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Bob Powers Regular readers of this column may remember that Yours Truly doesn't possess a particular passion for the clarinet. To my ears, the clarinet has a tendency to sizzle when it should be soft, to scratch when soothing sounds would be the preference.
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After listening to new albums by clarinet masters Dr. Michael White and Bobby Gordon, some revision in my thinking and listening must occur. White and Gordon produce such beautiful music that their albums are going to rank high in my personal hit parade for months to come.
"A Song to George Lewis" (Basin Street Records) gives Dr. Michael White an opportunity to show off in a setting that seeks to pay tribute to Lewis, who became a legend on his chosen instrument. The year 2000 happens to coincide with the 100th anniversary of Lewiss birth.
Lewis, according to the notes accompanying the CD, "remains perhaps the most widely imitated and influential [clarinetist] in the world today." While contemporaries such as Armstrong, Oliver, Morton and others left New Orleans to achieve fame elsewhere, Lewis stayed.
He took up the clarinet at age 17 and soon found himself working in the top New Orleans groups of the day. He first achieved notice outside of Louisiana in the 1940s, when he made his first recordings. He traveled internationally in the 50s and became a regular in the famed house band at Preservation Hall upon its opening in 1960. Early on, he became an important cog in the traditional jazz movement.
White had never heard of Lewis until he happened to see a TV account of the jazz master's death and the resulting jazz funeral. Several more years passed before White heard a recording by Lewis. In the liner notes, he writes, "That night my life was transformed forever."
Supported by an excellent array of top New Orleans talent, White has put together an album that is sure to rank high at year's end when writers start assessing the crop of records issued for the year. "A Song for George Lewis" has done well in the respected Billboard jazz charts, ranking at No. 1 for weeks.
Because traditional jazz has so few outlets in television (maybe once in a long while on Public TV) or radio (sadly, theres no such format as Traditional Jazz,) ranking at the top in CD sales must be attributed to an urgent and delighted crowd who pass the word. "A Song for George Lewis" contains 73 minutes of wonderful music, performed by a talented group of musicians.
The song list is brave and creative. Because of the close ties between traditional jazz and the Christian church, there are two hymns, "Just a Closer Walk with Thee" and "What a Friend We Have in Jesus." Arraignments are outstanding for both songs.
There are only two Lewis compositions, "St. Phillip Street Breakdown," but then Lewis wasnt noted for writing songs. Happy songs are plentiful, such as "Louisan-i-a" and "Stafford Strut," which was written by White.
Best of all, Whites technique on the clarinet contains elements of the past and a strong leaning toward the future. His tone remains squeakless throughout.
Did I mention that this is a helluva album? Believe me, its a dandy.
Bobby and Dave
Bobby Gordon certainly has been there and done that. He studied the clarinet with the great Joe Marsala. He has worked with Wild Bill Davison, Bobby Hackett and Muggsy Spanier. Gordon also worked extensively with Jim Cullum's Jazz Band and with blues singer Leon Redbone. Gordon definitely paid all sorts of dues.Dave McKenna, now considered one of the originals in jazz piano, has worked with a long line of names, including Woody Herman, Buddy Rich, Zoot Sims, and Bobby Hackett. McKenna is a strong believer that two hands are required to play jazz, and his left hand has been described as "a rhythm section unto itself."
These two jazz wheels are accompanied with a sense of perfection by Frank Tate on bass and Joe Ascione on drums.
The result will keep listeners enthralled. "Clarinet Blue" (Arbors Records) offers this distinguished quartet the opportunity to shine. They certainly accomplish that goal. There will be plenty of finger snappin' and toe tappin' whenever this CD is played.
The song list deals with pop tunes from the past, some quite familiar, others seemingly new (at least to my ears). The range is from "Ja-Da" to "I Wish I Could Shimmy Like My Sister Kate" and from "Ballin' the Jack" to "I Got It Bad and That Ain't Good."
Gordon and McKenna seem entirely at home with each other, yet never show any sign of familiarly, in the bad sense of that word. These two gentlemen are extraordinary musicians and nearly perfect partners.
COMING NEXT: One of the most exciting albums in years will be the topic of next weeks Powerssound. Fletcher Henderson wrote most of the arraignments for Benny Goodmans great band. A new album by Bob Wilbur and the Tuxedo Big Band of Toulouse, France features 17 never-before-recorded charts with that wonderful Goodman sound.
