Tag Archives: Django Reinhardt

“TELL ME AGAIN. WHERE DID YOU COME FROM?”

Ray Skjelbred and the Cubs — that’s Ray, piano and inspiration; Kim Cusack, clarinet; Katie Cavera, guitar; Clint Baker, string bass; Jeff Hamilton — answer the musical question at the now-vanished Sacramento Jazz Jubilee (d. 2017), with the notes on the music staff written by Johnny Green as their guide, but also the many performances of this tune, including Bing Crosby, Coleman Hawkins, and Django Reinhardt.

I try to collect rather than hoard — the first is a vocation; the second a disorder — but I’ve been hoarding videos of Ray and his Cubs . . . the way I’d store food for the winter, until I have the good fortune to see them again. Soon, I hope. They mean so much more than canned tuna.

May your happiness increase!

“PLAYS WELL WITH OTHERS”: STEPHANE GRAPPELLI, LEE KONITZ, JIMMIE ROWLES, JOHN ETHERIDGE, DIZ DIZLEY, JACK SEWING at NICE (July 1978)

This set, blessedly preserved, reminds me of inventive restaurant cuisine, where one reads a listing of items one doesn’t expect to find together . . . but the result is surprising and memorable: music that tastes good to the ear. Violinist Stephane Grappelli’s group was patterned after the Quintette of the Hot Club of France — violin, two guitars, string bass — although he, not Django, was the star . . . with guitarists John Etheridge and Diz Dizley, string bassist Jack Sewing, whom I initially mis-identified as Brian Torff. Add to this established group the wondrous individualists Jimmie Rowles, piano, and Lee Konitz, alto saxophone, and unusual sounds result.

Whether everyone dispersed after the set saying, “Wow, that was fun!” or “Why can’t I pick my own friends to perform with?” I have no idea, but the three-quarters of an hour that we have is certainly not formulaic. You can do your own assessment: late-period Stephane, still rhapsodic, given to heroically fast tempos, playing “jazz standards,”; Lee Konitz and Jimmie Rowles on top of a QHCF rhythm team. I think the assemblage is both unpredictable and wonderful:

Stephane Grappelli, violin; Diz Dizley, John Etheridge, guitars; Jack Sewing, string bass.
I WONDER WHERE MY BABY IS TONIGHT / DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS / CRAZY RHYTHM / I CAN’T GIVE YOU ANYTHING BUT LOVE /

add Lee Konitz HONEYSUCKLE ROSE

add Jimmie Rowles LET’S FALL IN LOVE / I’LL REMEMBER APRIL /

Grappelli Quartet: MANOIR DE MES REVES – DAPHNE /

Konitz, Rowles return SWEET GEORGIA BROWN (incomplete on original):

Bless these players, and bless the Grande Parade du Jazz also.

ANDY MacDONALD’S “SUITE SOLITUDE”

I first encountered Andy MacDonald on Facebook — a shy but amiable presence who liked my postings.  We had similar tastes, so we actually had a conversation (now, how nineteenth-century is that?).  Jazz guitarist, songwriter, singer — and for once that latter combination of words did not inspire fear.

He shared his new three-song opus, SWEET SOLITUDE, and I liked it very much, so much so that I am encouraging you to take a sniff, or several, at it.

But first.  Andy and “pandemic puppy,” whom he’s named Duke Ellington, the inspiration for one of three parts of the Suite, which veers delightfully from hot small-band swing, to Lang-Venuti frolic and meditation, to a song which I think of as our century’s Tom Lehrer goes to Eddie Condon’s.

But every blog should have a photograph of a cute puppy and his happy owner:

One is not enough:

Here are two videos from the Suite, the first asking the musical question, “Will everything be all right soon?” featuring Andy, guitar; Drew Jurecka, violin:

and “March 13, 2020,” featuring Andy, guitar and voice; Drew Jurecka, violin; Dave Kosmyna, cornet;  Tom Richards, sousaphone and trombone:

I’d asked Andy to write something about himself to introduce himself to the mass of people who hadn’t yet realized what was lacking in their lives, and here’s his verbal opus:

I’m a Canadian guitarist, banjoist, and vocalist playing hot jazz in a cold country. I’m from Toronto, but I decided Toronto wasn’t cold enough so I moved to Montreal in 2015. I’ve played (and taught) jazz in Canada, USA, and Europe and my favourite audience members are swing dancers. Django Reinhardt has always been my greatest influence on the guitar, but recently I’ve been going backwards and getting inspired by the players who influenced Django. Eddie Lang, Joe Venuti, Louis Armstrong, and Fats Waller are my new muses.

My musical mission is to write honestly about profound subjects without taking myself too seriously. I feel like Fats Waller and Marty Grosz take a similar approach. Fats wrote sincerely about heavy stuff like depression, heartbreak and loneliness, yet his music sounds lighthearted and whimsical. His tune Draggin’ my Poor Heart Around (recorded March 13, 1931) opens with the line: «Sweet mama, did you ever hear of depression? Well, that’s what you did to my heart, I’m tellin’ ya!» When he starts his piano solo, he declares: «Oh baby, listen to my pleadin’ on the ivories!» My 2019 album Asking For A Friend is a heartbreak album that for me is comedic and upbeat in its tone.

I love drawing inspiration from classic hot jazz recordings to create new works. The balancing act of respecting the tradition while saying something original is a tricky challenge. Luckily, there seems to be a new resurgence of interest in this music so even in Canada, it’s possible to find talented players to help bring the music to life. In the “before times”, I ran a weekly hot jazz jam in a dive bar with cheap whiskey and free pool. I can’t wait to get back there!

About Suite Solitude

Suite Solitude is a collection of three songs brought on by the tragedy of social isolation and the COVID19 pandemic. The original idea for the project was to do a real-time, live recording using state-of-the-art software. Well, the software and internet speeds are still about 5 years away from that being feasible, so we recorded it all one track at a time in this order: 1) guitar & banjo; 2) sousaphone; 3) cornet; 4) violin; 5) trombone; 6) voice. Each time, the latest mixdown would be sent to the next player to record so that there could be at least some social and musical interaction.

I wrote about how much my life has flipped upside down since this pandemic began. I lost all my work as a musician and music therapist so it felt like the rug got pulled from under me in a very sudden way. Although the themes are profound at face value, there’s a good deal of comic relief and lightheartedness to the music. For example, when writing about my new puppy, I sing: «Pandemic puppy will help me see when times get rough, you can just say {RUFF} He’s chasing squirrels, he’s chasing ducks, he gives no [BARK]s

You can purchase the music on Bandcamp for $8CAD: https://andymacdonald.bandcamp.com/album/suite-solitude.

Consider yourself encouraged to do such a thing — I mean purchase the music on Bandcamp.  With or without cute puppy, Mr. MacDonald shows great promise and I would like to see his talents encouraged.

May your happiness increase!

 

UP IN THE CLOUDS: BUCKY PIZZARELLI, MUNDELL LOWE, HARRY ALLEN, DAVE STONE, CHUCK REDD (San Diego Jazz Party, February 21, 2014)

Up in the clouds created by Django Reinhardt with two guitar masters, Bucky Pizzarelli, and (in a supporting role) Mundell Lowe, accompanied by Harry Allen, tenor saxophone; Dave Stone, string bass; Chuck Redd, drums. This performance took place at the San Diego Jazz Party, February 21, 2014.

Bucky, ever the showman, always introduced a nearly-violent interlude into his NUAGES.  Perhaps there was a squall passing through.

We celebrate Harry, Dave, and Chuck (who graciously gave permission to share this video with you) and we miss Bucky and Mundell.

May your happiness increase!

 

THE BLUES CAN ROCK, TOO: CLINT BAKER’S NEW ORLEANS JAZZ BAND at the JAZZ BASH BY THE BAY (Monterey, California, March 6. 2020): CLINT BAKER, CARL SONNY LEYLAND, HAL SMITH, KATIE CAVERA, RILEY BAKER, RYAN CALLOWAY, BILL REINHART, JESS KING

This band was a real treat at the March 2020 Jazz Bash by the Bay — their enthusiasm, their willingness to get dirty, their skill, their passions, and in a repertoire that went comfortably from Ellington to a Buck Clayton Jam Session to Johnny Dodds.  I’m speaking of Clint Baker’s New Orleans Jazz Band, which in that weekend’s incarnation, was Clint, trumpet; Riley Baker, trombone; Ryan Calloway, clarinet; Carl Sonny Leyland, piano [for this set]; Jess King, guitar, banjo, vocal; Bill Reinhart, banjo; Katie Cavera, string bass; Hal Smith, drums.  And today I want to share only one performance — because it knocked me out, as they used to say and still do — the groovy Ellington blues, with Rex Stewart certainly a co-composer, SOLID OLD MAN.  (I worry about the punctuation of that title, but you should hear the music first.)

SOLID OLD MAN is perhaps most famous as a tune that Rex, Barney Bigard, and Billy Taylor brought to Europe for their recording session with Django Reinhardt — a recording session that is completely ingrained in my heart for perhaps fifty years.  Note the more accurate composer credits!

But two postscripts.  I taught college English for a long time (a LONG time!) and I know that punctuation makes a difference.  I can see the recording supervisor at Brunswick or Master Records, after the session, saying to Ellington, “Duke, what do you call that one?” and Ellington answering in the common parlance of the time, “Solid, old man!” in the sense of “Great work!” or “I totally agree with you, my friend!” or “You and I are brothers.”  But it always has had an implicit comma, a pause, as it were.  And certainly an explicit exclamation point.  So, to me, its title is lacking and perhaps misleading: when I see SOLID OLD MAN, I think of someone over six feet, weighing over three hundred pounds, who has been collecting Social Security for years.  Perhaps a security guard at the mall.

The second postscript is not a matter of proofreading.  Last night I was on Facebook (my first error) and reading a controversy in a jazz group about who was good and who was bad (my second) that got quite acrimonious.  Facebook encourages bad-mannered excesses; I was uncharacteristically silent.  But I noted one member of the group (an amateur string player) made a snide remark about “California Dixieland,” and when a professional musician of long-standing asked him to define what he was mocking, the speaker — perhaps having more opinions than knowledge — fell silent.  Unnamed adjudicator of taste, I don’t know if you read this blog.  But if you do, I suggest you listen to SOLID OLD MAN ten or twenty times to get your perceptions straight before you opine again.  And those of us who know what’s good can simply enjoy the performance many times for its own singular beauties.

May your happiness increase!

“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!

“LE JAZZ HOT” KEEPS THE FLAME LIT at MONTEREY (Part One): PAUL MEHLING, EVAN PRICE, SAM ROCHA, MIKIYA MATSUDA and GUESTS (March 8, 2020)

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.

Asking the musical question, I WONDER WHERE MY BABY IS TONIGHT (the lyrics say she is off doing the Charleston — oh, for those sweetly antique times):

Paul (played by Steve Allen in the biographical film) explains BE THAT WAY:

They say this 1929 classic is good for the soul:

Sam sings an ode to the U.S. Mail, ONE SWEET LETTER FROM YOU:

and that dear song, NEVERTHELESS (I’M IN LOVE WITH YOU):

The second half of this set begins with a STRUT, so stay tuned.  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!

EDDY DAVIS, PRESENT TENSE (1940-2020), Part Four — “WILD REEDS AND WICKED RHYTHM” AT THE EAR INN with SCOTT ROBINSON, ORANGE KELLIN, CONAL FOWKES, DAN BLOCK, PETE ANDERSON

Eddy Davis at ScienSonic Laboratories

I’ve asked musicians who worked with Eddy and thus knew him better to write their loving recollections.  But I will indulge myself here for a few sentences.  Eddy always acted glad to see me, and he was happy to have his performances captured on film, but I am not sure he knew what to make of me (a reaction he was not alone in) so we never had a long conversation until the last time I saw him — where he enthusiastically spoke with great energy about the musicians he had played with when he was sixteen or seventeen.  I was amazed and delighted and pursued him with the idea of doing a video interview, but — for all sorts of reasons I can only guess at — he was silent about the idea, which I regret greatly.  At least he wrote some of it down on a letter to me which I will share in Part Five — but, ever the well-brought up Midwesterner, he addressed me as “Mr. Steinman,” curiously formal.

He was remarkable to me because of his indefatigable energy.  He electrified any group that had the good fortune to have him at the center.  He was genuinely a joyous sparkplug. The other people on the stand felt it, as did we.  He bounced; he rocked; he was having a lovely time and wanted to make sure we did also.  Eddy was a complete showman, but it felt completely honest.  And his unpredictability was charming in startling ways.  I never knew what he was going to do, and that was such a pleasure — anticipating the next brightly wrapped package and then savoring its contents.

His command of harmony was lovely; he knew where he was going and genially took everyone along with him.  His solid rhythm was never mechanical, and in some ways his banjo artistry redeemed every caustic thing said about that stringed instrument; he was flexible and elastic and I imagine I hear the whole history of jazz and popular music in his playing.  And that history — made current and shiny — came through in his incredibly broad repertoire: Doc Cooke and early Ellington, Django and Jerry Herman, his own lyrics to jazz classics.

He gave of himself with such deep generosity.  And although each of us is unique, few of us can embody that idea so joyously.

May your happiness increase!

SWEET CREATIONS: “DREAM CITY”: DAVID LUKÁCS, MALO MAZURIÉ, ATTILA KORB, FÉLIX HUNOT, JOEP LUMEIJ

David Lukács dreams in lyrical swing.  His most recent CD is evidence that I do not exaggerate.  Now, I know that some of my American readers might furrow their brows and say, “Who are these people?  I don’t know their names!” but I urge them to listen and watch.

To quote the lyrics from SAY IT SIMPLE (I hear Jack Teagarden’s voice in my head as I type), “If that don’t get it, well, forget it right now.”

Here you can hear the music, download it, purchase a disc.

The sweet-natured magicians are David Lukacs, clarinet, tenor saxophone, arrangements; Malo Mazurie, cornet, trumpet; Attila Korb, bass saxophone*, trombone; Felix Hunot, guitar, banjo; Joep Lumeij: string bass.  The songs are DREAM CITY / A GOOD MAN IS HARD TO FIND / OLD MAN BLUES / MORE THAN YOU KNOW / THAT OLD BLACK MAGIC / MOONLIGHT ON THE GANGES / I HAD IT BUT IT’S ALL GONE NOW / HALLELUJAH! / BLUE PRELUDE / MANDY, MAKE UP YOUR MIND / THEN SOMEONE’S IN LOVE / LOUISIANA / CLARINET MARMALADE / MANOIR DE MES REVES.  The liner notes are by Scott Robinson.

David told me that this CD is inspired by his father’s record collection (obviously the Lukacs lineage has taste and discernment) but his vision is even larger: “With this album I created my own city, my Dream City, where there’s Bix and Tram’s music in one club, Duke is playing in the theatre beside, and you might hear Django’s music around the corner.”

That transcends the time-machine cliche, and each track is a dreamy vision of a heard past made real for us in 2019. The dreaminess is most charming, because this disc isn’t simply a series of recreations of recordings.  Occasionally the band follows the outlines of a famous disc closely — as in A GOOD MAN IS HARD TO FIND — but each song becomes a sweet playground for these (sometimes shoeless) dear geniuses to roam in.

Here’s another video tour, with snippets of the title tune, OLD MAN BLUES, MOONLIGHT ON THE GANGES, MANOIR DE MES REVES (and comments from Scott, who knows):

Readers who feel this music as I do won’t need any more explanation — but a few lines are in order.  I first heard David on record with Menno Daams (check out the latter’s PLAYGROUND) — two musicians who have deep lyrical intelligence, but DREAM CITY is an astonishing combination of the hallowed past and true contemporary liveliness.  David told me that he has been inspired not only by the old records, but by the music Marty Grosz and others made, using those sounds as a basis.  I hear echoes of the Ruby Braff-George Barnes Quartet and the small-group sessions that were so prolific and gratifying on the Arbors label.

DREAM CITY offers us glorious yet understated solo work and — perhaps even better — delicious ensemble playing and gratifying arrangements.  The inspirations are also the Kansas City Six, the Ellington, Basie, and Wilson small bands, and more.  You can draw your own family tree with chalk on the sidewalk.  The “unusual” instrumentation also allows a great flexibility in voicings — this is no formulaic band that plays each song in the same way, simply varying tempo and key — and this CD is not a series of solos-with-rhythm.  Each selection, none longer than a 12″ 78, is a short story in sounds.

If you care to, go back to the video of DREAM CITY — which begins, if I am correct, with a line on the chords of BYE BYE BLUES and then changes key into a medium-bounce blues — and admire not only the soloing, so tersely expert, so full of feeling without self-consciousness — but the arrangement itself: the quiet effective way horns hum behind a soloist, the use of stop-time and a Chicago “flare,” the echoes of Bix and Tram without tying the whole endeavor to a 1927 skeleton . . . worth study, deserving of admiration.

All of the players impress me tremendously, but Attila gets his own * (and that is not the title of a children’s book) because I’d not known of his bass saxophone playing: he is a master of that horn, handling it with elegance and grace, sometimes giving it a limber ease I would associate with the bass clarinet, although he never hurries.  (I also discovered Attila’s 2017 TAP ROOM SWING, a tribute to Adrian Rollini, which I hope to write about in future.)

I plan to continue blissfully dreaming to DREAM CITY, an ethereal soundtrack, so rewarding.

May your happiness increase!

A DELICIOUS TASTING MENU OF MELODIES: JONATHAN STOUT, “PICK IT AND PLAY IT”

Here, taste this:

I can think of no one (except the Venerable Marty Grosz) who is doing what Jonathan Stout does.  But the truly important thing is that he IS doing it, and beautifully.  And the evidence is all through his lovely solo CD, PICK IT AND PLAY IT.

The guitar has a long history, and what we call “jazz guitar” does also.  Before amplification, guitarists — solo or in ensemble — had the same complicated orchestral responsibilities as pianists: keep a melody line going, play the harmonies (implied or stated), do all this while offering a solid rhythmic pulse.  If you couldn’t do all three as easily as breathing, talking, and walking, you didn’t get the gig — whether the gig was playing rocking blues in a Mississippi juke joint or supporting a small hot band in Harlem.  The masters of this genre — more than two dozen — did it as a matter of course.  Anyone who has ever picked up a guitar can learn in under a minute just how complex and intimidatingly difficult their art is.  I write this from experience.

Jonathan has mastered the subtle mystical arts of such swing deities as Allan Reuss and George Van Eps, and PICK IT AND PLAY IT presents fifteen delicious sound-paintings that come from the acoustic past but sound fresh, personal, and lively.  More than once, while listening, I found myself thinking, “If Dick McDonough had lived, he might have made a session like this.”  If you understand my reference, you either already have this disc or you owe it to yourself to have several copies, in case rationing comes back.

If I remember correctly, Van Eps — whose gracious presence is vividly audible here — called this style of guitar playing “lap piano,” and it balances sharply-realized single lines with an overall orchestral approach.  Not only does the listener not miss string bass and drums on this CD, but they would be positively intrusive.  Stout doesn’t need them: he is his own resonant orchestra, full of shadings and colors, with a nearly relentless quiet swing.

And unlike many guitarists who are entranced by Django and post-Django, he does not seek to impress us by velocity, endurance, or flash.  His approach is stately, leisurely, full of melodic and harmonic subtlety: although these performances have the breath of improvisatory life, they are not “Hey, let’s do four choruses on [familiar tune] and go home.”  Rather, Stout has a deep compositional sense, so that I arose from each performance refreshed and fulfilled.  The CD is dense with music, but it never gets dull.  And the sense one comes away with of both Stout and his approach to the genre is not “Hey, look at me!  I spent a thousand hours on this piece!” but “How beautiful the guitar is, and listen to what memorable sounds can come from it.”

This CD offers “fifteen arrangements for solo guitar,” with a repertoire that mixes familiar pop classics with rare compositions for the instrument.  The latter are wonderful and I think they will be new to all except the most ardent student of this arcane art: Frank Victor’s PICK IT AND PLAY IT; Roy Smeck’s ITCHING FINGERS; and Allan Reuss’s APARTMENT G and PET SHOP.  (Many listeners, if they know Reuss at all, know him as the steady sweet resonant pulse in the Benny Goodman orchestra and later small-group sessions, but his compositions are a revelation.  And Reuss is Stout’s model, which says a great deal about Jonathan himself.)  Stout’s originals — dedicated to his son, not to Charlie Christian — PICKIN’ FOR CHARLIE and CHARLIE’S LULLABYE — are particularly delightful, the latter tender but never soporific.

To the casual listener, the remaining songs might seem familiar, even too much so (although in this century, the people who have heard, say, PENNIES FROM HEAVEN too often are an increasingly smaller group): STOMPIN’ AT THE SAVOY, MOONGLOW, CHEEK TO CHEEK, IT’S ONLY A PAPER MOON, SUNDAY, GEORGIA ON MY MIND, AIN’T MISBEHAVIN’, SOMEBODY LOVES ME, OVER THE RAINBOW.  But this assumption would be completely wrong.

I came to CHEEK TO CHEEK, for one example, with a half-century of associations, expectations, and prized performances in my head.  But in the first minute of hearing Stout’s playing, I thought, “Wow, I’ve really never heard that song before.”  And it wasn’t that he was being consciously or self-consciously innovative, but his performance had the integrity and wonder that the best musicians bring to even the simplest series of chord changes or melodies.

Two more delights add to the overall pleasure, both provided by people who themselves make splendid music.  One is the too-brief but delicious essay by guitarist Nick Rossi: what a pleasure to read uncliched prose that rests on a deep knowledge of the art.  The other is the gorgeous recorded sound created by master engineer Bryan Shaw: the guitar sounds like itself, with no “natural flavors” synthesized in the laboratory, with a minimum of string noise that is often distracting on recordings of acoustic guitar.

PICK IT AND PLAY IT is a series of small fulfilling delights — and “small” is not a criticism but a compliment.  Even if you’ve never heard of Frank Victor, or perhaps especially if you’ve never heard of Frank Victor, you will be thrilled by Jonathan Stout’s masterful subtle art.  Hear and purchase here and here.  And Jonathan is also quite a teacher: visit here to learn more — not only about his solo guitar folios and transcriptions, but about his swinging bands.

May your happiness increase!

UP IN THE CLOUDS (Part One): The JONATHAN DOYLE SWINGTET at THE REDWOOD COAST MUSIC FESTIVAL: JONATHAN DOYLE, JACOB ZIMMERMAN, CHARLIE HALLORAN, KRIS TOKARSKI, JAMEY CUMMINS, STEVE PIKAL, HAL SMITH (May 11, 2019)

Jonathan Doyle, 2015

 

It’s lovely to have heroes, and the man in the photograph is one of mine.  The only problem with the photograph is that it’s a still picture, and he is rarely still, but the videos below will remedy that.

When I was fortunate enough to chat with clarinetist Frank Chace on the telephone (now more than twenty years ago), he remembered that he and Marty Grosz had listened, rapt, over and over, to Pee Wee Russell’s solo on SWEET SUE with the Muggsy Spanier Ragtimers on Commodore. Marty’s comment was, “Well, if that doesn’t scrape the clouds . . . !” which is as good a summation of what artistic bliss feels like.

Those words kept coming back to me all through my weekend immersion in joy at the Redwood Coast Music Festival: I listened, quite amazed, at the wonderful music I was privileged to hear.  I’m still in a state of blissful amazement: feelings shared by those around me.

One of the reasons for this unearthly happiness has to do with reedman / composer / arranger / imaginative-phenomenon Jonathan Doyle, a rare source of  renewable energy in our time. Here ‘s where you can find him on Facebook as well.  Spiritual electricities course through him without harming him or us, and they come out as the most beautiful surprising patterns of notes, tones, and rests.  He never coasts; he never parodies anyone or himself.

Jonathan was a stimulating presence all through the weekend: with Charlie Halloran’s Calypsonians, leading several sets of his own and with Jacob Zimmerman (one a Walter Donaldson tribute with Doyle on bass sax), as lead horn in Hal Smith’s Swing Central, with the extravagant Western Swing Party co-led by Hal and Dave Stuckey.  (He was also one-third of the double tribute to composer-players Gordon Au and Josh Collazo, but by that time I had collapsed as if I’d been made of damp cardboard.  I’ll do better next year, I hope.)

Here are four uplifting performances from the first set of Jonathan’s Swingtet, a glorious affair consisting of Doyle, Jacob Zimmerman, alto; Charlie Halloran, trombone; Kris Tokarski, piano; Steve Pikal, string bass; Jamey Cummins, guitar; Hal Smith, drums.

BLUE DRAG (a nod to 1934 Django):

CHICAGO (he’ll show you around!):

THE FED HOP (Jonathan’s irresistible original):

DICKIE’S DREAM (Basie 1939, anyone?  Because of sudden battery demise, I lost the first ensemble chorus and Charlie Halloran’s delicious solo, but what remains is very satisfying):

When you’re through admiring the solo work and the overall joyous bounce of these four performances, I urge you to listen again to Jonathan’s arrangements, their sweet surprises, their dynamics and voicings.  He’s not just a great player and composer: he’s a wonderful orchestral visionary who makes his dreams and ours come true in swing.

More to come from my hero JD and his friends.

May your happiness increase! 

HANDFULS OF KEYS: DAN MORGENSTERN CELEBRATES MARTIAL SOLAL (and ANDRE HODEIR), EDDIE COSTA, and WILLIE “THE LION” SMITH (July 6, 2018)

Another visit with our favorite Jazz Eminence who, having spoken first of saxophonists Dexter Gordon here, Sonny Stitt, and Lee Konitz here, moves on to pianists Solal (with a digression to critic / violinist Hodeir), pianist-vibraphonist Costa, and pianist-force of nature Willie “the Lion” Smith . . .

 

 

 

 

 

 

In a previous conversation Dan had spoken of Solal with great enthusiasm, so I followed his lead:

I also wondered what Dan knew of the brilliant, short-lived, multi-talented Eddie Costa:

and finally, for that afternoon, glimpses of Willie “the Lion” Smith:

Now, some music.

Martial Solal, 1963, playing Django (with whom he recorded) — accompanied by Teddy Kotick and Paul Motian.  (The sessions were recorded in New York City.):

Eddie Costa, Wendell Marshall, Paul Motian:

Willie “the Lion” Smith, 1965, introduced by Humphrey Lyttelton — accompanied by Brian Brocklehurst and Lennie Hastings.

Thank you so much, Mister Morgenstern!  More stories to come . . . Randy Weston, Jaki Byard, Ira Gitler, Slim Gaillard, Harry Lim, Jeff Atterton, Kiyoshi Kuyama . . . and others.

May your happiness increase!

THEY’RE BACK! DAVE STUCKEY and the HOT HOUSE GANG at FRESNO (Part Two): DAVE STUCKEY, MARC CAPARONE, NATE KETNER, DAVID AUS, SAM ROCHA, GARETH PRICE, and RILEY BAKER (January 8-9, 2019)

Yesterday’s post of PARDON MY SOUTHERN ACCENT by Dave Stuckey and the Hot House Gang received a great deal of attention and praise . . . so here is a second helping.  But I confess that I am posting more music by this band for an even simpler reason: they make me feel jubilant, and I can’t dismiss that reaction.

Here are three more rocking performances by Dave and the Hot House Gang from February 8-9th at the “Sounds of Mardi Gras” in Fresno, California.  The swing luminaries on the stand in addition to Dave, guitar and vocal, are Gareth Price, drums; Sam Rocha, piano; David Aus, piano [taking the place of Carl Sonny Leyland for this gig]; Nate Ketner, reeds; Marc Caparone, cornet; guest star Riley Baker, trombone.

The first, ‘T’AIN’T NO USE, comes from the 1936 book of Stuff Smith and his Onyx Club Boys:

Another reproachful meditation on romance that hasn’t quite reached the target, WHY DON’T YOU PRACTICE WHAT YOU PREACH? — renowned because of Henry “Red” Allen and the Boswell Sisters.  Here it has a little glee-club flair, which works so well:

A splendid swing classic by Edgar Sampson, BLUE LOU:

Don’t they just rock the building?  I’ve known almost all of the Gang — on disc and in person — through my California Period — but I would especially call out for praise and attention a few Youngbloods, Messrs. Price, Baker, and Rocha.  How very inspiring.

May your happiness increase!

GROOVIN’ WITH DAVE STUCKEY and the HOT HOUSE GANG at FRESNO (Part One): DAVE STUCKEY, MARC CAPARONE, NATE KETNER, DAVID AUS, SAM ROCHA, GARETH PRICE, and RILEY BAKER (January 9, 2019)

You’ve heard of people dowsing for water — using a forked stick or a pendulum to discern where there’s water under the surface of apparently barren land.  I think of Dave Stuckey as the modern swing equivalent.  His skill is just as rewarding, for he finds the groove where other musicians or bands might not.  Audiences, dancers, and players hear it and respond beautifully.  I’d heard Dave and the Hot House Gang only once before in person, at a Saturday-night dance at the 2016 San Diego Jazz Fest (results here) and on the group’s debut CD (read my review here) but these pleasurable interludes made me incredibly eager to hear Dave and Co. at the 2019 “Sounds of Mardi Gras” in Fresno, California — a weekend I’ve just come back from.  More about Fresno below.

Here’s one sweet convincing sample.  Dave has a deep affinity for the music Henry “Red” Allen recorded in the Thirties, and PARDON MY SOUTHERN ACCENT by Matty Malneck and Johnny Mercer is one of those memorable tunes.  Dave is joined by Marc Caparone, cornet; Nate Ketner, reeds; David Aus (a newcomer, subbing this once for Carl Sonny Leyland) piano; Sam Rocha, string bass; Gareth Price, drums, and guest Riley Baker, trombone.

I video-ed everything Dave and the Gang created, and it was rather like a wonderfully unusual yet compelling blend of Fats, Wingy, Red Allen, Tempo King, Bob Howard, Putney Dandridge, Joe and Marty Marsala, Stuff Smith, Eddie Condon, and Django — with great riffing both afternoon and evening.  They can play ballads as well as stomps, and the groove was something to behold: you could ask the dancers.

Mercer came by his Southern accent authentically, being a Savannah native.

A few words about Fresno.  It was my first visit to that jazz festival and I’ll be back next year — not only because of the fine music and the convenience (everything was under one comfortable roof) but the pervasive geniality: much friendliness from everyone, from the waitstaff to the musicians and volunteers. Thanks to Linda Shipp, Alberto, and friends for making everyone so comfortable.  And you can bet there will be more video evidence from the Hot House Gang and Bob Schulz and his Frisco Jazz Band (featuring Ray Skjelbred and Kim Cusack).

 

May your happiness increase!

DENNIS LICHTMAN and THE QUEENSBORO SIX: “JUST CROSS THE RIVER”

Slightly less than three years ago, the superbly gifted multi-instrumentalist / composer Dennis Lichtman assembled his Queensboro Six and gave a concert at the Louis Armstrong House Museum in Corona, Queens.  Here is the first half, and here is the second.  The music was multi-colored and seriously rewarding: Dennis’ tribute to the true jazz borough, Queens County, New York, home of so many jazz figures — from Clarence Williams and Basie to Louis and Dizzy, Milt Hinton and James P. Johnson — and currently home to so many more of the musicians we love.  Dennis assembled his Queensboro Six for a truly delightful new CD, its title above, its theme song below:

This disc is a model of how to do it — musicians and composers take note.  For one thing, the band has an immense rhythmic and melodic energy, but the pieces are compact — sometimes explosions of twenty-first century Hot, sometimes evocative mood pieces, but none of them sounding just like the preceding track.  Dennis is a real composer, so that even an exploration of Rhythm changes sounds lively and fresh.  His arrangements also make for refreshing variety, so that one doesn’t hear him as the featured soloist to the exclusion of the other luminaries, and the performances are multi-textured, harking back to the later Buck Clayton, to Charlie Shavers’ work for the John Kirby Sextet, Raymond Scott, to sensitive elegies and musings that hint at the work of Sidney Bechet and Django Reinhardt.  You’ll also notice compositions by and associated with those Queens denizens Louis, Fats, Clarence Williams.  As that borough boasts some of the finest ethnic restaurants, this disc offers one savory musical dish after another.   As they used to say, “For listening and dancing”!  Peter Karl is responsible for the lovely recorded sound and Ricky Riccardi for the fine liner notes.

Here are some details.  The musicians are Dennis, clarinet; Dalton Ridenhour, piano; Gordon Au, trumpet; J. Walter Hawkes, trombone; Rob Garcia, drums; Nathan Peck, string bass — with guest appearances by Jerron “Blind Boy” Paxton, vocal , guitar; Mazz Swift, violin, vocal; Terry Wilson, vocal; Nick Russo, guitar.  If you know even a few of those performers, you will want this disc, because they seem especially inspired by Dennis’ compositions, arrangements, and playing.  And no one imitates any of the Ancestors.

The songs are 7 EXPRESS / FOR BIX / MIDNIGHT AT THE PIERS / ROAD STREET COURT PLACE AVENUE DRIVE / SOMEDAY YOU’LL BE SORRY / WALTZ FOR CAMILA / L.I.C. STRUT / JUST CROSS THE RIVER FROM QUEENS / BLUE TURNING GREY OVER YOU / 23rd BETWEEN 23rd AND 23rd / SQUEEZE ME / THE POWER OF NOT THEN / I’D REMEMBER HAVING MET YOU / CAKE WALKING BABIES FROM HOME.

You may order a download or a disc here at very reasonable prices.

But perhaps more important than the disc itself, on August 1, the Queensboro Six will play two sets at Dizzy’s Club Coca Cola.  Tickets and details here.  Get yours today:

May your happiness increase!

JAMES BIRKETT AND EMMA FISK PLAY VENUTI AND LANG, WITH GREAT AFFECTION AND EXPERTISE

The back covers of the long-playing records of my youth often were adorned with thumbnail photographs of other record covers, and this solicitation, “If you’ve enjoyed this LONG PLAY record, you’ll be sure to enjoy . . . .”

If you savor beautifully recorded chamber jazz, swinging yet leisurely, you’ll be sure to enjoy the new CD by guitarist James Birkett and violinist Emma Fisk, devoted to the music of Joe Venuti and Eddie Lang.

Since Eddie’s death in 1933, there have been many attempts to recreate the magic the two Italian boys from Philadelphia created: Venuti himself always looked for guitarists who could come close to Eddie’s splendors: Dick McDonough, Frank Victor, Tony Romano, Bucky Pizzarelli, Carl Kress, Perry Botkin, Bobby Sherwood, George Barnes, Tony Gottuso, Danny Perri, Barney Kessel, Lino Patruno attempted to fill that role on record dates and more.

As I write this, Nick Rossi, Kris Tokarski, and Glenn Crytzer are involved in similar small group projects, and I know I am leaving someone out.  Matt Munisteri does a peerless Lang behind John Gill’s Bing.  Martin Wheatley and Spats Langham both understand him deeply.

Venuti was a hard act to follow — I am leaving aside the sometimes cruel practical jokes — but he was often in love with speed and execution, and many violinists have tried to out-Joe Joe, playing his intricate originals faster and faster.  (Performance speeds have been inching up for decades: consider the Django-phenomenon.)  And for most instrumentalists, not just string players, tone gets sacrificed to speed.

Emma Fisk, a romantic at heart, doesn’t turn Joe into unicorns-and-rainbows on this CD, but she does remind us of Joe’s affectionate side, the part of his character that would linger over long tones and leisurely phrases.  She doesn’t slow everything down, but she does change the mood from headlong briskness to a kinder, easier embrace.  In this she is partnered splendidly by the elegant guitarist James Birkett, who is lyrical beyond everything else.  He is new to me, but he is kind to the ears at every turn, without being overly sentimental.  So even the faster numbers on this disc — RAGGIN’ and MY HONEY’S — are sweet saunters instead of being mad sprints.  The music breathes comfortably and well.

Here you can witness Emma and James making music — video and audio — through the media of Vimeo, Soundcloud, and YouTube.  And here you can celebrate the Spring, reward yourself for good behavior, or warm someone’s heart — by buying one or more of these life-enhancing discs.

A delightfully mournful sample, James’ EDDIE’S LAMENT:

May your happiness increase!

SALE! REDUCED! DJANGO! A LIMITED TIME ONLY!

Reduced from $12,000.  Now only $10,800.

And the descriptive paragraph:

Rare photograph signed by one of Europe’s first great jazz musicians, considered by many to be the finest guitarist the world has ever known.
Rare Photograph signed: “D. Reinhardt”. B/w, 5×6. Captioned at lower margin: “Club Rythmique de Belgique.” Jean Baptise “Django” Reinhardt (1910-1953), who was born in Belgium, grew up in a gypsy camp near Paris. Originally a violinist, he is best remembered for his jazz and swing performances on the acoustic guitar (because of youthful burn injuries that cost him two fingers, Reinhardt had to develop an original fingering system). In the 1930s, he performed with Stephane Grappelli in the Quintet of the Hot Club of France. Although he couldn’t read music, Reinhardt created many influential jazz compositions. The pioneer of the concept of the lead guitarist in a musical group, Reinhardt is best remembered for such songs as “My Sweet”, “Minor Swing”, “Tears”, “Belleville” “Djangology” and “Nauges”. In addition to touring throughout Europe, Reinhardt was acclaimed in the U.S., opening for Duke Ellington and playing at Carnegie Hall. Reinhardt, who influenced a number of styles of music, is consistently named as an influence by many modern guitarists and musicians, including Chet Atkins, Carlos Santana, B.B. King, Jerry Garcia, Jimi Hendrix, George Benson and Willie Nelson. Reinhardt is rare in any form. This is a fine example. Slightly soiled at blank margins. Minor surface scratches, some visible on forehead of image. Overall, fine condition.

And the link for those with disposable income.

And the reason — to many of us — for the adulation:

May your happiness increase!

CELEBRATING DAN MORGENSTERN, WHO GIVES SO MUCH TO US

On October 24, 1929, Bennie Moten, Lud Gluskin, Horace Heidt, Junie C. Cobb, Jack Hylton, and a few other bands made records.  In the United States, terrible things were happening to the economy.  But in Munich, Germany, our hero Dan Morgenstern was born.  Whether his first cries were in 4/4, there is no evidence,  but I would venture that it was an early example of spontaneous scat singing.

Given the math above, even I can add up the figures to write that Dan will be 88 this week.  I’m not the only one celebrating.  There will be a musical birthday party hosted by David Ostwald, who leads the Louis Armstrong Eternity Band, at Birdland, 315 West 44th Street, New York City, this Wednesday, the 25th, from 5:30 to 7 PM.  And I’ll bet Dan chirps a few with the Band. You can reserve online (and you should) here.

On Saturday, October 28th, from 1-4 PM, Loren Schoenberg (a very good friend of Dan’s and a scholar in his own right) will host a celebration / interview of Dan at the National Jazz Museum in Harlem, 58 West 129th Street, New York City. Details — to reserve a seat / buy a ticket at a nominal price — here — or here.

While you’re making your reservations, a little Morgenstern-music to accompany your mouse-clicks:

I don’t have a jazz club or museum as a place to honor Dan.  But JAZZ LIVES is not without its resources, and as readers know, I have had the honor of interviewing Dan at length . . . an utterly gratifying experience for me, so I will share two as-yet-unseen segments.

One takes Dan back to Copenhagen in 1938.  I knew he had delighted in Fats Waller on Fats’ European tour, but I hadn’t known he had seen the Quintet of the Hot Club of France AND the Mills Brothers.  Dan also recalls his first jazz records.  Wonderful memories:

Remembering the Quintet also led to Dan’s enthusiastic portrait of violinist Svend Asmussen:

“A wonderfully enveloping good nature,” Dan says of Fats.  He would never say it of himself, but it is no less true.  It is our immense good fortune to know Mr. Morgenstern.

May your happiness increase!

GOLD IN THOSE GROOVES (Los Angeles, 1938)

Truman “Pinky” Tomlin, singer, composer, bandleader, film star

Everyone reading JAZZ LIVES could, with not much effort, compile a list of a dozen well-known and rewarding jazz recordings.  Your list might be entirely different, but I feel that we would recognize the names of most, if not all, of the entries. But what continues to delight me is the wonderful music to be found on recordings that don’t get any attention, those beneath the surface of the collective attention.

One such record is a recent purchase from eBay, and it’s repaid its original price (perhaps $2.99?) a dozen times over, even though its star, Oklahoma-born “Pinky” Tomlin, would not be at the top of many people’s lists.

The record isn’t listed in Tom Lord’s or Brian Rust’s discography, although the records Pinky made with (among others) Joe Sullivan and Joe Haymes are. Make of this what you will, but two sides made at the same session — SMILES and THE OLD OAKEN BUCKET — are listed (and thus certified as Official Jazz Records) although they are less memorable: I bought that disc also from eBay.

The orchestra is directed by Harry Sosnik, and features Pinky with Mannie Klein, trumpet; Andy Secrest, cornet; Abe Lincoln, trombone; Jack Mayhew, clarinet; Claude Kennedy, piano; Perry Botkin, guitar; Slim Jim Taft, string bass; Spike Jones, drums.  It was recorded in Los Angeles, April 23, 1938.

Those are illustrious names; some readers will notice that the band is close to the group that accompanied Mr. Crosby and Mr. Mercer on their version of the Gallagher-and-Shean vaudeville routine in July of that year: the evidence here. I suspect that more than a few worked in radio and were known as the best “studio” musicians on the West Coast.  The one unknown in this band, pianist Kennedy, I found out through reading Pinky’s autobiography, THE OBJECT OF MY AFFECTION (his best-known composition) was a friend and musical colleague of Pinky’s from Oklahoma.  (Just because you might be wondering, Truman Tomlin got his nickname early on because of his complexion.)

I wonder if this session was another of Jack Kapp’s crossover ideas, joining hot jazz, swing, and Western swing, to support Pinky, already well-known on radio and films.  Had Kapp noticed the success of Maxine Sullivan’s LOCH LOMOND, a swing version of a traditional song, or Ella Logan’s efforts (in all those cases, no composers to pay)?

But enough words.  Feast your ears (and, yes, there is authentic surface noise, because the original owner of this record played it often).

RED WING:

RED RIVER VALLEY:

These sides are fun, and that comes from their ease, the sweet balance between Pinky’s sincere Oklahoma voice, not trying to “get hot” except for the one upwards Bing-meets-Louis scat phrase on RED WING.  He’s telling us stories, and he’s completely earnest but never stiff.  Sosnik wasn’t always so swinging on other Deccas that bear his name, but the arranged passages are right on target, and it’s especially pleasant that the endings on both sides aren’t histrionic, but wind down gently.  Secrest plays beautifully, but it’s the band that charms me — its unsung heroes being Perry Botkin and Spike Jones, who certainly swung.

“It’s not in the discography, so it can’t be jazz.”  But it’s rewarding music.

I find myself charmed by Pinky: he seems guileless, someone who is being rather than acting.  Two more examples: one, from a 1937 film, where he, like Bing, seems to say to a viewer, “I’m on the screen, singing, and putting clothing into a trunk.  But you could do this, too.”:

Two decades later, Pinky faces Groucho, his essential sweetness intact:

A few words about THE OBJECT OF MY AFFECTION.  I read in Pinky’s autobiography how the song was a spur-of-the-moment creation that grew from the casual phrase that was its title.  But it has deep jazz credentials: Ella sang it early, and later in life, when she and Pinky were together at some public function, went out of her way to express her gratitude.

Three versions, each showing the song’s durability and emotional appeal.  First, Carl Switzer:

Helvetia, Connie, and Martha:

Garnet Clark, Bill Coleman (“from brown to rosy red”), June Cole, George Johnson, Django:

May your happiness increase!

THESE COZY VIRTUOSI: EMMA FISK, JACOB ULLBERGER, SPATS LANGHAM, HENRY LEMAIRE at the MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)

Violinist Emma Fisk — with a lovely dark tone, a romantic conception to match her fine technique — never disappoints and is always swinging.  Here she is with three of the best — Spats Langham on the right and Jacob Ullberger on the left, guitars, and Henry Lemaire, string bass — in a session celebrating Django, Stephane, and their work together both as the Quintette of the Hot Club of France and later.

This delight took place at the 2016 Mike Durham Classic Jazz Party, held in Whitley Bay, England: this set comes from November 4, 2016.We begin with an incomplete performance — my fault — but I thought the remainder was too good to ignore.

COQUETTE:

I’M CONFESSIN’:

BELLEVILLE:

IF YOU ONLY KNEW (HOW MUCH I LOVE YOU):

DARK EYES:

As you can hear, Emma is a superb violinist, one not restricted to this particular genre.  She and guitarist James Birkett have formed a duo devoted to the music of Eddie Lang and Joe Venuti, and the delightful evidence — audio and video — can be found here.  I’ve heard rustlings that a new CD by the duo is on the way as well.  Emma and friends — what friends! — will be back for the 2017 Party, held in late October: visit here for details, videos, and more.  I won’t be there, but that will leave more room for you and yours.

May your happiness increase!

“NOT A SCIENCE EXPERIMENT”: IAN DATE, NIGEL DATE, BOB BARNARD, JONATHAN ZWARTZ / CHRIS O’DEA, STAN VALACOS, ANDREW DICKESON

To paraphrase Aquinas, to those who can hear, no explanation is necessary.

You might not recognize the musicians, and the song might be unfamiliar, but it is unmistakably Good Music, as Milt Hinton would have called it:

and then there’s the issued version, with useful visuals:

To reiterate the obvious (it goes with my job description) this is a new CD created by (electric) guitarist Ian Date and his brother Nigel, who plays acoustic guitar, string bassist Jonathan Zwartz, and the heroic Bob Barnard on trumpet. JUST MY LUCK was recorded in Sydney in March 2016, and it’s a delight.

I confess that even though I did not know Ian’s music well, when I saw that he and Nigel had recorded this with Bob, I entreated a copy.  Bob is one of my true idols: a gentle, witty man in person, and a truly melodic player — he carries on the great legacy of Bobby Hackett and others while making acrobatics seem both easy and plausible.  Although Bob is mildly older than I am, nothing that he plays has an iota of strain or effortful gracelessness.  And the three other players are brilliantly easeful as well: Ian compares them to four blokes sitting around playing cards.

The result is music that is truly conversational and collaborative — no competition, just a deep awareness that song and swing are the essential cosmic forces.  It’s beautifully recorded as well, and the songs are a pleasure.  I don’t know who came up with the title song — an obscurity from Broadway — but I wish more bands would play it.  And the others are all simultaneously deeply rewarding but not overplayed: MIS’RY AND THE BLUES / COCKTAILS FOR TWO / MAD ABOUT THE BOY / YOU’RE MY THRILL / MOON SONG / IT’S WONDERFUL / BY MYSELF / YOU ARE TOO BEAUTIFUL.

Incidentally, once I’d heard JUST MY LUCK, I looked up Ian’s recording career and found that he was on a dozen or more CDs with Dan Barrett and Tom Baker — CDs I’d treasured for years.  So, Ian, I apologize for not putting your name in cyber-lights sooner, and hope this little nosegay makes up for it slightly.

From a slightly earlier session, here’s DINETTE:

Here’s the somewhat quirky cover:

Don’t let the homegrown, slightly satiric cover fool you.  This CD is consistently delightful: I plan to keep a copy in my car to use as a Blindfold Test, should I have passengers who think themselves knowledgeable about the music, so that they can say, “Michael, WHO are those people?  Damn, they are superb!”  The overall ambiance of the disc is — sonically and spiritually — Mainstream — but it is so good that it is hard to describe.  The quintet plays the blues convincingly, ballads in emotive yet swinging ways.  At times, I thought of an imagined Herb Ellis session or another track from the 1939 Charlie Christian – Jerry Jerome – Pettiford session.  Nothing’s imitative: there’s no effort to Evoke An Era, but the end result is wonderfully reassuring, as if reminding us that such music can still be made, and made superbly in this century.  Incidentally, Ian and Nigel are sometimes advertised as “Gypsy jazz,” but what they’ve taken from that sometimes distorted genre is a deep feeling for melody, for lyricism, for swing — rather than having the fretboard burst into flames.  I think they remember that Django’s original inspirations were Louis, local melodies, and dance bands . . .

If anything, what I’ve written is a sedately restrained understatement.  The songs are DANCE HALL BEAT / SI TU VOIS MA MERE / LULLABY OF THE LEAVES / POINCIANA / SEGMENT / I’LL NEVER SMILE AGAIN / DINETTE / THERE GOES MY HEART / MMF BLUES / A SAILBOAT IN THE MOONLIGHT, and Ian’s comrades are brother Nigel, guitar; Chris O’Dea, tenor saxophone; Stan Valacos, string bass; Andrew Dickeson, drums.  From the first rimshot to the last notes (an instrumental flourish that suggests late Louis) of SAILBOAT, I was delighted — and I’ve played it half-a-dozen times.

To purchase a copy of LET’S PLAY, visit here.

I suspect that this would be another good place to visit for those who would like copies of these CDs.  But here more modern folks can download JUST MY LUCK for a mere pittance.  What beautiful, warm, and vibrant music these fellows make.

And just because Ian can, and I can, here’s another sample of his talents:

May your happiness increase!

“JOHN PAUL GEORGE AND DJANGO”: THE HOT CLUB OF SAN FRANCISCO

2016hcsflivingroom

I think I am older than Paul Mehling, but we both came up in a time when the Beatles were not only the sensational mop-tops who had made all the girls scream at concert performances but when their songs were the ubiquitous popular soundtrack.  I can remember buying each new album as it came out and listening avidly.  Of course, both Paul and I felt drawn to a different kind of music, as he writes in the brief notes to this new CD:

The idea that Django Reinhardt would have played the Beatles’ tunes has haunted me ever since I took up the guitar.  Like so many of my generation who were galvanized by their appearance on the Ed Sullivan show in 1964, I became part of the ‘culture of guitar’ and never looked back.  But unlike my guitar brethren who stayed on for sex, drugs, and/or rock ‘n’ roll, I was devastated by the breakup of the Beatles and I quit listening to rock entirely, foolishly believing that the best was now over.  Luckily, I was already deeply inspired by traditional jazz — Goodman, Bechet, Dorsey, Shaw, & others of the swing era, especially Django.  This record was inevitable in that regard.

johnpaulgeorgedjangocdcover

For those impatient with words, here you can hear sound samples, learn more about the Hot Club of San Francisco, and purchase the music.

The HCSF is a venerable band — much of its personnel staying the same for a long time — and it has the ease and intensity of a working band.  The players are Paul Mehling, Evan Price, SAm Rocha, Iabelle Fontaine, Jordan Samuels, with guests Jeff Hamilton, Nate Ketner, Jeff Magidson, Michel Saga.

The repertoire neatly balances the familiar (going all the way back to 1964) and the less well-known: ALL MY LOVIN’ / BECAUSE / MICHELLE / I WILL / HERE THERE AND EVERYWHERE / YOU WON’T SEE ME / THE FOOL ON THE HILL / IF I NEEDE SOMEONE / JULIA / YOU CAN’T DO THAT / FOR NO ONE / DON’T BOTHER ME / HEY JUDE – DUKE & DUKIE / THINGS WE SAID TODAY / YELLOW SUBMARINE.  Because Mehling is a gleeful subversive, there is a French group vocal, visits from musical saw, banjo, melodica, and barrel organ. It isn’t the Beatles on hallucinogens visiting an abandoned gypsy caravan, but it has immense wit, verve, and variety.  As impatient as I can be, I listened to this CD without a break many times.

In the Sixties and beyond, there were many recordings of Beatles “covers”: the Hollyridge Strings Play Lennon and McCartney; Nelson Eddy Sings the Beatles; Wilbur Sweatman Plays the Hits of Today (seriously, both Basie and Ellington attempted this, and Louis sang — most convincingly — GIVE PEACE A CHANCE).  In general, these recordings were often an attempt to bridge the generations and to give record buyers senior and junior something to purchase. But the end result was often watery.

Not so the HCSF CD.  Each song is quietly linked to the ones before and after — so the end result is a charming Beatles suite, a too-brief immersion.  But it’s also a brightly colored journey, with each track exhibiting its own glowing personality: brilliant and sometimes surprising arranging makes this delightfully possible.  And if you are worried about such things, the session swings mightily and is wonderful dance music. To describe this CD track-by-track would be to spoil the fun, but I can see why devoted fans of the HCSF had been after Paul to make a CD like this.

May your happiness increase!