Tag Archives: Hal Smith

PAPPY AND JUNIOR’S WESTERN SWING ALL-STARS (Part Two): DAVE “PAPPY” STUCKEY, HAL “JUNIOR” SMITH, ELANA JAMES, MARC CAPARONE, JONATHAN DOYLE, DAN WALTON, JAMES MASON, RUSTY BLAKE, CHRIS WILKINSON, JAMEY CUMMINS, WALLY HERSOM (Redwood Coast Music Festival, May 10, 2019)

In he name of joy, I present the second half of Dave Stuckey and Hal Smith’s Western Swing party at the 2019 Redwood Coast Music Festival.

But for the people who didn’t get yesterday’s plateful, here it is.  (Not just music, but two lovely essays on Western Swing, one each by Hal and Dave.)

The wondrous music-makers are Dave Stuckey, guitar, vocal; Elana James, fiddle, vocal; Hal Smith, drums; James Mason, fiddle; Dan Walton, piano, vocal; Marc Caparone, cornet; Jonathan Doyle, reeds; Rusty Blake, steel guitar; Chris Wilkinson, guitar; Jamey Cummins, guitar; Wally Hersom, string bass.  And this glorious outpouring took place at the Redwood Coast Music Festival on May 10, 2019.  (I will point out that next year’s RCMF is May 7-10, 2020, and we are going to be there.)

Here’s the swinging REMINGTON RIDE:

Asking the musical question, WHAT’S THE MATTER WITH THE MILL? — a song I could hear Stuff Smith and his Onyx Club Boys doing (with a cameo appearance by the Roving Photographer):

Cindy Walker’s I HEAR YOU TALKIN’ with echoes of Fifty-Second Street:

The pretty MAIDEN’S PRAYER:

TIME CHANGES EVERYTHING, as we know:

Dan Walton’s PIPELINER’S BLUES, from the Moon Mullican book:

TEN YEARS:

Cindy Walker’s DUSTY SKIES:

SAN ANTONIO ROSE, the “Western Swing national anthem”:

How can you hear more of this . . . . ?  Come to the Redwood Coast Music Festival, May 7-10, 2o2o.

May your happiness increase!

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PAPPY AND JUNIOR’S WESTERN SWING ALL-STARS (Part One): DAVE “PAPPY” STUCKEY, HAL “JUNIOR” SMITH, ELANA JAMES, MARC CAPARONE, JONATHAN DOYLE, DAN WALTON, JAMES MASON, RUSTY BLAKE, CHRIS WILKINSON, JAMEY CUMMINS, WALLY HERSOM (Redwood Coast Music Festival, May 10, 2019)

It’s taken me many years to truly appreciate the breadth and soulfulness of Western Swing but I get it now, so I was thrilled to attend (and record) this leisurely long presentation by a genuinely all-star group, co-led by Dave Stuckey, guitar, vocal; and Hal Smith, drums, at the 2019 Redwood Coast Music Festival.

Here’s the personnel — the hot / sweet rascals all in a row: Dave Stuckey, guitar, vocal; Elana James, fiddle, vocal; Hal Smith, drums; James Mason, fiddle; Dan Walton, piano, vocal; Marc Caparone, cornet; Jonathan Doyle, reeds; Rusty Blake, steel guitar; Chris Wilkinson, guitar; Jamey Cummins, guitar; Wally Hersom, string bass.

Because I don’t think of myself as an authority on this music, I asked Dave and Hal for their comments, which are as different as they are.  Dave, first:

While most people think of Western Swing as a melting pot…and I wouldn’t disagree necessarily (music did come across the border…Wills had Spanish Fandango, the Tune Wranglers had el Rancho Grande, etc), I think that was a just a subset of what they played. The base line was jazz, though. When you look at WS’s (as it was called by 1947 — previously it was regarded as Hot String Band) repertoire, it’s all jazz. Very few originals.

I always think of it as a bunch of cats in Texas who were wild about jazz and wanted to play it – so they did with the instruments they had (steel guitar, fiddles). Judging from what I’ve heard from the limited amount of old-timers I’ve been lucky enough to meet is that jazz was just about ALL they listened to.

I met Benny Garcia, the excellent guitarist for Wills, Tex Williams, Hank Penny and at one point, Goodman (!). He grew up in Oklahoma City and when we chatted, all he wanted to talk about was Charlie Christian, his biggest influence.

I don’t know how often the jazz guys even knew of Western Swing but I do know the story of Jimmie Bryant, the singular country jazz guitarist who, it was said, would often leave his weekly gig at Hometown Jamboree in El Monte (south of L.A.) and shoot up to Hollywood and sit in with Stuff Smith at Billy Berg’s on Vine Street.

Jimmie Rodgers is a wellspring, just like Pops. I regard those two as the only occupants on Music Mount Olympus. I also think to call Jimmie The Father of Country Music is to way undersell him. He was all of it – jazz, country, blues, Hawaiian. I don’t know if you’ve read Finding Jimmie Rodgers by Barry Mazor, but I think you’d really enjoy it. It ties a lot of it together with fact and supposition.

Milton Brown? Well, it’s hard to imagine what the whole timeline would be like had he not died so young. He was right there…once he and Bob broke up after that first, seminal record, they both went in fairly disparate, but equally great directions.

and Hal:

I was aware of Western Swing music in the ’60s, after finding out that hot jazz cornetists Benny Strickler and Danny Alguire had worked with Bob Wills’ Texas Playboys. But it was difficult to find comprehensive reissues of Wills’ music until the ’70s. Once I heard those recordings, with more great hornmen like Tubby Lewis, reedmen Wayne Johnson and Woody Wood, the Jess Stacy-like piano of Al Stricklin, the hot jazz of fiddlers Jesse Ashlock and Joe Holly and steel guitarist Leon McAuliffe, the swinging drums of Smokey Dacus, Bob Fitzgerald and Monte Mountjoy and the friendly vocal styles of Tommy Duncan and Wills himself…I was hooked!

Fast-forward to the early 2000s in Southern California, when I made the acquaintance of Dave “Pappy” Stuckey. We quickly found out that we shared a lot of musical interests, from the Firehouse Five Plus Two to Eddie Condon to…Western Swing! With the help of some talented Southern California musicians, we organized the “Hi-Lo Playboys” to perform at a variety of events. However, conflicting schedules, disagreements regarding the band’s approach and a general lack of work doomed this group within a short time.

Fast-forward again to the 2017 Redwood Coast Music Festival…As Dave and I rode together in a van to the Eureka airport, the subject of Western Swing came up. We agreed that a hot Western group would be a great addition to the musical presentations at Redwood Coast. When we contacted Festival Director Mark Jansen, he immediately agreed. After receiving the green light for a special set at the 2018 festival, “Pappy” Stuckey and “Junior” Smith began to contact musicians who would be able to play the music the right way and simultaneously put together set lists to reflect the best music from the Texas Playboys repertoire. “Pappy and Junior’s Barn Burner” was a smash hit at the 2018 Redwood Coast Music Festival. Happily, Mark Jansen agreed to a reprise in 2019 and friend Michael videotaped the band for posterity.

And now . . . the first half of this glorious effervescent evening of music.

TAKE ME BACK TO TULSA:

A HOME IN SAN ANTONE:

WHOA BABE! — which some of us will also know from a Lionel Hampton Victor:

BEAUMONT RAG:

I’M FEELING BAD:

SMOKE, SMOKE, SMOKE:

BLUE TEARS:

DRIVIN’ NAILS IN MY COFFIN:

I will close by saying that my ears were opened wider by this erudite hilarious feeling presentation, that a second half is waiting in the wings, that all of this wouldn’t happen were it not for the generosities of Mark and Valerie Jansen, AND that the next Redwood Coast Music Festival is May 7-10, 2020, and you will see us there.

May your happiness increase!

THEY’RE EASY TO DANCE TO! (Part One): HAL SMITH’S “ON THE LEVEE JAZZ BAND” at the EVERGREEN JAZZ FESTIVAL (Evergreen, Colorado, July 26, 2019)

Find your Capezios, please.  JAZZ LIVES will wait.

Hal Smith’s “On the Levee Jazz Band” is delightfully subversive in its own way.

Its members are formally dressed in the way that jazz musicians used to be (Coleman Hawkins would never have gone to a gig or a recording session in a tight blue polo shirt with a band name on the left pectoral).  They are devoted to the later music of Kid Ory (which, to some, might paint them as an old-fashioned New Orleans jazz repertory ensemble).  Thus, they can seem scholarly rather than rambunctious (Hal, aside from being one of the half-dozen best jazz drummers, is a scholar of the music who can tell you what the band name means, to take just one example).

BUT.  Let us not be fooled by surfaces.

OTL, as I occasionally call them, is one of the best small swing units now playing.  They don’t copy old records; their music is uplifting dance music, and swing dancers have a wonderful time with it.  The band rocks; they are informal but expert; their solos soar and their ensembles groove.

Their secret, which no one whispers aloud, is that they are closer to a Buck Clayton Jam Session than to a Bill Russell American Music shellac disc.  And in this they are true to the source: Ory kept up with the times; he loved to swing, and he loved to create music for dancing.  But you need not take my word for it.

I captured three of the band’s sets at the Evergreen Jazz Festival, and this one is particularly dear to my heart because it is music for swing dancers.  In 1959, more or less, the Kid and trumpeter Henry “Red” Allen, old pals from New Orleans, made recordings and gave European concerts which drew on a swing repertoire somewhat looser than the stereotype.  Not “Dixieland” or “trad” in their essence, these records captured a particular musical ambiance where disparate personalities were free to roam.  The Verve records were particular pleasures of my adolescence, so to hear Hal and the OTL play those swinging songs was a joy, not only for me, but for the dancers.

I should point out here that the band at Evergeen was made up of Ben Polcer, trumpet, vocal; Joe Goldberg, clarinet; guest star Clint Baker, trombone, vocal; Kris Tokarski, piano; Alex Belhaj, guitar; Joshua Gouzy, string bass; Hal Smith, drums, leader.  American Popular Songbook, too — two Gershwins, two Wallers!  (But — just between us — these are very familiar tunes which have been overdone in less subtle hands.  Hear how the OTL makes them soar, with what easy lilting motion.)

And here’s a nod to Bill Basie and the golden days, LADY BE GOOD:

The Fats classic, done at a nice tempo, AIN’T MISBEHAVIN’:

Yes, I GOT RHYTHM, played au naturel, at a sweet Thirties bounce:

and HONEYSUCKLE ROSE, again, made new by a splendid tempo:

This music transcends categories.  And as such, it is transcendent.

May your happiness increase!

THIRTY YEARS AGO, WHEN JAZZ CAME UP THE RIVER TO TIFFIN, OHIO: BANU GIBSON AND THE NEW ORLEANS HOT JAZZ ORCHESTRA: CHARLIE FARDELLA, TOM FISCHER, DAVID SAGER, DAVID BOEDDINGHAUS, JAMES SINGLETON, HAL SMITH (July 1989)

Now you know the truth — none of this New Orleans mythology.  Jazz came here to Tiffin (south of Toledo) as the performance below shows.

The exultant event you will see and hear took place thirty years ago, in July 1989, and was recorded by Bob and Ruth Byler — before digital video, but the music roars through, sweet, hot, and expert.  (Bob left us in April 2018 at 87; Ruth had died earlier.)  While I was still hiding a cassette recorder in an airline bag, hoping to go undetected at concerts, Bob was capturing hours and hours of live music on video.  Here is the 2016 post I wrote about Bob’s archive.

Banu Gibson and the New Orleans Hot Jazz Orchestra (properly titled) offer what I can only describe as a hustling lyricism — free-wheeling improvisations within carefully-worked-out routines, with a glorious sense of Show, even comedy (“Show ’em how it comes apart!”), as well as a marvelous intuitive synergy between the horns and the rhythm section.  And Banu is so full of lovely energy that she never seems to stand still: her voice a caress a la Connee Boswell or a roof-raising shout, as the song dictates — full of power but also exquisitely controlled.  Singers could learn so much from watching her perform, and the same is true for players.

This concert is a complete lesson in “how to put on a show,” and how to pace a program.  Although the repertoire was far from new in 1989, not a note seems tired or formulaic (and the arrangements are both lovely and exceptionally well-played, often suggesting a 1936 swing band).

In case the players are not familiar to you (and how could this be?): Banu sings, plays guitar or banjo on the instrumentals; Charlie Fardella, cornet; David Sager, trombone, vocal on SOME OF THESE DAYS and MAKIN’ FRIENDS; Tom Fischer, clarinet, tenor saxophone, vocal on I WOULD DO ANYTHING FOR YOU; David Boeddinghaus, piano; James Singleton, string bass; Hal Smith, drums.  They are perfectly splendid.

The songs are DOWN IN HONKY TONK TOWN / THE WANG WANG BLUES / MAHOGANY HALL STOMP (instrumental) / TIN ROOF BLUES / HELLO, LOLA (instrumental) / I’VE GOT WHAT IT TAKES / MUDDY WATER / SOME OF THESE DAYS (vocal Sager) / I’M GOING TO CHARLESTON BACK TO CHARLESTON / CAKE WALKIN’ BABIES FROM HOME / intermission / TRUCKIN’ / I MUST HAVE THAT MAN / I WOULD DO ANYTHING FOR  YOU (vocal Fischer) / MAKIN’ FRIENDS (vocal Sager) / WHAT A LITTLE MOONLIGHT CAN DO / WHY DON’T YOU DO RIGHT? / I GOT RHYTHM //

I haven’t explicated all the delightful surprises — you can find them for yourselves, such as Banu’s duets with Fardella, and the exuberant solo work — but so much of the energy of this performance comes from Ms. Gibson herself, with the vocal power of a young Merman and the joyous energies of, let us say, Gwen Verdon.  She captivated the audience then and does so now.

The video isn’t a sophisticated multi-camera shoot; the audio is occasionally slightly hard to hear; the video has the slight murkiness of digitally-recovered VHS tape — but this is precious.  And since I’ve had the pleasure of meeting and hearing in person every one of the stars on this stage with the exception of Charlie Fardella, whom I’ve only encountered on disc, I can say that this is a glorious record of the talent still at work in New Orleans and elsewhere.

I don’t know what the Tiffin audience members said when the powerful applause died down, perhaps, “That was a very nice show.  Let’s buy one of her records?” but now, thirty years later, this video record of a concert seems a precious gift to us all.  Thanks to everyone on the stage, to Bob and Ruth Byler, but especially to David Sager, who set this post in motion.

May your happiness increase!

CELESTIAL VIBRATIONS FROM PLANET DOYLE: JONATHAN DOYLE, JACOB ZIMMERMAN, CHARLIE HALLORAN, KRIS TOKARSKI, JAMEY CUMMINS, STEVE PIKAL, HAL SMITH (Redwood Coast Music Festival, May 11, 2019)

The music that Jonathan Doyle writes, plays, and inspires is too expansive to fit into any box, but listening to these four glorious performances from the Redwood Coast Music Festival, I thought, “What would happen if some magical science could graft the soundtrack of JAMMIN’ THE BLUES onto the Ellington small groups and the secret John Hammond-Basie sessions of 1936-9?”  That imagined concoction, a rich brew, amused me, but again it was too confining for what Jonathan does with and through his Swingtet.

I would have you note the obvious: he is a wonderfully inspired soloist and ensemble player, improvising as he goes with great feeling, but his lines are quirky and surprising, and his arrangements are so rewarding that one should revisit any performance more than twice or three times to savor the mix of soloists, ensemble passages, dynamics, timbres (delicate to raucous) which all add up to a compositional sense that keeps the fervor of a jam session / head arrangement — the results not only please but amaze.

Some of the amazement, to be accurate, comes from the singular talents Jonathan attracts — I think people on this level are eager to play alongside him and read his charts, because they thrive on the stimulation they can find here.  It is as far from formulaic readings of PERDIDO or ROYAL GARDEN BLUES as one could imagine or hope for.  For this set, Jonathan’s colleagues are Hal Smith, drums; Steve Pikal, string bass; Kris Tokarski, piano; Jamey Cummins, guitar (SOME rhythm section, as E.B. White’s Charlotte would have written); Charlie Halloran, trombone; Jacob Zimmerman, alto saxophone and clarinet.  All brought to you — not only by the musicians — by the generous wise pair who create the Redwood Coast Music Festival, Mark and Valerie Jansen.

Here’s more.  Only the first half of Laura Glaess’ title applies here:

Jonathan’s JUST A LITTLE RIGHT:

Named for the thrilling Mister Smith:

and the gorgeously textured STEPPIN’ LIGHT:

And a brief didactic moment, which those who listen deeply can skip.  I suspect, sadly, that some jazz consumers are brand-fixated, rather like children who will only eat McNuggets and drink Coke.  “That’s not My Favorite Band, so I’ll skip it.” Dear consumers, take a chance and listen: beauty sprouts and blooms all through Jonathan Doyle’s Swingtet.

May your happiness increase!

DOUBLE RAINBOWS OF SOUND: COME TO THE EVERGREEN JAZZ FESTIVAL! (July 26-28, 2019)

At the end of July, I will make my fourth visit to the Evergreen Jazz Festival, a weekend of music I look forward to avidly.  The rainbow photograph comes from my first visit; unfortunately, I couldn’t find the photographs I took of elk in the parking lot, but everybody comes out for fine jazz.

A small cautionary note: I waited until almost too late to find lodging — if you plan to go to Evergreen, make arrangements now: there’s a list of places to stay on their site, noted above . . . then there’s air travel and car rental.  But it’s all worth the time and money, I assure you.  Last night, I landed happily in Bears Inn Bed and Breakfast, among my friends, and I feel so fortunate: thank you, Wendy!

For me, previous highlights of Evergreen have been the music of Tim Laughlin, Andy Schumm, Kris Tokarski, James Dapogny’s Chicago Jazz Band, Hal Smith, the Holland-Coots Jazz Quintet, the Riverboat Roustabouts, and I am leaving out many pleasures.

Here’s the band schedule for this year:

You see that great music will flourish.

I confess that my heart belongs to the Holland-Coots Jazz Quintet (this weekend with John Otto in the reed chair), Hal Smith’s On the Levee Jazz Band (playing songs associated with Kid Ory in truly swinging style, with Clint Baker playing the role of the Kid) and the Carl Sonny Leyland trio, but I hope to see the Wolverine Jazz Band also . . . there are a host of local favorites as well, including Joe Smith and the Spicy Pickles, Wende Hairston and the Queen City Jazz Band, After Midnight, and more.

Time for some music!

Here’s a romping tribute to Fats Waller by the Holland-Coots Jazz Quintet, whose debut CD “This Is So Nice It Must Be Illegal”) is a Waller tribute: that’s Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet; Jacob Zimmerman, reeds; Steve Pikal, string bass, seen here at the Monterey, California Jazz Bash by the Bay on  March 2, 2019.  At Evergreen, the reed chair will be filled by John Otto from Chicago (you know him from the Fat Babies and Chicago Cellar Boys):

and COME BACK, SWEET PAPA by the On the Levee crew:

This band is devoted to the music of Kid Ory in his later decades, led by drummer / scholar Hal Smith, and including Charlie Halloran, trombone, Ben Polcer, trumpet, Joe Goldberg, clarinet; Kris Tokarski, piano, Alex Belhaj, guitar, Josh Gouzy, string bass: PAPA was recorded on November 25, 2018, at the San Diego Jazz Fest.

And finally, a real delight — Dorothy Bradford Vernon’s Thursday-night barn dance in Longmont, Colorado, featuring Carl Sonny Leyland, piano and vocals; Marty Eggers, string bass; and Jeff Hamilton, drums.  Information here — wonderful music, irreplaceable atmosphere, reasonable ticket price.  That’s July 25, 7:30-10:00 PM.

I will miss it this year (travel conflicts) but here’s how YOU TOOK ADVANTAGE OF ME rocked the barn last year:

I hope to see many of JAZZ LIVES’ readers and friends in Evergreen.

May your happiness increase!

SMILES OF A SUMMER NIGHT: CAFE BORRONE, MENLO PARK: CLINT BAKER, RILEY BAKER, JEFF HAMILTON, BILL REINHART, TOM WILSON, CRYSTAL HOLLOWAY (June 7, 2019)

Cafe Borrone from the outside.

In my brief and sometimes intermittent California sojourn (2011-14) in Marin County, one of my pleasures was in going to Cafe Borrone in Menlo Park to hear and video Clint Baker’s Cafe Borrone All Stars.  It was like a regular transfusion of joy and hope, even though the drive was over two hours from where I was living.  I knew not only that I would hear vital music but that I would meet friends — musicians, fellow listeners and dancers, waitstaff, a combination that means the world to me.  The Cafe was another home.  I was welcome there, and I was able to meet people I admire: Clint Baker, Leon Oakley, Bill Reinhart, Bill Carter, Jim Klippert, Tom Wilson, J Hansen, Robert Young, Jason Vandeford, and some whose names I am forgetting, alas.

Today I present a few videos taken on June 7, 2019, by Rae Ann Berry, not because of nostalgia, but because I am captivated by the band’s easy swing.  Borroneans will note that this is a slightly streamlined band, but that’s fine: what you hear is honest unaffected music, no frills, no gimmicks, no group vocals, no tight-and-bright polo shirts.  The generous-spirited creators are Riley Baker, trombone; his father Clint, trombone, trumpet, vocal; Bill Reinhart, banjo; Jeff Hamilton, piano; Tom Wilson, string bass; Crystal Holloway, washboard.  The whole band is in some mystically satisfying way engaged in heartfelt relaxed conversation, a great thing to behold.  I’ve left several tracks for you to find on Rae Ann’s YouTube channel, the California traditional jazz rabbit-hole to end all such diversions.

About the band here.  Yes, I could quip, “Two Bakers!  No Waiting!” but I need to be more serious than that.  Clint has long been one of my heroes, not only for what he plays, but for his religious devotion to the Music.  He understands its Holiness, as I do, but he can then pick up any of several instruments and make that Holiness manifest for all of us.  He is always striving towards the great goals, with Hot Lips Page as one of our shared patron saints.  I met Riley, his son, at Borrone, when Riley was starting to be the superb musician he is now — first on drums, then tuba.  And Riley has blossomed into a wondrous young man and player: I am especially taken with his nicely greasy trombone playing, which you will hear here.  And the emotional telepathy between father and son is both gratifying on a musical level and touching on a human(e) one.  A third horn in the front line would be an intrusion.  Such lovely on-the-spot counterpoint; such delightful lead-and-second voice playing, which isn’t an easy thing to do.  You might think that a trombone-clarinet front line would be automatically New Orleans old-school, but Clint and Riley understand the sweet play of swinging voices: people whose love comes right out to the back of the room without the need to get louder.

Riley will be playing the role of Edward Ory in Hal Smith’s On the Levee Jazz Band at San Diego this Thanksgiving, and I look forward to that: I’ve already videoed him with Dave Stuckey’s Hot House Gang: check those appearances out for yourself.

Jeff Hamilton is such a joy — not only one of the handful of drummers who lifts any band, but also an enlivening pianist who swings without getting in the way, constructs generous accompaniments and memorable melodies.  He has other musical talents that aren’t on display here, but he never lets me down.  Bill Reinhart knows what he’s doing, and that is no idle phrase.  He understands what a rhythm section should do and, more crucially, what it shouldn’t.  And his solos on banjo or guitar make lovely sense.  Tom Wilson’s rich tone, great choice of notes, and innate swing are always cheering.  And Crystal Holloway (new to me) tames that treacherous laundry implement and adds a great deal of sweet subtle rhythm.  Taking nothing away from Clint and Riley, one could listen to any one of these performances a second or third time exclusively for the four rhythm players and go away happier and edified.

I NEVER KNEW, with nods to Benny Carter and Jimmie Noone:

AS LONG AS I LIVE, not too fast:

BLUES FOR DR. JOHN, who recently moved to another neighborhood.  And — just between us — themeless medium-tempo blues are such a pleasure and so rarely essayed:

I always had trouble with math in school, but FOUR OR FIVE TIMES is just what I like:

TRUE, very wistful and sweet:

THE SWEETHEART OF SIGMA CHI, a song I last heard performed by (no fooling) Ben Webster with strings [a 1961 record called THE WARM MOODS].  Sounded good, too:

Asking the musical question WHAT IS THIS THING CALLED LOVE?

IT HAD TO BE YOU.  Yes, it did:

Bless these folks, this place, and bless Rae Ann for being there with her camera and her friend Roz (glimpsed in little bits to the right).

May your happiness increase!