JazzReview.com (US)
http://www.jazzreview.com/cd/review-18790.html
Don’t you just appreciate pleasant surprises? Especially
musical ones! There’s nothing like stumbling across
an artist who is fresh, original, filled with musical integrity,
and especially one that has a unique perspective on the
familiar. Australian Jazz vocalist extraordinaire Greg Poppleton
is such an artist; one whom this reviewer can’t say
enough great things about.
The album “The Phantom Dancer” by Greg Poppleton
& His Bakelite Dance Band is a delightful tribute to
the swing era of 1926-1939 and approaches the material with
remarkable finesse and a genuineness that places the listener
squarely in the lap of nostalgic mystic. Even the artwork
and notable liner notes are unfeigned in their approach
to the rich history of a period where jazz was the official
pop music of the day. Greg & crew has maintained the
sound and feel of relatable records by recording live in
the studio in one session, so you get all of the energy
(and sonic infidelities) – the truth of musicians swinging
their hearts out.
And boy do these guys swing! Peter Locke plays the meanest,
leanest piano this side of the Australian border and drummer
Joel Davis (playing a vintage 1927 kit) is pocket perfect
on every cut. Double bassist Dieter Vogt adds a pliant bottom
to drape the incredible horn section of Paul Furniss (alto
& tenor saxes and clarinet), and trumpeter Bob Henderson.
The thoughtful pianist, Matt Baker who sits in on the tender
ballads, adds an arrant dash of sensitivity to these magnificent
selections. Sprinkling his mystifying vintage stardust throughout
the mix is the ever daring Mr. Poppleton, delighting us
at every turn.
The set opens with the uncompromising James P. Johnson/Harry
Creamer mixer “If I Could Be with You (One Hour Tonight)”
allowing the band to stretch out a minute before we are
introduced to ‘the voice’ and are firmly indoctrinated
into the epoch of reminiscence. This tune is the perfect
set up to understand the depth of each musician’s skill
and prepares us for what is to follow.
The Gershwin magnet “Do, Do Do” (1926) quaintly
follows with pianist Matt Baker perfectly comping Poppleton’s
tender delivery. A perfect duet makes this a classic yet
again!
“My Blue Heaven” (1927) is a solid toe-tapper.
Joel’s hit-hats are singing, Peter’s piano is
swinging and the horns are soaring. Greg handles the Donaldson/Whiting
composition with a clarity that makes it a vibrant romp
80 years later.
“Love Me or Leave Me” (1928) shows the band peaking
at the arc of swingdom! A mellow cascade into the melodic
Donaldson/Kahn rhapsody showcases the heart of Furniss and
Henderson who share a flaring duet gingerly encased by Locke’s
piano strut while Greg sings with the perfect miscellanea
of silk and soul. This is my favorite track!
Henderson’s trumpet opens Hoagy Carmichael’s
haunting ballad, “Star Dust” (1929). Poppleton
takes ownership of the Mitchell Parrish lyrics and the satiny
saxophone of Paul Furniss subtly seduces. Henderson returns
for a whispering solo. The band takes their sweet time,
lingering over every chorus and phrase, making sure you
know they are rewriting history. This is the consummate
presentation of perfection.
By the time the groove begins “On the Sunny Side of
the Street” (1930), you realize that the Bakelite Dance
Band is a critical force to be reckoned with. Everyone approaches
this bash with ease and frolic where solos abound. Furniss
whips out his clarinet and begins to chase Henderson around
the studio. Poppleton knows this song like he knows his
name. Vogt & Davis swing like a playground and Locke
hops in and out of a Double Dutch! Just TRY not to sway
to the music. I dare you!
Baker returns for “Would You to Take a Walk”
(1931) and you’re immediately captivated by the chemistry
he and Greg create, as if out of thin air. Suddenly Tin
Pan Alley is right outside your window. As Poppleton scats
the melody, he asks, “Isn’t this a pretty tune?”
Baker’s sumptuous playing seems to answer, “Why,
yes it is!”
A little Cuban synergy etches Cole Porter’s “Night
and Day” (1932) with some sultry percussion caressing
the horn section and the groove is magnetic. For some reason,
Henderson’s trumpet seems distant, either by design
or poor placement, but swings incessantly. Furniss is my
new favorite altoist. Peter Locke’s beautiful approach
to this cut actually made me stop writing to ‘google’
him. I will be following his career from now on! Feel the
energy!
How many times have you heard Billy Rose’s “It’s
Only A Paper Moon” (1933)? It’s been performed
in several genres in a myriad parade of shapes and sizes.
Well these guys take it up a notch by boosting the tempo
and pumping a tad of funk into the swing. You can actually
feel Vogt’s fingers and he dances across the fret board.
Out comes the clarinet and everyone is all over Davis’s
big beat, bending and stretching and GROOVING – and
then we’re out! At 2:25, it’s the shortest cut
on disc and my second favorite!
But the fun doesn’t stop there as we revisit Porter’s
“Anything Goes” (1934). The horns are delightful,
but are somewhat suppressed by Henderson’s trumpet
being so far away from the microphone (perhaps this is the
same session as “Night & Day” –giving
preference to the percussion.) Nonetheless, the guys whiz
along without a care and this standard is the better for
it.
Brooks Bowman’s “East Of The Sun” (1935)
is treated with similar TLC. Drummer Joel Davis pays careful
attention to the lockstep Vogt. It’s hard to figure
out how they control their energy for ballads like this
as they seem to sprinkle and pour just the right amounts
of snap into the groove for the solos and then pull back
in time for Poppleton to cautiously walk across the lyrics.
The Yiddish “Bel Mir Bist Du Schoen” (1932) –
this interpretation highlighting Sammy Cahn’s version
features Davis’ bouncing drums and (finally) a solo.
The tune perks along and gets you UP out of your seat! Furniss
& Henderson make fantastic use of the melody and clarify
the definitive phrase ‘ It Means That You’re Grand’
in appropriate style.
“Two Sleepy People” (1938) is gorgeous. The lyrics
are placed squarely center stage. The atmosphere is full
of comfort and provides fertile space for Locke, Furniss
and Henderson to waltz through their solos with discerning
repose.
The set ends with the Carr/Kennedy epiphany “South
of the Border”(1939). The band moves easily between
the dynamics of the Mexican excitement and Big Band Flair
concluding with the entire gang singing background with
Mr. Poppleton in the final chorus – the prefect end
to a great hour of music!
I thoroughly enjoy this CD. It’s fresh and open. The
music literally pulls you into yesteryear and reminds you
of the infinite palettes jazz offers and a peak into where
it was in the late 20s. The musicians are incredible and
their presentation is flawless.
Greg Poppleton has captured the essence of the jazz singers
of that era and is able to exhibit an originality that make
his offering a new standard for tomorrow’s generation.
You will be listening to this disc for years to come!
Tracks: If I Could Be With You (One Hour Tonight), Do
Do Do, My Blue Heaven, Love Me or Leave Me, Star Dust, On
The Sunny Side of the Street, Would You Like to Take a Walk?,
Night & Day, It's Only A Paper Moon, Anything Goes,
East of the Sun, Bel Mir Bist Du Schoen, Two Sleepy People,
South of the Border
Reviewed by: Gerald H. Beulah, Jr.
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eJazzNews.com (US)
http://www.ejazznews.com/modules.php?op=modload&name=
News&file=article&sid=9834
Greg Poppleton ('20s & 30s style vocals) Bob Henderson
(tpt) Paul
Furniss (as, ts, clarinet) Matt Baker (piano, tracks 2,5,7)
Peter Locke
(piano) Dieter Vogt (bass) Joel Davis (1927 drum kit and
temple blocks)
This recording of swing era tunes from 1926-1939 is a pleasant
departure
from my BeBop roots. This music was the precursor of the
big bands of
the '40s and the 'modern' jazz that followed.
"If I Could Be With You" saunters along with
Bob Henderson's trumpet
opener having a whisper of dixieland. Poppleton's vocal
is truly
representative of the era.
Jump time with "My Blue Heaven" Henderson's trumpet
solo again in a
dixie bag and he jumps on this tune like it was something
good to eat.
Poppleton's vibrato filled vocal again captures a moment
in time and
then some.
"Anything Goes" and it sure does in this day
and age, the lyrics are
certainly apropos to both now and then. Greg Poppleton's
in fine fettle
as he swings nicely.
This album is rooted in dixieland more so than the early
swing era, but
that is not to detract from the intent of this recording.
Poppleton's
vocals capture the essence of the swing years with uncanny
accuracy.
Rating: 5 Stars
Reviewed by John Gilbert
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City News
"Yes, some people were born out of their time and
the delightful Greg Poppleton is one of them.
Devoted to swing, jazz and dance music from the 1920s to
1960s, his radio show, The Phantom Dancer, has been keeping
the dream alive for decades now.
But passion isn't all that Poppleton has going for him.
He is both a snappy dresser and, more importantly, a talented
vocalist.
The CD presents 14 classics from a bygone era, faithfully
represented by Poppleton's dulcet tones and a very good
band. Not quite in the league of Tommy Dorsey or Artie Shaw,
but then there aren't many Beatles left playing, either.
The liner notes include an invaluable historical rundown
on each track.
Transport yourself to a time when all music was played
on phonographic devices emblazoned with that little dog
and his loudspeaker - the trust His Masters Voice."
Rating: 3.5 stars out of 4
Reviewed by Chris Peken
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MuzikReview (US)
http://www.muzikreviews.com/reviews.php?ID=401
Sure enough, The Phantom Dancer swings, but it's not a replacement
for classic recordings. The band knows what to do in terms
of style, and the instrumental performances are convincing,
but the vocals are not quite up to the high standard of
the musicians. On the very first track, “If I Could Be With
You”, the band demonstrates a complete understanding of
slow swing. The push-pull between the drummer and the rest
of the ensemble that is a defining characteristic of the
style is just right. Furthermore, Bob Henderson (on trumpet)
and Paul Furniss (on reeds) sound as if they have been playing
together all of their lives. “It's Only a Paper Moon” is
a high point. In fact, all of the up-beat tracks where they
are cranked up a little such as “Anything Goes” or “My Blue
Heaven” are fun to hear because of their great duo work.
Some very solid playing from the rhythm section completes
the formula that makes the Bakelite Dance Band swing. In
spite of Greg Poppleton's obvious love of the music, I have
to take some issue with his vocals. He is a decent crooner,
but sometimes over-doing the 'crooner' style leads to ambiguities
in pitch. The problem is most obvious on the slower tunes,
like “Star Dust” or “Would You Like to Take a Walk”. I'm
not saying that the vocals should stop a fan of these tunes
from adding this nice recording to your collection. Because
of the vocals however, I would have to say that The Phantom
Dancer is not on the same level as recordings that have
become classics, such as those by the Dorsey Orchestra.
Of course, getting to that level is a life-long pursuit
and this band is still developing its sound. I look forward
to hearing what they do on their next album. This album
is not only about the aural experience, though. There is
tremendous benefit in the CD jacket. It reads like a history
of some of the biggest hits and most prominent composers
of the early swing era. It also features unique period pictures
and original artwork in the commercial style popular in
the 1920s and 30s. These materials could almost be published
as a book without the recording, and are a testament to
Greg Poppleton's hard work on research and his strength
as a producer. For swing enthusiasts the trivia alone is
worth the sticker price, never mind all of the nice music.
Rating: 3 Stars
Reviewed by Donny Harvey-
MuzikReviews.com Contributor
December 16, 2008 © MuzikReviews.com
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Sydney Morning Herald Entertainment Guide
http://www.smh.com.au/news/tv--radio/in-the-swing-of-things/2007/04/29/1177787955879.html
"Greg Poppleton was considered a little eccentric growing
up in Five Dock in the mid-'70s. As his mates bought the
Sex Pistols' album or sang along to Queen on the radio,
he was rifling through the back shelves of music stores
looking for recordings from the 1930s swing era.
"I wasn't considered nerdy because I'm a bit of a fighter,"
the 46-year-old Newtown actor and musician says. "I never
apologised. In fact I was probably annoying and obnoxious
because I attacked their taste in music."
His fascination for swing began at age three when Channel
Nine still broadcast telescriptions (early black and white
music clips) between programs.
"I particularly remember Louis Armstrong playing his trumpet
with his white handkerchief. I just thought it was fantastic."
Swing has remained a passion for Poppleton since then. In
1985, long before the swing renaissance, he persuaded community
station 2SER to drop its ultra-modern jazz program on Tuesdays
and replace it with The Phantom Dancer, featuring live vintage
swing, jazz and dance music from old radio and TV broadcasts.
It has become Australia's longest-running swing show and
a 22-year unpaid commitment for Poppleton.
"I enjoy doing it," he says. "It's a great release to go
into the studio for 11/2 hours each week and to sit back
and listen to the music I love. I'm constantly learning
and fine-tuning. The key is to respect the listener's intelligence."
Poppleton walked away from a secure job as a chemical engineer
in 1989 for the more precarious life of a musician and actor.
He describes himself as Australia's only exclusively 1920s
and '30s-style singer, performing in a swing band called
Greg Poppleton and his Bakelite Dance Band. He has appeared
in a several TV ads and what he calls "blink and miss" roles
in films such as Moulin Rouge, Dirty Deeds and Footy Legends.
In The Phantom Dancer, Poppleton deliberately keeps his
own talking to a minimum, letting the old recordings speak
for themselves. A recent program featured performances by
Count Basie, Benny Goodman and Gene Krupa, all recorded
live, as well as advertisements for the Jarman Shoe Company
and the US Navy and an interview with aviator Casey Jones.
"I think listeners are attracted to the historical and social
context of the music, as much as the music itself," he says.
"You hear the announcers, the ads, snippets of news. It's
a raw glimpse into 20th-century history, without snide comments
or little asides from me."
Poppleton says in his first few years presenting the show
he had a lot of complaints from older listeners who were
used to jazz. But these days he says the audience is younger,
mostly 25 to 40, and even includes hip hop and punk musicians.
Unkle Ho, the producer of the hip hop band the Herd, has
credited The Phantom Dancer as the inspiration behind his
solo album, Roads to Roma.
"People are much more open to different styles of music
these days," Poppleton says. "Swing might not be their first
choice but they appreciate the skill and sophistication
that has gone into the music and lyrics."
The Phantom Dancer airs on 2SER 107.3 FM on Tuesdays from
noon to 1.30pm & Sunday mornings 6:30 - 8am
Sue Javes SMH Entertainment Guide
Feature Article - April 30, 2007
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