Friends With Pleasure

PERSONNEL
Trevor Rippingale (cl soprano alto c.melody bs-sax vcl and arrangements(args) (Seaforth, Sydney));
Jim Elliott (tmb cl bs-cl bs-sax soprano tenor-sax melodica args) (Frenchs Forest, Sydney));
Eric Holroyd (crnt tpt vcl and args (Busby, Sydney));
Robert Smith (pno and args) (Mittagong, Southern Highlands, N.S.W.));
Harry Harman (str-bs and tuba Kanwal, Central Coast N.S.W.));
Stewart Binsted (gtr and bjo (Seaforth, Sydney));
Neil (Chauncey) Macbeth (drms and vcl (Randwick, Sydney)).
TRACKS
Copenhagen - Sweetest Melody - Oh Baby (Don't Say No, Say Maybe) - Blue Reverie - Clarinet Marmalade - Imagination - Angry - Rhythm Of The Day (take 2) - My Pretty Girl - Allah's Holiday - Changes - Flashes - I'll Be A Friend With Pleasure - In The Dark - Out O'Town Gal - Sugar - Futurisic Rhythm - Cryin' All Day - Russian Rag - Until The Real Thing Comes Along - Wa Da Da
Rhythm Of The Day (take 1, which is slower than the above 1927 version).
Recorded at The Ron Craig Studios, Colo Vale, N.S.W. Australia.
For details, tel: (02) 9948 6802.
Address, Communications and Newsletter : Trevor Rippingale, P O Box 8, Seaforth 2092, N.S.W. Australia.

Unconventional as ever, I'm starting by what is normally the tailpiece of reviews, which has never become explicit to me, that is to say, with a formal recommendation.
This album will be enjoyed by a large percentage of classical musicians and lovers thereof, a greater one by big band musicians and followers alike, a still greater % by KJR readers, and perhaps 100% by the lovers of mainstream and old-style jazz music of "The Jazz Age", especially by Bix Beiderbecke fans.
The CD booklet about the band tells us in the opening chapter that "the central focus of the The New Wolverine Jazz Orchestra is to celebrate the music of Bix Beiderbecke and the musicians and bands with whom he played. In pursuing this we try to produce our own transcription of arrangements from original classic recordings of the 20s and 30s, playing restored vintage instruments of that era whenever possible."
It also names many famous bands and musicians of the period, much too numerous to repeat in this review. The band's aims and aspirations have been more than met, and it would be pernickety
of me to pick out one or two minor blemishes.
The placement of the 22 tunes on the CD makes for a 75 minute period of enjoyable listening, and with a high standard of production to boot. The opening tune "Copenhagen," a 1924 classic on The King Jazz Story,
Vol 1, Riverboat Shuffle of Bixology, sets off the flavour of the album. "Sweetest Melody" recorded in
New York in 1929 by Jack Pettis and his Orchestra, provides a really nice toned clarinet solo, and has the classic Bix "My Best Gal" tempo changes and clarion chimes ending. Hearts are then lifted
to happy mood on "Oh Baby," where sax and Harry Harman tuba come into their own on a soft, off-beat, MacBeth light cymbal ride.
"Blue Reverie," recorded by Cootie Williams and his Rug Cutters on the 8th of March 1937 in New York, included Johnny Hodges, Harry Carney and Duke Ellington in the line-up. Whether or not pianist
Robert Smith, as it reads in the CD liner notes, is playing the Jess Stacey solo as on the famous Goodman Carnegie Hall Concert held on 6th of January 1938, is for the "Sing, Sing Sing" aficionado to acclaim or comment upon. Nonetheless, the tune is very beautifully played by these Australians, ending up with a touch of cornet "Davenport Blues" to my ears.
The British audience will have an affinity here with "Clarinet Marmalade" as structured. Perhaps not so much so, with the other score or more tunes.
Sometimes known as "Feeling No Pain," we draw on Jim Elliott's outline of Miff Mole on "Imagination," and was Eric Holroyd in reverie of Red Nichols on this number, in name of the birthplace of Bix? This tune perhaps, but certainly `yes' to and on "Allah's Holiday." Harry Gold, interviewed recently on the Campbell Burnap Jazz FM radio programme on his 90th birthday, would certainly want to listen to these bass saxophonists, dueting a la Adrian Rollini in the late 20s, as a member of the Fred Elizalde band in London. The sound here is exquisite.
Readers will subconsciously, on their way to work, chant "Angry," or on their way to buy the morning paper as I often do, that is - chant, for "Angry" is a catchy tune, well sung by drummer Neil "Chauncey" MacBeth.
Flappers did it in the past, well I expect they did, but the same genre today now less likely so, but few will shun the enjoyable chord change complexities of "Rhythm Of The Day" (two takes) and marvel at what this seven-piece have managed to achieve in overall effect. Sheer dedication of creative jazz artists at their best.
Track nine, "My Pretty Girl," in memory of the Jean Goldkette Orchestra, with tenor being allowed an added insertion to subtle enhancement of the composition and delightful Stewart Binsted strings, creates a sensational build-up. The climaxing riffs are breathtaking. A very demanding piece.

Goofus and melodica to a Charleston rhythm on "Changes," that is, variant key signatures. Not easy.
Regarding the two Beiderbecke piano compositions, "Flashes" and "In The Dark," played on
a 1936 Steinway 9 foot, `D' model grand, restored by Ron Craig, I invite John Tusa, managing director of the Barbican Centre, home of the London Symphony Orchestra, to listen to pianist Robert Smith's playing here. Need I say more, but can we look forward to "In A Mist" and "Candlelight" in the group's next album perhaps?
The title number, "I'll Be A Friend With Pleasure," has some beautiful instrumental work
running through it, covered by nostalgic vocals by reed maestro Trevor Rippingale,
a founder-member in 1984 of these Wolverines.
I'm sure that on "Until The Real Thing Comes Along," it will give pleasure to Eddie Cook, celebrating 50 years of Jazz Journal International publication, to hear the Jim Elliott solo as played on his 1935 Beuscher Aristocrat tenor saxophone. Clouds of joy to be had by all.
King Jazz 13th on Bixology, "Futuristic Rhythm," is a new sound interpreting an Olde Styl one.
For a two clarinet duet with piano chorus, do pick "Russian Rag."
"Sugar" and "Cryin' All Day" would both fill any large dance floor. The former has a fine cornet opening and middle chorus with a delightful piano solo and tuba beat. The soprano and bass clarinet are perfect foils to each other which are complemented by mellow blending-in vocals.
The c.melody leads into V.S.O.P. harmonization on the latter, smoothing out to
a full silken tone of a Bflat clarinet ending. It's out of this world.
If I detect a pronounced emulation of Bix, its on "Wa Da Da," aka "Ev'rybody's Doin' It Now" - that went too for my Mum and Dad, that is, twelve months before Bix recorded it in Chicago with his orchestra.
Get it.
Ian King

The following two reviews are by Geoff Boxell of New Zealand

THE NEW WOLVERINE JAZZ ORCHESTRA
VOLUME 4: FRIENDS WITH PLEASURE
NWJO CD 196, 1996 , 22 tracks 74 min
Copenhagen; Sweetest Melody; Oh Baby; Blue Reverie; Clarinet Marmalade; Imagination; Angry; Rhythm Of The Day (Take 2); My Pretty Girl; Allah's Holiday; Changes; Flashes; I'll Be A Friend with Pleasure; In The Dark; Out O'Town Gal; Sugar; Futuristic Rhythm; Cryin' All Day; Russian Rag; Until The Real Thing Comes Along; Wa Da Da; Rhythm Of The Day (Take 1).
Extract from, "Mississippi Rag". (March '97, page 32). Reviewed by Tom Jacobsen
I managed to catch only the first two days of this year's Bix Beiderbecke Memorial Jazz Festival in Davenport, but among the several highlights of my brief stay was an opportunity to hear (on two different occasions) an excellent band from Sydney, Australia, that was previously unknown to me - The New Wolverine Jazz Orchestra.
As it turns out, this was the NWJO's second appearance at the Bix Fest (they debuted there three years ago) - so some MISSISSIPPI RAG readers may already be familiar with the work of this outstanding musical ensemble. For the rest of you, much of the following is background copied from the full and informative liner notes written by band member Trevor Rippingale.
The NWJO was founded in 1984 with the primary aim of celebrating "the music of Bix Beiderbecke and the musicians and bands with whom he played." Yet, from the very outset, the band's repertoire also included the music of "other classic artists of the jazz and swing eras of the '20s and '30s."
The NWJO is a tight and talented collective of seven musicians, most of whom are seasoned full-time professionals as well as skilled multi-instrumentalists.Rippingale describes himself as "coordinator," rather than leader, of this "informal partnership." He notes that "enthusiasm for Bix and the music of the 'Jazz Age' is the catalyst which unites and leads us to spend many hours listening to original recordings, selecting those that appeal, then transcribing and scaling them down into arrangements which maximise the sound of our small group yet still preserve the spirit and feel of the era." And so they do, very successfully, in my opinion. At least four of the band members have contributed to the transcribing and/or arranging of the tunes heard here.
Of the 21 tunes (one with two takes) on this CD, more than half (11, or 12, if one includes "Angry," which he played but never recorded) were performed by Bix in a variety of contexts: with the Wolverines, the "Gang," and his own orchestra, or with Tram, Goldkette, and Whiteman. The album's title track, "I'll Be A Friend With Pleasure," was among the last numbers recorded by Bix as leader of his own band in September 1930. Two others ("Flashes" and "In the Dark," played here so well by pianist Robert Smith) were Beiderbecke compositions but were never recorded by him.The remainder of the program is an eclectic melange of tunes associated with other groups of (the later '20s and '30s (eg Red Nichols, Jack Pettis, Fats Waller). One such number, a fetching reflection of the Jazz Age heard here in two takes, is "Rhythm of the Day," originally recorded by Ross Gorman's band (with Nichols and Miff Mole) in 1925. It is a good indication of the way the NWJO works up a selection, as described in the liner notes: "Jim Elliott transcribed and scaled down the original arrangement from 17 to a seven-piece arrangement. Commencing on trombone Jim changes to soprano sax and over-dubs tenor sax. Trevor [Rippingale] starts out on alto, changing to bass sax (Barney Acquelina on the original) to duo with Eric Holroyd's 'Red' Nichols cornet lead, until Jim's soprano enters, weaving a lovely trio until the final 'misty' chords." The basic difference between the two takes is one of tempo.The New Wolverine Jazz Orchestra is, in sum, a first-rate musical organisation. These Aussies are clearly well schooled musicians with a fine sense of history and authenticity and a real feel for the music they play. I thoroughly enjoyed listening to this recording (as I did their live performances) and am happy to be able to recommend it warmly.

THE NEW WOLVERINE JAZZ ORCHESTRA
ROLL ON MISSISSIPPI, ROLL ON
NWJO CD 197, 1997 , 19 tracks 65min
Jazz Battle, Keepin' Myself For You, Roll On Mississippi Roll On, Waste No Tears, The Chant, Blue River, I'm Gonna Meet My Sweetie Now, The Mooche, There Ain't No Sweet Man That's Worth The Salt Of My Tears, Sensation, The Japanese Sandman, In A Mist, Ol' Man River, Candlelights, Bessie Couldn't Help It, Deep Harlem, Susie, Sweet Patootie, Miss Annabelle LeeI came across these two CDs via Kings Jazz Page. Being Ozzies, and thus neighbours, I thought I should buy them, especially as I like Bix Beiderbecke. The Orchestra are a mix of The Pasadena Roof Orchestra, Temperance Seven and the West Jesmond Rhythm Kings. Like the last band, the NWJO play a lot of neglected material. The style does vary, but those tracks that are of tunes recorded by Bix, are quite true to the originals. Mind Bix varied his style a lot depending on who he was playing with, and what they expected of him. I always thought that it was when he was with 'The Gang' that we saw the real Beiderbecke, but, having listened to the piano solos of Bix compositions, I am not sure. It has been said that Bix was very conscientious about the piano scores . . . and he wanted to be remembered mostly for them." (George Avakian, in "Eddie Condon's Treasury of Jazz". 1957). I wish I hadn't know that as I found them over complex, dreary and not at all 'jazz'.
Overall; an impressive pair of CDs. The earlier volumes of the band's work are out of stock, however, they issue a new album every year, so check out their MACROBUTTON HtmlResAnchor Home Page and keep up to date.

To purchase THE NEW WOLVERINE JAZZ ORCHESTRA CDs, contact Trevor Rippingale, P.O. Box 8, Seaforth, NSW 2092, Australia. Phone/FAX: (612) 9948-6802. E-mail to MACROBUTTON HtmlResAnchor holroyd@read.net.au