Hot Jam! - Come and Get It! (1999)

This is the first recording by Hot Jam!, a group dedicated to bringing traditional jazz into the 21st Century. Although comprising the expected instrumentation, Hot Jam! puts new twists on old tunes. The group also presents big band classics, gospel, New Orleans parade music, and even a rock tune from the 70's. No matter what the style, Hot Jam! always swings. There is truly something for everyone on our premiere recording. Rather than listing an exhaustive description of each tune, I'll share some highlights with you.

Traditionalists will enjoy 'Wa Wa Wa', complete with scorching solos from piano and front line, and a surprise ending. We pull the rug out from under you by launching immediately into a jazz-tinged rock tune (Take Me To The Mardi Gras) which features a powerful horn section behind the vocal and a honking solo by Sherman. Ours is more aggressive than Paul Simon's original, although both capture the spirit of contemporary New Orleans music. 'Jeepers Creepers' has the distinction of being the only song Louis Armstrong sang to a horse (in the hit movie "Going Places"). In our rendition, John plays homage to Louis, sans mare, along side Tom's bebop chorus for sax and bone. Although Louis would have turned over in his grave to hear bop on one of his charts, he would have enjoyed Bob's tasteful guitar solo. We discovered a rare adaptation of 'Five Foot Two' in the Archives of Questionable Music at Paswonky University on a 1924 recording by Sam Welch and his Preserves. We adhere closely to the original.

We party down the street with a unique version of 'Minstrels of Annie Street' featuring Tom's salute to Turk Murphy's trombone style and Sal's New Orleans street beat. 'In the Garden' proves to be good gospel/jazz fare with John's heartfelt vocal. I get a chance to play some stride on the hot 'Oh Susannah', and the band takes no prisoners behind me. This one is a real cooker! We borrowed some licks from our friends in the Paramount Jazz Band for our version of 'Who Wouldn't Love You'. A rather radical rendering of 'Tain't No Sin' follows. Usually done as a flagwaver, we choose to begin the song as if it were 2 am in a smokey bar, with copious concoctions being consistently consumed. We give you a chance to rest and reminisce with Sherman's version of 'Begin The Beguine'. He sounds so smooth here, showing off his more than 40 years of playing to good advantage. The show-stopping 'All God's Chillun Got Rhythm' follows. This is a tune with great chords, and John arranged the dramatic ending which was inspired by the version in the Marx Brothers film "A Day at the Races". Every album has to have a tribute to the Firehouse Five Plus Two, and this time we do 'Who Walks In (When I Walk Out)' in a way that I know would make Ward Kimball proud. Scott plays hot cornet throughout the album, but his work on this cut will make you sweat! He leads the band to an earth-shattering conclusion. To bring you back down gently, we conclude with a tune that was one of Turk Murphy's favorites. It's a quiet ending to a raucous recording; one that the band enjoyed doing so much, and that we're honored to be able to share with you. Thanks for helping keep live music possible. Let us know what you think.