Another:
Transcription Tuesday But On A Wednesday: ‘Clarinet Marmalade’, Sidney Bechet
It’s Tuesday, but it’s actually Wednesday (and by the time you read this it may even be Thursday or any other of the days)! That can mean several things, but in this context it means it’s time for another of my beautiful jazz transcriptions.
This week I continue my enduring survey of great artists’ interpretations of the greatest piece of art ever created: Clarinet Marmalade. So far we’ve heard from Edmond Hall, Sid Phillips and Benny Goodman, and today I’m going to throw a little Sidney Bechet into the mix, in a recording he made with Bunk Johnson and co. in 1945 or thereabouts. Here’s what I make of what he makes of it:
Transcription Tuesday But On A Wednesday (But On A Thursday): ‘Clarinet Marmalade’, Benny Goodman
This week’s edition of TTBOAW(BOAT) sees me sticking with the undisputed greatest piece of art ever created, and taking a look/listen at/to a 1939 radio performance of Clarinet Marmalade, by Benny Goodman and his eponymous orchestra. As is often the case with big band arrangements, there’s not a huge amount of actual soloing in this. Therefore I’ve also transcribed an outline of the tutti sections so you don’t feel short-changed.
Transcription Tuesday But On A Wednesday: ‘Clarinet Marmalade’, Sid Phillips
Today, dear readers, I would like to share with you a recent personal experience of mine that has affected me quite profoundly. It is with some trepidation that I share this, as I realise that to some it may seem at best naive, at worst bordering on the heretical. But I believe that to keep this glorious epiphany to myself would represent the height of selfishness, and therefore I ask that you bear with me as I state my case. Judge me as you will, but if this article can inspire just one person in the way that I have been inspired then it will have served what can only be described as a truly great purpose.
I realise that I am preaching to the converted here, as all of you reading this are presumably devoted followers of my blog who read, analyse and digest it in extreme detail and hang on every word I write. But just in case there are any newcomers amongst you, I would like to take a moment to fill you in on a little background. For some time now I have been engaging in a regular Wednesday ritual of taking a jazz recording from a notable musician and transcribing the main solo part (i.e. writing it down in conventional Western musical notation). I call this series ‘Transcription Tuesday (But On A Wednesday)’, because I publish the transcriptions on my blog every Wednesday but ‘Transcription Wednesday’ is not alliterated and is therefore repulsive to my mind. It is of course of huge benefit to the musical fraternity and the world in general, because everybody knows that the best way to play jazz is to recite, note-for-note, a solo that somebody else improvised 80 years ago. But it also gives some benefit to me as a musician, in that it grants me a deeper knowledge of the improvisational techniques and ideas showcased by these great performers, which in turn feeds into my own musical vocabulary when I ‘take to the stage’ (sometimes literal, but usually metaphorical) as a soloist.
As I write this, it is a week since I last published a transcription and since the event which has forever changed the course of my life. For whilst searching around for some appropriate jazz to notate, I came across something wonderful, perhaps even divine. It was a piece of music that spoke to me in a way that no other artform has done before. It awakened layers of my being that I never even knew existed, and opened up entirely new realms in my consciousness. The more I listened, the more certain I became that I was experiencing something truly ineffable, and that surely this was the greatest piece of art that had ever been created. The Mona Lisa, the symphonies of Beethoven, Milton’s Paradise Lost… All of them faded into nothingness when compared with this monumental exploration of the human soul. And today, dear reader, I would like to share it with you all. It is called ‘Clarinet Marmalade’.
There is little point in me attempting a verbal description of the many delights to be found in Clarinet Marmalade. To do so would be simply impossible, and could only serve to weaken a such thing of utter perfection. All I can do is urge you to find it and listen to it, so that you too may be enlightened as I have been. As with all great art it is open to an infinite degree of interpretation, and therefore there are many different recordings readily available to those who choose to seek them out. I implore you to do so at the earliest opportunity, and to spread the word of this glorious entity as widely as you are able. For this music needs to be heard, and the more people who are exposed to its remarkable power, the closer humanity will creep towards paradise.
I am only one lowly woodwind musician, but I am determined to do my part to aid in the advancement of this music. Therefore, for the foreseeable future my Transcription Tuesday (But On A Wednesday) posts will explore as many different versions of Clarinet Marmalade as I can lay my ears on. Last week I notated Edmond Hall’s 1958 recording, and this week I have transcribed a rendition from Sid Phillips. Keep checking this blog for further transcriptions of this remarkable piece, and in the interim please remember: What’s good for Clarinet Marmalade is good for humankind.
Transcription Tuesday But On A Wednesday: ‘Clarinet Marmalade’, Edmond Hall
This is a blog post.
This is a YouTube video:
And this is a hyperlink to my transcription of the clarinet part from the above video:
And this is a cow:
Transcription Tuesday But On A Wednesday (But On A Thursday): ‘My Funny Valentine’, Wynton Marsalis
It seems that once again I have let time get away from me (time, you dirty scoundrel you…), and so this week’s TTBOAW is a little bit late! Oh no! To atone for this sin, I have put myself through something of an exercise in self-punishment by transcribing a 9-minute-long performance of ‘My Funny Valentine’, from Art Blakey and the Jazz Messengers and featuring a 19-year-old Wynton Marsalis as trumpet soloist. I hope you enjoy seeing these notes captured for all time on virtual paper – just don’t ask me what chord changes they’re using!
Transcription Tuesday But On A Wednesday: ‘Love Me or Leave Me’, Lester Young
This week on TTBOAW, I bring you another stellar performance from Lester Young and co. This is him performing with his quartet in 1956, and you can tell how much they were enjoying themselves (or maybe they were being held at gunpoint or something, I don’t know) by the amount of soloing they get through – Young and pianist Teddy Wilson each take not one, not two, not three, but four solo choruses, resulting in an epic rendition lasting almost seven minutes. Drummer Jo Jones only gets one chorus, but drum solos are a bit boring so that’s nothing to be concerned about.
There is much to enjoy in this song, but one thing this recording can’t capture is the beauty of Gus Kahn’s lyrics. Even without the music they tick along like clockwork, with rhymes and half-rhymes and alliterations cascading one after the other. Here they are so that you can take a minute to appreciate them:
You won’t believe me, and I love you only,
I’d rather be lonely than happy with somebody else.
You might find the night-time the right time for kissing,
But night-time is my time for just reminiscing,
Regretting instead of forgetting with somebody else.
There’ll be no-one unless that someone is you,
I intend to be independently blue.
I want your love but I don’t want to borrow,
to have it today and to give back tomorrow,
For my love is your love, there’s no love for nobody else!
Transcription Tuesday But On A Wednesday: ‘My Little Dixie Home’, Barney Bigard
Sadly I wasn’t able to bring you a Tuesday transcription last week, as I was so deeply immersed in my annual festival of eggnog. However we’re now back on track, and I would like to wish y’all a Happy Nude Year by presenting the third part in the trilogy of 1929 Jelly Roll Morton Trio recordings (as performed by Barney Bigard on clarimanet). Bon voyage!
December Madness!
I suppose one of the flaws with this sort of blog is that the more I have to write about, the less time there is to do it in. So when I’m running about all over the place doing gigs every few days, I have little opportunity (let alone enthusiasm) to sit down and write about them. Similarly, when things are a bit quieter and I have ample time to chronicle my adventures, there’s not really much to write about.
The past few weeks serve as a good demonstration of this fundamental principle, as I’ve had a number of last-minute bookings arrive to fill my diary in the run-up to Christmas. And annoyingly, they all seem to have been hundreds of miles from each other, so that the time I haven’t been playing has largely been spent travelling! I did plan to draw a map showing my recent journeys but it turned out rather messy, something like this:
Therefore, instead I’ll simply decorate my tales with some mileages, to give an idea of the distances I’ve covered as the crow flies. (Did I tell you I’m actually a crow?)
I said goodbye to the month of November, and bid a familiar “Oh hi there, how ya doin’?” to the month of December, in Dublin. My rehearsal pencil and I made the voyage over to participate in the Irish Film & Pops Orchestra for the third year running, and enjoyed a wonderful selection of repertoire which you can see here displayed:
To stop it feeling left out, I took my bassoon along as well and let it join in the concert:
The occasion also gave an excellent opportunity to catch up with my old friend Darth, whose presence I haven’t felt since…
Should you wish to peruse more photos ‘n’ things relating to the occasion, you can do so here: https://www.facebook.com/irishfilmandpopsorchestra/
Miles travelled: 332 (Manchester to Dublin and back)
It was not long after that that I dutifully struck up a chorus of ‘Hi Ho, Hi Ho’, and off to London I went. This time I was playing a variety of Christmas musique in the reception area of some office complex near Paddington. Here is a photo of me performing, although you may find me difficult to spot because I dressed up very convincingly as a Christmas tree:
Miles travelled: 163 (Manchester to London)
The next stop on my world tour was my regular territory of Scarborough high street, where I joined my colleagues from The Jelly Roll Jazz Band to perform for a late-night (well, 5:00 till 7:30) shopping event on 5th December. Sadly there exists no evidence, photographic, videographic or anecdotal, to verify that this occasion ever actually happened. So you’ll just have to take my word for it and accept my promise that, honest, it’s true!
Miles travelled: 192 (London to Scarborough)
That weekend I made another excursion to the London vicinity, to attend a wedding of some friends. But I didn’t play anything (unless you count a bit of ukulele), and therefore on that basis it’s not really any of your business.
Miles travelled: 330 (Scarborough to London-ish, then back to Manchester)
I then had a couple of days to recover, but it wasn’t long before I was back on the clari game yet again, this time performing for a New Orleans-style funeral near Manchester. The occasion marked my debut with the Silk Street Jazz Band, with whom I almost had a gig about 4 years ago. And what a fine bunch of players they are – hopefully they’ll have me back within the next 4 years!
Miles travelled: 22 (Manchester to Manchester-ish and back)
The following morning I scraped the mould off my baritone saxophone (you think I’m joking…) and plonked myself on yet another train, ready to voyage south once again. London-bound I was, this time destined for illustrious venue The Jazz Café in Camden, where I would be playing flute, clari and mould-free baritone with The Sam Jewison Orchestra.
While I was away, I came up with the idea of doing a remake of 2001: A Space Odyssey, featuring my very own obelisk:
This one actually turned out to be a very easy gig. We all turned up ready to perform 2 hours of music, but in the end we only had to play one note and the audience were fully satisfied:
Miles travelled: 326 (Manchester to London and back)
That weekend I journeyed back to Scarborough to fulfil my annual duty of decorating the Christmas tree. But I didn’t play anything (unless you count a bit of bassoon), and therefore on that basis it’s not really any of your business.
Miles travelled: 186 (Manchester to Scarborough and back)
Before I knew it, it was Wednesday 18th December, and time to pay a return visit to the jazz club in Southport with The Dixie Beats. So I did that, and we played a lot of tunes, and we had some mince pies and some pasta, and then I returned to Manchester to get a few hours of sleep. But not before getting a picture of this sign, which I particularly liked:
Miles travelled: 68 (Manchester to Southport and back)
After all that fun and excitement (not to mention pork pie related signage), you’d think I’d be ready for a bit of a rest. And you’d be right, however I still had one more set of gigs to fulfil before resting my reeds for a bit. So after getting home from Southport in the wee small hours of 19th, I then had to be up bright and early to catch a flight all the way to Guernsey!
My purpose? To combat a national bassoon shortage by playing my musical drainpipe in the annual Christmas concerts of Guernsey Choral and Orchestral Society! We played the same programme on both 20th and 21st, which included well-known carols such as While Shepherds Watched, more modern choral pieces like John Rutter’s Star Carol, and some olde music like Handel’s Utrecht Te Deum (with its never-ending and never-breathing bassoon part). I personally think the event was a great success, but you can judge for yourself by having a listen to the hightlights broadcast here: https://www.bbc.co.uk/sounds/play/p07vsfqb
Miles travelled: 540 (Manchester to Guernsey and back)
Since returning from the Islands of Channel, I’ve been enjoying a rather fine Chrismas holiday, which has given me a chance to catch up on my backlog of eggnog that’s been building up over the year. But that’s not to say I haven’t been making any musical noises. Over the past week these have included:
- Christmas Eve busking with The Jelly Roll Jazz Band.
- Playing some clari in a nativity service.
- Playing my special homemade lampophone in the annual Boxing Day Comedy Band, round Scarborough sea front:
Can we also just take a moment to appreciate the true majesty of the lampophone? What you can’t see from the photo is that it lights up whenever you use the right hand keys or the left hand little finger cluster:
- Recording some trad. jazz clarionet for You’re My Cadbury Flake, the latest song to be added to James Ure and the Fridge Doors’ upcoming album Banquet.
And that, laddies and gentlewomen, is just about it for the year of 2019! I do, however, have one more gig to fulfil tomorrow night, as I travel all the way to Reading to play for a private New Year’s Eve party with The Jelly Roll Jazz Band. I might even get a video clip or something for your amusement. But we’ll see.
For now, though, all that remains to do is for me to add up the grand total of miles I’ve travelled since the end of November. And the winner is…
Transcription Tuesday But On A Wednesday: ‘Turtle Twist’, Barney Bigard
The more loyal of my devotees will recall that several weeks ago I presented you with a transcription of ‘That’s Like It Ought To Be’, as performed by Barney Bigard with The Jelly Roll Morton Trio in 1929. Well there exist in fact two more recordings from the same session, and this week I bring you another of them: ‘Turtle Twist’. Stay tuned for the third of the three, at some stage over the coming weeks!