Tag Archives: Bix Beiderbecke


There are many ways to honor the tradition, in jazz as well as the other arts.  Let us say you are a young musician who falls in love with an artifact — the OKeh record of TIGHT LIKE THIS by Louis Armstrong and his Hot Five in 1928.  You can use the recorded music as an inspiration to go your own way, to play something that honors Louis but is your own creation.  Or, equally honorable, you can transcribe the recorded evidence, and offer to a new audience a live performance that comes as close to the original as possible, or one that allows for individual variation within the hallowed architecture of the original.

Vince Giordano and the Nighthawks — the great progenitor — and the newer groups such as the Original Cornell Syncopators and the New Wonders follow the latter path gloriously, sometimes recreating and re-enacting, sometimes honoring the original architecture while painting the interior windowsills periwinkle.

From left, Jared Engel, banjo; Joe McDonough, trombone; Jay Lepley, drums; Ricky Alexander, reeds; Mike Davis, cornet, leader; Jay Rattman, bass saxophone; Dalton Ridenhour, piano. Photograph by Jane Kratochvil

There are many ways in which the New Wonders are special.  For one thing, they offer repertoire that has not been overdone — no SINGIN’ THE BLUES, no STRUTTIN’ WITH SOME BARBECUE.  They draw from recordings made by the California Ramblers, the Chicago Loopers, Tiny Parham, Red Nichols, the Goofus Five, and others — wonderful pop tunes that haven’t been played in ages. And they are a great paradox, for their approach is exact (reproducing pieces of arrangements, both instrumental and vocal, that are not easy to do) but loose.  They are not museum curators, but they are not only playing the songs and moving on . . . and there is a spirit of great fun and ebullience without the least mockery or condescension.  A performance or a recording by the New Wonders is a convincing bit of theatre: as if this group of beautifully-dressed young men had come to your house with the sweet notion of bringing 1927 back for a few hours.  And they do it with love: the music can be precise and tender, or hot and bumptious — all in the space of a few songs.

I saw them create such wonders last August in Brice Moss’ pastoralia, and it was memorable, as you can observe here.  But there were limitations to the sound my microphone could capture, and this was the pianoless New Wonders.  So I am delighted to announce their debut CD, titled THE NEW WONDERS, so that no one can mistake it for anything else.  It’s a delightful banquet of sounds from Messrs. Davis, McDonough, Alexander, Rattman, Engel, Lepley, and Ridenhour, as they playfully work their way through FLAMIN’ MAMIE; REACHING FOR SOMEONE; I’M MORE THAN SATISFIED; BONEYARD SHUFFLE; POOR PAPA; I GET THE BLUES WHEN IT RAINS; I’D RATHER CRY OVER YOU; PERSIAN RUG; CLORINDA; I NEED LOVIN’; SMILE, DARN YA, SMILE; JUNGLE CRAWL; I’M WALKING BETWEEN THE RAINDROPS; SHE’S FUNNY THAT WAY; THE BALTIMORE.

I may be accused of ageism, but there is something particularly pleasing to hear these reasonably young (at least to me) musicians immerse themselves in music made by young musicians — an enthusiastic freshness.  And there’s another delightful oddity in the New Wonders’ presentation: the vocal choruses.  In my youth, we made fun of Wes Vaughan, we lifted the needle over Irving Kaufman (unless there was a hot obbligato) and in general, we waited for Bing to come along and make everything all right.  Four members of The New Wonders sing (Lepley, Rattman, Alexander, and leader Davis) and they do it splendidly, not only in solo — verse as well as chorus — but in reproducing the intricate vocal parts from the Chicago Loopers date, CLORINDA and I’M MORE THAN SATISFIED — with great style, earnest without being stiff.  Replaying this disc, I found myself looking forward to those beautifully-executed vocal outpourings, and I think you might share my pleasure.

Al fresco, August 2017

Here you can find out more about Mike and the band, and here is the band’s Facebook page.  And . . . . here is the CDBaby page for the new CD.

But the best way to buy a band CD is at the gig — maybe you’ll get it signed, and you have the direct economic transfer of giving money to the musicians who have just played for you, so here is the event page for the New Wonders’ CD release party — Tuesday, March 13, 2018, from 8-10 PM at Norwood, 241 W 14th St, New York, New York 10011.  Mike points out, “Norwood is a members-only club. In order to attend this event all tickets must be purchased in advance. NO tickets will be sold on the premises.”  And I won’t be able to make this gig, so those of you who are waiting for more videos might have to be in attendance, if possible.  It will be Wonderful.

May your happiness increase!



The Original Cornell Syncopators, relaxing at the 2017 San Diego Jazz Fest.

They’re college students — 20 and 21 — they’re very intelligent and enthusiastic — and they play a kind of hot jazz that’s rarely heard these days.  And they play it with love. They’re the Original Cornell Syncopators, led by multi-instrumentalist Colin Hancock.  This is their five-piece incarnation, with Colin on cornet and vocal, Hannah Krall on clarinet and saxophones, Rishi Verma on trombone, Amit Mizrahi on piano, and Noah Li on drums.  For this Sunday afternoon set at the San Diego Jazz Fest, they were also graced by Katie Cavera, banjo and vocal, who has graduated from her own college and now teaches by exuberant example.

The Syncopators have a special place in my heart because they are exploring different areas of hot improvised jazz that are usually neglected.  I revere Louis, but this band is curious about kinds of hot jazz that are not heavily Louis-influenced; they often concentrate on bands from the Middle West: all of this is enlightening and their playing has that delightful youthful zest, the way the music must have sounded when it was brand-new, say, in 1924.







Here ‘s a very recent profile of leader Colin Hancock, an intriguing artist and a good fellow in the bargain.  And here is the band’s Facebook page.  The band has just released its debut CD — the cover below — which offers not only the quintet but the twelve-piece dance band and several other combos in between.  I’ve heard a few tracks and it’s marvelous.  So far, I think it is available on Spotify and iTunes, and a physical disc is in the works.  Details here.

I admire these young musicians tremendously, and think you will also.

May your happiness increase!

MARTY GROSZ’S “BIXIANA”: “I’M LOOKING OVER A FOUR-LEAF CLOVER” (Jazz at Chautauqua, September 2011)

Days gone by, but not days beyond recall — afternoons and evenings in September 2011 at the Athenaeum Hotel in Chautauqua, New York — for the late Joe Boughton’s annual jazz weekend.  Because I am feeling more than a little melancholy at the news of the end of the Cleveland Classic Jazz Party, I thought I’d share some music from the glory days — to ease the feelings.

Here is one stomping example of the goodness that I was privileged to witness from 2004 to 2017.  It comes from a Marty Grosz set devoted to songs associated with Bix Beiderbecke, performed in styles he wouldn’t necessarily have known.  (Marty’s opening interlude reminds me pleasantly of Alex Hill’s MADAM DYNAMITE, recorded two years after Bix’s death.)

The band includes Marty, guitar and inventive arrangements; Andy Schumm, cornet; Dan Block and Scott Robinson, reeds; Dan Barrett, trombone; Jim Dapogny, piano; Jon Burr, bass; Pete Siers, drums, performing a song I know from the Goldkette Victor — a song of romantic optimism that is perhaps now best known in the banjo-and-let’s-all-sing genre, but it gets up and moves around nicely, not only because of the hot solos, but because of the truly varied and rich arrangement:

“We’ll always have Chautauqua.  And Cleveland,” says some famous film actor.

May your happiness increase!


The days are getting shorter, darker, and cooler.  There’s little that I can do to combat this, but I offer this third part of a glorious August afternoon as a palliative for the descent into winter.

Thanks to the energetic Brice Moss, I was able to attend and record a lovely outdoor session featuring The New Wonders — Mike Davis, cornet, vocal, arrangements; Jay Lepley, drums; Jay Rattman, bass saxophone and miscellaneous instrument; Joe McDonough, trombone, Ricky Alexander, reeds; Jared Engel, plectrum banjo.  There’s group singing here and there, which is its own idiomatic delight.  This is the third of three posts: here is part one, and here is part two — both segments full of wondrous hot music.

And now . . . . a Hot one in Hot slow-motion, no less steamy — NOBODY’S SWEETHEART:

Did someone say “The Chicago Loopers”?  Here’s CLORINDA, with vocal quartet:

A serious question for sure, ARE YOU SORRY?

Another paean to the South from songwriters who may have gone no deeper than Battery Park, THAT’S THE GOOD OLD SUNNY SOUTH:

We’d like it to be a valid economic policy — THE BEST THINGS IN LIFE ARE FREE:

DEEP BLUE SEA BLUES, with a surprising double for Jay Rattman:

Who needs an umbrella?  I’M WALKING BETWEEN THE RAINDROPS:

and an emotional choice, I’D RATHER CRY OVER YOU:

Deep thanks, as before, to Brice, family, friends, and to these splendid musicians, for making an Edenic idea come to life.

And I don’t have the delicious artifact yet, but The New Wonders did and have finished their debut CD.  I am willing to wager that it will live up to the band name.  Details as I know them.

May your happiness increase!


On August 20, 2017, there was a return to Eden.  It didn’t make the papers, possibly because social media wasn’t attuned to hot jazz in bucolic settings (Brice Moss’s backyard in Croton-on-Hudson) but it still felt Edenic, thanks to the New Wonders (Mike Davis, Jared Engel, Jay Lepley, Joe McDonough, Ricky Alexander, and Jay Rattman) and thanks to generous fervent Brice, of course, and Anne, Aubrey, Odysseus, Liana, Ana, and Chester.

This is the second part of the great revelation: the first part is here.  I urge you to visit that first part — not only to hear more splendid music in the most welcoming surroundings, but to read the enthusiastic words Brice has written about this band.  And the proof is in every performance by the New Wonders.

AIN’T THAT A GRAND AND GLORIOUS FEELING, courtesy of Annette Hanshaw:

Tiny Parham’s JUNGLE CRAWL:

A very successful experiment.  The pretty LOVE WILL FIND A WAY, by Noble Sissle and Eubie Blake (from SHUFFLE ALONG) reimagined as if Bix and His Gang had performed it:

Not a suggestion, but a command: SMILE, DARN YA, SMILE:

And a serious request: I NEED LOVIN’:

For Red, Miff, and Fud: HURRICANE:

What they used to call Orientalia, PERSIAN RUG, with a completely charming vocal from Mike:

There will be a Part Three, joyously.  Have no fear.  And soon, I am told, the New Wonders’ debut CD will appear.

May your happiness increase!


Some decades ago, when there were “public” and “private” subjects, people did not speak boldly of bodily functions.  But money was there to be made from people’s distress, so we had IRREGULARITY as a euphemism:

If your child was irregular:

The same problem for the grown-ups:

You understand.  As did Louis.  I’m a big fan of peristalsis.

But being EarRegular is a higher state of being, one we should all aspire to, and it has nothing to do with what has to be performed in private.  In fact, true EarRegularity is performed in public, generously, by the wonderful people who make music at The Ear Inn (326 Spring Street, Soho, New York) every Sunday night from 8-11 PM.

Here are three beautiful examples from the evening of August 13, 2017 — Jon-Erik Kellso, trumpet; David Sager (visiting from D.C.), trombone; John Gill, banjo; Brian Nalepka, string bass.  (If you hear howling from somewhere in these videos, don’t be afeared: that’s only our friend Barry Foley getting ready for Halloween, several months early.)

Handy’s BEALE STREET BLUES — with gorgeous mutations from Jon and the sound you don’t always hear trombonists utilize, harking back to Jimmy Harrison and Benny Morton, from David.  And I can’t ignore the candid eloquence of Messrs. Gill and Nalepka, reminding us of what acoustic playing sounds like:

Another good old good one, AT THE JAZZ BAND BALL:

And finally, a rousing SAN:

I’m afraid you cannot go to your friendly pharmacist and say, “What do you have to make me EarRegular?” because she may not know of the goal you aspire to.  But you can go to The Ear Inn on Sunday nights and get fixed right up — no co-pay, no need to show your insurance card.  Just put some good paper in the tip pumpkin (“Phillup deBucket”) and you’ll feel better.  Fast.

May your happiness increase!


Some people make great art happen without ever picking up an instrument, and Brice Moss is one of them.  I first met him at a concert of Mike Davis’ band, The New Wonders, in downtown Manhattan, about eighteen months ago.

Brice is very friendly and articulate, tall and beautifully dressed, but what’s more important is that he is a card-carrying Enthusiast for Twenties hot jazz.  And although he loves the recordings and lives to go see and hear the best hot bands, he does more than that.  Evidence below.

A Brice Moss lawn party, a few years back, with Vince Giordano, Andy Stein, Evan Arntzen, Jon-Erik Kellso, Harvey Tibbs, and Ken Salvo.

Brice gives yearly lawn parties where his favorite bands play.  I asked him to say something about his generosity-in-action, and he wrote, “I work in social service, in the not-for profit sector, so even with saving up, I can only do these every year or so.  I can think of no more joy-inducing way to spend my meager dough than by hiring the world class musicians we are lucky to have in our vicinity.  As does everyone else, I love the Nighthawks, whom my parents saw weekly since the seventies.

I am smitten by Mike Davis and his guys too.  Mike always sings the lyrics, often including introductory verses I had never heard before.  They do wonderful vocal harmonies.  They are intimate, understated, true to the period and despite differences of instrumentation, very true to the original recordings of the tunes. Pure delight!  This is the fourth time I’ve been lucky enough to be able to bring a band up.  Last year was Mike and The New Wonders as well. The summer before that was a subset of the Nighthawks.  I have also, a couple of years back, had a New Year’s Eve party where I was fortunate to have Vince, Peter Mintun, Mark Lopeman, Bill Crow, and Andy Stein.”

So this summer, when Brice invited me to come up to his lawn party (at a location alternatively identified as Croton-on-Hudson, Yorktown Heights, or Ossining — depending on the whims of your GPS) I was eager, especially when he said the band would not object if I brought my camera.  I thus had the odd and splendid experience of being able to hear and see hot jazz out-of-doors in the most gorgeous pastoral setting.  I also got to meet Brice’s quite delightful family: his mother Anne; son Odysseus; his daughter Aubrey; his sister Liana.  In addition, I got to chat again with Ana Quintana, and petted the New Wonders’ mascot, Chester.

And there was glorious music by Mike Davis, cornet and vocal; Jay Lepley, drums; Jared Engel, banjo; Jay Rattman, bass sax and miscellaneous instrument; Ricky Alexander, reeds; Joe McDonough, trombone.  (Mike also sings splendidly — earnestly but loosely — on many tracks, and there’s also band vocals and band banter.)

The band takes its name from a particular line of instruments manufactured by the Conn people in the Twenties, and Mike plays a Conn New Wonder cornet.  The New Wonders stay pretty seriously in the Twenties, offering pop songs of the day, jazz classics — both transcribed and improvised on — and homages to Bix and Tram, Paul Whiteman, Cliff Edwards, the California Ramblers, Red Nichols and Miff Mole, and more.

A great deal of beautifully-played hot jazz was offered to us that August afternoon.  Here are the first seven tunes, one for each day of the week.

I GET THE BLUES WHEN IT RAINS (fortunately, this song title did not come true at Brice’s party):

THAT’S MY WEAKNESS NOW (with the verse and a second chorus and a third — how much music the New Wonders can, like their ancestors, pack into three minutes):

MY GAL SAL (thinking of the pride of Ogden, Utah):


ONE LITTLE KISS (their homage to Cliff Edwards and the Eton Boys, nobly done):

TAKE YOUR TOMORROW (thinking of Bix and Tram):


There are two more lavishly Edenic segments to come.  Not blasphemous, just paradisical.

May your happiness increase!