For those who know, the simple words “Jonathan Stout and his band have issued a new CD” will be enough of a powerful summons to the senses. Swing of a multi-colored sort, romping and tender, awaits. Here is one place to find out about the new disc; here is the source of the good news.
Your ears will tell you all you need to know: this compact aerodynamic little band is both assertive and subtle, a finely-tuned swing corporation. It’s built from the ground up, with a rhythm section that is raring to go from the downbeat. Thanks to drummer Josh Collazo in particular, they aren’t afraid to make the ground shake when it’s appropriate. Bassist Wally Hersom puts all the nice notes in the right places; pianist Chris Dawson lends his gleaming intelligence to every bar. And the leader, guitarist Jonathan Stout, is a triple-threat man: switching his talents from the acoustic mastery of Allan Reuss to the starbursts of Charlie Christian, as well as writing compositions that would have made Harry Lim proud. The front line is a wonderful pairing: the daring trumpet of Jim Ziegler (who also sings on RUSSIAN LULLABY) alongside the sauntering tenor of Albert Alva. Hilary Alexander has charm and more; she respects the lyrics and honors the melody, putting her attractive voice at the service of the song.
Swing is what they are all about. And listening to them, once again I lament my inadequacies as a swing dancer, because this is music to move to, rapturously. And their repertoire is especially delightful. In addition to Jonathan’s originals RIDING WITH PAUL, BOUNCIN’ WITH BUMPUS, PAGING DR. REUSS, TRICK OR TREAT, MOBTOWN ALL OUT, there are songs much-loved by those who dig deep . . . but which aren’t overdone: SENTIMENTAL GENTLEMAN FROM GEORGIA, MANHATTAN, HUMMIN’ TO MYSELF, BETCHA I GETCHA, SING YOU SINNERS, WHAT GOES UP MUST COME DOWN, RUSSIAN LULLABY, I WOULD DO ANYTHING FOR YOU, ARKANSAS, GOODNIGHT MY LOVE, DID YOU MEAN IT?, DOGGIN’ AROUND.
Beautifully recorded (in November 2020, mid-late pandemic times, following all CDC protocols, a response to despair and fear) with nice notes from Mr. Stout.
Oh. That’s not enough? How about CLOSE SHAVE by Jonathan’s Quartet — Jonathan Stout, leader and electric guitar; Craig Fundyga, vibraphone; Seth Ford-Young, string bass; Josh Collazo, drums — an EP with the songs RIDING WITH PAUL, LOVE ME OR LEAVE ME, WHEN YOU’RE SMILING, MOBTOWN ALL OUT, TRICK OR TREAT, GONE WITH “WHAT” WIND, and I’M CONFESSIN’. A band-within-a-band, flying high, smooth and intense. Listen and purchase here:
Technology offers us a treat: the Close Shave Quartet performed at the California Balboa Classic, as shown:
I’d asked Jonathan a question about these issues, and he nicely responded:
The “story” behind the release is that we recorded a proper, in-person Campus Five album back in November, and we were planning to do a livecast from the recording studio to promote it as a part of the California Balboa Classic web-event “CalBal: LIVE” on MLK weekend back in January. As COVID conditions we’re at their worst, the event realized even if with COVID protocols in place, getting a bunch of people indoors for a session was a bad example. I was crushed at first, but they asked if we could figure something else out – but with the least number of people possible, who could ALL be masked, and we would move outdoors. So, I remembered the band I put together originally to play the annual Xmas party at the barber shop I go to, which we christened the “Close Shave Quartet”. There wasn’t much of a “book” to speak of, so I had to create a whole bunch of new arrangements to have a proper “finished product” for the event. This is a big dance event, under normal circumstances, and just jamming some tunes just isn’t my style or my strength. I wrote 4 new tunes during quarantine for the C5 album, and I was so excited to debut them, so I rearranged them for the Quartet as well, sort of as a “teaser” for the C5 album. Three of them are on this EP. Anyway, the combination of electric guitar, vibes, bass and drums seemed to be the least number of people while still having the range of textures and timbres I rely on to make arrangements have variety and dynamics.
If you gather from this presentation that JAZZ LIVES — as one writer, me, and as a worldwide force for good — thoroughly endorses the Stout brand of swing, you would be completely correct. Jonathan’s bands groove, glide, and please. Bless him, bless them. We need this music, so beautifully played and sung.
May your happiness increase!