This album led me to Louis Jordan. I heard it at a party, loved it, bought it, and then went back to the source. . I’m much more likely to go the originals for most of this stuff nowadays. But I agree with Mark, this may have helped set Joe free to do all the great work he has done since.
Man, how cool is this album? I wasn't into this album at the time of it's release; I had gotten into other things and didn't "rediscover" Joe until 1986. I remember this when it came out, but I didn't pay attention to it (although I thought it was an odd and 'ballsy' move to release such an album at that time) I came to this album in early 1987 after taking the 'cassette' out of the library and playing it in my car. I was immediately hooked by it's infectious nature. It just swung! I got a real kick out of it after a few listens and eventually got a copy on LP. Funny thing is, now that I've been really into Jazz since 2000 (mainly "Hard Bop" from 1954 to 1967 or so), I like this album even more. If you're in the mood for it, it sure is a fun listen. Somewhere in a box, I've got a remastered version of this CD that you don't often see. I got in in 2001 at a Tower records clearance sale (I've gotta find this and play it again!) Thank goodness for You Tube, which has allowed me to revisit all this great stuff. Joe obviously really loved this music and you can tell as he does it justice. It's really well done and a lot of fun! I love everything on it and at 42 minutes, it doesn't overstay it's welcome! When I first saw Joe in the summer of '86 (on the Big World tour). he ended the show with an encore "medley" of "Jumpin' Jive" tunes and you should have seen the place dancin' and singin' along! It was a blast and I never forgot that. Great stuff (and it really opened the door for him to go wherever he wanted musically, which is exactly what he did) ***1/2 / 5
I'm surprised there isn't more response to the Beat Crazy album and especially the way this one ends with two of his classics, Pretty Boys and Fit. For me Get that Girl and Friday from the last one is hard to beat as far as closing an album, but this comes close. Pretty Boys was somewhat well known since it was in the Times Square soundtrack even though it didn't chart as a single, and Fit is maybe his best lyric ever. He uses this theme in other songs like Real Men, but he does it better here. The music is great here as well, and it does have a guitar solo! There's a really good B side called Tilt that should have been on the album and would have made it better. One To One is another great ballad, and the Evil Eye is a great track. So overall, not as good as the first two but definitely a strong album.
I wonder if he did that at the tail-end of every night of the actual recording sessions? As a "reward" for making his audience sit quietly until he was done laying down tracks...would have been a cathartic way to end the night.
I have to agree on the vocals for San Francisco Fan ... and there is one other, that isn't coming to mind at the moment ... a little too abrasive.... I can side step those in my head though
It was good fun. I preferred the bigger band on the Body and Soul tour, but both shows were quite brilliant .... The thing about both shows that stands out to me is the impeccable sound at both. Jackson had the clearest and best concert sound I have ever witnessed.
Jumpin' With Symphony Sid Written by Lester Young and King Pleasure this song starts off the album beautifully as a statement of intent. I would dare anyone who actually likes music to not tap their toe, or at least seriously feel like dancing to this track. We have a fantastic melody and some marvelous horn playing. To be honest this album reintroduced me to the idea of horns. So many early eighties songs had token sax solos that I had started to recoil at the idea, but on here they just gave me a rare joy. This song is great and sets the tone for the album perfectly.
All right then. As we are now dealing with studio album Number Four from the discography, I can with a clear conscience ask the following question. Q: Does anyone have any insight into why only half of the "core four" group members, featured on the first three studio albums, were present on this album?
I would imagine because they weren't especially suited to playing swing music. It doesn't look like there's even any guitar on the album.
I've always wondered when the idea of this "concept" album was sprung on the other three members of the group.
The credit to the "Joe Jackson Band" on Beat Crazy notwithstanding.... Joe was a solo artist, he could do whatever he wanted and hire whoever he wanted. He wasn't under any obligation to use them. He'd probably already let them go when he made that album.
Mark, your periodic Easy Reference Guides are welcome, especially since they include these great B-sides and EP tracks. It'll be invaluable for those of us planning to compile a "new" JJ album made up entirely of these great extra songs.
I'd like to know how those actual "recording session shows" went down in front of the "live" audience. I know there was a VHS tape back then of the Big World Sessions, but I never saw it. Maybe someone when we get to the "Big World" segment of this thread can let us know more...
I've been listening to jazz for about 14 years now. !!!MORE!!! (aka Soul Surfin') by Kai Winding from 1963 was my gateway since I love the title track. Since then, I've mainly focused on jazz from 1957 through 1969 -- roughly Kind Of Blue through Bitches Brew -- stopping along the way with Brubeck, Getz/Gilberto, Jobim and anything on the Verve label produced by Creed Taylor. My only journey outside of this era is the complete recordings of Bix Beiderbecke. Therefore, I'm still a bit "new" to 1940s swing -- but be it tribute, homage, pastiche or whatever Joe was going for, this first track really caught my ear. I look forward to hearing the rest of this album (for the first time!) and reading all the comments...
I have a copy of it. I also have a copy of some video of Todd Rundgren's 2nd Wind recording sessions, essentially the same sort of setup. Instruments and players well-mic'd, audiences only slightly noisier than a pin dropping, resisting the urge to clap. Not all that much to write home about; cool, though. And yes, there's a difference in both the ambience, and the performance energy. Both session projects have clips on YerYube.
Jack You're Dead This was the second single from the album, Five Guys Names Moe was the b-side. A good choice for the second single, this song is instantly appealing for anyone like enjoys this style of music. It is also a good choice for the second song on the album. I don't know if Jackson paid close attention to track order on his albums, but his album flow is pretty much always impeccable. This track is fun and really well arranged, if nothing else this album really highlighted Jackson's arranging skills.
Is You Is Or Is You Ain't My Baby This is a Louis Jordan track and yet another song that may be on any given day a favourite from this album. Again the arrangement is great and the instrumentation is just right. I love the way this song flows. The vibes really add some colour and I am always surprised that they were the only instrument Jackson played on the album. This reflects the fact that Jackson was all about using the right guys to get the sound and style wanted. This is putting the music ahead of the ego and allowing it to be what it needs to be whether the main artist is playing or not ... a truly rare gift and ability in being able to do that.
Anybody know the story behind the different cover art? It seems odd that, as late as 1981, there was still the occasional difference in LP packaging between the US and UK. I'm still trying to decide which one I like better...
I like Jumpin' Jive more for where it led Joe Jackson than for the album itself. It's a fun listen but I like Joe's own music much better. I don't think I got this one until many years after its initial release. However without this album I doubt we have the direction he went in with his next three albums - or at least have it done so well - so historically it seems like a key part of his artistic development.
