TEN YEARS, by the Dave Stuckey – Hal Smith Western Swing All-Stars:
JULIANNE, by Charlie [Halloran] and the Tropicales:
I am very excited by this news that the Redwood Coast Music Festival is returning. It gives my native optimism fertile soil to grow in. This festival is a friendly sustained explosion of some of the best musical talent I know.
Here are some of the glorious people who will be there, singing and playing. Dave Stuckey, Marc Caparone, Carl Sonny Leyland, Clint Baker, Hal Smith, Twerk Thomson, Kris Tokarski, Charlie Halloran, Jonathan Doyle, Joel Paterson, Dawn Lambeth, Brian Casserly, Dave Bennett, T.J. Muller, Katie Cavera, Jacob Zimmerman, Duke Robillard, Jessica King, Ryan Calloway, Riley Baker, Chris Wilkinson, James Mason, Jamey Cummins, Josh Collazo, Tom Rigney, Sam Rocha, Nate Ketner, Dave Kosymna, Alex Hall, Beau Sample, Dan Walton, John Gill, Jontavious Willis, Brian Holland, Danny Coots, and more. And more.
The festival runs from Thursday evening to Sunday evening (September 29 to October 2) and there are either five or six simultaneous sets. Simultaneous. I emphasize this because I got the most charming vertigo trying to plot a course through the tentative schedule, an exercise in Buddhist non-attachment or chess (which I never learned): “I want to see X at 5:30 but that means I can’t see Y then, but I can see Y the next day.”
I’ve only been to Redwood Coast once, in 2019, a transcendent experience and I don’t overstate: the only festival that made me think longingly of hiring a camera crew of at least two friends so that we could capture some portion of the good(ly) sounds. one of the nicest things about this festival is its broad love of energized passionate music: jazz, blues, swing, country, zydeco, soul, rhythm and blues, “Americana,” “roots” — you name it.
Did I mention that there’s room for dancing?
Are some of the names listed above unfamiliar to you? Go here to learn more about the artists and see videos of their work
You can buy tickets here. And maybe you’ll think this is the voice of entitlement, but an all-events pass — four days! — is $135, at least until August 1.
Here’s one more musical convincer from 2019:
Remember, every time it rains it rains PENNIES FROM HEAVEN — in this case, rare musical experiences. But you can’t catch them in your ears or outstretched hands by staying at home.
To my ears, modern bands don’t find it easy to reproduce the music of Twenties and early Thirties medium-sized ensembles beyond playing the notes, although I commend their attempts. The most pleasing exceptions have been Vince Giordano’s Nighthawks, still doing the thing regularly in New York and elsewhere; I’ve also delighted in some ad hoc ensembles put together at the Whitley Bay Classic Jazz Festival. (Listeners have other favorites, I know: I am not compiling a list here.)
But most recently, the Chicago-based FAT BABIES are are a consistent pleasure.
Here’s UPTOWN, performed at the July 2016 Evergreen Jazz Festival:
UPTOWN is also the name of the Babies’ latest CD, their fourth for Delmark, beautifully thought-out, played, and recorded.
Visit here to buy the disc and hear samples, or vice versa.
The band on this disc is the 2016-18 version, with Andy Schumm, cornet, alto saxophone, clarinet; Dave Bock, trombone; Jonathan Doyle, clarinet, tenor, soprano; John Otto, clarinet, tenor; Paul Asaro, piano, vocal; Johnny Donatowicz, tenor banjo, tenor guitar; Beau Sample, string bass; Alex Hall, drums, percussion. They deeply understand the music without being stuffy.
Of the thirteen selections, UPTOWN and THAT GAL OF MINE are originals by Andy Schumm; SWEET IS THE NIGHT by Jonathan Doyle. The arrangements and transcriptions are by Schumm, Doyle, and Paul Asaro, who also sings on five tracks with proper period flourishes. The rest of the repertoire — venerable songs — EDNA, HARMONY BLUES, THE BATHING BEAUTY BLUES, RUFF SCUFFLIN’, OUT OF A CLEAR BLUE SKY, THUMPIN’ AND BUMPIN’, THE SPELL OF THE BLUES, TRAVELIN’ THAT ROCKY ROAD, THE SOPHOMORE, HARLEM RHYTHM DANCE — have noble associations with King Oliver, Bennie Moten, Andy Kirk, Eubie Blake, Harold Arlen and Ted Koehler, Bing Crosby, the Dorsey Brothers, McKinney’s Cotton Pickers, Clarence Williams, Claude Hopkins, and others. But you’ll notice that the song selection, although deep and genuine, is not The Same Old Thing (you know: the same two Ellingtons, one Bix, DIPPER MOUTH BLUES, MOTEN SWING, and so on): even scholars of the period might not be used to hearing some of these compositions.
What makes this band so delightful? The answers come thick and fast. They are a working band, so their section work is beautifully polished but never stiff. The solos caress or explode, depending on what the song requires. There’s also a refreshing variety in tempo and mood: the Babies do not need to play racetrack tempos all the time, and they know that hot is best served with with nicely seasoned side dishes of sweet. This is music for dancers as well as listeners. I’ve seen other ensembles do creditable work with charts they are seeing for the first or second time, but nothing can replace the comfortable familiarity that comes with playing a song twenty times in a month.
“Authenticity” is always a slippery subject, but the Babies manifest it in every note and phrase: they’ve lived with this music long enough and intensely enough to have the rhythmic feel of this period as part of their individual and collective nervous systems, so there is no self-conscious “going backwards,” but the band feels as if they’ve immersed themselves in the conventions of the style — which go beyond slapped bass and choked cymbal. It doesn’t feel as if they are acting, pretending to be ancient: their joy in being comes through. And the solos are stylistically gratifying without being museum-pieces. It’s been said before, but if the Babies were to be dropped in Harlem in 1931, they would cause a sensation and be welcomed at the Rhythm Club, the dance halls, and after-hours clubs.
It’s joyous music, joyously played. And my only reservation about this Delmark CD (which, again, I point out, is beautifully recorded) is that it’s not a three-disc set. Maybe next time.
I first encountered Jake Sanders almost a decade ago at Banjo Jim’s, when he was the leader of the Cangelosi Cards, the group that had Tamar Korn as its vocal improvising genius. Later I followed him to other Cards gigs and an especially wonderful rainy evening in a dance studio where he swung like mad, Charlie Christian style, on electric guitar. When he moved to Chicago, I saw and heard him with the Fat Babies in person, on record, and on video, and now he is blazing his own paths. (Most recently for me, in a trio with Dennis Lichtman and Jared Engel which appeared at The Django in New York City — lovely eloquent music.)
His new CD is what we used to call a doozy, precisely because it follows no narrow formula. Here’s a sample of the music Jake loves and plays with great feeling — captured at the February 2018 CD release party in Mexico City:
And hereyou can buy an actual disc or download the music (each for the low price of $10 USD) or hear four of the thirteen tracks, in case you need convincing.
and here is the prose (not by me) that accompanies the music:
Estrellas de Radio features the sounds of acoustic and electric guitar, mandolin, violin, piano, and upright bass. The songs and styles range across a broad spectrum of traditions, drawing from or expanding upon the roots of American jazz. The album features beautiful waltzes, rags, blues, and band arrangements of four guitar solos originally published in the 30’s which have never been previously recorded. Three of these rare and unique compositions are credited to guitar legend Nick Lucas.
Recorded over a two year period by Alex Hall at Reliable Records in Chicago, the album features a host of musicians from New York, Chicago and Detroit; these include: Jared Engel, Dalton Ridenhour, Dennis Lichtman, Aaron Jonah Lewis, Beau Sample, Paul Asaro, and Patrick Donley.
Three tracks feature the exceptional sounds of Fraulini Guitars hand-crafted by the esteemed luthier Todd Cambio. (Jake Sanders plays an Annunziata on Serate Primaverili, Speranze Perdute, and Flappers Trot; Patrick Donley plays an Angie on Speranze Perdute).
While the early Italian pioneers of the jazz guitar Nick Lucas and Eddie Lang made their mark on 20th century music, an earlier generation of Italian string virtuoso were also recording in America. Masters such as Giovanni Gioviale and Giovanni Vicari brought old world sounds to the new world. L’Ultimo and Serate Primaverili are adaptations of Giovale’s brilliant compositions originally conceived for mandolin. Speranze Perdute was inspired by a recording by Giovanni Vicari, as was the mazurka Mia Carina, which he recorded with The Continental Trio.
While Nick Lucas is famous amongst jazz aficionados both as a vocalist and for his early recorded guitar solos (Picking the Guitar and Teasing the Frets), he is also credited with composing numerous guitar solos which were never recorded, but appeared in folios and early flat-picking method books. Bootlegger’s Blues, Flappers Trot, and Gold Diggers are all examples of Lucas guitar solos which exist as sheet music, but have not been recorded until now.
The exquisite waltz, Margaret, that appears as a piece in The Nick Lucas Guitar Method Vol. 1, however, was composed by J. Nicomede. Sanders’ unique conception and arrangements of these songs are drawn from his nearly 20 years of playing roots music. (Flappers Trot, guitar and piano) (Bootlegger’s Blues, Gold Diggers, Margaret, guitar, violin, piano, bass).
Let Me Call You Sweetheart and Wang Wang Blues are classically-styled guitar and mandolin duets arranged in studio. Charleston Rag, known as a piano solo, is heard here uniquely arranged for piano, guitar, and upright bass. The Memphis Shakedown, made famous by the Memphis Jug band, is a common tune for old-time and jug bands performing today. However on Estrellas de Radio the tune becomes something altogether different, achieving new sounds in old music. The Sunset Blues is the album’s one original composition. Like any blues it borrows from the past, however its spare style, unusual form, and crafted melody give it a sound all its own.
ABOUT JAKE SANDERS:
Jake Sanders is a guitarist, bandleader, and arranger, whose musical career began in New York City at the end of the last century. After years as a street performer, playing jazz and American traditional music, Sanders formed the popular roots band, The Cangelosi Cards. They performed nightly in the back rooms and bars of the East Village, but soon traveled well beyond Manhattan, playing shows from Shanghai to Stockholm. After years with the Cards, Jake joined The Fat Babies, an acclaimed hot jazz band which continues to perform weekly at Chicago’s world famous Green Mill Cocktail Lounge. His last album with the group, Solid Gassuh (Delmark Records), made DownBeat Magazine’s “Best of 2017” list – a rare feat for a traditional jazz band in modern times.
A long time musical collaborator with vocalist and world-renowned Lindy hop champion, Naomi Uyama, Jake both plays guitar and arranges for her swing outfit, Naomi & Her Handsome Devils. Sanders has recorded with the great stride and ragtime piano player Paul Asaro, and has been featured on record and stage with the Jonathan Doyle Swingtet.
Jake Sanders has performed at The Chicago Jazz Festival, The Detroit Jazz Festival and The Brooklyn Folk Festival as well as countless clubs, dance halls and theaters throughout North America. Jake’s guitar playing has brought him across Europe and Asia and he is a regular performer in-residence at Cracovia 32, home of the emerging swing scene in Mexico City. As a solo performer or with the Handsome Devils, The Dotted Halves trio or with the quintet, The Lovestruck Balladeers, Jake Sanders is a consummate traveling musician who can be heard far and wide.
A few words from me, on behalf of JAZZ LIVES. I trust Jake’s taste completely, so even though some of the compositions on this disc are not Hot Music in the established sense, I fell in love with the sounds here at first playing. The only reason this post is written at the end of May rather than a few months earlier is because I wanted actual discs to play in the car. I’ve amazed a number of unsuspecting passengers with ESTRELLAS DE RADIO, and one even said, “Michael, I didn’t know you liked beautiful music like this!” I do, and you will.
What follows seems — very reassuringly — like a tour through the landscape in which Bix Beiderbecke lived, and the ways in which he created it to his own dimensions. It’s a leisurely concert given by The Fat Babies, who are Andy Schumm, cornet; Dave Bock, trombone; John Otto, Jonathan Doyle, reeds; Paul Asaro, piano; Johnny Donatowicz, banjo / guitar; Beau Sample, string bass, leader; Alex Hall — taking place at the Putnam Museum in Davenport, Iowa, as part of the 2017 Bix Beiderbecke Memorial Jazz Festival.
The nice video is yet another gift from “CANDC,” or “Chris-and-Chris,” who’ve also given us this delight — ninety minutes, two sets of the Babies, from the next day’s performances.
The songs are FIDGETY FEET / SUSIE / BLUE RIVER /RIVERBOAT SHUFFLE / WHEN / OUR BUNGALOW OF DREAMS / OH, BABY! / SINGIN’ THE BLUES featuring a Whiteman coda / WOLVERINE BLUES (in the Wolverine Orchestra style, arranged by Andy Schumm) / I’LL BE A FRIEND “WITH PLEASURE” [vocal by Paul Asaro]/ FUTURISTIC RHYTHM / SLOW RIVER / I’M COMIN’ VIRGINIA / MY PRETTY GIRL.
For no particular medical reason aside from age-based entropy, I’ve slowed down the mad pace of recent years. At my most passionate peak of obsession and love, I flew or drove to seven or eight jazz festivals or parties in twelve months. I haven’t given up, just slowed down. One of the festivals I was sorry to miss was the Bix Beiderbecke Memorial Jazz Festival held in Davenport, Iowa, at the start of this August. I knew that — unlike the tree in the metaphysical forest — that the bands I love would play even if I were not there to video them — but still.
So I was very glad that “jazzmanjoe100” recorded the wonderful music that Hal Smith’s SWING CENTRAL performed at that festival. And I am delighted that “CANDC” did the same for several sets: the one most pleasing being by The Fat Babies. “CANDC” isn’t an impossible-to-pronounce word; rather, it stands for “Chris-and-Chris,” (pronounced as a rapid triplet) a Swedish pair, immaculately dressed as if going out for a carriage ride c. 1917: he videos; she dances. In general, they both light up the place.
As do The Fat Babies, the beloved brainchild (b. 2010) of string bassist Beau Sample; featuring Andy Schumm, cornet, clarinet, and other instruments; Dave Bock, trombone and tuba; John Otto, reeds; Paul Asaro, piano and vocals; Johnny Donatowicz, banjo and guitar; Alex Hall, drums. For this set, alumnus and guest Jonathan Doyle joined in on clarinet and tenor.
For this set, they offered their usually varied program that leans towards the esoteric, which is always a nice change. They began with a hot CHANGES MADE, and then summoned up 1926 Luis Russell (in Chicago, before the incandescent days of Red and Higgy) with SWEET MUMTAZ.
I must ask: is MUMTAZ another slang word for muggles, muta, or pot? Google has not been terribly forthcoming.
Then, SHE’S CRYING FOR ME from old New Orleans, Jon Doyle’s evocative SWEET IS THE NIGHT, and a heady — c. 1925 Henerson — MANDY, MAKE UP YOUR MIND.
Paul Asaro sings THE SPELL OF THE BLUES, which I associate with 1928 Bing; WILL YOU, WON’T YOU BE MY BABE? — splitting its associations between McKinney’s Cotton Pickers and 1934 Louis. It’s followed by Tiny Parham’s ROCK BOTTOM, a reed feature on THE BATHING BEAUTY BLUES, a sweet LAZY WEATHER (do I correctly think of the underrated 1936 Don Redman band here?) and a closing romp with Clarence Williams 1933 HARLEM RHYTHM DANCE.
And another wonderful helping.
Paul starts things off with I DON’T CARE (obviously not the case!), and then they move to the Nichols-associated SALLY OF MY DREAMS. Then Walter Donaldson’s SAY YES TODAY (memorable in the Roger Wolfe Kahn version), followed by the Tiny Parham CLARICE — a wonderful hot rhythm ballad with a tango interlude. Then, Ellington’s BIRMINGHAM BREAKDOWN; Paul and Johnny Donatowicz summon up Bing and Eddie Lang on DID YOU EVER SEE A DREAM WALKING? — always a good question to ask.
Next, Willard Robison’s DEEP ELM, and Frank Bunch’s FUZZY WUZZY — talk about obscure yet delightful. Then, FOR MY BABY, a 1927 hit, mixing hot dance and romance; Paul essays TEA FOR TWO all by himself, and beautifully, echoing Don Lambert’s habit of mixing tunes with THINKING OF YOU, APRIL SHOWERS, I’M CRAZY ‘BOUT MY BABY, KEEPIN’ OUT OF MISCHIEF NOW, FRENESI, and a few whose title proved elusive, for a wonderfully low-key display of virtuosity — where he resists the temptation to triple the tempo.
Finally MONA, thanks to Harold Austin’s New Yorkers (a double obscurity to me), and Benny Carter’s KRAZY KAPERS, based on DIGA DIGA DOO — precious to me in its 1933 incarnation and in its 2017 one: the final chorus is my idea of jubliation.
Quite a good deal of beautifully played hot and sweet music indeed. What makes this band notable, for me, is their mastery of the late Twenties – mid Thirties hot dance sound (with arrangements that summon up the original records and in some cases, build on their glories), soloists who are convincing on a jungle romp or a danceable ballad. But the band as a whole sounds so good: their intonation, their voicings, so people used to listening for the hot sixteen bars also find themselves admiring the ensemble. As I do, as you will.
Yes! Even more from one of the most gratifying jazz bands — and working bands — on the planet. THE FAT BABIEScan offer electrifying transcriptions of recordings both familiar and obscure, but they can wonderfully “go for themselves” in convincing solos and hot ensemble playing. In the videos below, you’ll hear idiomatic and swinging evocations of Benny Carter, Joe Robichaux, Jelly Roll Morton, Andy Kirk, Jabbo Smith, and Bing Crosby (is that Nat W. Finston and the Paramount Orchestra I hear in the hills?) — beautifully done with no museum archaisms or modern “innovations.” Just good fun — created by Beau Sample, string bass and leader; Alex Hall, drums; Jake Sanders, guitar and banjo; Paul Asaro, piano and an ANIMULE vocal; Jonathan Doyle, John Otto, saxophones; Dave Bock, trombone; Andy Schumm, cornet.
I’ve posted a goodly number of Fat Babies videos from the Evergreen Jazz Festival here, here, here, and here— so no one can go to the larder and find it bare of salutary Fat. But my videos (I’m proud of them) are nothing compared to the experience of hearing and seeing this band live, so the message should be clear.
THE ANIMULE DANCE:
KING KONG STOMP:
Check their websiteto see their schedule, learn about their new CD, and more. I see they will be back at the Evergreen Jazz Festivalat the end of July 2017.
One of the great pleasures of the summer of 2016 was the Evergreen Jazz Festival in Evergreen, Colorado. There I and others enjoyed the Carl Sonny Leyland trio with Clint Baker and Jeff Hamilton; the Kris Tokarski trio with Tim Laughlin and Hal Smith (and guest star Andy Schumm), and the Fat Babies, with Beau Sample, Andy Schumm, Dave Bock, John Otto, Jonathan Doyle, Paul Asaro, Jake Sanders, and Alex Hall.
I’ve posted videos from the Fat Babies’ July 29 set here. And some especially Fat music here. And even here.
Here are three more from the next day’s frolic.
The first, a composition from 1925 where Louis Armstrong plays slide whistle as well as cornet with his Hot Five, WHO’S IT . . . which I am assuming might have something with playing tag or an adult version rather than being a metaphysical inquiry into the slippery parameters of identity.
Here are the Fat Babies romping through the thickets of swing:
Another Louis-related item, I AIN’T GONNA PLAY NO SECOND FIDDLE, which he recorded with Perry Bradford’s Jazz Phools as well as with Bessie Smith:
and Jimmie Noone’s APEX BLUES:
And here is my review of the band’s latest CD — on the Delmark Records label, SOLID GASSUH— a disc whose virtues I do not exaggerate.
We hope this truth can be made evident. The new CD by The Fat Babies, SOLID GASSUH, on Delmark Records, embodies Truth in Advertising in its title and its contents.
“Solid gassuh,” as Ricky Riccardi — the Master of all things Louis — informs us in his excellent liner notes, was Louis’ highest expression of praise. (I’d like to see it replace “sick” and “killin'” in the contemporary lexicon. Do I dream?)
The Fat Babies are a superb band — well-rehearsed but sublimely loose, authentic but not stiff. If you don’t know them, you are on the very precipice of Having Missed Out On Something Wonderful — which I can rectify here, here, and here. (Those posts come from July 29, 2016 at the Evergreen Jazz Festival, and feature the “new” Fat Babies with the addition of the heroic Jonathan Doyle on reeds.)
SOLID GASSUH was recorded at the Babies’ hangout, the Honky Tonk BBQ, but there’s no crowd noise — which is fine — and the recorded sound is especially spacious and genuine, thanks to Mark Haynes and Alex Hall. I know it’s unusual to credit the sound engineers first, but when so many recordings sound like recordings rather than music, they deserve applause.
The Babies, for this recording, their third, are Andy Schumm, cornet and arrangements; Dave Bock, trombone; John Otto, reeds; Paul Asaro, piano and vocals (also the chart for EGYPTIAN ELLA), Jake Sanders, banjo and guitar, Beau Sample, leader, string bass; Alex Hall, drums.
Their repertoire, for those deep in this music, says so much about this band — DOCTOR BLUES / AFTER A WHILE / FEELIN’ GOOD / DID YOU EVER SEE A DREAM WALKING? / ORIGINAL CHARLESTON STRUT / PENCIL PAPA / I MISS A LITTLE MISS / PARKWAY STOMP / YOU WERE ONLY PASSING TIME WITH ME / ALABAMY BOUND / SLOW RIVER / DELIRIUM / EGYPTIAN ELLA / SING SONG GIRL / MAPLE LEAF RAG. There are many associations here, but without looking anything up I think of Ben Pollack, Paul Mares, Boyce Brown, Ted Lewis, Benny Goodman, Bix Beiderbecke, Fud Livingston, Red Nichols, Miff Mole, Luis Russell, Bud Freeman, Bing Crosby, Nat Finston, Thomas Morris, Lil Hardin, Sidney Catlett, Al Wynn, Punch Miller, Alex Hill . . . and you can fill in the other blanks for yourself. And even though some of the songs may be “obscure,” each track is highly melodic and dramatic without ever being melodramatic. (As much as we love ROYAL GARDEN BLUES, it’s reassuring to know that it wasn’t the only song ever played.)
The Babies are remarkable for what they aren’t — not a “Dixieland” or “New Orleans” or “Condon” ensemble, but a group of musicians who obviously have studied the players, singers, and the recordings, but use them as inspired framework for their own creativity. Occasionally, the Babies do offer us a transcription of a venerable recorded performance, but it is so energized (and by that I don’t mean faster or louder) that it seems as if someone has cleaned centuries of dust off an Old Master and it’s seen freshly. More often, they use portions of an original arrangement, honoring it, as a way to show off their own bright solos. So the effect at times is not an “updating,” but music seen from another angle, an alternate take full of verve and charm, as if the fellows had been playing the song on the job rather than in the studio.
If you follow the Babies, and many do, you will have known that this recording is coming, and will already have it. When my copy arrived, I played it through three times in a row, marveling at its energy and precision, its lively beating heart. SOLID GASSUH is immensely satisfying, as are the Fat Babies themselves.
You can purchase the disc and hear sound samples here, and thisis the Delmark Records site, where good music (traditional and utterly untraditional) flourishes.
Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman
Wonder of wonders (continue) with the Miracle Boys of Hot, The Fat Babies, at their July 29, 2016. Even the elk were swinging. They are (of course) Alex Hall, drums; Beau Sample, string bass; Paul Asaro, piano / vocal; Jake Sanders, guitar / banjo; Jonathan Doyle, John Otto, reeds; Dave Bock, trombone; Andy Schumm, cornet, clarinet, arrangements.
MANDY, MAKE UP YOUR MIND:
PLEASURE MAD (later known as VIPER MAD, by Sidney “Bash-shay” in any case:
HE MAY BE YOUR MAN (BUT HE COMES TO SEE ME SOMETIMES):
and a quick but satisfying set-closer, MAPLE LEAF RAG, Charles LaVere 1935 style:
So hot it’s delightful. And another whole Evergreen set to come.
And . . . the Babies have three CDs out on the Delmark label: CHICAGO HOT, 18th and RACINE, and the new Baby, SOLID GASSUH, as well as two featuring Paul Asaro on Rivermont, WHAT A HEAVENLY DREAM (devoted to Fats) and SWEET JAZZ MUSIC (for Jelly). Lay in a supply. They say it’s going to be a cold cold winter.
The most difficult part of this blogpost has been trying to find a polite title for the congenial combination of THE FAT BABIES and THOMAS “FATS” WALLER, but I think I’ve managed to be as little offensive as possible. I hope. No suggestions solicited, please.
Here are three performances by that wonderful octet — Andy Schumm, cornet; Dave Bock, trombone; John Otto and Jonathan Doyle, reeds; Paul Asaro, piano and vocals; Jake Sanders, banjo / guitar; Beau Sample, leader / string bass; Alex Hall, drums — at the Evergreen Jazz Festival in Evergreen, Colorado, on July 29, 2016.
THE FAT BABIES, before Jonathan Doyle had joined the band.
From Fats’ first published song (based on THE BOY IN THE BOAT, as we know), onwards to a sadder one:
Finally, the delightful Jimmy McHugh tune that Fats made his own — performing it in the 1935 film KING OF BURLESQUE. (Then, it got taken up by Louis and others, happily):
On all these performances, the ebullient Paul Asaro — striding, singing, and smiling — stands out, as he always does. Paul has made two CDs — tributes to Waller and Morton — with the Fat Babies, issued on Rivermont Records.
More to come from Colorado — and if you’re near Chicago, you can hear The Fat Babies live. http://www.thefatbabies.com/ is their website and performing schedule. And — even more! — I’m waiting for a copy of their latest release, correctly titled SOLID GASSUH (!) on Delmark Records.
I first heard The Fat Babiesat the San Diego Jazz Fest, and of course enjoyed their CDs and the videos of their performances from Chicago. But the 2016 Evergreen Jazz Festival offered a special treat: several sets of this very accomplished and joyous hot band at close range, where I could see and hear them in all dimensions. I had a wonderful time, and I wasn’t alone.
If The Fat Babies are new to you, I won’t let too many words get in the way of instant access to pleasure. They are Andy Schumm, cornet, clarinet, arrangements, compositions; Dave Bock, trombone; Jonathan Doyle, John Otto, reeds; Paul Asaro, piano and vocal; Jake Sanders, guitar and banjo; Beau Sample, string bass and leader; Alex Hall, drums.
Their repertoire is primarily from the very early Twenties to a decade later, with a goodly sampling of hot material — from the obscure to the familiar — delivered with energy and precision, but there are also wonderful detours into early Bing (instrumentally) and esoteric pop of the period. And at a time when many bands devoted to this repertoire are Either / Or — offering exact transcriptions of venerable recordings or loose jam session romps on hallowed material, The Fat Babies move easily and without pretension between the two worlds. And their whimsical title notwithstanding, they are an impressively lean band: their eight pieces are as effective, even more so, than some larger units.
I nominate them as Delegates of Pleasure for this century.
Here’s proof, if proof is needed.
ORIENTAL MAN (a video I keep on playing over and over, and it’s not for the cinematography, I assure you):
LIVIN’ IN THE SUNLIGHT, LOVIN’ IN THE MOONLIGHT (a Bing tune c. 1933, which sounds like a remarkably good life-plan, and the performance is the very definition of Hot Dance):
GET OUT AND GET UNDER THE MOON (another excellent life-plan — preach it, Brother Asaro!):
UP TOWN (composed and arranged by Andy, a most convincing evocation of 1930-1 hot):
SALLY OF MY DREAMS (I know of only a few recordings of this — by the Dorsey Brothers, Ben Pollack, and Gregor and his Gregorians; Paul takes the vocal here):
The Fat Babies have made two CDs on their own, issued on the Delmark label, and another backing Marty Grosz. I’ve heard tell that their third, SOLID GASSUH (truth in advertising) is ready to be released any second now. I can’t wait. And there will be more videos from Evergreen, I promise.
In New Orleans, traditionally, the band plays a mournful hymn on the way to the cemetery, FLEE AS A BIRD TO THE MOUNTAIN, and once the dear departed is buried, the band swings out OH, DIDN’T HE RAMBLE — because the troubles of this life are over.
We will miss Sir Charles Thompson, who died on June 16, but rather than write more mournful words, as I did here about twelve hours ago, I present an alternative.
I think of one of my favorite pieces of literature, William Maxwell’s “The old man at the railroad crossing,” which is also the title of his collection of improvisations — this one about that same friendly but cryptic figure, who says just one word to each person he meets. That word is my title for this post.
One way of rejoicing is to celebrate the person who has moved our of our temporal realm by evoking him in the art that (s)he did so beautifully. No finer example than this:
Ray Skjelbred, piano; Marc Caparone, cornet; Beau Sample, string bass; Hal Smith, drums — recorded at the San Diego Jazz Fest on November 28, 2014. These four musicians deeply understand who Sir Charles is and what he did so generously for decades — lifting our hearts.
To me, it sometimes seems that we have only two choices in life: weeping or swinging. I leave it to you.
I keep coming back to the videos I’ve shot at several yearly incarnations of the San Diego Jazz Fest — and finding treasures and marvels I’d overlooked. (I also keep coming back to the actual Fest, but that should startle no one.)
Here are some highlights from a long quartet set performed by Ray Skjelbred, piano; Jonathan Doyle, the swing star from Austin, Texas; Beau Sample, string bass and leader of the Fat Babies; Hal Smith, who’s played with and swung everyone who deserves it.
My titles are an expression of whimsical shorthand, but there’s nothing left out in these performances. First, a swing trio (Chicago pays San Diego a visit) then quartet improvisations that are delightful inducements to the dance, even if you are sitting in a chair.
MY HONEY’S LOVIN’ ARMS (scored for trio):
A song I associate with Bessie Smith, I’M WILD ABOUT THAT THING (decide for yourself what THAT THING is, but no need to write in, because no prizes will be awarded for the best answer). I’m wild about this performance, I feel compelled to say:
BLUES MY NAUGHTY SWEETIE GIVES TO ME (in a medium tempo sitting nicely between Noone and Condon):
I’LL NEVER BE THE SAME (evoking Venuti and Lang, Billie and Lester, or both):
Finally, THE 313 JUMP, whose title has a new pop culture / numerological significance — just Ducky:
A postscript. The jazz-scholar part of my being says that I could have written a thousand words on Influences and Echoes, with a long list of names, including Jess Stacy, Joe Sullivan, Earl Hines, Frank Melrose, Rod Cless, Frank Teschemacher, Lester Young, Eddie Miller, Wellman Braud, George Wettling, Jo Jones, Sidney Catlett, Milt Hinton . . . but I will let you do the research for yourself — in whatever way offers the most satisfying results. I’d rather revel in the actual sounds made by Smith, Sample, Doyle, and Skjelbred on a late November day in 2014.
One of my friends recently asked me what I was doing for Thanksgiving, and I said, “I’m flying to San Diego for a wonderful jazz festival,” and this is why: the San Diego Jazz Fest(all schedules subject to change, but this is a filling menu indeed).
The names you don’t see on the flyer above are Marc Caparone, Kim Cusack, Chris Dawson, Carl Sonny Leyland, Conal Fowkes, Kevin Dorn, Orange Kellin, Tom Bartlett, Duke Heitger, Leon Oakley, Clint Baker, Dawn Lambeth, and many others. I know that some of you will say, with good reason, “That’s too far away,” and I understand that. But if you say, “Oh, that’s just another California trad festival,” I hope you are not within swatting range, for it isn’t. But rather than take this uncharacteristic vehemence as merely the expression of the writer’s personality, look below.
Evidence from November 30, 2014: a small-group session led by Ray Skjelbred, piano and vocal; Hal Smith, drums; Beau Sample, string bass; Katie Cavera, guitar; Jim Buchmann, clarinet and saxello, Marc Caparone, trumpet. I’ve posted other videos from this session, but here are the two that closed it. One lyrical, one steaming.
The first song, ANYTIME, ANY DAY, ANYWHERE, which I associate with Lee Wiley — who recorded it a half-dozen times between 1950 and 1972. Wiley wrote the lyrics; Ned Washington and Victor Young the melody. I suspect that Ray knew it first from the Mills Brothers recording, but perhaps from the Chick Bullock, Ellington, Hackett, or Nat Cole sides, too.
It is one of those rare love songs that isn’t I WISH I HAD YOU or YOU BROKE MY HEART, but a seriously intent paean to fidelity (rather like I’LL FOLLOW YOU, I WOULD DO ANYTHING FOR YOU, or I’D CLIMB THE HIGHEST MOUNTAIN). Yet unlike those two songs, it doesn’t stress super-heroic behavior as testimony of diligent indefatigable fidelity. There are no caveats: “I have to check my calendar. I can’t be devoted to you this Tuesday. How about Wednesday?” There aren’t any mighty distances, rivers, or mountains. The singer simply says, “Ask for me and I’ll be there,” which I find touching. And Ray’s spare, whispered declaration of the lyrics makes it even more so. I don’t hear his singing as evidence of a limited vocal range; rather, he sounds like someone uttering his deepest heart-truths about devotion in the form of a vow. A Thirties pop song about love — what could be more common — that suddenly seems a sacred offering:
From a sacred offering delivered in hushed tones to another song-of-relationships, the critical / satirical NOBODY’S SWEETHEART NOW, which — with lyrics — details the small-town girl who has come to the big city and quickly become unrecognizable. Perhaps she’d come to the South Side of Chicago and started hanging around the Lincoln Gardens? If so, I’d assess her transformation as an improvement. Note the easy hot tempo — that’s no oxymoron — and how Marc Caparone sounds a bit like a holy ancestor from Corsicana, Texas. To quote Ring Lardner, you could look it up. Or you could simply immerse yourself in the video:
Here’s the festival’shome pageand the relevant Facebook page. I hope you’ll heed the siren call of Good Music and join us there. Festivals need more than enthusiastic watchers-of-videos to survive.
I hope I will be forgiven for ending on an autobiographical note. Five years ago, I had some cardiac excitement that was repaired by the best kind of Western medicine: open the patient up and put a little machine in. It works; I’m fine. Ask my electrocardiologist. But when I watch and listen to music at this level — music that I experienced then and have revisited often — I think, “Goodness, I could have died and never seen / heard this,” in a state of astonished gratitude. Not a bad place to be. Rather like the San Diego Jazz Fest.
The paragraph that follows is not for the timid. Years ago, when I first started trading cassette tapes with jazz fanciers who lived far away, I encountered the delightful Bill Coverdale of Naples, Florida — another Joe Thomas enthusiast. A dear man, now passed into spirit. But when Bill wanted to know if I’d liked a particular tape or performance, he would write, “Did that wiggle your stylus?” You’d have to know something about pre-Eighties means of sound reproduction to get the joke . . . but this CD certainly does make for a good deal of wiggling joy.
That says it all, doesn’t it — and with the bonus of a Martin Oliver Grosz cutout collage. But here are the details, so read on.
The selections chosen by the Gentlemen of the Ensemble: Why Couldn’t It Be Poor Little Me? / A Jazz Holiday / Intro to Blue (and Broken-Hearted) / Blue (and Broken-Hearted) / In A Little Spanish Town / Sweet Sue / My Daddy Rocks Me / Prince of Wails / Hold Me / Diga Diga Doo / Forevermore / Rose of Washington Square / How Deep Is The Ocean / A Good Man is Hard to Find / Church Street Sobbin’ Blues / Strut Miss Lizzie / Intro to The Lady in Red / The Lady in Red / Marty talks.
“Tell us a story, Mister Grosz!” Photo by Lynn Redmile
The Gentlemen of the Aforementioned Ensemble: Grosz, g, bj, voc, speech; Andy Schumm, cnt, blue-blowing; John Otto, cl, ts, bari-s; Jonathan Doyle, cl, ts; Dave Bock or “Panic Slim,” tb; James Dapogny or Paul Asaro, p; Beau Sample, bs; Alex Hall, d. 2013 and 2014, Chicago, Illinois.
Marty Grosz is the last of a breed that, were we to be honest, never existed anywhere except in our imaginations. A chordal acoustic rhythm guitarist in the style of Dick McDonough, Carl Kress, Bernard Addison, Al Casey; a ringing banjoist who plays the instrument only under duress; a singer who combines the satire of Fats Waller with the tender croon of Red McKenzie and early Crosby; a sharp-edged raconteur and jazz / pop culture historian; a composer of swing ditties; a first-rate arranger; an adept on-the-spot bandleader, skilled at head arrangements while you wait. He once told a liner note writer (ruefully), “I would have been dynamite in 1933.” The regretful tone of that statement was no doubt because Marty was then 3; he is now 85, which makes us all the more glad to have him with us.
Marty’s most recent CD was, if I recall correctly, done in 2010. With the slow attrition of “record companies,” I am thrilled that this one came out.
A little History, which fans of Marty will already know.
After many years as a respected but under-employed Chicago sideman playing what he likes to call Hot Jazz, alongside Frank Chace, Art Hodes, Don Ewell, Albert Nicholas, and others (even a mysteriously reappearing Jabbo Smith) he became much better-known during his brief tenure with the Bob Wilber-Kenny Davern Soprano Summit (1974-78); he made a few sessions under his own name, both bands and guitar duets; he was then part of the Dick Sudhalter / Dick Wellstood / Joe Muranyi Classic Jazz Quartet. To me, the Great Grosz Period began in 1987, when Bob Erdos of Stomp Off Records began to feature Marty as a leader – songs, personnel, arrangements, encouraging him to record obscure material. From 1987 to 2010, he recorded prolifically for Stomp Off, Jazzology, Sackville, Jump, Arbors, and other labels. Then, as several of those labels closed their doors, there was a long hiatus. I followed Marty, often with camera, and can attest that he had neither staled nor withered.
His most recent recording, DIGA DIGA DOO, is both a celebration of Marty and of Hot. Recorded in 2013 and 2014, it relies on the hot sensation of the Midwest (and many festivals in the US and Europe) THE FAT BABIES, led by string bassist Beau Sample and featuring cornetist Andy Schumm, trombonist Dave Bock, reedman John Otto, drummer Alex Hall, pianist Paul Asaro. For a second session, Marty brought in the eminent pianist / arranger James Dapogny, Marty’s friend “Panic Slim,” trombone, and Austin, Texas, hot reedman Jonathan Doyle.
It is joyous Hot Music of the kind they would have played in Chicago in the Twenties through the Forties, but it is more than a museum piece, a recreation of old records in better sound. The band shines; their rollicking expert energy comes through every track. Schumm, freed of the necessity of Bix-impersonation, growls and saunters; Dapogny offers startlingly original orchestral backgrounds and solos; Otto veers between sweet melodism and Don Murray / Fud Livingston abstractions. And the other members are just as fine. Some of the selections place us firmly in 1928, but others offer intriguing new views of what is considered an old music, for Marty’s imagination also takes in “rhythm ballads” and music that I imagine he might have heard while playing for strippers.
One of the beautiful talents Marty rarely gets credit for is his effective, even when skeletal arrangements. It would have been easy to take this band into the studio and let them jam on familiar tunes, but Marty finds this approach boring and limiting. So – although the spirit of Hot isn’t ever lost – a Grosz session, in the studio or at a jazz party – has a good deal of paper, which works out well. One could profitably listen to any selection on this disc and admire the assignment of solos, the idiomatic backgrounds and riffs, which give a five-minute performance vitality and variety.
Another characteristic of Marty is an almost inexhaustible flow of verbal commentary; on this disc we have a few precious fragments that will let audiences a hundred years from today – should they exist – get a deeper sense of the man singing, playing, and leading.
A pause for candor. Is this the most polished disc that Marty has ever done? No, and at times it must be measured by the standards we apply to live performance rather than the clinical perfection we expect from studio sessions. But these selections are lively and authentic and thus precious. I could list many delights from this disc but will share only one. Listening to DIGA DIGA DOO for the first time, I came to IN A LITTLE SPANISH TOWN – which begins with a syncopated Spanish rhythm and then – after a wonderful string bass break – shifts into completely groovy swing. I think I’ve played that ninety-second passage a hundred times, and I force my friends to hear it, too.
Here it is, courtesy of “Orchard Enterprises,” a company that has now picked and gleaned the best music for free propagation on YouTube. I disapprove of the endeavor but could not resist sharing this performance with my readers in hopes that it encourages actual disc purchases:
More about Marty in an April 2015 article here. And you can see him in full flower at the Allegheny Jazz Party, coming up in less than a month.
I keep returning to a quote from Stephen Sondheim because I find it particularly irksome: he told an interviewer that the late work of great artists (excepting I think Picasso and Stravinsky) was always second-rate. I’d like to lock our Stephen in a room with DIGA DIGA DOO at a medium volume until he recanted.
Both Louis and Bing recorded this wonderfully emotional song in 1931, as did the Boswell Sisters and Sam Wooding. In the decade to come, Red Norvo, Benny Goodman, Jimmy Mundy, Artie Shaw, Roy Eldridge, Coleman Hawkins, Lionel Hampton, Bob Zurke and Joe Rushton, Harry James, Bobby Hackett, Wild Bill Davison, Frank Trumbauer, Teddy Wilson, Art Tatum. And that’s only its first decade, and only those performances that were recorded.
But we are also concerned with the more recent present — since I call this blog, with full intent, JAZZ LIVES. On November 30, 2014, a stellar ad hoc small band under the leadership of pianist, vocalist, composer, and fantasist Ray Skjelbred took the stand at the San Diego Jazz Fest, and performed this song.
Before they begin (after the little whimsical 1938 Carnegie Hall Concert interlude) — you can hear someone, perhaps Marc, warping its title into I SEE RENDERED DEER, but this is America and freedom of speech is said to prevail. The other nobilities on the stand are Hal Smith, drums; Beau Sample, string bass; Katie Cavera, guitar; Marc Caparone, cornet; Jim Buchmann, clarinet and saxello:
The mood, for those who know their antecedents, is more Boyce Brown – Wild Bill Davison (“The Collector’s Item Cats”) than Bing. But for those who haven’t had enough of this lovely song in its natural habitat, here is something rare and, even better, complete. Bing starred in several Mack Sennett shorts early in his career, often appearing as himself and delighting in the slapstick and broad verbal comedy. Here is I SURRENDER, DEAR:
“Lo and behold!” is, by now, an archaic expression by which one refers to something surprising that has happened. In this case, the surprises are all good ones. (The record below belongs to William Berndt, who also took the photo.)
When Andy Schumm (multi-instrumentalist, arranger, composer, bandleader) came to the 2014 Whitley Bay Classic Jazz Party, he brought arrangements with him for a ten-piece band — which would have been a characteristic instrumentation in the late Twenties and early Thirties: three brass, three reeds, four rhythm. At home, Andy and string bassist Beau Sample pilot a hot band called THE FAT BABIES (they’ve made two delightful CDs for the Delmark label and they have a regular gig in Chicago) . . . but the charts Andy brought held no terrors for the international luminaries at Whitley Bay. In addition to Andy, there’s Menno Daams, cornet; Alistair Allan, trombone; Jean-Francois Bonnel, Lars Frank, Claus Jacobi, reeds; David Boeddinghaus, piano; Henri Lemaire, banjo; Malcolm Sked, bass and sousaphone; Josh Duffee, drums. They performed — nobly — a lengthy set of hot music, dance music, an Oriental fox-trot . . . full of surprises, including a new Schumm composition in the best style and many new arrangements of venerable songs. Herewith!
FIVE FOOT TWO, EYES OF BLUE:
BABY (in the Guy Lombardo arrangement, with heat):
SHE REMINDS ME OF YOU (a song associated with Bing):
I WANT YOU, JUST MYSELF (homage to King Oliver with new solos):
CHINA GIRL (the aforementioned “Oriental fox-trot” with a wonderful outchorus):
I WANT TO GO HOME (a Joe Sanders arrangement):
LO AND BEHOLD! (from 1932):
SMILE WHEN THE RAINDROPS FALL (for Stan and Ollie, with a group vocal):
WHEN SHE CAME TO ME (comp. Schumm; manner, Goldkette):
LIVIN’ IN THE SUNLIGHT, LOVIN’ IN THE MOONLIGHT:
And if you’d like to hear more music like this, the Mike Durham Classic Jazz Party is taking place in Newcastle-upon-Tyne, England, November 5-8, 2015.
A postscript. I take public transportation to get in and out of New York City, preferring that to the stress of finding parking for my car. So on the bus and on the commuter railroad, everyone has earbuds firmly mounted. Often I can hear what they are listening to through the earbuds, which means that audiologists will never want for work — but I digress. Whether or not you can make it to Whitley Bay, I would like all my readers who commute to save some of these videos for their trek to and from work. It would please me immensely to think of people on the bus or train happily grooving to BABY or LO AND BEHOLD! Do what you can, please, to help make my hot jazz / hot dance fantasy a reality.
I think my title can be applied many ways, but right now we are talking about music. One of my particular obsessions — and musicians I’ve talked to about this don’t always agree with me — is that tempos gradually increase, and most bands play music far too fast. I hear I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME as a ballad or a rhythm ballad; LOUISIANA as a sultry drag; MEAN TO ME as a lament rather than a romp. (In this, I have noble precedent: think of Louis majestically proceeding through THAT’S FOR ME. And I heard Ruby Braff play I GOT RHYTHM at ballad tempo with unforgettable results.)
Perhaps because of Henry “Red” Allen, many bands play ROSETTA (officially by Earl Hines but the real story is that it was written by Henri Woode) as an uptempo tune. But there are two delightful exceptions to this. One took place during a 1971 concert in upstate New York — led by Eddie Condon, a superb band featuring Bernie Privin, Lou McGarity, Kenny Davern, Dill Jones, Jack Lesberg, and Cliff Leeman. (It’s been issued on Arbors Records under Davern’s name, as A Night With Eddie Condon, so you can hear it yourself.) The band leaps in to the first tune, AT THE JAZZ BAND BALL, and does it with speed and energy. Condon, I think, calls ROSETTA to follow, and Dill Jones, used to playing the song as an uptempo number, starts it off quickly — and Condon stops him, correcting the tempo with a “boom . . . . boom” to a slow, groovy sway. Instructive indeed.
The other example I can offer is more readily accessible, and it started with everyone in a delicious groove from the first notes. I was there to witness, delight, and record it — on November 28, 2014, at the San Diego Jazz Fest. The creators are Ray Skjelbred, piano (who set this fine tempo), Marc Caparone, cornet; Beau Sample, string bass; Hal Smith, drums:
And you might want to know that there is going to be a 2015 San Diego Jazz Fest, Thanksgiving weekend, November 25-29, 2015. I know Thanksgiving seems so far away, but time rushes on.
Find out more here and here. I know that Ray Skjelbred, Marc Caparone, Katie Cavera, Dawn Lambeth, Clint Baker, the Yerba Buena Stompers, Carl Sonny Leyland, Nicki Parrott, Rossano Sportiello, Stephanie Trick, Paolo Alderighi, Miss Ida Blue, Molly Ryan, Dan Levinson, Jonathan Stout, Bob Schulz, Chloe Feoranzo, and many others will be making music there.
In this case, six creative musicians took the stand at the 2014 San Diego Jazz Fest to show us what Swing is, what Hot Music is. Note my choice of tense: wholly the present. And thanks to the magic of video, the future as well.
Before Benny Goodman and Les Paul got to this song, it was a 1919 waltz. But I think of it as a Chicagoan hot classic, which is the way Ray Skjelbred, piano; Marc Caparone, cornet; Jim Buchmann, clarinet / saxello; Hal Smith, drums; Beau Sample, string bass; Katie Cavera, guitar, approach it here. And please don’t turn away to look at Facebook before it’s all over — you’ll miss a two-chorus Rhythm Seminar conducted by Professors Hal Smith and Beau Sample: a graduate degree in Hot.
There are more performances to come from this wonderful sextet, but let me remind you of those I’ve already posted here, and here, and here, and even here.
Aren’t we lucky? These wonderful manifestations of joy and solar power aren’t restricted to San Diego, but I will say that the 2015 San Diego Jazz Fest is going to happen this Thanksgiving weekend, November 25-29, 2015.
Find out more hereand here. I know that Ray, Marc, Katie, Dawn Lambeth, Clint Baker, the Yerba Buena Stompers, Carl Sonny Leyland, Nicki Parrott, Rossano Sportiello, Stephanie Trick, Paolo Alderighi, Miss Ida Blue, Molly Ryan, Dan Levinson, Jonathan Stout, Bob Schulz, Chloe Feoranzo, and many others will be making music there. I’ll be there. You should consider it!
Seriously hot: the Fat Babies take on jazz classics, pop tunes, and obscure delights at the San Diego Jazz Fest (Nov. 28, 2014). They are Beau Sample, string bass; Alex Hall, drums; Paul Asaro, piano, vocals; Jake Sanders, guitar / banjo; Dave Bock, trombone; John Otto, Jonathan Doyle (a guest star from Austin, Texas), reeds; Andy Schumm, cornet, arrangements. They’re a favorite band of mine and they have a loyal following.
A small caveat: You’ll hear some sweetly animated conversation from a few people to my right. I try to regard it as gently surrealistic commentary. I was trained to respect my elders, even when they are oblivious, so JAZZ LIVES listeners bear the burden of my politeness. It’s too late to get annoyed at the audience (very pleasant people). Or me.
Doc Cooke’s HERE COMES THE HOT TAMALE MAN:
Johnny DeDroit’s THE SWING:
From the Perry Bradford and his Jazz Phools book — originally featuring a young Louis Armstrong, LUCY LONG:
Bixiana! OH, BABY, DON’T SAY NO, SAY MAYBE:
More Bixiana! BIG BOY:
Jimmie Noone, Earl Hines, and the mysterious Floyd Mills’ CHICAGO RHYTHM:
A blues made memorable by a Jack Teagarden cornet chorus, IT’S SO GOOD [or, as Michael McQuaid once announced it at Whitley Bay, IT’S NO GOOD]:
A hot Henderson opus, COME ON, BABY!:
A pop tune recorded by Jack Linx and other worthies, OH, ME, OH, MY:
A Twenties pop ballad, SAVE YOUR SORROW:
Jumping forward into wild modernity, Paul pays homage to a delicious Fats Waller record of I’LL DANCE AT YOUR WEDDING:
Tiny Parham’s ROCK BOTTOM (not personally):
THERE’LL BE SOME CHANGES MADE (a little laginappe: a jam session for two reeds — John Otto and Jon Doyle — and the rhythm section):
Good hot sounds. There will be more good music at this year’s San Diego Jazz Fest, which will take place from Nov. 25-29. Details will be available here, and I promise to write more about the Fest as the autumn gets closer.
Better than anything you could buy in a chain drugstore or any prescription pharmaceutical, this will keep the gloomies at bay. Unlike those little pink or blue pills, it lasts longer than four hours and there are no cases recorded of drastic side effects.
One of the highlights of 2014, of this century, of my adult life — let’s not let understatement get in the way of the truth! — was a quartet set at the 2014 San Diego Jazz Fest featuring Ray Skjelbred, piano; Marc Caparone, cornet; Beau Sample, string bass; Hal Smith, drums. I’ve been sharing it one or two performances at a time on JAZZ LIVES in the same way you never want a delicious experience to end.
Here is the quartet’s very groovy, very hot HAPPY FEET (Jack Yellen – Milton Ager, originally from THE KING OF JAZZ):
And since this song “has history,” I offer a few more variations on this terpsichorean theme.
Leo Reisman with Bubber Miley, 1930, at a truly groovy tempo:
Noble Sissle, also in 1930, with the only film I know of Tommy Ladnier:
Frank Trumbauer and Smith Ballew:
and the irresistible 1933 version by the Fletcher Henderson’s band, with specialists Dr. Horace Henderson, Dr. Henry Allen, Dr. Dicky Wells, and Dr. Coleman Hawkins called in:
There’s also a life-altering live performance with Hot Lips Page and Sidney Catlett from the Eddie Condon Floor Show, but you’ll have to imagine it for now.
I hope you’re feeling better, and that your feet and all points north are happier.
In this era of all things made insubstantial, many of us think of communication as somehow bodiless: the tinny voice coming out of the cellphone, the text, the email, the Facebook message. But there’s still mail, and even if you haven’t gotten a handwritten letter or card in years, perhaps you can remember the thrill of going to the mailbox and getting a surprise, a delight, something that made you very happy — whether you opened the envelope right there or waited until you got inside your home. (The endorphin rush that one gets when someone you want to hear from has sent you an email is this century’s equivalent, but it isn’t the same as holding an envelope in your hands.)
ONE SWEET LETTER FROM YOU focuses on someone waiting for that letter, for the Loved One to drop a line of sweet affection. Here it’s played and sung magnificently at the 2014 San Diego Jazz Fest by Ray Skjelbred, piano /vocal; Marc Caparone, cornet; Beau Sample, string bass; Hal Smith, drums:
Dear Ray, those piano lessons weren’t wasted. We bless your parents.