Continued: CD Reviews

TED DES PLANTES' WASHBOARD WIZARDS: THUMPIN' AND BUMPIN' (Stomp Off CD1409) 78:59 min.
Nobody But My Baby Is Getting My Love; Georgia Gigolo; Ham Gravy; Hoola Boola Dance; Hot Red; Choo Choo (Gotta Hurry Home); Wasn't It Nice?; Betsy Brown; All That I Had Is Gone; Harlemania (interpolating Soda Fountain Rag); Arabella's Wedding Day; Original Black Bottom Dance; More Than That; Thumpin' and Bumpin; Buttons; She's Still Dizzy; Goin'Out in a Blaze of Glory.

Reviewed by Bill Mitchell

By my count, this is the fifth Washboard Wizards album to be released on Stomp Off. Pianist/leader Ted des Plantes has again recruited a band of kindred spirits, all top-echelon jazz musicians: Leon Oakley, cornet; John Otto and Matthias Seuffert, reeds; Clint Baker, trombone; John Gill, banjo; Mike Walbridge, tuba, and Hal Smith, washboard/drums. They sail through des Plantes' smart, snappy arrangements with aplomb and toss off hot solos galore. Vocals are provided by Des Plantes and Gill.

Something you can always expect from the Washboard Wizards is a spread of unfamiliar titles. (I connected with only two out of 17.) Looking at the composer credits, however, you will recognize some familiar names, such as Clarence Williams, Andy Razaf, Spencer Williams, Shelton Brooks, Duke Ellington, Perry Bradford, Dorothy Fields, Jimmy McHugh, and James P. Johnson being among the more prominent.

There are two contemporary tunes by des Plantes, about which more later. Most of the composers are black musicians associated with Harlem in the 1920s. Located on New York City's Manhattan Island, Harlem was the largest black community in the world in those days. It was teeming with music; stride pianists, blues singers, cabaret artists, and jazz bands abounded. When a 24-year-old Duke Ellington left Washington, D.C. for Harlem, he exclaimed: "The world's most glamorous atmosphere. Why, it is just like the Arabian Nights!"

In his interesting liner note commentary, jazz scholar des Plantes provides historical details about the obscure numbers he has chosen to resurrect. Having never heard any of the original recordings, I am not in a position to say how closely the band is conforming to them, but these men are not copycats, and my guess is that the interpretations are fairly free. They are lively and fresh sounding, that's for sure!

In the Fields/McHugh tune "Harlemania," Des Plantes' piano solo interpolates part of Duke Ellington's first composition, "Soda Fountain Rag." (1919). "Choo Choo (Gotta Hurry Home)" was the first number recorded by The Washingtonians, Duke Ellington's first band. Des Plantes dryly comments that The Duke "would go on to make a few more recordings in the ensuing years." "Thumpin' and Bumpin," credited to James P. Johnson, features some fine drumming by Hal Smith. "Hot Red" was composed by des Plantes to honor the late, great San Francisco clarinetist, Bob Helm, whose nickname was "Red." He was an associate and friend to most of the Washboard Wizards. The other original tune is "Going Out in a Blaze of Glory," a barn-burner written to commemorate this 2006 recording session. In the words of the leader, "This may have been our last session, but it may not be our last release. There's enough good unreleased material from this and prior sessions to fill another CD. We'll see about that." Please do, Ted.

Order from Stomp Off Records, P.O. Box 342, York, PA 17405 www.stompoffrecords.com

PAUL BACON WITH KEITH INGHAM'S MANHATTAN SERENADERS: GIRL CRAZY (no company name or catalogue number) 67:16 min.
Waitin' For Katie; Emaline; Rosalie; Marie; Ida; My Gal Sal; Evalina; Margie; Clementine (From New Orleans); Dolores; Mandy; Linda; Mary; Hard-Hearted Hannah; Marie Elena (sic); Candy; Dinah.

Reviewed by Clarrie Henley

Whatever you may think of the comb and paper as a musical instrument, it certainly has staying power. So has Paul Bacon, the comb-tooting octogenarian who organized this recording date, took a major part in the activities, wrote the amusing liner note, almost certainly executed the attractive artwork, and issued the CD himself. The tracks all include a girl's name, and, although this is not an original theme, it must be conceded that it's an extremely creditable concept for a man of his age.

Bob Scobey and Ruby Braff spring to mind as precursors of the idea, but the CD format allows more songs than those excellent LPs, and so we are treated to some neglected gems as well as the obvious roster of old favorites.

The session was originally intended as a Jazzology release, but the master and original note were lost in the New Orleans floods. Fortunately, a safety master was retained in New York, and the disc is now available for us all to enjoy -- if you can find it, that is.

Since I first heard Red McKenzie's records with the Mound City Blue Blowers, I have enjoyed the comb, although this enthusiasm may have been tempered if the tonsorial tool had turned up more often. Its longevity as a musical instrument may well be down to its infrequent use. Without having the attack and zest that set Red McKenzie apart, Bacon blends well into the ensembles, gutting away between the horns, but there's not a lot of it. Bacon always intended vocals to be a major part of the album -- a sing and swing record clearly inspired by those marvelous Putney Dandridge and Bob Howard 78s -- and he sings on every track. Therein lies the album's only weakness. Bacon does an unpretentious job, and the fact that he is more a crooner than a jazz singer is complementary to the chosen repertoire, but he is no Teagarden or Clancy Hayes and maybe 17 vocals call for a specialist singer, especially as we also get verses galore. This said, on the wider front, he certainly puts together an enjoyable album.

And there's the all-important word -- enjoyable. This CD presents no cerebral challenge, and it isn't there to be dissected and analyzed. It's raison d'etre is simply to give pleasure. And it succeeds admirably.

Bacon wisely roped in pianist/arranger Keith Ingham to help organize the men and the music. The chosen ones were Randy Reinhart or Jon-Erik Kellso, trumpets; Michael Hashim, reeds; James Chirillo, guitar; Conal Fawkes, bass, and Rob Garcia or Stan King, drums, with Ingham directing and playing piano and Bacon adding his comb and vocals. The little group is a real humdinger with everyone getting into the spirit and delivering his best. The presence of two contemporary trumpet giants in no way overshadows Michael Hashim who boots and grooves like a soul possessed. Keith Ingham's sketchy arrangements fit the project like a glove, allowing the freedom so necessary in such a session. He also plays a vital role at the keyboard, romping and stomping in a style far removed from his more frequent duties as accompanist. And what a pleasure it is to hear a pianist willing to vamp that old-fashioned alternate-hands bass that has so long been considered old hat in many quarters. When played with taste and skill, it's still as effective as when Fats, Jess Stacy and Teddy Wilson employed it.

The rhythm section members all enhance their reputations with spirited and imaginative performances,  and I am left with the feeling that everyone had a ball making this. Despite my reservations about the vocals, I love this CD and recommend it as something to brighten any day -- a toe-tapping, spirit-lifting package. However, you first have to obtain it, and that may take a little perseverance.

There is no company name, no catalogue number and no contact address of any form on the release. Paul Bacon doesn't appear to have his own website, but he has supplied his phone number to the RAG's editor and said that interested parties can call him at (845) 269-1990 for information on purchasing this CD.

The track list is printed willy-nilly on the booklet, but the correct order is given at the top of this review. You'll be familiar with most of the numbers anyway.

October 2008 issue | © 2008 The Mississippi Rag

P.O. Box 19068, Minneapolis, MN 55419.