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Jazz Band Program DDWI ilDlviE In New Orleans ~ s.o.s. 1217 JAZZ BAND Vol. 4 by Hal Smith How'm I Gonna Do It? comes from the same I'm A Little Blackbird is a comparative rarity in PROGRAM: NOTES period as Riverside Shake and Daybreak Blues. Traditional Jazz, despite a wonderful recording In response to a request from STOMP OFF pro- All three titles appear on the Bob Helm-led RIVER- done by Louis Armstrong and Sidney Bechet with Side A ducer Bob Erdos, the Down Home Jazz Band was SIDE ROUSTABOUTS session. Ev Farey wrote an Clarence Williams in 1925. It is one of the prettiest 1. RIVERSmE SR.AKE (Bob Helm) (a) ............ 3:55 assembled in New Orleans in October, 1989 to eight-piece arrangement of the tune and recorded tunes in Classic Jazz and was a particular favorite 2. AUlft &AGAR'S BLUES CN.C. Handy) (b) ...... 2:56 record another session featuring Y erba Buena it with his Bay City Jazz Band for GOOD TIME JAZZ of the marvelous California cornetist Ray Ronnei. 3. MANDY Orving Berlin) (b) .................... 3: 10 material. Our regular clarinetist, Larry Wright, in 1956. Following Ev's arrangement, Tom Fischer In our version, the arrangement is structured like 4. HOW'M I GONNA DO IT? (If I Don't Know What was engulfed in a time-consuming business deal contributes some introspective Helm-like clarinet. one of the "stretch-out" performances of the YBJB It la Tb.at You Crave) (Bob Helm-Weldon Kees) that obliged him to beg off from working with the Steve's piano solo features some lovely Morton during its latter days. Bob Schulz sings Ray Ron- (c). 4:42 band for an indefinite period. Our pianist, Ray touches, and Chris Tyle blows some powerful nei's own lyrics in a warm Clancy Hayes style. Bob 5. FllANKIE AND JOIUfNY (traditional) (b) ....... 4:45 Skjelbred, had just accepted a new teaching Watters-styled lead on the ''patter'' strain before splits a fine chorus with Tom Bartlett's tailgate 6. CLARINET FOO YONG (CORNET CHOP SUEY) assignment in Marin County which precluded his the final ensemble. trombone. Tom Fischer and Steve Pistorius play (Louis Armstrong, adapted by Bob Helm) (d) ... 3:01 involvement with the band as well. These appropriately delicate solos. 7. TERRIBLE BLUES (Clarence Williams) (b) ...... 3:07 developments had occurred earlier in the year, Frankie And Johnny was a feature for Turk Mur- 8. MY HONEY'S LOVIN' ARMS Goseph Meyer- when the DHJB was signed up to play the first an- phy's leather-lunged vocalizing with the Watters Original Dixieland One-Step was the first Herman Ruby) (d) ........................... 4:42 nual Capitol City Jazz Fest in Madison, Wisconsin. band and later on with his own band. Our Tom commercially-issued jazz record, waxed by the Bartlett shouts out the well-known lyrics with just Original Dixieland Jass Band in 1917. It has been 28:58 The day was saved in Madison and in the studio by clarinetist Tom Fischer and pianist Steve the right Murphy sound. a much-played standard ever since. The Yerba Pistorius. Both musicians were familiar with the San Buena Jazz Band featured it throughout the band's Francisco Style from their involvement with such Clarinet Foo Yong is actually Bob Helm's adap- existence but never managed to record it. We did, Side B groups as the Red Rose Ragtime Band and the tation of Louis Armstrong's classic Cornet Chop however, find a wire recording of the YBJB per- Creole Rice Jazz Band. Tom and Steve were Suey. Bob recorded the piece for COLUMBIA forming it at Hambone Kelly's in 1948 and our ver- 1. YERBA BUDA STRUT (Lu Watters) (b) ........ 3:08 natural choices for the DHJB and they stepped into with Turk in 1953. The Down Home rendition sion is based on that performance. 2. WORKING MAN BLUES Goe Oliver) (b) ........ 3:37 follows Armstrong's arrangement rather than the both situations with cool professionalism and Daybreak Blues was also recorded by Bob Helm's 3. CHIMES BLUES Goe Oliver) (b) ................ 3: 11 edited version. Tom Fischer's playing resembles superb musicianship. We all deeply appreciate Riverside Roustabouts at the same session which 4. I'M A LlftLE BLACKBlllD LOOKING FOR A Ellis Horn's more than Helm's, but it works. Cor- their dedication and the terrific job they did with produced Riverside Shake and How'm I Gonna BLUEBlllD (Grant Clarke-Roy Turk- netist Tyle switches to drums, recalling Bill Dart's the band. Tom admires the work of Bob Helm and Do It? Turk Murphy also made a record of the tune George W. Meyer-Arthur Johnston) (a) ......... 5:46 sound. The use of washboard and drums was com- 5. ORIGINAL DIXIELAND ONE-STEP that shows in his own playing. You can also hear in 1959 for ROULE'ITE. The Down Home band ap- echoes of Johnny Dodds there and some Ellis mon in the YBJB, when Watters, Murphy and Helm (D.J. LaRocca) (b) . 2:24 proaches the number as the Watters band might Horne, but it all comes out ''Tom Fischer.'' Steve would occasionally join the rhythm section on 6. DAYBREAK BLUES (Bob Helm) (e) ............ 3:58 have played it: powerful ensembles, a gutty Pistorius reveres Jelly Roll Morton above all washboard-sometimes all three at once! 7. MmNIGBT MAMA Gelly Roll Morton) (t) . 2:27 trombone-clarinet duet, a Burt Bales-inspired pianists, but he understands how Burt Bales and 8. MELANCHOLY (Marty Bloom-Walter Melrose) (b) 3:30 piano chorus, a Murphy-style trombone chorus Johnny Wittwer used the Morton style along with Terrible Blues is a favorite of Traditional Jazz 9. KING CBANTICLEER (A. Seymour Brown- (split with clarinet) and a two-cornet break at the their own ideas in the Watters band. groups, due largely to Louis Armstrong's disc Nat D. Ayer) (b) ............................. 2:55 made with the Red Onion Jazz Babies in 1924. Wat- end. Special mention should be made here of Jack 29:36 ters recorded the tune in 1942 in the mind-bending Meilahn' s wonderful rhythm banjo. Jack imparts This latest program by the Down Home Jazz Band the same kind of drive to the DHJB rhythm sec- includes staple items from the Yerba Buena Jazz key of Bii. The Down Homers opted for the key of C, as did Turk Murphy in his two recordings tion that Harry Mordecai brought to the Yerba Band, originals by Bob Helm, a Morton piano Buena band. Though neither banjoist stepped in- Arrangements: piece, a clarinet showcase (via Helm) and one tune of the number in 1961and1983. Tom Fischer's solo (a) Mike Bezin and Hal Smith on the DHJB version recalls Ellis Horne's chorus to the limelight very much, they provided just the not actually played by the Watters band, but right authoritative rhythm and beat. (b) Lu Watters which fits the style beautifully. To get the most out on the Watters disc. (c) Everett Farey, transcribed by Mike Bezin of this LP, we suggest that the listener load up on Midnight Mama is also known as Tom Cat Blues. (d) Down Home Jazz Band some good red beans and rice, jambalaya or My Honey's Lovin' Arms has been played by jazz It was waxed as a piano solo by Jelly Roll Morton (e) Bob Helm, transcribed by Mike Bezin perhaps a fried-oyster po-boy (dressed), then let bands of all persuasions since it was written in in 1924 and as a band number by Morton in 1925. (f) Steve Pistorius the tone arm drop. You might want to balance the 1922. The Watters band played it after the depar- Turk Murphy recorded it for his ''Music Of Jelly New Orleans food with a cool Anchor Steam Beer ture of Bob Scobey and Turk Murphy. Murphy Roll Morton" LP on COLUMBIA in 1953, also. Our ®©1991 Stomp Off Records from the city by the Golden Gate .... played it frequently with his own band too, as the inspiration, however, comes from Burt Bales' solo piece lends itself well to that good old San Fran- record for GOOD TIME JAZZ in 1949. Steve cisco rhythm. On this Down Home record, there Pistorius conjures up Morton and Bales in his Riverside Shake was penned by Bob Helm for his are fine solos by Steve Pistorius, Tom Fischer and first recording as a leader (THE RIVERSIDE superb treatment. Chris Tyle once again con- MUSICIANS: a great Murphy-style offering by Tom Bartlett. Bob tributes some Bill Dart-like drumming, backed by ROUSTABOUTS). Bob used Ev Farey on cornet Schulz whips the proceedings along with a Chris Tyle-cornet, drums (A-6, B-7) (both were touring with Turk Murphy) and a New leader Smith on washboard, Jack Meilahn on Bob Schulz-cornet, vocal (B-4) Scobey-like lead on the final ensemble and the banjo and the mighty Mike Bezin on tuba. York rhythm section when they recorded the tune whole performance is underscored by Mike Tom Fischer-clarinet for the RIVERSIDE label in 1954. In this version, Bezin' s boisterous tuba (shades of Dick Lammi)! was recorded by Louis Armstrong's Tom Bartlett-trombone, vocal (A-5) clarinetist Tom Fischer tips his cap not only to Melancholy Hot Seven in 1927 and by Armstrong with Johnny Steve Pistorius-piano Helm, but to George Lewis and Pee Wee Russell. Yerba Buena Strut is one of the most popular of Dodds the same year. The tune was featured Jack Meilahn-banjo The rhythm section breaks have their origin in a Lu Watters' originals.
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