Tag Archives: Eddie Condon

FOR NOONE IN PARTICULAR: The CHICAGO CELLAR BOYS at the JUVAE JAZZ SOCIETY MINI-FEST: ANDY SCHUMM, DAVE BOCK, JOHNNY DONATOWICZ, JOHN OTTO, PAUL ASARO (Decatur, Illinois: March 30, 2019)

I had a wonderful time last weekend at the one-day jazz festival — the little party thrown by the Juvae Jazz Society in Decatur, Illinois.  Friendly kind people, hot music, sweet sounds, and good feelings in the Flatland.

The two bands I made the trek to hear are Petra van Nuis’ Recession Seven (more about them soon) and the Chicago Cellar Boys: Andy Schumm, cornet, clarinet, tenor saxophone, arrangements; John Otto, clarinet, alto saxophone; Paul Asaro, piano, vocals; Dave Bock, tuba; Johnny Donatowicz, banjo, guitar.

Andy made his name with most jazz audiences (I saw him, with Dave Bock, first in 2007, alongside Dan Barrett at Jazz at Chautauqua) as a hot cornetist, the closest thing to “the dear boy” possible.  But in the intervening years, he’s branched out to embody a whole variety of cornet styles, and he’s also shown himself to be a fine tenor player in the Jack Pettis mold, and a spectacular  clarinetist, evoking Tesch, Mezz, and Jimmie.  That’s Teschemacher, Mezzrow, and Noone for the newcomers.

The last fellow on that list — facetiously called “Jimmie No-One” by Kenny Davern, who loved his playing, is our subject today.  Noone’s little Apex Club band featured himself on clarinet, Doc Poston on alto, Earl Hines on piano, Bud Scott on banjo, Johnny Wells on drums, and Lawson Buford or Bill Newton on tuba.  This little band’s most remarkable trademark was the interplay between Noone and Poston, who had worked with Freddie Keppard and Doc Cook earlier.  Incidentally, I’m told that the Apex Club was at 330 East 35th Street on the South Side of Chicago.  Here is a current view of that address, not inspiring.  Sic transit gloria mundi.

Even though the architecture is obliterated, the music remains, so here are the Chicago Cellar Boys becoming the Apex Club Orchestra on two selections — one unrelated to Noone, the other a direct hit.

EL RADO SCUFFLE was in the band’s book, and I read somewhere that the club Noone’s group was working at was the El Dorado, but some letters were missing from the sign or some lights didn’t function.  If that was the Scuffle or something larger I can’t know: create your own stories to this soundtrack:

I associate KEEP SMILING AT TROUBLE with Bunny Berigan, Bud Freeman, Joe Marsala, Vic Lewis, Eddie Condon, Jim Goodwin and Ray Skjelbred, Marty Grosz, Bobby Gordon, Dan Levinson — so it is a song with a wonderful pedigree. Here the Cellar Boys are already grinning, and Trouble has left the building — Trouble don’t like verses:

Delicious.  And more to come.

May your happiness increase!

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“FINE RIFFIN’ THIS EVENIN'”: DAVE STUCKEY and the HOT HOUSE GANG at FRESNO: DAVE STUCKEY, MARC CAPARONE, GARETH PRICE, SAM ROCHA, NATE KETNER, DAVID AUS (February 9, 2019)

Seat belts fastened, seat backs upright, tray tables in the upright position?

As the ebullient guitarist / singer / bandleader Dave Stuckey says, “Come on, cats!”

Here are three Stuckey-beauties from the Fresno “Sounds of Mardi Gras,” last month, in which our heroes teach the Gentle Art of Swing and the Arcane Secrets of Riffing.  (See: “Arrangement, head” in the index.)

The rollicking heroes are Dave Stuckey, guitar, vocal, imagination; Marc Caparone, cornet; Nate Ketner, reeds, David Aus, piano; Sam Rocha, string bass; Gareth Price, drums.  Special plaudits go to Youngbloods Rocha and Price, who make seismic upheaval fun.

FROM MONDAY ON, for Bix, Bing, and Eddie:

I NEVER KNEW, for Benny Carter:

YOU’RE GONNA LOSE YOUR GAL, for Red Allen:

“Wow wow wow!” as my friend Anna Katsavos says.

“May your happiness increase!”

“SHE YELLED WITH DELIGHT”: DAVE STUCKEY and the HOT HOUSE GANG at FRESNO: DAVE STUCKEY, MARC CAPARONE, NATE KETNER, RILEY BAKER, DAVID AUS, SAM ROCHA, GARETH PRICE (February 9, 2019)

The Twenties marked an explosion of female freedom that would blossom in our time, with political empowerment and social power running parallel: the right to vote and the right to choose what you would wear.  I am sure that somewhere in that decade a singer was whimpering through SHE’S ONLY A BIRD IN A GILDED CAGE, and NOBODY’S SWEETHEART appears to — note I write “appears” — say that a young woman could lose her virtue in the big city, with a wink at the listener as if to say that scandal is more fun than conformity. But the songs below, which resurface as hot jazz classics in their own decade, say that the rewards of freedom and pleasure and hugely gratifying.  (I amused myself a few years ago here by writing about several of those songs — with a guest appearance by Thomas Hardy.)

By coincidence, the songs I am considering were given splendid performances by Dave Stuckey and the Hot House Gang at the 2019 “Sounds of Mardi Gras” in Fresno, California — on February 9.  The HHG was Dave, guitar and vocal; Gareth Price, drums; Sam Rocha, string bass; David Aus (subbing for Carl Sonny Leyland), piano; Nate Ketner, reeds; Marc Caparone, cornet — on LIZZIE, the delightful trombonist Riley Baker joins in the fun.

Let’s begin with Bessie, from 1929 — not Smith, but a young woman with no last name who is completely enjoying herself.  I’ve always wondered if Bessie’s yelling with delight celebrates the female orgasm.  And although the lyrics suggest a faux-pity about Bessie, who “couldn’t help it,” as if she could be an entry in Krafft-Ebing, we are meant to cheer her on:

Then there’s Lizzie, who is dancing all over town with such wild abandon that she shakes the pots and pans in what we must assume is a more sedate lady’s kitchen.  Ah, flaming youth!  (Or, as Dave exhorts the band, “Come on, cats!”).  I also note the repeated reference to what I know as “Oh, they don’t wear pants / in the southern part of France,” which suggests that Lizzie’s dance is close to the hootchy-kootchy:

These songs have wonderful jazz pedigrees, should you want to listen to other versions: Louis and Hoagy and Marty Grosz for BESSIE; “Irving Mills” and then Eddie Condon for LIZZIE.

Hot jazz, social emancipation, wild dancing, orgasms.  Fine with me.  And I write with untrammeled pride that I think this is the only jazz blog where Krafft-Ebing and Louis have equal time.

May your happiness increase!

“BENNY AMÓN’S NEW ORLEANS PEARLS” WINS THE COVETED JAZZ LIVES “GFP”* AWARD: BENNY AMÓN, WENDELL BRUNIOUS, STEVE PISTORIUS, FREDDIE LONZO, ALEX BELHAJ, TOM FISCHER, TYLER THOMSON, JOE GOLDBERG, TIM LAUGHLIN

Let us start with the glorious evidence.

That’s the opening track of Benny’s new CD, and when the band shifts into tempo after Benny’s interlude I find myself in tears of joy.

Benny Amón is one of my heroes  And hero Benny can also write.

Often I’ve felt complete awe and incredulity for my experiences playing music in the city of New Orleans. I have been incredibly fortunate to gain mentors, many of whom are featured on this recording session, who have taught me to play New Orleans traditional music with the right feeling and spirit while also encouraging me to find my own voice as a musician.

This recording session is snapshot of that journey after spending most of my 20’s living in this beautiful city. The session is comprised of some of the most treasured musicians to come from this city and some of the greatest to have moved here. This exchange of generations, of cultures, of perspectives of music and life is what has helped make this recording session so successful.

My most important mentor and collaborator over the past several years, Steve Pistorius is featured prominently on this record whether it be ragtime duets, trios with horn players, or in the 7 piece ensemble. As Wendell Brunious likes to say, Steve is the #1 interpreter of the Jelly Roll Morton style of piano. Steve contributed much by writing out good melodies and chords as well.

Speaking of Wendell Brunious, we have worked together often at Preservation Hall over the past few years. Wendell is one of the best trumpet players and entertainers in the whole world and comes from one of the most important musical families of New Orleans. He is a gem that we cannot take for granted.

Freddie Lonzo is another of the New Orleans born and raised musicians who I have been working with over the past years at Preservation Hall and also at the Palm Court Jazz Cafe. He is one of the few trombone players left who understands how to play New Orleans style tailgate trombone. His positive energy and humor is infectious, as is his singing.

Tom Fischer has been in New Orleans for longer than I have been alive and his dedication to excellence on both clarinet and alto saxophone is evident on this record.

New Orleans’ own clarinetist Tim Laughlin recorded two songs on this cd that turned out beautifully. He is one of the my first and most important mentors in New Orleans.

Tyler Thomson also known as “Twerk” by many, is absolutely on fire on this record. Bringing incredible power and solidity to the bands he plays with. He would make Pops Foster, Chester Zardis, and Alcide Louis “Slow Drag” Pavageau proud.

Alex Belhaj is a dear friend of mine who moved to New Orleans a few years ago and he is a frequent collaborator with the Riverside Jazz Collective. His fine banjo and guitar playing is featured in the 7 piece band.

Joe Goldberg is another transplant to New Orleans who has earned the respect of all the top players in both the traditional and modern jazz scenes. His clarinet and soprano saxophone playing as well as his singing is featured on a couple of songs.

As a final note I would like to add a reflection on the actual site of the recording session. George Blackmon, an old friend and excellent studio engineer moved his entire set up to the Scandinavian Jazz Church (Formerly known as the Norwegian Seamen’s Church) to record the bands. The sound he got in that beautiful old church is reminiscent of old New Orleans dance halls where the New Orleans Jazz Revival bands led by such luminaries as Bunk Johnson and George Lewis used to play and record. The Jazz Church unfortunately was sold and since has been closed down after over a 100 years of service to the New Orleans community. The Church hosted jazz concerts and jazz prayer services for decades. The Church generously allowed us to record and use their facilities free of charge. This recording, and the accompanying videos produced, will stand as a last testament to this beautiful and historically important New Orleans institution.

Most importantly, the music on this record is an authentic and timeless account of the New Orleans Jazz scene as I experienced it at this time of my life; full of life, and joy. I am proud to release this music and hope that you enjoy it!

You  might think that Benny has said everything that needs to be said, but I want to add some perceptions he might be too modest to write himself.  Although he turns 30 this year, he is a mature artist with large heartfelt visions and sensitivity.  He is a spectacularly fine drummer.  He makes beautiful sounds, he plays for “the comfort of the band,” he knows dynamics and timbres, and he swings no matter what the tempo.  But he’s more than a wonderful percussionist.

Much of what is marketed as jazz these days — although it says it is inclusive — is a matter of boundaries and barriers, enacted in terms of repertoire and colleagues.  “Ourselves alone,” as the Irish used to say. Benny understands the music as spacious, its boundaries easy and flexible.  That doesn’t mean the new CD takes an iconoclastic approach for novelty’s sake, but it does mean that his vision of New Orleans jazz is easy and loose.  There are echoes on this disc of Bunk Johnson, King Oliver, Louis Armstrong, Jelly Roll Morton, Johnny Dodds, Jimmy Blythe, and Zutty Singleton — but also Eddie Condon, Billie Holiday, James P. Johnson.  Sidney Bechet is in town, but it is the later rhapsodic French Bechet; the Bunk echoes are of the “Last Testament” session.  I am tempted to write a track-by-track guided tour, but why spoil your surprises?

Benny’s gracious understanding also extends to the musicians he chose for this disc.  He has opened his musical house to friends who can really play and sing, people who are individualists.  And the welcome includes Elders and Youngbloods, which makes the session particularly earthy, fresh, and sweetly -surprising — it has some of the feel of a cross-generational down-home jam session where everyone is grinning their faces off at what they are hearing and what they are part of creatively.  It isn’t trad-by-the-numbers; it isn’t busker-stomp; it isn’t formulaic in any way.  And the repertoire is splendidly unhackneyed without being consciously esoteric.

Many CDs offer a huge plateful of The Same Thing, the musical equivalent of an eight-pound plateful of shrimp with lobster sauce.  But I have played this disc half a dozen times from first to last, enraptured.  There are full-ensemble pieces, one-horn, piano-drums trios, a gorgeous drum solo (BENNY FACE, as melodic as any orchestral piece), piano and drums, a few vocals (Goldberg on MY BABY; Brunious on BACKYARD; Lonzo on CALIFORNIA) — and speaking of BACKYARD . . .

How fresh and heartfelt that is!

Now I must explain the “GFP Award.”  I’d asked Benny to send me a copy of the disc when it was ready (handsome art direction there, too) and when I got it in the mail, drawn by whatever magnetism, I played it that night and wrote him immediately that it was, and I quote, a GIANT FUCKING PLEASURE (I use the vernacular when possible) and he asked me to please use that language in my blog.  I am too restrained to make it the heading . . . but the disc makes me happy.  You can buy the physical disc or a digital download here.  Don’t miss an opportunity to be uplifted.

Bless Benny and his friends.  They bring such joy.

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!

ONE ROOM, BRIGHT AND NEAT

It doesn’t have to be Valentine’s Day for you to consider a brief vacation.  With luck, the holiday bills have settled and since it’s still some time until Spring, JAZZ LIVES proposes a weekend getaway to those readers who can do it.  The soundtrack is by Richard Rodgers and Lorenz Hart, and the sweet rendition is by Bobby Hackett from a 1944-5 Eddie Condon concert:

Since it would be a nearly criminal omission to share a purely instrumental version, all respects to Bobby and Dick Cary (although I think the pianist is Gene Schroeder), here is a recording when the song was new:

The wishing well isn’t mandatory: one can have a weekend getaway at home simply by shutting down one’s smartphone and sleeping later, ideally next to someone friendly.  That part you will have to improvise for yourselves.  And if you are solitary by choice, remember that Hart’s lyrics say very clearly, “Who wants people?”  But having a Bobby Hackett soundtrack can convert the most banal place into a sweet hotel room with a distant steeple.

May your happiness increase!