Tag Archives: Dawn Lambeth

“LE JAZZ HOT” KEEPS THE FLAME LIT at MONTEREY (Part Two): PAUL MEHLING, EVAN PRICE, SAM ROCHA, MIKIYA MATSUDA, MARC CAPARONE, DAWN LAMBETH (March 8, 2020)

Here is the first part of the delightful set of music that Le Jazz Hot performed at the Jazz Bash by the Bay (Monterey, California) on March 8, 2020: I WONDER WHERE MY BABY IS  TONIGHT, BE THAT WAY, I’M CONFESSIN’, ONE SWEET LETTER FROM YOU, NEVERTHELESS (I’M IN LOVE WITH YOU).  And here’s the second half.

This beautiful set of gypsy jazz — hot and lyrical, with all the possible shadings in between — was the last music I heard at the 2020 Jazz Bash by the Bay, and the last music I heard at a jazz festival in this wickedly unpredictable year.  So it has not only beauty but a certain poignancy, rather like the last delicious spoonful for an indeterminate time.  The brilliant players and singers of Le Jazz Hot are Paul Mehling, guitar, vocals; Evan Price, violin; Sam Rocha, rhythm guitar, vocals; Mikiya Matsuda, string bass.  At the end of the set — which will appear in the sequel, to remember Bartelby — my hero-friends Marc Caparone, cornet; Dawn Lambeth, vocals, dropped by and added more good sounds.

I always think that the perspectives of the musicians themselves are more important than mine, so I asked Paul to write something about this occasion that no one recognized at the time as so significant:

Looking back on these performances which would turn out to be the “last” of Le Jazz Hot Quartet from “BEFORE TIMES” I’m struck with a bittersweet joy: of course we had no way of knowing…
For those of you who don’t know us: this is what happens when musicians feel connected to their listeners (and vice versa!): synergy not just within the band, but a certain give-and-take with the audience where they’re in on the joke(s), verbal and musical.
This festival was a mutli-faceted victory for us:
*we’d been invited back after a very long hiatus and we were GRATEFUL and wanted to SHOW IT
*we were super thrilled to be among such stellar fellow acts, some of whom we invited to join our little show, many of whom were just in the room to enjoy themselves
*we clearly were bringing IT -as we do, but there’s always the chance that the little EXTRA something will spark some great moments and these videos captured so many delights.

Michael seems to often be in the right place at the right time. He deserves an extra-special honorary award for these end-of-an-era captures. We’re all going to come back roaring onto the jazz venues and stages when this pandemic blows over- JAZZ IS NOT OVER- in the meantime, we have these videos for consolation.

What would life be without the occasional STRUT?

Louis shines his light — “My brother!” as Django is reported saying — and Paul has a right to sing these Harold Arlen-Ted Koehler blues:

Dawn Lambeth joins in with NIGHT AND DAY:

Marc Caparone joins in with Dawn to Louisize the air a little more, with A KISS TO BUILD A DREAM ON:

and at the intersection of Louis and French pop music, here’s C’EST SI BON:

Finally, one of the two or three most-played signing-off tunes (who does GOODNIGHT, SWEETHEART any more?) here’s I’LL SEE YOU IN MY DREAMS:

Until next time.  But before you move on to the next web-delight, consider subscribing to Paul’s YouTube channel — much good music there and it’s been proven to keep the vegetables in the crisper fresher longer.

All the musicians I know have had their incomes stop or deflate just a few days later in March.  I hope that viewers who enjoy this music can offer gratitude in tangible form.  Thus . . . the PayPal link is pazzo@hotclubsf.com.  Your generosity repays the people who give us so much.

May your happiness increase!

AT THE END OF THE ROAD, A WARM EMBRACE: DAWN LAMBETH, MARC CAPARONE, DAN WALTON, JAMEY CUMMINS, STEVE PIKAL (Redwood Coast Music Festival, May 11, 2019)

This post is full of emotion for me, and I hope for some of you: not just the music but the reality under the music, the world in which we now read and hear and attempt to proceed.

I offer you two lovely performances of songs by Irving Berlin and by George and Ira Gershwin, by Dawn Lambeth, vocal; Marc Caparone, cornet; Dan Walton, piano; Jamey Cummins, guitar; Steve Pikal, string bass — created for us at the Redwood Coast Music Festival in Eureka, California, on May 11, 2019.

The beginning of this story is the last live jazz I saw — at Cafe Bohemia in New York City, celebrated elsewhere on this blog — on March 12, 2020.  And even then people were [wisely, politely, perhaps tactfully] recoiling from one another, because who knew that your dear friend didn’t carry a double helping of death?

A few nights earlier, people were giving each other elbow bumps in lieu of closer contact, and when I, without thinking, shook the hand of a new acquaintance, we both looked at each other in embarrassment and shock, and we both muttered apologies, as if we’d taken an unseemly liberty.  I know all this is prudent and exceedingly necessary — more so than choosing to wash the apple one buys at the farmers’ market before devouring it.  But it adds to the despair.

It’s now almost June, and we greet each other as if we were grenades — and with reason.  I know I am not alone in feeling the deadly deprivation of human contact (I have been hugging people — those I know and who would not back away — for perhaps a decade now, because it seems a natural loving expression) and the emotional aridity that distance imposes.  Grinning and waving is an incomplete substitute.  Hugging oneself just ain’t the same thing.  You know this.

Because there is no live music for me to drink in and to video-record, I have been delving into my YouTube archives, which go back to 2006, in search of satisfying performances that the artists will allow to be shared.  It is easier, of course, for me to pretend I am at the Ear Inn by watching a video than to pretend that I am hugging and being hugged, but it, too, is only a small palliative.

My searching, thankfully, has borne fruit, and I have found a goodly number from the Redwood Coast Music Festival, which — on my 2019 visit — seemed the perfection of the art form.  It did not happen in 2020, but those of us who feel such things deeply pray that it will in May 2021.

In the set called featuring Dawn Lambeth and her Quartet, Dawn and the wonderful people I’ve mentioned above performed two songs that are poignant in themselves, but in connection almost unbearably so for what they hold out to us as possibilities unreachable at the moment.

The first is Berlin’s WAITING AT THE END OF THE ROAD, which tells that that there will be “Peace and contentment at the end of the road”; given this tender reading, it’s hard to interpret this song as anything but hopeful, even though the road is longer and darker than perhaps even Berlin imagined:

Three songs later in the set, Marc chose as his feature EMBRACEABLE YOU — thinking, as one would, of Bobby Hackett:

The combination of the two songs is somber and lovely all at once.

I dare not waste energy on discussing what “the new normal” will look like: rather, my wish is that all of us live to see and experience it.  But I do dream that  the end of the road we are now on will have a plenitude of embraces given and received.  We will never again, I hope, take such things for granted.

Thanks to the musicians here and to the people who make the Redwood Coast Music Festival possible and glorious, and of course heartfelt thanks to Mark and Valerie Jansen.  Let this post stand as an IOU for future grateful embraces.

May your happiness increase!

DAWN LAMBETH SENDS THE MELLOW SERMON (with DANNY COOTS, STEVE PIKAL, BRIAN HOLLAND, JACOB ZIMMERMAN, MARC CAPARONE: Jazz Bash by the Bay, March 8, 2020)

A friend said to me a few days ago, only half-joking, “Could you hold down the optimism a bit?  It’s getting on my nerves.”  I apologized, but these days, “Latch on to the affirmative!” is my motto.

Dawn Lambeth is one of my favorite singers, and she keeps getting better: I had the pleasure of seeing and hearing her again at the 2020 Jazz Bash by the Bay earlier this month, and she delivered some telling words that have only gotten more relevant.  With her are Steve Pikal, string bass; Brian Holland, piano; Danny Coots, drums; Jacob Zimmerman, clarinet and alto saxophone; Marc Caparone, cornet — a group of amiable ruffians known as the Holland-Coots Jazz Quintet.  And here they are!

This is understandably an arid time for live jazz in performance, but I will keep sending the sermon through this blog, with many delightful moments from the Jazz Bash by the Bay, less than two weeks ago.

May your happiness increase!

May

LITTLE CHARLIE BATY, BLAZING

Clint Baker, Marc Caparone, Jeff Hamilton, Dawn Lambeth, Little Charlie Baty at the Redwood Coast Music Festival, May 2019

The profoundly swinging guitarist and admirable man Little Charlie Baty has died of a coronary at 67.  I promised myself I would not make this site a necrophile’s amusement park, but I make exceptions for people I knew, people who made strong impressions, and Charlie was one.  I was only in contact with him last May, but his loss is fierce to me.

Saturday night, Marc Caparone joined the conversation at the Jazz Bash by the Bay to tell us that Charlie was gone.  I was physically stunned.  It was sadly appropriate that we should get the news from Marc, because he was the first person to ever mention Charlie’s name — this guitarist who played just like Charlie Christian, who really swung, who was genuine.  I filed that praise away, as one does, hoping that I would hear Charlie in the flesh — which happened at the Redwood Coast Music Festival.

I have evidence, which I treasured when it was happening, treasured through watching and re-watching, and treasure more now — video recordings from May 11 and 12, 2019.  I am reproducing the links in full, not my usual practice, in hopes that readers will stop what they are doing and dig in.

First, a groovy set with boogie, blues, and a lovely HOW DEEP IS THE OCEAN:

https://jazzlives.wordpress.com/2019/06/22/did-your-recent-blood-test-show-decreased-groove-levels-jazz-lives-is-here-to-help-redwood-coast-music-festival-may-12-2019/

https://jazzlives.wordpress.com/2019/12/16/totally-groovy-carl-sonny-leyland-little-charlie-baty-marc-caparone-clint-baker-jeff-hamilton-dawn-lambeth-redwood-coast-music-festival-may-12-2019/

Then, Baty Plays Christian — rocking not only the room but the neighborhood:

https://jazzlives.wordpress.com/2019/07/30/for-charlie-by-charlie-part-one-little-charlie-baty-jamey-cummins-jacob-zimmerman-marc-caparone-dan-walton-sam-rocha-jeff-hamilton-dawn-lambeth-redwood-coast-music-festival-may-11-2019/

https://jazzlives.wordpress.com/2019/08/01/for-charlie-by-charlie-part-two-little-charlie-baty-jamey-cummins-jacob-zimmerman-marc-caparone-dan-walton-sam-rocha-jeff-hamilton-dawn-lambeth-redwood-coast-music-festival-may-11-2019/

A few thoughts.  Marc told me of Charlie playing I GOT RHYTHM for twenty-five choruses and making the crowd stand up and cheer.  I can believe it: Charlie would have been very happy at the Reno Club in Kansas City c. 1936.

Charlie could thrill a crowd, but virtuosity for its own sake wasn’t what he came for — flaming the fretboard, as a guitarist friend once called it.  He lived the music and he lived to share the feelings of songs with us.  So his playing was strongly melodic, even through the runs and blue notes, the sharp dynamics, the small dramas-in-swing, the shifting harmonies and variations on variations.  A Baty solo was like a short story: it proceeded logically from start to finish; you could analyze its architecture after the fact, although at the time you were swept along by invention and momentum.

He rocked, to put it simply.  And he knew it, so part of the pleasure was watching a master’s sweet assurance in his craft.

When I first saw him in person, my five-boroughs skepticism kicked in.  This was “Little Charlie“?  This broad-shouldered man, like me, might wear a suit from the Portly section (a good deal of real estate in front, around the belt buckle) which he carried without embarrassment: Here I am, and I don’t have a problem with myself.  If you do, find another damn place. 

His assurance wasn’t arrogance, but it was an easy, perhaps hard-won, self-knowledge, and I saw him as an experienced ship’s captain, later a tribal chieftain, as he told a few stories to us after the set.

When I introduced myself to him, he was gracious in an unfussy way and he made me feel comfortable.  Later, when I shared the ecstatic videos with him, he was splendidly grateful and gracious — in private and in public.  I saw him in person for perhaps three hours and exchanged a dozen sentences with him in person, and perhaps another handful of emails and Facebook call-and-responses.

So why do I feel so bereft, why is there a large space in the universe where Little Charlie Baty was, and now is not?

To me, both in his playing and in the way he carried himself — powerful yet sometimes understated — he radiated an authenticity, a disdain for posing, that will remain admirable to me.  One way to walk through the world; one way to make the air full of melody.

Goodbye, Charlie.  Swing out.  And thanks for your brief, blazing visit to my world.

May your happiness increase!

TRANSIT TIME: March 4-9, 2020

This post is more or less to amuse myself before the Jazz Bash by the Bay begins tomorrow, but you can come along as well.  I have just completed, or perhaps begun, the most intense loop of jazz travel I can recall.  It began with my happy viewing of Nancy Harrow and Will Pomerantz’s play, ABOUT LOVE, which is the subject of yesterday’s blogpost.  (“Don’t miss it” is the edited version).

Yesterday, I went to Philadelphia (the World Cafe Live) to hear, witness, and record Marty Grosz’s ninetieth birthday party, and after that I flew to Monterey, California, to the Portola Hotel and Conference Center, where I write these words.

I am sorry that Dan Barrett isn’t attending the Bash this year — for many reasons, but were he to see me with that button and ribbon pinned to my shirt, he would walk over and put his palm on the ribbon and push.  “It says PRESS.” But I shall go on.

On Thursday, at about 2 PM, I asked a favor of a neighbor who gave me — and my knapsack of video gear — a lift to the train station.  Once there, I found Amtrak (twenty minutes late) and eventually got to Philadelphia, where (once again) I imposed on a friend — this time Joe Plowman, a stellar fellow whether playing the string bass or not — to take me to the World Cafe Live.

The Marty Party was a delight, and, yes, if the Tech Goddess favors me, there will be video evidence.  I asked Danny Tobias and Lynn Redmile for a lift back to the 30th Street Station, and Dan Block and I rode back to New York City — arriving around 1:20 AM on Friday.  Dan went off to his home, about four subway stops away, but the next train to my suburban Long Island town was two hours later, so I asked the first cabbie in a line of cabs what he would charge; we settled on a price, and we were off.  (He had been a lawyer in Egypt, by the way).  Around 2:15 I was home and went to sleep for what I knew would only be a brief interlude.  My alarm went off, as planned, at 7; I did what was needed and got in my car to drive to parking for Kennedy Airport.  At 11:30 we were airborne; I arrived in Monterey close to 6 PM.  (I have adjusted none of this for New York and California time zones, but you can imagine that my eyelids are heavy.)

I really have no idea what time it actually is in my body clock, but will find out.  I can tell you that this travel rhapsody will have cost me about fifteen hundred dollars when it is all through.  I am blessedly fortunate to have that money, but the pleasure of seeing Marty Grosz, Vince Giordano, Dan Block, Scott Robinson, Danny Tobias, Randy Reinhart, Brennan Ernst, Joe Plowman, Jack Saint Clair, Jim Lawlor, meeting people in the flesh whom I’d only known in cyberspace — one night! — as well as receiving an autographed copy of Marty’s autobiography, IT’S A SIN TO TELL A LIE: MY LIFE IN JAZZ (Golden Valley Press) . . . .and from tomorrow on, seeing Marc Caparone, Dawn Lambeth, the Holland-Coots Jazz Quintet, Carl Sonny Leyland, Clint Baker, Jeff Hamilton, Hal Smith, Le Jazz Hot, and more — that pleasure is and will be uncountable in mere currency.  And unless you knew my past life well, the immense freedom to do what I want is bliss, a bliss I hadn’t always been able to have.

And I can sleep next week.

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!

“TENDER EYES THAT SHINE”: DAWN LAMBETH and her RASCALS at MONTEREY (Part Two): DAWN LAMBETH, JACOB ZIMMERMAN, CLINT BAKER, JEFF HAMILTON, IKE HARRIS, JERRY KRAHN, RILEY BAKER (March 2, 2019)

There’s a wonderful tradition that began on records in the late Twenties: sweet and hot singing — female or male — backed by a small improvising combination.  To some, it reached its apex with the series of recordings done by Billie Holiday and Teddy Wilson, but it continues on in this century, something I find reassuring.

Vocalion Records ceased production a long time ago, and the last time I was near a diner jukebox, it lacked Red McKenzie, Bob Howard, Mildred Bailey, Putney Dandridge, Maxine Sullivan, Nan Wynn, Tempo King, Lee Wiley, Connee Boswell, or Dick Robertson, but our friend Dawn Lambeth embodies the tradition beautifully.  As do her Rascals, an ad hoc group of friends who swing.

Here’s the second half of a performance by a lovely little jam band of friends at the 2019 Jazz Bash by the Bay: Dawn Lambeth, vocal; Riley Baker, drums; Jeff Hamilton, piano; Ike Harris, string bass; Jerry Krahn, guitar; Jacob Zimmerman, alto; Clint Baker, trumpet.  And  here‘s the first part.

The very antidote to melancholy . . . with the verse, no less:

Dawn’s venture into rare cosmology:

Those nocturnal visions swing sweetly:

Memorable yet understated music.

May your happiness increase!

MELLOW IN MENLO PARK: CLINT BAKER, JESSICA KING, BILL REINHART, ROBERT YOUNG, RILEY BAKER, JEFF HAMILTON (July 19, 2019)

Refreshing evocations of Thirties New York City and of late-Twenties Chicago, with cooling iced tea to spare, at Cafe Borrone in Menlo Park, California, captured for us by RaeAnn Berry on July 19, 2019.

Cafe Borrone from the outside.

The joyous creators are Clint Baker, clarinet and vocal; Robert Young, alto saxophone and vocal; Jeff Hamilton, piano; Riley Baker, string bass; Bill Reinhart, banjo; Jessica King, washboard and vocal.

IF I WERE YOU would have been a fairly obscure 1938 song by Buddy Bernier and Robert D. Emmerich had it not been recorded by Billie Holiday, Fats Waller, Teddy Wilson (with Nan Wynn) and Hot Lips Page — more recently, by Rebecca Kilgore and Dawn Lambeth.  Bernier is not especially famous as a composer, although he wrote THE NIGHT HAS A THOUSAND EYES, but he adapted melodies from other cultures — POINCIANA and OUR LOVE perhaps the most famous, so he is responsible for rewarding pop music.  Emmerich’s lyrics are sly, clever, another example of the Brill Building genius of making memorable songs from common phrases.

Jessica sings it with sweet understated conviction, supported in the best Fifty-Second Street tradition by Clint, Jeff, and Riley (without the dark haze of smoke and the taste of watered drinks that I am told were characteristics of Swing Street):

SWEET SUE, JUST YOU moves us back a decade and east to Chicago’s South Side, with Robert Young and Bill Reinhart added — Noone, Poston, and a vocal duet.  What could be sweeter?  Victor Young just texted me to say he approves:

California dreamin’ isn’t the property of the Beach Boys, I assure you.  If you can get to Cafe Borrone while Clint and friends are playing and singing, you will drive home with a smile.

May your happiness increase!

FOR CHARLIE, BY CHARLIE (PART TWO): LITTLE CHARLIE BATY, JAMEY CUMMINS, JACOB ZIMMERMAN, MARC CAPARONE, DAN WALTON, SAM ROCHA, JEFF HAMILTON, DAWN LAMBETH (Redwood Coast Music Festival, May 11, 2019)

From this distance, it feels as if Charlie Christian (July 29, 1916 – March 2, 1942) was an extra-terrestrial phenomenon, some entity that touched down so briefly on this planet, played a great deal of music — some of it, thank the Goddess, recorded — and then said he had to visit another neighborhood and we should study what he had given us.  Charlie feels more like a beam of light reflected through a spinning prism than an actual mortal, although we have stories of him at the back of the band bus, singing Lester Young solos.  And I suspect that what the doctors at the sanitarium on Staten Island, New York, wrote down as “tuberculosis” on his chart was an inter-galactic summons to another place that needed his particular blaze of joyous enlightenment.

He wasn’t the first to play jazz on the electric guitar (check out George Barnes, Eddie Durham, Floyd Smith, and others) but what he did was completely fresh then and remains so: the looping lines, the rhythmic attack both fierce and subtle, the harmonic suggestions, the incisive swing.  We celebrate him!

Charlie Christian as a member of Benny Goodman’s Orchestra, Waldorf-Astoria, New York City, September 1939. Thanks to Nick Rossi for the photograph.

This most recent celebration took place at the Redwood Coast Music Festival on May 11, 2019, and the brilliant players are Little Charlie Baty (right) and Jamey Cummins, guitars; Jeff Hamilton, drums; Sam Rocha, string bass; Dan Walton, piano; Marc Caparone, cornet; Jacob Zimmerman, clarinet; Dawn Lambeth, vocal.  Here are the first four performances: FLYING HOME, ROSE ROOM, BENNY’S BUGLE, and STAR DUST.

And the second half, beginning with SEVEN COME ELEVEN:

Dawn Lambeth stops by to sing I’M CONFESSIN’:

and the splendid 1931 I SURRENDER, DEAR:

Something Middle Eastern that isn’t hummus? Perhaps THE SHEIK OF ARABY:

And the closing swing delight, WHOLLY CATS, which I always think should have an exclamation point at its close:

Incidentally, it’s easy to be distracted by the gleaming sounds of the “two guitar heroes,” Little Charlie and Jamey, but I would direct or re-direct your attention to that glorious rhythm section of Dan Walton, Sam Rocha, and Jeff Hamilton; the sweet song of Dawn Lambeth; the wonderful improvisations of Jacob Zimmerman and Marc Caparone, whose idea this set was.

Make plans to visit the Redwood Coast Music Festival, May 7-10, 2020 — thanks to Mark and Valerie Jansen and their wonderful musical friends.

And for more about Charlie, from a different angle, here is Mel Powell’s recollections of the young man.  And a memory of Benny Goodman as well.

May your happiness increase! 

FOR CHARLIE, BY CHARLIE (PART ONE): LITTLE CHARLIE BATY, JAMEY CUMMINS, JACOB ZIMMERMAN, MARC CAPARONE, DAN WALTON, SAM ROCHA, JEFF HAMILTON, DAWN LAMBETH (Redwood Coast Music Festival, May 11, 2019)

Charlie Christian didn’t have many birthdays on this planet, but yesterday would have been another one.  We celebrate him and his music, and with good reason.

Charlie Christian as a member of Benny Goodman’s Orchestra, Waldorf-Astoria, New York City, September 1939. Thanks to Nick Rossi for the photograph.

This celebration took place at the Redwood Coast Music Festival on May 11, 2019, and the brilliant players are Little Charlie Baty (right) and Jamey Cummins, guitars; Jeff Hamilton, drums; Sam Rocha, string bass; Dan Walton, piano; Marc Caparone, cornet; Jacob Zimmerman, clarinet; Dawn Lambeth, vocal.  Here are the first four performances.

FLYING HOME:

ROSE ROOM:

BENNY’S BUGLE:

STAR DUST:

More to come in Part Two.  And more to come from the Redwood Coast Music Festival, May 2020 — thanks to Mark and Valerie Jansen and their wonderful musical friends.

And for more about Charlie, from a different angle, here is Mel Powell’s recollections of the young man.  And a memory of Benny Goodman as well.

May your happiness increase! 

“NOTHING TO MAR OUR JOY”: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA at MONTEREY (March 1, 2019)

Dawn Lambeth

By popular demand, another song from a wonderful session at the Jazz Bash by the Bay in Monterey, California — a sweet standard from 1916, performed by Dawn Lambeth, Paolo Alderighi, and Sam Rocha, vocal, piano, and string bass, respectively.

Celebrating monogamous devotion, romance without distractions:

May your happiness increase!

“MAY I SWING YOU A SONG?” DAVE STUCKEY and the HOT HOUSE GANG at the REDWOOD COAST MUSIC FESTIVAL: DAVE STUCKEY, MARC CAPARONE, NATE KETNER, CARL SONNY LEYLAND, WALLY HERSOM, JOSH COLLAZO, DAWN LAMBETH (May 10, 2019)

Dave Stuckey knows how — how to put together a hot congenial swinging band, how to sing in a convincing heartfelt Thirties style that engages an audience, how to find rare material . . . how to put on a show that doesn’t require his dad’s barn (although he will work in barns for the right offer).  He is comic without being jokey, and his friendly approach to the band and to us is heartfelt, not a series of ad-libs.  He’s having fun, and we feel it also.

He showed off all these talents with the Hot House Gang at this year’s Redwood Coast Music Festival — the Gang being Josh Collazo, drums; Wally Hersom, string bass; Carl Sonny Leyland, piano; Nate Ketner, reeds; Marc Caparone, cornet; Dawn Lambeth, vocal.  Here are seven tunes — count ’em, seven! — from the Gang’s first set.

Here’s melodious Dawn to sing a rare tune I associate with Henry “Red” Allen, which is always an asset, I’LL SING YOU A THOUSAND LOVE SONGS:

In the wrong hands, EXACTLY LIKE YOU can sound overfamiliar and thus dull, but not in these hands — those of Dawn and the Gang, helped immensely by Father Leyland’s righteous groove:

I confess that I’ve heard many versions of WHAT A LITTLE MOONLIGHT CAN DO that made me mutter to myself, “Not much,” but this performance gets at the heart of the ebullience of the Billie Holiday records of the Thirties, thanks to glorious playing by the band as well as Dawn’s choice to sing the song rather than the record.  Those riffs, those riffs!

Hoagy Carmichael’s love song to New Orleans, of the same name, wistfully sung by Dave and eloquently by Marc:

Father Leyland’s rocking bouquet for IDA, which is so much music packed into three minutes:

The new dance they’re doing uptown, TRUCKIN’:

and, to close the set, the joyous affirmation of collective swing, a song that brings together Ivie Anderson and the Marx Brothers as well as the Hot House Gang.  Who would complain?

If  you learn that Dave Stuckey and the Hot House Gang are coming to your city, toss the dogs some dry food, break into the birthday fund, give up those plans to make the kitchen floor shine, and go.  Joy like this is rare and not to be disregarded.

Thanks to Mark and Valerie Jansen of the Redwood Coast Music Festival for their generous embrace of soulful music.  Be there May 7-10, 2020 . . . !

May your happiness increase!

 

“AND NOW, WE TAKE YOU DIRECT TO BERLIN”: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA at MONTEREY (Jazz Bash by the Bay, March 1, 2019)

JAZZ LIVES is not taking you to a wartime Edward R. Murrow broadcast, nor to the capital city of Germany, but to the imperishable songbook of the unequaled Irving Berlin as performed by three hero-friends: Dawn Lambeth, vocal; Sam Rocha, string bass; Paolo Alderighi, piano — at the Jazz Bash by the Bay in Monterey, California:

and another song with strong connections to Fred Astaire and Ginger Rodgers:

What a lovely group!  I hope to see them again and would gladly buy their CD.  Or a boxful.

Incidentally, I am embraced by a wonderful synchronicity: I write this post from my hotel room at the astonishingly rewarding Redwood Coast Music Festival, where I heard Dawn yesterday and will hear Sam today . . . talk about being in the right place at the right time.

May your happiness increase!

“HAVE YOU GOT ANY MORTGAGES YOU’D LIKE ME TO PAY, BABY?”: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA at MONTEREY (March 1, 2019)

The wonderful singer Dawn Lambeth, Paolo Alderighi, piano, and Sam Rocha, string bass, had never worked together before, but they make beautiful gliding music as group.  Their March 1 trio set at the Jazz Bash by the Bay might be one of my favorite musical interludes of this year.  I posted a performance from this set here.

Here is another delightful creation by Richard Whiting and Johnny Mercer from the 1937 film VARIETY SHOW, where it was sung by Dick Powell.  I love this song for its bouncy melody and Mercer’s lyrics, a witty mixture of modern and medieval times (mortgages and dragons) . . . and his refusal to lazily choose easy rhymes — a lesser writer would have rhymed “paid” and “slayed,” but easy and dull was never Mercer’s style.

And this performance!  Sam’s solid fluid propulsion, Paolo’s modernist swing, and Dawn . . . . whose easy grace is a constant pleasure, and the way she sings “Baby . . . .” is like biting into a ripe berry.  Savor this!

Wow.  And a few more to come.

May your happiness increase!

WHEN LOVE, MUSIC, and BREAKFAST COINCIDE: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA (Jazz Bash by the Bay, March 1, 2019)

Some regard caffeine and sugar as if the respective containers were marked with skull and crossbones, with reason.  Those addictive substances upset the physical and nervous system.  Like Macbeth, they murder sleep.

But the music presented here will not cause insomnia, nervousness, or digestive upset.  Its only effect is an increase in one’s holistic well-being.  The subject at hand is a performance from March 1, 2019 at the Jazz Bash by the Bay, by Dawn Lambeth, vocal; Paolo Alderighi, piano; Sam Rocha, string bass, and it makes me as euphoric as good coffee or tea.  And please watch and listen to the end, so you don’t miss any surprises:

I don’t think these three wonderful musicians had ever worked together as a trio.  Their floating sounds delight me, and I imagine a trio of Duke, Ivie, and Blanton brought to life in 2019.

Go ahead, pour yourself another.  Good to the last note.

May your happiness increase!

TELLING TIME, SEVERAL WAYS: DAWN LAMBETH and her RASCALS at the JAZZ BASH BY THE BAY (March 2, 2019)

Sixty memorable minutes. Never mind the odd composer credits.

 

It’s all relative, as Einstein tells his grandmother.  When a man sits on a hot stove, a minute seems forever; when he’s kissing his sweetheart, forever seems like a minute.  She says, “For this you won a prize?”

Dawn Lambeth

At the Jazz Bash by the Bay this last March, Dawn Lambeth and her Rascals (the name I’ve given to this delightful little group of swinging friends) demonstrated Einstein’s discovery in the nicest ways: with performances whose text is the nature of time and how it is perceived, and declarations of love in its many forms.

The Rascals are Riley Baker, drums (catch his wonderful accents behind his father’s trumpet solo on ALWAYS: “Good deal!”); Jacob Zimmerman, alto saxophone; Clint Baker, trumpet; Jerry Krahn, guitar; Ike Harris, string bass; Jeff Hamilton, piano.

First, James P. Johnson’s IF I COULD BE WITH YOU ONE HOUR TONIGHT (or, as it appeared on the 1929 Mound City Blue Blowers record label, ONE HOUR) — with the yearning verse:

From sixty minutes to eternity, Irving Berlin’s ALWAYS:

And as an instrumental meditation on the future — even when the future is seen as the fulfillment of a promise or a threat — Shelton Brooks’ SOME OF THESE DAYS, which rocks: watch out for Jeff and Riley, respectively but not respectfully:

More to come from this nice unbuttoned after-hours set.  (California festivals start early and end early, so I think this evocation of Fifty-Second Street ended at 11 PM, but it felt like the real thing, no matter what our watches said.)

May your happiness increase!

THE VIEW FROM THE FRONT ROW (Jazz Bash By The Bay, Monterey, March 1-2, 2019)

A garden of earthy delights and delightful people.

 

 

It’s the late afternoon of March 2 at the Bash, and it has been wonderful and promises to continue.  So far, I’ve heard Carl Sonny Leyland, Marty Eggers, Jeff Hamilton, Brian Holland, Marc Caparone, Jacob Zimmerman, Steve Pikal, Danny Coots, Dawn Lambeth, Paolo Alderighi, Sam Rocha, Danny Tobias, Jim Lawlor, and I’ve swapped hellos, stories, and hugs with Clint Baker, Riley Baker, Stephanie Trick, Paul Hagglund, Katie Cavera, Jeff and Anne Barnhart, Amy Holland, Rae Ann Berry, Barbara Sully, Bill Reinhart, and more.  Tonight, if the stars align, I’ll meet the Crescent Katz with Jacob Zimmerman, Holland-Coots again (they blew the roof off yesterday and construction crews have been called in), GROOVUS, and Dawn Lambeth with Clint and Riley Baker, Jerry Krahn, and Ike Harris.  Sunday . . . . more Carl Sonny Leyland, Jacob Zimmerman, and GROOVUS.

There are, of course, many other bands and itinerant musicians . . . but these are the people I’ve flown across the continent to see.  And I’ll be smiling all the way home.  Videos to come, if the Tech Goddess smiles on my efforts.  Next year is the Bash’s fortieth anniversary — about fifty-one weeks from now.  Make plans!

May your happiness increase!

“LIKE THE FRENCH PEOPLE DO”: DAWN LAMBETH, CONAL FOWKES, MARC CAPARONE (San Diego, Nov. 23, 2018)

As an affirmation, “C’est si bon!” works for me — and it was a substantial hit for Louis, Eartha Kitt, and others in the early Fifties.  Louis kept it in his repertoire for more than fifteen years, and it’s been recorded by Harry Allen, Eddie Erickson, Nicki Parrott, Abbey Lincoln, and Jaki Byard — which says that this simple tune has an appeal both deep and wide.

Here it is again — a sweet surprise when performed by Dawn Lambeth, vocal; Conal Fowkes, piano; Marc Caparone, cornet, at the 39th San Diego Jazz Fest last November:

I hope you caught Conal’s little offering of Louisness at :39.  It would be reason to enjoy this video again.  And as far as this trio: They’re so good!

May your happiness increase!

IT HAPPENS IN MONTEREY (March 1-2-3, 2019): The JAZZ BASH BY THE BAY

For those who love the music, this reminder may be superfluous.  But there are always new people whom we hope to attract into the world of jazz and dance for great fun.  So, first, here is the Bash’s Facebook page, and here is their website.  Several truly pertinent facts — from personal experience.  March in Monterey is balmy, and I recall it as shirt-sleeve / eat gelato with Italians weather.  All of the music at the Bash happens under one roof, on several floors of the same building, and there is (as I recall) an elevator.  There are eight venues — which, loosely translated, means an immense number of choices, enough to produce vertigo.  Approximately 154 sets of music from Friday morning to Sunday afternoon.  Seven dance floors.  All under one roof, a fact worth repeating.

There are also a few names that didn’t fit on the poster, people you’d know and applaud.  Jacob Rex Zimmerman, Steve Pikal, Clint Baker, Jeff Hamilton, Paul Hagglund, Sam Rocha, Chris Calabrese, Sue Kroninger, Ed Metz, Jerry Krahn, Howard Miyata, GROOVUS, Don Neely, and more.  I expect that the final schedule will be posted soon on the website so that people like me can start planning strategy with brightly colored highlighters.

A little personal history: I encountered the Jazz Bash by the Bay in 2011, on my first visit to California — out of the womb, that is — and this is what I encountered.  Dawn Lambeth had a bad cold, but even congested, she sounds thoroughly endearing: with her, are Clint Baker (drums); Marc Caparone (cornet); Howard Miyata (trombone); Mike Baird (clarinet); Katie Cavera (guitar, banjo); Paul Mehling (bass):

And another piece of vintage joy from 2011, featuring Katie Cavera, the 2019 Musician of the Year, in the center, with Clint Baker, Paul Mehling, and John Reynolds on various banjos — with Marc Caparone on bass and surprises (Clint has a surprise for us, too), and Ralf Reynolds on washboard:

Now, this blogpost isn’t a Trip Down Memory Lane, although I must say I nearly went down the largest rabbit-hole I can imagine when I started searching my own videos to see when I’d first visited Monterey.  I couldn’t believe: “Wow, you recorded that?  And THAT?”  The air was thick with immodesty and gratitude.

No, this is to remind people what glories happen at Monterey, and will happen in less than two months: March 1, 2, 3 of this year.  And — let us leave subtlety aside for those who need it — to encourage people to get out of their chairs and be at the Bash.  See you there — maybe in the elevator or rapt in the first row.

May your happiness increase!

“LET THEM SEND OUT ALARMS”: DAWN LAMBETH, CONAL FOWKES, MARC CAPARONE at the SAN DIEGO JAZZ FEST (November 23, 2018)

Dawn Lambeth, Conal Fowkes, Marc Caparone, at the 2017 San Diego Jazz Fest

We live by Siri, by the GPS.  Wouldn’t it be nice to toss all those useful but restrictive parental stand-ins that want so badly to show us the way and rebuke us if we wander?

Here’s a musical version of that perhaps subversive suggestion: the 1942 song — music by Jimmy McHugh, words by Frank Loesser, which slyly suggests that the way to get to the desired end is by choosing to live by instinct, serendipitously:

 

The musical actors in this play — showing us the way to pleasure, living it rather than instructing us — are Dawn Lambeth, vocal; Conal Fowkes, piano; Marc Caparone, cornet.  And all of this happened on the morning of November 23, 2018, at the 39th San Diego Jazz Fest, a wonderful weekend:

Try it.  Who knows what glories are there to be discovered by accident, what gifts the universe will give if you surrender to it?  Here endeth the sermon for today.

May your happiness increase!

PISMO JOYS (Part Five): “LARRY, DAWN, and FRIENDS”: LARRY SCALA, DAWN LAMBETH, DANNY TOBIAS, CARL SONNY LEYLAND, BILL BOSCH // CHLOE FEORANZO, DANNY COOTS (October 26 and 27, 2018, Jazz Jubilee by the Sea)

One of the great highlights of the 2018 Pismo Jazz Jubilee by the Sea was the small flexible swing groups led by guitarist Larry Scala, featuring the wonderful singing of Dawn Lambeth. Without being consciously imitative, they harked back to the great Thirties and Forties recordings and performances of Billie Holiday, Teddy Wilson, Charlie Christian, Count Basie, Mildred Bailey, Benny Goodman, and more.  But they weren’t ancient artifacts behind glass: they swung and were full of joyous expertise.  Here are three more performances, the first two featuring Larry, Dawn, bassist Bill Bosch, trumpeter Danny Tobias, pianist Carl Sonny Leyland; the third, from the next day, featuring clarinetist Chloe Feoranzo instead of Danny, and adding drummer Danny Coots.

Dee-lightful.

Irving Berlin’s ALL BY MYSELF:

Walter Donaldson’s LOVE ME OR LEAVE ME:

And from the next day, Dawn, Larry, and Bill, with Danny Coots, drums; Chloe Feoranzo, clarinet, for Cole Porter’s YOU’D BE SO NICE TO COME HOME TO:

Thanks to all these creative people for bringing their own brand of sweet swing to Pismo.  I hope they’ll be brightening the corners in 2019.

May your happiness increase!

“A SENSE OF HOME, A SENSE OF PLACE”: MARC CAPARONE, DAWN LAMBETH, CONAL FOWKES at the SAN DIEGO JAZZ FEST (Nov. 24, 2017)

For most of us, home is a tangible place: the room you are in now, the place where you spent your childhood, or the woods across the street, a friend’s basement, the house you now have the mortgage on.

Cape Cod house, Levittown, New York, 1947

But the real definition is broader: home is the place where people you love and who love you gather, the place you feel warmed and protected and seen, where you hug and are hugged.  And home can be portable: the hotel room with the little Christmas tree.

The definitions shift depending on one’s needs at the moment, but one of my homes is, perhaps oddly, a place I visit for a long weekend once a year, the San Diego Jazz Fest, which I’ve described most recently here.

At this gathering, I know I will hear and witness the music that speaks most directly to my heart.  Here are two examples of that music — recorded at the 2017 Fest — featuring Marc Caparone, cornet; Dawn Lambeth, vocal; Conal Fowkes, piano.  It would be an impudence to describe it.  You must experience it for yourself.

HOME (When Shadows Fall) by Marc and Conal:

WAITING AT THE END OF THE ROAD by the trio:

This music — and the people connected to it — make me feel embraced by the world, a rare and memorable feeling, one I savor and invite you to savor as well.

And since I’ve buried the lede, the 2018 San Diego Jazz Fest starts this Wednesday, November 21, and goes to Sunday, November 25.  You can find out all you need to know in the link above.  And there’s a turkey dinner, should you find yourself terrified that you won’t have had your holiday fiesta.  But the feast is in the music.

May your happiness increase!