A Record a Week: Joe Jackson - Jumpin' Jive

SIDE 1.
JUMPIN' WITH SYMPHONY SID
JACK, YOU'RE DEAD
IS YOU OR IS YOU AIN'T MY BABY
WE THE CATS (Shall Hep Ya)
SAN FRANSISCO FAN
FIVE GUYS NAMED MOE

SIDE 2.
JUMPIN' JIVE
YOU RUN YOUR MOUTH (And I'll Run My Business)
WHAT'S THE USE OF GETTING SOBER (When You're Gonna Get Drunk Again)
YOU'RE MY MEAT
TUXEDO JUNCTION
HOW LONG MUST I WAIT FOR YOU


The first thing I think of when I think of Joe Jackson is Adam Carolla's constant rants about the current state of music and lots of 'when people are in my car and hear Joe Jackson they like it. Why does terrestrial radio pump this crap down our throats, why can't they expose us to more better music?'

Well, I certainly can say that the music on this record supports that statement. Now, I know radio stations have their 'must plays', but I don't know why they don't fill in the gaps a little better. I am lucky enough to have CBC Radio 2 playing good music most of the time I am in the car, but have definitely worked in locations that played rock stations or whatnot. All day long hearing the songs they must land on 10 times plus the same 15-20 filler songs, ugh.

The horn-swing style of this record may not fit in to most of those stations styles, but certainly is brimming with talent. It's really a record that makes you want to dance, or at the very least, snap your fingers. The only question I have is, why bury the lead? I know Joe Jackson did not write Jumpin' Jive, but if you are going to call the album that, why is it relegated to the 2nd side lead? Maybe the CD version is different, but that's not what I do now, is it.

This record was a real break from Jackson's otherwise New Wave/pop sound, spawning a change to a more Jazz influenced sound from there on.

It would be great background music for a cocktail party or other casual/semi-formal gathering with a touch of the drink, especially if anyone happens to be wearing a smoking jacket.

A Record a Week: Al Hirt - The Best of Al Hirt Vol. 2

SIDE 1.
BYE BYE BLUES
STAR DUST
THE GIRL FROM IPANEMA
ALKIN'
SLEEPY LAGOON
I CAN'T GET STARTED

SIDE 2.
CLARINET MARMALADE
(DO YOU KNOW WHAT IT MEANS TO MISS) NEW ORLEANS
EASY STREET
LET'S DO IT (LET'S FALL IN LOVE)
THE JITTERBUG WALTZ
PERSONALITY

Now that's what I'm talking about. Another week, another musician who is the namesake of the record without being the singer. It's nice to hear, because as nice as instrumental music is, sometimes it is good to hear music with a singer where they aren't drowning out the music. Maybe if Guns n' Roses were just called Slash, Axl wouldn't have become the ego-maniac that he did and we'd still have that same 90's rock band (although after The Spaghetti Incident, maybe it's better this way).

It is clear after listening to this record that Hirt was a solid trumpet player. This album covers all styles of classics and he nails it all the way through. He was born and raised in the hot bed of jazz, New Orleans, but studied music up in Ohio. He played swing and big band music as well through his time after Ohio and thus gained the tools to be able to play all the styles of music that he exhibits on this record. I've always been jealous of people who play the brass instruments, as they always made my cheeks hurt and I just couldn't get past that. Maybe it will be something I revisit as an adult to see if I've built up any durability in the cheekal region. (I know that's not a real word)

It is a good thing to get a few records like this under your belt if you consider yourself to have a diverse knowledge of music. I myself think that I need to dig deeper into the last 2 artists I've reviewed, as they're both great and I have only mildly increased my hold on what they're about.

A Record a Week: Claude Bolling/Maurice Andre - Toot Suite

SIDE 1.
I - ALLEGRE (C Trumpet)
II - MYSTIQUE (E-Flat Trumpet)
III - RAG-POLKA (B-Flat cornet)

SIDE 2.
IV - MARCHE (B-Flat Piccolo Trumpet)
V - VESPERALE (B-Flat Flugelhorn)
VI - SPIRITUELLE (B-Flat Piccolo Trumpet)

Unless you have a real musician's ear, it is not often that you know what key every song on an album is in. Two-thirds of this album is in B-Flat, which, save for the Rag-Polka, they use to create a sad or melancholy feel.

These two french musicians have both had long and illustrious careers, each working with and/or inspiring all of the famous musicians of their instrument. On this album they come together to create an album that is a little bit sad story, a little bit funny Family Guy montage and a little bit Mad About You theme song. (I actually don't remember that particular theme song, but for some unknown reason a part of this record made me think of that)

The two musicians will start off playing complimentary parts, then they will go on a tangent playing counterpoint parts, then bring it back together playing identical parts. The effect this produces is a sort of controlled chaos that is quite interesting. No doubt their talent allows them to go off in any direction and be able to pull it all in when necessary. This talent is one that any musician who solos needs to possess to be able to lay it all out and be able to get back to a verse or chorus by a specific bar or beat. It is quite obvious that these two have a complete mastery of that talent and it makes for a great listen.