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A Classy Classic
Review of the Steve Graham Classic Jazz gig of 12th April
It’s been just short of three years since this classy band of musicians graced our club and judging by the
response, it won’t be that long before they return. Playing the music of the early jazz greats of King
Oliver, Jelly Roll Morton and Freddie Keppard and ragtimers Joseph Lamb and Scott Joplin, the band
pulled out all the stops and gave us a truly authentic performance. The two cornet or trumpet lead in the
style of the Oliver Creole Jazz
Band gave the music extra
punch and depth.
First number up was a stomping
version of King Oliver’s Canal
Street Blues which set the tone
for the evening’s entertainment.
Next up was a Jelly Roll Morton
composition called Froggie
Moore based on a strain of his
earlier composition Frog-i-more
Rag. It was named after a vaudeville contortionist named Moore
the Frog Man who used to dress
up as a frog and prance and hop
around the stage! This was followed by Georgia Tom Dorsey’s
blues classic Riverside Blues
from 1923. The next number had a bit of a confusing name. Titled Sensation - A Rag, it has been often
printed as Joplin’s Sensation, but had nothing to do with Scott Joplin. It was written by fellow ragtime
pianist Joseph Lamb in 1907 but apparently had Joplin’s name added in an attempt to boost sales. Just
to make matters worse, it must not be confused with Sensation Rag written ten years later by the trombonist of the Original Dixieland Jazz Band (ODJB), Eddie Edwards! Anyway, it was time for pianist
Mike Denham to show off his skills in playing ragtime. Back to King Oliver for the following piece
with Working Man Blues from 1923 before. More confusion followed with a piece of “White Jazz” as
originally performed by Bix Beiderbecke and his Gang called Rhythm King. It was written by Joe Hoover in 1928 which turned out to be a only once used alias of pianist J. Russel Robinson of Original
Dixieland Jazz Band fame and nobody seemed to know why. Next was Morton’s London (Café) Blues.
Nothing to do with the capital city but dedicated to a Chicago nightspot. It was a tricky arrangement
but the band coped with it excellently. Finally for the set was from the pen of the New Orleans Rhythm
Kings pianist Elmer Schoebel called Spanish Shawl.
The second set began with Ostrich Walk, written and recorded by the ODJB in 1917 before the boys returned to ragtime with the Scott Joplin classic Ragtime Dance. With the encouragement of Steve Graham ringing in our ears, he had us all stomping our feet at the appropriate time as in the original Joplin
arrangement. Then it was time for the obligatory Brolly Parade and Steve and Co struck up with the old
spiritual Over in the Gloryland. But where were the brollies? It was almost halfway through before the
first one appeared, soon to be followed by another. Eventually there were six (why so few?) with surprisingly our friend Lois from the Plymouth Jazz Club coming on last. So unlike her! Back to King Oliver for the next number, Mabel’s Dream which was originally published as Maybelle’s Dream in 1923
by it’s composer one Ike Smith. Continuing with the Oliver style, the next piece was the famous Snake
Rag, clarinettist John Wurr playing in a real Johnny Dodds style. Then came a number that could be regarded as “modern” in the fact that it was written by cornettist Muggsy Spanier in 1939. Called Relaxin’ at the Touro it was dedicated to one Dr Alton Ochsner of the Touro Infirmary who brought Muggsy
back from death’s door from a life of drink and drugs and dried him out. The final number for the set
was a Louis & Lil Armstrong composition from their days with King Oliver called Tears.
So onto the final set which began with a Mel Stitzel composition from 1926 which was made famous
that same year by Jelly Roll Morton. Then came a number from the later years of King Oliver (1929)
which he co-wrote with his nephew Dave Nelson called Sweet Like This followed by a number from
the prolific composer Richard Mariney Jones called Southern Stomps and whose middle name was jokingly changed to “Myknee” for his apparent aversion to hard work and using his bad knee as an excuse! Next up was another ragtime piece which showed of the definite talents of Mike Denham, Minstrel Rag which in turn was followed by Jasper Taylor’s composition Stock Yards Strut which was recorded in 1926 by the legendary King Freddie Keppard in his final years when he was well past his
prime. The band signed off with Louis Armstrong’s Weatherbird Rag from his King Oliver Days.
To sum up, I can honestly say that this has been one of the most enjoyable bands that has graced our
club with their authentic approach to the music of the twenties and even earlier. Both Steve and Dave
Martin were on form with their horns and Tom Whittingham’s trombone most excellent as well. John
on reeds and Mike on Piano were their usual assured selves and the band was ably complimented with
Rocket Ron Berry on drums and Mike Cox on banjo who looked decidedly uncomfortable wearing that
bow tie! Good Stuff Steve Graham’s Classic Jazz, I am sure we’ll meet again very soon.
See you around the gigs…
Paul