By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Territory bandsso-called because they barnstormed regionally, usually throughout the heartland or Southwesthelped disseminate swing, bringing it to remote gin mills and dance halls ignored by booking agents for genuine recording stars like Ellington and Armstrong. Even if jazz supremacists blanch at the comparison, these were the Top 40 cover bands of their day, typically relying on stock arrangements of other ensembles' hits. But many developed original repertoires and signature sounds, none more storied than Walter Page's Blue Devils, the Oklahoma Citybased outfit that Count Basie took up with in 1926.
Basie comes to mind because he figures twice on MTO Volume 1. A punchy "Pennies From Heaven" clearly has his famous 1937 recording in mind, Bernstein's arrangement substituting Matt Munisteri's acoustic guitar and dreamy hipster deadpan for Basie's piano and Jimmy Rushing's forthright shout with no loss of verve. The drive and glide of Basie's original rhythm section elude most reinterpreters, but MTO bassist Ben Allison and drummer Ben Perowsky nail it with no sweat on Bennie Moten's "Toby," throwing in a few bebop accents for surprise. MTO's only other vintage revivalsunless you count five pop covers dating from the '60s through the '80s as vintageare two blues from the 1920s, neither in anybody's canon: "Boy in the Boat," which a colleague tells me Fats Waller used as a blueprint for "Squeeze Me," and Cecil Scott and His Symphonic Serenaders' "Happy Hour Blues." Upgrading both to Ellingtonia, Bernstein treats them in a manner that seems idiomatically proper before revealing itself as postmodern"Happy Hour" begins at the Cotton Club (Munisteri even switching to banjo) but ends at next summer's Vision Festival, Bernstein's trumpet bolting over a choir of dissonant horns as bass and drums abandon any semblance of an identifiable meter.
Those aforementioned pop covers make it even clearer that Bernstein's "territory" is conceptual rather than chronological, and cheeky without being implicitly tongue-in-cheek. Who thinks of "Cry Baby Cry" when remembering the Beatles' White Album? Bernstein's version begins like a Carla Bley dirge circa Genuine Tong Funeral, with Peter Apfelbaum's tenor rising emotive and Gato Barbierilike above brass and high reeds; the marching melody is introduced by Elliot Lawrence's muscular baritone, and by the time he's finished ripping at it, you're deluded into thinking this was one of Lennon's very best songs. Prince's "Darling Nikki" is teased into a round with cacophony in the overlaps, and Charles Burnham's fiddle eases "Ripple" into the rustic blues the Dead would have wanted, if they'd only known how to get it. There's more doo-wack-a-doo on King Curtis's "Soul Serenade"the album's most drastic overhaulthan on any of the '20s material. Stevie Wonder's "Signed, Sealed, Delivered I'm Yours," interpreted more or less straight, is essentially a feature for guest singer and guitarist Doug Wambleit riffs on a little too long and reduces MTO to backup, but I bet it'd go over big at a dance. Lord knows there's already a whole lot of shaking going on throughout MTO Volume 1 whenever trombonist Clark Gayton tailgates.
Bernstein is a former member of the Lounge Lizards, a band whose studied detachment from jazz tradition disguised a passionate commitment to it. Similarly, his quartet Sex Mob risk alienating jazz purists with their seeming flippancy. Featuring Bernstein originals, Sexotica is an homage to Martin Denny, a 1960s purveyor of tiki bar MOR. Sex Mob laid down tracks in real time, then allowed the mixing team Good and Evil to have their way with them. Not to say the resulting special effects aren't ear-catching and frequently startling, but Bernstein and saxophonist Briggan Krauss's yawping reaches such a fever pitch on "Dick Contino's Blues" that I can't help wishing I could hear them straight up.
Two other new releases involving Bernstein as an arranger arrived almost simultaneously with MTO Volume 1 and Sexotica this summer. His contribution to Baby Loves Jazza record subtitled "Go Baby Go!" and presumably intended for toddlers, not sweetheartsamounts to work for hire, and not being a parent, I'm probably not the one to judge it, though I will say you could do worse than "The Banana Boat Song" and "Lullaby Jazz" if what you're shopping for is "A Child's Introduction to Electric Miles." Finally, Leonard Cohen: I'm Your Man is the uneven soundtrack to a movie that's compelling largely on account of the interview segments with the Great White Mope himself. But amid attempts by the McGarrigles and Rufus Wainwright to shoehorn Cohen into generic folk or cabaret, Bernstein's organ washes and slow Memphis horn crescendos assist the androgynous Antony (from Antony and the Johnsons) in transforming "If It Be Your Will" into a quivering erotic sacrificea killer soul ballad.