Daily Archives: June 19, 2020

THE BLUES CAN ROCK, TOO: CLINT BAKER’S NEW ORLEANS JAZZ BAND at the JAZZ BASH BY THE BAY (Monterey, California, March 6. 2020): CLINT BAKER, CARL SONNY LEYLAND, HAL SMITH, KATIE CAVERA, RILEY BAKER, RYAN CALLOWAY, BILL REINHART, JESS KING

This band was a real treat at the March 2020 Jazz Bash by the Bay — their enthusiasm, their willingness to get dirty, their skill, their passions, and in a repertoire that went comfortably from Ellington to a Buck Clayton Jam Session to Johnny Dodds.  I’m speaking of Clint Baker’s New Orleans Jazz Band, which in that weekend’s incarnation, was Clint, trumpet; Riley Baker, trombone; Ryan Calloway, clarinet; Carl Sonny Leyland, piano [for this set]; Jess King, guitar, banjo, vocal; Bill Reinhart, banjo; Katie Cavera, string bass; Hal Smith, drums.  And today I want to share only one performance — because it knocked me out, as they used to say and still do — the groovy Ellington blues, with Rex Stewart certainly a co-composer, SOLID OLD MAN.  (I worry about the punctuation of that title, but you should hear the music first.)

SOLID OLD MAN is perhaps most famous as a tune that Rex, Barney Bigard, and Billy Taylor brought to Europe for their recording session with Django Reinhardt — a recording session that is completely ingrained in my heart for perhaps fifty years.  Note the more accurate composer credits!

But two postscripts.  I taught college English for a long time (a LONG time!) and I know that punctuation makes a difference.  I can see the recording supervisor at Brunswick or Master Records, after the session, saying to Ellington, “Duke, what do you call that one?” and Ellington answering in the common parlance of the time, “Solid, old man!” in the sense of “Great work!” or “I totally agree with you, my friend!” or “You and I are brothers.”  But it always has had an implicit comma, a pause, as it were.  And certainly an explicit exclamation point.  So, to me, its title is lacking and perhaps misleading: when I see SOLID OLD MAN, I think of someone over six feet, weighing over three hundred pounds, who has been collecting Social Security for years.  Perhaps a security guard at the mall.

The second postscript is not a matter of proofreading.  Last night I was on Facebook (my first error) and reading a controversy in a jazz group about who was good and who was bad (my second) that got quite acrimonious.  Facebook encourages bad-mannered excesses; I was uncharacteristically silent.  But I noted one member of the group (an amateur string player) made a snide remark about “California Dixieland,” and when a professional musician of long-standing asked him to define what he was mocking, the speaker — perhaps having more opinions than knowledge — fell silent.  Unnamed adjudicator of taste, I don’t know if you read this blog.  But if you do, I suggest you listen to SOLID OLD MAN ten or twenty times to get your perceptions straight before you opine again.  And those of us who know what’s good can simply enjoy the performance many times for its own singular beauties.

May your happiness increase!

“BUSY DOING NOTHING”: JACOB ZIMMERMAN TRIO (COLE SCHUSTER, MATT WEINER) — a NEW RELEASE on BANDCAMP

First, how about some music? — multi-layered and subtle, full of joy and surprises.  The creators are Jacob Zimmerman, reeds and arrangements; Cole Schuster, electric guitar; Matt Weiner, string bass:

Now, before we move on, a relevant and pleasing cat portrait:

You’ll have to ask Jacob and Elena about the curious feline: I stick to music.

The occasion here is the release of the Jacob Zimmerman Trio’s new record (or CD or download), called BUSY DOING NOTHING.  Don’t let the self-deprecating title fool you: it’s quietly warm music that remains in your feelings and thoughts.

I believe that when Jacob told me about his new project, I said, with all the delicate guile at my fingertips, “I want to write something for that,” and he graciously agreed.  Here is the Bandcamp link.  (My version of this link says “You own this,” because I do, but I hope that acts as an inducement to follow in my path after you’ve listened to LITTLE WHITE LIES.)

And here’s what I wrote about the music.

Some jazz listeners rhapsodize over the seismic power of a large ensemble. But such efforts make me say to no one in particular, before I stop the disc, “Please. Take the pianist, drummer, and all but one horn away. There’s a great Thai place two blocks south. Have lunch on me.” Many of the most beautiful sounds I know have been made by the smallest groups, austerely lovely, energetically romping, each a triumph of intuition and empathy: Lucky Thompson, Oscar Pettiford, Skeeter Best; Pee Wee Russell, Joe Sullivan, Zutty Singleton; Duke and Blanton; Vic Dickenson and Ralph Sutton. And when the instrumentation is “unorthodox,” all the better.

It’s in this spirit that I greet and embrace BUSY DOING NOTHING, a sly title for these trio performances. They have a translucent sparseness yet they are also rich in melody and improvisation. Each chorus seems a complete composition in itself: BILL, for one gorgeous example. These three musicians create lovely textural variations as well as melodic embellishment and sweet harmonic delving, and the results feel honest, fresh but never self-consciously “adventurous.”

CHRISTMAS IN JAIL has a deep-blue moan to it – even though I would suspect that Jacob, Cole, and Matt have done nothing more criminal than parking tickets. Jacob told me that this session was inspired by the Braff-Barnes Quartet and the Jimmy Giuffre Trio – and this track has a close kinship with THE TRAIN AND THE RIVER, which is great praise. For uncomplicated irresistible swing, there’s MY GAL SAL – “good and groovy,” to quote Trummy Young. ALL OF YOU has, in its quiet pensive splendor, echoes of Brahms, if Brahms had been wiser. I WON’T DANCE is charming, expert, and hilarious: “Look what they did there!” is how I felt on first listening. THE BOY NEXT DOOR gave me chills – moving from unaffected tenderness to sophistication and back again.

BLUE ROSE holds a special place in my affections: when I last saw Jacob, an occasion that, pre-pandemic, seems a lifetime ago, at the March 2020 “Jazz Bash by the Bay,” he and Riley Baker joined me for a meal and conversation, then Jacob brought his tiny audio setup to my hotel room so that we could hear a track from this session. It was this, his gift to our hero Ray Skjelbred, an improvisation on a passage from the 1933 Horace Henderson record of HAPPY FEET. When I could form words, I said only, “Would you play that again?” It thrills me to know that I, and you, can play BLUE ROSE forever. There is an arching imagination behind this – composition and the trio’s playing – that makes me very glad. It feels like a three-dimensional aural ballet, airy and solid at once.
LAZYBONES is the soundtrack for a Swing Cowpoke short subject that hasn’t been filmed yet, with Matt, Cole, and Jacob rounding up the out-of-tune rustlers and getting them to play their parts correctly before riding off to educate the next bunch of amateurs. IDA of course harks back – how beautiful Matt’s arco sounds! – to Nichols, Rollini, and Livingston, but Jacob’s entrance reminds me of Lester, ten years later, and the whole performance is a sweet world that we are encouraged to make ourselves at home in. SOMEBODY LIKE YOU is one of Jacob’s discoveries of otherwise-forgotten Walter Donaldson music. It has an unaffected 1927 lope to it, dance music for another time and place, shined up by this trio so that we can delight in it right now. I love Cole’s chiming arpeggios and Matt’s serious two-four dance underneath Jacob’s bright-toned melodies. My only complaint about this track (and others as well) is that they are so sweetly terse that I said, on first hearing, “Wait. Is that over?” THE NIGHT HAS A THOUSAND EYES suggests some lovely Sixties music heard at a distance – another dance, both saying, “Come join us.”

I wonder how listeners in 2021 and beyond will take this music in. It is so rewarding, track by track, that I hope they will not gobble it down in one sitting. I wistfully envision these thirteen performances as being issued as a set of Victor Red Seal or Keynote 12” discs in a cardboard “album” that one would have to reverently play, one after the other, placing each disc on the turntable and lowering the tone arm. The thirteenth side would be shiny and ungrooved, a reminder for us to go back to LITTLE WHITE LIES, in amazed delight at what Jacob, Cole, and Matt create for us. This session is immense fun, but approaching it with joyful astonishment would be right.

When you’ve heard the music, and I hope you will, you will understand that I did not overstate here.  And if you can find it in your heart and wallet to purchase this music on Juneteenth — June 19, 2020, Bandcamp has done something both moral and special.  I quote from their site:

The recent killings of George Floyd, Tony McDade, Sean Reed, Breonna Taylor, Ahmaud Arbery and the ongoing state-sanctioned violence against black people in the US and around the world are horrific tragedies. We stand with those rightfully demanding justice, equality, and change, and people of color everywhere who live with racism every single day, including many of our fellow employees and artists and fans in the Bandcamp community.

So this this coming Juneteenth (June 19, from midnight to midnight PDT) and every Juneteenth hereafter, for any purchase you make on Bandcamp, we will be donating 100% of our share of sales to the NAACP Legal Defense Fund, a national organization that has a long history of effectively enacting racial justice and change through litigation, advocacy, and public education. We’re also allocating an additional $30,000 per year to partner with organizations that fight for racial justice and create opportunities for people of color.

The current moment is part of a long-standing, widespread, and entrenched system of structural oppression of people of color, and real progress requires a sustained and sincere commitment to political, social, and economic racial justice and change. We’ll continue to promote diversity and opportunity through our mission to support artists, the products we build to empower them, who we promote through the Bandcamp Daily, our relationships with local artists and organizations through our Oakland space, how we operate as a team, and who and how we hire.

Beyond that, we encourage everyone in the Bandcamp community to look for ways to support racial equality in your own local community, and as a company we’ll continue to look for more opportunities to support racial justice, equality and change.

Blessings on Jacob, Cole, and Matt, and thanks to Bandcamp for not only making this music accessible to us but also giving an extra moral push towards a kinder future for all.

May your happiness increase!