Take a deep breath, see that your eyeglasses are clean, ask your neighbor to take a break from leaf blowing . . . and get ready to admire.
What follows is a wonderful assemblage of rewarding details that make a performance soar and shine. Everybody knows EVERYBODY LOVES MY BABY, ninety years old in 2014, and the song flexibly lends itself to many approaches: a slow-drag tempo with the verse (think: Blue Note Jazzmen) or delightedly skittering around the room, making all the turns (any Fifties Eddie Condon performance).
The creators here are Ray Skjelbred, piano and imagination; Kim Cusack, clarinet and vocal; Jeff Hamilton, drums; Clint Baker, string bass; Katie Cavera, guitar, and this took place at the one-day jazz festival at Cline Cellars Winery in Sonoma, California.
The pleasures of this al fresco performance are double: first, the joy of hearing Ray and his Cubs do anything, and second, the little architectural details that delight and surprise, throughout. Ray says this performance takes some of its inspiration from the 1929 Earl Hines Victor recording of the tune, but it’s clear that the record is a leaping-off place rather than a model to be copied.
The DETAILS I celebrate here are Clint’s arco string bass work, Jeff’s tom-toms, Kim’s magical ability to sing and play at the same time, or nearly so, the duet scored for Cusack and Skjelbred; evocations of Jess Stacy’s 1938 “A-minor thing” even if it’s not in A-minor, and the delicious surprise of the bridge of the last chorus:
I so admire the romping large-scale scope of this performance — people confident and joyous in the sunshine — but the details that poke their heads through from below I find thrilling.
Here’s Earl Hines, playing, leading, and scat-singing:
I couldn’t close this blogpost without commenting that Benny Hill used to announce this song on his television show as EVERY BABY LOVES MY BODY, which works also.
May your happiness increase!