Post 515: SET THE STOPWATCH!

Here's something we can learn from those 1920s recordings: even tunes with two or three themes can be given a very good performance in under four minutes if they are well presented, with the emphasis on ensemble work.

I have been listening again to recordings made in 1927 by the great Sam Morgan's Jazz Band. Their versions of Bogalousa Strut and Mobile Stomp are both completed in under three minutes.

I also listened to some of the historic recordings made by the Armand Piron Orchestra in the 1920s. Their recording of the tricky 3-parter Bouncing Around runs for less than three minutes. The classic Mamma's Gone Goodbye takes just over three minutes.

And yet these recordings are exemplary - totally enjoyable and satisfying. They do not leave us feeling they are too short or that the tune is incomplete. The arrangements and the ensemble work are exciting and tight. The performances even incorporate clever little introductions and codas, perfectly executed.

Compare this with the playing of so many bands today. Tunes are spun out for seven or more minutes with almost all members of the band taking 32-bar solo choruses (sometimes two choruses). The tune drags on repetitively even though the band has nothing more to 'say'.

Yes, I know those early recordings were limited to about three minutes because that is all the recording processes of the time could cope with. But this discipline made the musicians produce their very best - distilling music of the highest quality within the imposed time limit.

May I suggest we give this matter some thought?

One bandleader friend has recently done so. Within his programme he deliberately includes a number of good tunes that he wants his band to play in about three minutes. This is achieved by omitting solo choruses and putting the emphasis on getting the tunes right, with clever interplay between the instruments.

To hear how it was done - way back in 1927 - click on this video. It's the Sam Morgan Band.
https://www.youtube.com/watch?v=JdOnRREDTuw
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Reader James Buck has sent this comment:

Ivan,

I could not agree more.  No wonder some people are put off jazz by extended solo choruses that do and say nothing to the audience.

Best wishes, regards,

Jim.

Post 484: NEW ORLEANS - JAZZ AT BACCHANAL

This is BACCHANAL. It doesn't look much from the outside. But it has become in recent years a very important jazz venue.

Where is it? At 600 Poland Avenue, New Orleans. This is in the Bywater district of the City. The building is situated close to the Mississippi, about 1¾ miles east of the French Quarter. So it is some distance from the famous jazz venues and clubs of Frenchmen Street.

Essentially it is a very well stocked wine shop. But behind the shop (which is just inside those green doors on the corner) there is an extensive 'backyard'. It is open seven days a week from 11a.m. until midnight and excellent meals are available.

Jazz bands are regularly booked and at the far end of the courtyard there is a stage on which they perform.

How did I get to know about this? Robin Rapuzzi e-mailed to tell me Tuba Skinny would be playing there on the evening of February 14, 2017, a few hours after my wife and I were due to land at the aerodrome in New Orleans. He thought we would like the venue if we could make it in time. We thought it would be a good way to celebrate our 57th wedding anniversary.

Well, we caught the second set and I tried to video the band. It was not easy because the courtyard was crowded with noisy, happy people. However, I hope the results (Tuba Skinny playing two tunes (1) a new composition by the band's Tomas Majcherski - it is called 'The Tag Along Blues' and (2) Piron's 'Bouncing Around') will give you some idea of the atmosphere at Bacchanal; and perhaps you may be interested in visiting the place for yourself one of these days. Watch the videos  BY CLICKING HERE and BY CLICKING ON HERE.

A few moments later, the skies opened and rain fell heavily. The band and some of the audience adjourned via the outside staircase to the attic that is visible at the very end of the 'Bouncing Around' video. The band squeezed into a corner and played a few more tunes:

Post 67: ARMAND J. PIRON, PETER BOCAGE, AND PIRON'S ORCHESTRA

Armand John Piron made an immense contribution to the history of traditional jazz.

Armand Piron (far right) with his famous colleague Peter Bocage (far left)

Piron was born in in the Seventh Ward of New Orleans in 1888. His father was a music teacher and Armand became a fine child violinist. A childhood injury to his hip meant that Armand could not walk easily. Unable to participate in sports, he devoted himself to music. In his teenage years, he established himself as a major musician in several of the early orchestras in the New Orleans area. These included The Silver Leaf Band, The Peerless Orchestra and The Olympia Orchestra. So he played alongside most of the famous names of those early days.

At the age of only 26, he became a partner in a music publishing business with the pianist Clarence Williams. They also performed as a duo.

By the age of 30, Piron had a band (he called it an 'Orchestra') of his own and it flourished in New Orleans between 1918 and 1928. Coming from a Creole background, Piron established a style for his Orchestra that was softer, and more melodic, sophisticated, 'classical' and genteel than that of some other local bands. He used musicians who were good readers. All this was typical of the Creole musicians: they learned to play well and accurately from printed music before turning to jazz.

The Piron Orchestra also played in New York in 1923 and again in 1924, making some of their famous recordings in that city.

Piron died in 1943. But his close colleague and collaborator Peter Bocage (who may be considered his lieutenant in the Orchestra) lived on to play in the early days at Preservation Hall (which was set up as a music venue in 1961). In fact, after Piron gave up leading his orchestra, Bocage had kept it going in re-shaped form for a long time as The Creole Serenaders. Peter lived until 1967. Born in 1887, Peter Bocage, from a well-to-do Creole background (he came from the suburb of Algiers, on the south side of the Mississippi), had mastered the violin and trumpet before he joined Piron, and he had played in various early New Orleans jazz bands alongside such figures as Buddy Bolden, King Oliver, Louis Armstrong, Frankie Dusen, Bunk Johnson, Fate Marable and Freddie Keppard. What a pedigree!

You can hear examples of the fine, elegant playing of Piron's  orchestra on YouTube. Try, for example, New Orleans Wiggle, one of the tunes he composed, together with Peter Bocage: CLICK HERE.

But Armand Piron (usually in collaboration with one or two members of his band) also gave us several other interesting pieces of music that have become part of the traditional jazz heritage. Think of:

Bouncing Around

I Wish I Could Shimmy Like My Sister Kate

Mamma's Gone, Goodbye

Kiss Me Sweet

Bright Star Blues
Louisiana Swing
Red Man Blues
Sud Bustin' Blues

Among the musicians who are known to have played in the Piron orchestra over the years were:

Armand J. Piron (violin, leader)
Peter Bocage (cornet, trumpet, violin and other instruments)

Willie Edwards (cornet, trumpet)
John Lindsay (trombone, string bass, tuba)
Lorenzo Tio Jr. (clarinet, tenor saxophone. His family were emigrants from Mexico; and Lorenzo is thought to have been a tutor to many of the great later reed-players, such as Johnny Dodds, Jimmy Noone, Albert Nicholas and Omer Simeon)
Louis Warnecke (clarinet, alto saxophone)
Charles Bocage  (banjo, guitar. Brother of Peter Bocage)
John Marrero (banjo, guitar)
Johnny St. Cyr (banjo, guitar)
Steve Lewis (piano. Very versatile, he was considered one of the finest New Orleans pianists of the time)
Arthur  Campbell (piano)
Bob Ysaguirre (string bass, tuba)
Henry Bocage (string bass, tuba. Cousin of Peter Bocage)
Louis Cottrell Sr. (drums - a percussionist who was a skilful reader of music)
Paul Barbarin (drums)
Cie Frazier (drums)
Bill Matthews (drums)