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 401: DOTS IN FILOFAXES - 'MAMA'S GONE; GOODBYE'

When I want to learn a tune on my keyboard or cornet, I begin by getting the dots and chords as accurately as possible into my mini filofax collection.

Occasionally, I manage to find the music in a busker's book or somewhere on the internet; but often I have to work out the tune as well as I can by myself.

The appearance of my filofax pages is rough-and-ready but they can be very helpful as an aide-mémoire at some future date.

Below is an example of the results - in this case with Piron and Bocage's famous Mama's Gone, Goodbye. You can hear their very sweet original band recording (from 1923) by clicking here.

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)