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Showing posts with label 'Eh La Bas'. Show all posts
Showing posts with label 'Eh La Bas'. Show all posts

18 July 2017

Post 528: EH LA BAS - LET'S TALK CREOLE PATOIS

There are a few good old songs in our repertoire that date from the days when Creole patois was still widely spoken in Louisiana. I believe it probably is still spoken. I well remember, on my first visit to America about 30 years ago, somewhere near Lafayette meeting a couple of elderly gentlemen who were sheltering from the heat in the shade of a moss-covered oak. One of them was playing an accordion. They were speaking in 'Creole' and I struggled to converse in my almost-forgotten schoolboy French, but we managed to understand each other enough to exchange plenty of thoughts.

If you know a bit of French, you can get some of the meaning; but you notice that most of the rules of French grammar and spelling have gone to the wall, and familiar words are compressed.

The great Humphrey Lyttelton used to play an exciting tune called Ce Mossieu Qui Parle. This was taken to mean 'This man who is speaking'. But, as Humphrey himself said, it might originally have been C'est moi seule qui parle ('It's only me who's speaking.')

The most famous of the tunes our bands still play is Eh La Bas. Potentially, it has plenty of verses. But here is quite enough of the song for most people (with French and English translations):

Eh la bas! Eh la bas! Eh la bas, chèri! Komon sa va?
(Eh la bas! Eh la bas! Eh la bas, chéri. Comment  ça va?)

(Hey there! Hey there! Hey there, m'love! How's things?)

Mo chè kouzen, mo chè kouzin, mo lenme la kizin!

(Mon cher cousin, ma chère cousine, j'aime la cuisine)
(My dear cousin, my dear cousin(ess), I love cooking)

Mo manje plen, mo bwa diven, e sa pa kout ariyen.
(Je mange beaucoup, je bois du vin et ça ne coûte rien.)
(I eat plenty, I drink wine and that costs nothing.)

Ye tchwe kochon, ye tchwe lapen, e mo manje plen.
(On tue cochon, on tue lapin, et je mange beaucoup.)
(They kill a  pig, they kill a rabbit, and I eat till I'm full.)

Ye fe gonmbo, mo manje tro, e sa fe mon malad.
(On fait gumbo, je mange trop et ça me rend malade.)
(They make gumbo, I eat too much and that makes me sick.)

The reason why I am thinking of this topic today is that I enjoyed the performance of this song by the all-ladies Shake 'Em Up Jazz Band at the Abita Springs Buskers Festival in April 2017. Marla Dixon had a really good shot at singing the words (all the above and more, I think!). You can watch the performance again by going to

https://livestream.com/accounts/21714146/events/7258879

Click on the second from the top of the four available videos. You will then need to slide the control button along to 1 hour 40 minutes 30 seconds, which is where the song begins.

You can also enjoy the late great Danny Barker performing the song clearly and with many verses BY CLICKING HERE.

25 April 2017

Post 500: SHAKE 'EM UP AT ABITA BUSKERS FESTIVAL 2017

On Sunday 23 April 2017 the annual Buskers Festival was held at Abita Springs, on the north side of Lake Pontchartrain. For those of you who don't know the area, it's about 45 miles north of New Orleans.

Six fine bands played for an hour each between midday and early evening. They included some of our favourites, such as The Hokum High Rollers, The Gentilly Stompers, the all-ladies Shake 'Em Up Jazz Band and Tuba Skinny

It was a glorious event; and the great news is that the New Orleans radio station WW0Z made excellent videos of the entire proceedings. 

Many of you have told me you have become big fans of the Shake 'Em Up Jazz Band. They gave a lovely performance in which, as usual, the ladies played some outstanding traditional jazz, while making it all look so relaxed and simple, which of course it isn't. Chloe by the way plays a Buffet E11 clarinet with a Vandoren M13 Lyre mouthpiece. The fluidity of some of her improvisations was mind-boggling; but the playing from the entire band was outstanding. And Molly was a power-house on guitar and also contributed vocals on Sweet Substitute and My Silent Love.

The programme included those old favourites The Onions (though surprisingly the audience did not seem aware that they were required to shout 'Onions' in all the breaks!) and Eh La Bas, with Marla singing the original creole patois. Dizzy's playing was spot-on as usual; and she was featured on Washboard Wiggles.


And Haruka was on her usual fine form.

Other highlights were Savoy Blues, Shake It and Break It and When You Wore a Tulip – one of several vocals delivered by Chloe.

It was so good to be able to watch Julie in close-up and admire what a fine string bass player she has become. She told me in 2016 (the only occasion when I have had the privilege of speaking with her) that she had not been playing the instrument for many months.

Yet now Julie is one of the best bass players on the New Orleans scene, accurate, rock-solid - a driving force.

I imagine this band rarely has the chance to get together to discuss repertoire and rehearse, so the slickness and teamwork are all the more impressive.

But enough from me. Watch the video for yourself. Go to:


There you will see (on the right of the page) that the entire Festival has been divided into four videos. To find Shake 'Em Up, click on the second from the top - the one that runs for 2 hours and 8 minutes. Slide the time bar to about 1 hour 9 minutes for the start of their performance.

Elsewhere in the four videos, you will be able to listen to all the other bands at the Festival, including Tuba Skinny playing such tunes as Pearl River Stomp, Cold Morning Shout, Bellamina, Fireworks, Kansas City Stomps and (for the first time on video?) Come On and Stomp Stomp Stomp.

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6 March 2015

Post 180: EASY TUNES FOR BEGINNERS

I recommend Ice Man as the first tune you master. It's only eight bars long and uses just two chords - the tonic and dominant 7th. You can pick it up from the YouTube performance by Tuba Skinny.

Very similar is Old-Time Religion. It's essentially just eight bars - six of them on the tonic and the other two on the dominant 7th.

For your first experience of a tune in a minor key, may I recommend Crumpled Papers? It's a very simple 12-bar (though not a blues). It is best played in D minor and you will probably get away with just two chords - D minor and A7th. You could pick it up by clicking on  THIS VIDEO.

I recommend Eh La Bas and Mama Inez for playing even by a novice jazz band. Eh La Bas has a simple melody and is also entirely based on the two most familiar chords (tonic and dominant 7th). Mama Inez  has a very simple chord pattern (using only three chords) and is fun to play. Let me also offer you Creole Song, Gatemouth, Jambalaya (On the Bayou) and Rum and Coca-Cola. That gives you quite a few easy tunes to learn and try out.

Creole Song consists of just 16 bars, divided into two 8s. The two little melodies are simple, catchy and repetitive. Play it in the key F and all you will need are two chords: F and C7th. Don't confuse this with Creole Love Call or Creole Love Song. I am talking about the tune you can find on YouTube played by Kid Ory and his Creole Jazz Band. The song Salee Dame is almost identical: perhaps they were originally the same tune.

Basically, the chord pattern is simply:-
  F  |  C7 | C7 |  F, repeated over and over.

Gatemouth was I think written by Louis Armstrong’s wife, Lil Hardin, and made famous by the clarinetist Johnny Dodds. It also has just two simple, repetitive sections, in this case 16 bars each. You can pick it up by watching the performance on YouTube of Gatemouth by the Peruna Jazzmen of 1988. The main theme (used for the improvisations) requires little more than the chords of Bb7 and Eb, though with the final four-bar sequence:
 Ab :Abm / Bb : C7 / F7: Bb7 / Eb. This is a sequence you must learn, as it comes at the end of dozens of tunes, so it is worth the trouble.

Jambalaya is great fun to play and SO simple. Play it in Bb and all you need is to keep repeating the sequence:  Bb  /  Bb  /  F7  /  F7  /  F7  /  F7  /  Bb  /  Bb.

If you need reminding of the tune, try the YouTube performances by the Carpenters and by the Tierra Buena Jazz Band.

Rum and Coca-Cola is just as simple. Play it in the key of C and all you need is to keep repeating:

 C  /  C  /  C  / G7  /  G7  /  G7  /  G7 /  C  .

This calypso-style tune was composed about 70 years ago by the Trinidadian Lionel Belasco. In the last few decades, trad jazz bands have adopted it with much success.

1 May 2013

Post 62: SHAKE 'EM UP'S ALBUM 'THE BOY IN THE BOAT'

The latest album by The Shake ’Em Up Jazz Band is called ‘The Boy in the Boat’. It was released in July 2019. It is a delight and shows how this wonderful band comprising six top lady musicians based in New Orleans is continuing to develop a distinctive house-style and to set the highest standards in tasteful, elegant traditional jazz. The tunes are played with restraint, grace and good taste, and generally at tempos that give space for creative fluent solos, notably from Chloe. There is little of the ‘raw’ jazz we associate with certain other bands – even including some in which these ladies play.

The Album also shows how, in its off-road repertoire, the band is increasingly building on the singing talents of its members. No fewer than ten of the twelve tracks include vocals. The ladies sing beautifully, both as individuals or in three-part harmony. In the course of this album, all six ladies may be heard singing, with Julie and Dizzy taking long solos for the first time.

The recording was made, we are told, at the Bunny Friend Studio. I have no idea where or what that is, but I can assure you the acoustic results are first-class. Molly Reeves, the band’s guitarist, is one of those named among the recording engineers and it seems she is a perfectionist in such matters.

The dominance of vocals is best illustrated by Wild Women Don’t Have The Blues (made famous by Ida Cox’s 1924 recording), in which Marla sings the 12-bar blues for virtually the entire track, with skilful accompaniment from the others.

Nuts To You, which they appear to have learned from the 1930s recording by the Chicago strings-and-vocals quartet called Cats and The Fiddle, is briskly sung in close harmony by Molly, Marla and Chloe. Molly has a fine extended guitar solo and the piece is cleverly arranged to accommodate brief instrumental breaks by Dizzy and the others between the lines of the lyrics.

Another novel close-harmony performance (successfully emulating the recording by The Andrews Sisters) is given on Nevertheless, which is sung without instrumental solo choruses. They take it at a gentle tempo in the key of F. (The Andrews Sisters sang it very slightly higher, using G before going through it again in A flat.)

Marla sings Say Si Si, which makes a great opener to the Album, with its brisk approach, well-balanced sound, super busy teamwork and Marla’s bright trumpet solo chorus.

Haruka sings Salty Dog so sweetly and includes her Japanese lyrics. Although she hardly counts herself as a singer, this number has become a popular party-piece from the band in 2019. It is such fun. Between Haruka’s vocals, improvisations on this famous circle-of-fifths tune are provided notably by Molly and Haruka herself.

I Double Dare You (the 1937 composition by Terry Shand and Jimmy Eaton) features Molly, singing and playing fine guitar. This is an up-tempo number, taken in E flat, with the rhythm players given a chance to shine, and some tasteful solos - including a gem from Chloe.

The vocalist on My Sin (composed in 1929 by Lew Brown, Buddy de Sylva and Ray Henderson) is Marla. Here again we have an unusual choice and treatment for a traditional jazz band, but it is typical of the way Shake ’Em Up is indeed shaking things up in the way we think of our music. Marla sings this song in E flat. My first thought was that she might have been more comfortable in F; but E flat somehow sounds right for the sad nature of the lyrics.

Need A Little Sugar is sung by Chloe. This popular tune composed in 1931 by Clarence Williams,Tim Bryan and W.A.D. Small has a 12-bar Verse and 18-bar Chorus, both of which are splendidly expressive melodies. There is perfect support from Molly on guitar, and some fine clarinet soloing from Chloe herself.

You Always Hurt The One You Love is sung by Dizzy - the first time I have heard her sing a full vocal on record! A lovely, gentle, complete vocal with guitar accompaniment is followed by the band joining in, with stepped-up tempo.

Eh La Bas is played briskly in the key of C (higher than most bands choose). It is a cheery performance, with much use of vocals led by Julie(!), and is complete with the full Creole patois lyrics.

Johnny St. Cyr’s famous 1926 composition, Oriental Strut, is played in a restrained gently-paced way, unlike its treatment by many other bands. After the minor-key start, Haruka leads on the ‘C’ theme, and is followed by other fluent solos. At this pace, Chloe has the room to create one that is so pretty, mobile and fluid; and Marla takes a good chorus against stop chords.

The only other purely instrumental number is the eponymous The Boy in the Boat. It was a new tune to me but I have discovered the band must have picked it up from the 1928 recording by pianist Charlie Johnson and His Paradise Band. Shake ’Em Up, though with different instrumentation, closely follow Johnson’s Introduction and melody line – and the phrase-trading between trumpet and clarinet, with Marla (muted and sounding very much like Sidney de Paris on the original Charlie Johnson recording) alternating phrases with Chloe. The tune is not quite as sophisticated as it sounds: listen carefully and you notice it is very largely using just one chord – G minor.

Finally, I must mention Julie. I had the pleasure of meeting her in New Orleans very briefly in 2015, when she told me she had taken up the double bass not many months before. But she has become one of my favourite players on this instrument. Always accurate, she (in combination with Dizzy’s tireless, inventive washboard) provides a constantly-felt pulse that is just right for the light-touch style of this band. With the virtuosic Molly on guitar, we have one of the best rhythm sections in the business.
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