Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

117

Brian Carpenter’s Ghost Train Orchestra: Hothouse Stomp

C. Michael Bailey By

Sign in to view read count
One of the beauties of long-lived music genres is if a current one becomes boring and the future looks, well, too futuristic, we can always go backwards, investigating earlier forms we may have not paid attention to earlier. And herein lies the value of Brian Carpenter's Hothouse Stomp: The Music of 1920 Chicago and Harlem. The music Carpenter concentrates on is big band music other than Duke Ellington and Count Basie, during the Jazz Age of F. Scott Fitzgerald and the Lost Generation. More specifically, the African-American side of the Lost Generation.

Carpenter concentrates on four seminal bands, that were performing in the 1920s: Charlie Johnson's Paradise Orchestra, McKinney's Cotton Pickers, Tiny Parham and his Musicians and Fess Williams' Royal Flush Orchestra—all bands addressed in detail in The Penguin Guide to Jazz: the History of Jazz in 1001 Albums (Penguin, 2010)). Carpenter sharpens his focus, within this decade, on the arrangers and composers for these bands, specifically Don Redman and John Nesbitt, who arranged for McKinney's Cotton Pickers, Charlie Johnson, Charles Mingus' uncle Stanley "Fess" Williams, all in New York City and Hartzell "Tiny" Parham in Chicago.

This music serves as a bridge between the wide-open New Orleans-Chicago, small Ensemble, early jazz style and the more formally arranged larger band ensembles that would fully mature in the 1930s. The music played by these four bands bears many of the characteristics on the New Orleans small ensemble jazz: prominent clarinet, tuba, and banjo. The bands are larger and the compositions more tightly arranged, though this, in no way, curtailed the abandon wrought in these songs. This is adventurous music, something much more dangerous and mercurial than the relatively tame sounds of Glenn Miller, the Dorsey Brothers, and Benny Goodman to come.

The performances range from Charlie Johnson's stately "Blues Have Surely Got Me," replete with a bowed hand saw, to the barely contained blues, "Hot Bones and Rice" and "Dixie Stomp." Taken at a slow simmer, these pieces heat their surroundings with a radioactive warmth, infectious, and viral in the modern-media sense of the word. Rather than old-timey music this recording recounts and reproduces an era when things were in rapid change, seeking a new equilibrium, all in an historically-informed, period performance.

Track Listing: Ghost Train; Mojo Strut; Stop Kidding; Gee Baby, Ain't I Good To You?; Voodoo; Blues Sure Have Got Me; Hot Bones and Rice; Dixie Stomp; Lucky 3-6-9; The Boy in the Boat; Slide, Mr. Jelly Slide; Hot Tempered Blues.

Personnel: Brian Carpenter: trumpet, harmonica (1), vocals (5); Dennis Lichtman: clarinet; Andy Laster: alto saxophone; Matt Bauder: tenor saxophone (3-9, 12), alto saxophone (11), clarinet (1, 2, 10); Curtis Hasselbring: trombone; Mazz Swift: violin, vocals (4, 6); Jordan Voelker: viola, saw (5, 6, 10); Brandon Seabrook: banjo; Ron Caswell: tuba; Rob Garcia: drums.

Title: Hothouse Stomp | Year Released: 2011 | Record Label: Accurate Records

Tags

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

It's Silk, Feel It!

It's Silk, Feel It!

Brian Carpenter’s Ghost Train Orchestra
Book Of Rhapsodies

CD/LP/Track Review
Interviews
CD/LP/Track Review
Read more articles
Book Of Rhapsodies Vol. II

Book Of Rhapsodies...

Accurate Records
2017

buy
Hot Town

Hot Town

Accurate Records
2015

buy
Book of Rhapsodies

Book of Rhapsodies

Accurate Records
2014

buy
Book Of Rhapsodies

Book Of Rhapsodies

Accurate Records
2013

buy
Hothouse Stomp

Hothouse Stomp

Accurate Records
2011

buy

Related Articles

Read Vilddjur CD/LP/Track Review
Vilddjur
by Ian Patterson
Published: December 11, 2018
Read Lines in Sand CD/LP/Track Review
Lines in Sand
by Geno Thackara
Published: December 11, 2018
Read Like A Fire That Consumes All Before It CD/LP/Track Review
Like A Fire That Consumes All Before It
by Mark Sullivan
Published: December 11, 2018
Read The Brave CD/LP/Track Review
The Brave
by Geannine Reid
Published: December 11, 2018
Read Strings 1 CD/LP/Track Review
Strings 1
by Glenn Astarita
Published: December 11, 2018
Read Pillars CD/LP/Track Review
Pillars
by Karl Ackermann
Published: December 10, 2018
Read "NPO Trio - Live at the Stone" CD/LP/Track Review NPO Trio - Live at the Stone
by Troy Dostert
Published: May 10, 2018
Read "Random Dances And (A)Tonalities" CD/LP/Track Review Random Dances And (A)Tonalities
by Karl Ackermann
Published: October 27, 2018
Read "Looking Ahead" CD/LP/Track Review Looking Ahead
by Jim Olin
Published: September 16, 2018
Read "In Paris: The Definitive ORTF Recording" CD/LP/Track Review In Paris: The Definitive ORTF Recording
by Geno Thackara
Published: January 11, 2018
Read "There Is A Place" CD/LP/Track Review There Is A Place
by Chris May
Published: November 1, 2018
Read "Ejdeha" CD/LP/Track Review Ejdeha
by Mike Jurkovic
Published: August 9, 2018