Be Prepared for the Unexpected

Original Liner Notes

Te Evergreen Classic Jazz Band was formed in late 1985, after leader Tom Jacobus had waited several years to
fnd players who shared his interest and love for classic jazz and ragtime. After rehearsing material drawn from
a wide range of artists and composers, the band began performing in public the following summer. As this frst
album demonstrates, the ECJB has been musically successful, especially with selections which are rarely heard,
even at major jazz and ragtime festivals. Te group has captured the style and essence of origianl performances
without rote replication. Reinterpretation of material originally done by larger groups is not an easy task, but
the ECJB gets a bigger than 6 piece sound through fresh, distinctive voicing from the front threesome, and
tight, clear execution from the back line rhythm section. Te sound is anchored by the fne tuba work of leader,
Jacobus, who provides most of the bands arrangements. An anonymous, hot cymbalist augments the bands
sound on occasion. Te ECJB has performed for local and regional jazz societies and festivals, and, at the time
of this writing, is playing regularly at the Owl Cafe in Ballard (Seattle, Washington).
David Loomis...trombone
A designer/draftsman for an aerospace frm, during the last year, Dave has become both a husband and father.
He grew up listening to his Dads Turk Murphy records (as youll no doubt detect), and has been playing tradi-
tional jazz for ten years.
Jake Powel ...soprano, alto, and bass saxophones
Jake began playing the banjo in jazz bands in his college days at Harvard. Upon his return to Seattle, he played
trumpet with a local group, and in 1970, joined the Great Excelsior Jazz Band, playing banjo and guitar. After
receiving his PhD from the University of Washington in 1973, he bought himself the resent of a bass sax to
which later added the soprano and alto. Jake works in the commercial insurance feld.
Dave Holo...cornet
Dave began playing the trumpet at age seven, under the tutelage of his mother. In high school, he played in
dance bands, and also guitar with a rock band. He has recorded on both the banjo and cornet. Dave is a free-
lance electronics engineer.
Al LaTourette..banjo
Originally from New Jersey Al was raised in a very musical family. At ten, a banjo-playing uncle gave him an
instrument with the stipulation that he take lessons. Al has played as a soloist and with a variety of groups since
he was thirteen.
Dan Grinstead...piano
Dan holds a masters degree in ethnomusicology and a tugboat Operators license. Repairing boats in the sum-
mer and player pianos in the winter. Dan works with his hands. He has undertaken a variety of music, including
jug bands, tuba in concert wind ensembles, and piano for silent flm accompaniment. His specialty is ragtime,
although he tolerates some forms of jazz.
Tom Jacobus...tuba and leader
Tom began playing in jazz bands in junior high school as a drummer. He studied music in college and frst
recorded on tuba with the Chicago Ramblers in 1967. Tom lead the Emerald City Jazz Band in Oregon for
several years, and also recorded for the Triangle Jazz and Stomp Of Records with the Uptown Lowdown Jazz
Band.
1. Georgias Always On My Mind
Composed by Perry Bradford and J.C. Johnson, this tune was recorded by the Gulf Coast Seven in 1928 with a
vocal by Bradford. By the time the ECJB gets halfway through the ensemble verse, you get the idea that this is a
hot band. Dave Loomis leaps in with a vocal chorus, followed by Jake Powel getting down to some serious sax-
ophone business. After a round of short, hot solos, including Grinstead and LaTourette in the rhythm section,
the band boots it home. A fun tune and a rip-roaring start for the album.
2. Mississippi Rag
Written by William Krell and published in 1897, this was among the earliest tunes claiming to be a rag. Ac-
tually a cakewalk the ECJB version is taken from Turk Murphys arrangement. Teir performance is faithfully
clean and slightly subdued. I havent heard this old friend in a great piece and one that should be played by more
bands.
3. Piggly Wiggly
Junie Cobb originally titled this, Groceries on My Shelf, but the noted grocery store chain inspired the change.
Te Beale Street Washboard Band with the Dodds Brothers and the Windy Rhythm Kings both recorded the
tune in 1929. Te ECJB version, arranged by Dave Loomis, is laid back until the frst solo chorus, when Dave
Holo hands of to Powel in mid-break, and the band proceeds to trade solos for most of the tune. Tom Jacobus
contributes a noteworthy tuba solo., the two Daves spin a chorus & and hot four-horn break caps the out cho-
rus.
4. Early Every Morn
Recorded several times in the 20s, the ECJB version was inspired by Bob Conners New Yankee Rhythm Kings
arrangement. Its a classic blues song, with an unusual 20-bar form. After a tasty intro, Dave holo sings a lyric
I fnd incongruous. While the thought of morning romance is quite pleasant, the vision of a kiss sticking like
a mustard plaster is not (having had such home remedies as a child). A soprano sax solo by Powel, and a tuba
chorus by Jacobus follow the vocal chorus. After a fnal vocal, the band displays some interesting voicing on the
last eight bars.
5. Sweet Mumtaz
Louis Russells Hot Six recorded this tune in 1928, and the ECJBs version is a showcase arrangement. Te intro
opens with hot trombone breaks, then in the frst strain, theres all kinds of action. Jacobus is showing virtuo-
so-level tuba work as he handles a blazing lead. Meanwhile, Loomis is laying down a broad harmony line. hot
ensemble bridge, then gives it back to Jacobus to fnish the job. Powel contributes a tasty alto chorus, followed
by an equally hot piece of tromboning by Loomis. Ten its Powell again, this time on soprano. Holo keeps it
cooking and then hands of to (guess who?) Powel, this time on bass sax, with probably the hottest of his three
reed eforts of the tune. Grinstead maintains the momentum, until the band hightails it to the fnal strain. Youll
swear this is at least an eight or ten piece group.
6. Eccentric Rag
Tis number was composed in 1912 by J. Russell Robinson, who was later to write Margie, Singin Te Blues,
and Rhythm King. Te ECJB takes this one at a brisk, swinging tempo, passing quickly through my favorite frst
strain, with Powel taking charge on a variety of soprano sax breaks. On the second time through the third strain,
Loomis lays down his trombone, picks up a cornet, and joins Holo for a two-horn break. Te momentum builds
through the out chorus, a strong wind up for the frst side of the album.
7. Kansas City Man Blues
Composed by Clarence Williams and Clarence Johnson, the ECJBs version is adapted from Sidney Bichets
performance recorded in 1923 by Clarence Williams Blue Five original is captured. Dave Loomis plays a nice,
smeary, bluesy trombone in both his accompaniment and solo chorus. Dave Holo plays a sweet, soft, and low
harmony and adds a lyrical solo. Te band boots it out with some fnal sax breaks in the ensemble.
8. Weather Bird Rag
Recorded by King Oliver Creole Jazz Band in 1923 for Gennett, this number was composed by Louis Arm-
strong. Te ECJB rendition is nice, light ensemble version, with traditional breaks taken by Loomis, Grinstead,
and Powel. On the out chorus, Al LaTouette grabs a banjo breaks followed by a two-cornet break.....No! Tats
not two cornets, but Holos cornet and Powels soprano. You have to watch (listen to) these guys all the time.
9. Shake It and Break It
Signor Friscoe Lou wrote the song in 1920, Dan Grinsteads solo arrangement is inspired by a version recorded
in the mid-20s by Vic Meyers Hotel Butler Orchestra, a Seattle group. Grinsteads rendition is one of the high-
lights of the album for me. His raggy, jazzy style is a unique efort.
10. Black Cat Moan
Tis haunting blues was composed by Chicagoan Tiny Parham and recorded by his band for Victor in 1929.
Te ECJB arrangement by Dave Loomis, develops each of the two lovely but constrasing themes. Loomis
states the beautiful frst strain, and the band answers with the chromatic line of the second strain, with Powels
saxophone on the chase. Holo and Powel contribute great solos(two choruses each), backed by some fne cym-
bal work. Te chromatic strain appears again, this time with Loomis trombone growling a chase. Jacobus solos
on the gorgeous frst strin again, and the entire ensemble takes it out ending on the chromatic phrase.
11. Changes
Tis interesting tune was written by Walter Donaldson and recorded by Paul Whitemans Orchestra. Featured
was Bix Beiderbecke and the Rhythm Boys(with the young Bing Crosby). Te ECJB has a great time with
this one and, Jacobus arrangement is as well crafted as any on the album. Te voicing is again distinctive, with
Powel playing most of the ensemble lead on alto. After a chorus and bouncy, of-beat verse, Holo sings, later
joined by Loomis and Powel doing the Rhythm Boys bit. Holo and Powel, both cooking, split the next chorus,
add another verse, and the band sails home.
12. Ozark Mountain Blues
Te Missourians, a Kansas City band, recorded this number in 1923, in New York. Later that band would
become the nucleus of the Cab Calloway Orchestra. Te ECJB has really done its homework with this perfor-
mance. As with the original, they deliver a top level of musical energy and intensity. After Powels alto chorus,
Loomis and Holo split one. LaTourette on banjo and Powel (now on bass sax) swap fours, and then Grinstead
pushes onto + chorus with a nice ragtime feel. Te band then takes two out, with Holo doing the shake on
the fnal chorus.
A fnal note....
Te Pacifc Northwest has a rich heritage of revivalist bands. Te Evergreen Classic Jazz Band has assembled
all the right ingredients to continue that tradition, and Tom Jacobus and all the band members deserve con-
gratulations for their eforts. Tey show they can play good, hot jazz in this frst album and with luck, therell
be another one soon.....
Jim Synder, South Frisco Jazz Band