The Charleston Chasers (self-titled).
Not the modern-day recreationist Charleston Chasers, but the early days doods from the 20s/30s.
Only existing as a studio-group (ie recording together but not performing live for audiences), the Charleston Chasers feature a pretty white cast of musicians (and sound it too), including Glenn Miller, Benny Goodman, Pee Wee Russell, Tommy and Jimmy Dorsey, Gene Krupa, Jack Teagarden. Goodman was the focus of my interest in this album.
I haven’t really had a chance to listen to the album properly, but I can say, the quality is surprisingly good for such old recordings, the ‘sound’ is pretty dang white (check out that above link for a discussion of this stuff in one of my earlier posts), but the music is still good stuff. Think ‘charleston’, a few slow drags/blues numbers, all with a bit of a ‘society’ edge (no guts, no buckets here).
Considering the cast on this one, I think my appreciation for this album will only grow over listens.
Maxine Sullivan’s My Memories of You
Maxine Sullivan’s 1955 album My Memories of You (remastered, etc) is very like Ella’s These are the Blues in its groovy, later-era swinging jazz vibe. I’d pop this one in the same family as Ella and Louis Again (Ella and Louis Armstrong), Billy Holiday’s later stuff from Verve (including Songs for Distingue Lovers) and some of the Oscar Peterson/late Louis Armstong All-Stars stuff.
Small combo, sweet production, older artist with a less-excellent voice, but nice phrasing and sophisticated musicianship. You have to love the way these ladies hang on the beat – they just wait out there til the very last minute.
My Memories of You is a really nice album – almost all very danceable/DJable (for a groover crowd, mind you), as I discovered at the Spiegeltent this weekend. I played far too many songs from the album, but it was just so appropriate for the dancers who were there – a version of Massachusetts which went down really well as a birthday song (and I like it because it reminds me of her much earlier version which I really prefer), as did Christopher Columbus which doesn’t really hold up to too many replayings, but has a sweet sparcity and velvety sauciness which plays on the memory of Fats Waller’s (decidedly dirty) version in a nice way.
Max manages to avoid the dirty lyrics, but their absense (if you know the Fats version) is emphasised rather than coyly ignored (as in the horrible Andrews Sisters versions of things like Hold Tight), so ends up feeling saucy – the delay in her phrasing, while not a patch on Billy Holiday, seems to let you know that she knows this is saucy stuff, but won’t go so far as to piss of her record company with dirty lyrics.
This is a nice album. I’ve listened to it a bunch of times, and I know it’ll be a sure-fire winner when DJing for groovers. But after about a half-dozen, or maybe 10 times through, I feel like I’ve pretty much heard all there is to hear. Unlike Billy Holiday’s later stuff, where you feel you can keep going back and finding more interesting things. Max isn’t the consumate muisican Billy is. Nor has her voice weathered as well as Ella’s in that period. But there’s something really appealing about this mature voice with a mature approach to swing.
[NB: I heard Jesse spruiking this one on his radio show and made an immediate impulse purchase. It’s a damn good thing I really don’t like Earnestine Anderson or I’d have spent my (non-existant) savings on groover crowd-pleasers by now)]
Ella Fitzgerald’s These are the Blues
Just a quick entry to blog the lately arrived members of my CD collection.
These Are the Blues by Ella Fitzgerald.
Ella really rocks, and this is a really great album. One of the late-Ella recordings (1963), there’s some sweet organ action, some lovely solos, etc etc from the combo supporting her (I don’t have the linter notes handy, sorry – story of my laptop-life). It’s all blues, and it’s all very blues-danceable.
Yet I am not entirely convinced that Ella really knows how to sing anything other than happy. She has an amazing voice, amazing musicianship, but it feels like she has a limited emotional range. Listening to a version of Christopher Columbus on another album last night, I speculated to The Squeeze that Ella could sing the naughty version of that song have it come off sounding entirely innocent.
But this is still a great album – truly great. If you like groovy, smooth blues. And Ella, of course.
this surprise root canal experience has had repercussions we are yet to enjoy
Well, after dentist appointment #4, I have a little dentist trauma to deal with. Now that the local has worn off, my face hurts and I’m a little upset. I don’t know how much more of this I can take. But I have one more appointment scheduled. So that will be four sessions on this one fucking suprise root canal. Today we filled the canals (3 of them, no less). We attempted it without local today, but one good jab in the hole with the pokey thing and I shrieked in agony, and the dentist decided we needed local. He doesn’t understand why it hurts as much as it does. I try to be brave, but mostly, there’s some crying.
The tears just sort of roll down my cheek and into my hairline (because I’m upside down, flat on my back in the chair), and then the snot sort of trickles down inside my throat and makes me cough. And big, long strings of cry-saliva attach themselves to the dentist’s rubber gloves as he reaches for another pointy thing, and then flick off to slap my chin. As he rubs his rubbery fingers around inside my mouth, the cry-saliva – sort of thicker and goobier than normal, watery saliva – adds a new layer of interest to the whole experience, and I can’t help but think about vaginas. And how your vaginal mucous changes when you’re ovulating. So I can’t help but associate this whole thing with hot sex.
So, you know, this surprise root canal experience has had repercussions we are yet to enjoy.
Beyond the delight of post-probing jaw pain, impending (massive) debt and disturbing thoughts about bodily secretions, all this dental work has at least given me an excuse to see a fair few films. Word Play = good stuff.
the post where i wonder if i’ve gone too full-disclosure
I’ve been reading this blog by someone I knew at Unimelb, and this here by someone I don’t know.
I’m kind of caught thinking ‘how wonderful’ in response to their grasp of the written word, and also ‘how terrible’ when I really pay attention to the things they’re writing about.
I’ve also had my attention caught by Galaxy‘s post on Sarsaparilla about Alan McKee’s book, where the most interesting thing about this books seems not to be McKee (or anyone else’s) actual content inside the book, but the ideas that it’s prompted in Galaxy’s brain. When she writes about her delight in the cook and the chef, and declares it is beautiful, I know what she means. I like the thought of finding a cooking program beautiful, or more importantly, of making that declarative statement usually reserved for sunsets and grand gestures for the happy working relationship between a middle aged country woman-cum-marketing queen and a slight, big city type chef queer young man. I know what she means. I think it’s the same way I feel when I’m sitting on the bus listening to Willie Bryant rollicking through Chimes at the Meeting. I know it’s a manufactured dot of pop culture, something mass produced for masses of people – masses of years ago, no less. I know it’s not perfect, and that I should be wary of the class stuff and the gender stuff and the race stuff and so on. But just for that moment, it is beautiful, because it matches the way I feel just then, and the way I like music to make me feel. And I stop thinking about it for a minute, and just enjoy the things I can do with this nice bit of music. Just as Galaxy points out, it’s not technically great, but it suits my needs, as a creative person, and as a fan and as a consumer and as a producer. It is beautiful.
When I read those first two blogs I mentioned above, I think of my friend B and her partner P, who I only knew a little bit before they moved back to the states. Not only are B’s blog and those other blogs alike in topic and the loveliness-to-read-ness, they’re also alike in the way they make extraordinary events ordinary. Life threatening illness becomes a part of the everyday experiences of someone I ‘know’. Maybe that’s simply a function of blogging – bringing you closer to people through the ordinary details of people’s lives.
Or maybe, as Pavlov’s cat suggests, it’s not only
a brush with mortality and a few days of submergence in the weird underworld of hospitals, doctors and industrial-strength drugs that brings out the very best in bloggers
but that
blogging is a particularly good mode for such experience; bloggers can write it and readers can read it almost in real time, recording and following the trajectory of the experience as it happens, and very likely even in an interactive way — so that the act of blogging itself is therapeutic, and the responses from concerned and attentive readers maybe even more so.
But to return to my story about B and P. We met through dance, at the very first lindy exchange, and then only saw each other once a year (if we were lucky). And most of our time was spent rushing out words between dances, or over late night food. But you know, you come to know people through dancing as well – I remember how B feels in your arms when you’re leading her through a swingout. I remember the temperature of her hand and how she was taller than me, and how that was just the right height for me to lead (and still is).
And I remember the texture of P’s lovely velvet suit jacket under my left hand on his shoulder. The suit that boiled him alive, but which he refused to take off, for vanity’s sake (and vanity well spent, I say: it was such a lovely suit). I remember the expressions on P’s face and dancing to the theme song from Austen Powers with him and thinking ‘this is the very perfectest song to dance to with this partner, right now’. And when I read B’s posts on her blog, I remember the nice note she left us after they stayed in our house once, and the way she would talk sensibly about being ill and having to travel in to Melbourne from the northern territory for treatment. And I have so many of those little bits of memory about people that have nothing to do with what they say or think, and everything to do with the way we communicated for a few minutes with our bodies. Dancers talk about it in terms of ‘connection’, and that’s really the best word for it. It sounds a little hippy if you haven’t felt it, but how else can you explain suddenly moving with a complete stranger who doesn’t even speak your language in complete harmony? Or the way you’ll look up at your partner and laugh, not because you’ve said or done anything particularly funny, but because you’ve both suddenly started to really be together.
And when I read those blog entries about being ill, or dealing with surgery – living with illness, I should say, where you are most definitely more than just ‘ill’, you are someone who’s life is still going on, who’s still doing interesting things and having intersting thoughts and stopping to say ‘it is beautiful’ – I have that same echo-of-senses that I remember from dancing. When Stephanie writes about untangling herself from the demands of her everyday life or of illness as text, I think ‘yes, I know that feeling. I can smell it, right now. It’s like the feel of P’s coat, or knowing how tall B is with my eyes closed, even though I was only holding her hand, and she’s thousands of miles away’.
All the things that I can remember about my mother being ill are bad. There are no nice memories and nothing happy to remember. So when I read Stephanie’s stories about being ill, I also think about the way Galaxy writingit is beautiful reminded me that there is beauty in the minutiae of everyday things, and that these things – the smell of ya pears or knowing exactly how tall someone is, and how much they weigh, just from holding their hand – are the sorts of details that go into making up our memories of people or of days or of things that are beautiful. So while Stephanie’s stories make my nose run and my eyes fill up, I can also say, despite the difficult thoughts that go with them, it is beautiful.
eek
Oh god, I’m a bit overbusy.
I have to write two papers for the weekend in Canberra (one of which is due by the 10th November, and is 4000 words – so we can all read each others’ papers before we get to the conference), and while I’ve had a bash at the CSSA one, it’s not really up to snuff. And I’ve had a look at some stuff I might write for the dance seminar thing, but…
Let’s just say that I’m a bit out of the writing way of things. It totally sucks because before I started teaching I was totally on with the writing thing. And now I am not.
In addition, we have ongoing MLX issues. Because we’re only a few weeks away from DDay (or dee weekend if you’d rather), there are a million little jobs that need completing. I am thinking ‘volunteers’ and ‘get those last couple of DJs to make up their minds‘ and ‘paper program’ and ‘go pimp passes at classes every night’). The registration for passes closes on the 3rd November, so we have about a week to sell a few (million) more. Things look good, but it’s a bit stressy. Especially as dancers like to leave it til the last minute. Especially Melbourne dancers.
I’m also doing those sets at the Spiegeltent (what was I thinking?).
And as of this afternoon I’ll have a hundred exams to mark. Then from the 6th I’ll have a hundred esssays to mark.
So when am I going to write those papers again?
And of course, the Great Dental Saga continues. Round two of the surprse root canal continued yesterday, and I was more brave than last time (mostly because all the drilling was done). I only cried a little bit, and was only a little bit scared. I found thinking of my lesson plans a nice distraction. Nothing numbs pain like tedium. And a few extra rounds of local anaesthetic (thanks Dr Scott – I know it’s madness that it’s still hurting in there, but it is. I’m trying to be tough, but that crying – it’s not under my control any more. It’s a response-to-pain thing). But it’s back for round three next Monday, and then we’re done. Well, except for the whole cleaning the rest of the teeth situation.
All this sucks because I previously had perfect teeth. But four years of neglect meant that a tiny cavity got to go crazy in my teeth and infected the nerve. So what have we learnt? Do NOT neglect your visits to the dentist – if I’d gone I’d have saved myself over a grand in cash and a lot of pain.
Yeah, so things are kind of hard at the moment. I must admit, though, I do like being really busy. I wish I had a few minutes to stop and think and perhaps a chance to think about the music I’ll play. I’d also like a chance to go to yoga sometime soon. But I haven’t been able to go in ages, and I haven’t had a weekend off since I started teaching. Hell, I’d kill for just one day right now. One whole day where I could just do nothing. Maybe sew something. Or lie on the bed and read.
I have, though, been able to treat myself to afternoon films. The whole anaesthetic/pain/trauma thing has made it necessary for me to spend a bit of time sitting down before riding home from the dentist – thank goodness for the Kino across the road is all I can say. So I’ve seen a fair few films lately. Plus The Squeeze and I have squeezed in a Tuesday evening and a Sunday evening of date time so we can reacquaint ourselves with the features of the other’s face. Maybe kiss ’em too.
And I’ve been going to bed really early and getting up early too. Later than 11pm? What? That’s crazy talk! I am all about 9.30pm bedtimes these days.
But I have been doing more exercise – riding to work rocks.
And I’ll have to leave that there. Got to go fuss over those papers for half an hour before heading off to the university. Think of me, will you?
Sam.
animal encounters
Last night riding home from die Spiegeltent (where I am currently doing a few DJing gigs – Nov 4th and 18th and Dec 2nd if you want to catch up – it’s a glorious venue, there’s a cheesy dance class (which every one loves – especially the kids) and there are cheesy performances (which you can’t help but enjoy) and cheesy jokes (and I don’t care if it’s only me who adores them) and some fricking AWESOME DJed music – all for $10. Though it’s $10 for a beer(!!!!) )
… yeah, so on the ride home, we saw ten cats. I kid you not – ten cats. I usually see three (often the same ones, though not always), but last night we saw four ordinary cats and then six feral cats down near the railway line. I don’t know who thinks feeding feral cats is a good idea: if you do, you’re ON CRACK. The Squeeze got off his bike and tried to chase one to give it a squeeze. He stopped when I warned him that he’d have to sleep in the shed if he caught one.
I don’t much care for cats. I certainly don’t like to see them out on the street, looking for things to kill.
We have also seen a lovely small corgi tied up outside our local shops a couple of times lately. Last time it was outside the Safeway, yesterday it was outside Nino and Joes. I think I’m in love. I suggested The Squeeze squash it into his backpack and then make a quick getaway, but the owner overheard and didn’t look too impressed.
That is one fine corgi – it is gentle and sweet and has lovely fur and huge ears. Unfortunately, generations of inbreeding have left it with stunted feet.
Tomorrow is dentist appointment #3. The second one wasn’t so bad (just two small fillings), but tomorrow is the follow up on the surprise root canal. I am a bit scared, as it seems that side of my jaw is more sensitive than the other. I have promised myself another trip to the cinema (we went to see Children of God tonight at the Nova) and I think I’ll let myself see anything I want, even if it’s Little Miss Sunshine which The Squeeze wants to see as well. Either that or that dullish biodoco* about that architect bloke. I like films about buildings. Really, I’d prefer a chick flick, but they’re all out of them at the cinema. And I doubt they’d have it at the Kino, which is across the road from the dentist. Nor the Nova, which is my second choice.
So I guess I’ll just have to settle for some insane spontaneous CD purchasing instead.
*Sounds like something I’d buy at Nino and Joe’s, huh? Nope. But I did buy a lovely rolled turky roast this weekend. I love turkey, and this was some great action. Stuffed with something sweet with nuts (shh, don’t tell The Squeeze – he hates nuts but didn’t realise). Took two bloody hours to cook, but man, was that some tasty giant fowl.
–edit–
Note to self: turkeys aren’t big on the swimming.
we don’t see so much lawn round here. concrete? yes. lawn? no.
I found this article via B who’s attention was caught by the article’s argument that walking 1-3 hours a week improved women’s breast cancer survival rate by 50%, but more specifically, B was interested in the (less excellent) results of chemotherapy. Go to B’s blog and read her discussion there.
But my attention was caught not only by this article (which I traced back to the full academic article), but by the zillions of others which were, essentially, saying nothing more than ‘if you get some exercise, you won’t die or get sick’. It worries me so much that we have come to the point where we must beg people to walk just 1-3 hours a day so they don’t die or get ill. I mean, 1-3 hours, what’s that?
– walking half an hour every day. That might mean (as I do), choosing to walk to a further-away bus stop in the morning (let alone the afternoon!)
– saying to your partner “let’s walk to the video shop to return this DVD – it’s only 15minutes each way” and then doing it, and holding hands while you tell each other about your day
– walking to the park to look at the soccer doods running about. Or to watch the cricketers doing… whatever it is that actually happens in cricket. Manipulating those odds, I guess.
– walking about in a shopping center, aimlessly without buying anything. Or walking up the road to look at the awesome easter lights in the neighbourhood.
I know it sounds insane, but for many people, driving a car means not doing these little things. They drive to the video shop. They drive to the supermarket. They drive to the ice cream shop. They drive everywhere, even if it’s only a 10 minute bike ride or a 20 minute walk, just because they have a car. And because they think of walking as something you get in a car to go do in a park. Or are too unfit to find any pleasure in.
I know I’m lucky enough to live in a walk-friendly suburb, but riding my bike around (horrible) Reservoir, I’ve noticed far fewer pedestrians. Brunswick has a lot of nannas – and you see them wandering around the neighbourhood. In Reservoir, at what would be prime-wandering time? Nothing. I don’t know if it’s a cultural thing, or because people are busy hiding in their houses, or perhaps a bit frightened of being exposed out there on those huge expanses of lawn*, but really. What are they doing in there?
Since I’ve stopped having a car (ie, since I moved to Melbourne, six years ago), and since I discovered that having a nice bike encourages you to ride about, I’ve noticed that the way I think about my neighbourhood, the way I think about getting to places has changed. I found those first few weeks of teaching so tiring because I was just getting on the bus, then getting off – I wasn’t doing enough exercise. But since I decided to start the whole ‘walk half an hour to the bus rather than 15 minutes’ thing, and the ‘ride your bike to the train, then train, then ride to the uni and then vice versa on the way home’ thing, I’ve had so much more energy, and I feel so much better.
I’m hardly a super athelete cyclist. I ride very slowly, I’m afraid of hills (though FUCK you should have SEEN ME TODAY!!!! I flew up that Melville Road hill that dips down to the Merri Creek! I was AMAZING!), I don’t like to spend more than an hour on the bike at any one time (actually, half an hour’s about where I draw the line these days), I have no interest in developing any training routine or any of that bullshit.
I just toodle along on the thing. That is how I get around my neighbourhood – I ride to the shops to do the groceries (and lug the bastards home), I ride to the city to go dancing, or to see a film, or to go to the dentist, I ride to the GP (though riding home + pap smear = not great fun), to the pub, to get ice cream at 10pm on a warm spring night.
And it’s enough – think of all those lovely hormones being stimulated (that seems to be the crux of the breast cancer thing – you’re more likely to benefit if your breast cancer is hormone respondant; type 2 diabetes is directly related to not getting enough exercise, and insulin is a hormone, as we all know). Not to mention the way it triggers those sweet, sweet endorphines. I might be covered in sweat, with aching legs, a runny nose and coughing up a gut, but dang I feel good when I get to the university in the morning!
So, really, there’s no point to this post other than to point out how sad it is that we have to push people to do so little exercise. We’re not saying ‘join a gym and WORK IT’, we’re saying ‘go have a nice wander round your neighbourhood to steal lemons from the alley one street up’ or ‘take half an hour to hold hands with someone you love in the outdoors’ or ‘take that silly argument about which Buffy episode is best to the streets’. When you build that bit of exercise into your life – when you do the extra bit of walking to the tram, or leave the car at home when you go to get ice cream after dinner – you make so great a difference to your health that it would mean living or dying to someone with breast cancer. Imagine that – so little effort for such an amazing effect!
And we haven’t even talked environmental benefits yet!
But I cannot over-emphasise how important riding a bike is to my lifestyle. That’s how I get to the pub on Saturday. That’s how I get to the city to go dancing. That’s how I (now – yay!) get to the university (in part). That’s how I get to the shops to do my grocery shopping. And I’m not a super athlete – I am a little, round person who gets very pink, sweats a lot and is a bit afraid of large trucks. Imagine if you were a super athlete!
Imagine if we all rode our bikes to work every single day! Or even just to the train station!
… and have I mentioned how wonderful it is to have a shouty conversation while riding a bike home from the cinema? It’s the best.
*I live in Brunswick, ok? We don’t see so much lawn round here. Concrete? Yes. Lawn? No.
Hamp & slow-mid range swing
My love for Lionel Hampton continues in an unnatural way*. Unnatural in that I have not only abandoned my qualms about DJing jump blues for lindy hoppers for Hamp’s sake, but in that I have also decided that boogie woogie is Fun. I have also (quite unashamedly) overplayed my favourite Hamp songs (eventually, I guess, I will tire of songs like Drinkin’ Wine spo-de-oh-doh, Hey ba-ba-re-bop! and Lavender Coffin (yes, despite all evidence to the contrary, they are actually different songs)) and will continue to do so.
I think my love for Benny Goodman’s small groups is in part (perhaps a large part) owing to my love of the Hamp.
Right now, I am declaring a love for Don’t be that way (you can hear it here). I have already played it far too many times, and will continue to do so. I just love the way it chuggs along. And you get the feeling that there’s some joking going on in the band there. I love the saucy brass with the brruurp brruurp trombone underneath. I love the twinkly vibes. I love the chunky beat (bass, guitar esp). I even love the sax (and really, who could love sax?). I love the restrained, but kind of bursting-at-the-seams feeling of momentum building. It’s only 137bpm, but it feels like it’s going somewhere.** It feels like… like… like bounce feels – like energy stored in your body, that might bust out any old how.
This brings me to a comment another dancer made the other day. After I’d just played a set of old scratchies that were all between 120 and 167 at a sedate after-class gig.
The comment involved these points:
– I wish that guitar would move away from the microphone. It’s so dull – clunk, clunk, clunk
– that older clunky music sucks when it’s under 180 – it’s really boring.
I didn’t really lay much value on these observations.But it made me think a lot about the issue (of course). And here are the things I came up with:
– that slower stuff sounds dull if you’re looking for tinkly, complex melodies and delayed timing, a la Oscar Peterson. But if you’re into combining moves, and working with phrases as the markers for your complexity (ie, working on a larger scale), or perhaps looking at the layers of sound only a big band can offer, and which are clear markers of that earlier, late 30s sound, then this stuff is quite interesting. It begs a combination of moves and a use of lateral or horizontal space, rather than micro-movements on the spot. It says ‘think of each note or each beat or each chunk of rhythm as part of a bigger pattern’ not ‘think of each note or beat or chunk of rhythm as something you have to echo in your body exactly’.
The free-er, riff-based and improvisation-heavy nature of Kansas City jazz (in particular) encourages musicians to think of how they can combine improvisations and solos within a looser musical framework. For dancers, that approach encourages contributions to the rhythms going on, rather than a strict representation of what they can hear. So, for example, a Swede would add a bit of syncopated footwork at the end of an 8 to add rhythm to the song, rather than simply making flesh exactly what they can hear. They would also make greater use of a dynamic, lateral energy rather than just a restrained, micro-movement and energy-contained.
So, really, this stuff is actually very interesting and challenging for dancing. Even at slower tempos. I actually feel that slower tempos can offer greater scope for improvisation and interest – you have time to add stuff in. When you’re moving to 200bpm, you don’t have time to add in extras – you pare down the movement to basic moves simply because you don’t have time. It’s about combinations of moves rather than individual movements.
When you’re working at a slower tempo, you can add in all the interesting visual ‘commentaries’ and social interaction that faster tempos prevent. And if you’re working with the more open, improvised connection of a Swedish or old skool swingout, for example, both partners can happily add in variations and jazz steps, breaking out into open to do ‘solo’ stuff as well. And all that in addition to the combinations of moves and use of lateral space that says ‘hey, I can hear more of this song than just the three or four notes in my immediate vicinity’.
I also find that phrasing becomes more important with this sort of music – you work in combinations of 8s rather than within an 8 for variation and interpretation and improvisation.
So my love of the mid/slower tempo chunk-chunk songs by people like Lionel Hampton run in the face of arguments challenging their aural interest. But I must admit – 120 is the lowest I’ll go in that style, and really, it’s better if it hits 140.
*a love that will never be realised as this fan’s was here
**a lot like the slower version of Flying Home that’s about – it builds to a frenzy of almost-fastness. It’s at least 20bpm slower than the version most dancers know.
the most expensive breakfast ever
But it is the ‘wick – you do get what you pay for.