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Showing posts with label 'Tight Like This'. Show all posts
Showing posts with label 'Tight Like This'. Show all posts

30 June 2017

Post 522: LOOSE MARBLES JAZZ MASTER CLASS!

I must thank blog reader Phil Lynch for recently advising me to watch a particular YouTube video. It has given me huge pleasure.

I am referring to a video of The Loose Marbles playing at Abita Springs in 2016. It runs for over 50 minutes and I will give you the link to it later.
Craig and the Bass Sax
The band on this occasion comprised no fewer than ten musicians. Normally, such a number could be a recipé for disaster. I dread to think what a horrible din would result if three guitarists, a banjo player, a drummer and a double bass all got together in the rhythm section of some of the English pub bands I have seen.

And yet, such a combination in The Loose Marbles is so disciplined and restrained that it underpins the music with a gentle foot-tapping pulse. Here, because the musicians are all virtuosos, all conforming to the house-style set by the leader Michael Magro, the music throughout is beautifully melodic and played with a loving delicacy. There is no mere exhibitionism, no attempt by any of the players to show off their own technical prowess. Instead, there is huge respect for melody, balance and for each other.

The reeds set the tone. Such tunes as Song of the Islands, A Flower Lei, Postage Stomp, Last Night on the Back Porch, The Isle of Capri (played briskly) and Home on the Range are all led by the clarinet. And in Take Me Out to the Ball Game, the first chorus is played on the bass saxophone by the versatile Craig Flory.

Yes, the tunes feature the bass saxophone; and Craig has an important rôle in this line-up, especially as - despite having ten musicians - there is no trombone.

Multi-instrumentalist Tyler Thomson is seen here among the guitarists; and he even gets to take a neat little solo in Isle of Capri. And that fine and sartorially-elegant musician Matt Bell plays slide guitar - with the instrument on his lap, producing some lovely Hawaiian effects. (Friend James Sterling has told me Matt is playing a resonator all-steel guitar and that the correct terminology for what he is playing is 'lap steel'.)

You have only to catch the happy look on Matt's face at certain points in this video to see that he knows the music this band is making is something really special.

The great Marla Dixon provides some very sweet vocals, for example in 'A Flower Lei' and 'Last Night, on the Back Porch'. And in her trumpet-playing, she adapts brilliantly to the requirements of the Magro style. We find her often playing deft, muted phrases in support of the melodies of the three reed players in this unusual 'front line'.

I must mention that the programme includes the song The Sweetheart of Sigma Chi. It is a lovely waltz tune. It is very rarely played and I guess many of my readers will never have heard of it. I can tell you Sigma Chi was a college fraternity founded in the mid-19th Century at Miami University in Oxford, Ohio. The song was composed in 1911 by Byron D. Stokes (words) and F. Dudleigh Vernor (music).

The final tune in the programme is Tight Like This - a catchy minor-key number composed by trumpeter Langston Curl in 1928 and made famous by Louis Armstrong.

The musicians I have not yet mentioned are Julie, Tomas, Max, Robin, and John - all of them superb and on absolutely cracking form.

I have written before about The Loose Marbles and the importance of this band in 21st-Century traditional jazz. To read my article, CLICK HERE.

To enjoy the video for yourself:

10 November 2014

Post 144: LANGSTON CURL AND 'TIGHT LIKE THIS'

Ever heard of Langston Wesley Curl? Probably not.

But he was a useful musician in the mid-Twentieth Century. Curl, who was born in Virginia in 1899, became a fine trumpet-player in New York and Detroit and appeared on many records - notably those made by McKinney's Cotton Pickers.
But he withdrew eventually from the music scene, switched to a different career, and lived to the age of 92.

He was also a composer. And I'm particularly interested in his simple but very effective 16-bar tune called 'Tight Like This', which uses catchy repeated minor-key arpeggios. Even Louis Armstrong liked and recorded this one.

But I was first attracted to the tune when I heard Tuba Skinny playing it.

You can hear them doing so BY CLICKING HERE.

Or you can watch them in a more recent performance BY CLICKING HERE.

17 March 2013

Post 17: USING MINOR KEYS IN TRADITIONAL JAZZ




In other posts, I have classified (by chord progressions) types of tunes in the repertoire of traditional jazz bands. I have done so mainly by looking at their opening bars.

There is another small group of tunes that are distinctive. These are the tunes in a minor key (or sometimes with just one theme in a minor key). I am surprised there are not more tunes in the traditional jazz repertoire using minor keys. The effect of the minor is striking and unusual. For an obvious example of this, just hum St. James' Infirmary to yourself.

Most of these tunes are usually played not in any old minor key but specifically in C minor, G minor or D minor.

The important point is that playing an occasional tune in a minor key gives variety to a jazz concert. And variety is necessary if you want to interest and entertain your audience.

To improvise on minor-key tunes, you have to make a mental adjustment and 'think minor'.

Some you might consider using are:

A Bientôt
A Jazz Battle
At the Jazz Band Ball (usually starts in G minor - part A)
Bei Mir Bist Du Schoen
Big Chief Battleaxe [one theme]
Big House Blues [final theme]
Black and Blue
Blue Drag (sample it - sung by Albanie - by clicking here)
Blue Skies
Blues My Naughty Sweetie Gives to Me
The Boy in the Boat
Caravan
Comes Love
Crying for the Carolines
Crumpled Papers (interesting 12-bar normally in D minor)
Dark Eyes (though the opening chord is the dominant seventh - not minor)
Deep Bayou Moan (Shaye Cohn's lovely 2017 composition - click here )
Diga Diga Doo
Egyptian Ella
Fourth Street Mess Around
Green Leaves of Summer
Hush-a-Bye
I Lost My Gal from Memphis
I'm Humming to Myself
I'm the King of the Swingers (part A)
It Don't Mean a Thing if it Ain't Got That Swing
La Roulotte
Joseph Joseph
Joshua Fit De Battle of Jericho
King of the Zulus
(Sweet) Lotus Blossom
Lullaby of the Leaves (little known but well deserving a revival)
Michigander Blues
Midnight in Moscow
Minor Drag
Mother's Son-in-Law
My Heart Belongs to Daddy
New Orleans (the Hoagy Carmichael tune)
New Orleans Bump
No Moon at All
The Panic is On
Petite Fleur
Puttin' on the Ritz (Chorus)
Russian Rag (great example at 23 minutes 20 seconds in this Tuba Skinny video: Click here to watch )
Satan, Your Kingdom Must Come Down
Shout 'Em, Aunt Tillie
Sing Sing Sing
Steppin' Out With My Baby
St. James' Infirmary
Summertime
Take Me Away from the River
That Da Da Strain (usually starts in G minor - part A)
The Mooche
Tight Like This
Sway
You Let Me Down
When I Get Low I Get High
Willie the Weeper [first theme]
Who Walks In
Why Don't You Do Right?