The NRB Legacy Project

“Slide Frog Slide” — Keith DeWitt

Uptempo trombone energizes the crowd. Every time. 

 

The NRB Legacy Project

“Milenberg Joys” — Million Seller Album

Subtle clarinet and lusty trombone choruses by the NRB lead into coronet chorus backed by an authentic New Orleans press roll. The tune is named after an old resort on Lake Pontchartrain and was composed by Paul Mares, Jelly Roll Morton, and Leon Roppolo. The lyricist is Walter Melrose. Its publication date is 1925. (Melros Music Corp. ASCAP)

The NRB arrangement is the first track of its CD titled, “Million Seller Album”, the initial offering of what has become a sterling library of 16 CDs created and published since 1970. 

https://youtu.be/6Vs9efJIS1s

Download the track on Amazon

Download the full album on Amazon 

Buy an actual CD here

As a counterpoint, here is a 1925 recording of “Milenberg Joys” by Ted Lewis and His Band:

https://www.youtube.com/watch?v=hh5YlhT3hJE

https://www.youtube.com/watch?v=e6UObDZ7ODU

Quoted/edited from Wikipedia: https://en.wikipedia.org/wiki/Ted_Lewis_(musician)

“Theodore Leopold Friedman (June 6, 1890 – August 25, 1971), known as Ted Lewis, was an American entertainer, bandleader, singer, and musician. He fronted a touring band performing a combination of jazz, comedy, and nostalgia that was a hit before and after World War II. He was known as “Mr. Entertainment” or Ted “Is Everybody Happy?” Lewis. 

At the start of the 1920s, he was considered by many without previous jazz knowledge (most of America) to be one of the leading lights of hot jazz. Lewis’s clarinet playing barely evolved beyond his style of 1919 which in later years would sound increasingly corny, but he certainly knew what good clarinet playing sounded like, for he hired clarinet musicians such as Benny Goodman, Jimmy Dorsey, Frank Teschemacher, and Don Murray. For years, his band also included jazz greats Muggsy Spanier on trumpet and George Brunies on trombone. Ted Lewis’s band was second only to the Paul Whiteman in popularity during the 1920s, and arguably played more real jazz with less pretension than Whiteman, especially in his recordings of the late 1920s.”

---

The NRB Legacy Project

“Here Comes My Blackbird” — Million Seller Album

Contains a section of Duke Ellington’s “Creole Love Call”. Four different trumpet solos by the NRB cast of characters. Published in 1927. Written by Dorothy Fields, James Francis McHugh (Mills Music, ASCAP) NOTE: Dorothy Fields also wrote the lyrics for the Broadways smash, “Sweet Charity.” Here is a link to her bio on Wikipedia.

https://youtu.be/zWlgk5Cjlv8

Download the track on Amazon

Download the full album on Amazon

Buy an actual CD here

According to Wikipedia, the song’s authorship was rife with controversy. (We quote from this page.) “Creole Love Call” is a jazz standard, most associated with the Duke Ellington band and Adelaide Hall. It entered Billboard’s USA charts in 1928 at No. 19.

https://youtu.be/o60EeEXbxHs

Ellington first recorded it in 1927 and was issued a copyright for it as composer the following year. However, the main melody appears earlier in the Joe “King” Oliver composition “Camp Meeting Blues”, which Oliver recorded with his Creole Jazz Band in 1923. Apparently, Ellington saxophonist Rudy Jackson had presented the melody to Ellington claiming it was his own composition. After Ellington’s recording came out, Joe Oliver attempted to sue for payment of royalties and composer credit. The lawsuit failed due to problems with Oliver’s original paperwork, resulting in Oliver not holding a valid copyright. Ellington fired Jackson over the incident, bringing in Barney Bigard as his replacement.” 

---

The NRB Legacy Project (Episode Four)

“Buddy’s Habits” — Million Seller Album

https://youtu.be/Xgq30lsa06I

Download the track on Amazon

Download the full album on Amazon

Buy an actual CD here

Our trombonist was reluctant to include this song for fear his former trombone teacher may hear it and sink into a unrecoverable morass of despair. He describes the necessary tone as “a ripping oil cloth sound.” We respectfully disagree, and eagerly share our arrangement with you. The song was originally published in 1923. Composers are Arnett Nelson and http://riverwalkjazz.stanford.edu/song/buddys-habits/song/buddys-habits. 

https://youtu.be/IxEQ28Ll4FM

We selected this track as a counterpoint to our version because it has a vibrant comments section. After you’ve listened to this arrangement and ours, read these comments on King Oliver’s version. They are passionate… and contradictory.  And definitely worth further research.  For example, ‘fearfeasa1’ states, “The Charlie Jackson who played bass sax on this session was NOT known as ‘Papa.’ Different person altogether.” And there’s a very good reason why 2300skidoo couldn’t find this tune in a list of Elmer Schoebel’s compositions, because Schoebel didn’t write it. It was composed by Oliver’s clarinetist mate Arnett Nelson, with a set of lyrics by Charles Straight. 

From John Polloack  in a Google forum on classic jazz, “I believe this is the same tune recorded earlier(1923) under the title “Buddy’s Habit” by King Oliver’s Jazz Band. I have the Nichols version on an old Swaggie LP that credits Nelson and Straight as the song’s composers. Other sources credit the tune to clarinetist Arnett Nelson. The information is in Eric Townley’s “Tell Your Story” (Storyville Publications and Co. Ltd., 1976): In the early 1920s clarinet player Arnett Nelson, composer of this number, played in Jimmy Wade’s Orchestra at the Moulin Rouge Cafe on Wabash Avenue, Chicago. The tuba and bass saxophone player in the band was a musician named Buddy Gross who used to drink large amounts of beer. Buddy’s habit was that at the end of each set he would rush off the stand to relieve himself in the lavatory. So, now you know!”

---

The NRB Legacy Project (Episode Five)

“Roadrunner Rag” — Million Seller Album

This is an original composition by one of the NRB’s cast of characters, one Mr. Tom Bogardus, a modest gentleman proficient in clarinet, saxophone, banjo, writing, arranging, and teaching. Other than those endeavors he just hangs around, he claims. In this arrangement, our trombonist, Hal Smith, (A founding member of the NRB) cleverly disguised as the voice of a roadrunner, asks a profound musical question. Beep. Beep? Bogardus is awaiting recognition by the Audubon Society for musically interpreting other fine feathered friends. At the tune’s climax, the father of the piano player rushed into the room to heave an autographed Detroit Tiger baseball at an antique Tiffany gong to bring the whole thing to a crashing halt. Roadrunner Rag by Tom Bogardus (Luzar Publishing BMI 3:30)

Disclaimers: No baseballs, gongs, or roadrunners were harmed in the production of this NRB exclusive. However, a prized lamp similar to that featured in the movie, “A Christmas Story,” was the victim of the ball’s ricochet off the gong. Apparently none of the cast of characters lists ‘athlete’ in their bios.

Download the track on Amazon

Download the full album on Amazon

Buy an actual CD here

https://youtu.be/CIUvc2uKVIY

There is no comparable tune here anywhere. Well, except for the version featuring the Reverend Gary Miller.

Listen to NRB Legacy Episode Fourteen for the Rev’s version.

---

The NRB Legacy Project (Episode Six)
“King Herrod’s Song” — Million Seller Album

Readers and listeners matching this track to the original NRB Million Seller Album vinyl LPs will discover their search is in vain. When we remastered the music from “the Million Seller” album to release a CD,  we added two songs released as a single 45 record in the early days of the NRB (1970-71). “King Herrod’s Song is adapted from Jesus Christ Superstar. It as the B-side of the record, with our original Roadrunner Rag on the A-side. They were bonus tracks when ‘the Million Seller Album’ was remastered and released as a CD.

Download the track on Amazon

Download the full album on Amazon

Buy an actual CD here

https://youtu.be/KPszEeaGH9c

 

 

https://youtu.be/7ijXIJRMhKE

Okay, so this is not classic jazz. But it sure is fun. This is the original, sung by Mike d’Abo. If that name is vaguely familiar he was also the frontman for a rock group of that era called Manfred Mann. According to a poster in the comments section about the track we selected,  MichaelHansenFUN ,”Mike d’Abo is infamous. With d’Abo fronting, Manfred Mann enjoyed numerous hits, the Dylan-penned number one hit, “Mighty Quinn.” Check him out singing that song here and compare the vocals.”

---

The NRB Legacy Project (Episode Seven)

“I’m Comin’ Virginia” — Million Seller Album

Download the track on Amazon

Download the full album on Amazon

Buy an actual CD here

https://youtu.be/pL_8VyEdkAI

The NRB rhythm section is sweet on this 1926 composition by Donald Heywood and Will Marion Cook because of its fine harmonic sequence. We played this we a feel for Biederbecke, one of our heroes. (Robbins Music Corp. ASCAP 3:08)

 

https://youtu.be/cf7GhDzMhUg

A 1938 recording from the Carnegie Hall appearance of the Benny Goodman Orchestra. Horace Steadman “Steady” Nelson Nelson and his trumpet do a superb imitation of NRB’s own rhythm section. You’ll hear “Steady” again in Benny’s Goodman’s arrangement of Rosetta, which we’ve posted as a complement to our arrangement. Nelson has been declared a Texas Music Pioneer by the Texas Music Office, a division of the Office of the Governor of Texas. NOTE: We are still awaiting our own invite to Carnegie and stand ready as well to be inducted in any of the offices of any state and territory in this here United States of America.

---

The NRB Legacy Project (Episode Eight)

“Wabash Blues” — Million Seller Album

https://youtu.be/_zj3dGQ2gOo

The full sounding harmony is the result of our flugelhornist playing in the lower register… just below the air duct in the basement. (Fred Meinken, music; Dave Ringle, words; Leo Feist, Inc. ASCAP)

https://youtu.be/kmkxc-FA5wg

The information below is copied from the Youtube posting of this recording of Wabash Blues. RRead 555 wrote them. We could not locate his or her name, but here is his or her youtube page — https://www.youtube.com/user/RReady555

“Two million sales of this record in 1921 cemented Isham Jones’s niche in the musical pantheon of the early Twenties. The song has been recorded many times since with Dave Ringle’s fine lyrics, but no performance has been so popular as this Jones instrumental.”

BONUS FOR NRB LEGACY LISTENERS

Isham Jones has one unique connection to the NRB. Both grew up in Saginaw, Michigan USA. Mr. Jones formed his first band in Saginaw. During his writing career, he wrote, “We’re In The Army Now (You’re In The Army Now)” in 1917 – with lyrics by Tell Taylor & Ole Olsen. We couldn’t find a quality recording of it, but we did find this gem, his composition of “I’ll See You in My Dreams,” from 1924

https://youtu.be/RhamwJTuQKs

More about Isham Jones and Saginaw

Isham Jones led one of the finest dance bands of the 1920s and wrote many hits, notably “It Had To Be You,” “I’ll See You In My Dreams,” “Swingin’ Down the Lane,” and “The One I Love Belongs to Somebody Else.” He was born in Coalton, Ohio, but grew up in Saginaw, Michigan. The September 1923 issue of the sheet music publication Melody includes an article about his early years (the article itself is based on an interview Jones gave to the Boston Post). He had worked in coal mines leading blind mules. Jones’s father, originally from Arkansas, played fiddle and was an important musical influence. A Saginaw music publisher was first to print sheet music bearing the name Isham Jones, his earliest known published composition being “Midsummer Evenings,” from 1906. He would not enjoy success as a composer for another dozen years.” This snippet is copied from the youtube page of Tim Gracyk

https://youtu.be/083EaUyhO4g

---

The NRB Legacy Project (Episode Nine)

“Rainbow” — Million Seller Album

https://youtu.be/UL3COJXHPLc

This cakewalk is reminiscent of the marching bands of New Orleans. The NRB arrangement contrast partial and full ensembles. For example, the intro is followed by muted cornet, drums, and banjo only, which allows a superb opportunity to enjoy the skills of our ‘six-string’ guy. (Percy Weinrich, Alfred Bryan; Warner Brothers Music and Jerry Vogle Music Co. ASCAP)

https://youtu.be/JHfyjmaU37Y

960 – RAINBOW, Duet by Stanley & Burr (Jan. 1909)  uploaded to youtube by 2minuteAlbanyArchive

Information from CatsPjamas1 — A #4 hit for Frank Stanley and Henry Burr in December 1908. 

 

---

The NRB Legacy Project (Episode Ten)

“Bogalusa Strut” — Million Seller Album

https://youtu.be/hp59P5NKZvw

https://youtu.be/rmQY7aNQ9IA

---

The NRB Legacy Project (Episode Eleven)

“Honeysuckle Rose” — Million Seller Album

Download the track on Amazon

Download the full album on Amazon

Buy an actual CD here

https://youtu.be/ewXTca4h7Bs

Comparing our  versions to jazz greats is our way of honoring OKOM (Our Kind of Music). In this link, Coleman Hawkins plays Honeysuckle Rose, with Benny Carter & André Ekyan as, Coleman Hawkins & Alix Combelle tenor sax, Stéphane Grappelly on piano p, Django Reinhardt guitar, Eugène d’Hellemmes bass, Tommy Benford, drums.

According to a post on Wikipedia: “Coleman Randolph Hawkins (Nov. 21, 1904 – May 19, 1969), nicknamed Hawk and sometimes “Bean”, was an American Jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: “there were some tenor players before him, but the instrument was not an acknowledged jazz horn”. Fellow saxophonist Lester Young, known as “Pres”, commented in a 1959 interview with The Jazz Review: “As far as I’m concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I’m the second one.” Miles Davis once said: “When I heard Hawk, I learned to play ballads.”

https://youtu.be/7Uqf5Ds-zcQ

 

---

The NRB Legacy Project (Episode Twelve)

“Buddy Bolden’s Blues” — Million Seller Album

https://youtu.be/YE1Le2YUaqA

https://youtu.be/vgmZyImasvA

 

---

The NRB Legacy Project (Episode Thirteen)

“Rosetta” — Million Seller Album

https://youtu.be/k6O1MSY8YLQ

https://youtu.be/WU2fHcmkPxI

---

The NRB Legacy Project (Episode Fourteen) 

“Roadrunner Rag (2)” — Million Seller Album

https://youtu.be/04s0Ck6FkUI

This graphic came from the Culture Collective Facebook page by way of Guy Bullock of Atlanta, GA, and finally Pat Murphy of Athens, GA. We enjoy its message because it describes our music very well.

NRB CDs

CDs now $10 each + $3 shipping

Buy 4 and get with free shipping.

NOTE: the 4 CDs do not have to be different.

Perhaps you want five of the same CD.

No worries. The deal stands.

CDs available now:

#1 NRB’s Million Seller Album (includes 2 bonus tracks: Roadrunner Rag” and “King Herrod’s Song” + 11 more)

# 2 The Church is Our Foundation (NRB’s first gospel offering with organ & full choir; includes, “A Closer Walk With Thee”, “Battle Hymn of the Republic”, and “Psalm 150”)

#5 Live at the Nugget (Raucous music and clean laughs in the Celebrity Showroom at the Nugget Casino Resort in Sparks, Nevada — Insider Tip: Fans of the NRB know this as the infamous “Lithuanian Set”)

#10 Live at the Temple (Soundtrack of national PBS Special, with a separate DVD of event also available)

#11 Swingin’ and Singin’  (Rated A+ by American Rag, includes 14 classics, including “Fidgety Feet”, “San”, “It Don’t Mean a Thing”, “Jazz Band Ball”) 

#14 Unleashed (Rated A+ by “American Rag Magazine”. Guest stars Bob Draga and Jeff Barnhart)

#15 Just Kiddin’ Around (1st album with clarinet sensation Dave Bennett, who joined the NRB at age 14)

#16 Suuweet 16 (No Tears, No Regrets. (Last recording by brother Nick Oppermann & trumpeter Nate Panicacci)

ALSO — Live at the Temple 90-minute video (DVD) $20 with free shipping

Others are in the remastering studio.
Check with Dave when you talk with him.

https://newref.com/shop/
Dave Oppermann is your prime contact for questions and personalized major orders on this first time ever opportunity.

The trumpet offerings of the late Reverend Gary Miller with the NRB

These uptempo recordings with the NRB capture the joy that enveloped Reverend Miller wherever he went:

https://youtu.be/04s0Ck6FkUI

https://youtu.be/KPszEeaGH9c

 

The World of Classic Jazz Today (Editorial)

Commentary by NRB veteran Dave Miller regarding a New York Times Review

Fellow jazz players and lovers:

I’ve been away from performing for a number of years, almost all of which have been spent living near what used to be considered the pinnacle of performance places – at least in the US, New York City, thus allowing almost daily observation of that scene primarily via the NY Times but also other publications of similar note. During quite a few of the 55+ performing years, a favorite read was the “Goings On About Town” section of the New Yorker Magazine which listed all the jazz spots and who was presently inhabiting them – a way to keep track of our favorite idols and their abilities to get work and keep the music playing.

Since this area’s pool is vast, coverage by these institutions always seemed to indicate a high degree of worldly relevance. Accordingly, this past Friday’s NY Times Arts section featured a multi-column “music review” by someone named Nate Chinen (no relation whatsoever to Nat Hentoff in any shape or form).

Interestingly the name of the Club where the performance was held is the “Jazz Standard,” which as it turns out has little relation to either.

It is no great secret over the past say 30-40 years that the musical form “jazz” as we knew and loved it has been slowly losing its soul, and audience as well. Most of us spent our musical careers picking and choosing from a huge repertoire of existing songs written by recognized and talented composers generally interpreting them in what we saw as a fitting style.ing from a huge repertoire of existing songs written by recognized and talented composers generally interpreting them in what we saw as a fitting style.

Today’s players are considerably more inclined to fancy themselves composers, as well, and thus, spend much of their performance and recording time presenting original material regardless of its compositional (almost instantly forgettable) value. In this case, the performance was no different. What follows are several paragraphs lifted verbatim from this review:

“For a deceiving stretch of its first set at the Jazz Standard on Wednesday night, “Ensemble Kolossus” sounded like a top-flight big band. The group, led by the bassist and composer Michael Formanek, was playing “Echoes,” a dark-hued tune in a swinging mid-tempo, defined by cagey dialogue between woodwinds and brass. It wasn’t hard to picture the piece in the repertory of the Vanguard Jazz Orchestra, or one of the better conservatory bands. Eventually, the edges dissolved, and the sonic picture began to seem garbled and strange. Mary Halvorson was devising a wobbly, questioning concerto on guitar, and the rest of the band fell quiet. Her improvisation, delicate and spiky as a sea urchin, led to the next piece, “Without Regrets,”  by which point the standard-issue big band comparison felt like a distant memory”.

Then came a few paragraphs of the usual gibberish about the history of some of the musicians and their other endeavors some for the “last 30 years”. The closing paragraphs pertained to several soloists, a tenor sax player, a trumpeter, and finally a trombonist by the name of Ben Gerstein playing a tune called “@heart”.

“Mr. Gerstein, standing at a slouch, made his  turn into an event – a go-for-broke litany of multi phonic split tones, parrotlike squawks, and growly harrumphs. At one point, he held a high, piercing trill that could have been the sound of a smartphone alarm. The entire solo was singular and startling, but to the credit of everybody involved, it didn’t seem at all out of place”.

Are you listening, Urbie Green?

On the other hand, among the best-selling jazz records of all time was “The Livery Stable Blues” by the Original Dixieland Jazz Band in 1917 New Orleans. Maybe we’ve just finally come full circle.

The reviewer above did not mention anything regarding the audience – neither its size nor its reaction. It is quite possible considering the fact that today’s practitioners of what, for lack of another badly needed reference category, remains “jazz” he might have been an audience of one.

What amazes me is that these same “practitioners” seem to have little concern that this situation is often the rule rather than the exception. Apparently securing a gig, and then paying no attention to its success or failure based on the usual social and commercial (meaning actually getting paid) norms is also a thing of the past.

The lid on the Jazz-as-we-knew-her coffin is being only further nailed by the fact that the general public, many of whom once were attracted by the melodic rhythmic pulse and spirit of what the term “jazz” stood for, chance to hear today’s version and, understandably, can’t get away from it fast enough.om once were attracted by the melodic rhythmic pulse and spirit of what the term “jazz” stood for, chance to hear today’s version and, understandably, can’t get away from it fast enough.

Dave Miller, Princeton, NJ (Banjo, guitar, trombone, piano for New Reformation Jazz Band)

ABOUT DAVE MILLER and New Reformation Jazz Band (NRB)

Dave Miller is featured on NRB CDs #4 “NRB Goes Fourth,” #5 “Live at the Nugget,” #6 “The Joy of Six,” #7 “20-Year Reunion,” #8 “Dixieland Sinphony,” #9 25th Anniversary Celebration,” #10 “Live at the Temple,” #11 “Swingin’ & Singin’.” #12 “That Old Time Religion,” #13 “HappyHundred,” #14 “Unleashed,” #13 “HappyHundred,” #14 “Unleashed,”

He was also ‘instrumental’ in the grand success of the national telecast on NPR of “NRB Live at the Temple.” The DVD featured an introduction by the late George Plimpton, world famous writer, and pyrotechnics expert.

Some Classic Jazz Reviews (Yes. We’re showing off to our families and friends.)

QUAD CITY TIMES

Michael HalsteadBix Beiderbecke Jazz Festival, Iowa.

“Let’s say that you have only one hour and you want to hear one band at this year’s Bix Festival. No problem. This is the band to hear.”

THOMASVILLE (GA) TIMES

unknown, Cultural Center, Thomasville, GA

“The applause continually rang out and always with thunderous volume.”

DEARBORN (MI) PRESS

Lawrence Saunders, Dearborn Symphony, Dearborn MI

“When the NRB took the stage, it was clear that the evening was going to be a winner. Dave Oppermann captivated the audience with his quick wit and glib running commentary.”

KENT COUNTY (IL) CHRONICLE

unknown, Elgin Symphony Orchestra, Elgin IL

“Not only are these

GRAND RAPIDS (MI) PRESS

Jeffrey Kaczmarczyk

“These guys have chops. These guys have guys have chops. These guys have

TRUMPETER MAGAZINE (CT)

Roger Straub Great Connecticut Jazzfest, Moosup, CT

“The NRB is just great. They are a bold, fresh, clean-sounding band of the highest caliber. This group will knock your socks off.”

THE VALLEY TIMES NEWS (AL)

unknown, Langdale Theater, Valley, Alabama

“The band has earned standing ovations for its rousing renditions of many jazz classics.”

BATTLE CREEK (MI) INQUIRER

Nancy Kaley, Kellogg Auditorium, Battle Creek, Michigan

“The NRB captured the hearts of more than 1,200 Community Concert ticket-holders. They lived up to its billing as ‘America’s most entertaining jazz band.'”and.'”

SACRAMENTO BEE (CA)O BEE (CA)

John V. Hurst, Sacramento Dixieland Jubilee, Sacramento, California

“Among the Jubilee’s hottest, most crowd-pleasing assemblages: Michigan’s appealing New Reformation Band.”

TRAVERSE CITY (MI) RECORD-EAGLE

Thomas Stokes, Traverse Symphony, Traverse City, Michigans, Traverse Symphony, Traverse City, Michigan

“The capacity crowd truly had a toe-

MUSKEGON (MI) CHRONICLE

Foley Schuler West Shore Symphony, Muskegon, Michigan

“These mainstays of hot jazz justify the national following achieved over years of playing toge

THE SAGINAW (MI) NEWS

Janet Martineau, Critic 25th Anniversary PBS Network TV Show

“After 25 years we’ve run out of adjectives for this group. With them, a 3-hour show seems like five minutes. With them old jokes are still just as funny as the first time we heard them. With them, long-played pieces are still exciting and new. May the New Reformation Band live long and prosper. And may PBS, through this show, give them the national television audience they deserve.”

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave