Tag Archives: Danny Coots

PISMO JOYS (Part Three): “GEORGE’S ALL-STARS”: BOB SCHULZ, BRANDON AU, ADRIAN CUNNINGHAM, BOB DRAGA, JASON WANNER, LARRY SCALA, KATIE CAVERA, DANNY COOTS (October 26, 2018, Jazz Jubilee by the Sea)

Even more fun from the 2018 Pismo Jazz Jubilee by the Sea — two delightful performances from a Condonian ad hoc ensemble (never before and never again) assembled by George Smith, jazz musician, enthusiast, benefactor, and former director of the festival, someone who’s still deeply involved and makes good music happen.

Here are the two closing performances from “George’s All-Stars,” an old-fashioned group of hot individualists skilled at blending their individual sounds and styles into a band, Condon style.  From the back (for a change) it’s Danny Coots, drums; Katie Cavera, string bass; Larry Scala, guitar; Jason Wanner, piano; Bob Draga, clarinet; Adrian Cunningham, clarinet and tenor; Brandon Au, trombone; Bob Schulz, cornet, vocal.

First, the venerable yet heated I FOUND A NEW BABY:

and the Alex Hill-Claude Hopkins I WOULD DO [MOST] ANYTHING FOR YOU:

Wasn’t that nice?  Thanks so much, Mr. Smith.

May your happiness increase!

Advertisements

PISMO JOYS (Part One): “LARRY, DAWN, and FRIENDS”: LARRY SCALA, DAWN LAMBETH, MARC CAPARONE, BILL BOSCH, DANNY COOTS (October 26, 2018, Jazz Jubilee by the Sea)

Only a few days ago, I had my first immersion in the pleasures of Pismo — not the sunsets or the salt-water taffy, but the musical joys of the Jazz Jubilee by the Sea, which combines congenial people and seriously uplifting music.

What finally got me to Pismo (aside from the immense kindness of Linda and John Shorb and other helpful folks) was the chance to hear and see some friends and heroes in new combinations: Larry Scala, guitar; Dawn Lambeth, vocals; Marc Caparone and Danny Tobias, cornet and trumpet; Dave Caparone, trombone; Carl Sonny Leyland, piano and vocal; Danny Coots and Jim Lawlor, drums; Steve Pikal and Bill Bosch, string bass; Katie Cavera, guitar and vocal; the Au Brothers; and — new to me in person — the Shake ‘Em Up Band and Jeff Beaumont’s Creole Syncopators.  She didn’t play an instrument, but I was also able to be dazzled by my Facebook friend Brettie Page.

But first on my list was “Larry, Dawn, and Friends,” a group that delighted me throughout the weekend.  Readers will know how much I admire Dawn Lambeth, Marc Caparone, and Danny Coots, but it was a pleasure to see Larry — with his nice mixture of the blues, Basie, and Charlie Christian — lead a small group.  His long-time friend Bill Bosch also impressed me because Bill is a purist who plays without amplification and has a lovely sound.

Here are three highlights from the first set I caught.  First, the rarely-played swing tune COQUETTE, yes, by Carmen Lombardo:

Dawn’s lovely version of the Gershwins’ THEY CAN’T TAKE THAT AWAY FROM ME:

And a lightly swinging THAT OLD FEELING that has a truly feeling coda:

More to come!  (I’ve already been invited back to Pismo for next year, and it took a long pause of several miliseconds for me to say “Yes!”)

May your happiness increase!

MR. WALLER SWINGS BY (Part Two): THE HOLLAND-COOTS JAZZ QUINTET at the SCOTT JOPLIN INTERNATIONAL RAGTIME FESTIVAL (Sedalia, Missouri: May 31, 2018)

From left: Marc Caparone, cornet; Brian Holland, piano; Danny Coots, drums; Evan Arntzen, reeds; Steve Pikal, string bass.

On my most recent visit to my electro-cardiologist (don’t worry, now) we were discussing nutrition, as we often do, and she said, kindly but vehemently, about olive oil, “You know, Mr. Steinman, fat fuels the brain!”  Or at least that’s what I think she said.  I preferred to hear it as “Fats fuels the brain!” which — as medical advice — is even more sound.  And true for me.

The Holland-Coots Jazz Quintet has a special affinity for the music of Fats Waller — his own compositions as well as those he made his own.  It’s not surprising: Mister Waller’s particular swing and playfulness fits well with this contemporary group’s joyous approach.

If the fellows above are not familiar to you, you’ve been missing out on quite a lot of good jive (do you know their debut CD, which is also a Fats mini-concert?): from left, Marc Caparone, cornet / vocal; Steve Pikal, string bass; Danny Coots, drums; Evan Arntzen, reeds / vocal; Brian Holland, piano.

One of the high points of my 2018 was the Scott Joplin International Ragtime Festival (May-June, Sedalia, Missouri) was an evening concert devoted to Fats’ music.  I was there with my camera — wild electro-cardiologists couldn’t keep me away — and here is the first part of the HCJQ’s Fats set.  Notice that they honor the original recordings but they don’t copy them.

WHOSE HONEY ARE YOU? (a song by Danny’s great-uncle, J. Fred Coots, in a performance that has everything — vocal effects front and back, Evan’s whimsical vocal, and a scorching stop-time chorus by Marc):

The 1929 MINOR DRAG (or is it HARLEM FUSS?  You decide):

Two hot, one sweet: Evan’s crooning LET’S PRETEND THAT THERE’S A MOON:

Something from Marc Caparone, a most amenable sort: I WOULD DO ANYTHING FOR YOU:

More to come from this fine bunch of rascals.  I’m following this band to the STOMPTIME cruise, my maiden voyage, so to speak, in spring 2019.  Details here.

May your happiness increase!

“IT MEANS THAT THEY’RE GRAND”: The HOLLAND-COOTS JAZZ QUINTET at the EVERGREEN JAZZ FESTIVAL (July 28, 2018): BRIAN HOLLAND, MARC CAPARONE, DANNY COOTS, STEVE PIKAL, EVAN ARNTZEN

The original:

And then sweetly Americanized, with label credit to young Bobby Hackett, 1937:

An action shot of the Holland-Coots Jazz Quintet in 2018 (Marc Caparone, cornet / trumpet; Brian Holland, piano; Danny Coots, drums; Evan Arntzen, reeds; Steve Pikal, string bass):

And not simply a still photograph, but ten minutes of the band in action at the 2018 Evergreen Jazz Festival, showing why they are booked for major festivals and will star on the STOMPTIME jazz cruise — April 27 to May 4, 2019).

May your happiness increase!

A NOTE FOR THE BURGLARS, 2018

Dear Gentlemen or Ladies Who Might Enter My Apartment, Uninvited, During My Absence,

Some thoughts to make your lives easier.

  1.  Please watch your step.  There are cardboard boxes of Louis buttons all through the living room.
  2.  If you accidentally knock over a pile of CDs or books, I would take it as a great kindness if you would — to the best of your ability, and time permitting — put it back as it was.  Nothing upsets a homeowner more than an ungracious burglar.
  3.  On that same note, please put the seat down when you are through.
  4.  Help yourself to whatever you like in the refrigerator, but (again, time permitting) please wash whatever plates and utensils you might use.
  5.  There is very little of monetary value in the apartment, so if you look in my sock drawer for stacks of currency or gold coins, I fear you will be disappointed.  There are quarters on the kitchen counter, for laundry and the parking meters.  Feel free.
  6.  I would very much appreciate if you would leave me the autographed jazz photos on the wall.  You don’t want the avenging ghost of Sidney Catlett to plague you, do you?
  7.  There is a Banner 78 of BELIEVE IT, BELOVED, by Henry Red Allen on one of the turntables.  Please, only take it if you have a turntable yourself and a proper stylus.  Otherwise it is not worth the effort of properly wrapping it in bubble paper for your getaway.

Why am I writing this?

I will indeed be away from my apartment from October 25 to 29, more or less, at the Jazz Jubilee by the Sea in Pismo, California.  Why?  To enjoy the festival, to meet new friends, and to hear and see my beloved friends make music.  (I’ll have a video camera or two as well, should you worry about such things.)

I know that I will be showing up to enjoy the work of Larry Scala, Dawn Lambeth, Marc Caparone, Dave Caparone, Carl Sonny Leyland, Steve Pikal, Danny Coots, the Au Brothers, Three Blue Guitars, the Creole Syncopators, Chloe Feoranzo, Bob Schulz, Katie Cavera, the Shake ‘Em Up Jazz Band, and more.  I might pay a call on a few others, although if people reading this post expect me to make a full longitudinal video survey of the festival, neither my legs nor my aesthetic inclinations allow for such breadth.  (At any point in the festival, five groups are playing simultaneously in five locations.  Choices must be made.)

You’ll have to get out of your chair and be there in person your ownself — a radical thought for those of us accustomed to having the world come to us through cyberspace and for free.

For more information, click Pismo Jazz Jubilee by the Sea.

And a postscript for the burglars, or at least the one portrayed above.  I admire the striped shirt, but once one attains a certain girth, perhaps a nice paisley?  Horizontal stripes, alas, are not slimming at all, even if they are traditional.

Here’s the Red Allen 78 (or at least the music) I’d like to keep:

Here’s the flip side (now a completely archaic phrase):

May your happiness increase!

EXTRA! EXTRA! HOT TIMES IN PISMO (Jazz Jubilee by the Sea, October 25-18, 2018)

As I’ve written here, I am making my maiden voyage to the Pismo, California, JAZZ JUBILEE BY THE SEA next month — about five weeks from now.  While my suburban neighbors will be having illicit affairs with their leaf blowers and looking skeptically at their down parkas, I’ll be in Southern California, enjoying the sounds of (among others) Larry Scala, Bob Schulz, Carl Sonny Leyland, Chloe Feoranzo, Clint Baker, Creole Syncopators, Danny Coots, Danny Tobias, Dawn Lambeth, High Sierra, IVORY&GOLD, Jeff Barnhart, Marc Caparone,  Midiri Brothers, Mike Baird, Adrian Cunningham, the Au Brothers, The Shake ‘Em Up Jazz Band . . .  The list is subjective, and I am sure that someone’s favorite band in the cosmos has been omitted, but a complete listing follows below.

I invite you to join me, of course.  Details here (Facebook) and the much more comprehensive Pismo Jazz website.

But for people like me, and I would think many of my readers, going to a jazz festival is not just a matter of, “Oh, I’ll drop by this place.  Music is coming out of the windows and front door,” but a matter of strategy: “If we go to see the Land Rovers at 3, we’ll be in a perfect place to see the Hot Tortoises at 4:15, and then the Adrian Rollini Memorial Orchestra at 7, but we’ll have to miss the Broken Sandals on Friday.  No worry, though, they are playing an 8 AM Saturday set,” and so on.

“Hey, Mister! Hey, Lady! Get the Full Band Schedule here! The Pismo News!”

Such cogitation — worthy of a great eighteenth-century European general planning his campaign — is only possible when one has a Band Schedule, which I can offer you now, courtesy of the very kind people who run things.  Hence:

There’s a version of this schedule on the Jubilee website here, which may be easier to read and annotate.  I am sure that the schedule will also be given out to attendees when they buy tickets / pick up badges onsite.

Veterans of the Jubilee have pointed out to me that the performance venues are somewhat spread-out.  I am moderately ambulatory (that might be a euphemism) but my days of sprinting from one place to another are over.  So I report with pleasure the news from Jubilee HQ:

If you get stranded at a venue, we do have buses.  We are trying something new. Every venue will have a bus.  That bus will be available at the end of the set.  They will take you where you want to go, venues first.  If that bus is full, another bus will be along and dropping people off.

Very reassuring!

And in the spirit of “breaking news,” here’s a bouncy love song from 1934 by Chick Bullock and his Levee Loungers.  Alas, Sterling Bose (or Stirling?), Perry Botkin, Joe Venuti, and Jack Teagarden won’t be at the Jubilee — they have other commitments — but I know you and I will be in for a weekend of singular sights and music:

May your happiness increase!

MR. WALLER SWINGS BY (Part One): THE HOLLAND-COOTS JAZZ QUINTET at the SCOTT JOPLIN INTERNATIONAL RAGTIME FESTIVAL (Sedalia, Missouri: May 31, 2018)

The Holland-Coots Jazz Quintet, photograph by Amy Holland, 2017, Nashville, Tenn.

The Holland-Coots Jazz Quintet has a special affinity for the music of Fats Waller — his own compositions as well as those he made his own.  It’s not surprising: Mister Waller’s particular swing and playfulness fits well with this contemporary group’s joyous approach.

If the fellows above are not familiar to you, you’ve been missing out on quite a lot of good jive (do you know their debut CD, which is also a Fats mini-concert?): from left, Marc Caparone, cornet / vocal; Steve Pikal, string bass; Danny Coots, drums; Evan Arntzen, reeds / vocal; Brian Holland, piano.

One of the high points of the 2018 Scott Joplin International Ragtime Festival (May-June, Sedalia, Missouri) was an evening concert devoted to Fats’ music.  I’ve posted performances by Dalton Ridenhour, and duets between Neville Dickie and Danny Coots, but here’s the first part of the wonderful offering by the HCJQ.  Notice that they honor the original recordings but they don’t copy them.

MOPPIN’ AND BOPPIN’, composed by Benny Carter for the 1943 motion picture STORMY WEATHER:

KEEPIN’ OUT OF MISCHIEF NOW, tenderly sung by Evan, with the verse:

The rollicking I’VE GOT MY FINGERS CROSSED, sung by Marc:

And the beautiful LONESOME ME:

Finally, some original Wallerizing — a hot sonata for Arntzen and Pikal, called PHAT SWOLLER:

More to come!  (Incidentally, I’m following this band on to Baby’s first-ever cruise . . . but don’t let me influence you unduly.  Details here.)

May your happiness increase!