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| Pianist/Historian Terry Waldo's "TREASURY, VOL. 2," A Celebration of Ragtime & Early Jazz Most jazz history books state that the ragtime era ended in 1917 with the death of its greatest composer, Scott Joplin. TERRY WALDO does not subscribe to that theory. He believes that ragtime is a viable and expressive form of American music. In February 2025, Waldo premiered a new original work chronicling the evolution of early jazz from ragtime to the sophisticated harmonies of Duke Ellington. The work, humorously titled "Waldo World" was commissioned by Jazz at Lincoln Center and performed by the Jazz at Lincoln Center Orchestra with Wynton Marsalis. In addition to the new composition, Waldo is chronicling his career through a documentary film, while Turtle Bay Records is preparing the late spring release of Treasury, Volume 2, the central volume of a 3-disc collection of recent Waldo recordings. The recordings on Volume 2 stem from two week-long recording marathons, one from 2018 and the other in 2022. Common to both sessions are a mixture of Turtle Bay regulars and Waldo sidemen: MIKE DAVIS (cornet), JIM FRYER (trombone), TERRY WALDO (piano), BRIAN NALEPKA (bass), and JAY LEPLEY (drums). On the seven tracks from 2018, EVAN ARNTZEN plays clarinet and saxophone, NICK RUSSO and JERRON PAXTON split chores on banjo, while vocalist MOLLY RYAN, saxophonist DAN LEVINSON and pianist MIKE LIPSKIN guest on "Get Out and Under the Moon". The four remaining tracks from 2022 add cornetist (and liner note author) COLIN HANCOCK on two tunes, plus clarinetist/saxophonist RICKY ALEXANDER replacing Evan Arntzen, and Evan's brother ARNT ARNTZEN sharing banjo duties with Paxton. The album opens with "Guess Who's in Town" featuring a sparkling vocal from VERONICA SWIFT. After energetic solos from Arntzen (on soprano sax), Davis (muted), Fryer (open) and Russo (on guitar), Swift sings the verse, followed by a trumpet-like scat solo. Waldo's fine arrangement includes fine stop-time episodes in the final chorus. Waldo's Gotham City Band cut two versions of the King Oliver classic "Snake Rag." The one that made it to the final album finds Davis playing the same cornet breaks first played on 1923 recordings by Oliver and his most-worthy protégé, Louis Armstrong. While the old acoustic recordings have been recently released in stunning new transfers, it is still wonderful to hear this classic Oliver chart performed in high-fidelity stereo sound. The slow and sultry "Wabash Blues" follows. Waldo offers witty commentary on the melody line from his keyboard before Paxton comes forward for the soulful vocal choruses. Saxophone and cornet solos embellish and enhance the tune before the rest of the band joins in for the gently contrapuntal penultimate chorus. Davis' lead cornet adds steam to the final 12 bars, with Lepley getting the last word in with his suspended cymbals. "Muscle Shoals Blues" was added at Hancock's suggestion, and Waldo remembers that the band recorded it right away without the benefit of rehearsal. The rhythm section is in top form, laying down a powerful 4-beat pattern. Waldo, Fryer, Davis and Alexander perform inspired solos over the rocking rhythms. The first voice you hear on "Smiles" is that of Terry Waldo, singing a light scat solo over his piano and rhythm. On his ensuing solo, Davis' clear tones enliven his bold lines. The vocals on the tune are by Arnt Arntzen in the lead with Waldo on harmony, with Fryer offering a fine obbligato. Waldo dons his producer hat and yields the keyboard to Lipskin on "Get Out and Under the Moon." The opening chorus finds Evan Arntzen and Levinson in light simultaneous improvisation around Davis' muted theme statement. Ryan's charming vocal includes the song's rare verse, and a sunny approach to the principal lyrics. Davis spins new melodies in his chorus, with Lepley playing crisp rhythms over the bridge. Levinson and Arntzen take a chorus of fours before Lipskin's piano ushers in Ryan and the rest of the band in a delightful recapitulation. "The Smiler" features the trio of Waldo, Paxton and Nalepka. Paxton, a noted early jazz historian, performs in the style of classic banjoist Vess Ossman on this entertaining three-strain rag. The middle strain appears to be a close cousin to "At a Georgia Camp Meeting." The chestnut "Sweet Sue" gets a warm reading from Fryer's open horn, with asides chimed in from Waldo's keyboard and the collective horns. Waldo leads the vocal chorus with Nalepka on harmony. Listen for Waldo's musical comments under the clarinet and trumpet solos. Waldo shows off his stride chops in his half-chorus before Nalepka's nimble-fingered bass feature. In addition to Paxton's honey-dripped vocal, "Since My Best Gal Turned Me Down" has a couple of surprises for attentive listeners, including the wild glissando that opens the arrangement, and the abrupt switches between slow and double tempo in the final chorus. Don't miss Davis' quick break right before the ride-out. Paxton is also featured on 5-string banjo on Sam Chess' richly orchestrated version of Joplin's "Original Rags, " with the Gotham City Band performing their backdrops with great precision and superb ensemble. There is a sudden and welcome release of tension as the band lets loose in the coda. "Viper Mad" features Jim Fryer singing the praises of recreational marijuana. Fryer takes a full chorus before Davis and Arntzen exchange four-bar thoughts. Lepley and Nalepka take short solos before all the cats join in for the finale. Those looking for more examples of this delightful music are invited to visit terrywaldo.com to learn more and to hear podcast editions of Waldo's classic radio show, "This is Ragtime." Waldo's book about the music (with the same title as the radio series) is very informative and worth seeking out, especially in the superior edition published by Jazz at Lincoln Center. Those living near New York City can hear Waldo and his band at several venues including Arthur's Tavern and in concerts around the city. Ragtime is still alive, thanks to the undying spirit of Terry Waldo. # # # TREASURY VOLUME 2 was released on May 30, 2025, on Turtle Bay Records and is available at Turtlebayrecords.com and on all platforms. write your comments about the article :: © 2025 Jazz News :: home page |