Transcription Tuesday But On A Wednesday (But On A Thursday): ‘Dinah’, Benny Goodman

Oh you Benny Benny Goodman,
Benny Benny Goodman we love you.
And, with Benny Benny Goodman
Benny Benny Goodman what we’ll do.
All set with a clarinet, oh what a happy time we’ll spend.
Goodman Benny Benny Goodman, our fine ten-fingered friend.
Goodman Benny Benny Goodman, our fine ten-fingered friend.

 
Anyway…
 

Transcription Tuesday But On A Wednesday: ‘Sweet Sue, Just You’, Benny Goodman

Now here’s a song that I’ve played once or twice in the past, as anyone who’s been stalking me in recent years will already be aware! But today it’s not me playing it – oh no it’s not. I get a guest musician every week. And this week it’s… Benny Goodman!

Here he is playing ‘Sweet Sue, Just You’ in 1936 with his quartet. What a delight. : D
 

On Sugar, Plums, and Rotating Bass Clarinets

Happy Star Wars Day everybody! Assuming you read this on the same day that I am writing it, which I suppose in the grand scheme of things is unlikely. But I hope you appreciate the sentiment nonetheless.
 

Dance of the Sugar Plum Clari

To mark the occasion, I would like to share a brand new Christmassy video that I’ve assembled this week. It’s a project I’ve been wanting to do for a while, and which consists of Tchaikovsky’s Dance of the Sugar Plum Fairy arranged for bass clarinet quartet (with additional piccolo playing the original famous clarinet solos). My green-screening was a bit more successful this time than it was with the Bassoon Quartet Holberg Suite (it turns out that the wall adjacent to my window is much better lit for such purposes than the wall opposite it), and so buoyed up by this success I confess I got a little carried away with the editing. I hope you don’t mind.
 

Holberg Charts Now Available

Speaking of the Bassoon Quartet Holberg Suite, I can happily announce that, as of this morning, the sheet music for those arrangements is available to purchase from my website! Hurrah! And it’s only £1 per movement. What else can you get these days for £1 per movement? I’ll tell you: not a lot. So if you happen to be a bassoonist with three like-minded clones, this should be right up your alleyway: https://www.michaelgrantmusician.com/product/holberg-suite-by-edvard-grieg-bassoon-quartet/
 

The Jelly Roll Hour

Guess what? I’m in a jazz band. It’s called The Jelly Roll Jazz Band, and if you don’t know about it already then you really haven’t been paying attention. Anyhoo, we did a small-scale gig the other week which we live-streamed via The Instagram. But of more relevance to you is the fact that we also recorded it, and the entire hour-long video is currently available to watch on The YouTube. But you’d better be quick, because it’s going to self-destruct this Friday 8th May! The moral: grab your trad. jazz while you can.
 
https://youtu.be/UybMAaCt1jE

The Main Street Stride

Good news: my account on Fiverr.com, which I only created a few weeks ago, has already more than paid for itself! To be fair, it didn’t cost anything to set up, so it wasn’t really that hard. But my point is, I’ve had a gig! This involved a bit of remote recording, adding piccolo and clarinet parts to a pastiche ragtime piece called ‘The Main Street Stride’ by composer extraordinaire George Streicher. I haven’t yet seen the completed masterpiece, but as soon as it’s available I will send it your way.
 

Previews of Coming Attractions

As always, I have a fair few projects gradually working their way through the pipeline. So to keep you hooked on my already highly addictive blog, here is a little run-down of things you can look forward to in the near future:
 

  • The recording for my album of 12 piano miniatures is well and truly underway. I can’t tell you how long it’ll be before it’s ready – I’ve basically sent the sheet music off to a pianoman and told him I don’t really mind how long it takes to record. But the point is, it’s on the way!
  • I’ve been hard at work writing a trio for clarionet, violoncello and pianoforte, which is nearing completion. I’m going to enter it into a competition that might win me £3000, which would be nice, but if not then at least I’ll have made something arty.
  • Over the past few days I’ve assembled an arrangement of one of Kermit the Frog’s greatest hits, ‘Rainbow Connection’, which I will be recording over the next week or two with my colleague and arch enemy James Fridge of James Fridge and the Ure Doors. It’s written for 2 flutes, 2 clarinets, 2 bassoons, 2 alto saxophones, tenor saxophone, baritone saxophone, 2 trumpets, 2 trombones, tuba, and banjolele. It’s been nice having the space to ‘stretch out’ a bit, in arranging for a large ensemble. So look out for that!
  • For a while now I’ve thought it would make for a good show-off video to record myself playing all four of the notoriously difficult clarinet parts to mvmt. 1 of Ravel’s ‘Daphnis and Chloé Suite No. 2’, and I’ve recently made a start on that project. I’ve been working on the bass clarinet part first of all, this morning recording a reasonable take of it. I think I’ll now work my way up the section, meaning my next mission is to tackle the 2nd A clarinet part. Wish me luck!

I think that’s more than enough Michael A. Grant for now. While we’re on the subject of Daphnis and Chloé, I’ll leave you with a video from 2015 of Durham University Symphony Orchestra playing the 2nd Suite, and see if you recognise any of the clarinettists!

Toodle-pip.
 

P.S. I’ve just realised that I shared that same video not that long ago. But if a thing’s worth sharing once, it’s worth sharing again, right?

Transcription Tuesday But On A Wednesday: ‘Wild Man Blues’, Johnny Dodds

It has come to my attention that the world in general was left bereft last week as they were deprived of their regular dose of transcriptionies. To make it up to everyone, I have done… absolutely nothing. I would apologise for that, but I choose not to.

The good news is that, this week, TTBOAW returns in style with a rendition of Wild Man Blues from the tradder’s tradder, Mister Johnny Dodds. Fun fact: this year, this particular recording celebrates its 82nd birthday. Hooray.
 

88.05 (± 86.05) More Projects I’ve Recently Completed

Bonjour! Ça va? Aujourd’hui, je présente beaucoup de nouveau vidéos, qui j’ai fait les semaines récent.

Good golly, French is hard.

What I’m trying to say is, I’ve made some videos! And if I know you (which I do*) then I think you’ll enjoy them.
 

1) Bassoon Quartet Holberg Suite

Here’s a project that I started chipping away at over 2 years ago, and am very pleased to have finally got round to finishing! It’s the entirety of Grieg’s Holberg Suite, arranged for bassoon quartet (as I’m sure he would have wanted it). To perform the thing in front of a random selection of public-domain artworks, I have enlisted myself and my intrepid team of identical quadruplets. Once you’ve heard this version, you’ll never go back to strings!

Mvmt. I:

Mvmt. II:

Mvmt. III:

Mvmt. IV:

Mvmt. V:

2) I’m Having Trust Issues With Crispy Seaweed – Official Music Video

Secondly, and finally, I would like to share the results of 12 long days spent photographing cabbage in my basement with colleague and housemate James ‘James Ure and the Fridge Doors’ Ure. Via the medium of 2477 photographs we have managed to assemble a masterpiece of a stop-motion music video for his new single ‘I’m Having Trust Issues With Crispy Seaweed’. And what a thing it is!
 

Au revoir!!!

* Bit creepy…

Transcription Tuesday But On A Wednesday: ‘Shreveport Stomp’, Omer Simeon

This Tuesday (or is it a Wednesday? I’m never sure) we shall take a trip back in time to the distant year of 1928, when a select group of musicians including clarinettist Omer Simeon gathered to record Jelly Roll Morton’s composition ‘Shreveport Stomp’. Shreveport, for anyone who doesn’t know, is a city in Louisiana. How’s that for an educational tidbit? Anyway, here’s the recording and sheet music:
 

 
Incidentally, this isn’t the last you’ll hear from me regarding this piece. The reason I’ve transcribed it this week is so that I can use it in future as a clarinet feature with Bolton’s premier Dixieland jazz band, The Dixie Beats. So look out for that!

Transcription Tuesday But On A Wednesday (But On A Thursday): ‘Across the Track Blues’, Barney Bigard

Greetings all. As you may expect, I have another transcription for you today, and will be concluding my recent series of Barney Bigard’s favourite feature pieces with The Duke Ellington Orchestra (according to ‘Jazz: The Rough Guide’). ‘Across the Track Blues’ is pretty short and simple so didn’t take me long to work out at all, especially seeing as I didn’t bother transcribing the chord progression! If you must know, it’s sort of a souped-up 12-bar blues in D, or something vaguely along those lines.
 

Transcription Tuesday But On A Wednesday (But On A Thursday): ‘Barney Goin’ Easy’, Barney Bigard

This week on TTBOAW(BOAT), I bring you another of Barney Bigard’s showpieces with the Duke Ellington Orchestra, in the form of ‘Barney Goin’ Easy’! I’ve even worked out the chords and everything this time – see what you make of it:
 

Transcription Tuesday But On A Wednesday (But On A Thursday): ‘Clarinet Lament’, Barney Bigard

This week on TTBOAW(BOAT) we return to our old friend Mr. Bigard, to examine one of his showpieces with The Duke Ellington Orchestra. It’s only 73 bars long, but he certainly manages to pack plenty of notes into that space. Never before have I been so grateful for Audacity’s ‘Change Tempo’ feature!
 

Transcription Tuesday But On A Wednesday: ‘Oh, Lady Be Good!’, Artie Shaw

It’s Transcription Tuesday, but it’s actually Wednesday, and that can only mean one thing: it’s time for Transcription Tuesday But On A Wednesday!

This week I take you back to 1939, to listen to Artie Shaw and his orchestra performing that solid gold standard ‘Oh, Lady Be Good!’. Here are some interesting facts about Mr. Shaw, to whet your appetite:
 

  • He shared a wife with Frank Sinatra (not at the same time, of course), in the form of Ava Gardner.
  • He wrote several books, including ‘The Trouble With Cinderella’ and ‘I Love You, I Hate You, Drop Dead’.
  • He switched to playing the clarinet at the age of 16, after 3 years as a saxophonist.