James P JOHNSON (1894-1955)
Victory Stride (1944) [4:06]
Harlem Symphony (1932) [21:33]
Concerto: Jazz A Mine for piano and orchestra (1934) [17:15]
American Symphonic Suite (based on St Louis Blues by W.C. Handy) (1934) - Lament [8:49]
Drums - A Symphonic Poem (ca.1942) [9:17]
Charleston arr. David Rimelis (1923) [8:15]
Leslie Stifelman (piano); Chris Gekker (trumpet); Lawrence Feldman (clarinet); James Pugh (trombone)
The Concordia Orchestra/Marin Alsop
rec. Feb 1992, Jan 1994, Manhattan Center Studios, New York
NIMBUS NI2745 [70:27]
See also reviews by Tony Augarde and Rob Barnett
James P. Johnson was one of the great jazz-musical-classical composers of 1920s America; he was eclipsed only by George Gershwin. It was a Johnson-made Broadway show that created the decade’s signature tune and dance: the Charleston. Johnson was a pioneer of stride piano jazz, wrote the song “If I Could Be With You (One Hour Tonight)” - preserved in the soundtrack to Casablanca - and, according to this disc’s liner notes, made “the first recorded jazz piano solo.” Fats Waller and Duke Ellington studied with him. All this success is made even more remarkable by the fact that James P. Johnson was black.
A leading figure in the Harlem Renaissance, Johnson pursued classical musical forms in a parallel course, even writing a short opera with Langston Hughes. In the early 1930s, his career plummeted, partly because of the arrival of the Depression, partly because of a retreat to the suburbs to study classical technique more seriously, and partly because in performance he was being overshadowed by a fresh arrival from Toledo, Art Tatum, very possibly the best jazz pianist of all time. Johnson’s star has been dim ever since, everyone loving the Charleston without knowing who wrote it, and this 1994 MusicMasters album, reissued now on Nimbus, is a brave attempt to right that wrong.
Here we have all sides of James P. Johnson. The Victory Stride is a big band number from 1944 with solo licks for trumpet, trombone, and clarinet; the Harlem Symphony and piano concerto are two of his most determined efforts to fuse jazz and classical styles; Drums is a total blast of a symphonic poem with great percussive abandon; the Charleston is here too. The good fortune here is that very little of the music feels second-rate or uninspired, and although the tunes and structure might not be on the American in Paris level, this is all delicious stuff.
The Harlem Symphony is a pretty substantial work, 22 minutes long, and I find the second two movements much more successful than the first two. The scherzo is a ‘Night Club’ scene where Johnson really abandons his inhibitions and lets the jazz out in full force. ‘Baptist Mission’ is almost exactly the opposite: a set of variations on a hymn tune into which syncopation and swing gradually seep.
The Piano Concerto, titled “Jazz A Mine,” is quite wonderful, which it makes it all the sadder that the third movement has not survived - the notes tell us. Leslie Stifelman has a grand time with the first-movement piano part, with its extensive ornamentation and several quasi-cadenzas; once the big jazz tune emerges at 1:15 we know we’re in good compositional and pianistic hands. This is an episodic piece to be sure, but the opening movement is splashy and full of good moments - including a brilliantly-done muted trombone line beginning at 3:20 and an ending cadenza that’s effectively a new solo stride number - and the slow movement’s eight minutes are absolutely gorgeous, with a beautiful melody at its heart well-rendered by Stifelman. This piece definitely belongs on the jazz piano concerto shortlist with Gershwin’s in F, Ravel’s in G, Szpilman’s Concertino, and Suesse’s Concerto in Three Rhythms.
The bluesy Lament doesn’t feel too much like a lament, not in the classical sense (it’s no Barber adagio): it’s a very free indeed adaptation of W.C. Handy’s legendary “St. Louis Blues.” One gets the impression that Johnson improvises this riff with the entire orchestra, the way he previously had improvised with the piano - which does make some solo appearances.
Two splashy orchestral bits round out the disc: the nine-minute-long Drums, which wastes no time living up to its billing - the beginning is a huge timpani solo - as a very spicy evocation of Afro-Caribbean drumming moods. The number of great tunes is simply unfair, and the Concordia percussion section really delivers every bit of vigor it has. And, finally, we’ve got the Charleston. The opening trumpet solo, maybe the tenderest moment on the whole CD, steals the show, and then lightning-fast tap dancer Frederick Boothe does his best to steal it back, intelligently set against a light accompaniment (banjo, drums, bass) so as not to be drowned out by the orchestra.
The Concordia Orchestra, of Concordia College, Minnesota, is certainly very much in the jazz spirit, even if the string section doesn’t have a particularly full or energized sound and if some of the wind players are a bit tentative too - the good brass players, understandably in this music, heavily favored by the recording, and the clarinetist in Charleston has some great moments. Marin Alsop is the conductor, and as sympathetic to the idiom as we would expect from her.
If you’d like to have a bit of jazzy fun in the Harlem Renaissance, this will be a budget-price treat, and there’s not likely to be another recording of this music anytime soon.
A bit of jazzy fun from the Harlem Renaissance.