Album Review: Oliver-Smith Incomparables – Stomp Your Stuff (Turtle Bay Records) - Take two.

Andrew Oliver: piano; Hal Smith: drums (1-9, 11-13); Colin Hancock: cornet (1-4, 7-9, 11-13), alto sax (7); Andy Schumm: clarinet (1-5, 7-9, 11-13), cornet (3); T.J. Müller: trombone (1-4, 7-9), 11-13); cornet (6), vocals (6); Jacob Alspach: guitar (1,2,4,8), banjo (3,7,9, 11-13); Dan Anderson: string bass (2-4, 7-9, 11-12), tuba (1, 13)

Over the last few years, there’s been a significant revival of jazz music of the late 20s and early 30s. Marvelous performers such as Bria Skonberg, Terry Waldo, Ricky Alexander, Vince Giordano and the Nighthawks et al, have successfully mined the vast amount of music published during that era. With Stomp Your Feet, the Oliver-Smith Incomparables dive deep into the treasury of music from Chicago’s famed Melrose Publishing - at that time a key player in the genre. And, by brilliantly incorporating these here arrangements and orchestrations in the style of Jelly Roll Morton, the Incomparables provide listeners with a baker’s dozen outstanding selections.

Stomp Your Stuff opens this show with a fierce flavor. The tune bounces hot and heavy throughout with ensemble and solos stop-starting in a classic Mortonesque manner. Clarinetist Andy Schumm offers a highlight solo. Bucktown Blues, developed from a Morton solo recording, slows things to a strut-walk with Andrew Oliver’s piano and ensemble calling and responding. The free-wheeling ensemble soars and takes things so right up to the climax. Grace and Beauty, a rousing 1909 James Scott composition was a stock Melrose-published chart, here enhanced and presented via an engaging arrangement. The ensemble shines throughout. Jimtown Blues is a boomer. The break time sections add great tension and contrast. The high woodwinds and rollicking ensemble shine. The ending tags are a fun touch. Honey Babe, written and recorded by Jelly Roll himself, but never released, offers a change of pace: a marvelous vocal performed by multi-instrumentalist T. J. Müller. It is a rendition that fits perfectly with the vibe that Morton must have delivered. 29th and Dearborn sends up a classic slow blues out of 20s' Chicago. Cornetist Colin Hancock states and delivers a very tasty solo. Oliver’s double-time keys juxtaposed with Jacob Alspach’s guitar is a neat arranging touch and Andy Schumm’s clarinet shines. The invigorated ensemble takes this one home. The speedy Mobile Blues has New Orleans stylings all over it. A terrific T.J. Müller gut-bucket trombone is a highlight. All Hell breaks loose before the ensemble brings things to a surprise and amazing close. Original Chinese Blues is an up-tempo novelty. The arrangement offers a free-wheeling collective ensemble melodic take with stops, starts. and some splashy cymbal pops from time-keeper Hal Smith, who keeps things swinging throughout the session. It’s a fun track. Cafe Capers offers a fine stomper with a killer Oliver short ride. It closes this exciting session with great vigor.  

As one will see reading the outstanding liner notes (which will enhance the listening experience), Andrew Oliver and Hal Smith have devoted a tremendous amount of research in sourcing the unique material presented here. And, they have acknowledged and in cases, embellished that material by also incorporating Jelly Roll Morton’s unique arranging and orchestrating methods. This is a spectacular performance by a team of outstanding players, mostly multi-instrumentalists – that know the genre, can interpret it, and, ultimately deliver a brilliant, Grammy-worthy performance. It is easily one of the finest recordings I have heard this year. Nick Mondello

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