Bob Barnard with Ralph Sutton and Jim Cullum

Bob Barnard & Ralph Sutton
The Joint is Jumpin: The Music of Fats Waller
La Brava LB0012


The Joint is Jumpin’/ I’ve Got Feeling I’m Falling/ Black and Blue/ I’m Crazy ‘Bout My Baby/ Blue Turning Grey Over You/ Up Jumped You With Love/ Keeping Out of Mischief/ Dream man/Squeeze me/ You Meet the Nicest people (In Your Dreams)/ Sweet and Slow/ It’s a Sin To Tell a Lie/ I’m ALways in the Mood For You// I Used to Love (B ut It’s All Over Now). 57:35


Bob Barnard crt; Ralph Sutton, p; Ed Gaston b; Len Barnard, d; Don Burows cl-1. -2 Bob Barnard & Sutton; -3 Sutton & Len Barnard. April 21, 1999, Sydney Australia.

Bob Barnard & Jim Cullum
Cornet Copia
La Brava Music  LB0037

Jubilee-1/ Chimes Blues-2/ Sugarfoot Strut-1/ Almost Daylight-2/ Shreveport Stomp-3/ Bobby Hackett Waltz-5/ When You’re Smiling-2/ Potato Head Blues-1/ Lying to Myself-3/ Wildman Blues-1/ On the Road to Gundagai-6/ West End Blues-6/ Hear Me Talkin’ To Ya-1/ Skit Dat de Dat-3/ Waltzing Matilda-6.

Bob Barnard cnt; Jim Cullum cnt; Ron Hockett, reeds-1; Mike Pittsley, tbn -1, -5; John Sheridan, p-1, 3, 4, 5; Howard Elkins, bjo, g-1, 3, 5, 6; Don Mopsick, b-1, 2, 6; Mike Waskiewicz, d-1, 3; Chris Taperell, p-2; Ed Gaston, b-2; Len Barnard-2; Ed Torres, d-5, 6; Brian Ogilivie, cl -6. 2 - Jan,25, 2000, Sydney Australia; 1, 3, 4- April 18, 2000, San Antonio, Texas; 5, 6- 1993, San Antonio, Texas.


Australian cornetist Rod Barnard shares the credits on two fine recordings rooted in pre-bop styles  On "The Joint Is Jumpin), Ralph Sutton shares the credits for a spritied and charming program of songs associated with Fats Waller.   The disc benefits from its selection of material (which does not stick solely to the best know tunes of Waller) as well as the wonderful playing from all concerned.  Sutton certainly is one of the finest practioners of the stride tradition, making him an apt choice for a tribute to Waller.  Not having heard Barnard previously, I was impressed by the bright tone and lyrical quality of his playing. Listening to his solos, one would have to think he took seriously Lester Young’s advice of knowing the lyrics of the songs.  Sutton heads the strong, swinging rhythm section with Barnard’s brother Len on drums. Several tracks feature Don Burrows clarinet. and Barnard sits out on “Squeeze Me” where Burrows is joined by fellow clarinetist John McCarthy.   In addition to the wonderful playing (which thankfully avoids frantic tempos), the sequencing of the tracks also should be commended.
 
Jim Cullum joins Barnard on "Cornet Copia" which was mostly recorded in San Antonio and includes several tracks from Cullum’s public radio program, Live at the Landing.    Looking at the song-titles, on "Cornet Copia" he is joined by fellow cornet player, Jim Cullum, and several tracks come from including  Cullum’s radio program, "Riverwalk, Live from the Landing."  

These reviews originally appeared in Cadence Magazine. I likely received review copies from the publication. "The Joint Is Jumpin" was also issued on the Canadian Sackville label. Here is a performance by Bob Bernard and Ralph Sutton.

New Orleans High Society

New Orleans High Society
Self-Produced

New Orleans High Society originally started with a weekly gig in New Orleans playing a distinctive interpretation of the traditional New Orleans repertoire. Based on the traditional jazz sound of George Lewis, Kid Howard, and the like, the group adds sprinklings of Afro-Cuban, gospel, and modern trip-hop. Having played together awhile, they put together this eponymously titled recording. The group is comprised of Cleveland Donald - Trumpet, Lead Vocals, David Bode - Soprano & Tenor Saxophone, Peter Gustafson - Trombone, Yacine Sebti - Piano, Vocal, Stephen Bohnstengel - Bass, and Trenton O'Neal - Drums. Angie Z sings on one selection.

The band's repertoire does not have many surprises, and they play with a clean feel. Trumpeter Donald is a genial, if not striking vocalist, as shown on the pleasant "Down By the Riverside" that opens this set. There is more fire in his trumpet playing and ably supported by the band. One of the highlights is the Afro-Cuban rendition of Hoagy Carmichael's "New Orleans," with Arnold again crooning before Bode takes a rugged tenor sax solo against the energetic rhythm. Gustafson takes a gruff trombone solo as well. There is also a well-played rendition of Duke Ellington's "Creole Love Song." Gustafson's outstanding growling plunger mute trombone is featured along with some lovely clarinet by Bode.

An entertaining rendition of "Ice Cream" may not capture the unbridled enthusiasm of George Lewis' performances, but it has charm. Pianist Sebti ably handles the vocal on "On the Sunny Side of the Street," along with some choice piano and then solos by Gustafson and Donald. A pleasant staple of the Chicago school of jazz, "At the Jazz Band Ball," follows before Angie Z charms us with her vocal on "When It's Sleepy Time Down South." The band imaginatively reworks the trad standard, "That's A Plenty," that sports a Bode soprano solo before the performance segues into an Afro-Cuban groove with Donald's trumpet adding tropical heat over Sebti's Afro-Cuban piano before transitioning back into the traditional; arrangement.

A pleasant rendition of the New Orleans folk standard "Lil' Liza Jane" closes a well-played, imaginative, and entertaining traditional jazz rooted recording.

I received a download of this album from a publicist. Here is "New Orleans" from this album.

Danny Barker New Orleans Jazz Man and Raconteur

Danny Barker
New Orleans Jazz Man and Raconteur
GHB Records

As Trevor Richards observes in his opening comments to this two-disc retrospective of Danny Barker's recordings, "Danny Barker was a Renaissance man, a man of many unexpected facets."He was a rhythm guitarist or banjo player, musical entertainer or vocalist, composer of notable songs, a raconteur, and even a movie actor. Barker was also a jazz researcher and historian, and even a university lecturer.

He left his native New Orleans for New York, where he made an initial switch to guitar from banjo, and his fat chords made him in demand as he worked for Lucky Millinder, Benny Carter, and most famously Cab Calloway. He was on numerous Calloway recordings. He also recorded with Charlie Parker, Dizzy Gillespie, Earl Bostic, and bunk Johnson as well as helped launch the recording career of his wife, Bu Lu Barker. Barker would serve as the guitarist for Rudi Blesh's weekly radio broadcasts, "This Is Jazz." It was around this time resumed playing the banjo, buy playing a 6-string guitar-banjo.

Barker formed a record label King Zulu to make recordings of Mardi Gras music to sell to bars, but his timing was unfortunate as recordings issued on 78s came out with the transition to 45s in full force. In the mid-sixties, he returned to the Crescent City to become assistant curator of the New Orleans Jazz Museum. He would also write extensively, including his own "A Life in Jazz," written with Alan Shipton, and available in a superb new edition from the New Orleans Historic Collection. Barker would also form the Fairview Baptist Church Christian Band that linked the Brass Bands' heritage, such as that of his uncle Paul Barbarin's Onward Brass Band. It served as a launching pad for many celebrated New Orleans musicians of today and such Brass Bands as The Dirty dozen and Rebirth.

While the two CDs contain a generous sampling of 34 songs and two interviews, they do not cover the entire spectrum of recordings Barker was on. In fact, on many of these, he is often a band member contributing his percussive guitar and/or banjo along with an occasional vocal. The music spans a Jonah Jones session with members of Calloway's orchestra to "Palm Court Strut" with an unidentified New Orleans band that he sang on. There are two selections with Nick and His Creole Serenaders, a group led by clarinetist Albert Nicholas, with pianist James P. Johnson, that Barker sang in Creole French. There are 13 selections from the "This Is Jazz" radio program, including a guitar-bass duet with Pops Foster. Other tracks include him as part of a band that included Muggsy Spanier, Wild bill Davidson, Albert Nicholas, George Brunies, James P. Johnson, Art Hodes, Ralph Sutton, Pops Foster, and Baby Dodds. Selections of note include "Do You Know What It Means To Miss New Orleans," with Louis Armstrong, "Sweet Lorraine" with Sidney Bechet, and "Some of These Days" with vocalist Chippier Hill.

Barker is more prominent as a vocalist on the second disc, including the exuberant Mardi Gras number, "Tootie Ma Is a Big Fine Thing" that he issued on his King Zulu label. There are boisterous performances by Paul Barbarin's Jazz Band of "The Second Line" and "Royal Garden Blues." Barker's humorous songwriting is evident on "Save the Bones For Henry Jones," while he leads the backing behind Blue Lu Barker's rendition of "Gulf Coast Blues." He provides a delightful performance of 'Eh La Bas" and charming interpretations of "Heart of My Heart" and "Hard Hearted Hannah." Even more outstanding is a rendition of "Saint James Infirmary," full of his vibrant personality that displays his storytelling ability.

The two interview tracks provide insights into the differences between white and black New Orleans jazz as well as his early days and his moving to New York. There are several previously unissued performances included as well. These two discs make available several excellent traditional jazz performances. While this might not be an essential release, for fans of traditional (especially New Orleans) jazz, this is a very welcome collection.

I purchased this. Here is Danny Barker in performance.

Take 5 With Barney Bigard

New Orleans clarinetist Barney Bigard is best known for his tenure with Duke Elllington, and later with Louis Armstrong. Today’s Take 5 will showcase several gems of his silky bluesy clarinet style.

First we have him in a small Ellington group with the original recording of “Caravan.”

Next is another recording from his Ellington days, “Clarinet Lament.”

Here is Bigard leading a group on the swing era classic, “Rose Room.”

With pianist Art Hodes he recorded “Hesitating Blues.”

Finally he lead a group, with singer Etta Jones, performing Dinah Washington’s hit “Blow Top Blues.”

The Fat Babies Uptown

The Fat Babies
Uptown
Delmark

The Fat Babies are an eight-piece jazz band interpreting classic styles of the 1920s and 30s. Founded in 2010 by string bass player Beau Sample, its members include Andy Schumm (cornet), John Otto (reeds), Jonathan Doyle (reeds), Dave Bock (trombone), John Donatowicz (banjo and guitar), Paul Asaro (piano), and Alex Hall (drums).

This is their fourth album for Delmark. Like their previous ones, this recording is a gem of traditional jazz, whether reworking King Oliver, some early Kansas City Jazz, James P. Johnson, and others or playing some original compositions that sound like they were from the 1920s and 1930s. A prominent example is "Uptown," composed by Andy Schumm. It evokes Bennie Moten, and the lesser-known George E. Lee Orchestra, with its steady gait and an opening solo from Bock on trombone working into trading licks between Bock and the other horns. Schumm wrote most of the arrangements. Doyle did arrange Bennie Moten's "Harmony Blues," with the vibrato-laden horn lines, hot cornet from Schumm, growling trombone, and a stately piano solo while Donatowicz provides a crisp rhythm on banjo. It is followed by Schumm's transcription and arrangement of Jesse Stone's "Ruff Scufflin'," with The Fat Babies transversing the intricacies of the melodic elements of this tune. The original George E. Lee Orchestra recording was one of the classics of Kansas City Jazz.

Asaro sings in the fashion of a crooner of a twenties sweet band on "Out of a Clear Blue Sky," with handsome backing and a clarinet trio chorus. After an evocative Doyle original, "Sweet Is the Night," there is the jumping James P. Johnson, "Thumpin' "N" Bumpin'." On the latter number, Bock and Schumm add a bit of heat with their short breaks. "The Spell of the Blues" is more of a torch song than an actual blues song that features crisp alto sax and cornet breaks. The spirited cover of Clarence Williams'"Harlem Rhythm Dance" features Schumm's fiery plunger mute cornet, Asaro's vocal, and Doyle's tenor sax.

There are few bands (Vince Giordano and the Nighthawks in New York is another) that play the music of the twenties and thirties as well as do The Fat Babies. "Uptown" is superbly played and an absolute delight for fans of early jazz.

I received my review copy from Delmark Records. Here are The Fat Babies in performance performing "It's Tight Like That," which is not on this recording.

 

The Fat Babies Solid Gassuh

The Fat Babies
Solid Gassuh
Delmark Records

The Chicago classic jazz band The Fat Babies have a new release from their extensive repertoire that includes more idiomatic renditions of songs from the twenties and thirties. The Fats Babies is comprised of leader Beau Sample on bass; Andy Schumm on cornet; Dave Bock on trombone; Paul Asaro on piano and vocals; Jake Sanders on tenor banjo and guitar; Alex Hall on drums; and John Otto on clarinet and saxophones, the same personnel that were on their first album, "Chicago Hot," accounting for the crisp ensemble sound and assured solos. Unlike that earlier album, the songs here are lesser known songs of the era than those on the earlier album. Like that recording, they inject a definite spirit in their recreations.

Ricky Ricccardi, Director of Research Collections for the Louis Armstrong House Museum, notes that band soften playing such music get hot as playing "nostalgia" or "museum pieces," but suggests that the appeal of The Fat Babies is that they "treat this music as a living, breathing thing." This is something that is difficult to accomplish while trying to say stylistically true to the recordings that are the source for these performances. A lively rendition of the Luis Russell-Paul Barbarin "Doctor Blues" opening this album is a joyful reaffirmation of the quality of their performancers of these vintage numbers. Schumm, who arranged this music, plays his cornet in the spirit of Bix Beiderbecke like on "Slow River," a lesser known Clarence Williams composition.

In its playing, The Fat Babies generally avoids being 'nostalgic,' and also  being campy, but there are exceptions in the vocals. Pianist Asaro's crooning on "Did You Ever See A Dream Walking?" is appealing with Sanders' guitar adding a nice touch here, although his Ted Lewis styling on "Egyptian Ella," comes off as a bit campy. The spirited rendition of Thomas Morris' "Original Charleston Strut" (with Hall's drumming standing out with his rhythmic accents), and the lively rendition of "Alabamy Bound" (one of the most familiar numbers here), are other standout selections. Also noteworthy is the rendition of Arthur Schutt's "Delirium," which Ricccardi suggests they provide "an almost Bix-meets-Raymond Scott treatment," taking what was originally a unique chart and performing "something surprising, unpredictable and even a little haunting," although I might suggest evocative as the mood engendered.

A breakneck tempo rendition of "Maple Leaf Rag," closes "Solid Gassuh," which Riccardi observed would be quite a very high compliment from Louis Armstrong and appropriate to use describing the music herein. If this listener has some reservations about several vocals, there are none about the consistent solid performances by The Fat Babies.

I received my review copy from Delmark Records. Here The Fat Babies perform Jelly Roll Morton.

The King Jazz Story

The King Jazz Story
Storyville Records

The Swedish Storyville Records label has issued a 5 CD box set, "The King Jazz Story" which reissues all of the recordings from this fabled late 1940s label associated with clarinet player and reefer supplier to Louis Armstrong, Mezz Mezzrow. The aim of Mezzrow and his associates in the label was to present some 'authentic' jazz and most of these recordings based on blues and classic New Orleans jazz featured the great Sidney Bechet on soprano sax along with Sammy Price on piano on many tracks as well.

The first CD for example opens with 11 very strong blues and boogie woogie piano solos by Sammy Price followed by two vocals by Pleasant Joseph backed by Price. Then there are 11 tracks (including alternate takes) by a group of Mezzrow, Bechet, Price, Hot Lips Page, Pops Foster and Sid Catliff with four vocals by Joseph. Interspersed with the music are tracks where Mezzrow discusses the label and the making of some of these recordings.

The remaining four CDs are full of various configurations of Mezzrow-Bechet groups and showcase the genius of Bechet. The songs are presented in the recorded order so one does get several takes of the same songs together so one may wish to use shuffle when listening to the nearly 6 hours of music and short spoken interludes. There are so many outstanding selections including "Perdido Station Stomp," "The Sheik of Araby," "Ole Miss," "Out of the Gallion," "Tommy's Blues, " and "The Blues and Freud." The booklet accompanying the box contains Chris Albertson's essay on the label, Mezz and the music contained here and for fans of classic jazz it is a real treat for all of these recordings to be available.

I purchased this box set. This is one of a number of short reviews I have written for the 2015 Holiday Gift Guide edition of Jazz & Blues Report which is available at jazz-blues.com. Here is Mezz Mezzrow and Sidney Bechet.

Humphrey Lyttelton's In Canada

Delmark has another re-release on CD taken from the Sackville label, Humphrey Lyttelton's "In Canada." This was recorded in 1983 during the English jazz pioneer's second visit to Canada with the trumpeter and clarinetist backed by Jim Galloway on saxophones and clarinet, the highly underrated Ed Bickert on guitar, Neil Swainson on bass and Terry Clarke on drums. While initially heavily influenced by Louis Armstrong, Lyttelton matured and his repertoire had extended to into what was in a style the late Stanley Dance referred to as mainstream, reflecting the influences of Basie, Ellington, and Buck Clayton in addition to Armstrong.

Swing, not trad jazz, is the center of these eight Lyttelton compositions opening with "It's a Thing," with the leader playing muted trumpet after Bickert's sprite guitar helps set the lively mood with Galloway's soprano suggestive of Johnny Hodge's alto, and the three trade fours towards the end. Nothing fancy about the Ellington evoking "Sprauncy," with the leader perhaps taking a nod towards Cootie Williams with his muted while playing in unison with Galloway's baritone sax as Swainson took a crisp bass solo. The peppy and playful "Squiggly" contrasts with a lazy blues groove on "Looking For Turner." One can hear some evidence of Armstrong's influence on Lyttelton's open trumpet on "Lady Jekyll and Mistree Hyde," a nicely paced performance with more marvelous soprano from Galloway. "Leisure World" is a fine blues with Galloway on baritone, with Bickert's chords and single note runs and the rhythm duo of Swainson and Clarke delivery their steady, swinging support.

No claim of musical innovation is made about the swinging jazz heard on "In Canada," It is a simple, straight-ahead, wonderfully played recording that provides plenty of  sounds to sit back, listen and enjoy.

I received my review copy from Delmark. This review appeared orioginally in the May-June 2015 Jazz & Blues Report (Issue 360). Here is a live recording (audio) of Humphrey in a more trad mode doing Benny Moten's "South."

Wild Bill Davison & The Jazz Giants

 

The Jazz Giants was a group assembled for a performance at Toronto's Colonial Tavern. The nominal leader of this group was cornetist Wild Bill Davison although pianist Claude Hopkins was the musical director. Others in the group included clarinetist Herb Hall, who like Davison was a mainstay of Eddie Condon's New York club; veteran trombonist Benny Morton whose career stretched back to Fletcher Henderson in the 1920s; bassist Arvell Shaw of Louis Armstrong's All Stars; and drummer Buzzy Drootin. This group was recorded following the gig at the Colonial and "The Jazz Giants" was the initial release on Sackville. Delmark has re-released it under that title but under Wild Bill Davison's name.

Davison was a highly energetic cornet player who like others of his generation was inspired by Louis Armstrong and his brash, driving attack and complemented by a fine band that on the surface is similar to Armstrong's All Stars (trumpet or cornet, clarinet, trombone, piano, bass and drums), a fact that the group's repertoire is grounded in a number of songs that are associated with Armstrong starting with the bustling swing of "Struttin' With Some Barbecue,"on which Hall contributes serpentine clarinet lines against the swinging rhythm section prior to Davison taking off with his marvelous attack, with Morton, Shaw and Hopkins all spotlighted with a short drum break at the end. The warmth Hall was able to convey convey is exhibited on the bouncy "Darnanella." "Black and Blue" (which is also presented in an alternate), was one of Armstrong's seminal recordings and receives a wonderful interpretation here (and Hopkins piano accompaniment merits notice). Listening to the performance here, one has a sense of the spirit of Pops' music.

Hopkins was one of the writers of "I Would Do Anything For You," which was first recorded by Hopkins and his Orchestra in 1932. The ensemble provides a nice small ensemble rendition with Davison's vibrato and use of tonal effects quite enjoyable while Morton adds a gruff lyricism, and followed by a relaxed groove for the trad staple "I Found a New Baby." One of the surprises of repertoire on this date is "Blue Again," revisiting another of Armstrong's classic performances from the late twenties and early thirties. If Pops had heard this performance, it would likely have made him smile. Davison displays a bit of his own lyricism on a lovely "I Surrender Dear" while "Yesterdays" is a feature for Shaw's Arco bass playing.

"The Jazz Giants" were a marvelous ensemble brought together for one gig and we are fortunate that John Norris and others collaborated on financing the recording of this group. This is swinging music of energy and high spirit that gets one toes dancing and one's spirits lifted.

I received my review copy from Delmark. This review originally appeared in the July-August 2015 Jazz & Blues Report (Issue 361). Here is Wild Bill Davison performing.

Marty Grosz and the Fat Babies Diga Diga Doo - Hot Music From Chicago

In an article in the Philadelphia Inquirer, guitarist and vocalist Marty Grosz proudly states that "proudly that his art has always sought to entertain rather than lull audiences into a stupor with what he calls "egghead jazz."" Grosz, who is 85, has a new album on Delmark with the traditional Chicago Jazz band The Fat Babies entitled Diga Diga Doo - Hot Music From Chicago. As Grosz notes in the liner notes for the CD, he last recorded for Delmark in 1959 as a sideman for an Albert Nicholas and Art Hodes session. Matching him with string bassist Beau Sample's "Fat Babies" made sense although he already had pianist Jim Dapogny, while at the time of recording tenor saxophonist Jonathan Doyle was in town and his pal Panic Slim played on the 2014 session (the album was recorded in 2013 and 2014).

Grosz brought his guitar and banjo for these sessions and the presence of Doyle along with the reeds of John Otto make for some fascinating and fun listening. Cornetist Andy Schumm impresses throughout as does Doyle's robust old-school sax. Grosz is primarily a chordal acoustic player and his solos are really more in the nature of short breaks. There are plenty of musical delights, and fans of hot Chicago-styled jazz will find so much to enjoy. While Grosz may be limited as a vocalist, he does have a Fats Waller-ish charm on Sweet Sue. A delight is Prince of Wails, a number I am familiar with from the incendiary Benny Moten Band version (at the session that also included Moten Swing). This is a marvelous rendition with pianist Dapogny putting this together and contributing some fine piano while Doyle and Schumm excel. The title track by McHugh and Fields was a staple of Duke Ellington's Cotton Club revue and Schumm opens playing a comb wrapped in newspaper while pianist Asaro shows some stride influence with Otto on clarinet. Plenty of fun.

A couple of numbers include Grosz's vocals including The Lady of Red, as he scats and conjures a club with these lovely exotic ladies before the Hot Babies add their spirited playing. There is the charm and humor of Rose of Washington Square, a feature for Fanny Brice from the 1920 Ziegfeld Follies and a lovely rendition of Irving Berlin's How Deep Is The Ocean. There are tunes from the repertoire of the Louisiana Five, Red McKenzie and Eddie Lang as well as the chestnut, A Good Man Is Hard To Find.

After The Lady in Red, this CD concludes with Marty Talks as he reminiscences and indicates his preferences for hot music. Tagged on at the end, folks can easily skip if they choose. There is nothing deep, or "egghead" about the music on "Diga Diga Doo," just highly entertaining and well played hot Chicago jazz that will delight those who love "traditional" jazz.

I received my review copy from Delmark. Here is a video of Marty Grosz in performance.

Evergreen Class Jazz Band Plays Early Tunes

Delmark's latest releases include a re-release of Jump Records Early Tunes 1915-1932 by The Evergreen Classic Jazz Band. Originally issued in 1995, this CD has them rendering  interpretations of songs from the mid-nineteen teens until the early thirties. This Seattle ensemble is led by Tom Jacobus who plays brass bass (tuba) and string bass; and includes Craig Flory and Jake Powel on reeds; David Holo on cornet; David Loomis on trombones, kazoo and vocals; Dan Grinstead on piano; Al LaTourette on banjo; and Dale Roach on drums.

The brief notes on the back cover note that many of these performances were originally done by larger ensembles, but the Evergreen Classic Jazz Band (particularly Jacobus) have arrangements of these for the octet. This is a nicely performed traditional jazz album with an effort to evoke the sound and feel of such bands as Jimmy Noone, Erskine Tate, King Oliver and His Dixie Serenaders and Tiny Parham. There is plenty of spirit to be heard in the classicist approach they have starting with the exuberance of the opening Stomp Off, Let’s Go, to the swinging rendition of an early Bennie Moten recording Ding Ding Blues.

There is the twenties Oriental exoticism of Tiny Parham’s On the Bay of Old Bombay, with nice cornet from Holo, who may be overall the most consistent, and least dated sounding solicit here. The reeds of Flory and Powel are displayed to good effect on the lovely rendition of Jimmy Noone’s Apex Blues. The vocals on a King Oliver recording Got Everything are pretty corny (think about Rudy Vallee on a megaphone) but the plunger mute playing is solid. Loomis’ gutbucket trombone is a counterpoint to Powel’s soprano sax on Sidney Bechet’s Blues in the Air, which is followed by a lively performance of Fats Waller’s Minor Drag.

The rendition of the Joplin/Marshall Swipesy Cake Walk is in a classic ragtime orchestra vein (think about Joplin’s “Red Back Book’), while  Grinstead does a solo rendition of the Joe Jordan rag Nappy Lee. The novelty  Play Me a Frigid Air, has a dead pan vocal of the somewhat inane lyrics and followed by a strutting rendition of Stock Yards Strut. This was perhaps trumpeter Freddie Keppard’s most famous recording. It is played with stop time effects and a nice clarinet solo. Folks will know She’s Funny That Way from the classic Billie Holiday recording (He’s Funny …). The rendition here employs Jimmie Noone’s arrangement with  lovely playing although a forgettable vocal.

Other remakes include a lesser known Louis Armstrong Hot Five recording Put ‘Em Down Blues and a solid rendition of Duke Ellington’s Ring Dem Blues, although Powel’s bass sax solo sounds a bit awkward. This a pleasant traditional jazz recording with a number of vibrant performances. Those who enjoy this should check out the Delmark recordings of the youthful contemporary Chicago ensemble, The Fat Babies.

I received my review copy from Delmark. Here is a 2014 performance of Stomp Off, Let’s Go.

Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings

It was 65 odd years ago that the great Louis Armstrong in May, 1947 did his first small group performance in many years at New York City’s Town Hall. The performance was such a success and combined with the fact that Armstrong’s Big Band was struggling, he disbanded his band band a month later. After performing with his new small group at Billy Berg’s in Hollywood, he came to Boston’s Symphony Hall in November, 1947 for a performance that would be recorded and be celebrated when it was initially issued on two LPs a few years later. Hip-O-Select has just released Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings, which includes several previously unissued performances and several performances unedited for the first time.

Armstrong and the All Stars included in addition to the leaders’ trumpet and singing, Jack Teagarden on trombone and vocals, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass and Big Sid Catlett on drums. Velma Middleton was also on vocals. The music here was in the format that Armstrong would employ leading groups for the rest of his life and while personnel would change (Catlett would pass away around the time of the original release of this material in 1951). 

Included are two sets of music totaling about two hours. Both sets open with abbreviated renditions of Armstrong’s theme, When It’s Sleepy Time Down South, and close with short treatments of I Got a Right to Sing the Blues, associated with Teagarden. Listening to the first CD, one is treated to a rousing Muskrat Ramble, followed by the poignant song about racism (What Did I Do To Be So) Black & Blues. After taking us to Chicago on Royal Garden Blues, Teagarden is showcased for Lover and Stars Fell on Alabama with a nice vocal from Mr. T. A couple vocals from Velma Middleton include a take on Buddy Johnson’s Since I Fell For You, followed by Bigard features on Tea For Two and Body and Soul. Armstrong then takes a traditional blues Back O’Town Blues, a staple still of New Orleans bands today that is followed by a showcase for Catlett’s spectacular stick work, Steak Face.

The second set displays a similar variety of material as Armstrong opens with old favorites of his including Mahogany Hall Stomp, On the Sunny Side of the Street and the parade classic High Society. Teagarden was always at home with the blues and does a nice version on St. James Infirmary, while Velma Middleton’s Velma Blues is a mix of traditional lyrics. Its followed by her taking the initial vocal on That’s My Desire before Armstrong joins in for some fun. Bigard is featured on C Jam Blues, while bassist Shaw is spotlighted on How High the Moon. Catlett again gets to display his showmanship and deft drumming on Mop Mop although one can hear him failing to catch one of his sticks as it crashes into the stage. The last number of the performance (before the closing theme) is the previously unissued Jack Armstrong Blues that the two had recorded originally on a V-Disc. In addition to the two swapping lyrics, there was some spectacular playing by both here.

While there is occasional noise from the source material, sound is generally quite good. This is packaged in a small hardback with the accompanying booklet including the original 1951 notes as well as the more recent observations (including how this reissue came about) from Ricky Riccardi who is the Archivist for the Louis Armstrong House Museum. This is one of the classic traditional jazz recordings and one of the most legendary performances of Armstrong’s career which thankfully is finally available in a complete issue.

The record company sent me the review copy. Here is video of a later edition of Louis Armstrong and the All Stars.

The Classic Jazz Piano Of Art Hodes and Don Ewell

A new release on Audiophile, one of the George Buck Foundation family of labels is a CD split between the groups of pianists Art Hodes and Don Ewell Art Hodes Quintet/ Don Ewell Quartette. The Hodes session reissues Some Legendary Art and dates from a 1957 session with Eddie Burleton on Clarinet, Marty Grosz on guitar, Truck Parham on bass and Freddie Kohlman on drums. The Ewell 1959 session reissues Yellow Dog Blues which also had Grosz on guitar, along with Nappy Trottier on trumpet and Earl Murphy on bass. Both sessions were produced and supervised by Ewing D. Nunn.

Hodes was certainly a fine pianist well versed in the blues and the classic New Orleans and Chicago jazz traditions with the songs from the 20s and 30s starting with After You’ve Gone, and including Apex Blues, I Found a New Baby and Chimes Blues. Clarinetist Burleton is a new name to these ears but certainly plays well whether on Ain’t She Sweet, or B-Flat Blues with its three in the morning feel. Grosz acoustic 4-string guitar mostly provides chords to help propel the groove. On Apex Blues where Burleton and Kohlman sit out, takes a brief solo as he does on Ain’t She Sweet. The spare trio setting of Apex Blues” and also Chimes Blues, provides a setting in which Hodes displays his blues playing with a light touch. He conjures up more of a weary, late night feel as opposed to more of a stomping barrelhouse style. He does swing a bit harder on Angry. I have never heard a poor recording from Hodes, and this session with Grosz’s guitar is no exception.

I am not as familiar with Don Ewell, who grew up in Baltimore, before becoming another prominent pianist who was influenced by Jelly Roll Morton, Earl Hines and similar pianists. Ewell became part of the New Orleans revival working with Bunk Johnson and Baby Dodds, and later with Sidney Bechet, Muggsy Spanier, Miff Mole,Kid Ory, and Jack Teagarden. This drummer-less date opens with Michigan Water Blues which he opens with Grosz joining in with Trottier adding some nice trumpet. On Atlanta Blues there is a similar approach with the pianist's thoughtful bluesy playing followed by a brief guitar solo and then Trottier rides the song out. Trottier opens Tishomingo Blues with wistful playing before some nice bluesy piano. Like Hodes, Ewell plays with restraint yet a crisp attack that generates a bluesy feel. There is a nice mix of material including George Bo Bo (originally recorded by Louis Armstrong’s Hot Five under the name of Lil’s Hot Shots); and New Orleans Hop Scop Blues by George Washington Thomas (Sippie Wallace’s older brother). Trottier does not play on the earlier number, but opens New Orleans Hop Scop Blues, with a hot chorus before Ewell takes the lead, then takes a very nice solo with some nice muted playing that lend a bluesy flavor which Ewell adds some nice piano embellishments to. 

A nice rendition of the W.C. Handy composed Yellow Dog Blues concludes the reissue of the Ewell album. Both Hodes and Ewell are masters of the traditions explored here and approach the material in similar, but distinct styles. With the supporting players (especially Grosz whose four-string guitar enhances both sessions), this album presents some marvelous classic jazz. 

I purchased this. It is available from www.jazzology, louisianamusicfactory.com and other online retailers. Here is Art Hodes performing with Wild Bill Davidson.

The Fat Babies Are Chicago Hot

Its surprising to hear a jazz band whose members are in their twenties and thirties and devote their talents to the hot jazz that would be heard in Chicago in the twenties and thirties. That is The Fat Babies, whose debut Delmark CD, Chicago Hot, has spirited interpretations of songs associated with Louis Armstrong, Bix Beiderbecke and King Oliver. The band is comprised of leader Beau Sample on bass; Andy Schumm on cornet; Dave Bock on trombone; Jake Sanders on banjo; Alex Hall on drums; Paul Asaro on piano and John Otto on clarinet and saxophones. Mike Walbridge guests on tuba for the last of the 16 tracks.

There are plenty of youthful bands that approach materials from this era in a campy fashion. One thing to appreciate about The Fat Babies is that they play this music straight. That doesn’t mean that their performances are sterile recreations. There is pretty of life here from the opening Snake Rag, from King Oliver; San, a number associated with Bix Beiderbecke; the pop standard I Surrender Dear, that was so memorably performed by Louis Armstrong; Weary Blues that has become a staple of the New Orleans traditional scene; and Tight Light This, that was a celebrated recording by Louis Armstrong and His Hot Five.

Schumm’s cornet playing, based in Bix Beiderbecke’s lyrical style, stands out. He is, however, quite capable of generating fireworks as on Tight Light That, where Armstrong’s influence is a bit more prominent while the rest of the band provide support. Snake Rag and Jelly Roll Morton’s Froggie Moore, (another song associated with King Oliver’s Creole Jazz Band), impress with the band's marvelous ensemble work and the contrapuntal playing between the horns. Pianist Asaro is featured on the Gershwin classic, Liza (All the Clouds’ll Roll Away), as he opens wistfully before picking up the tempo and turning this into a piano stomp. He incorporates ragtime and stride while supported by the understated rhythm section and trading fours with Hall. Asaro also has a nice chorus on Tight Like That as does clarinetist Otto.

Kim Cusack, a veteran of the traditional Chicago jazz scene, observes that not only has this band appealed to listeners old enough to be grandparents of the band members but also have a substantial youthful following. Listening to the performances on Chicago Hot, one can understand the appeal of The Fat Babies crisp and spirited playing that has goes beyond the existing audience for traditional jazz.

I was provided a review copy from Delmark. Here is a video of The Fat Babies performing Snake Rag with a few enthusiastic dancers.

Thomas Jefferson With His New Orleans Creole Jazz Band

New Orleans trumpeter, Thomas Jefferson, was best known as a leader of traditional jazz bands. The Chicago native came to the Crescent City early in his life. In the 1930s he led a band that included vocalist Smiley Lewis and pianist Tuts Washington, both individuals who were legendary figures in New Orleans music in the fifties and sixties. Jefferson is more obscure, but a release on George Buck's GHB label, With The New Orleans Creole Jazz Band 1961 provides us a glimpse of his music.

This disc was originally issued on the Southland label and brings together two sessions. One session had Jefferson with a small group led by drummer Monk Hazel that also included Armand Hug on piano, Sherwood Manglapane on bass and whistling and Joe Caprano on guitar. The other session was with Jefferson's band that included Sam Dutrey on clarinet, Waldren 'Frog' Joseph (Kirk's father) on trombone, Lester Santiago on piano, Gerry Adams on bass and Paul Barbarin on drums. 

Listening to Jefferson's trumpet, vocal and repertoire it is apparent that Jefferson was under the influence of Louis Armstrong. He is a melodic trumpeter and singer whose music has a genial quality that is very easy to listen to as evident on the opening In The Shade Of The Old Apple Tree. Caprano is wonderful with his single note backing to the vocal on Breeze. The traditional Back O'Town Blues, is a nice mix of gut bucket and sophistication with Jefferson's low-key vocal with excellent backing (Caprano's playing under the vocal is again marvelous).

The session with his Creole Jazz Band has a different feel with its three horn front line. Blues From Yesterday opens as Frog Joseph and Santiago accompany his vocal. It is followed by a cleanly played version of Dippermouth Blues. Other songs at this session include swing staples If I Could Be With You, and "Rose Room," as well as another staple of New Orleans jazz Basin Street Blues. The vocalist on the band's cover of Billie Holiday's Fine and Mellow, is not identified but does a nice take with Jefferson adding nice trumpet behind her vocal. The spirited Mardi Gras Parade closes this extremely entertaining album of swinging New Orleans jazz.

I purchased this CD.

Mike Walbridge’s Chicago Footwarmers' “Crazy Rhythm”

Traditional jazz tuba-ist Mike Walbridge has been active on the Chicago scene for forty five years as leader of The Chicago Footwarmers and a member of the Chicago Salty Dogs. Clarinetist/alto saxist Kim Cusack has been jamming with Mike since their teens! The new Mike Walbridge’s Chicago Footwarmers release, Crazy Rhythm (Delmark) brings together some terrific traditional jazz from the sixties (originally issued on the Blackbird label) with new recordings from 2007. In addition to Walbridge and Cusack, the sixties recordings include Johnny Cooper, piano; Eddie Lynch, banjo; Glen Koch, drums; while the 2007 recordings feature Don Stiernberg, banjo / guitar; Bob Cousins, drums.

The band takes its name from the recordings that included legendary clarinetist Johnny Dodds and pianist Jimmy Blythe and other bands have used the name over the years. Walbridge’s combo, provides a lively, fun take on the music of such bands. Cusack is the main soloist while some space is provided to the Johnny Cooper’s solid two-fisted playing on the earlier sessions, and there are banjo breaks throughout. 

The renditions of such period numbers as Sugar, Angry, and Nobody’s Sweetheart, are done at such a nice relaxed tempo. Walbridge takes a short tuba solo to get the mood set on Tin Roof Blues, before Cusack enters with a lovely clarinet solo on a marvelous instrumental blues. Some may be familiar with Fats Domino’s hit When My Dreamboat Comes Home. This song is a staple of the traditional jazz repertoire, and the rendition here is nicely done with Cusack on alto, while they rip through the trad jazz flagwaver, ‘Nagasaki’ with Cusack on alto, Cooper pounding out a solo, Lynch takes a crisp break on banjo, as Walbridge pumps out the rhythm on the tuba and Koch swings the performance along. Darktown Strutters Ball, is taken at such a nice relaxed tempo while Love Me or Leave Me has a nice indigo feeling. 

It is easy to play this type of music that comes across as a parody or camp. Over the years Mike Walbridge and Kim Cusack have brought plenty of soul and feeling to traditional jazz that is evident on here.

I received my review copy from Delmark. Here is the Western End Jazz Band, which includes Mike Walbridge, performing Nobody's Sweetheart.

Chris Barber's Memorable Musical Journey

In celebration of Chris Barber’s 80th Birthday, Proper Records has compiled a double CD compilation of performances, Memories Of My Trip, that display how central a figure on the English music scene for six decades. The performances give a suggestion of the breadth of his musical interests which are centered around jazz, blues and skiffle. While several years ago there was a three CD series of primarily blues recordings from the 50s and 60s, the present compilation is more of a retrospective of some the many legendary and contemporary performers in performance with him. Barber himself provides recollections of the performers and the songs heard herein.

Opening is a Brownie McGhee recording from a Folkways recording of McGhee, that provides this compilation with its title, presenting McGhee’s fond recollections of his European travels with Chris and his traditional jazz band. McGhee, and his partner Sonny Terry, are heard on two selections with the traditional gospel number Do Lord, Do Remember Me. It is a spirited ensemble performance with Ottilie Patterson, Barber’s regular vocalist sharing the lead with Brownie. Weeping Willow is a recording of Barber on trombone with Eric Clapton taking the vocal and playing guitar. Muddy Waters and Pinetop Perkins can be heard on an enthusiastic rendition of Kansas City, with Muddy vigorously calling out for Chris. It is followed by a nice James Cotton performance backed by Alexis Korner on guitar and Chris on bass.

Rory Gallagher is heard playing slide and singing Muddy’s Can’t Be Satisfied, with just Barber’s bass and this is followed by Lonnie Donegan doing a raucous Diggin’ My Potatoes, backed by a full band. Barber traveled to Canada to play with Jeff Healey and His Jazz Wizards for a atmospheric blues Goin’ Up The River, with Barber singing and playing nice tailgate trombone along with the able support of Healey’s restrained guitar and trumpet. Van Morrison is heard on two nicely sung blues performances from a 1998 performance and a somewhat over-the-top vocal on Oh Didn’t He Ramble, from 1976 on a session that also included Dr. John. Ottilie Patterson herself was featured on Lonesome Road, while gospel legend Alex Bradford takes the lead on Couldn’t Keep To Myself where Chris and other band members provided the backing vocal chorus.

Traditional jazz with a New Orleans flavor is represented by selections by such important artists of the time as clarinetist Edmond Hall with a nice medley that included St. Louis Blues, and a brilliant version of the New Orleans jazz staple, High Society. Keith Emerson would be better known as a member of Emerson Lake and Palmer, but when he recorded Rock Candy in 1966, he was playing organ in the vein of Jack McDuff and Jimmy McGriff. Barber’s trombone spices up to this funky blues instrumental. A couple of selections feature former members of Louis Armstrong’s All Stars as Trummy Young brings his vocal and trombone (in addition to that of Chris) for Georgia On My Mind. Clarinetist Joe Darensbourg is heard on an intimate small group recording of a swing staple, “Rose Room.”

Another New Orleans clarinetist, Albert Nicholas, is spotlighted on the Ellington staple, “C-Jam Blues,” with lovely guitar from John Slaughter while Stu Morrison’s jangly banjo adds a clipped rhythmic flavor behind Nicholas’ very fluid playing. Eddie Durham was arranger for Count Basie and other bands, and one of the first jazz electric guitarists to record. He was also a trombonist of considerable capability and is featured on a blues that was called “Jack Teagarden Blues” after that famous trombonist.

After “Tailgate Boogie,” featuring the piano of Sammy Price, the CDs close with performances with Jools Holland and Mark Knopfler (of Dire Straits fame). Holland’s rendition of Jelly Roll Morton’s “Winin’ Boy Blues” is a marvelous rendition of this classic. Knopfler is on an appealing low-key rendition of The Delmore Brothers’ “Blues Stay Away From Me,“ with some lovely trombone from Barber along with a lovely updating of the Dallas String Band’s ”Dallas Rag” that opens with some nice picking from Knopfler. Pat Halcox’s trumpet is also quite nice here. These are very amiable performances that conclude a varied and entertaining release. Memories Of My Trip is Chris Barber’s own musical capsule of a musical life well lived.

My review copy was provided by a publicist for the recording. Here is a video of Chris Barber.

Chris Barber's Blues Legacy Lost and Found

Trombonist Chris Barber has been a mainstay of the British trad jazz scene for over five decades. With Lonnie Donegan he helped lunch the skittle music scene with ‘Rock Island Line,’ while his own band backed numerous legends including some from the world of blues and gospel. Not long ago he came across some old 1/4 inch magnetic tapes of some of the legendary blues artists he brought over to England in the 50 and 60s. The result are three volumes, Chris Barber Presents The Blues Legacy: Lost and Found Series (MVD Audio).

Volume 1 opens with Barber introducing Sister Rosetta Tharpe, the legendary gospel singer and guitarist. When she arrived in England with her arrangements from her days with Lucky Millender’s Big Band, Barber and his combo was flustered, but were able to back her on a variety of her classic sacred repertoire including Every Time I Feel the Spirit, Didn’t It Rain, Up Above My Head I Hear Music In The Air, and Old Time Religion, with the backing provided by barber and his band matching the exuberance of her performance if the overall sound of the performances occasionally sounds messy and chaotic. This Train, is performed solo with some fine guitar featured and her effectively dramatic vocal. Vocalist Ottilie Patterson joins her for one of two renditions of Old Time Religion, and When the Saints Go Marching In. The rest of this volume is devoted to performances by Sonny Terry and Brownie McGhee who mostly perform without a band and are in typical form for the two opening with Midnight Special, Climbin’ on Top of the Hill (a reworking of Sitting on Top of the World), the remarkable harmonica feature Fox Chase, How Long How Long Blues, another harp solo Callin’ Mama Blues, and Betty and Dupree. While the repertoire will be familiar, these concert performances are strong ones. Also included is an joyous duo version of When the Saints Go Marching In, followed by Little Light of Mine, on which Barber and band and accompaniment although playing somewhat more restrained here. Chris Barber and Band close with another gospel number with Ottilie Patterson taking the front stage.

Volume 2 opens with Chris Barber’s contemporary recollections of the 1958 recordings by Brownie McGhee & Sonny Terry that open this volume. There is a nice duo of Poor Man Blues, while Ottilie Patterson takes lead on the vocal backed by Barber and the duo on When Things Go Wrong, and How Long Blues. Barber provides another spoken introduction to the performances by Muddy Waters with Otis Spann presented here, which he noted was an amazing experience. Muddy and Spann were terrific and Barber’s band does a credible job in support although the drummer on several tracks is a bit stiff and tad heavy handed. Repertoire played included Hootchie Kootchie Man, Blow Wind Blow, Baby Please Don’t Go, Long Distance Call, I Can’t Be Satisfied,Blues Before Sunrise (an interesting to hear Muddy refer to this as originally made by a friend of his before he died), and Walking Through the Park. Muddy goes solo on ‘Rolling Stone,’ and revisits ‘Feel Like Going Home.’ Spann is exceptional while Barber and the band try to be unobtrusive in supporting Muddy, who certainly sounds fine here. Perhaps not indispensable, these tracks are a nice addition to Muddy’s discography in any event Next up are fine three tracks by Champion Jack Dupree including a nice Christmas blues, a humorous lament about his mother-in-law, and his own very distinctive rendition of Tampa Red’s When Things Go Wrong. The disc closes with a 1962 performance by the great Louis Jordan with whom Barber’s traditional jazz band provides nice support for a nice duet between the saxophonist-vocalist Jordan and Ottilie Patterson on T’aint Nobody’s Business. There is a nice mix of performers and some genuinely good performances on this volume.

Sonny Boy Williamson opens the final volume, Volume 3, with some performances from 1964. Barber mentions the great shows presented by Lippman and Rau which led to his performance that opens with United Blues/ Help Me as the band plays the melody before Williamson enters with his harp and launches into the song. Then Barber recalls some of the performances of him including some jazz songs like ‘C-Jam Blues,’ as well as staples of his repertoire as So Sad to Be Lonesome, his reworking of Robert Lockwood’s Take a Little Walk With Me, Bye Bye Bird, Your Funeral, My Trial, and Pontiac Blues. Like Brownie and Sonny, he closes his set with some gospel songs, Saints, and This Little Light of Mine, with Ottilie Patterson sharing the vocal.’ The music does get a bit chaotic but still remains fun with the joyful sound and Sonny Boy’s harp blends well with the trad jazz backing. Jimmy Witherspoon came over in 1964 and played at a festival Barber helped organize, and Spoon sounds terrific on his first trio of tunes, although the backing remains a bit rough on Times Getting Tougher Than Tough, and Roll ‘Em Pete. The backing behind Howlin’ Wolf with Hubert Sumlin seems a bit tighter as Wolf howls through Howlin’ For My Darling, Dust My Broom, and May I have a Talk With You. Sumlin sounds really good if a bit underamplified while Wolf’s vocals are ferocious, and the backing band almost sounds like a urban blues band as opposed to a Dixieland group. Jimmy Witherspoon has five more vocals to close this set, and the backing is a bit more together here as he reprised Everyday I Have the Blues, and When I’ve Been Drinkin’.

There are some very good performances on all three volumes although I give the nod to those on the latter two volumes. One would be hard-pressed to call any of these essential but fans of Muddy, Sonny Boy, Wolf and Spoon will especially find performances that may merit their consideration.

I recently received a double CD in commemoration of Chris Barber’s 80th Birthday which I hope to write-up shortly. I noticed that I had never posted this review of three blues-related CDs by this important English musician and music evangelist. This review originally appeared in the July 2008 Jazz & Blues Report (Issue 306). I likely received my review copy from a publicist.

Kelly Carmichael's "Queen Fareena" Recalls Skiffle Bands

With an interest in both acoustic blues and old time string band music, one-time hard rock guitarist, Kelly Carmichael brings this unusual background to his skittle band styled performances on his new release Queen Fareena (Doghouse Records).

Carmichael was born in Tennessee, raised near Atlanta and lived near Frederick, Maryland since 1980 when he first heard some old country blues. A multi-instrumentalist, he plays guitar, banjo, xylophone and bones on this set with a small rhythm section and accompanists on accordion, fiddle or brass on various tracks, creating a fascinating recording.

The small group arrangements provide fresh, if sometimes messy sounding, settings for songs from Mississippi John Hurt, Reverend Gary Davis, Robert Johnson, Blind Blake and others. Hurt’s Richmond Women Blues, opens and Brad Simms’ accordion gives it some Louisiana spice, while Gary Davis’ She’s Funny That Way, features some traditional jazz sounding brass. Robert Johnson’s Last Fair Gone Down, is done almost as a strutting ragtime string band piece with nice fiddle by Alexander Mitchell. Rev. Davis’ Cincinnati Flow Rag also sports trumpet and trombone providing a somewhat cluttered accompaniment.

Salty Dog, credited to John Hurt, is an old standby of the traditional jazz field and bluegrass, but Papa Charlie Jackson’s medicine band-hokum recording is evoked by the jazzy here, with Scott Rich’s muted trumpet effective, with more of the same flavor on Come On Boys Let’s Do That Messin’ Around, and Sylvester Weaver’s Guitar Rag, has a bit of old time country flavor with Carmichael’s dobro playing and Mitchell’s fiddle.

Carmichael is an adept musician, and a capable singer but many of the performances would have benefited from a bit less cluttered backing (the drummer might have played lighter and simpler accompaniments for example). Even if not compelling, Queen Fareena, will appeal to many including fans of skiffle band music and the revivalist jug bands of the folk revival. This cd is available at cdbaby.com.

This review was written in 2009 (and a few minor changes made) but I do not believe it was ever published. My review copy was provided by a publicist.

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.