Tag Archives: Dawn Lambeth

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!