Post 554: THE MAGIC OF THE SONG 'YEARNING' BY JOSEPH BURKE AND BENNY DAVIS

We had just finished playing Yearning - the 1924 tune by Joseph Burke and Benny Davis. My good friend Al Harris, the string bass player, said: 'I love that tune. There's something really gorgeous about the Middle Eight.'

How right Al was! The tune is a standard aaba in structure. The 'a' sections are simple, catchy and, of course, repetitive. But that 'b' section - the middle eight - really does take the breath away. Quite apart from its emotional melody, can you think of any other middle eight in which the central four bars are based on the VII⁷ chord? The only one I can think of is Am I Blue?

This very unusual Middle Eight is:

III^m     III^m    VII⁷   VII⁷   VII⁷   VII⁷   III^m   V⁷

Lasse Collin, the great benefactor of jazz musicians the world over, has produced on his website [ http://cjam.lassecollin.se/ ] this excellent lead-sheet of the song. We must be grateful that Lasse includes even the Verse, which is all too rarely played:

You can hear a lovely relaxed performance of this tune played in 1961 by the great Jim Robinson band, including Slow Drag and George Guesnon, by CLICKING HERE.

Or, for a fine performance by one of the best bands in the world today, go to 27 minutes 18 seconds into this video. Better still, sit back and enjoy the entire video. It is one of the finest traditional jazz concerts of recent years: CLICK ON HERE TO WATCH IT.

Post 497: JOY FROM 'THE LOOSE MARBLES'

The most important and influential traditional jazz band to emerge anywhere in the world in the Twenty-First Century has undoubtedly been The Loose Marbles. This band was given its name by its founder, Michael Magro, who grew up in Philadelphia. Its first performance was in Providence, Rhode Island, way back in September 2000.

I have explained in the past why this band is so important in the history of our music. To read my article, CLICK HERE.

The good news is that Michael is still leading the band and setting an example to us all. A 26-minute video of Loose Marbles in one of its latest manifestations - as a six-piece - has recently appeared on YouTube; and I commend it to you.

CLICK HERE TO VIEW.

There is nothing exhibitionist or pretentious in this music. Leading from the clarinet, Michael likes to play good, simply-structured, pretty tunes in a relaxed way, with the emphasis on melody and teamwork. He is often the first to state the melody, usually (as in Winin' Boy Blues) in a very interesting way. Michael's playing is reminiscent of his heroes George Lewis and Albert Burbank. And it is interesting to hear Marla playing one complete chorus with a double-section stonelined 'cleartone' mute. (I must remember to add one to my Christmas wish-list!) The three rhythm players are exemplary throughout, with their clockwork 4/4 support.

I hope you will enjoy this entertaining and sincere performance, filmed in Frenchmen Street, New Orleans, at The Louisiana Music Factory, which, in case you don't know, is a very large shop with a terrific stock of jazz recordings.

Post 335: A GREAT VIDEO OF THE SHOTGUN JAZZ BAND

I am re-publishing this recommendation in case there are still a few people who have not yet watched this great YouTube jazz video - in my view the best and most exciting, sizzling, energetic performance of New Orleans traditional jazz to appear on YouTube in the last thirty months.

It runs for over half an hour, with high-definition pictures and top-quality sound.

So switch off your TV and just settle to this marvellous little concert that will bring tears of joy to the eyes of any traditional jazz lover.

It's The Shotgun Jazz Band playing Climax Rag, Love Songs of the Nile, Oriental Man, I Can't Escape, Yearning and Mobile Stomp.

This is raw New Orleans jazz at its best. Leader Marla Dixon stamps her dynamic personality on everything. She is flanked by great players - James Evans (from Beaumaris, Wales) on reeds and Barnabus Jones on trombone. All three of them are on terrific form and their ensemble work is an example to us all. But this band also has a perfect rhythm section - Tyler Thompson on bass, John Dixon on banjo, and Justin Peake on drums. John has kindly let me know that Tyler's favourite string bass player is Slow Drag Pavageau and that John's own banjo hero was George Guesnon. John added that they were both 'solid 4/4 players'. He told me the 'genesis of The Shotgun was via the Happy Pals in Toronto which has become the incubator for some great musicians. Marla and Tyler both got the start there. The Happy Pals were directly influenced by the Kid Thomas band, so that 4/4 revival beat of Sammy Penn is also a large influence.'

That explains a lot. The Shotgun Band gives an extraordinary demonstration of just how New Orleans-style rhythm backing should be. Justin Peake is a drummer about whom I know virtually nothing. But it seems he was led to this style of music by the Dixons themselves. On the evidence of this Abita Springs performance I would rate him right up there with the best.

Enough of me. Get on to the video by clicking here.

-------------
Post Script

Reader Phil has sent me this email:

Hi Ivan,

I agree with you regarding the Shotgun Jazz Band's Opry
video. I can't remember being so blown away... in recent memory.
Everything was so perfect...an amazing band, an amazing crowd
that pushed the band to its peak and even that old southern
guy at the end (looked to be straight out of Hollywood central
casting), plus awesome video/sound work...just perfect!
"What a show, what a show".

I don't know how TS let James Evans get away! If there's a
better clarinet/sax combination around, I haven't heard it.

Post 257: 'YEARNING' - A GREAT CD FROM THE SHOTGUN JAZZ BAND

Many people seem to have enjoyed the video I made of The Shotgun Jazz Band giving a pulsating performance of Climax Rag. I filmed it when I saw them at The Spotted Cat, New Orleans, in April 2015. If you would like to watch it, CLICK HERE.

But may I also remind you that late in 2014 this great jazz band released a CD that is well worth listening to? It is packed with riches. If you would like to buy it, go to 

https://shotgunjazzband.bandcamp.com/album/yearning and follow the instructions.

All sixteen tracks of the CD (entitled 'Yearning') were recorded in one session without an audience in the building that used to be Luthjen's Dance Hall in New Orleans. For bands with less stamina, it would have been an exhausting undertaking. The acoustics are terrific but obviously the emptiness of the building meant that it lacked the atmosphere that comes from having an audience. The recording is well balanced: you hear all instruments and vocals clearly.

The Band on the day comprised Marla Dixon (trumpet), John Dixon (banjo), Tyler Thomson (string bass), Justin Peake (percussion), Ben Polcer (piano), Charlie Halloran (trombone) and James Evans (reeds).

As well as playing the trumpet in a bold, forthright manner, Marla also delivers lusty, emotional vocals, in which one of her specialities is the thrilling rising glissando.

The rock-steady rhythm section, which is responsible for much of the band's distinctive house style, is on superb form throughout. The combination of Justin Peake (one of my favourite drummers), Tyler Thomson and John Dixon would be hard to beat. What a joy it must be for any 'front-line' players to be pumped along by them.

Here are the tunes on the CD:

I Believe I Can Make It By Myself

Sammy Penn with the Kid Thomas Band used to make a big feature of this 12-bar tune in Bb. The Shotgun Band gives it a raw treatment, with much trumpet growling and flattened thirds as well as a lusty vocal from Marla.

You Always Hurt The One You Love

This sets a great foot-tapping tempo. The rhythm section shines. Note the unusual key change - after a start in Bb, Marla sings the vocal gently in Eb and later more powerfully in Bb.

Get A Working Man (a.k.a. Pinchbacks, Take 'Em Away)

Marla offers a vocal with a message for the ladies: it's better to have a hard-working man than one who is good-looking but idle. My thanks to blog-reader Phil in the USA for telling me it was originally recorded in 1924 by Bessie Smith under the title Pinchbacks, Take 'Em Away. It has a 16-bar verse and a 32-bar chorus (harmonically identical to It's a Long Way to Tipperary). James' fluid solo (backed so well by Charlie and the Rhythm Section) distinctly demonstrates the Shotgun house style.

Tears

This raggy number which I think Lil Hardin composed for King Oliver's Band in 1923 (when they recorded it) is technically challenging but the Shotguns make light work of it. The tune is played fast (as by King Oliver) and, although it's full ensemble all the way, there are some nice 'breaks' for James.

Dream

Marla delivers a pleasant vocal (complete with Verse) right from the start, with solid backing from Ben, John, Tyler and Justin. Then there's a nice relaxed chorus featuring the clarinet and trombone again, with the chosen key (F) suited very well to James' higher register.

Yearning

This standard from 1925 seems to be a favourite with the Shotgun players. They played it in the great Abita Springs video. (Click here to see it.) Marla offers a punchy trumpet and vocal and there is a pleasant 16-bars-each chorus shared by James and Charlie.

Hindustan

Every band plays this tune from 1918. So how do the Shotguns make it fresh? With terrific front-line interplay; some Kid Thomas-style attack; and a vocal from Marla.

He'll Have To Go

This is one of two tunes in waltz time on the CD. Imagine Careless Love played slowly in 3/4. It's harmonically similar. Composed by Joe and Audrey Allison, it was a hit for Jim Reeves in 1959. Much of the performance consists of a gentle vocal from Marla, well supported by Ben. There are a few bars of special beauty when James leads with the melody in the ensemble. 

Over In The Gloryland

This spiritual is another tune that most bands play. Some musicians don't like it because of its very limited harmonic pattern. But the Shotguns make it last for over six minutes and leave you wanting more. There is hearty singing and great collective improvisation.

I Love You So Much It Hurts

This is a country and western number recorded (and probably written) by Floyd Tillman in 1948. The Shotguns give a no-frills straight-ahead performance of the 32-bar simple tune. They choose not to offer a vocal.

Kentucky Blues

I don't know the origin of this tune. (There are at least two other different tunes with this title). It seems to have two themes (16-bar and a standard 12-bar). The arrangement is the most sophisticated on this CD - from a band that normally does not bother with very sophisticated arrangements. The lovely clarinet of James Evans is well featured.

Love In Bloom

James is singing this one a great deal recently at the band's performances. He is no mean vocalist. It's a very nice song composed in 1934 by Leo Robin and Ralph Rainger. James also plays some lovely fluid clarinet with Marla (for once using a standard mute) in the background. It's one of two tunes played in Ab. The other is Gloryland, of course.

Mobile Stomp

This famous number (written and recorded by the Sam Morgan Band in 1927) is also on the Abita Springs video. I like the rock-steady work from all members of the band, especially at its more delicate moments. Note the saxophone's second chorus against offbeats; and the amusing 'quadruple' ending.

You Broke Your Promise

This 1949 pop song by Wyle, Taylor and Pole was a favourite with the early Preservation Hall bands. In an unpretentious performance of this 32-bar tune, Marla offers a nice clear vocal - a help to those of us who want to learn the words. As in You Always Hurt The One You Love, above, she drops the key (to C) for her first vocal but sings her second vocal higher - in F - the key in which the rest of the performance is played. This must be a device she enjoys. It certainly is effective in setting the two vocals in contrast.

Tennessee Waltz

This is the second tune in 3/4 time. It's also the most touching tune on the CD. Marla sings the sad words about lost love, with good instrumental support from James and Charlie. A beautiful melody, gently presented.

I'll See You In My Dreams

The famous Isham Jones and Sammy Kahn song from 1924. No vocal is offered; and they do not make the mistake of taking it too slowly. Charlie's trombone gives a melodious lead; and there is some lovely ensemble playing.

Post 77: THE I - IV - I (APPLE TREE) CHORD PROGRESSION

THE APPLE TREE PROGRESSION at the beginning of a tune is fairly common in traditional jazz, for example in the tunes listed below.

It is called The Apple Tree Progression because it was used in that lovely enduring song from 1905 - In the Shade of the Old Apple Tree.

What happens is that the song begins on the chord of the Tonic; it then moves on to the chord of the 4th note of the scale; and then back to the Tonic. So in the key of C, the first three chords would be C - F - C. The effect is that it gently rocks you away from the tonic and back on to it.

Hear it in:

Amazing Grace 

Blame It On The Blues [main theme] 

Bugle Boy March [main theme] 

Delia's Gone 

Gettysburg March 

Hush! Hush! Somebody's Calling My Name
I Love You Because

I'm Sitting On Top Of The World 

In The Sweet By and By 

In the Shade of the Old Apple Tree
I Wish'T I Was in Peoria

Lady Be Good 

Marching Through Georgia 

My Gal Sal 

My Old Kentucky Home 

Poor Old Joe

Precious Lord, Lead Me On

Red Sails In The Sunset 

Salutation March [main theme] 

Shine
Sometimes My Burden Is Too Hard To Bear 

The Rose Room 

Wait Till The Sun Shines, Nellie 

Walking With the King

Way Down Upon The Swanee River (aka The Old Folks At Home)

Walking the Dog

The Waltz You Saved for Me
What A Friend We Have In Jesus 

When You And I Were Young, Maggie

Redwing

Yearning

Post 66: SHOTGUN! THE BEST VIDEO EVER?

Like many of you, I spend a great deal of time watching traditional jazz bands on YouTube. I am always excited when I discover something really good. And I am now going to recommend to you a video that appeared in 2013 and is still a contender for the prize of 'Best Traditional Jazz Video Ever'. It provides half an hour of first-class entertainment.

Of course, your taste may be different from mine. So I must declare that, on the whole, I am not keen on mere exhibitionism. And I am not often excited by bands playing from printed music or arrangements - with sheets of paper on stands in front of them - though I accept that the skills and slickness of the musicians in such bands are sometimes truly admirable.

I prefer my musicians to have memorised all that is necessary and then to play more freely - right from the heart. I like them to be spontaneous, creative, surprising, original, and - above all - ever ready to respond to each other in outstanding teamwork.

If you have not already watched this video, I urge you to sit down with a good drink, click on and then marvel at the performance.

It was filmed at The Abita Springs Opry, a few miles north of New Orleans, and features The Shotgun Jazz Band. To my mind, this was the performance that launched The Shotgun Jazz Band as one of the best traditional jazz bands in the world. Under the leadership of the dynamic Marla Dixon, there is raw, no-frills, lusty, passionate playing of such tunes as Climax Rag, The Oriental Man, Yearning, and Love Songs of the Nile. The six-piece band on the day had the great James Evans (who had recently joined them after emigrating from Wales) on clarinet and Justin Peake (who later went off to college) on drums. With Justin in the team working with Tyler Thompson and John Dixon, the rhythm section is phenomenal.

You can watch the video of The Shotgun Jazz Band BY CLICKING HERE.