[Tradjazz] Breaking Tradition

[Bruce McNichols]

Breaking Tradition

Over the years, my group, The Smith Street Society Jazz Band, has sometimes been criticized for such things as not having the "standard" instrumentation, for having too many vocals and for performing non-jazz tunes. 

  Once again, I make no claim to be an expert on this subject, or to be able to define Jazz.  Beyond that, I question any one who thinks they are, and can. 
STANDARD INSTRUMENTATION 

My early influences regarding this music, came not from the originators but from Revival groups. My friend, the late Joe Klee, was very vocal about things that troubled him about my group. He was a supporter of my band and he liked it very much. All the more reason for him to complain, when we didn't do things his way. 

He really let me have it for not knowing more about the originators of our music. The fact is, if it wasn't for the likes of Lu Watters and Turk Murphy, I may never have known about any of it. They spurred my interest when I was in my teens. Later, when in my 20's, I started to discover Louis, King Oliver, Jelly Roll Morton and those guys. Thank you West Coast Revival Bands, for getting me started.

~~~

The first incarnation the Smith Street Society Jazz Band, grew out of a high school Dixieland band I was in. Later, we got a steady gig at a joint called The 1890 Club (don'tcha love it?). The band consisted of piano, drums, trumpet, clarinet and me, on alto and tenor sax. No trombone. We simply didn't know anyone to fill that chair. 

That band later had a bass/tuba man and sometimes we did have a bone. We still, usually had two reed men in the front line. Sometimes, the entire front line consisted of saxes and/or clarinets. Certainly not the standard Dixieland lineup, but that's the way it goes. We made do, with what we had. 

  That took place in a small town on Long Island (NY).
~~~ 

During the 1960's I began to get us jobs in New York City, mostly on the Upper-East Side. We then had the more common lineup of piano, tuba, drums, trumpet, trombone and me on tenor and sop sax (doubling on banjo). 

Later in the 60s', Herb Gardner had joined us. He played piano but mostly bone with us. As it became harder and harder to pin down good trumpet or cornet men, we often had Herb playing lead on trombone. Herb is a very special player and we soon came to rely on his bold lead horn. Indeed, the few times we brought a cornet man in, it seemed to be weak, by comparison. 

Always proponents of the rhythm section, we often had two banjoes, so that it was a big rhythm section, backing up Herb. I truly believe that we produced more hot jazz, with that combo, than with any other. I'd double on sop sax, but spent most of my time on banjo. When Herb wasn't blowing, he usually played tambourine. 

We not only took a lot of heat from many a moldy fig jazz fan, but we also failed to get many a gig, from some jazz societies, because we didn't fit the mold. I sure wish that they had listened, as much as they looked. They might've found out that we really did, know what we were doing. 

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VOCALS 

Many an observer has voiced a complaint about the idea that so much of our performances include vocals (individual and group harmony). I'm very proud of our vocal trio, especially because we're not really singers (no remarks, please). 

After years of listening to me singing various songs, Herb Gardner (bone) and my wife Lynne, somehow know my exact phrasing. They are able to sing perfect harmony, to my lead. Since I play with the beat a little, and since they've got my number, the vocals still sound jazzy. 

  One of my favorite vocal groups, is the Mills Brothers. They did the same thing. Perfect harmony, along with their own jazzy syncopations. Of course, the Boswell Sisters did the same (and beautifully). I think of the Boswells as being the original Andrews Sisters. You must remember the Andrews Sisters: Patty, Laverne & Shirley.
After the Andrews Sisters came the MacGuire Sisters. What fabulous harmony those sibling groups had. Love 'em all. 

  One of our recordings has almost no instrumentals. I prize the record review that said something to the effect of: "In my circles, a band that does all vocals, is on thin ice, but I say: If Smith Street wants to sing, let 'em sing."
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REPERTOIRE 

Back to Joe Klee for a moment. He gave me lots of guff for some of the tunes we played. He adored us when we played the likes of "Snake Rag," "Georgia Swing," "Black Bottom Stomp" and "Heebie Jeebies." He wasn't so happy when we played "Five Foot Two," "Shantytown" and "Varsity Drag." 

I maintain that any song can be played in a jazzy manner. In other words: It ain't whatcha do, it's the way thatcha do it. Some folks (such as Mr. Klee) seem to think that it can't be jazz, if it isn't a jazz song. To me, that goes back to trying to define the word "jazz." Joe Klee, by the way, had a definition for the word "jazz".   Joe would often say, "That's a pop tune, not a jazz tune." When I would mention Louis doing "Blueberry Hill" (or the like) Joe would back off and say, "That's different. Anything Pops did was Jazz." Nice try Joe, but I think I gotcha. 

~~~ 

I don't think that there's a right or a wrong. We in Smith Street play "music." All kinds of music. Joe Klee once asked "Would you play a polka?" I quickly and honestly replied "Yes, of course. Why not?" I missed out on the rule book that tells us what we're not allowed to play. 

Smith Street has been known to play a night of old-time banjo sing-along music. We've also done a night of Polkas and waltzes for an Oktoberfest party. Years ago, an agent mistakenly booked us for a high school graduation dance. Since we all double on other instruments, we played a night of Rock songs (albeit mostly mild-manner rock songs). Later, when we snuck in some Dixieland numbers, the kids were very impressed that we were able to play those funny brass horns. 

I'm sure that many a die-hard jazz fan, and many a serious-minded musician will be appalled at my confessions. On the other hand, how can anyone fault a musician or a band, for playing anything they happen to like, at the time. 

~~~~~~~~ 

Occasionally, I'll stumble upon like-minded bands and musicians. 

A very talented fellow I know is Bob Leive. He plays trumpet, fluglehorn, tuba, and piano. Years ago, I heard his band (The Wooster Street Trolley Jazz Band)do "The 59th Street Bridge Song." That's the one that goes "Hello lamp post, what'cha doin;'" Certainly not a Dixieland Jazz number. Who cares. They sounded great, and while they were at it, they turned the heads of scores of young folks who otherwise may not have given the band a second look. Goodferyou Bob.

The wonderful Black Dogs Jazz Band took a lot of heat for performing the tune "Blue Bayou." Those who criticized them, obviously did not listen. Their version of the tune was magnificent.

John Gill was still in college when he worked with Smith Street (on banjo and drums). Later, he spent ten years with Turk Murphy. After that, he had his own bands in San Francisco, New Orleans and New York. He is one of the perpetuators of San Francisco style jazz. 

John confided in me (then why am I publishing it now? that he used to hide his feelings about certain pop groups. He likes the Beatles, Elvis, The Everley Brothers etc. He said that he was delighted to find that we (Smith Street) often played material by those groups. One tune we do, is called Bad Boy. I learned it from a 1950's recoding by Clarence Palmer and the Jivebombers. To my amazement, John informed me that the tune was composed by none other than Lillian Hardin Armstrong. I never had the opportunity of having Joe Klee knock us for doing that song, and being able to tell him who wrote it.

John Gill, the stalwart proponent of San Francisco Trad Jazz, just happens to have a fine Rock-a-Billy band, that plays a music that on the surface, seems far from trad jazz. Upon closer examination, one can hear the influences of old-time jazz, on Rhythm & Blues, Rock and Rock-a-Billy music. Conversely I think that our music drew influences from the folk music of our land.

~~~

One again, I shout, NOBODY'S RIGHT - NOBODY'S WRONG.

What do you say?

McN


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