A while back, I wrote about Larry McCabe’s EP, Irish American. I am pleased to say it’s now a full length album, and it is — as we say in the trades — completely bad-ass. As I write this, I’m quite certain that Larry would say that this recording project — in addition to being an education — has been a labor of love. (Of course, all recording projects are an education when the artist is truly involved, but I’m digressing.) To the point, love shows in the music, which ranges from hard rocking — O’Diddley, for example — to dance-worthy, to serene and beautiful. A little excerpt of what Larry says about it:
I was born in the heartland of America. My great great grandfather came here from Ireland. I grew up listening to all kinds of music and was fortunate enough to play with some very talented and soulful musicians right out of high school. It was a time when you could go on the road, play music and make a living. I played with everyone from Brenda Lee to Maynard Ferguson and had a ball. A few years back I started listening to Irish music and it it literally struck a chord with my ancestral roots. I love pure traditional music.
Over the years, and no doubt through the musical experiences he mentions above, Larry’s been able to match his musical sensibilities to the slide instrument, with the result that today his musicality and trombone playing are easily in a class by themselves.
One of my personal favorites from Irish American is a marvelous, arranged-on-the-fly, trombone choir: Annie McMahon. Clan McCabe is nothing short of a trombone power ballad. (The euphonium is used here to great effect, too.) Is some of this music shades of Trombone Shorty? You bet! So, check out Larry McCabe’s Irish American — as in right now!
Trombonist Paul Nowell seems to exist in the weird intersection of trombone playing, education, clowning, employing a large stuffed banana as a sidekick, and constantly repeating a joke about tuna fish, tuning, or something like that.
Possibly the most edifying of Nowell’s various forays on the internet is his recurring YouTube show called Bone Masters, in which he plays host to the trombone-famous. Through the magic of green screen, Bone Masters is often set against a pleasant tropical or nature scene, the pleasantness of which is possibly destroyed by all the tromboning (of course, that’s a matter of opinion). While the guests relate important playing techniques and insights, Paul asks the pertinent questions. Below is a sampling of some of the episodes. You can see them all at Paul’s YouTube channel.
Sure — there are lots of things on the internet that you probably wouldn’t want to see, and many things that you’d probably want to un-see. Yes, as time goes on, they’ll be more and more demand for Eternal Sunshine of the Spotless Mind [iTunes] technology. What’s posted here, however, likely won’t fall into that category: It’s a 1964 performance by the Duke Ellington Orchestra in Montreal for a Canadian TV program called Le Jazz Hot.
Many of the Ellington stalwarts are here, including Cat Anderson, Harry Carney, Johnny Hodges, and trombonist Lawrence Brown. (The full personnel listing can be found here.) Not surprisingly, this YouTube clip is an excerpt of a DVD which is commercially available. Imagine that!
Interestingly, Lawrence Brown was not a huge fan of Duke Ellington, despite working with the leader for nearly thirty years. The gist of the resentment? It seems Brown felt The Duke’s charisma was used to manipulate, and that Ellington took credit for the musical creations of his band members. As a specific example, Brown said that he was the actual composer of the “A” sections of Sophisticated Lady, and that saxophonist Otto Hardwick had come up with the bridge. Certainly, some of Brown’s criticisms are a matter of perspective. Where, for example, does cajoling end and manipulation begin? The interdependent relationship between Duke and his orchestra members is widely acknowledged, yet, it’s likely that Lawrence Brown’s name should be included on any Sophisticated Lady byline.
Lawrence Brown did branch out on his own from time to time. The album Slide Trombone [iTunes], from 1955 and for Verve records, is one example.
Well, it’s been a while since there have been any posts here. To make matters worse, your’s truly has allowed most of Jazz Appreciation Month to pass without any jazz appreciation represented here. Thankfully, though, there’s still time. There’s always time. I think Albert Einstein said that.
For some (really) belated jazz appreciation, let’s go back to nearly the beginning of the previous century to a little thing called Livery Stable Blues, recorded by The Original Dixieland Jass Band for Victor in 1917. In these early days of “jass,” this sort of music was supposed to be somewhat comedic. The nascent recording industry used this idea of fun, novelty, and “jass” to “get over” with a popular market. In the case of Livery Stable Blues, this also meant — in part — a barnyard tie-in featuring musicians imitating animal sounds. Arguably, this constituted a disservice to both the animals and the humans. Other ODJB titles: Barnyard Blues, Ostrich Walk, Bow Wow Blues, and Skeleton Jangle.
Similarly constructed bands of this time played a music that musicians mostly identified as “ragtime,” and which didn’t need to be “funny.” The non-comic musical influence was coming from musicians like Joe “King” Oliver, whose band wouldn’t record for another six years.
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