Tag Archives: Connie Jones

THE LESSONS OF THE MOST HUMBLE MASTER

Lessons for everyone, not only musicians.

Connie and Tim Laughlin at the San Diego Jazz Fest

I will write few words because Connie Jones is so much more eloquent.  Thanks to Joel Albert for photographing this at the New Orleans Traditional Jazz Camp, Banu Gibson’s dream, and for sharing it with us:

“There was just the way [Connie] played”:

And we can learn from Connie the way Ed did.

“Here’s one of the good old good ones that musicians all like to jam . . . the ROYAL GARDEN  BLUES!”  From the San Diego Jazz Fest, November 30, 2014, you can hear Connie, Tim Laughlin, Doug Finke, Chris Dawson, Katie Cavera, Marty Eggers, Hal Smith.

What are the lessons of the Master?

Humility before the Music.  Devotion to one’s Art.  Honoring the tradition and honoring one’s Self.  Willingness to work to create Beauty.  Actions more than words.  “I cannot be alive without hearing a melody.”  It’s all about love, which should be evident, and it’s a living, life-long focus on what’s important.

Bless the humble Master Connie Jones, who blesses us.

May your happiness increase!

SOLITUDE, THEN RUSHING WATER: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (November 30, 2014)

I am not a certified Hoarder, although perhaps someone scrupulous would look at the books and music in the room I’m writing this in and say otherwise.  (I like clear paths in and around objects.)  But if I am guilty of Hoarding, it would be of video recordings of performances by the Tim Laughlin – Connie Jones All Stars, such as the two that follow, recorded at the San Diego Jazz Fest in November 2014).  You’ll understand why evidence of this magical orchestra is precious to me in about four bars.  Melodic, gentle, intense, swinging.  Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums.

Irving Berlin’s ALL BY MYSELF:

and the folk-tinged favorite, DOWN BY THE OLD MILL STREAM:

This band won’t come again, but if JAZZ LIVES’ readers want to see and hear more, all that is needed would be to type in “Tim Laughlin” and “Connie Jones” into the magic Search box, and the whole day could be deliciously spent on things more uplifting than the news.  And . . . Tim, pianist David Boeddinghaus, and Hal have recently created the second volume of Tim’s “Trio Collection,” which I am told will soon be available to the eager public, of whom I am one.

May your happiness increase!

GOIN’ TO SAN DIEGO (The San Diego Jazz Fest, November 23-27, 2016)

california-here-i-come-eddie

Why, you ask?  Why would a reasonably stable person spend most of a day traveling across the country on Thursday and then do the same on Sunday night? The answer is the 37th San Diego Jazz Fest, which runs from November 23 through the 27th.  Many of my friends — musical, personal, and both! — will be there.  (Facebook page here).

Here’s a sample of what happened in November 2015:

and in 2014:

a day earlier in 2014:

and in 2013:

Optimism in 2012:

and a feature for the rhythm section in 2012.

Tim and Connie won’t be there this year — Connie has retired from playing, alas — but these videos sum up what I find most endearing about the Fest.  There’s nothing like it.  And it’s worth sitting in seat 7C, coming and going.  I assure you. And here is the schedule: if you can’t find something / someone to listen to, you might not be trying at all.

And, as a joyous bit of laginappe, here is a Frolick from Dixieland Monterey 2011 (John Reynolds, ever polite, calls this song, CALIFORNIA, HERE I BREATHE HEAVILY):

Dixieland Monterey is no more.  You — yes, you — are essential to keeping these mammoth enterprises afloat.  But you know that.

May your happiness increase!

 

SWEETLY IN BALANCE: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, JIM BUCHMANN, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (November 29, 2014)

COSMIC HARMONY

I once read a Persian poet on music.  The translation ran, “Melody is the song the universe sings to us, harmony the beautiful twining-together of many songs, and rhythm is the universe’s heartbeat echoed in our own.”  Although that poet lived and wrote perhaps five hundred years before the 2014 San Diego Jazz Fest, I am sure that he would have agreed that the performances I offer you today exemplify those words.

TIM CONNIE YouTube

They come from the final set of the Tim Laughlin – Connie Jones All Stars with the addition of clarinetist Jim Buchmann for several numbers.  That’s Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

Here is the full band for AS LONG AS I LIVE:

Then, two clarinets plus rhythm for THE ONE I LOVE:

Another helping of that nice combination for IT’S THE TALK OF THE TOWN:

And the ensemble for a Bobcat-inspired SPAIN:

May your happiness increase!

POUR MONSIEUR BECHET: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH (San Diego, Nov. 30, 2014)

The great man himself, signing a promotional postcard, in 1955 or 56:

Bechet postcard front

and the other side:

Bechet postcard back
Honoring Sidney, these great lyrical artists, November 30, 2014, at the San Diego Jazz Fest:

An absolutely exquisite rendering of SI TU VOIS MA MERE, Bechet’s paean to maternal love and memory, here performed by Tim Laughlin, clarinet; Connie Jones, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

I look forward to seeing Tim at the Steamboat Stomp, later this month.

May your happiness increase!

CLARINETITIS: TIM LAUGHLIN, JIM BUCHMANN, DAVE BENNETT (November 29, 2014)

AVALON, “composed” in 1920 by Al Jolson and Vincent Rose, owed so much to a Puccini melody that Puccini’s publishers sued and won.  Thanks to Chris Tyle for the facts here.

AVALON sheet

Between 1920 and 1937, AVALON was a popular composition recorded by Red Nichols, Isham Jones, Coleman Hawkins, the Quintette of the Hot Club of France, Jimmie Lunceford, and others.  In 1937, Benny Goodman featured it as a quartet number (with Teddy Wilson, Lionel Hampton, and Gene Krupa) in the film HOLLYWOOD HOTEL — also recording it for Victor, performing it in 1938 at his Carnegie Hall Concert.  Benny performed it hundreds of times in the next half-century, and a performance of that song has been a way for contemporary clarinetists both to salute him and to dramatize their aesthetic kinship with him.

AVALON label

As a delightful point of reference, here is the 1937 Victor, a lovely performance by four men clearly enjoying themselves expertly:

That recording is, in its own way, a joyous summit of swing improvisation.

On November 29, 2014, at the San Diego Jazz Fest, Tim Laughlin (leading his own New Orleans All-Stars with Connie Jones) had already invited clarinetist Jim Buchmann to join him for a few songs.  Then, Tim spotted clarinetist Dave Bennett and urged him to join in.  I thought that AVALON might be on the menu for three clarinets. Not that Tim is in any way predictable, but AVALON is familiar music — with known conventions — in the same way that a group of saxophonists might call WOODSIDE or FOUR BROTHERS — music that would please the crowd and the route signs are all well-marked.

Connie Jones and Doug Finke sat this one out, but Connie’s delighted reactions mirror every nuance of the music.

The other members of this band: Chris Dawson, piano; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums, are deeply immersed in both the tradition of Goodman AVALON’s and how to make it alive at the moment — Chris and Hal create their own variations on Wilson and Krupa most beautifully.

This one’s for my friend Janie McCue Lynch, and for students of the Swing School everywhere.

(For those correspondents who say “This is TOO Swingy!” in the tone of voice one would discuss a contagious disease, you are exempt from watching this.  But you’ll miss deep joy.)

See you all at this year’s San Diego Jazz Fest: we’ll all gather.

May your happiness increase!

THE ARTS OF MELODY: CONNIE JONES, TIM LAUGHLIN, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH (San Diego Jazz Fest, November 29, 2014)

TIM CONNIE large

There is an art to playing melody so that it soars, so that the performer, the notes, and what we sense of the composer’s mood and intentions are all one, as if the performer was subtly lifting the melody upwards so that we could admire it as we had never been able to before.

There’s the equally subtle art of melodic embellishment: improvising around and through that melody to make it shine more brightly without obscuring it.

Bobby Hackett, who not only knew these arts but embodied them, said after hearing Louis Armstrong, “Do you know how hard it is to make melody come so alive?”

And Goethe wrote of “thou holy art,” though he never made it to a jazz festival.

Here is a gloriously eloquent example of melody-making by a group of masters: Tim Laughlin, clarinet; Connie Jones, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums, performing at the San Diego Jazz Fest on November 29, 2014.  The text they chose is Hoagy Carmichael’s plaintive NEW ORLEANS:

What marvels.  It takes lifetimes to learn how to do this, and then a quiet determination to be able to do it in public, courageously and with love.

And — as a postscript — if you’ve never heard the FAREWELL BLUES to which Tim refers (it preceded this performance) it would be cruel to deny you this rocking, melodic pleasure:

May your happiness increase!