1. In the Shade of the Old Apple Tree
2. The Girls Go Crazy ‘bout the Way I Walk
3. Storyville Blues
4. Oh Lady Be Good
5. The Old Rugged Cross
6. Nobody Knows the Trouble I’ve Seen
7. Georgia Bo Bo
8. My Gal Sal
9. Nyboders Pris (The Praise of Nyboder)
10. Key to the Highway
11. Just a Closer Walk with Thee
12. Lord Lord Lord
13. Canal Street Blues/Goin’ Home
Many jazz bands have short lives—they have their “hour upon the stage and
then [are] heard no more.” The Savannah Jazz Band is not one of them,
having been on stages in the U.K., several European countries, Canada,
and cruise ships now for almost four decades and showing no signs
of a demise as they already have bookings—half dozen or more per month—through
at least the end of 2017.
To date, Lake Records, p.e.k. Records, and (now defunct) Raymer Sound
have issued some twenty-five or so recordings of the band, and listening to
them one
can understand the band’s popularity. This CD from p.e.k. Records is a
worthy addition to the band’s discography and adds to that reputation.
Despite
having no permanent banjo player yet to replace the last one, I believe,
the band still has a “tight” sound, the ensemble working together as a unit,
not
as backing for individuals to display their techniques.
The band leans heavily toward the New Orleans style of collective
improvisation, and this is apparent on the first track, In the Shade
of the Old Apple Tree, and almost every other thereafter. The tune
opens with the rhythm section laying down a swinging straight
four/four on which the front line can dance. The cornet has a good fat
tone and tightly controlled expression, and the trombone and clarinet play
their
roles below and above that lead. There is nothing frantic—the volume is
subdued, no one tries to out-blow any other. Some contrast is provided by
the
choruses given over to occasional solos by the cornet, clarinet and
trombone. These are all interspersed with ensembles choruses or a
trombone-plus-clarinet-led chorus, the cornet having dropped out. The
two brass instruments add mutes on occasion, and dynamics are always given
careful
attention. Here and elsewhere, the band plays some choruses so softly
that one can almost hear the dancers’ feet shuffling, just as Buddy Bolden
liked to
do. On the out choruses, the volume is given a gradual, slight
crescendo.
The back line also plays a role in all of this, of course. These
musicians are not given much to soloing—the banjo takes a solo on only four
of the tunes,
the bass and drums on none—but their presence is felt, the two stringed
instruments laying down a solid four and the drums being impeccably tasteful
with
tom tom accents and pressed rolls where required—even playing on the
rims on Canal Street Blues—cymbals being sparingly used for
accents.
Variety is constantly to the fore, whether it be the shifting order of
soloists (no repetition of a pattern from tune to tune), the mixture of
tempos, the
differing dynamics, or even the unexpected rhythm, such as the shuffle
rhythm of Key to the Highway. Although there is no piano included
in this
sextet, yet we are given a few choruses on piano on two tracks by the
trombonist. Additional variety is introduced by the occasional solo on alto
sax and
on harmonica, an instrument that is often found in blues bands.
All of this keeps the listener’s interest high—one never quite knows
what to expect next from these talented musicians. To keep everything on a
positive
note, I will conclude by simply mentioning that about half of the tracks
contain vocals.
Those who are familiar with this veteran band will find this CD a
worthwhile addition to their collection.
Those who are unfamiliar with the band will find it a useful introduction.
At the label’s website http://www.peksound.co.uk one can
obtain more information
Bert Thompson
CD Reviews
