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| 3.991 Ft
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| 1. | Goin' to Chicago
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| 2. | Moten Swing
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| 3. | On the Sunny Side of the Street
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| 4. | Ain't Nobody's Business
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| 5. | Come on Over to My House
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| 6. | Trouble in Mind
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| 7. | Say Forward, I'll March
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| 8. | Backwater Blues
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| 9. | She's Got It
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| 10. | Hootie's K.C. Christmas Prayer
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| 11. | Bonus Track [After 2 min.]
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Jazz / Blues
Jay McShann - Piano, Vocals
Dave Babcock - Sax (Alto), Sax (Tenor)
Dennis Taylor - Sax (Tenor)
Duke Robillard - Guitar (Acoustic), Guitar (Electric), Mastering, Mixing, Performer, Photography, Producer
John Packer - Bass
Maria Muldaur - Performer, Vocals
Marty Richards - Drums
* Holger Petersen - Performer, Photography, Producer
* Jerry Woolsey - Engineer
* John Paul Gauthier - Engineer, Mixing
* Mark Noderer - Mastering
* Nick Stevens - Mastering
* Peter North - Photography
* The Rockin' Highliners
At age 83, pianist/vocalist Jay McShann was still at the top of his game and providing many lessons for the younger "swing" cats and kittens. He is the epitome of what can be done when jazz and blues are mixed equally, especially when the fun factor is liberally added in. While some might find this typical, many others should revel in the sound of one of this music's last living legends who is still doing it, and doing it very well at that. The chemistry between McShann and guitarist/session leader Duke Robillard is considerable and undeniable, and makes Still Jumpin' the Blues enjoyable throughout. With such solid support from Robillard and the band, McShann has nothing to worry about. Everything you might want is here: classic versions of "Goin' to Chicago," "Ain't Nobody's Business," and "Trouble In Mind"; a nice rearrangement with tempo shift from mellow to mid-tempo on "Sunny Side of the Street"; Maria Muldaur's sultry singing on "Come on Over to My House," and especially the Bessie Smith evergreen "Backwater Blues"; wonderful instrumentals like "Moten Swing" and "Say Forward, I'll March"; and even a little Hawaiian slide accenting "Hootie's K.C. Christmas Prayer." The disc ends with a short solo piano version of "Georgia on My Mind," followed by a lengthy interview with McShann, explaining his nickname "Hootie," happenings in Kansas City, and other topics. Recordings this precious, historical and relevant cannot be dismissed. Instead they should be celebrated, as should the career of McShann, a most enduring figure in American music. His signature spare piano, with its bluesy flourishes, and his slightly mushy vocal style are as distinctive as any, and come shining through on this exceptional document of one of our true musical treasures.
--- Michael G. Nastos, All Music Guide
Jay McShann
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Jan 12, 1909 in Muskogee, OK
Died: Dec 07, 2006 in Kansas City, MO
Genre: Jazz
Styles: Big Band, Boogie-Woogie, Bop, Classic Jazz, Jazz Blues, Jump Blues, Mainstream Jazz, Piano Blues, Standards, Stride, Swing
The great veteran pianist Jay McShann (also known as Hootie) enjoyed a long career and it is unfair to primarily think of him as merely the leader of an orchestra that featured a young Charlie Parker. He was mostly self-taught as a pianist, worked with Don Byas as early as 1931 and played throughout the Midwest before settling in Kansas City in 1936. McShann formed his own sextet the following year and by 1939 had his own big band. In 1940 at a radio station in Wichita, KS, McShann and an octet out of his orchestra recorded eight songs that were not released commercially until the 1970s; those rank among the earliest of all Charlie Parker records (he is brilliant on "Honeysuckle Rose" and "Lady Be Good") and also feature the strong rhythm section team McShann had with bassist Gene Ramey and drummer Gus Johnson. The full orchestra recorded for Decca on two occasions during 1941-1942 but they were typecast as a blues band and did not get to record many of their more challenging charts (although very rare broadcasts have since surfaced and been released on CD by Vintage Jazz Classics). In addition to Bird (who had a few short solos), the main stars were trumpeter Bernard Anderson, the rhythm section, and singer Walter Brown. McShann and his band arrived in New York in February 1942 and made a strong impression, but World War II made it difficult for any new orchestras to catch on. There was a final session in December 1943 without Parker, but McShann was soon drafted and the band broke up. After being discharged later in 1944, McShann briefly re-formed his group but soon moved to Los Angeles, where he led combos for the next few years; his main attraction was the young singer Jimmy Witherspoon.
McShann was in obscurity for the next two decades, making few records and mostly playing in Kansas City. In 1969 he was rediscovered and McShann (who had first sung on records in 1966) was soon a popular pianist/vocalist. Sometimes featuring violinist Claude Williams, he toured constantly, recorded frequently, and appeared at many jazz festivals, being active into the mid-'90s. Jay McShann, who recorded through the years for Onyx (the 1940 radio transcriptions), Decca, Capitol, Aladdin, Mercury, Black Lion, EmArcy, Vee Jay, Black & Blue, Master Jazz, Sackville, Sonet, Storyville, Atlantic, Swingtime, and Music Masters among others, was a vital pianist and an effective blues vocalist who keept a classic style alive. A live album, Hootie Blues, recorded in 2001 in Toronto and released in 2006 by Stony Plain, showed that McShann could still bring it at the age of 85. He died at the age of 90 on December 7, 2006.
---Scott Yanow, All Music Guide |
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