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| (© Russell) |
The first jazz book I ever read - or attempted to read (I don't think I've finished it yet although it is still up there on the shelf gathering dust and absorbing any damp that may seep in) was Rudi Blesh's Shining Trumpets - and I wondered if, as an impressionable youngster, whether I should follow the classical path of my parents or the popular music (it had yet to be abbreviated to 'pop') of my friends or go with my gut instinct.
Jazz seemed so complicated
The matter was resolved when I read a second jazz book which is still up there on the shelf (damp free and dusted regularly). Leonard Feather's Inside Bebop. This was, maybe still is, the definitive work on modern jazz as it was back then.
However, Blesh's book, as overtly biased as it was/is provided one of the most beautiful words in jazz, be it then, now or next Tuesday - polyphony.
Polyphony is to jazz what a fugue is to a classical ensemble. The difference being that in jazz, whether trad or avant-garde, polyphony is totally improvised.
Polyphony was the first word that sprung to my mind when the Edinburgh based Tenement Jazz Band band stomped off with Bogalosa Strut.
Bands often, by choice or necessity, work without a drummer yet these guys swing so hard that a drummer would be surplus to requirements.
Dearness, with his shoulder length hair, may not look like Bix but his lyrical turn of phrase could have had Bix, like Christ (and to many he was Christ) rising from the dead and applauding the young man.
You don't see many steel clarinets on gigs these days but, when you do, make sure that Steven Feast is on the blowing end. Great sound, not 'pure' clarinet but close enough for me.
Paddy Darley blows trombone like Kid Ory. I'm told that he used to work behind the bar at the venue. It must have been like coming home.
John Youngs sang a few numbers - maybe he should stick with the day job. However, as the 'day job' is playing the banjo perhaps, on their next visit he should bring his guitar along. (just joking John, you're the best banjoist I've heard since yesterday.)
Rory Clark provided a solid foundation stomping along on sousaphone with the agility of a piccolo player and holding it all together.
It was an excellent session, the joint was jumpin' and the dancers enjoyed the mix of standards, originals, rags and blues.
Blues!? You wanna get the blues? Let me tell ya you don't need to go to Chicago or some joint in Alabama to get the blues. Just try the Tyne & Wear Metro ...
Still, it was a great couple of sets and there was another to come. This is one of those bands that have got it absolutely right with what they do.
Oh and, yes, if you wanna dance ... Lance
Numbers included: Bogalosa Strut; Canal St. Blues; Snake Rag; In the Gloaming; You Can Depend on me; Kinklets; Big Chief Battleaxe; Barataria; Bouncing Around; Louisiana Fairy Tale; Blue Drag; Stockyard Strut; Willie the Weeper; Mississippi Rag; She's Crying For me; Kansas City Rag; Till we Meet Again
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