REVIEW: Jelly Roll Morton’s music swings in classic Chicago recordings
Jelly Roll Morton is one of the most important figures in jazz history, and Birth of the Hot: The Classic Chicago “Red Hot Peppers” Sessions from 1926-1927 display his wonderful power as a composer and pianist.
The opening song on the 23-track release is Morton’s own “Black Bottom Stomp,” a song that offers an introduction to the Red Hot Peppers, which consisted of George Mitchell on cornet, Kid Ory on trombone, Omer Simeon on clarinet, Johnny St. Cyr on banjo, John Lindsay on bass, Andrew Hilaire on drums and, of course, Morton on piano. Although the tracks on the release were recorded in Chicago — the Webster Hotel, to be precise — the songs are dripping with that unmistakable New Orleans identity.
“Smoke House Blues,” the second track slows down the tempo from “Black Bottom Stomp,” offering the audience a dreamy version of the Charles Luke composition. Some great brass solos are evident, and someone shouts “Oh, Mr. Jelly” at just the right moment. Mel Stitzel’s “The Chant” has the Red Hot Peppers playing what feels like a well-known traditional jazz tune, both upbeat and infectious.
The helpful liner notes state that Barney Bigard, Darnell Howard and Marty Bloom joined the band for “Sidewalk Blues” and “Dead Man Blues.” Other performers on the release include Gerald Reeves, Johnny Dodds, Paul “Stump” Evans, Bud Scott, Quinn Wilson and Baby Dodds, among others.
Producer Orrin Keepnews states in the liner notes that the release is meant to “reproduce this music as accurately and appropriately as is currently possible.” And, after one listen, it’s obvious that the producer and audio-enhancement team have succeeded. Due to the clear, crisp quality, it’s easy to close one’s eyes and imagine sitting in the ballroom at the Webster Hotel (or maybe a corner jazz joint in the Crescent City) with Morton and his players an arm’s length away.
Keepnews adds that this jazz is some of the most remarkable ever created, and it’s hard to argue with his affirmation. Take “Wild Man Blues,” a song co-written by Morton and none other than Louis Armstrong. It starts with a shout, and what follows is simple, yet effective jazz tune that features some great work on the reeds.
As Professor Lawrence Gushee points out in an included essay, the compositions featuring dialogue have upset some critics, who think the calls and shouts are “unworthy of Morton.” Gushee reminds listeners of Morton’s vaudeville roots, grounding these compositions as entertainment offerings. The essay is not 100 percent praiseworthy but rather places Morton’s playing and composing in an historical and critical context (for example, Gushee admits to an “overly busy arrangement” on “Someday Sweetheart”). However, it’s also obvious the professor finds the recordings “some of the finest performances in the New Orleans ensemble style.”
A personal highlight is hearing the Red Hot Peppers take on Joe Oliver’s “Doctor Jazz” in a freeing, exuberant performance. The composition has an almost call-and-response quality among the instruments, and the sung lyrics offer a nice accompaniment.
Birth of the Hot finishes with four alternate tracks, including “Sidewalk Blues,” “Dead Man Blues,” “Grandpa’s Spells” and “Cannon Ball Blues.” For jazz aficionados and Morton lovers, the disc is an incomparable gift of preservation and education.
By John Soltes / Publisher / John@HollywoodSoapbox.com
