Tag Archives: Connie Jones

FRENCH QUARTER WEST: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, MARTY EGGERS, KATIE CAVERA, HAL SMITH at the SAN DIEGO JAZZ FEST (Nov. 29, 2014)

I was perusing Facebook today (face it, I’m hooked) and saw this entry from the splendid string bassist Ed Wise, which I reproduce in part:

Friday, April 10
French Quarter Festival
with Connie Jones’ Crescent City Jazz Band (Tim Laughlin, Bob Havens, Otis Bazoon, David Boeddinghaus, Bryan Barberot and, of course, yours truly.)
Jackson Square
11:00 a.m.

It was and is probably very ungenerous of me, but I got upset . . . for purely selfish reasons.  “How could that beautiful band be playing there without me?” I of course realized this both vain and silly: beautiful music goes on all the time, the swing tree falling in the forest without Michael to video it, but still I felt deprived.

And then I realized, and spoke to myself in the gentle interior monologue I try to cultivate: “Hey, you have many beautiful videos of Connie and Tim from the 2014 San Diego Jazz Fest.  Why not post one of them as your own French Quarter Fest?”

And here we are:

That’s Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, rhythm guitar; Marty Eggers, string bass; Hal Smith, drums. Glorious.

And don’t get upset that the song is called FAREWELL BLUES.  This music isn’t saying good-bye any time soon.

May your happiness increase!

 

HONORING “THE DEAR BOY”

Today, March 10, is the birthday of Bix Beiderbecke, someone I’ve admired since my childhood.  This composition, AT THE JAZZ BAND BALL, always makes me think of him.  Here’s a lovely hot version from Tim Laughlin and Connie Jones (clarinet and cornet, respectively) recorded at the 2014 San Diego Jazz Fest — with the noble assistance of Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums:

And “the dear boy” is what Louis called him, many years later.

May your happiness increase!

“IT’S WONDERFUL”: CONNIE JONES, TIM LAUGHLIN, CHRIS DAWSON, DOUG FINKE, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (November 28, 2014)

In my dictionary, “Connie Jones” and “it’s wonderful” are synonymous.  Please listen, watch, and admire:

I also like very much that the title of this song Stuff Smith, music; Mitchell Parish, lyrics) is precisely my reaction to it.

The warm delicacy of this performance, from first note to the coda, is superb.  The players, besides Connie, are leader Tim Laughlin, clarinet [who always creates a dear atmosphere where tender music is not only possible but inevitable]; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

Thanks to the San Diego Jazz Fest for making such beautiful music available to us!  And thanks to Connie’s family in the audience — including that brand-new great-grandbaby — and Duke Heitger, who all act as smiling inspirations.

And for the scholars in the audience — this performance is of course an evocation (not a transcription) of the wonderful one created by Bobby Hackett and Jack Teagarden for the Capitol recording issued as JAZZ ULTIMATE.

It’s wonderful.

May your happiness increase!

A WARMING TREND: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, MARTY EGGERS, KATIE CAVERA, HAL SMITH at the SAN DIEGO JAZZ FEST (Nov. 28, 2014)

As I write these words, it is once again snowing in New York.  This calls for drastic measures.  More than a snow shovel or ice scraper, more than a down parka or silk underwear.

I need to heat things up.  And I know just the source of gentle but persuasive warming:

Just as a public service, I will point out that the song is the venerable yet still very lively JAZZ ME BLUES, played here on November 28, 2014, at the San Diego Jazz Fest, by a collection of swing superheroes: Tim Laughlin, clarinet; Connie Jones, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

If every JAZZ LIVES reader now enduring a cold climate would turn the volume up and open a window, I believe we would have the best kind of global warming, with no deleterious side effects.  Or if that theory does not appeal, I suggest you do what I’ve been doing — playing this performance over and over, admiring its broad structure and many subtleties.

May your happiness increase!

“FINE, WONDERFUL, PERFECT!”: MORE FROM CONNIE and TIM at SAN DIEGO (November 2014)

Eddie Condon told the story of watching Fats Waller get a band together for the MINOR DRAG / HARLEM FUSS session, and that Fats’ response to an idea that pleased him was “Fine, wonderful, perfect!”  (although each word may have had its own exclamation point).

FWP might never become my new acronym for sheer bliss, but it will do for the music that Connie Jones and Tim Laughlin created at the 2014 San Diego Jazz Fest.  I posted two sublime performances a day or two ago, and bowing to popular demand (my own and others’) here are a few more.  Rich and rare!

These are the two final performances Tim’s New Orleans All Stars created for us on their closing set of November 30, 2014 (the NOAS were Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums).

An easy but soaring IDA (for Auntie):

And something for the Swing Ironists, CALIFORNIA HERE I COME:

Wondrous.

May your happiness increase!

ROMANTIC SWING: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH (San Diego Jazz Fest, Nov. 30, 2014)

Here is an endearing  favorite — and a rare song, a beautiful “rhythm ballad” in the best style, a superb band, echoing Louis . . . I don’t want anything more than this.

The song,to give it its full title, is WAS I TO BLAME FOR FALLING IN LOVE WITH YOU?  But — rather like WHAT CAN I SAY, DEAR, AFTER I SAY I’M SORRY — the title gets split in two.  When Louis recorded it in 1935, very early in his Decca contract, it was called FALLING IN LOVE WITH YOU — and the composers are Victor Young, Newman or Neuman, and Gus Kahn. An online source says the song goes back to 1932, and “M. Neuman” is really a pseudonym for Chester Conn.  I leave such matters to better researchers, and say only that I’ve never seen a copy of the sheet music.  But my hypothesis is that if Louis was handed a song with this title, written by Victor Young and Gus Kahn, he would have been interested in it.  Or perhaps he heard it on the radio and his deep romanticism was stirred.  We don’t know, but his performance is inspiring.  (You can search it out on YouTube at your leisure, as well as a a later homage by Ruby Braff.)

But my delight is to offer you this twenty-first century version by some Masters of Romantic Swing, recorded on November 30, 2014, at the San Diego Jazz Fest — Tim Laughlin, clarinet; Connie Jones, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums:

I could write at length about the beauties of this performance, but I will point out only the deep love of melody, the subtle flow of the rhythm section, the individual sounds of each soloist, the use of space, the new melodies created. All delicate and purposeful at the same time.  Bless these artists.  They so generously bless us.

May your happiness increase!

DREAMS COME TRUE: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH (San Diego Jazz Fest, Nov. 30, 2014)

In the early nineteen-thirties, Edgar Sampson (alto saxophone, composer, arranger, lyricist) wrote an irresistible song which he called IF DREAMS COME TRUE.  Benny Goodman’s name is on the sheet music, but I take that as evidence of the repellent practice of bandleaders and stars “cutting themselves in” on royalties for a composition they had nothing to do with in exchange for performing it and recording it.  Many beautiful recordings of this song — James P. Johnson’s, Billie Holiday’s, and Chick Webb’s come to mind.

Here is a contemporary version by some Masters of their Art (my posting inspired by Scott Ricketts) recorded on November 30, 2014, at the San Diego Jazz Fest — Tim Laughlin, clarinet; Connie Jones, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

To me, it is the very epitome of floating swing lyricism — a leisurely cross-pollination of the Bobcats and a Teddy Wilson small group, a triumph of sweet individualism in this century:

I have only one problem with the song’s title, and it is a semantic one.  The song exists in the fragile realm of the doubtful, the conditional.  Dreams may come true but we aren’t at all sure.  Even changing it to WHEN DREAMS COME TRUE puts the happy consummation somewhere in the indistinct future.

Let’s be bold.  When Connie and Tim lead this band, DREAMS COME TRUE.  I will brook no arguments on this.  I know that they did and do for me, and for many in the audience.

May your happiness increase!