Transcription Tuesday But On A Wednesday: ‘Love Me or Leave Me’, Lester Young

https://youtube.com/watch?v=Bq8xp-KoU8w%3Ffeature%3Dplayer_embedded

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:
 

Love me or leave me and let me be lonely,
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?)
 

1) The Irish Film & Pops Orchestra

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)
 

2) Christmas Tunes in a Foyer

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)
 

3) Late-Night Jelly Rolling

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)
 

3a) Wedding

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)
 

4) Funeral

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)
 

5) Sam Jewison and His Orchestra At The Jazz Café

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)
 

5a) Putting Up the Christmas Tree

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)
 

6) Southport Jazz Club

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)
 

7) Guernsey

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
 

A little piccy of the rehearsal for the Guernsey concerts, before the bassoons got involved.

 
Miles travelled: 540 (Manchester to Guernsey and back)
 

8) Other Things

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…
 

2159 miles!

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!
 

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

This week on TTBOAW(BOAT) I have been listening to a clarionet showpiece that was composed by Mel Powell especially for Benny Goodman. It’s written in the unusual keys of D and E, which are not the most conducive to fluid clarinet technique and make the piece challenging to play as well as impressive to listen to.

Ooh, another paragraph! Well, why not. What I was going to say was, it’s debatable how much we can learn from this piece about the art of improvisation seeing as it seems to be mostly composed rather than extemporised. However I decided to transcribe it anyway because I wanted to have a go at playing it. Also note that the version I used for this appears to be a slightly obscure radio performance, and so the music differs from the more familiar studio recordings and published editions.
 

Transcription Tuesday But On A Wednesday (But On A Thursday): ‘Thou Swell’, Artie Shaw

I’ve been away on my travels a lot this past week (more of that in due course…) so haven’t been able to sit down with a computerer for my latest transcription. As a result I’ve gone old-school, writing it all out with pencil and manuscript paper like what they used to do in the old days! You can find the results – which, by the way, cover Artie Shaw’s 1936 recording of Thou Swell – via the following link:
 

Transcription Tuesday But On A Wednesday: ‘Dexterity’, Charlie Parker

This week on Transcription Tuesday But On A Wednesday, I’ve been listening to a 1947 recording of Charlie Parker and his Quintet playing one of Charlie Boy’s own compositions called (for those of you who haven’t read the post title) ‘Dexterity’. I was feeling particularly comprehensive this week, so as well as C.P.’s alto solo I’ve also transcribed Miles-y D.’s trumpet solo and Dukey Jordan’s piano extemporisations. You’re welcome! Although I couldn’t be bothered with the token 8-bar drum solo.

 

The Emperor’s New Orchestras

Thought y’all might like to see some evidence of my shenanigans this weekend. For starters, here’s a little picture of me playing bassoooooooooooon 2 with Hazel Grove Orchestra on Saturday night, in a programme consisting of Dvořák’s In Nature’s Realm, Sibelius’ Karelia Suite and Brahms’ Symphony No. 3. Note that Hazel Grove is particularly significant for being the world’s first orchestra comprised entirely of ghosts.
 

 
For your main course this morning, have a taste of Oldham Symphony Orchestra performing a selection of dance-related music, with me on the first of two clarinets. Specifically, we covered Ponchielli’s Dance of the Hours, Khachaturian’s Adagio from Spartacus, Saint-Saëns’ Danse Macabre, Brahms’ Hungarian Dances Nos. 1 & 5, and Tchaikovsky’s Swan Lake Suite. Note once again the remarkable lack of physical presence displayed by this particular group.
 

 
And finally, for dessert, I have not just a picture but a moving picture! With sound! What will they think of next? Here’s a clip of me rocking the ‘wooly jumper with dinner suit’ look (I hear it’s very ‘in’ this season) in the finale of Dance of the Hours.
 

https://youtube.com/watch?v=gEEukcPUwvU%3Ffeature%3Dplayer_embedded

Transcription Tuesday But On A Wednesday: ‘Sweet Georgia Brown’, Benny Goodman

This week in TTBOAW, I bring you one of many recordings of Sweet Georgia Brown. This particular one was made by Benny Goodman and his sextet, although sadly I can’t find out much more about it (not even the year it was produced). That does nothing, however, to diminish the beauty of the notes you are about to read…

 

Sister Act Sisterlights, and More!

Today I would like to bring you instalment no. 5 of Tales from the Rhoda McGaw! I spent a significant part of last week playing for Runnymede Drama Group’s production of Sister Act, and what a fine show it was. While I was there I also managed to get some more soundbites of me playing saxomophone, which can only ever be a good thing.
 
https://youtube.com/watch?v=jrzwFZf5MTs%3Ffeature%3Dplayer_embedded

And now for the ‘more’, which I so craftily incorporated into this post’s title. On Tuesday 12th I went on a merry little excursion to the town of Cwmbran, to play clari, tenor saxi and (a tiny bit of) alto saxi in the Welsh Musical Theatre Orchestra’s latest extravaganza. Another fine performance, which looked a little bit like this:
 

 
Note that the evening also featured some new arrangements by yours truly: Love Overture, You’ll Never Walk Alone, Matchmaker Matchmaker, Like Love, It Might As Well Be Spring, and Pop Playout. Huzzah!