It is not unusual to find European jazz musicians with a keen interest and desire to perform African American Classical Music within its more original context. But what is uncommon is to discover recordings comprised of instrumentalists playing this evocative style with fervor and sincerity. My perception of this raw reproduction of classic jazz standards from clarinetist and alto saxophonist Uli Wunner, pianist Harry Kanters and drummer Guillaume Nouaux illustrates my case in point. 

 

One might find the instrumentation of this trio interesting. For it consists of clarinet, piano and drums. Kanters carries the harmonic progressions and bass line on piano, while Nouaux’s kick drum helps to accentuate the lower end throughout the small ensemble arrangements. Along with Wunner’s clarinet virtuosity, a sense of orchestral amplitude is ever present. During the early period of the 20th century, when recording techniques and capabilities were in their infancy, often the bass was not used, due to its wide resonant frequency. It was simply difficult to capture with clarity.

 

The opening track is a spirited version of Jelly Roll Morton’s Shreveport Stomp, a tune most likely composed originally for solo piano. Wunner’s clarinet is precise, prancing about the lower and upper registers of the instrument, supported by a solid piano and percussive accompaniment.

 

Wynton Marsalis’ In The Court Of King Oliver, commencing with some funky, contemporary New Orleans syncopation, provides an obvious contrast to the previous selection, bringing about a more soulful, laid back transition to the repertoire. Nouaux’s superb funky 2 beat rhythm persists throughout, with Kanters’ percussive piano work adding fuel to the fire with Wunner’s clarinet adapting appropriately to the feel. Feels like I’m in praise and worship at a Southern Baptist Sunday church service!

 

George Lewis’ St. Phillip Street Breakdown is no doubt a tribute to the legendary New Orleans clarinet icon, featuring some gutsy blowing from Wunner, reminiscent of the old traditional swing clarinet masters. Nouaux and Kanters provide a solid cushion of swing for him to sit his lyrical passages in this 12 bar blues form. A great 2 chorus drum solo from Nouaux recalling memories of Preservation Hall in its heyday.

 

Louis Cottrell and Don Albert’s True, You Don’t Love Me is picked up by the clarinet, then joined by piano and drums, Nouaux manipulating the traps in Baby Dodds’ fashion, melting into a lovely chorus between Wunner and Kanters, culminating in an uplifting finale. This track is sure to get folks on to the dance floor.

 

The next track, Milenburg Joys, a classic composed by Jelly Roll Morton, recorded by the New Orleans Rhythm Kings in 1923 is reproduced here by the trio in regal form and fashion. It begins with the verse, trading 2s between the drums, Wunner, and Kanters. Wunner plays the alto saxophone on this number, at times reminiscent of Captain John Handy. Preceding Wunner’s solo is a hot piano chorus from Kanters. An exuberant 48 bar drum solo follows Wunner’s alto work revealing echos of New Orleans’ contemporary and conventional percussionists. The trio breathes new life into this old ditty.

 

This 1909 ragtime classic, Temptation Rag, was composed by Thomas Henry Lodge, one of many of its type written between 1896 and 1925. The trio handles it with confidence and deliberation. Definitive harmonic and rhythmic interplay between the clarinet and piano, transitioning to a more swing feel on the out chorus of this concise arrangement.

 

Track 7, The Old Rugged Cross, an old gospel hymn and spiritual is a mainstay within the New Orleans traditional jazz repertoire. Here the trio performs this classic piece in 3/4 time, featuring Kanters’ delicate touch on the keys and Wunner’s elegant, warm tone throughout the low and middle register of the clarinet.

 

The trio switches gears with this next selection, Mama Inez, a song of Spanish descent, with several different writer credits dating back to 1928, although credit for the original written music is given to Ernesto Lecuona and Eliseo Grenet. Nouaux starts this lively rendition with a solid Latin rhythm, then joined by clarinet and piano. The groove is set, followed by solos from Kanters and Wunner only accompanied by the drums. The band then plays ensemble through the end, with an 8 bar drum break before the final measures.

 

Hindustan, by Harold Weeks and Oliver G. Wallace, is an old pop tune that has been revived within the classic jazz canon. The trio goes straight to the meat of this traditional jazz warhorse in fashion not unlike the New Orleans bands of today and yesteryears. Opening with an 8 bar drum intro, as opposed to playing the verse, Wunner’s melodic alto leads the band with steady, infectious swing. Dazzling solos from Kanters and Wunner, followed by a superlative drum chorus from Nouaux carrying into one subdued ensemble chorus, followed by a rousing out chorus with a 4 bar drum tag on the ending. 

 

 

Zero, a tune written by trombonist Santo Pecora and The Tailgaters, is treated with a more relaxed tempo than the 1956 recording by its originators. Pecora was also a former member of the New Orleans Rhythm Kings. On this track the trio opens this somewhat obscure number with the hits leading into the ensemble section, Nouaux percussively juxtaposing between the wood block and snare drum adding a delightful flavor to the rhythm. Wunner’s clarinet playing and Kanters’ piano is delicate, yet energetic. They finish with a rousing out chorus, drums taking 8 bars on the bridge, then all together on the last 8.

 

How Come You Do Me Like You Do is an old vaudeville tune written by Gene Austin and Roy Bergere, published in 1924. It became a national hit for vocalist Marion Harris. The song is now considered a jazz standard. The trio opens this instrumental version all together from the top, Wunner takes the lead, with the appropriate breaks along the way into a piano chorus, followed by some 2s being traded between the clarinet and drums. Nouaux then takes a very melodic, rhythmic 6 bars guiding the ensemble back in, with another 4 bars of drums, followed by some hand clapping back beat into the last breaks on the bridge through the final 6 bars. One Mo Time!

 

Mahogany Hall Stomp, the closing track of this recording, was composed by Spencer Williams and recorded by Louis Armstrong and his orchestra for Okeh Records in 1929. Wunner switches back to the alto sax, providing a more appropriate brassy inflection to this jazz standard popularized by Armstrong. The intro and first ensemble section establishes a strong, unwavering tempo with Nouaux’s impeccable time solidifying this 16 to 12 bar bluesy musical format. Kanters delivers a whimsical 4 choruses on the blues changes, followed by a couple choruses from Wunner containing some fanciful interplay during his second ride between the alto and piano, accentuated by Nouaux’s steady drive. Following a superb drum solo of 48 bars, the trio comes back in with some familiar riffs and they swing out to the finale just as they began, in classic fashion…

 

Leroy Jones