Tag Archives: Clint Baker’s New Orleans Jazz Band

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!

WHEN IN DOUBT, PLAY THAT THING! (March 8, 2020)

From here

to here

is a wonderful wiggly line, elevated by individualism and joy, expertise and passion.

I present here a glorious burst of enthusiasm — in honor of Joe Oliver and Little Louis — created by Clint Baker, trumpet; Ryan Calloway, clarinet; Riley Baker, trombone; Carl Sonny Leyland, piano; Bill Reinhart, banjo; Katie Cavera, string bass; Hal Smith, drums. Jess King also sang, but not on this performance. And late in the video, we have an unscheduled cameo appearance by RaeAnn Berry, the queen of Bay Area videographers. Don’t miss it.

I was privileged to witness and record this on March 8, 2020, at the Jazz Bash by the Bay, Monterey, California.

A postscript, and those who are tired of words on a lit screen have my encouragement to skip it and watch the video again.  The other night, I had an extended telephone conversation with a person who might have become a new friend, who chose to tell me that my emphasis on happiness was inexplicable, because it meant I was ignoring the full range of emotions.  I wish I’d thought to play that person this DIPPER MOUTH BLUES: maybe it would have made tangible some of the things I believe in.  (If art doesn’t evoke feeling, it may be splendid intellectually, but to me it seems incomplete.)  And should you wonder, the conversation is not continuing.  There!  Ruminate on that, if you like.

For now, go and PLAY THAT THING! — whatever shape it might take.  You understand that you don’t need a cornet to be joyous.

May your happiness increase!

TAKE THE SWING CURE, AS PRESCRIBED BY MY MEDICAL GROUP: DOCTORS DURHAM, DONALDSON, KAHN, MOTEN, BAKER, LAMBETH, CALLOWAY, BAKER, LEYLAND, REINHART, KING, CAVERA, SMITH (Jazz Bash by the Bay, March 7, 2020).

Some of the doctors were too busy for photographs, but here are four images of this superb medical group:

Doctors Baker, C.; King; Calloway.

and

Doctors Leyland, Lambeth, Reinhart, Baker, C; King.

and

All this marvelous cure-by-swing took place over several days and nights at the Jazz Bash by the Bay in Monterey, California — a positively elating experience.  Here’s another name for this assemblage of healing, Clint Baker’s New Orleans Jazz Band.  For this weekend, they were Hal Smith, drums; Katie Cavera, string bass; Bill Reinhart, banjo; Jessica King, banjo, guitar, vocal; Clint Baker, trumpet; Riley Baker, trombone; Ryan Calloway, clarinet, and for this set, Dawn Lambeth, vocal; Carl Sonny Leyland, piano.  As Clint explains, this combination of YOU’RE DRIVING ME CRAZY and MOTEN SWING was inspired by a Big Joe Turner recording (BIG JOE RIDES AGAIN, Atlantic) and the blessed Buck Clayton Jam Sessions.  So now you know all  you need.  Prepare to be uplifted. I was and continue to be so.  And I can share more performances by this group.

Keep swinging . . . it’s the opposite of emotional distancing.

May your happiness increase!

MONTEREY DELIGHTS! (Jazz Bash By the Bay, 40th Anniversary Edition, March 5-8, 2020)

It’s never too early to get prepared for joy, especially the varieties that the Jazz Bash by the Bay delivers so generously.  (An All-Events badge is available at a discount before December 31, so if thrift makes your eyes gleam, check here.) Now.

I’ve been attending this March festival every year since 2011 (I missed 2018) and have fond memories.  I could write a good deal about the pleasures of this grouping of musicians and fans, and the pleasures of being able to walk around a truly charming town center . . . or the pleasure of being a guest at the Portola Hotel and Spa, with the music just a trot away, but I will simply direct you to the Bash’s website, where you can find out such useful information as the dates (March 6-8), the band schedule (not available yet), ticket prices, and the bands themselves.

For me, the bands and guest stars are the reason to come to a particular festival, so I will list them here (as of January 2020) so you can see the delights to be had.  First, the Musician of the Year is my hero Marc Caparone, so even though I doubt there will be a parasol-laden coronation, I want to be there to see the rites and praises.  Then, guest stars Bob Draga, Brian Holland, Danny Coots, Dawn Lambeth, Eddie Erickson, Gary Ryan, Jeff Barnhart, Jerry Krahn, and Katie Cavera.  The bands: Blue Street Jazz Band, Bye Bye Blues Boys Band, Carl Sonny Leyland Trio, Clint Baker’s New Orleans Jazz Band, Cornet Chop Suey, Crescent Katz, Don Neely’s Royal Society Jazz Orchestra, Fast Mama Excitement, Holland-Coots Jazz Quintet, Ivory&Gold, Le Jazz Hot, Midiri Brothers, Sierra Seven, Tom Rigney and Flambeau, We Three (Thursday only), Yve Evans and Company, and the Zydeco Flames.

Looking at the 2019 schedule, the Bash offered four simultaneous sessions for full twelve-hour days on Friday and Saturday, and a half day on Sunday . . . one hundred and fifty sessions, including full bands, singers, solo and duo pianos, youth bands, sets for amateur jammers, and more.  Even someone like myself, who doesn’t fell compelled to see and hear everything, finds it a delightfully exhausting experience.  There’s a separate Thursday-night dance and an appearance by We Three, and I quote: “Kick off Jazz Bash by the Bay on Thursday, March 5, 2020, with a big band dance party featuring Clicktrax Jazz Orchestra. Attendees will enjoy danceable swing and traditional jazz at the Portola Hotel and Spa from 7:30 to 11 pm. Admission is $25.00. Also, in a Special One-Night-Only appearance, the hit trio We3 featuring Bob Draga, Jeff Barnhart, and Danny Coots will be playing from 7 to 8:30 pm. Admission is $30.00. Add the dance for $20 more. All tickets can be purchased by phone, mail, online or at the door.”

Did you notice that there is an Early Bird All-Events Badge at a discount if you order before December 31, 2019?  Yes, I repeat myself: details here.

For me, a post advertising a particular festival is not effective unless some musical evidence can be included.  I broke one of my rules — that is, there are musicians in the 2011-19 videos below who do not appear at this year’s Bash, and I apologize to them if anyone’s feelings are bruised.  But I started to go through the 200+ videos I’d posted of various Monterey Bashes, and some of them were do fine that I couldn’t leave them out.  You’ll get a panoramic sense of the wide variety of good, lively, inventive music that happens here.  And each video has a detailed description of who’s playing and singing, and when it happened.

an old song, swung, 2019:

for Django:

Becky and the blues:

the late Westy Westenhofer:

Ivory&Gold (Jeff and Anne Barnhart):

Paolo Alderighi, Phil Flanigan, Jeff Hamilton:

Katie Cavera and the Au Brothers:

Bob Schulz and the Frisco Jazz Band:

Allan Vache, John Sheridan, John Cocuzzi, Paul Keller, Ed Metz:

High Sierra:

Hot Strings at Monterey 2011:

a jam session with Bryan Shaw, Jeff Barnhart, Dan Barrett, Marc Caparone, John Reynolds, Katie Cavera, Ralf Reynolds:

Carl Sonny Leyland, Marty Eggers, Jeff Hamilton, performing Sonny’s composition that insures that no rodents visit the Portola during the Bash:

It might seem a long way away, but it isn’t.  And it’s a truly enjoyable event.

May your happiness increase!

NEW ORLEANS JOYS: CLINT BAKER, BILL CARTER, JIM KLIPPERT, MONTE REYES, BILL REINHART, SAM ROCHA, J HANSEN at CAFE BORRONE (June 6, 2014)

A few nights ago, on Friday, June 6, 2014, Clint Baker and friends turned Cafe Borrone (1010 El Camino Real, Menlo Park, California) into a New Orleans dance hall for two sets from 7:30 to 10 PM. Clint and friends are usually known as Clint Baker and his Cafe Borrone All Stars; for this night, because of so many long-time friends and colleagues gathered together to make music, they were his New Orleans Jazz Band.  Appropriately!

“Hear me talkin’ to you!” Clint, trumpet, vocal; Bill Carter, clarinet, ensemble vocal; Jim Klippert, trombone, ensemble vocal; Monte Reyes, banjo, vocal; Bill Reinhart, guitar; Sam Rocha, string bass, vocal; J Hansen, drums.

PUT ON YOUR OLD GREY BONNET (with ensemble warbling):

CARELESS LOVE:

BUGLE BOY MARCH:

I’M ALONE BECAUSE I LOVE YOU (vocal by Sam):

THE SECOND LINE:

SOME OF THESE DAYS (vocal by Clint):

OLE MISS:

SWEET LOTUS BLOSSOM (vocal by Clint):

ICE CREAM (ensemble chorusing. no artificial ingredients):

“KEEP IT REAL” Bb BLUES:

JUST A LITTLE WHILE TO STAY HERE (that rocking carpe diem):

LADY BE GOOD (with Monte’s justly famous vocal):

A friend gave me a copy of the latest issue of DOWN BEAT — with nice coverage of Eric Alexander, Brian Blade, Sonny Rollins, even a review of a new Bucky Pizzarelli CD.  But no feature on Clint Baker or the wonderful happenings at Cafe Borrone.  Their loss.  What would it take to get DOWN BEAT to come down here? I would buy the reporter a nice plate of polenta, carrots, kale, and cauliflower, or something else from their good kitchen: you have my word.  Until then, if you can get down here, you won’t regret the trip; if it’s too far away, please share this blogpost with people you know who would like it.  Clint and his pals are creating hot, subtle delights regularly — and your attention is perhaps the best tribute.

 May your happiness increase!

FEELING WEARY? THIS SHOULD HELP.

WEARY BLUES, by Clint Baker’s New Orleans Jazz Band, recorded on Wednesday, April 2, 2014, at the Wednesday Night Hop in Mountain View, California.  Clint, trumpet; Jim Klippert, trombone; Bill Carter, clarinet; J Hansen, drums; Sam Rocha, guitar; Bill Reinhart, banjo; Tom Wilson, string bass:

There!  I feel invigorated already.

May your happiness increase!

THE GREAT SIXTEEN: CLINT BAKER’S NEW ORLEANS JAZZ BAND at the WEDNESDAY NIGHT HOP (Jan. 8, 2014)

The inspiration for my title comes from a brief, warm conversation I had with the wonderful clarinetist (also photographer / writer) Bill Carter after this musical evening had concluded.  He smiled at me and said, “Did you get any ones worth posting?”  I grinned back and said, “Only sixteen,” which was a shared joke because the band had played just that number of songs.

I ordinarily post the results of an evening’s musical merriment in shifts, considering that few people have the time or space to watch more than a few videos at one sitting.  But this band was so fine and the dancers so receptive that — in the name of Muggsy Spanier’s RCA Victor record, THE GREAT SIXTEEN — I offer the entirety of the music played at the Wednesday Night Hop at the Cheryl Burke Dance Studio in Mountain View, California, on January 8, 2014.

The noble participants were Clint Baker, trumpet / vocal; Bill Carter,clarinet; Jim Klippert, trombone / vocal; Jeff Hamilton, keyboard; Sam Rocha, string bass / vocal; Bill Reinhart, banjo; J Hansen, drums; Jessica King, vocal.

Thanks to Audrey Kanemoto for unwavering moral guidance.

WEARY BLUES:

I DON’T WANT TO SET THE WORLD ON FIRE:

BOURBON STREET PARADE:

MAKE ME A PALLET ON THE FLOOR:

WHEN I GROW TOO OLD TO DREAM:

BLACK SNAKE BLUES:

HONEYSUCKLE ROSE:

EVERYBODY LOVES MY BABY:

JOE LOUIS STOMP:

DARKNESS ON THE DELTA, sung prettily by Jessica King:

Ms. King stayed on to woo us with EXACTLY LIKE YOU:

SWEET LOTUS BLOSSOM:

TIGER RAG:

WHEN YOU’RE SMILING, explicated by Rev. Klippert:

THE GIRLS GO CRAZY:

I’LL SEE YOU IN MY DREAMS:

A multi-sensory pleasure . . . even better when experienced first-hand. To find out where more fine music is hopping, click here.

May your happiness increase!

“IS IT WARM IN HERE OR IS IT JUST THE BAND?” CLINT BAKER’S NEW ORLEANS JAZZ BAND IN PISMO BEACH, JANUARY 26, 2014 (Part Two)

Loosening our collars and wiping our brows — all in the name of hot music.

Clint Baker’s New Orleans Jazz Band swung out on Sunday, January 26, 2014, at the Central Coast Hot Jazz Society’s concert held in Pismo Beach.  Clint himself played trombone and euphonium and sang.  With him were Marc Caparone, cornet; Mike Baird, reeds; Carl Sonny Leyland, piano, vocal; Bill Reinhart, banjo; Katie Cavera, string bass and vocals; Jeff Hamilton, drums. The wonderful Dawn Lambeth sang a few songs, which you can hear and see here.

If you didn’t make it down to Pismo, here’s the first instrumental set.

And a second helping of delightful music:

William H. Tyers’ PANAMA (with a parasol parade, no extra charge):

Katie Cavera asks, respectfully, WON’T YOU COME HOME, BILL BAILEY?:

Headgear or other clothing optional, but PUT ON YOUR OLD GREY BONNET:

J.C. Higginbotham asks, politely, GIVE ME YOUR TELEPHONE NUMBER:

After the number is received, the proper response might be I WOULD DO ANYTHING FOR YOU (thanks to Alex Hill and Claude Hopkins):

Clint and his bands are active at a variety of gigs and festivals and swing dances.  If you want to experience this hot music for yourself, click  here to plan your next swing outing.

May your happiness increase!

HOTTER THAN THAT! CLINT BAKER’S NEW ORLEANS JAZZ BAND IN PISMO BEACH, JANUARY 26, 2014 (Part One)

It was indeed warm in Pismo Beach, but my title refers to what was happening indoors.

Clint Baker’s New Orleans Jazz Band swung out this last Sunday, January 26, 2014, at the Central Coast Hot Jazz Society’s concert held in Pismo Beach.  Clint himself played trombone and euphonium and sang.  With him were Marc Caparone, cornet; Mike Baird, reeds; Carl Sonny Leyland, piano, vocal; Bill Reinhart, banjo; Katie Cavera, string bass and vocals; Jeff Hamilton, drums. The wonderful Dawn Lambeth sang a few songs, which you can hear and see here.

Here’s another helping of delightful music.

Paul Barbarin’s THE SECOND LINE:

Father Leyland explains it all with BEALE STREET BLUES:

WHEN I GROW TOO OLD TO DREAM:

A special request from Dottie Baird, not to be ignored: WHEN MY DREAMBOAT COMES HOME:

EVERYBODY LOVES MY BABY:

Clint and his bands are active at a variety of gigs and festivals and swing dances.  If you want to experience this hot music for yourself, click  here to plan your next swing outing.

May your happiness increase!

“ON WITH THE DANCE” (Part One): CLINT BAKER’S NEW ORLEANS JAZZ BAND at the WEDNESDAY NIGHT HOP in MOUNTAIN VIEW (Jan. 3, 2013)

How to start the New Year — any New Year — right!  A swing dance with hot music provided by Clint Baker’s New Orleans Jazz Band, with beautiful playing from Clint (trumpet / vocal); Jim Klippert (trombone, vocal); Bill Carter (clarinet); Jason Vanderford (guitar, vocal); Bill Reinhart (banjo), Sam Rocha (string bass), J Hansen (drums).

I had a wonderful time.  Although you can’t see them, the dancers were explosively happy — and I think these video performances will rock and shout their way through the smallest computer monitor, the most tiny speakers.  Or your money back.

AVALON:

SISTER KATE:

WEDNESDAY NIGHT HOP:

SWEET LOTUS BLOSSOM:

DOCTOR JAZZ:

ALL OF ME:

THE SECOND LINE:

BLACK SNAKE BLUES:

DINAH:

Is there anyone finer?  I thought not.

Californians are so lucky — not only for grapefruit trees and Meyer lemon trees, delicious local kale, and Amoeba Music — but they can go to a Wednesday Night Hop more often than I can.  I went to one where Clint’s band (with almost the same personnel) rocked the room — in 2012, and it was memorable indeed.  Part One and Part Two.

Here you can find out information about future Wednesday Night Hops.  (Thank you, Audrey Kanemoto!)

More to come in the second part, once everyone’s computer has cooled down.

May your happiness increase.

A HOT BAND IS GOOD TO FIND (Part Two): CLINT BAKER’S NEW ORLEANS JAZZ BAND at the WEDNESDAY NIGHT HOP (August 1, 2012)

Jim Klippert said it best.  “I always wanted to play with a band like this.”

On August 1, 2012, Clint Baker’s New Orleans Jazz Band rocked the house — the Cheryl Burke Dance Studio in Mountain View, California — at the “Wednesday Night Hop.”

The participants?  Clint on trumpet and vocal; Jim Klippert, trombone; Bill Carter, clarinet; Jason Vanderford, guitar; Bill Reinhart, banjo; Tom Wilson, string bass; Steve Apple, drums.

Here’s where you can find out about future Wednesday Night Hops.

And here’s the first part of the evening.

Now, to the second.  The constant delights were beautiful ensemble energy and precision, wonderful hot playing — passion, relaxation, and intuition — no matter what the tempo.  More than one person let me know that the first set was so entrancingly distracting that it got them off track at work . . . . I have visions of people at their desks all over the world trying hard to stay focused while Sister Kate does her thing . . . . for Clint and his colleagues create music that is deliciously distracting.  Their music is a sure cure for gloom, tedium, ennui, Victorian swoons, pins-and-needles, existential dread, coffee nerves, the blahs, low blood sugar, high anxiety, and more.

SISTER KATE (or, for the archivists in the room, GET OFF KATIE’S HEAD):

Woe, woe.  It’s CARELESS LOVE.  Be careful, now!

Thanks to Puccini, here’s AVALON, not too fast:

For Bix, for Louis, for Papa Joe — ROYAL GARDEN BLUES:

SOMEDAY SWEETHEART:

KNEE DROPS is an irresistible Louis Armstrong song from the Hot Five sessions. For this post, I tried to find more information on what the dance move would have looked like in 1926 . . .but I am not sure that the “knee drop” as practiced in break-dancing and ballet would have been recognized at the Sunset Cafe or other Chicago nightspots:

When in doubt, SHAKE THAT THING (defined loosely):

May your happiness increase.

A HOT BAND IS GOOD TO FIND (Part One): CLINT BAKER’S NEW ORLEANS JAZZ BAND at the WEDNESDAY NIGHT HOP (August 1, 2012)

What happened in Mountain View, California, on Wednesday, August 1, 2012, might have been noted by global weather scientists as the best kind of seismic alteration.  Clint Baker’s New Orleans Jazz Band played two sets for dancers at the “Wednesday Night Hop” held at the Cheryl Burke Dance Studio and they made the cosmos rock — as far as I and the dancers could tell.

The participants?  Clint on trumpet and vocal; Jim Klippert, trombone; Bill Carter, clarinet; Jason Vanderford, guitar; Bill Reinhart, banjo; Tom Wilson, string bass; Steve Apple, drums.

Here’s where you can find out about future Wednesday Night Hops: the street address, the admission cost, directions.

And here’s the first part of the evening.

But a word before you immerse yourselves in the rocking hot sounds.

Some of my nicest readers gently write in, “Michael, you really should have put your camera here or there,” and I try not to let that SHOULD weigh too heavily on me. The gentle suggesters do not realize that I am at these gigs because the band members are generous kind people who put up with my presence and my camera.  But the world is not my personal video studio and I am trying my best to be unobtrusive — not the jazz world’s Erich von Stroheim.

So at Mountain View I could have set up my camera under a huge whirring electric fan (needed to keep the dancers from heatstroke) or over the drums.  I chose the latter and initially I was anxious.  But necessity is not only an inventive mother — sometimes Miss Necessity is a real pal (think of Joan Blondell in the Thirties movies where she tells the naive heroine what really needs to be said).

Setting up close to Steve Apple was a religious experience, for he played with such quiet strength,  such variety of sound and timbre, such deep swing that my vantage point was a true gift.  You can hear how the horns floated on top of and through this blissful rhythm section . . . . and how they mixed 2012 swing with a beautiful New Orleans splendor!  Clint’s solid lead would have made the masters grin; Bill Carter and Jim Klippert weave curlicues and romp on the harmonies in the best way — and those fellows in the back: Reinhart and Vanderford and Wilson would get my vote for Best String Trio anywhere.  The real thing, alive and well.

Clint called DALLAS BLUES to start, which is the hallmark of a man who loves the music — and he had been playing Luis Russell in the car on the way down to Mountain View, always a good idea:

ABSOLUTELY, POSITIVELY is a sweet Jabbo Smith tune that’s getting more play these days (Eddie Erickson does it, too!) — romance in swingtime:

WHISPERING shows, once again, how a band sensitive to the dancers can swing anything:

RED SAILS IN THE SUNSET brings back 1935 Louis (this is a Decca band) and the New Orleans tradition of playing pop tunes rather than sticking to a narrow repertoire of  “good old good ones”: I think of Bunk Johnson preferring PISTOL PACKIN’ MAMA and MARIA ELENA on dance gigs:

EVERYBODY LOVES MY BABY, with the verse — and I swung my camera around to catch the expert hopping of Audrey Kanemoto, our heroine, and Manu Smith.  Watching this video, I thought of the Czech writer Josef Skvorecky, who loved jazz and had been an amateur saxophonist in his homeland under a variety of occupations.  In one of his novels, he has a passage describing playing in a band while the current love of his life is doing a beautiful expert vigorous Charleston to the music.  He would have loved to see this band and these dancers:

There was no beer at Mountain View, although there were Fritos in little bags from the vending machine.  Perhaps that’s why THE BUCKET’S GOT A HOLE IN IT came to mind.  Or perhaps it was time for some Lowdown Groove, which I have not found in any vending machine:

WEDNESDAY NIGHT HOP, a fast blues for the Lindy Hoppers:

I love SOLID OLD MAN — a simple line from the session that Rex Stewart, Barney Bigard, and Billy Taylor did with Django in 1939:

KRAZY KAPERS is, as Clint mentions, a line on DIGA DIGA DOO — recorded first by Benny Carter in 1933 with one of our dream bands, featuring Floyd O’Brien, Chu Berry, Sidney Catlett, Teddy Wilson, Max Kaminsky, Lawrence Lucie, and Ernest Hill.  (Thank you, John Hammond!):

My goodness!  What a hot band!  And there’s more to come.

May your happiness increase.

WHY CURSE THE DARKNESS?

It’s dark in New York.  Daylight seems to get swallowed up every day.  

What to do?

Moving away isn’t an option, and reassurances that we will make it to April seem very thin comfort.  Were I a bear or a squirrel, I could drown my sorrows by stuffing myself with acorns and go hibernate.  But acorns give me indigestion and my college frowns on professors staying home for four months.

The only thing I can do is a jubilant nose-thumbing at winter.  I’ve paid for a seat at a hot jazz extravaganza for March 2011 — DIXIELAND MONTEREY — JAZZ BASH BY THE BAY.  That’s in California, by the way.  (Look at the bright yellow of the Bash logo — that’s much better than a full-spectrum light, isn’t it?)

Dixieland Monterey will take place March 4-6, and will be held at the Portola Hotel and Spa, the Monterey Conference Center and Fisherman’s Wharf.  The Monterey waterfront, I’ve been told, is lovely — and this Bash has been presenting “Dixieland, Big Band, Swing, Ragtime, Blues, and Gypsy Jazz” for more than thirty years.  In addition to the sets by a wide variety of bands, there will be a Swing Dance Party, three afternoon Banjo Jubilees, and a Dance Marathon.

“Well, Michael, who’s going to be there?” I can hear my loyal readership clamoring — on two and four, of course.

How about this list?   

And the website notes that reduced prices will be in effect until the end of 2010.  Better to go to a jazz party than curse the darkness.  I forget: did Eleanor Roosevelt say that or was it Zutty Singleton? 

For more information, check out http://www.dixieland-monterey.com/.  I now have some fun to look forward to . . . it will keep me more cheerful through the darkest days of winter.