Oliver-Smith Incomparables: Stomp Your Stuff

Many bands play early jazz these days, but few make it sound as if the ink is still wet on the page. The Oliver-Smith Incomparables accomplish exactly that on Stomp Your Stuff, a recording that salutes the musical language of Jelly Roll Morton without ever treating it as a historical artifact. Pianist Andrew Oliver and drummer Hal Smith lead an exceptional ensemble featuring Colin Hancock on cornet, Andy Schumm on clarinet-cornet, T.J. Muller on trombone-cornet-vocal, Jacob Alspach on guitar-banjo, and Dan Anderson on string bass-tuba. These musicians know this repertoire inside and out, yet perform it with such vitality that each chorus feels newly created.

The title track "Stomp Your Stuff" bursts out of the gate with buoyant brass interplay, playful clarinet flourishes from Schumm, and Oliver's stomping piano, all setting an irresistible pace. The spirit carries through the jaunty "Bucktown Blues," where the full ensemble locks into an irresistible groove. Schumm's clarinet sparkles with lively trills, while Müller's punchy trombone answers with perfectly timed rejoinders. Beneath it all, Oliver keeps the pulse buoyant without overpowering the ensemble.

James Scott's elegant ragtime classic "Grace and Beauty" comprises four beautiful sections that bridge classic ragtime and hot jazz. Its refined melody blossoms into a joyous ensemble celebration, with a swirl of brass responses, dancing clarinet lines, and shifting rhythmic colours.

Moving on to the album's central section, two trio numbers are featured. Morton was an innovator in the clarinet-piano-drums instrumentation, and here it is carried forward by Schumm, Smith and Oliver on "Mill Creek Shuffle" and on a Morton original, "Honey Babe." On the former track, the atmosphere is immediately lightened by a spirited, freewheeling romp from the three musicians, bubbling over with good humour. On the latter number, the pace turns into a graceful slow drag, highlighted by Müller's expressive, warm vocal and Oliver's elegant upper-register work.

One of the album's great strengths is its ensemble playing. Rather than a succession of extended solos, the musicians delight in the collective conversation that defines classic New Orleans and Chicago-style jazz. Hancock, Schumm and Müller create front-line textures that constantly evolve without sacrificing clarity. Oliver, Smith, Alspach and Anderson are the engine that keeps the entire enterprise in joyful motion.

In compositions such as Wingy Manone's "San Sue Strut," as well as "29th and Dearborn," and "Mobile Blues," the Incomparables' commitment to demonstrating their ability to balance precision with spontaneity is fully evident, making the group's playing so rewarding. Oliver takes a star turn on "Dallas Stomp," delivering a solo performance in tribute to Morton's piano transformation.

The album concludes with "Cafe Capers," a full-ensemble celebration that perfectly encapsulates what precedes it. Rather than presenting history behind glass, the Oliver-Smith Incomparables make the music feel immediate, joyful and alive.