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31 January 2017

Post 472: 'CRUMPLED PAPERS' - MYSTERY SOLVED

A few years ago, a new tune appeared on the streets of New Orleans.

I heard that it had been used in the TV series Tremé, where it had been played by the most important band in the 21st-Century Revival of traditional jazz - Loose Marbles.

It is a tune I like and recommend, for several reasons. It is short (essentially a 12-bar theme), lively  and very catchy. It is in a minor key (D minor) and it's good to have a minor-key tune in our programmes occasionally. As it seems to use a very small number of chords (possibly only D minor, G minor and and A7th), it is also easy to improvise on.

It was called Crumpled Papers and I could find no reference to it in earlier jazz literature. So where had it come from? Who was the composer?

For a long time, that was an unsolved mystery. However, John Dixon has let me know it is a Michael Magro tune. John told me: Michael ‘wrote’ this, as in just came up with a nice simple melody for a basic 12-bar minor blues. We actually recorded this a couple years ago with him on clarinet, Marla on trumpet, Tyler on bass, Justin on snare drum, and Ben Polcer on piano. Not sure if the recording will ever see daylight though.

So the mystery is solved. Michael, as you probably know, founded Loose Marbles way back in September 2000 and he still runs that band in New Orleans today.
Michael Magro

Modest though its beginnings may have been, Crumpled Papers is a great little tune, given the way it lends itself to improvisations. Have a listen to it, as played by Tuba Skinny. There's a choice of videos:


For a slightly more pedestrian performance, but less affected by audience noise:


Thanks as ever to those two great video-makers digitalalexa and RaoulDuke504.

28 January 2017

Post 471: ADVICE FOR VISITORS TO NEW ORLEANS

You're planning a holiday in New Orleans? It will be your first time there? Great. You will love it.
The best way to get around in the French Quarter, where most of the jazz is to be heard, is on foot. The entire French Quarter is small - only about half a square mile in total. However, until you get used to it, be careful how you tread on those pavements (sidewalks), because - as at 2017 - there were still thousands of fractures and fragmentations awaiting repair.
My friend and keen video-maker James Sterling from Florida has visited New Orleans much more often than I have; and he has asked me to pass on his own recommendations. He says you should get out of the French Quarter occasionally, particularly by using the St. Charles Streetcar which will quickly take you to the Garden District, with its stately mansions, hotels and restaurants, as well as the fine Audubon Park and Zoo. Then there is Magazine Street. You can visit it while in the Garden District. It is lined with quirky shops, pubs and eateries and is just a five-block walk from the streetcar line. That is a very good tip - not one that many people would think of.

And James enjoyed the World War II Museum in the Warehouse District, just up-river from the French Quarter. In addition to the displays, it has a theatre with live revues of music from the WWII era.

James says he goes to New Orleans for the food as much as for the music. He says: 'There are too many excellent restaurants in NOLA to list but my favourite is Coquette on the corner of Magazine and Washington in the Garden District.' He also mentions Brennans for a great brunch, and Coop's Place, Johnny's Po-Boys, The Gumbo Shop, and The Central Grocery for excellent reasonably-priced food. Café Envie in Decatur Street is good for pastries, coffee and breakfasts.

For a place to stay, James likes the many bed-and-breakfast inns. He says: 'You will get a private room usually in an old mansion with personal service from the inn-keeper and will meet new friends around the breakfast table. For rooms at reasonable prices (for NOLA) I recommend The Richelieu, Hotel Provincial, LaMothe House, and The Frenchmen Hotel (get a room in the back away from the street noise).'

There are indeed plenty of hotels and other forms of accommodation. Imagine you stay at a hotel in Burgundy Street, somewhere near the junction with St. Ann Street. It will be a mere 5-minute walk to Preservation Hall, or 12 minutes to the Palm Court Jazz Café.

It will take you only a quarter hour to walk to Frenchmen Street, which is just beyond the French Quarter at its north-eastern edge; and there in the evenings (and some afternoons) you will find such great bars and clubs as the dba, The Maison and The Spotted Cat, where some wonderful bands regularly play.

From 11 a.m. daily, you will be able to hear great busking groups if you head to Royal Street (five minutes on foot from your hotel).
Buskers in Royal Street
You will of course enjoy sampling all the other amazing things the French Quarter has to offer, including, as Jim says, plenty of fine eating places. You must have a stroll by the Mississippi – maybe heading down to the Riverwalk Shopping Mall, which I like very much. On the way to it, you could visit the Audubon Aquarium of the Americas. On another day, head left alongside the river to a different kind of shopping experience – the famous and massive French Market.
The French Market
Of course you will dawdle among the artists in Jackson Square (where there is usually also some lively jazz busking).
And you may visit special events at The Mint, or take rides on the streetcars to the Garden District .
Or go to the huge City Park, or have a river trip on the Natchez. Or you might care to cross the River on the ferry to Algiers.
The Mississippi and New Orleans
Maybe you will go on one of those 'Bayou' tours or a 'Cemetery' tour (easily bookable - you will see them widely advertised. James particularly recommends the Lafayette Cemetery just one block south of St. Charles Avenue). This is well worth doing on your first visit.

My advice would be to give the garish and vulgar Bourbon Street only a few minutes of your time. I suppose it's worth seeing, if only to convince yourself that such a street really exists. And you will hardly be able to avoid it, as it's right there in the centre of the French Quarter. But if you are a serious traditional jazz fan, there are far better places to be.

But please don't take me as authoritative. I live 4500 miles from New Orleans and have been to the City only seven times during the last 30 years, so (even with help from James) I don't claim to be an expert. I am simply giving you a few personal impressions that may be of some use.

On my first visit, when I was about 50 years old, I spent most evenings at Preservation Hall. I heard such players as Harold Dejan, Milton Batiste, Narvin Kimball, Percy Humphrey, Willie Humphrey, Danny Barker, Frank Demond, Kid Sheik Colar and the very young Greg Stafford. But in recent years I have spent my evenings in the bars and clubs of Frenchmen Street to catch the exciting new generation of great bands that have evolved in New Orleans since Hurricane Katrina.

A couple of further points:

1. Transport between the aerodrome and the City Centre (about 15 miles) is easy. There are plenty of taxis. And some hotels run shuttle services. Recently a taxi cost 40 dollars (including tip) for a single trip. But there is also a regular bus service (the Jefferson E.2 Transit) which is efficient and remarkably cheap (about a couple of dollars), which I have also used. Obviously get up-to-date timetables from the internet.

2. When is the best time to go? All the year round there is good jazz. However, bear this point in mind: in June, July and August it can be extremely hot – maybe too hot for comfort. Even some of the musicians make this the time of year when they head north and tour in cooler States, or fly to other continents to play at festivals. The French Quarter Festival (in April) is recommended as there is an organised programme with dozens of bands giving free concerts on temporary stages in many of the streets. However, bear in mind that the crowds can be huge and you may have the disappointment of not being able hear your favourite bands in the best possible conditions.
Jackson Square during the French Quarter Festival

Also, unsurprisingly, hotel prices tend to be quite a bit higher during festivals. So you may prefer to go at a 'quieter' time when you will be able to spend your evenings in the clubs, hearing your favourite bands in conditions that are acoustically better and less crowded.

25 January 2017

Post 470: THE YOUNG JAPANESE KEEP OUR MUSIC ALIVE

I have written before about the great achievements of young musicians in Japan who are mastering traditional jazz, keeping the music alive and perpetuating it for future generations. About 200 videos of those young Japanese bands uploaded on YouTube by ragtimecave have given great pleasure, as many of you have written to tell me.

In December 2016, young Japanese players in various combinations played our music at a concert - the 55th Recital of the Waseda University New Orleans Jazz Club, through whose ranks a number of great musicians have passed over the decades.
There was some storming playing. Have a look, for example, at this performance of Wolverine Blues:
https://www.youtube.com/watch?v=v5bK7lFNYVA
What is very clear is that learning to play traditional jazz has been a serious part of the curriculum in some Japanese high schools. Here's a typical scene from about the year 2004:

One of the greatest of the young musicians (much loved, I know, by many of you) is the clarinet player Makiko Tamura. You can hear her in two videos performing Over the Waves:
(1) with the wonderful Natsuko Furukawa on keyboard here:
https://www.youtube.com/watch?v=8epDHtq1uRY
(2) with The New Orleans Jazz Hounds here:
https://www.youtube.com/watch?v=KBuXLwcnvvg
And there is some fine playing in this recent video, including an exciting Viper Mad in Ab. You may note the impressive and ubiquitous Kensuke Shintani on clarinet and Naho Ishimura on trumpet:
https://www.youtube.com/watch?v=A2HI4IQUXHk

Have a look at these two videos for some delightful surprises:
1. A well-drilled high school band plays 'Who Stole My Heart Away?' at
https://www.youtube.com/watch?v=2QvYkU8cf68
The young ladies who sing in harmony are Makiko Tamura and Airi Shishido.
2. A 'Big Band' plays 'Stardust' at
https://www.youtube.com/watch?v=xUsxzkDKLNE

If you find these interesting, you will also be able to locate more videos from similar sources. For example, what about this extraordinary performance of  'Weatherbird Rag'?
https://www.youtube.com/watch?v=C5ousAaG9gI

And don't forget the wonderful Japanese banjo player, Ken Aoki, who was to be seen playing with the youngsters in the Who Stole My Heart Away? video (above). You may also admire his talents by watching this video:
https://www.youtube.com/watch?v=j714N05_SeQ
There are several more for you to explore on YouTube.

22 January 2017

Post 469: JOHN ZARSKY AND THE TRAD STARS

Yet another interesting young band has come to my attention (mainly through YouTube) in recent days. It is based in New Orleans.

Actually it would be better to describe it as A Young Man with a Project rather than a Band, because it does not seem to have regular personnel. Various groupings of talented musicians from other bands are assembled under the name of John Zarsky and The Trad Stars.
I know nothing about it apart from what is revealed on YouTube and the band's webpage. Sample them (in quintet form, without drums) playing Milenburg Joys here:

John Zarsky is a young singer, arranger and trumpet player who seems to have studied (presumably music) at the University of Texas in Austin and then to have settled in New Orleans, perhaps in 2012.

He sets himself the goal of playing the works of Morton, Ellington, and many others as well and as respectfully as he possibly can. It appears that, to achieve this, he prepares charts (some of them inevitably complex) and then recruits four of five of the finest reading musicians based in the City to play them with him.

To judge from videos and the album produced, these musicians have been the following (not to mention a few more I can't identify) - a stellar cast indeed:

John Zarsky - trumpet and vocals
David L. Harris - trombone
Haruka Kikuchi - trombone
Charlie Halloran - trombone
Colin Myers - trombone
Joe Goldberg - clarinet
Chloe Feoranzo - clarinet
Jason Danti - clarinets and sax
Mark Weliky - guitar, banjo
Alex Belhaj - banjo
Cassidy Holden - string bass
Calvin Martin - string bass
Jason Jurzak - sousaphone
Devon Taylor - sousaphone
Mike Voelker - drums
Geoff Clapp - drums

There is a well-recorded video of a sextet line-up. The performance includes The Uptown Ruler (a composition by Zarsky himself). And in You Made Me Love You When I Saw You Cry, there is a notable bowed solo chorus on the string bass by Cassidy and a pretty improvised chorus by Chloe Feoranzo. You can watch the video here:

19 January 2017

Post 468: SHAKE 'EM UP JAZZ BAND AT ABITA SPRINGS

Molly Reeves
In the summer of 2016, Shaye Cohn put together in New Orleans a traditional jazz band comprising only ladies. We are lucky to live at a time when so many of the greatest traditional jazz musicians are ladies and when so many of them happen to have settled in that city.

And in this band, you find SIX of them making up what may well be one of the greatest all-female bands ever.

Another interesting feature of this band is that Shaye Cohn is playing trombone - something I've never seen her do before. Is there nothing that young lady can't master? Even before this, she had become established as one of the finest trad jazz piano and cornet players of all time, as well as being very good on violin, string bass and accordion. The other ladies are of course Chloe Feoranzo, Marla Dixon, Dizzy, Julie Schexnayder, and Molly Chaffin Reeves - every one a heroine of our musical times.

Shaye's original purpose was to give a demonstration of traditional jazz at the Girls' Summer Band Camp in New Orleans. But the all-ladies band - once formed - was too good to waste and fans pleaded for them to play elsewhere.
At first, the band had no name but somebody (John Dixon, I believe) had the idea of calling it The EQP Jazz Band (EQual Pay). However, by November, Shaye seems to have decided to call it The Shake 'Em Up Jazz Band.

Whatever the band's name, the Good News is that they were invited to play at the famous Abita Springs Opry on 19 November. 

The concert they gave was traditional jazz of the finest kind - tasteful and yet always exciting and full of intelligent ideas. They opened with Some Day Sweetheart and then continued with Root, Hog; or Die!, Sugar Blues, When You Wore A Tulip, Make Me A Pallet on the Floor, and - to finish - Hindustan.

Having done the good work behind the scenes, Shaye gave herself a secondary role in performance, leaving Marla to play the trumpet, lead the band and do the announcing.

Everyone was interested to see how Shaye would fare playing her newest instrument, the trombone.
What she did was exactly what we might expect of her: she played a perfect and accurate though simple and basic line, fully conscious of the harmonising and rhythmic responsibilities of the trombone in our music. On Sugar Blues (played in the rarely-used key of G) she took a complete solo chorus and the audience loved it.

Root, Hog; Or Die! - played in C minor - romped along, with plenty of mini-solos and Marla providing the vocal.

Among the highlights of the concert were a beautiful two-chorus solo by Chloe on Make Me a Pallet (which they played in F) and an exquisite vocal duet at the end of When You Wore A Tulip (played in Ab) with Chloe singing the melody and Marla perfectly harmonising on lower notes. Chloe was also the vocalist on Sugar Blues, which she sang with great passion.

(I am mentioning keys because they differ from those sometimes used for the tunes in question.)

Pumping the band along, Molly on guitar and Julie on string bass provided the chords very solidly, four to the bar; and Dizzy as ever maintained metronomic gentle percussion on the washboard, and took very neat solos, including a full chorus on When You Wore a Tulip.

Molly is, of course, also a fine singer and gave a lovely rendition of Make Me a Pallet.

In fact, I am coming round to the opinion that Make Me a Pallet is my favourite performance in this video. Molly reminds me of Carol Leigh singing with Kid Thomas; and every member of the band plays it beautifully, with terrific teamwork.

Chloe's clarinet was stunningly eloquent throughout and Marla was her usual exuberant self – passionately singing and also playing some wonderful stuff on the trumpet. On this occasion she did not use her famous Derby mute but her playing with the plunger mute on Sugar Blues and Pallet on the Floor was outstanding.

What a treat for us all! Let's hope this band will continue to get together from time to time and that there will be many more videos for us to enjoy all over the world.

You can watch the Abita Spring's video of the performance by going to Abita Spring's own site and then clicking on the name of the band:
http://www.abitaopry.org/html/AO2016-11.html
It is also to be seen here:
https://vimeo.com/201161078

I am deeply indebted to my blog-reading friend and Louisiana resident Michael Brooks for supplying me with information.
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Here are extracts from two emails I received shortly after the above was published:

(1) As you and I have said before, we are living in a new golden age for traditional jazz.  These aren't just the best female musicians that our music has to offer but among the best no matter the gender.  I wonder what the old timers from the early days of New Orleans jazz would say?  Women were relegated to piano back then.

(2) Well, I read your blog over breakfast, and then watched the band ...
... and I just had to have another breakfast.
WHAT A WAY TO START MY DAY ... SIX VERY LOVELY AND TALENTED LADIES, TWO CUPS OF COFFEE AND A PLATE FULL OF CROISSANTS.
Life doesn't get any better!
====
By the way, you might like to have my Book:

For more information, go to the Amazon website and type 'Enjoying Traditional Jazz' into the Search Bar. The book is the price of a cup of coffee; it contains over 60,000 words and you can free-sample a few pages before deciding whether to download it.

16 January 2017

Post 467: SECTIONS CALLED 'TRIOS' IN THE STRUCTURE OF MUSIC

Have you ever wondered why so many classic jazz pieces run through two or three themes - perhaps including some links or bridges - and then finally settle into a chunky 32-bar theme on a straightforward chord progression - a theme that may be repeated with variations and improvisations for as long as the band wishes? I'm thinking of such tunes as At a Georgia Camp Meeting, Buddy's Habit, Blame It On The Blues, Bugle Boy March, Fidgety Feet, Frogimore Rag, Hiawatha Rag, Original Dixieland One-Step, Mabel's Dream, and Tiger Rag.

I believe it is all part of a tradition passed down to us from the days of Haydn. It is the 'Trio'.

Yes, I know a 'trio' usually means a group of three - three musicians, for example.

But there is another use of the word 'Trio' in connection with music and it dates from the way pieces were structured by the classical composers of the mid-Eighteenth Century.

Symphonies and string quartets by the likes of Haydn, Mozart and Beethoven were made up of several units of music, spread over a number of movements.

The 'Trio', which often came within a 'Minuet' movement, was often provided as a contrast to another theme that was played before and after it.

Why it was called a 'Trio' is somewhat obscure, but it seems likely that, originally at least, it really did involve some kind of three-part harmonizing. (You can certainly find that in Haydn string quartets.)

Move forward to the late Nineteenth Century and we find that composers of light or semi-classical music still considered it proper to create pieces that included four or five separate themes, or parts. By analogy, they thought they too should have a section called the Trio; and often it appeared as a somewhat grand but simple melody (usually 16 or 32 bars). Just as the classical composers had done, they often switched to a different key for the Trio. And, just as in classical music, they sometimes indicated that the musicians were expected to go back to the opening theme and play that again AFTER the Trio.

This idea of including Trios was immensely popular in Brass Band music of the Nineteenth Century. Think of those great marches, in many of which there is a theme called the 'Trio'. Sometimes it is quite grandiose.

So it's hardly surprising that the Trio found its way into early jazz - and that it's still there today, though I doubt whether any of our current musicians ever consciously think about it.

Look at the original sheet music of some of our jazz classics. This is the final section of Deep Henderson. I have highlighted where the Trio begins.


And here is the point in Panama where the Trio begins:


It switches from the key of F to the key of Bb at the start of the Trio - the most common switch of all, in which early themes are played in the key that is the Dominant of the Final Theme.

The same happens in Maple Leaf Rag. Here the switch is from the key of Ab (for the earlier themes) to Db for the Trio.


And here's the Trio from Charles Cooke's 1914 piano rag Blame It On The Blues. When our jazz bands play it today, it sounds very unlike this, because it has been re-interpreted with a much more simple melodic line, easier for trumpet players to cope with.
A few more examples:

The Cactus Rag (1916) is written in Eb - until the Trio, which is in Ab.

Chimes (by Homer Denny, 1910 - not to be confused with Chimes Blues) is a rag in F with a Trio in Bb.

The rag Cole Smoak (1906) is in Eb, with the Trio in Ab.

James Scott's Evergreen Rag (1915) goes from G to C for the Trio.

So, whenever we play one of those multi-part tunes that ends with a steady theme on which we all love to improvise, perhaps we should spare a thought for the likes of Joseph Haydn (1732 - 1809), who so long ago showed how pieces of music may be constructed by putting together various parts - or themes - and how interesting it is to have such an impressive contrasting theme (perhaps in a related key) that, for want of a better term, we may call 'The Trio'.

===========
Footnote

My book Playing Traditional Jazz is available from Amazon.

13 January 2017

Post 466: SAM MORGAN - AND HIS NEW ORLEANS JAZZ BAND IN 1927

Some very important recordings were made in 1927 by Sam Morgan. His Band played not only in New Orleans, but also in other towns, such as Galveston, along the Gulf Coast.

While Armand Piron's Orchestra was at the same time playing sophisticated, genteel jazz, Morgan's style was just a little more gutzy, pulsating and robust, though still melodic. The band took great care with establishing and maintaining the right tempos - notably for dancing.
That's Sam seated behind the cymbal; with big Jim Robinson and his trombone.
Sam Morgan, born in 1895, was the trumpeter/leader; and his brothers Isaiah (also on trumpet) and Andrew (tenor sax and clarinet) played in his band. On trombone he had the great Jim Robinson, whose fame spread further when he played in bands well after Sam Morgan had died at the age of only 41 (poor Sam suffered a stroke in 1925 and another in 1932). Earle Fouché played clarinet and alto sax. Robinson's cousin Sidney Brown was on bass. Tinke Baptiste and Walter Decou were at various times on piano. Johnny Dave was on banjo. The drummers over the years were Roy Evans and Nolan Williams.

Today Sam Morgan is best remembered for the eight tunes his band recorded in New Orleans over two sessions in 1927. Three of these were spirituals (Over in the Gloryland, Down By The Riverside and Sing On); but the credited composer for all the other five was Sam himself:

Bogalusa Strut
Everybody's Talking About Sammy
Mobile Stomp
Short Dress Gal
Steppin' On The Gas

Have a listen to Morgan's band playing Mobile Stomp:
CLICK HERE.
And now hear it played by one of today's best jazz bands:
Bogalusa Strut, by the way, is said to be a re-interpretation of the first two themes of Scott Joplin's Rose Leaf Rag. If you listen to that rag, you will hear at once that the harmonic progressions are indeed the same.

Mobile Stomp, though in 4/4 time, is said to use the melody of  The Waltz You Saved For Me; and indeed the two melodies are almost identical. But according to my researches so far, it seems The Waltz You Saved for Me was composed in 1930 - after Mobile Stomp, so it is probably unfair to suggest that Morgan 'lifted' his tune from the song.

Most traditional jazz bands in the 21st Century not only show influences of the Sam Morgan Band in their playing and musical arrangements but also still have at least a couple of Morgan's tunes in their repertoire.

And the fact that the Morgan Band recorded the three spirituals seems to have set the precedent that traditional jazz bands must now include spirituals in their programmes. (It is believed the band would never have played spirituals for dances but recorded some only because the recording engineer requested them.) Similarly, the band demonstrated (as in Mobile Stomp) - I think for one of the first times on record - the excitement generated when you play stop-time choruses.

So we all owe a great deal to Sam Morgan. And we are also indebted to Jim Robinson who, in later years, revived and perpetuated his music, and also made us aware of other tunes Morgan's band liked to play. (See the comments from John Dixon below). 

Sam Morgan's House in New Orleans
---------------

John Dixon (of The Shotgun Jazz Band in New Orleans) has kindly sent me the following information:
It’s worth noting that more can be learned from the interview with Andrew Morgan from the book ‘The End of the Beginning’ (by Barry Martyn [Jazzology Books, 1998]). Morgan speaks at length about the recording of those cuts (most of the tunes were not in their regular repertoire prior to the recording).

Also, Jim Robinson’s Riverside Living Legends LP ‘Jim Robinson’s New Orleans Band’ is an important record because it was the re-recording of Mobile Stomp and Bogalusa Strut that brought those tunes out of retirement and made them traditional New Orleans jazz standards. When they recorded that album, Jim didn’t even remember how they went. The producers went to Tulane to the archives, got the old SMJB records and played them for the band. The takes you hear recorded on Jim’s record were done just moments after they learned the songs. That record is also chock full of other Sam Morgan band tunes that they regularly played but didn’t record; Apple Tree, Yearning, Whenever You’re Lonely. Also featured on that Riverside LP are George Guesnon and Alfred Williams - both Sam Morgan Jazz Band alumni (though not in the lineup that was recorded). Guesnon is especially well-recorded on Jim’s record. It’s one of my favorite records. 

I’ve attached an image of the backside of the LP I took with my phone, perhaps you can read the album notes.

Thanks!

John


It is possible to read the liner notes. Click on and enlarge.
================
Footnote:

The book Enjoying Traditional Jazz by Pops Coffee is available from Amazon.