The Complete Morton Project

A new perspective on one of America’s most important musical figures of the 20th century by Andrew Oliver and David Horniblow

Andrew Oliver and David Horniblow spent 2018 recording all of Jelly Roll Morton’s compositions, and each week posted two new tunes to this Youtube channel. Jelly Roll Morton was a jazz piano pioneer from New Orleans, and is regarded as the first great composer in the field of Jazz. Jelly Roll Morton was born Ferdinand Joseph LaMothe and lived from October 20, 1890 to July 10, 1941

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PERSONNEL

ANDREW OLIVER – Piano
DAVID HORNIBLOW – Clarinet, Bass Saxophone, Bass Clarinet


RECORDINGS


PRESS

brilliantly played and madly enjoyable. JAZZ JOURNAL UK
Compelling, soulful and huge fun. THE SUNDAY TIMES UK
A sensational new album … two extraordinary musicians. JAZZ WAX USA
They’re fantastic… spirited and accomplished perfomances. THE GUARDIAN UK
they venerate Morton but also play him, with wondrous results. JAZZ LIVES USA
Expertise, eloquance and good taste that is both rare and welcome. JAZZ DA GAMA CANADA
They amaze with the depth, nuance and rhythm they draw out of each of these titles. SYNCOPATED TIMES

CONCERTS

november 2019

201901nov3:30 pm4:30 pmThe Complete Morton ProjectWhitley bay jazz festivalCountry:UKCity:North Tyneside


AUDIO


PHOTOS




Visit Andrew Oliver’s website
Visit The Dime Notes website

 
 


REVIEWS

JUST JAZZ 01.09.2019
The Complete Morton Project ‘Neglected Masterpieces by the First Great Jazz Composer’
Shreveport Stomp; Croc-O-Dile Cradle; Gan Jam; State And Madison; Fingerbuster; Courthouse Bump; Stratford Hunch; Mamanita; Good Old New York; Freakish; I Hate A Man Like You; Jungle Blues; Black Bottom Stomp; Mr. Jelly Lord; My Home`s In A Southern Town

Andrew Oliver (piano), David Horniblow (clarinet, bass clarinet, Bass saxophone)

This is an essential C.D. for anyone interested in the music of Jelly Roll Morton, played by two musicians who are eminently qualified to perform Mr. Jelly`s complex music. American-born pianist Andrew Oliver, a music graduate of Loyola University in New Orleans and English clarinettist David Horniblow, who studied classical clarinet at the Guildhall School of Music.
The CD opens with a stunning version of Shreveport Stomp, taken seemingly even faster than the Morton trio recording. A foretaste of things to come. Next up is a recently discovered gem found by New York bandleader Vince Giordano amongst a box of sheet music acquired on eBay – the curiously-titled Croc-O-Dile Cradle. A medium-tempo stomp, it`s a real find, beautifully played.
Gan Jam is one of the few remaining compositions from Jelly`s last days, when he was struggling to rehearse a fourteen piece band in Los Angeles shortly before he died. Played here successfully in a reduction for piano and bass clarinet, it wouldn`t be an exaggeration to say that the full arrangement predates Charlie Mingus’ music of 20 years later.
State And Madison is a title Jelly recorded at the Library of Congress in 1938 – State and Madison – co-composed with Chas. Raymond and Bob Peary and copyrighted in 1926. Taken at a faster tempo than the L.O.C. recording, it works wonderfully. Finger Buster is next, performed expertly pretty much as Jelly`s solo recording, with bass clarinet accompaniment and then the next composition is the sadly often neglected Courthouse Bump recorded by Morton`s Orchestra in 1929. Great to hear it in this setting of piano and bass clarinet.
Next up is Jelly`s wonderful Stratford Hunch. Published by Melrose music as Chicago Breakdown – without the 8 bar intro and bridge – it was recorded by Louis Armstrong under that title and Louis’ 16 bar stop chorus is here included for clarinet.
Then we have the Spanish-tinged Mamanita, which Jelly recorded three times in piano solo, this version influenced – I would think – by all three. Next is Jelly`s 1938 Tempo Music publication Good Old New York taken at a fair pace and – to quote from the lyrics: “Knife and fork, bottle and a cork, that`s the way to spell New York”.
Freakish was first recorded as a piano solo in 1929, entirely successfully performed here in duet with clarinet. The composition I Hate A Man Like You was first recorded by Jelly with New Orleans singer Lizzie Miles, this performance capturing the brooding melancholy of that melody, and is quite beautiful.
During the next track Jungle Blues, the bass clarinet accompaniment achieves an almost vocal-like quality at times. Then the masterfully-performed Black Bottom Stomp, incorporating elements of the original recording throughout. Mr. Jelly would no doubt have approved.
And so to Mr. Jelly Lord, including the rarely played third theme. Incidentally, one of the tunes Jelly played in his Storyville days – according to fellow pianist Manuel Manetta – was a number called Play That Barber-Shop Chord the lyrics of which concerned one ‘Mr. Jefferson Lord’. I wonder…..?
The final title is My Home`s In A Southern Town which was published by Tempo Music whose director – Roy Carew – was the credited lyricist Ed Werac.
A wonderful CD – the result of a year`s intensive study of all available material – thus the title `The Complete Morton Project`. It`s good to know that Jelly Roll`s music is alive and well and – apparently – living in London.
The CD is available from, LeJazzetal, London, U.K.
RAY SMITH

JAZZ JOURNAL 09.08.2019
Andrew Oliver and David Horniblow: The Complete Morton Project
The Complete Morton Project unrolled on YouTube throughout 2018, at a rate of two tunes a week. It consisted of all 93 (or was it 94?) pieces known to have been composed by Ferdinand Joseph Lamothe, alias Jelly Roll Morton (1890-1941), played by these two hugely accomplished musicians. It was an epic undertaking and important for several reasons.
To begin with, it reveals the unexpected breadth of Morton’s stylistic range, from the stomps and blues of the 1920s to his very personal takes on the “jungle” style popularised by Ellington in the early 1930s, big-band music of the swing era and the classic American song form. Mostly, these later pieces were part of his attempt to get himself back into fashion, but the skill and ingenuity involved are undeniable.
Morton himself was a virtuoso and he made sure that in most of his compositions there was something that would not only demonstrate his superiority at the keyboard, but also show up the inferiority of anyone else brave enough to try. To ensure that the real thing got a hearing, he began making piano rolls of his own playing in 1908 and phonograph recordings from 1923 onwards. I have listened to quite a few of these alongside the Oliver-Horniblow versions and, take it from me, the playing on the latter would have made Jelly Roll Morton gulp. It’s not just that they get all the right notes in the right place, they do it with a confidence that seems almost casual at times. They put some of their own bits in, too, but they’ve got the idiom so well that you’d have to go back to the originals and check. I started doing that with Shreveport Stomp, but I was enjoying it so much I kept losing my place. So that’s another important thing: it’s brilliantly played and madly enjoyable.
As to instrumentation, Morton seems to have been happy to adapt any piece to what was available, and I imagine he would have been delighted with this duo. It’s mainly piano and clarinet (think Johnny Dodds, Omer Simeon and Volly DeFaut), but also, at times, piano and bass clarinet and even bass saxophone. No kazoos or jugs required.
It will not have escaped your notice that this CD, rather confusingly titled The Complete Morton Project, contains rather fewer than 93 pieces. That’s because it’s a selection, specially recorded in studio conditions, with a concert piano. The whole lot is still up there on YouTube (just search for Complete Morton Project), but the spacious, glowing sound of these 16 tracks is beyond anything that Jelly Roll Morton could have imagined in his lifetime. They lift his music out of the rarely visited bin marked “Early Jazz” and bring it unignorably to life.
DAVE GELLY

JAZZ LIVES 29.07.2019
DAVID, ANDREW, FERDINAND (THE COMPLETE MORTON PROJECT on DISC)
Internet commerce can feel awkward when one is attempting to say to prospective buyers, “You would enjoy spending money on this pleasurable rare object.” Or, in the new expression I just learned from a Swedish jazz friend, “smashing the savings pig.” Be not alarmed: purchase of this CD will not do any animal, ceramic or real, harm.

The CD in question is a beauty: “THE COMPLETE MORTON PROJECT / Neglected masterpieces by the first great jazz composer / ANDREW OLIVER / DAVID HORNIBLOW.” (lejazzetal Records: # LJCD21). For those who are already excited, the link to purchase or download is here.

I’ll let pianist Andrew explain:

David and I began playing together when I moved to London from Portland, Oregon, in 2013 and we quickly secured a weekly duo gig during which we learned a lot of Morton’s best known compositions. We’ve continued to work together frequently in the Dime Notes and the Vitality Five, and one day in 2017 as we added yet another fantastic Morton tune to the book of one of the bands, David suggested we should just learn them all! This seemed rather hilarious and we quickly started recording YouTube videos and posting them at a rate of two per week, with a goal to record and post all 93 tunes during 2018. Despite a fair bit of stress later in the year, we managed to complete this goal and decided to put down some of our favorites in the studio for this album. We’ve selected a cross section with a few well-known tunes and a lot of lesser-played ones demonstrating the full range of Morton’s compositional style and featuring David on bass clarinet and bass sax in addition to clarinet for some added textures.

The Morton compositions on the disc are SHREVEPORT STOMP / CROC-O-DILE CRADLE / GAN JAM / STATE AND MADISON / FINGER BUSTER / COURTHOUSE BUMP / STRATFORD HUNCH / MAMANITA / GOOD OLD NEW YORK / FREAKISH / I HATE A MAN LIKE YOU / JUNGLE BLUES / BLACK BOTTOM STOMP / MR. JELLY LORD / MY HOME IS IN A SOUTHERN TOWN — spanning the stylistic and chronological range of his career.

The jazz audience can be thrifty, so perhaps I should explain why JAZZ LIVES readers would consider purchasing this CD when Andrew and David have unlocked the treasure chest of Mortonia week by week with slightly under one hundred music videos. I can only say that, having followed the Complete Morton Project on video for about a year, I was delighted by what I heard on the CD. Whether you view the videos as master takes or alternates, there is vibrant lively improvisation on each song, so I did not feel that I was listening to familiar music, even though I knew both the Morton compositions and the Oliver-Horniblow interpretations from last year.

Second, the sound is beautifully spacious — even though the YouTube channel sounded just right, the CD sound is more expansive and detailed.

Third, and this is not a comic statement, you can listen to the CD in the car without endangering others or yourself. I would be alarmed if I got into a car with a Morton fancier who was watching the YouTube videos while attempting to drive us somewhere. LET ME OFF UPTOWN or DROP ME OFF IN HARLEM would come instantly to mind, euphemisms for “Stop right now!” So purchasing the COMPLETE MORTON PROJECT is not only an act of self-love; it’s good for pedestrians and other motorists. I rest my case. Buy it here.

Rereading what I’d written above, I wondered whether some would perceive it as flippant, which isn’t my intention. Although Andrew and David are great players and great imaginers, their joyous work is seriously rewarding. Morton’s work is so powerful — his compositions and his orchestral recordings as well as his piano renderings — that it seems to leave many musicians awe-struck and somewhat frozen. Thus, facing three minutes of architectural grandeur (say, the Victor BLACK BOTTOM STOMP) they are relegated to attempting to play the record through their own instruments in this century, and when such acrobatics come off, they are entrancing. (Almost no one I can think of has attempted the other kind of homage: “let’s play DEAD MAN BLUES as a boogaloo,” and that is all to the good.) What David and Andrew do and did is something else: their reductions of Morton (or, amplifications, if you consider those duo performances based on piano solos) seem to say, “We know this material is strong in every way: melody, harmony, rhythm. Let us, as if we were restoring an irreplaceable eighteenth century painting, strip off all the accretions, all the layers of performance practice, all the flourishes that come from taking records as sacred text, and concentrate on the Music. Let us also see, in the best New Orleans – Chicago – New York style, what our warm imaginations can bring to this song.”

Thus they venerate Morton but also play him, with wondrous results.
The link to see, hear, purchase other lejazzetal CDs — including four delightful ones by Martin Wheatley and friends; the Dime Notes; the Vitality Five, and more — is here.
MICHAEL STEINMAN https://jazzlives.wordpress.com

THE SUNDAY TIMES 28.07.2019
The Complete Morton Project
Jelly Roll Morton was never shy about singing his own praises, but today he often doesn’t get the credit he’s due as a jazz composer. Kudos to this British-based piano and clarinet duo — more often seen as part of that elegant outfit the Dime Notes — for plunging into the repertoire. Starting out with the goal of recording all Morton’s tunes on YouTube (a fascinating watch, by the way), they’ve now boiled down the selection to a mix of standards and less familiar pieces. Compelling, soulful and huge fun.
CLIVE DAVIS

THE SYNCOPATED TIMES 21.07.2019
The Complete Morton Project
The Complete Morton Project refers not to the completeness of this particular album but to the lofty goal of its participants to learn and record as a duo all 93 of Jelly Roll Morton’s compositions, including his rarest.
In 2018, they began posting YouTube videos of their arrangements recorded in an apartment and the delicacy and buoyancy of their performances attracted jazz fans the world over. Both musicians on the screen were however already established and well known in the field. They’ve even played together in The Dime Notes, and more recently The Vitality Five, highly respected traditional jazz bands with slightly different focuses.
Andrew Oliver is a pianist from Portland Oregon who got his start in classical piano, fell in love with ragtime and early jazz, and studied music at Loyola in New Orleans just before Hurricane Katrina. In 2007 he toured Africa with Jazz at Lincoln Center. When he got home he founded the Portland Jazz Composers’ Ensemble and toured with groups playing both modern chamber jazz and traditional jazz before relocating to London in 2013 and concentrating his efforts solely on the early styles. He draws on the greats for inspiration which made this project a natural fit. In fact, the light bulb went off when he and Horniblow were rehearsing yet another Morton piece to add to the repertoire of their full band.
David Horniblow is from Reading in the UK and studied classical clarinet. He started his jazz career playing swing and modern styles, but his first fascination had been early Duke Ellington. He followed up an opportunity to play with Keith Nichol’s by joining the Chris Barber Band. He’s played with Acker Bilk, Kenny Ball, and all the legends of British Trad still active during his tenure.  In addition to his work with The Dime Notes and The Vitality Five, he leads Horniblow’s Hot Three and appears with a number of other traditional jazz acts active around London.
Though this project may have started on YouTube this album was recorded in a professional studio under the best circumstances. Oliver had use of a Steinway grand piano, Horniblow occasionally grabs the rarely heard bass sax. Having the Youtube versions available is no reason not to treat yourself to this disc. Comparing both gave me a fine appreciation of what a studio offers, even at the expense of that spontaneous bedroom feel. The pure musical beauty on display in the videos suffers not at all for the better acoustics.
Extensive liner notes written by Andrew Oliver accompany attractive packaging from the lejazzetal label. They explain that to explore the Morton compositions is to explore the very earliest stew of New Orleans jazz, including elements of blues, Spanish influences from the Caribbean, the inspirations of ragtime improvisers, and the musical understanding of classically trained Creoles like Morton himself. While Morton’s claim to have invented jazz is dubious he was the first of the great jazz composers, and because most even into the early 20s weren’t putting their jazz creations to paper his record is an important glimpse at the past and a continuing source of inspiration for those wishing to explore it.
Says Oliver:
“Morton’s early compositions… show an advanced compositional mind at work, creating unique and complex forms, sweeping melodies and potent counterpoint and, most importantly, allowing for improvisation and variation in a true jazz style, all before 1920!”
This 15 track release includes the most obscure Morton while also covering the full length of his career. “Good Old New York” has Morton sliding into the 30s tin pan alley pop market. To draw attention to the Spanish tinge they include “Mamanita”, dedicated to a lady Morton pursued at two different stages of his life. “Jungle Blues” is a one-chord tour de force that shows him decades ahead of his time. Oliver and Horniblow play it with the power of a full orchestra. In fact, they amaze with the depth, nuance, and rhythm they draw out of each of these titles.
Covering everything as a duo leads to some unusual situations. Late in his career, shortly before his death, Morton wrote some arrangements for big band that were only unearthed in the 90s. They have since been recorded at the proper scale but for this album, one of them, “Gan Jam”, had to be pared down to fit a piano duo. “Croc-O-Dile Cradle” was only recently discovered in Vince Giordano’s massive collection of arrangements.  The Fat Babies recorded it for their band but we hear it here in concentrated form.
Not everything on the disc is a rarity, they lead off with the familiar “Shreveport Stomp”. It’s a smart way to bring the audience on board. Late in the album, they also include “Black Bottom Stomp” and “Mr. Jelly Lord”, which captures Morton’s famous braggadocio.
This is an album of pure traditional jazz that is getting well deserved recognition far beyond our walled confines, and for good reason. Oliver and Horniblow play with a freshness and creativity within the style that is undeniable even to those who wouldn’t normally have ears to hear. What these two accomplish with these compositions is a testament to Morton’s greatness but also to their own unquestionable talent and to the power of jazz itself to be ever new, raw, and moving.
JOE BEBCO

JAZZ WAX 10.07.2019
The Complete Morton Project
New Orleans pianist Jelly Roll Morton is widely considered to be jazz’s first arranger. Though jazz was considered an improvised form early on, Morton proved that jazz could retain its joyous, freewheeling feel even when scored on music paper. He also was jazz’s first published composer. His Jelly Roll Blues was published in 1915. As a composer, Morton was a powerful force, writing the standards King Porter Stomp, Wolverine Blues and Black Bottom Stomp. He also was among the first jazz musicians to be ripped off in a sizable way.
Despite having written dozens of songs that had been recorded and performed with great success by other leading bands since the start of the swing era, Morton had consistently been denied membership in ASCAP. As a result, he didn’t receive a dime in royalties for the performances of his music in concerts, on jukeboxes and on the radio. In the 1930s, ASCAP was exclusively for Broadway’s white, legit songwriters whose songs generated sizable income in New York and Hollywood.
During this period, jazz was thought of as junk music by ASCAP, which considered the originality of jazz compositions suspect, since the blues was a public domain construct. It wasn’t until 1939, with the formation of BMI, that musicians who played jazz, R&B, country, blues and other popular folk styles found a performing rights organization that welcomed their membership and protection.
Getting back to Morton, who died in 1941, a sensational new album has been released by two extraordinary musicians—pianist Andrew Oliver and clarinetist/saxophonist David Horniblow. The album is The Complete Morton Project, featuring 15 songs by Morton. The tracks represents a fraction of what’s coming. Oliver and Horniblow have recorded all of Morton’s original songs, which number around 95. One suspects more will appear as funding becomes available. The songs on this first album are Shreveport Stomp, Croc-O-Dile Cradle, Gan Jam, State and Madison, Finger Buster, Courthouse Bump, Stratford Hunch, Mamanita, Good Old New York, Freakish, I Hate a Man Like You, Jungle Blues, Black Bottom Stomp, Mr. Jelly Lord and My Home Is in a Southern Town. To learn more about each individual song, visit Andrew Oliver’s site, where he has posted about them.
What you hear on this new album are two excellent musicians embracing the musical life of a jazz icon who was short-changed while he was alive. The Complete Morton Project not only lets us hear the breathtaking quality of Morton’s piano (thanks to the magnificence of Oliver) but it also serves up the piano with reeds (thanks to Horniblow) clear and vibrant, with all of the excitement intact. Most of Morton’s original recordings suffer from the limitations of technology in the 1920s and ’30s. Now, with this new album, we finally can hear Morton’s original work with the sonic grime wiped off. The result is spirited foot-tapping music that illustrates a turning point in the evolution of syncopation and the emergence of a piano sound that emulated the jazz orchestra.
MARC MYERS

JAZZ DA GAMA 02.07.2019
A soundtrack for what is almost a period narrative using the rarest of rare material
American pianist Andrew Oliver and British reeds and woodwinds player David Horniblow have been heard together recently as part of The Dime Notes, a group dedicated to playing in the tradition of Jazz; playing music that is specifically dedicated to preserving the New Orleans style. In fact Mr Oliver is a pianist almost completely immersed in the New Orleans style of playing, a relative rarity these days. For his part Mr Horniblow is no less immersed in that style of playing and indeed his playing often evokes the high and lonesome clarinet of George Lewis and Barney Bigard. So it seemed almost a foregone conclusion that the two musicians would get together to traverse that time when the style of playing was most prominent – at the turn of the 20th century, that is.
The welcome surprise is that the duo should make their journey one that uncovers hidden, rarely played and perhaps even lost compositions by the great Jelly Roll Morton. A “surprise” but also something that is crying out to be heard, not only because it would appear that there is a contemporary trend in music to play improvised music and pass it off as Jazz. Musicians are just as guilty of doing so as are music industry executives with precious little knowledge of the history of Jazz. The result is a burgeoning music industry that tries to pass itself off as something that it isn’t; in this case – “Jazz”. On the flip-side, when a recording as masterful as this one comes around, one should be at the ready to recognize its importance, its authenticity and its remarkable beauty.
Jelly Roll Morton was a seminal figure who ruled the roost, so to speak, when Jazz was young, even going so far as to claim that he invented the art of Jazz. Truth be told, he was responsible for a number of “firsts” including recognising the importance of “the music ensemble” and writing idiomatically for the several instruments that made up this (then) so-called Jass “ensemble”. He was also the first to make the connection between classical forms, the Blues, and was almost alone in bringing Spanish traditional forms from Afro-Caribbean music into Jazz – or what he now-famously called “the Spanish tinge”. Best of all, Mr Morton brought together Black American music – the Blues – together with European forms; perhaps even create the first Jazz composition.
Mr Oliver and Mr Horniblow have done remarkable work in transcribing some of Mr Morton’s all-but-forgotten; even so-called “lost” work in this breathtaking hour-long disc. But more than reminding us where the music of Jazz comes from, this disc creates the vivid soundtrack for what is almost a period narrative using the rarest of rare material. The duo operates as a partnership of equals and supplies the ear-worms throughout. Mr Morton’s compositions are, of course, the main attraction – dancing melodies, insistent rhythms and breathtaking harmonies with the added attraction of breathtaking harmonies tossed from pianist to reeds/woodwind player and back in a devilishly brilliant manner.
The music of Jelly Roll Morton is proudly flown as the flag of the seminal music of Jazz throughout. But even if the music is the main attraction one cannot help being struck by the invention of each of the musicians playing here; Mr Oliver, for his part maintains swagger and swing through each interpretation holding fort especially in the long inventions of “Jungle Blues”, for instance. Mr Horniblow, for his part, plays clarinet and bass clarinet – as well as the lugubrious bass saxophone played here with tremulous delicacy on “Mr Jelly Lord” – with lithe and elegant warmth and swing weaving the tantalizing symmetry of Mr Morton’s melodic lines masterfully into the grand scheme of the songs. Both performers negotiate Mr Morton’s diabolical music with expertise, eloquence and good taste that is both rare and welcome music today in this worthy tribute to one of the great pillars of Jazz – Jelly Roll Morton.
RAUL DA GAMA

THE OBSERVER 30.06.2019
the joy of Jelly Roll
Have you seen those two guys on YouTube? They’re fantastic!” The word got round last year about pianist Andrew Oliver and clarinettist David Horniblow, who had set themselves the apparently lunatic task of learning all the 94 compositions of Ferdinand “Jelly Roll” Morton and recording and posting videos of the whole lot by the end of 2018. Not only did they succeed, their playing was so dynamic and heartfelt that I really missed them when they’d finished.
I thought I knew Morton, the first jazz composer, pretty well, but some of what these two had played was quite new to me. More important, their approach, although perfectly authentic in style, had a freshness and immediacy that was all their own. These 15 numbers, rerecorded in a proper studio, with a concert piano, make an impressive selection from a fascinating life’s work.
Morton (1890-1941) started out playing ragtime in New Orleans brothels, becoming a popular bandleader and recording artist in the 1920s, only to fall out of fashion in later life. Nowadays he tends to get patronisingly labelled as “early jazz”. These spirited and accomplished performances bring his music vividly to life.
DAVE GELLY

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