Tag Archives: Danny Coots

“THIS IS SO NICE IT MUST BE ILLEGAL”: THE HOLLAND-COOTS JAZZ QUINTET HONORS FATS WALLER

In July, I spent five splendid days in Nashville as a delighted observer to a recording session that produced this rewarding tribute to Fats Waller, with Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet / vocal; Evan Arntzen, clarinet, tenor saxophone / vocal; Steve Pikal, string bass.

and the CD cover itself.  Don’t let the slogan frighten you: for the moment at least, joy is still legal and unregulated.  Should you want a copy immediately, without reading another word, visit here and the door to gladness will swing open easily.

This isn’t a formulaic tribute, with players imitating the Victor sessions and tossing off already-venerable Fats-wisecracks.  No, something much better.  It’s music.  Click here and you can hear a sample track — the Quintet’s version of Fats’ 1943 composition, MOPPIN’ AND BOPPIN’.

I had the privilege of writing the liner notes (I may have insisted on doing so: my memory betrays me here):

Fats Waller’s substantial physical envelope left the scene for another gig seventy-five years ago, but his joyous soul is still with us. This CD doesn’t attempt to replicate the former, but celebrates the latter in all its radiances.

Musicians have attempted to capture the totality of this great man. The road most often taken is presenting a lurid outsized caricature to fool us into thinking we have his essence in our possession. Imagine Fats as a parade float three stories high, grotesque head, tilted derby, restless eyebrows, a cavernous mouth full of vaudeville asides we expect to hear. While the head waggles in the breeze, a loop of his greatest eight-bar piano modules plays endlessly through massive speakers.

With the best intentions in the world (and sometimes with the best musicians in invisible shackles) many tributes go this way. One hears a band, its members pretending to be Herman, Gene, and Al, energetically playing the best-known Waller compositions or songs he’s identified with, copying as closely as possible his 1934-43 Victor records. Perhaps I shouldn’t be so severe, because Fats was such a powerfully appealing personality whose records sold so well that such “tributes” were happening while he was around to hear them. Records by Pat Flowers, Johnny Guarnieri, Bob Howard, Putney Dandridge, and others might at first make listeners think they have wandered into Plato’s cave of small-band jive. But the real Fats leans outside, smoking, untouched by such parasitic adulation. (Incidentally, my censure is not limited to Fats-by-the-yard productions, for many people who tell you how they revere the innovators have misread them similarly, reducing Louis to a sweaty handkerchief, Billie to a discontented meow.)

This disc is different. Ignore the familiar picture of Fats on the cover, ready to deliver a wisecrack he’d delivered too many times already, the Groucho Marx of jazz. Think, instead, of the Thomas Waller who swung without letup, created beautiful melodies, and sang with affectionate sincerity. (If you don’t think of him as a tender singer of ballads, search out his Bluebird recording of I’LL NEVER SMILE AGAIN.) With that in mind, I urge you to begin your listening with one of the least-known songs on this disc, LET’S PRETEND THAT THERE’S A MOON. At an easy fox-trot tempo, it begins with Brian’s solo chorus, clearly stating the melody while luxuriating in its possibilities, a ninety-second statement that would have been taken up the first half of a 10” 78 rpm disc. Then “here comes the band!” as Willie “the Lion” Smith would say, Marc Caparone quietly suggesting that the blues are at the heart of everything or at least the first sixteen bars, before Evan plays the bridge in the best limpid way, before the band returns. Evan then comes in to sing – and what a singer he is! – with Brian gently creating some Nashville ripples, behind him, Marc, Steve, and Danny gently rocking the imaginary canoe before Evan and Brian, true romantics, remind us all what the song is about: hopeful love, love that climbs to an exultant sweet high note. I was in the studio for this performance and there was a hush when it ended. I take notes at a session, and mine read: “Brian solo / ens / voc EA . . . . . perfect.”

Fats’ music transcends romance, however, to celebrate the pure joy of life. His compositions on this disc focus on the rewards of fidelity and good behavior, as well as creating a Frolic that might be either a Drag of a Fuss. Courtesy of Alex Hill and Claude Hopkins, pianist-composers who breathed the same uptown air, we praise BABY BROWN and a statement of complete devotion, by which I mean this band leaves the “MOST” out of I WOULD DO ANYTHING FOR YOU. James P. Johnson, Fats’ teacher and our hero, says that sixty minutes is enough room to create happiness; we believe in miracles but, just the same, have our fingers crossed, celebrate a love that is so pleasing we expect the authorities any minute; we ask the musical question “Whose tea do you sweeten?” Of course, our romantic Zeppelins sometimes crash and burn, so there’s LONESOME ME, one of Fats’ sweet sorrowful triumphs. And splendid oddities – MOPPIN’ AND BOPPIN’, which comes from Fats’ star turns in the film STORMY WEATHER; LIVER LIP JONES, a close cousin of the characters we know from Ellington’s A SLIP OF THE LIP and Morton’s BIG LIP BLUES. Who knew that loquaciousness was such a problem uptown?

Intentionally, I haven’t said anything about the band except by implication. Very little needs saying except that they work together as brothers – each a wonderful soloist and an absolute marvel as a team player, ready to be lyrical or hot, bluesy, rampaging, or sentimental. At close range, and this counts a great deal for me, not one of them is a blabbermouth rascal.

This CD, so beautifully recorded and wisely programmed, is the debut on disc of the Holland-Coots Quintet. I hope for dozens more discs and lots of gigs in my lifetime and yours. Their expression of musical creativity, lyrical, warm, sometimes hilarious (I play and replay the introduction to WHOSE HONEY ARE YOU), celebrates the joyous merrymaker, but it is more an outpouring of devotion for Fats and what he did so open-heartedly.

Our universe often feels dark these days. The light he shines so brightly is always welcome. The time and place are opportune.

Again, you can proceed bravely into commerce and purchase copies here.

May your happiness increase!

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“SWINGIN’ FOR THE FENCES”: BRIAN HOLLAND AND DANNY COOTS (AND MORE)

Oh, no.  Another wonderful CD?  Will those musicians ever let us alone?  When the musicians are pianist Brian Holland and drummer Danny Coots, the answer is a joyous NO.

But first.  Let’s assume you’ve never heard Brian and Danny.  Nothing simpler than remedying this deficiency. From the 2017 Santa Cruz Ragtime Festival, here is their rendition of two Fats Waller compositions, JITTERBUG WALTZ and BACH UP TO ME:

and here are the two gentlemen, caught by a still camera:

Holland (left), Coots (right), for those who have never had the good fortune to see and hear them in person or in action or both.

Their new CD is a delightfully varied offering:

The songs:  Charleston Rag / Jimmy McHugh Medley (Spreadin’ Rhythm Around – I’ve Got My Fingers Crossed) / Memphis Blues / Doll Dance / Wolverine Blues / Black and Blue / Tico Tico – Besame Mucho / Root Beer Rag / Hymn to Freedom / Violet Wedding (A Song for Marcia) / Rubber Plant Rag / Ragtime Nightingale / Troublesome Ivories / Planxty.

Students of the music will notice some well-deserved homages to great composers and players: Eubie Blake, Fats Waller, W.C. Handy, Nacio Herb Brown, Jimmy McHugh, Joseph Lamb, and a few slightly less expected sources: Oscar Peterson, Glenn Jenks, Billy Joel, and an original by Brian.  Ragtime, stride, novelty piano, deep blues, venerable pop tunes, and more.

The title of the CD — even for those who shy away from professional sports, like me — would explicitly suggest that virtuosic larger-than-life musical athleticism is in store.  And in a few instances that impression is correct.  Brian and Danny romp with great grace and power, and they can show off in the most impressive musical ways.  You won’t find players who are more deft at fast tempos than these two, and their quickest skirmishes still make great artistic sense: the listener never feels pummeled with notes.  They work together splendidly as a telepathic team, hearing each other’s impulses and subtexts as well.

But leave aside the gorgeous rapid beauties of the up-tempo performances –CHARLESTON RAG, DOLL DANCE, RUBBER PLANT RAG, TROUBLESOME IVORIES, to consider BLACK AND BLUE, which Brian says he began, musingly, in an effort to get into the mind of Thomas Waller — whose affecting song about racial prejudice this is. It is the most quiet and searching show-stopper I can imagine, beginning with pensive suspended chords, an improvisation that hints at Beiderbecke and Gershwin, before gaining emotional power as it climbs to a moving end.  I call it a show-stopper because once it had concluded, I was overpowered and needed to pause before moving on to the next track.

In an entirely different way, HYMN TO FREEDOM begins as a solo human being’s prayer — for what and to whom I leave to you — and ends up as a jubilant prayer meeting.  PLANXTY starts as a small utterance of grief and ends up a funeral procession, without its volume increasing that much.

But lamenting is not always what Danny and Brian have in mind.  Some of these duets are seriously cinematic: listening more than once to TICO-TICO / BESAME MUCHO, I found myself imagining the brightly colored musical film for which they had invented a provocative soundtrack.  I see elegant, formally dressed dancers all through RAGTIME NIGHTINGALE as well.  I have to say a word about TROUBLESOME IVORIES — perhaps too much autobiography — but had I the ability to dance, and a willing partner, I would not be typing these words now, being otherwise occupied.

The disc is beautifully recorded and, even better, splendidly sequenced, so one never has the sense of listening to ten or twelve minutes of the same thing. Piano and drums — no gimmicks, no novelty vocals or sound effects.  Just lovely music.

You can purchase the CD here.  Or you can find it on Facebook.

And . . . speaking of pleasures that won’t grow old quickly, the Holland-Coots Quintet has just released a new disc, a tribute to Fats Waller, THIS IS SO NICE IT MUST BE ILLEGAL, with Marc Caparone, Evan Arntzen, Steve Pikal as the additional merry-makers.  I was at the sessions in Nashville in July 2017, and this band made thrilling music, which I wrote about here.  (Caution: HOT VIDEO ALERT.)

I will have more to say when the actual disc flutters into my mailbox.  And don’t let the title fool you: quantity purchases are not only legal, but medically-recommended.

May your happiness increase!

OUT OF TOWN, FOR THE BEST REASONS (July 25-29, 2017)

Last week I left my comfortable suburban burrow to travel to what turned out to be a very rewarding city:

No, JAZZ LIVES has not gone country.  Rather, I came down for a record date featuring these fellows.

Marc Caparone, cornet; Steve Pikal, string bass; Danny Coots, drums; Brian Holland, piano;  Evan Arntzen, clarinet and tenor (rear); myself (front); Derek Garten (recording engineer). Photograph by Amy Holland.

and, just because it exists, another photograph:

This session was to create a CD — their debut on disc — of the Holland-Coots Quintet, a group that had already appeared with great success at the Durango Ragtime Festival.  Here — with videos captured by Judy Muldawer — is my post about this glorious band.  I spent two happy days in the studio — a place of music, insights, deep feeling, and laughter, overseen by the masterful engineer / all-round whiz Derek Garten — as the band made magic happen, song after song.

The theme of the CD (which doesn’t yet have a title) was the music of Fats Waller, and the music associated with him.  Experienced listeners know that people have been paying tribute to Fats for more than eighty years now, which means they were doing it at the same time HE was doing it, if that logical turn isn’t too annoying.  (Think of Bob Howard and Putney Dandridge, and later Pat Flowers and Johnny Guarnieri.)

But many musicians and bands (1934 to the present!) have taken the easy way out, walking off with the most obvious superficial mannerisms: stride piano at a fast tempo, a half-dozen Waller phrases thrown in at random, AIN’T MISBEHAVIN’, HONEYSUCKLE ROSE, YOUR FEETS TOO BIG, the illusion of eyebrows moving up and down in time, ad-libs that are no longer improvised, and so on.  The most studied tributes have a trumpet player who has studied Autrey, a reed player deep into Sedric, and if the budget allows, an acoustic guitarist who has done post-doctoral in Casey.

Add gestures, stir lightly, and you have a recognizable product that people who don’t know the musicians will pick up off the table, and, with luck, purchase. Microwave-Fats.

This CD is fresh, not frozen.  It captures Fats’ deep soul in all its aspects.

This quintet rejected shallow caricature in favor of music that is light-hearted but full of feeling, swinging without artifice.  For one thing, song choices that showed a deep understanding of Fats and his world.  A few volcanic explosions (MINOR DRAG, I WOULD DO ANYTHING FOR YOU), a nod to a classic Waller-Razaf standard (KEEPIN’ OUT OF MISCHIEF NOW), one to James P. Johnson (IF I COULD BE WITH YOU),  some Fats songs that don’t get played (MOPPIN’ AND BOPPIN’, THIS IS SO NICE IT MUST BE ILLEGAL, LONESOME ME, LIVER LIP JONES), several from the early, dewy Rhythm sides (WHOSE HONEY ARE YOU, I BELIEVE IN MIRACLES, I’VE GOT MY FINGERS CROSSED), and a romantic ballad — Fats was a deep romantic — composed by Russ Columbo and two people I’d not heard of, and gorgeously sung by Evan, LET’S PRETEND THAT THERE’S A MOON, which is my new favorite recording.

The music is sincere but never self-consciously so; no one is “acting” a part, but in Roswell Rudd’s words, they are playing their personalities.  I will let you know more about the CD as it comes up to the surface, ready to be bought and loved.

I can’t share the music from the CD with you: that will come in due course.  (I will be writing about the new Holland-Coots duet CD, SWINGIN’ FOR THE FENCES, soon.)  But I have something to enthrall and delight.  I’d asked Brian if he and the band would consider, when the session was over, performing something for my camera, so that I could share it with the JAZZ LIVES audience as a token of generosity (the band’s) and a hint of things to come.  It’s ragtime via the DeParis Brothers’ band, RUSSIAN RAG, and it’s a wow:

Festival producers, take note!

(The sound of the video is captured by the RODE microphone on top of my camera; the CD’s sound is light-years better, but I wanted people to hear this joyous expert outburst now.)

Blessings and gratitude to Danny, Brian, Marc, Evan, Steve, Derek, Kimberly C, Bella C, Hannah C, Amy G, Amy H, Cheryl P, Rona from Waffle House, and Miss Rose from Kroger — not only for the music but for the encompassing warmth.

May your happiness increase!

DELIGHT IN DURANGO: BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, EVAN ARNTZEN, STEVE PIKAL, JUDY MULDAWER (March 24-26, 2017)

Imagine — a new band, five versatile creative players who obviously delight in the music and in the joyous collaboration.  At the moment, it’s called the Holland – Coots Quintet, with a more elaborate name to follow.  We’re fortunate to have an abundance of evidence about how good this band sounds, recorded by musician and archivist Judy Muldawer at the 5th annual Durango (Colorado) Ragtime and Early Jazz Festival, March 24-26, 2017.  The link to see the videos is http://www.banjojudy.com/2017/03/durango-ragtime-and-early-jazz-festival-2017-videos/.

The HCQ is Brian Holland, piano; Danny Coots, drums; Evan Arntzen, clarinet / tenor saxophone; Steve Pikal, string bass; Marc Caparone, trumpet.  Also at the festival were Carl Sonny Leyland, Morten Gunnar Larsen, and Adam Swanson. Here are brief biographies of all the players.

Judy’s YouTube channel is here, and it’s full of delights (I subscribed as soon as the first video emerged).  She also maintains a flourishing website with audio recordings from this and other festivals: for more video links and the audio files from the 2017 festival, visit http://banjojudy.com.  The key word in the search engine is “durango”.

and something sweet by James P., sung by Evan:

Doctor Caparone prescribes:

Judy has uploaded to YouTube more than fifty videos from this festival, and her own website has what seems like hours of audio, as if she’d stayed in her seat as a devoted archivist would.

And reliable sources have told me that this band — the HCQ — will be making a CD this summer.  I look forward to it.

May your happiness increase!

GOIN’ TO COLORADO (The EVERGREEN JAZZ FESTIVAL, July 29-31, 2016)

Yes, the land of double rainbows, elk roaming the parking lot in the darkness, and a very satisfying weekend of hot jazz in many flavors.

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

That’s the Evergreen Jazz Festival, which I was fortunate to attend in 2014, following James Dapogny’s Chicago Jazz Band around — in rain, in sunshine, to that very fine Vietnamese restaurant Saigon Landing.

This July 29-31, the Evergreen Jazz Festival boasts a number of local favorites: Hot Tomatoes Dance Orchestra, After Midnight, the Queen City Jazz Band with Wende Harston, Joe Smith and the Spicy Pickles, Gypsy Swing Revue, The Poudre River Irregulars, Felonius Smith Trio.

But the out-of-towners are quite special also.  The Fat Babies, from Chicago; Nicki Parrott and B.A.D. Rhythm, from all over, Carl Sonny Leyland Trio (with Clint Baker and Jeff Hamilton) from California, and the Kris Tokarski Trio (with Tim Laughlin and Hal Smith) from New Orleans by way of Searcy, Arkansas.

Here‘s the complete schedule, so you can start planning.  (I use a yellow highlighter, myself.)  I’m also going to be studying the map, since I got heroically lost in 2014.

Evergreen map

Here‘s ticket information (prices are very inexpensive).  And for those who are unconvinced by photographs of rainbows, I offer a few postings here and here from 2014 so that you can get a good sense of the delicious hot jazz inspired by Evergreen.  It’s an inspiring place.

May your happiness increase!

“IT IS TRULY WONDERFUL HOW JOY CAN OPEN THE THROAT”: THE TRIUMPHANT RETURN OF RENA JEAN MIDDOUGH, a/k/a “RINK LESLIE” (November 28, 2015)

I should have known something important was about to happen when Dan Levinson approached me on Saturday, November 28, 2015, at the San Diego Jazz Fest and asked if I would video-record his next set.  Dan believes (if I may coarsely paraphrase him) that the beautiful evanescent creations of jazz musicians should remain so; that they can be made subject to eternal scrutiny is not something he prefers.  (I take it as a mark of great respect and friendship that he has humored me and my little camera for years now.)

But once Dan was a quarter of the way through his explanation, I said, “That’s great.  I’ll be there,” and I was.

POSIES TWO

But before this narrative gets too convoluted, too much about myself and the philosophy of video-recording, let me introduce you to Rena Jean Middough. First, through a photograph taken in 1952.  The man on her right is multi-instrumentalist / singer / bandleader / inspiring teacher Rosy McHargue:

Rink-Leslie-and-Rosy-McHargue-in-1952-688x1024

Then, in her own words, a reminiscence she has titled THE JOY OF PLANETARY ASPECTS:

Astrologers think aspects to the planet Uranus trigger unexpected human events.  Some events may be good, some may be not so good, but all will be unexpected.  Three years ago, something moved my son to order a CD of Rosy McHargue’s Ragtimers.  Rosy McHargue was a Dixieland musician who dedicated himself to preserving American music from the early 1900’s.

I had met Rosy because my husband was the director of a TV show in which Rosy appeared, “Dixie Showboat,” and Rosy invited us to his home. Somehow, he asked me to sing two songs while he recorded them on acetate.

In 1952, Rosy made a recording of all the songs the Ragtimers played, and he asked me to record a vocal.  When I got to the recording studio in Hollywood, all Rosy said was, “Hello, sing two choruses.”  The musicians began to play.  I sang two choruses and sat down.  Rosy asked why I was still there.  I replied, “I’m waiting to rehearse.”  “No, no,” he said.  “It was fine.  Go home.”  And that was my great recording career.  Only my kids remembered.

POSIES ONE

Sixty-two years later, Uranus unexpectedly made New York musician Dan Levinson very happy.  Young Dan Levinson was taught to play clarinet and saxophone and to be a full-time musician by Rosy McHargue.  The two were best friends, and when Rosy died, he left all his music and arrangements to Dan.  Dan, who has mde his career playing music from the first half of the twentieth century just as Rosy did, took the old recordings and made them into a modern CD.  He wrote loving biography notes on all Rosy’s musicians, but someone was missing. Who was the girl who sang “Posies”?  When my son ordered the CD, Dan sat down in the subway, opened his laptop, and mailed the good news to everyone he knew.  He had found the girl who had sung two choruses of “Don’t Bring Me Posies.”  He had searched for her for ten years.  My son, when he placed the order for the CD, had written that his mom had sung “Posies” and his dad was the barking dog on “You Gotta Quit Kickin’ My Dawg Around.”

Once my son had solved the mystery of the girl singer, Dan and his wife Molly quickly arranged an afternoon for us in New York.  We met at Penn Station under the arrival sign for New Jersey trains.  Dan, at six foot five, had to bend down to be kissed as I thanked him for calling me a National Treasure.  It was a wonderful feeling to be treasured.  During that afternoon in New York, I felt acceptable to the universe.

This summer, Uranus and that silly song merged again.  Once a year, Dan and Molly play the Coffee Gallery in Altadena, and all their Southern California friends swarm to see them.  I persuaded a lady who can drive at night to drive me to Altadena to enjoy the wonderful jazz.  I grabbed the best seat in the house. The show began.  Dan played clarinet and sax, and Molly sang the vocals.  They were backed by a fine bass player and a superb jazz guitarist.  After a while, Dan began to invite fellow musicians he knew in the audience to come up on the stage and sit in with them.  One by one, the friends borrowed saxophones and trombones and performed. After the fourth guest musician, Dan informed the audience that Rosy McHargue’s favorite vocalist was in the audience, and would she like to come up and sing?  Would I?  I rose like the sunrise, shoved out of my seat by my hubris.  Uranus, the unexpected, took my hand and helped me up on that stage.  I surveyed the packed house and announced I was working on my ninetieth year.  Then I, who can no longer sing much higher than Middle C, plucked a good note out of the air, and with the musicians behind me, loudly and enthusiastically rendered verse and two choruses of “Don’t Bring Me Posies, When It’s Shoesies That I Need.”  Breath control, which has forsaken me for a decade, reappeared, and I held the last note strongly for a count of four.  It is truly wonderful how joy can open the throat.

It must have sounded all right.  Uranus and I stepped down to enthusiastic applause.  One lady with a tin ear asked me where else I was singing.  People bought Rosy’s Ragtimers CD to take home.  The bass player demanded that I stay and take a picture with him.  Somebody in the audience had taken my picture and sent it to Facebook as I was singing.  (My niece Laura saw me on Facebook before dawn the next day.)  Dan wrote his review of the evening and posted it on Facebook at 2 a.m.  The bass played posted our picture at 4 a.m. Within 24 hours all my nieces and their myriad cousins had seen me on stage.

A week later, I wrote Dan and Molly a thank you letter.  I said that when we met in New York they had made me feel acceptable to the universe.  Now that they had placed me center stage, I was infamous on Facebook.

Bless  Uranus.  I can’t wait for next year.  Maybe they will unexpectedly let me sing again.

POSIES THREE

So here is “Rink Leslie” (a pseudonym made up because “Rena Jean Middough” would have been too long for a record label: “Rink” came from a classmate’s nickname for Rena; “Leslie” was Rena’s father’s name) appearing with Dan Levinson, reeds; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Danny Coots, drums, and guests from the Titanic Jazz Band, Keith Elliott, trombone; Dan Comins, trumpet — at the 2015 San Diego Jazz Fest — to recreate the Middough – McHargue recording of DON’T BRING ME POSIES (WHEN IT’S SHOESIES THAT I NEED):

That’s splendid fun.  And it would be splendid fun even if the singing ingenue were not 89.  When Rena Jean came off the bandstand, I rose to congratulate her, and she sweetly told me what she’s written above, “When Dan discovered me, he made me feel as if I was acceptable to the universe, someone wonderful.” And I — speaking from my heart or shooting from the hip — said, “My dear Ms. Leslie (for at the time I don’t think I had taken in her lovely elaborate name), you have been acceptable to the universe your whole life, and more!” and she grinned at me but with old-fashioned very becoming modesty.

I, too, look forward to a return appearance of Rena Jean Middough and / or Rink Leslie at the 2016 San Diego Jazz Fest.  I will, in future, post the lovely music that preceded her . . . but for the moment I would like you to admire her poise, her joy, her ebullience. (Incidentally, when she and I spoke on the telephone some weeks after this event, she told me that she had been an excellent dancer and a good singer in college — but that her inspiration for the delighted energy she offered in the original recording and at the end of November 2015, right here, was Danny Kaye in the 1941 film LET’S FACE IT. Another reason to thank Mr. Kaminski, don’t you think?)

And let us not forget the indefatigably devoted Dan Levinson, solver of mysteries, tracer of lost persons, someone who makes wonderful musical entanglements happen even when he is not playing or singing.

May your happiness increase!

COOTS IN CHARGE: ALLAN VACHÉ, TOM FISCHER, DUKE HEITGER, BEN POLCER, BRIA SKONBERG, RUSS PHILLIPS, DAN BARRETT, DALTON RIDENHOUR, PAUL KELLER, DANNY COOTS (ATLANTA JAZZ PARTY, APRIL 18, 2015)

Danny Coots, who lives the words on the sign above his head.

Danny Coots, who lives the words on the sign above his head.

Four delights and four comic interludes from the very lovable and talented Danny Coots, with Duke Heitger, Bria Skonberg, Ben Polcer, trumpet; Dan Barrett, Russ Phillips, trombone; Allan Vaché, Tom Fischer, reeds; Dalton Ridenhour, piano; Paul Keller, string bass: recorded at the 2015 Atlanta Jazz Party —

OLD-FASHIONED LOVE:

BEI MIR BIS DU SCHOEN:

MOTEN SWING:

PANAMA:

The 27th Atlanta Jazz Party will take place in you-know-what-city from April 22 to 24, 2016.  Details to come here.

May your happiness increase!