Sweet lowdown at the club

Press, 25 January 1989, Page 5

Sweet lowdown at the club

discs

ALLAN FRANCIS

THE COTTON CLUB: Sixteen tracks of music recreated by Bob Wiibur. GEFFEN RECORDS C 9012309. Twenty tracks of originals by original artists. BIG BAND ERA CD 70186. AAD. Also video of film.

The hi-de-ho of Cab Calloway belied a far more searching quality than might first appear in Francis Coppola’s masterpiece on film and video, and latterly on LP and CD.

The wealth of musical material in the film needs more than one viewing to cope with it all; such is the extent of the riches on tap that already an LP and a CD have been issued separately without duplicating too much — in addition to a World Record ASV LP issued earlier with yet more originals. (WRC96SB) Here was pop, jazz and history written simultaneously.

It is a sad reflection on modern songwriters who find inspiration lacking, when there is literally a surfeit of top material from the energetic times of the Cotton Club.

The optimism was exhilarating, the pessimism dark-toned and telling, reflecting the racial and economic disharmony of the 20s. The brave front was uppermost in the end with stomps, rags and uptempo songs and dances winning the battle. Further, the immensely subtle re-creations of Bob Wilbur lose nothing in

what might have been waxwork models of the real thing. “11l Wind” scores top honours amidst the host of good songs, with "Cotton Club Stomp” and “Daybreak Express” being the ideal vehicles for some astonishing feats of dance patterns that reach beyond all superlatives.

The CD contains bands of the times — Ellington, Basie, Lunceford, Cab Calloway and Louis, the singers feature Ethel Waters, Ivy Anderson, Ella Fitzgerald (in subdued form) and Adelaide Hall.

Visually, the effects are stunning and one should be armed with all three media to handle all situations and the many calls for repeat playings. Compulsive listening and viewing. DUKE ELLINGTON: The 1944-1946 Recordings. Fifty-eight tracks reproduced by RCA BLUEBIRD 6641-1-RB. Digitally remastered. Somehow the high gloss package seems singularly apt for Ellington. The master still manages to shine on most of these tracks and the symphonic proportions of Black, Brown and Beige is given enough space to suggest that Ellington was certainly not confined to the three-minute classic at this stage. Many considered this was Ellington’s greatest period, though equally as many would opt for the late 20s or early 50s. Arguments on this point

will continue to rage in 1 countless homes for years 1 to come, without ever i altering the situation one 1 whit. i One thing is unanswer- i able. Ellington may have < had his ups and downs like all bands, but he was 1 always there, and even I

though he may never have considered his arch rival, Count Basie, a threat to his reign of absolute supremacy, that situation did eventually come about. Ellington was contentious, extravagant, giving the impression he was

always about to embark on another unique jazz journey on every recording, and he was amply supported in this impression by the likes of Johnny Hodges, Harry Carney, Cat Anderson and Lawrence Brown (all present in these sessions). The Duke was lavish with his colours and when in the lyrical frame of mind, which he is mainly here, quite unsurpassed. Most of the numbers played are, as usual by Duke Ellington or his associates. All bear his trademark of rich harmony, spiced with humour.

Surprisingly, Ellington uses as many as six singers in these tracks. From Ivy Anderson onwards he was renowned for his sparing use of vocalists, yet here we have track after track of lush ballads from the early 40s in the fashion of the times, with some lovely melodies — not all originals.

This lack of fireworks does not diminish this package which makes absorbing listening, and well worth the treasured image.

STEPHANE GRAPPELLI: In concert, with the Diz Disley Trio in Melbourne, 1975. POLYGRAM VIDEO PMVIO7-2. It seems that Grappelli in any form is compulsive listening and in this less than perfect video he shines with that brightly burning light that now appears to engulf all his

performances. This far from new performance took place 14 years ago, the tapes issued from that concert being hoarse and unforgivably rough. Now the visual quality is less than first class, but the sound is crisp and totally adequate. This group is patterned on the original Hot Club format, two guitars and bass, so the sessions fly unfettered into all the paths the violinist chooses, seemingly at the whim of the moment.

“Tiger Rag” at breakneck speed allows the lead guitarist, Diz Disley, to have a lengthy solo in the Rheinhardt tradition, lovingly tendered and rich in pre-war nostalgia of French nightclubs. The perennial “Sweet Georgia Brown” gets yet another stylish airing and the violinist’s nimble fingers get a spell on the piano with Gershwin’s “Rhapsody in Blue.” Again, there is no sign of any music present with Grappelli. As always, he bends the tune to his own devices and equally effective, although an original would have been preferred. This all too short session shows Grappelli in the idiom of his first (and lasting) love — that of the Hot Club, with the selection of ballads and le jazz hot in the French style.

“Had I learned to fiddle, I should have done nothing else” — Samuel Johnson, 1709-1784.