Air also displays Christopher and band’s facility with the blues with Brunetaud helping establish the movement with his understated blues playing over which Christopher states the theme and then elaborates. Blenkhorn mixes in single note runs with chords on his own jazzy blues solo. Blenkhorn is also prominent on the delicate and lovely performance of Django Reinhardt’s Manoir De Mes Rêves.

While not as strong a singer as clarinet player, Christopher has a definite charm as he shows on his vocal on James P. Johnson’s Old Fashioned Love, followed by his marvelous clarinet. He and pianist Brunetaud (singing in French) share the vocal on the closing When I Grow Too Old To Dream, with a very lively arrangement of this musical chestnut.

There is a presence to his clarinet and the performances on this wonderfully recorded album that continues to delight after repeated listening. In Sidney’s Footsteps may be Evan Christopher’s most exceptional recording yet. Given the high level of his prior albums, that is saying something.

I purchased this recording. Here is Evan Christopher performing Sidney Bechet's Petite Fleur.

Kid Chocolate Has His Take On Louis Armstrong's Music

It was at 2006 New Orleans Jazz & Heritage Festival that I first saw Kid Chocolate (real name Leon Brown) when he sung as part of the Marsalis Music Honors tribute to drummer, bandleader and teacher, Bob French. At the time, he was limited to singing as he had lost his trumpet chops due to illness. Thankfully the chops have restored and he has been able to resume playing trumpet under the name that Bob French gave him in 2000. Kid Chocolate has played with countless folks, including recently overseas with clarinetist Michael White, while establishing a reputation in New Orleans.

With a quartet that includes pianist Thaddeus Richard, bassist Richard Moten and drummer Ricky Sebastian, Kid Chocolate has produced and issued a recording, My Take (Funkin Horns Records), that pays homage the great Louis Armstrong as he provides his own renditions of a number of classic songs associated with New Orleans most beloved son. From the opening moments of Wild Man Blues, Kid Chocolate leads to the closing notes of I’ll Be Glad When You’re Dead (You Rascal You), Kid Chocolate and band lays down plenty of ebullient music.

He mixes his spirited trumpet on the opening Wild Man Blues as well as on Shine. The latter tune sports his very effective understated vocals as well as trading fours between trumpet and drummer Sebastian. He also has a charming vocal on High Society Calypso, with its delightful Caribbean-tinge. Richard plays marvelous on this. I am with Jimmy Rushing’s vocal with Bennie Moten of the Hoagie Carmichael ode to the Crescent City, New Orleans. It is nicely sung by Kid Chocolate in an Armstrong-styled manner and segues into Up the Lazy River. Richard is stunning on piano both accompanying the vocal and in his short solo. The leader eschews his trumpet on this.

“I’ll Never Be the Same” has a nice latin groove and after his vocal, Kid plays nice muted trumpet in a more contemporary vein, It contrasts with the extroverted trumpet that opens All Of Me, followed by a some horn-like phrasing in his vocal owing more than a little to contemporary jazz singers such as Jon Hendricks. Moten and Sebastian both take crisp solos on this. “Weatherbird Rag” is a duet with bassist Moten. His trumpet is a bit more relaxed than Armstrong was on his classic duet with Earl Hines on this Armstrong composition originally performed by King Oliver. Kid Chocolate employs his mute producing slurs and cries to open the venerable “St. James Infirmary Blues,” in a performance that is a terrific bridging of the jazz and blues realms.

He is marvelously complemented by his band who, like the leader, bring these performances to fruition as Kid Chocolate tells his stories. Most of these performances allude to Armstrong but none of them copy or imitate the master nor any familiar versions of any songs. Kid Chocolate has a more relaxed vocal and trumpet attack than Armstrong and invests his own musical personality in a consistently ingratiating manner. The Louisiana Music Factory in New Orleans (www.louisianamusicfactory.com) and other vendors have this available.

This was a purchase of mine.  Here is Kid Chocolate playing with the great drummer, Shannon Powell. 

And he he is with the New Orleans Moonshiners with Al 'Carnival Time' Johnson singing.

George Lewis' Genial Traditional New Orleans Jazz

Emerging as part of the New Orleans Revival with Bunk Johnson, clarinetist George Lewis himself became a highly loved and influential traditional New Orleans musician and led a band that by 1953 toured the United States (and later the world) extensively as well as recorded extensively over the decades, often in the company of trombonist Jim Robinson and trumpeter Avery ‘Kid’ Howard. Lewis and his associates were rooted in the blues (Arhoolie Records founder Chris Strachwitz has referred to Lewis as a blues musician) and their simple musical embellishments may be far removed from the sometimes abstract musical solos of contemporary jazz, but the music is imbued with a simple joyful quality that makes this music spin its hold on folks decades after he has passed.


504 records, a label specializing in the music of New Orleans issued several years ago a double disc by The George Lewis Ragtime Band, Live in Concert — 1963. In addition to the afore-mentioned front-line, the band included that night “Slow Drag” Pavageau on bass; Emmanuel Sayles on banjo; Charlie Hamilton on piano and Joe Watkins on drums with the occasional vocals handled by either Howard, Sayles or Watkins. 16 of the twenty two selections here have never been issued while six was issued on a Danish vinyl album and CD. There is two and a third hours of music presented here.


The songs are pretty representative of the band’s repertoire (and it might be suggested the traditional New Orleans repertoire) with such familiar numbers as Basin Street Blues, Milenburg Joys, Bourbon Street Parade, St. James Infirmary, Tin Roof Blues, Ice Cream Blues, Clarinet Marmalade, St. Louis Blues, Bogalusa Strut, and Walking With The King. There is Howard’s lead trombone with Lewis’ clarinet snaking in and out with Robinson’s blustery tailgate trombone weaving in as well with the rhythm section providing a jaunty rhythm. The sound is quite acceptable. Perhaps not as much presence as on the marvelous Oxford Series of recordings from the mid-50s, but satisfactory. The vocals are some what muffled. And Lewis does his Burgundy Street Blues, with his gentle and wistful tone.


This may not be an essential release perhaps by Lewis, who has numerous releases on a variety of labels, most notably American Music, but certainly a solid and representative collection that can be obtained at www.louisianamusicfactory.com.


I purchased this the Louisiana Music Factory when I was in new Orleans for the 2011 New Orleans JazzFest.

John Boutté Crescent City Vocal Magic

John Boutté at 2011 New Orleans Jazz & Heritage Festival. Photo © Ron Weinstock

I had heard of John Boutté and even purchased his CD Jambalaya prior to ever having a chance to see him perform. His performance of Louisiana 1927 from the first post-Katrina JazzFest, issued on a WWOZ CD for members, was one of the most compelling vocal performances I had heard in some time, and supplanted Marcia Ball for delivering the definitive performance of this Randy Newman song, of course enhanced by new lyrics and a terrific Leroy jones trumpet solo. Finally getting to see him a few years ago, he has become one of the must see acts at the New Orleans JazzFest, if his performances are the same weekend as I attend. Also, I have been fortunate to stay for his entire sets this year and 2009 as well as much of the set in 2010.


Boutté’s sets are also fortunately documented by JazzFest Live, the service that makes available on either CD or download, a number of performances from each year’s festival (Check jazzfestlive.com). This year’s set (from April 30, 2011 at the WWOZ Jazz Tent) was no exception so I am able to savor the performance I enjoyed in person. And what is striking is how his sets may have overlap in songs between years, but partly with different bands, but also partly from his own fresh interpretation of the same material, performances have a different character.


This year he had a full horn section with a piano-less band that included a fine band. The difference allows even songs performed one year after another like the Steve Goodman classic City of New Orleans (Arlo Guthrie did not write it) to sound transformed from his studio (and did the nice trombone solo in addition to trumpet), or earlier live performance from 2009. Same can be said of the traditional gospel “Beautiful City, titled by the JazzFestLive folks as One of These Days, with the earlier performance standing out with forceful acoustic guitar and trumpet in its sparser backing.


Then there is the jazz standard that opens this, Basin Street Blues, and a wonderful rendition of Little Willie John’s “Let Them Talk (titled by JazzFest Live as I Want The World To Know) done as a tribute to the legendary James Booker with nice horn voicings in support. Particularly moving is the moving rendition of his post-Katrina collaboration with Paul Sanchez Try to Find a Meaning, which he dedicated to those suffering in the Midwest US and Japan suffering from the natural disasters of the first part of 2011. 

John Boutté - Photo © Ron Weinstock

Boutté combines a marvelous delivery of a song’s lyrics with a way of phrasing that is completely engaging, mixed with a warm stage presence. Then there is also a wonderful rendition of Leonard Cohen’s Hallelujah, with lovely flute accompaniment. By the time John Boutté closed with Treme Song, which many will know from the HBO series Treme, the audience had been satiated with his performance even if we wanted it to continue for another hour. And like his other JazzFest performances available from JazzFest Live, this sounds so very good back home.


I look forward to my next opportunity to listen to a musical Boutté call. 

Davina and the Vagabonds Lifting That Black Cloud

Hailing from the Twin Cities, Davina and the Vagabonds is apparently one of the hardest working bands in that area, combining the vocals and piano of Davina Sowers with an intriguing line-up of trumpet, trombone, bass and drums. Inspirations include blues, traditional New Orleans jazz and cabaret that have made them in demand for a variety of musical festivals. John Hammer has labelled their sound “hot jazz-blues-cabaret-soul-lounge-rock,” a label seems apt to this writer, particularly after listening to their 4th CD (first to these ears) is “Black Cloud” on Roustabout Records, that has Ms. Sowers joined by Michael Carvale’s bass, Darren Sterud’s trombone, Connor McRae’s drums, and Dan Eikmeer’s trumpet on a program of Ms. Sowers’ originals.


After a brief raucous opening “Vagabond Stomp,” the title track, “Black Cloud” with Davina’s forceful vocal on a performance comes off like a Brecht pastiche, followed by the pop flavored “Disappears,” with Sterud taking a blustery trombone solo with plenty as she displays her clean articulation of her lyrics as well as plays. “Start Runnin” starts as she slowly warns someone to step up or start running because otherwise Davina is gonna make a mess of her going for a slow march to a breakneck tempo with nice muted trumpet from Eikmeer with rollicking piano from Davina.


Its typical of the tone of much of this album as Davina sounds theatrical and/or campy one song such as “Start Runnin, and then comes off like an innocent lovestruck girl on the lovely ballad, Sugar Moon. The theatrical flavor of Pushpin, contrasts with the rollicking Crescent City grooves of Lipstick Chrome, as he shouts “nothing could go wrong” as the band answers with "nothing." Davina takes a nice piano solo here on a performance that would be home on the stage at dba’s or The Spotted Cat. It is followed by a lovely soul ballad River, where she sings wistfully about doing her lover wrong. Sterud’s muted trombone solo adds some appropriate coloring behind her vocal.


“Black Cloud” is a marvelously entertaining recording that is well sung and well played. Maybe some moments are a bit too cute (which may be a consequence of there approach after all), and perhaps she might lighten her vocals on an occasion. But that its perhaps getting a bit too analytical as opposed to simply enjoying the fun and pleasures that Davina and the Vagabonds bring. They may be hard to classify as to musical genre, but they are very easy to listen to and enjoy. Their website is http://www.davinaandthevagabonds.com/ which links to itunes.


My review copy was provided by a publicist.

Evan Christopher's musical meeting of Django and Sidney Bechet

Evan Christopher has established himself as amongst the premiere clarinet players in jazz today. While associated with more traditional forms of jazz, Christopher has displayed a healthy catholicism in the range of music he plays whether traditional Sidney Bechet numbers or a medley of Ornette Coleman compositions. After Hurricane Katrina, he was briefly based in Paris at the invitation of the French government. Among his various groups is Django à la Créole, which is his effort to bridge the gypsy swing of the legendary guitarist Django Reinhardt and the New Orleans creole tradition. In 2008, they issued their original album Django à la Créole and in 2010 issued their second recording, Finesse (Frémeaux & Associés).

Django à la Créole is comprised of Christopher on clarinet, David Blenkhorn on lead guitar, Dave Kelbie on rhythm guitar and Sébatien Giradot on bass. As the drummer less instrumentation suggests, there is perhaps a bit more intimacy and chamber music quality to the performances similar to that of Reinhardt’s own recordings. While Reinhardt and Bechet lived in Paris for several years and likely their paths crossed, they never recorded, although Bechet recorded Nuages. 12 days after the guitarist passed. A couple of Bechet compositions bookend the eleven performances here, starting with the West Indian flavored Tropical Moon, where Blenkhorn’s guitar weaves single notes and chords around Christopher’s entrancing clarinet lead as the other two deliver a swinging rhythm. The closing Passaporte Ao Paraiso (Passport to Paradise), which is treated as a Brazilian Choro, and again displays Christopher’s warm, woody tone.

The title track was by bassist Billy Taylor and was originally recorded in a trio with Duke Ellington and clarinetist Barney Bigard. Several months later, it was recorded in Europe by Reinhardt in the company of Taylor, Bigard and Ellington trumpeter, Rex Stewart. On this, Blenkhorn states the theme before Christopher enters with a slight touch of vibrato (perhaps a bit more Bechet style on this) followed by a lovely electric guitar solo. A brisk Riverboat Shuffle features some delightful interplay between Blenkhorn and Christopher again, with Christopher’s clarinet evoking some of the charm and heat of Bix Beiderbecke’s cornet, with Blenkhorn particularly nice here.

Christopher’s Django à la Créole, is an original based on Reinhardt’s Improvisation #3 which Christopher says he arranged in the manner of the spanish tinge compositions of Jelly Roll Morton such as The Crave. The guitar accompaniment adds a flamenco accent to the performance. Solid Old Man is a charming performance of a Rex Stewart blues that was originally recorded at the same Paris session as Finesse, and displays Christopher’s warmth, tone and phrasing in his marvelous blues playing.

Evan Christopher at Louisiana Music Factory

Song d'Automne (Autumn Dream) by English composer Archibald Joyce is a waltz transformed into a lively samba and followed by Hoagy Charmichael’s Jubilee that Louis Armstrong introduced in a Mae West film. Armstrong was one of Reinhardt’s idols and in addition to Christopher’s thrilling playing, guitarist Blenkhorn interpolates quotes from Armstrong’s recordings of St. Louis Blues and the famous introduction of Mahogany Hall Stomp, in his delightful playing. Other strong performances include the delightful performance of Louis Moreau Gottschalk Creole Eyes, originally composed for solo piano, and the rendition here  highlights some of the Cuban influences in this 19th Century composition. Féerie is an usual hot tempo Reinhardt original with precise, warp speed playing followed by a lovely gypsy-creole distillation of the Ellington class Mood Indigo which Barney Bigard claimed he was authored the second theme with more lovely clarinet.

The originality and invention that Evan Christopher and his associates bring is thoroughly captivating. I had been waiting for several months for Finesse to be available in the United States and the wait was well worth it. Highly recommended, this is available from www.lousianamusicfactory.com and other sources.

This was a purchase.

After All These Years McDermott and Christopher are Almost Native

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.

With The Original Pin Stripe Brass Band Plenty Of Chances To Dance

The resurgence of Brass Bands in New Orleans starting with bands like the Dirty Dozens led to the emergence of many such groups by the mid-nineties. One bar, the recently closed Donna’s, featured Brass Bands every night for many years. Many recordings have taken place, ranging from bands that were more traditionally oriented to others that infused street music and rap in their repertoire. A number of recordings also have documented these groups over the past few decades. One of my favorites from the 1990s was one by the Original Pin Stripe Brass Band that appeared on Orleans Records and is still available (check out www.louisianamusicfactory.com that has Your Last Chance To Dance and the bands more recent recording, I Wanna Go Back To New Orleans, in stock). The following review appeared in the September 1995 Jazz & Blues Report (issue 204).

Few types of music can be as invigorating as that played by a New Orleans Brass Band. The recent resurgence in such bands may be illustrated by such groups as the Dirty Dozen or Rebirth. Part of this revival of the brass bands is The Original Pin Stripe Brass Band who have an exhilarating album available (on Orleans Records) titled Your Last Chance to Dance.


Like other bands in the vein they mix parade tunes and hymns with blues and jazz classics. Opening is an exuberant hymn, Lord, Lord, Lord, “You’ve been so good to me,” they declare as the irresistible second line groove kicks off. The funk continues on Dave ‘Fat Man’ Williams’ I Ate Up the Apple Tree, With leader Herbert A, Margavey, taking lead vocal while punching out the groove on snare drum and others responded with a group vocal response before a bit of New Orleans polyphony in the instrumental portion. Rhythm & Blues classics like Higher and Higher and It’s So Hard to Say Goodbye are transformed with second line grooves, while other songs include spirited treatment of the legendary Paul Barbarin’s The Second Line.


Bands like this help keep the brass band tradition very much alive, and the album illustrates the observation of Jerry Brock in his liner notes that units like Pin Stripe may be traditional but are anything but stagnant. A wonderful collection of joyous music that will enliven any event.

I do not remember whether I purchased this CD or obtained a review copy.

Classic New Orleans Jazz from Morand and Barbarin

As regular readers of my blog may be aware, I have a fondness for traditional New Orleans style jazz. The George H Buck Foundation’s group of labels has issued invaluable releases of ‘authentic’ New Orleans Jazz by many of the pioneers of the idiom with many historical releases issued on the American Music label. American Music was originally an historically important label that New Orleans jazz advocate Bill Russell founded. The original American Music label issued recordings by bunk Johnson and others and Mr. Buck purchased the label in 1990. One CD on American Music “Herb Morand 1950/ Paul Barbarin 1951,” brings performances by two prominent New Orleans musicians.

Trumpeter- vocalist Morand, in addition to his performances as a New Orleans trumpeter, had been a member of the celebrated Chicago-based Harlem Hamfats which also included Charlie and (Kansas) Joe McCoy, and New Orleans clarinetist Odell Rand. Initially the Hamfats served as accompanists for singers including Johnny Temple, Rosetta Howard and Frankie Jaxon. After their recording “Oh Red” became a hit they signed to Decca where they recorded 50 odd titles. Wikipedia describes their sound as a mix of blues, dixieland jazz and swing jazz ( I would add boogie woogie), and their recordings presage the mix of blues, swing and jive of Louis Jordan and early jump blues. They broke up around 1939 when Morand returned to New Orleans. 

This CD presents one 1950 session that was recorded at J&M Studio which was the legendary studio that Cosimo Matissa operated and from which many classic recordings by Roy Brown, Paul Gayten, Fats Domino, Smiley Lewis, Lloyd Price and others was made. Morand is joined on a session by a solid band that included pianist Lester Santiago, clarinetist Albert Burbank, Eddie Pierson on trombone, Louis James on piano and Morris Morand on drums. The 5 tunes (2 songs have two takes) include a lively “Down in Honky Tonk Town” displaying the hot jazz style, as well as the hipster, “If You Are A Viper.” Some strong playing can be heard on “Pork Chop Rag,” that Morand kicks off before Burbank takes a solo exhibiting a heavy vibrato (he sometimes comes across as shrill) followed by Santiago’s rag-laced piano. Morand also takes a vocal on “None of My Jelly Roll,” with a stately opening from pianist Santiago before Burbank’s clarinet glides around Morand’s vocal (with some scatting), before taking a lengthy clarinet solo b. There are two takes of the amusing, risqué “Have You Seen My Kitty,” with nice, gruff trombone by Pierson, before the three horns come in together for the coda. The second take has a longer introduction from the horns before Morand’s vocal. 

Paul Barbarin was a celebrated drum, band leader and composer (“Bourbon Street Parade” and “Second Line’). His session dates from 1951 and includes Ernie Cagnolatti on trumpet, Burbank on clarinet, Pierson on trombone and Santiago on piano. His eight selections come from two sessions and open with a terrific, swinging “Eh las Bas,” sung enthusiastically in creole french with Pierson taking a short solo before Cagnolatti rips off some hot trumpet as Pierson and Burbank collectively embellish the trumpet lead. Cagnolatti takes the lead at the start of “Lily of the Valley,” with again the other two horns embellishing things before each takes a short solo as the rhythm joyfully keeps the music going. A medium tempo “Closer Walk with Thee,” has excellent collective playing, while recording of “Panama” is terrific. Barbarin was also a terrific drum which is continually displayed throughout his recordings here.

Having recently praised a CD devoted to Barbarin, I am not surprised how good his recordings on this are. There is also a full CD of Herb Morand on American Music available. Check out www.jazzology.com for more information and to purchase. Other sources for this include louisianamusicfactory.com. 

For purposes of FTC regulations, I purchased this.

The Barbecue Swingers Live Display Kermit Ruffins' Joyful Jazz

The HBO show Tremé probably introduced Kermit Ruffins to many folk. I have been following him since he was with Rebirth Brass Band, and he is always a treat to see and hear perform. Basin Street Records has just issued a new CD by him, Happy Talk, which I can’t wait to hear. Last year Basin Street released his delightful Christmas album, Have a Crazy Cool Christmas that included wonderful renditions of Christmas standards along with his love song to New Orleans Football team, A Saints Christmas, which received heavy play as the Saints made their Super Bowl run. Another favorite Kermit Ruffins CD for me is Live at Vaughan's. Anyway, the following review of a live recording appeared in the July/August 1998 Jazz & Blues Report (issue 233). This should still be readily available. Basin Street Records website is http://www.BasinStreetRecords.com/ and it can be ordered there or at other sources like the Louisiana Music Factory. Since leaving the Rebirth Brass Band, trumpeter Kermit Ruffins has emerged among the most entertaining personalities on New Orleans’ music scene with the ebullience of his vocals and trumpet. In addition to his small combo, the Barbecue Swingers, heard on this new album, The Barbecue Swingers Live (Basin Street Records) he also leads a big band that is developing quite a reputation in the Crescent City. The Barbecue Swingers include Corey Henry’s trombone (and rap), Emile Vinette’s piano, Kevin Morris’ bass and Jerry Anderson’s drums. They lay down tasty grooves rooted in the hot swing of the great Louis Armstrong (the most obvious influence on Ruffins) with some bop, brass band, funk and even rap embellishments. So Ruffins mixes in tasty swing on his original Smokin’ With Some Barbecue, sings an amiable St. James Infirmity and mixes in some second-line funk for Do the Fat Tuesday. What is New Orleans has a charming spoken rap by Kermit about the various charms of the Crescent City from various types of gumbo to the Treme Music Hall and Tipitina’s, while trombonist Henry raps in the more contemporary fashion on Peep This Groove Out. Ruffins plays particularly nice on the Roberta Flack classic ballad, Killing Me Softly With His Song, followed by the street-wise grooves of Rebirth’s Do Watcha Wanna. Kermit Ruffins may not be setting out new musical directions, but their particular synthesis of the jazz tradition is a lively one that will have you feeling things are getting better.