30.08.2017 “THE DIME NOTES” ADD UP TO HOT JAZZ PLEASURE
Before you ask the pressing question, please look under D: Cab Calloway’s Hepster’s Dictionary defines “dime note” as a ten-dollar bill.
It’s also the name of a rocking, utterly satisfying new band. Cab would approve.
As the Elders used to say, “Here’s what I’m talkin’ about!“:
THE DIME NOTES are Andrew Oliver, piano; David Horniblow, clarinet; Dave Kelbie, guitar; Tom Wheatley, string bass. And you can get a good idea of where their hearts lie by their chosen repertoire; ORIGINAL JELLY ROLL BLUES, ALABAMY BOUND, AUNT HAGAR’S CHILDREN’S BLUES, BLACK STICK BLUES, THE PEARLS, T’AIN’T CLEAN, SI TU VOIS MA MERE, THE CAMEL WALK, THE CRAVE, I BELIEVE IN MIRACLES, OLE MISS, TURTLE TWIST, WHAT A DREAM. The first thing one notices is the presence of Morton, then Bechet, a few “jazz classics” with associations to Fats, W. C. Handy, and then compositions nobody plays: what band is delving into the Boyd Senter repertoire these days? There’s also an original composition by Andrew, OTIS STOMP, “inspired by a small Oregon town called Otis Junction,” as Evan Christopher’s lavish liner notes tell us.
But a tune list is just that: some lesser bands would take this one and create something admiring yet completely dessicated. Heroic, admiring copies of venerable 78s in twenty-first century sound. That line of work can be a great pleasure, in person and on record, but THE DIME NOTES have come to play, which they do splendidly, with heartfelt understanding of all the music that has come before them and what its open possibilities are right now.
And here’s the secret of this engaging little group (a quartet that will not make you lonesome for a cornet, trombone, or drums): THEY SWING. Let that sink in. Some groups that have given their study and energy to the music of the Twenties and early Thirties seem to have made it a point of honour to keep the rhythmic styles of the great innovators as they were, as if the way the music propelled itself in 1937 would be an insult to a composition first performed fifteen years earlier. I don’t mean that this band plays hot jazz with a side dish of Dizzy, Bird, and Al Haig — but they do know that Count Basie walked the earth and improved it seriously. So THE DIME NOTES benefit not only from the magnificent playing of each of the four instrumentalists, but they understand how to work together as a supple, rocking small ensemble. To me, they are the Guarnieri Quartet of Hot.
They can swagger and soar and make it seem as if the disc in the player — the player itself — is about to take off and rocket around the room. But they can also be tender and quiet, deeply lyrical, sorrowing, when the song calls for it. And the disc is certified gimmick-free: no jokes, no tricks played on the listener.
This band is frankly irresistible.
And I’ve read somewhere that The Dime Notes are the only band I know to have its (their?) own chocolate bar, on sale in Whole Foods in the UK. Until that commodity crosses my path, my hand, or my lips, I will content myself with their sounds. Here you can buy their CD, or their “vinyl,” and see a video of them in performance. Better than chocolate. Longer-lasting.
|Jazz society of Oregon
01.03/2017 – The Dime Notes
Though it has been a few years since Andrew Oliver relocated from Portland to London, the local scene owes more than it knows to the Oregon-bred pianist. In addition to founding the Portland Jazz Composers Ensemble, Oliver led a multitude of projects that brought jazz in Portland to new venues and audiences. Since migrating across the pond, he is focused more tightly than before on early jazz, a passion he explored with Portland’s Bridgetown Sextet. On this release from London quartet The Dime Notes, Oliver mines the earliest days of the music’s existence in New Orleans, digging up tasteful tunes by masters like Jelly Roll Morton and W.C. Handy and placing them in all-new but classic-sounding arrangements.
Oliver and company are hardly alone in their retroactive approach. The Dime Notes follow a long lineage of white (often British) jazz musicians who look back into the past. Nonetheless, their laid-back swing and clever interplay makes their music feel fresh and vibrant.
David Horniblow (clarinet) takes the melody role here, playing the part of the legendary Sidney Bechet on three Bechet classics (“What A Dream” is a particularly enthralling moment, with some nice trading between Horniblow and Oliver) as well as several Jelly Roll Morton compositions. Oliver adds one of his own compositions to the book as well; it is a twisting melody called “Otis Stomp,” inspired by the town of Otis, Oregon. Holding down the sizzling groove is the bass-guitar team of Tom Wheatley and Dave Kelbie, who handle their traditional roles with grace. Indeed, it is the easy-going interplay between slapped bass and chugging rhythm guitar that make the Dime Notes’ music feel far more alive than the museum piece it could have become.
|Jazz da Gama
03.02.2017 – The Dime Notes
Somewhere in the excellent liner notes to The Dime Notes of London’s debut album: The Dime Notes, the marvelous New Orleans clarinetist, Evan Christopher makes an important observation about the guitarist and likely prime-mover of this this new English band: Dave Kelbie. About The Dime Notes and their music, Christopher says, “builds a more inclusive community, based not upon nostalgia, or cliché notions of authenticity, but around the experiences the music can provide.” Evan Christopher has more than an intimate working knowledge of Kelbie – a sort of modern-day Alan Lomax when it comes to European Roma music – and the British slice of the European scene. And though he refers to musicians there as being part of UK ‘Trad’ bands (I, for one, prefer the slightly longer ‘UK bands playing in The Tradition’) Christopher’s excellent liner notes also mention with disdain such words such as ‘revivalists’ and ‘traditionalists’, preferring to glorify how pianist Andrew Oliver, clarinetist David Horniblow, bassist Tom Wheatley and guitarist Kelbie by exploring their leanings without justifying or defending their breadth of influences.
But enough of Evan Christopher for the moment; the Dime Notes disc you hold in – or will soon hold in – your hand is one that holds thirteen examples of the great music from the ancestral repertoire of jazz – the ‘maternal’ line of the music if you like. Each has been lovingly curated in a performance that leaves the listener speechless. And as if that were not enough, The Notes’ leader Andrew Oliver has refreshes our collective memory halfway through the record with his original, ‘Otis Stomp’, a tune which is as lively and evanescent as it is impossibly dazzling, before leading us into the second half of the record like a crowd of shameless excited jitterbugging dancers drawn to the legacy of Jelly Roll Morton, Fletcher Henderson and – perhaps the music’s first and greatest Ambassador to Europe – Sidney Bechet. Underscoring the need to create a modern repertoire of this music, is the fact that England and Europe seem to hold up a mirror to American Jazz musicians sometimes with a far steadier hand than the young (white) American Jazz musician, who sometimes remains obstinately ignorant of The Tradition. Just listen to Tom Wheatley’s bass solo nudged on by the agonizingly slow, yet exquisite time-keeping of Dave Kelbie’s vamp before Oliver and Horniblow bring “Si Tu Vois Ma Mère” home to roost and you will hear an object lesson in the New Orleans blues of Sidney Bechet.
Want more? There is plenty to be had on this gleeful debut album of The Dime Notes. “The Camel Walk” is breathtaking with its pregnant pauses in the melody played by clarinetist and pianist during which one can almost imagine taking a swig of whiskey while one’s partner is held with one arm outstretched (the other downing the said glass of inebriating brew. Then in “I Believe In Miracles” there are ephemeral ‘breaks’ for piano, bass and clarinet, when Dave Kelbie rocks the tempo reminiscent of a lonely banjo. Kelbie’s star turn comes again during W.C. Handy’s “Ole Miss”, where his masterful sense of time sets Handy’s piece on fire by shape shifting into a snare drum and a bass drum, with a pointed thunder-splash that sounds as if he were indulging in a resounding slap of an invisible cymbal. Kelbie is not the only force of nature on this recording, although he has probably been largely responsible for serving up this delectable record. It’s impossible not to be fall prey to the charms of David Horniblow’s clarinet, Dave Kelbie’s kinetic rhythm guitar, Tom Wheatley’s growling bass, or to feel the almighty wallop of Andrew Oliver’s incredible pianism.
RAUL DA GAMA
|Just jazz UK
01.02.2017 – The Dime Notes
These four young(ish) guys have listened and absorbed the jazz music of the 1920s and beyond – half of the tracks on this CD being composed by ‘Jelly Roll’ Morton or Sidney Bechet, which gives you a good idea of what to expect. Original Jelly Roll Blues is a great opener, featuring the habanera rhythm – a trait often found in Morton’s compositions. Nice arrangement by The Dime Notes, ending the tune with a stomping out-chorus. The Pearls – another Morton tune – has dynamic piano from Andrew Oliver. These guys certainly know how to ‘Jelly Roll’!
Aunt Hagar’s Children’s Blues has bass player Tom Wheatley in the spotlight, displaying a virtuosity and knowledge of the idiom (passed on no doubt by his father, the ultra-talented Martin). Guitarist Dave Kelbie is an integral part of the group, giving solid support throughout the CD.
Andrew Oliver’s own composition, Otis Stomp, highlights some dazzling piano from the composer, as well as some exciting interplay between piano and clarinet. Sidney Bechet’s Si Tu Vois Ma Mere is the longest track – over six minutes – and it’s a fine tribute by David Horniblow to the soprano saxophone genius. We also hear shades of Barney Bigard and Edmond Hall, and again, some excellent piano. I Believe in Miracles was recorded by ‘Fats’ Waller and His Rhythm in 1935 with ‘Fats’ at the organ. Jazz bands and swing groups have given the tune a new lease of life during the last couple of decades, and it’s probably more popular than it’s ever been.
The Camel Walk is an unusual choice for this line-up. Recorded by such diverse bands as Red Nichols’ Hottentots and the Jack Hylton Band, The Dime Notes make it sound like it was written for them! Ole Miss is taken at a breakneck tempo and full marks to the quartet for holding it together (please note – this is a drummer-less outfit).
The group finish with another of Bechet’s great compositions What A Dream, the title of which perfectly sums up this CD. Full marks to four top-notch musicians for bringing a new dimension to the compositions of Morton, Bechet, Waller, et al. It swings from start to finish.
|Jazz journal UK
01.06.2017 – THE DIME NOTES
by THE DIME NOTES
Original Jelly Roll Blues; Alabamy Bound; Aunt Hagar’s Children’s Blues; Black Stick Blues; The Pearls; T’Aint Clean; Otis Stomp; Si Tu Vois Ma Mere; The Camel Walk; The Crave; I Believe In Miracles; Ole Miss; Turtle Twist; What A Dream (55.50) Andrew Oliver (p); David Horniblow (cl); Dave Kelbie (g); Tom Wheatley (b). London, 6 June 2016.
This recently formed Londonbased quartet specialises in recreating the authentic sound of vintage jazz and small-group swing from the 20s and 30s. Employing the necessary musical skill and understanding of the idiom, the group effectively captures the supple rhythmic variations, collective dynamics and relaxed swing of the best classic recordings. Jelly Roll Morton is a dominant influence, both in the spirited and accomplished playing of Oregon-born pianist/leader Andrew Oliver, and in the overall compositional concept applied to the arrangements, with contrast and nuanced development throughout the whole track, rather than simpler jam session repetition.
The general style doesn’t venture into experimental hybrid or innovative approaches, but aims at enriching and developing from the vintage formative roots, and at exploring less familiar material from the era. Ex-Barber clarinettist David Hornblower’s playing is nimble, incisive and assured, with hints of Fazola and Noone. His rapport with Oliver is evident and their inventive breaks and exchanges, notably in The Pearls, The Crave and The Camel Walk are impressive. Tom Wheatley and Dave Kelbie (the record producer) provide an attentive and supple platform for the animated interplay of clarinet and piano. Kelbie contributed significantly to the excellent Django À La Creole recordings led by Evan Christopher (who wrote the sleeve notes for this release). His guitar could surely have been used to advantage here, but is confined entirely to quiet integrated backing and support. This is a fine album from a very promising group, and attractively packaged – as CD or vinyl.