Post 584: 'RED MAN BLUES'; AND TRADITIONAL JAZZ TUNE STRUCTURES

Start with a standard 12-bar (12-measure) blues structure in Eb:

Eb | Eb | Eb | Eb7 | Ab | Ab | Eb | Eb | Bb7 | Bb7 | Eb | Eb

Now, just for fun, let us extend it to 16 bars by playing the two Bb7 bars three times:

Eb | Eb | Eb | Eb7 | Ab | Ab | Eb | Eb | Bb7 | Bb7 | Bb7  |  Bb7 | Bb7 | Bb7 | Eb | Eb

Now let's think about the melody. Over bars 7 and 8 (both Eb bars), let's have the band playing this motif in unison:

Next, over the six Bb7 bars, let's have the clarinet playing this pretty two-bar pattern three times:

The reason why I'm saying all this is that I have been listening to Armand Piron's Red Man Blues (composed in 1925); and the devices I have mentioned are exactly what he uses in the first theme of the piece.

Listen to Piron's Orchestra playing this tune: CLICK HERE; and note in particular the part from 15 seconds until 28 seconds. You will hear what I have been describing. (You can hear it again when it is repeated at 42 seconds and again at 2 minutes 06 seconds and 2 minutes 31 seconds.)

You will note that Red Man Blues has a second theme that actually uses a standard 12-bar blues structure. And the piece then has a kind of 'Interlude' 16-bar third theme featuring the clarinet. It provides contrast by being minor-key in mood (using plenty of Eb minor chords). After this it returns to Theme A in which those tricks I described occur again, leading up to the Coda.

I remember hearing bands in England occasionally playing Red Man Blues in the 1980s and 1990s but I don't recall hearing it played in recent years. I hope it has not dropped out of fashion. It is a very pleasant and pretty number. And it is an important and interesting part of our heritage.

Post 570: TRADITIONAL JAZZ? LET'S PLAY 'NEW ORLEANS WIGGLE'

Today I would like to bring to your attention another early classic from our heritage - one I haven't heard played much in the last couple of years. I think it deserves a revival.

I am speaking about New Orleans Wiggle. This was one of the tunes given to us by the violinist, composer and bandleader Armand J. Piron. 

Between 1923 and 1925, his orchestra made about fifteen influential recordings. The tunes included Bouncing Around, Red Man Blues, Kiss Me Sweet, Bright Star Blues and Mama's Gone, Goodbye - all of which were originals that Piron himself helped to compose.

But there was also New Orleans Wiggle, jointly written by Piron and his trumpet player Peter Bocage.

You can hear the recording they made of this tune BY CLICKING HERE.

What makes it such a good tune for our bands to master?

First, it provides a contrast with the many war-horses that most bands play. It offers the musicians more of a challenge and more interest than many tunes in our repertoire, because it has a structure that you need to study, and includes a key change. It offers plenty of syncopation and plenty of breaks - both of them essential elements in classic New Orleans jazz.

Despite what I have just said, the tune is easy to learn, without being too easy. This is because all three of its themes are underpinned by pleasant, straightforward chord progressions.

There is a four-bar introduction. Then comes Theme A, 16 bars in length. The melody takes us up through a series of syncopated arpeggios. This is great fun. The Piron Orchestra plays it twice.

Then Theme B begins with a sequence reminiscent of I Wish I Could Shimmy Like My Sister Kate (which Piron also wrote, a few years earlier). But at the second round of this chord priogression, it is extended beyond the 'Sister Kate' structure to 20 bars, with a series of breaks that occupy six bars. The Piron Orchestra also plays this theme twice, with the clarinet taking the breaks both times.

We then go straight into Theme C, with the key change. (Usually it means going from Bb into Eb.) This final theme consists of 32 bars and lends itself to breaks at several points. The melody is merry enough. And you will find the chord familiar from dozens of other tunes. It even ends with that simplest of progressions - The Sunshine Chord Sequence. Piron plays Theme C twice, doing some clever things with the breaks.

Finally, there is a neat 4-bar Coda, well worth learning and playing.

Piron's recording lasts only two and a half minutes, partly, no doubt, because of the restraints of recording processes at the time. But of course today's bands could extend it by playing Theme C more than twice.

However, as I have mentioned in earlier articles, there is much to be said for brevity.

I noticed that when Michael McQuaid's Piron's New Orleans Orchestra played the piece at the Whitley Bay Festival in 2015 (CLICK HERE to view), they paid due homage to Piron, strictly retained his structure, and finished the piece in an even shorter time.

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 466: SAM MORGAN - AND HIS NEW ORLEANS JAZZ BAND IN 1927

Some very important recordings were made in 1927 by Sam Morgan. His Band played not only in New Orleans, but also in other towns, such as Galveston, along the Gulf Coast.

While Armand Piron's Orchestra was at the same time playing sophisticated, genteel jazz, Morgan's style was just a little more gutzy, pulsating and robust, though still melodic. The band took great care with establishing and maintaining the right tempos - notably for dancing.

That's Sam seated behind the cymbal; with big Jim Robinson and his trombone.

Sam Morgan, born in 1895, was the trumpeter/leader; and his brothers Isaiah (also on trumpet) and Andrew (tenor sax and clarinet) played in his band. On trombone he had the great Jim Robinson, whose fame spread further when he played in bands well after Sam Morgan had died at the age of only 41 (poor Sam suffered a stroke in 1925 and another in 1932). Earle Fouché played clarinet and alto sax. Robinson's cousin Sidney Brown was on bass. Tinke Baptiste and Walter Decou were at various times on piano. Johnny Dave was on banjo. The drummers over the years were Roy Evans and Nolan Williams.

Today Sam Morgan is best remembered for the eight tunes his band recorded in New Orleans over two sessions in 1927. Three of these were spirituals (Over in the Gloryland, Down By The Riverside and Sing On); but the credited composer for all the other five was Sam himself:

Bogalusa Strut

Everybody's Talking About Sammy

Mobile Stomp

Short Dress Gal

Steppin' On The Gas

Have a listen to Morgan's band playing Mobile Stomp:

CLICK HERE.

And now hear it played by one of today's best jazz bands:

CLICK HERE.

Bogalusa Strut, by the way, is said to be a re-interpretation of the first two themes of Scott Joplin's Rose Leaf Rag. If you listen to that rag, you will hear at once that the harmonic progressions are indeed the same.

Mobile Stomp, though in 4/4 time, is said to use the melody of  The Waltz You Saved For Me; and indeed the two melodies are almost identical. But according to my researches so far, it seems The Waltz You Saved for Me was composed in 1930 - after Mobile Stomp, so it is probably unfair to suggest that Morgan 'lifted' his tune from the song.

Most traditional jazz bands in the 21st Century not only show influences of the Sam Morgan Band in their playing and musical arrangements but also still have at least a couple of Morgan's tunes in their repertoire.

And the fact that the Morgan Band recorded the three spirituals seems to have set the precedent that traditional jazz bands must now include spirituals in their programmes. (It is believed the band would never have played spirituals for dances but recorded some only because the recording engineer requested them.) Similarly, the band demonstrated (as in Mobile Stomp) - I think for one of the first times on record - the excitement generated when you play stop-time choruses.

So we all owe a great deal to Sam Morgan. And we are also indebted to Jim Robinson who, in later years, revived and perpetuated his music, and also made us aware of other tunes Morgan's band liked to play. (See the comments from John Dixon below). 

Sam Morgan's House in New Orleans

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John Dixon (of The Shotgun Jazz Band in New Orleans) has kindly sent me the following information:

It’s worth noting that more can be learned from the interview with Andrew Morgan from the book ‘The End of the Beginning’ (by Barry Martyn [Jazzology Books, 1998]). Morgan speaks at length about the recording of those cuts (most of the tunes were not in their regular repertoire prior to the recording).

Also, Jim Robinson’s Riverside Living Legends LP ‘Jim Robinson’s New Orleans Band’ is an important record because it was the re-recording of Mobile Stomp and Bogalusa Strut that brought those tunes out of retirement and made them traditional New Orleans jazz standards. When they recorded that album, Jim didn’t even remember how they went. The producers went to Tulane to the archives, got the old SMJB records and played them for the band. The takes you hear recorded on Jim’s record were done just moments after they learned the songs. That record is also chock full of other Sam Morgan band tunes that they regularly played but didn’t record; Apple Tree, Yearning, Whenever You’re Lonely. Also featured on that Riverside LP are George Guesnon and Alfred Williams - both Sam Morgan Jazz Band alumni (though not in the lineup that was recorded). Guesnon is especially well-recorded on Jim’s record. It’s one of my favorite records. 

I’ve attached an image of the backside of the LP I took with my phone, perhaps you can read the album notes.

Thanks!

John

It is possible to read the liner notes. Click on and enlarge.
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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 295: LEARN FROM LOUIS DUMAINE, ARMAND PIRON AND SAM MORGAN

If you want to know what the authentic New Orleans bands sounded like in the 1920s, it's easy to study some fine examples. We must be grateful to the original sound recordists and to all who have perpetuated their work by means of various technologies over the decades and - more recently - those who have put the music on to YouTube.

I'm thinking at the moment of three bands in particular. Their total recorded output is not huge; but there is plenty from which we can learn, with careful study.

Louis Dumaine's Jazzola Eight recorded only four tunes. The pieces themselves don't get much attention these days, but the recordings are a lesson to all traditional jazz musicians in how their instrument should contribute to an effective ensemble. These repay close scrutiny. For an example,

CLICKHERE.

Next, think of Armand Piron (violinist) and his classy orchestra. They gave us lovely performances of such numbers as these (mostly composed by the band members):

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

For an example of a typical well-arranged piece (with great ensemble work) that many of us still try to emulate,

CLICK HERE.

Then there's the eight-piece Sam Morgan's Band (with big Jim Robinson on trombone). It recorded just eight tunes in 1927. They included Bogalusa Strut, Mobile Stomp and Short Dress Girl (all composed by Morgan) as well as three spirituals, notably Over in the Gloryland, which is still very popular. These recordings powerfully influenced the repertoire and drive of many of today's bands. For a stomping performance that gives you the full flavour of this band,

CLICK HERE.

Post 110: 'SNAKE RAG'

The jazz classic Snake Rag was composed by King Joe Oliver and, according to some sources, the New Orleans bandleader Armand Piron. In 1923, King Oliver's Creole Jazz Band, with Louis Armstrong on second cornet and Johnny Dodds on clarinet, recorded it twice. To this day, those recordings - much re-issued - are treasured by enthusiasts of early New Orleans ensemble-style jazz.

I spent some time working out Snake Rag for myself and learning it. I made a lead-sheet for storage in my mini-filofaxes. 

While doing this, I couldn't help noticing how easy the chord structure can be (if the pianist or banjo-player chooses to keep it simple and avoid subtleties). But the melody is busy, including those famous cascading chromatic runs.

The early jazz rags usually show signs of classical influence. There are several themes and a change of key. So it is with Snake Rag.

The tune's structure is:-

Introduction in Eb : 8 bars ending with the cascade.

Theme A : Usually played twice. 16 bars in Eb, again with the cascade at the end.

Theme B : Usually played twice. 16 bars, still in Eb. There is a 'break' (conventionally taken by the trombone) in bars 7 and 8; and the cascade at the end.

Next, Theme A is usually repeated (once).

Now, before I get to Theme C, here's the point I'm making about the chords: it is possible to play the entire tune so far while using only two chords - Bb7 and Eb. That is a very unusual feature.

Theme C (the final theme, normally played at least three times to allow for ensembles and solo improvisations) is in the new key. It is played in Ab.

It comprises 32 simple bars, requiring only four chords to cover them (Ab, Eb7, F7, Bb7). Again, how unusual!

The 32 bars divide conveniently into two very similar 16s, with the opportunity for a 'break' on bars 15 and 16. (The ways in which Armstrong and Oliver played these breaks have become legendary.)

To sum up, Snake Rag is to this day considered one of the most enjoyable and exciting jazz tunes from the early Twentieth-Century repertoire. Many bands still play it in their own fashion, but always keeping fairly closely to the structure I have outlined. Audiences love it and it sounds tricky, but in fact it is not too difficult to play - especially if you are in the chord-providing department of the band.

Anyone who bought a banjo, mastered the very few chords needed  and had a good sense of rhythm could probably play it with a band within a few days.

If you don't know the tune, give it a run on YouTube. You will not be disappointed.

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)