In 1924 King Oliver’s Creole Jazz Band broke up, so did the Wolverines; the NORKs followed. So among small groups (four to seven musicians, plus a drummer) the remaining top-notcher was Clarence William’s studio group, the Blue Five. We start with the ’25 Shake That Thing.
Another ’25 treat was Papa De-Da-Da
Here Armstrong and Eva enjoyed Clarence’s tune Just Wait ‘Til You See My Baby Do The Charleston.
Let’s next try an earlier track, from the ’23-’24 period: I’d wanted to use this on the post about early soloists but couldn’t find it on youtube. And here it is now: Bechet stars on Clarence’s tune Kansas City Man Blues.
And if I’m cheating on dates, I can do it twice. My last post unaccountably overlooked Eva in fine fettle on Of All The Wrongs You’ve Done To Me (1924)
Ah well; let’s end with the June ’26 Red Red Robin, which features my favourite Blue Five line-up: Unknown (Crnt.); (Tmbn.); (Clt.) Clarence Williams (Piano); Unknown (Banjo)
Even better, let’s not end with that – let’s revisit an old fave – Eva at eighty sings with a bunch of Scandowegians.…
Hell, Tuesday already – where does it go? I meant to post this before her concert but things just got away. No matter, she’s still in concert at this moment.
Interesting that she opened with Lily, as it features below.
The question, of course, is whether she is a witch or just play-acting as one. Well worth exploring. I’ve done posts on her before, positive ones, which indicates that I like her, find her pretty and like her voice, as many do.
However, some days ago, I read some things about her out of the blue and began wondering.
Kate Bush would almost certainly have been burned as a witch three centuries ago but then again, she’d not have been so open about it all back then. The most intriguing thing, to me, is how she is certainly claimed by various occult groups as one of them.
Let’s start with a detractor. There’s a form of “Christianity” which is “burn the witch, burn her”, as Python parodied and this makes it impossbile for the milder Christians to get to any sort of truth or hearing.…
As everyone knows, the man was about harmonies, the lyrics just fitted into those harmonies. I’d dearly like to know what that instrument is that plays that fuzzy bass role [esp. at 2:19]. Is it just sampling or fuzz box or what?
Here he momentarily raises a sweat and gets out of first gear – for a while:
To the acoustic:
And a bit of blues:
This is staple JJ Cale, his signature style:
Now this one’s rare and if you like JJ, get a copy while you can. It’s an extended remix of Ride Me High, the closest he got to writing something sexual. Often remixes are just some guy’s idea of how to mess up a classic but this one’s good:
And no JJ evening would be complete without the Rose. Had to decide between JJ’s and an honest amateur cover – went with the latter for a change:
If a band is a bunch of men (or men plus Lil) who play together in clubs, dance-halls and so forth, this bunch ain’t. They got together just to record, under the aegis of Clarence Williams, as his Blue Five. They could certainly play a bit: here’s their Everybody Loves My Baby of 06/11/1924
Not a bad cornet solo by Armstrong, eh? Eva Taylor, espoused wife of the heretoforementioned Clarence, was the warbler. The next month Bechet played the only recorded classical jazz solo on Contrabass-Sarrusophone on Mandy Make Up Your Mind.
From a Battle of the Bands perspective we’d better listen to their May ’23 version of the NORK’s Farewell Blues. (Admire the ridiculous mis-spelling of Roppolo’s name on that record label.)
I think the NORKs win that one by a country mile. Clarence didn’t always use Eva as his songbird – here’s a track with Margaret Johnson: Done Made A Fool Out Of Me.…
H/T Iain Carstairs