While a number of British trad jazz players are fairly well-known in the US, Roger Marks is not one of them. He enjoys considerable acclaim in the UK, however, having formed his first Armada Jazz band in 1976 and having been been part of the jazz scene there ever since. His bands have appeared at many residencies (the weekly one at The Odd Wheel, Wembury, Plymouth, lasting some eighteen years!) and issued numerous recordings over the years, most on his own Leap Frog labelThe tunes on these tracks are almost all standards with the exception, perhaps, of “Jump in the Line.” We might also include in this category “Bei Mir Bist Du Schön”—a number that is more likely to be found in the repertoire of a swing band such as the Benny Goodman Orchestra—and “Marie Elaine” (an interesting anglicization of the usual “Maria Elena”)—a tune favored by Latin groups such as Xavier Cugat’s, big bands such as Tommy Dorsey’s, or singers such as Nat King Cole. But the majority of the tracks are trad war horses.
This latest Marks CD issue from Upbeat Recordings may help dispel some of the obscurity. It consists of some 13 tracks, all recorded at The Odd Wheel in 2006-2007. With their reissue here on the Upbeat Recordings label, perhaps Marks and the Armada Jazz Band will come within the ken of more people.
The tunes on these tracks are almost all standards with the exception, perhaps, of “Jump in the Line.” We might also include in this category “Bei Mir Bist Du Schön”—a number that is more likely to be found in the repertoire of a swing band such as the Benny Goodman Orchestra—and “Marie Elaine” (an interesting anglicization of the usual “Maria Elena”)—a tune favored by Latin groups such as Xavier Cugat’s, big bands such as Tommy Dorsey’s, or singers such as Nat King Cole. But the majority of the tracks are trad war horses.
Their treatment, however, by Marks and his cohorts is what sets them apart from the rather tired, cliché-ridden renditions they receive from all too many other bands. They come out fresh—it is almost like hearing some of them for the first time. In part this is a result of the musicians’ mastery of their instruments, the technique they exhibit, and the fecundity of their improvisations. Thus we have the placement of glissandos by Marks, the trills and growls by John Shillto, the single string and tremolo work by Eddie Edwards. The improvising on solos plays a large part, too, as we hear in each track. The front line also does not shy away from exploring all registers on their respective instruments in both solos and ensembles and pays attention to dynamics. Additionally, mention must be made of the fine arrangements given these selections although no one is credited with creating them.
In “Snake Rag,” for example, the treatment of all facets makes for a very satisfying rendition of the piece. The tempo is not a breakneck one, allowing for the tight descending chromatic run by the front line instruments, the feature of this tune, with which the tune opens. Each run is followed by a trombone glissando. The sax solo that follows the runs is accompanied with trumpet obbligatos. Then the trumpet solo is enhanced by choke cymbal off beats behind it. The out-chorus assumes a call/response format with the trumpet and sax playing the first part as a riff and the trombone answering. The piece concludes with a four-bar tag. All of this makes for the band’s giving its own stamp to the tune, not merely copying the Oliver arrangement as so many others do.
Other such touches lend interest to other tunes. Thus in “1919 March,” after all the strains are gone through by the ensemble, the trombone takes the lead, the trumpet dropping out and the sax playing a fine countermelody. Later the drummer plays on the rims behind the trombone solo, giving a nice change of texture. Or in “Fidgety Feet,” the second strain features an unexpected “call and response” interaction between the trumpet and sax/trombone and rhythm, followed by a nice descending pattern, instead of the usual stop time. The trombone solo is backed by stop chords from the rhythm section, and when the group returns to the ensemble format, there are some interesting off-beats on banjo for a few measures which turn the rhythm briefly before it comes back to the regular four-beat. In this manner tunes take on a new life, if not nearly become new in themselves,
Rhythm pattern variety, between and within selections, also plays a part in giving a freshness to the renditions. A couple of these instances have already been noted above. On two other tracks Latin rhythms are featured. The first is “Marie Elaine” (an interesting anglicization of the usual “Maria Elena”), the 1932 song by Mexican composer and musician Lorenzo Barcelata. It is taken as a habanera the first few times, then goes into a straight four. After the solos, the rhythm again returns to habanera for a couple of choruses, then goes back into four-beat for last times through.
In somewhat similar manner, “Jump in the Line” has a Latin (Caribbean) rhythm with breaks taken by the ensemble. The song was associated with Harry Belafonte, had a Jamaican setting (as did several of his recorded songs), and was very popular in the early 1960’s. It is very catchy and obviously enjoyed by the band. By not including it in their repertoires, current trad jazz bands are missing out on a good tune.
Variety is also to be found in the change of pace occasioned by “Sweet Sue” being played by a trombone/banjo duet. It is a departure from the format on all the other tracks, but pleasing and refreshing.
So as we might expect from Marks and his men, here we have another solid album that provides a bit over an hour of excellent jazz from a group of seasoned—and talented—musicians. Marks ends his sleeve notes with “I do hope you enjoy this selection.” That hope should be fully realized—it was for me and it should be for others, too.
Like all Upbeat CDs, it is available on the Upbeat Recordings web site www.upbeat.co.uk as well as on-line from Amazon.
Blowing a Storm
Roger Marks’ Armada Jazz Band
Upbeat URCD 344
Born in Dundee, Scotland, Bert Thompson came to the U.S. in 1956. After a two-year stint playing drums with the 101 st Airborne Division Band and making a number of parachute drops, he returned to civilian life in San Francisco, matriculating at San Francisco State University where he earned a B.A. and an M.A. He went on to matriculate at University of Oregon, where he earned a D.A. and a Ph.D., all of his degrees in English. Now retired, he is a professor emeritus of English at City College of San Francisco. He is also a retired traditional jazz drummer, having played with a number of San Francisco Bay Area bands, including And That’s Jazz, Professor Plum’s Jazz, the Jelly Roll Jazz Band, Mission Gold Jazz Band, and the Zenith New Orleans Parade band; he also played with some further afield, including Gremoli (Long Beach, CA) and the Phoenix Jazzers (Vancouver, B.C.) Today he reviews traditional jazz CDs and writes occasional articles for several publications.
