Tag Archives: Hal Smith

CONNIE AND TIM IN SAN DIEGO: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH (Nov. 30, 2014)

When you feel embraced and uplifted by a harmonious existence, you know it, perhaps because it happens all too rarely.  Readers will have their own remembered experiences, but for perhaps four years I could be certain of being transported to another, delicate yet solid plane of consciousness: when Connie Jones began to play.  He’s retired from playing, but the music he created is like a light in the darkness.

I saw Connie almost exclusively in the company of Tim Laughlin, who understood Connie’s irreplaceable majesties, and played wonderfully because of that inspiration.  I’ve been saving some video performances — not quite for my old age, but for a time when we might well need infusions of beauty.  So here are eight more performances: savor them gently and slowly.  The splendid band (all of them happily active) is Doug Finke, trombone; Chris Dawson, piano; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums — performing at the San Diego Jazz Fest on November 30, 2014.  (By the way, that Fest is still perking along nicely: I’ll be there this Thanksgiving.)

MY GAL SAL:

YOU CAN’T LOSE A BROKEN HEART:

THAT OLD FEELING:

LINGER AWHILE (a different set):

A HUNDRED YEARS FROM TODAY:

GENTILLY STRUT:

SOMEBODY STOLE MY GAL:

Connie and friends bless us, so consider returning the compliment.

May your happiness increase!

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FOUR-FOUR RHYTHM: KRIS TOKARSKI, JONATHAN DOYLE, LARRY SCALA, NOBU OZAKI, HAL SMITH at the SAN DIEGO JAZZ FEST (November 24, 2017)

Jazz at Lincoln Center (and JazzTimes) just sent an announcement about the 2019 Jazz Congress, January 7-8, 2019 at Jazz at Lincoln Center, Broadway at 60th Street, New York, New York.  One panel is:

 Jazz, Swing, Race and Culture
Considering swing as a rhythm or swing as a feeling or a verb, what are the social, cultural, and racial factors that affect individuals’ perception, acceptance or rejection of the concept? Player[s] and thinkers ponder what swing means in 2019.

I doubt that it will happen, but in my ideal world, the player[s] and thinkers at JALC will watch these videos before pondering.  The music was created in 2017, not 2019, and there are other ways to swing, but what Kris and his Gang did was genuine and might eliminate some theorizing.

These four performances come from a magical band that made a splash at the 2017 San Diego Jazz Fest: Kris Tokarski, piano; Jonathan Doyle, clarinet / tenor saxophone; Larry Scala, guitar; Nobu Ozaki, string bass; Hal Smith, drums.  I could spend paragraphs pointing out resemblances and echoes of the Ancestors (you’re free to chase such things at your leisure) but I’d rather you admire these living heroes at play, and such expert play.

LOVE ME OR LEAVE ME:

REPEATER PENCIL (and, yes, such a thing did exist: see here):

DROP ME OFF IN HARLEM:

JUST ONE OF THOSE THINGS:

Festival organizers, club bookers, concert promoters with taste: now’s the time!

Incidentally, this is the charming 1929 record from which I take my title:

May your happiness increase!

“ALL ABOARD!”: THE ROCK ISLAND ROUSTABOUTS VISIT the EVERGREEN JAZZ FESTIVAL (July 27-29, 2018)

A hot band is good to find, and the Rock Island Roustabouts answer to that description.  I’ll leave it to Hal Smith to explain how this band, which debuted at a Davenport, Iowa tribute to Bix Beiderbecke, came to be named after a Chicago train line . . . because he knows about these things.  Me, I come for the music.

And music there was.  I’ve done the unusual thing of sending out a full plateful — nine videos at once, recorded in three sets at the Evergreen Jazz Festival (July 27, 28, 29) so that you can experience this band’s power and versatility.  The Roustabouts are co-led by Jeff Barnhart, piano, and Hal Smith, drums, with — in this incarnation — Dave Kosmyna, cornet; Doug Finke, trombone; Jonathan Doyle, reeds; Bob Leary, banjo / guitar; Ryan Gould, string bass, and on the last three performances here, a guest appearance by Lauryn Gould, soprano sax.

The music goes deep and although there are some favorites, the Roustabouts like songs that don’t ordinarily get played.  So there’s Louis Armstrong and Kid Ory, but also Frank Melrose, Jimmy Blythe, Johnny St. Cyr, and Tiny Parham.

Settle down in your seats.  Make sure you know where the fire extinguisher is, and check that it’s charged.

Kid Ory’s SAVOY BLUES:

THE GIRLS GO CRAZY when this band plays, but the enthusiasm isn’t gender-specific:

Frank Melrose’s MARKET STREET STOMP, scored for Messrs. Smith and Barnhart:

One composition titled MESSIN’ AROUND, this one by pianist Jimmy Blythe:

And Johnny St. Cyr’s song of the same name — to mess around was serious yet delightful business, as you can tell:

Louis’ MAHOGANY HALL STOMP, at the nice 1929 tempo:

An incomplete but wonderful version of Tiny Parham’s WASHBOARD WIGGLES (blame the sun-blinded and exhausted man behind the camera) which adds Lauryn Gould, who plays that irascible saxophone beautifully:

A song that I’d never heard performed live, I LOVE YOU SO MUCH IT HURTS, which coalesces into a lovely rocking performance.  I did some small research, expecting that its source was an obscure Wingy Manone record, but no — the later New Orleans bands, who picked up good tunes no matter their source, found this one, from 1948, by Floyd Tillman.  I am not digressing when I offer the Patsy Cline version first (Ray Charles recorded it also):

Now, hear how the Roustabouts make it their own:

and William H. Tyers’ proven mood-enhancer, PANAMA:

May your happiness increase!

HOT JAZZ, HIGH ALTITUDES: KRIS TOKARSKI, TIM LAUGHLIN, ANDY SCHUMM, HAL SMITH at the EVERGREEN JAZZ FESTIVAL (July 30, 2016)

Harold Ross, who edited THE NEW YORKER for twenty-five years, said, “Talent doesn’t care where it resides.”  And although Evergreen, Colorado is 7,220 feet above sea level, the music I’ve heard at the Evergreen Jazz Festival in 2014 and 2016 has never been short of breath.  Or, for that matter, passion, swing, or inspiration.  I’m going there again this July 2018.

As evidence, I present seven informal hot performances by Kris  Tokarski, piano; Tim Laughlin, clarinet; Andy Schumm, cornet; Hal Smith, drums, from a 2016 Saturday-afternoon session in a local restaurant.

Looking ahead to the weekend, SUNDAY:

IDA, which we dedicate happily to Ida Melrose Shoufler, back to herself:

The quartet assembles for Hines’ MY MONDAY DATE:

IF I COULD BE WITH YOU ONE HOUR TONIGHT.  Did someone whisper “Muggsy Spanier”?

It’s shocking.  She’s NOBODY’S SWEETHEART NOW:

Tim’s featured on a lovely A NIGHTINGALE SANG IN BERKELEY SQUARE:

And to close, Artie Matthews’ WEARY BLUES:

For more information about this month’s fiesta, click here.  The Festival is happening on July 27-29, with Dorothy Bradford Vernon’s barn dance featuring the Carl Sonny Leyland trio in Longmont, Colorado, on the 26th.

May your happiness increase!

THE CLASSICS, REFRESHED: EHUD ASHERIE, RANDY REINHART, SCOTT ROBINSON, JOEL FORBES, HAL SMITH (Cleveland Classic Jazz Party, September 17, 2017)

Sometimes, in what’s loosely known as traditional or Mainstream jazz, the band launches into “an old chestnut,” “a good old good one,” and listeners no longer hear the original song, but layers and accretions of conventions, of echoes of past recordings and performances.  Although satisfying, the whole performance may have a slight dustiness to it.

This wasn’t the case when Ehud Asherie, piano; Hal Smith, drums; Joel Forbes, string bass; Scott Robinson, tenor saxophone and metal clarinet; Randy Reinhart, cornet, performed their set at the Cleveland Classic Jazz Party, last September 17.  I’ve already posted their magical LADY BE GOOD here — exceedingly satisfying.

They did their magic on three other jazz classics, none of them newer than 1929, but making the music seem fresh and new.  They weren’t museum curators, carefully approaching the venerated antique with awe and cotton swabs; rather, they seem like little boys in the summertime, skinny-dipping in the music, immersing themselves in it, delighting in it.  Life, lived, rather than archaeology.

There are, of course, humorous and loving nods to the past: Ehud’s Tatum; the tempo chosen for WILD MAN BLUES which makes me think of Henry “Red” Allen on THE SOUND OF JAZZ; the Hawkins riff which shapes the last choruses of TEA FOR TWO.  But the music itself seems so lively that I thank each and every one of them.

Look out for the WILD MAN!

Have some TEA?

Inhale that floral bouquet, if you will:

May your happiness increase!

A MAGIC TEMPO: EHUD ASHERIE, HAL SMITH, JOEL FORBES, SCOTT ROBINSON, RANDY REINHART (Cleveland Classic Jazz Party, September 17, 2017)

One of the most durable songs in the jazz and pop repertoire, from its introduction in 1924, OH, LADY BE GOOD has always been performed at a rather brisk tempo.  Here’s an early dance band version:

and many jazz musicians took their cue from the 1936 Jones-Smith, Inc. version. But Basie and others knew that too fast is never good, that the sprinters can wear themselves out.  So I take special pleasure in this groovy performance from the 2017 Cleveland Classic Jazz Party (alas, now a memory) by Ehud Asherie, piano; Scott Robinson, tenor saxophone; Hal Smith, drums; Randy Reinhart, cornet; Joel Forbes, string bass.

Whether the Lady behaved herself in response to this entreaty, I cannot say.  But making the request at this tempo was a real pleasure.

May your happiness increase!

WESTWARD HOT! EVERGREEN JAZZ FESTIVAL (July 27-29) and a BARN DANCE PARTY with the CARL SONNY LEYLAND TRIO (July 26)

I am a failure as a well-trained tourist, because I shun guidebook attractions such as churches and museums in favor of second-hand stores, outdoor markets, and restaurants.  But I am not yet at the stage where I want to stay at home all the time.  What makes me happy is going to a place (ideally, a beautiful one) where good friends play and sing the music that makes me even more glad to be alive.  And I know I am not alone in this desire.

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Such opportunities for musical joy and fulfillment still exist, and one of them is the double boon of the Evergreen Jazz Festival in Colorado, and the barn dance concert that Dorothy Bradford Vernon and friends put on in Longmont, in the same state — they coincide most happily.

For those who want to go directly to the source(s), here you can learn all about the barn dance — featuring the Carl Sonny Leyland Trio — and here is the official site for the Evergreen Jazz Festival, a long weekend of beautiful music.

The EJF rotates its out-of-state attractions, so although I have twenty posts (with video evidence!) from my trips there in 2014 and 2016, I don’t feel it’s right to use videos from bands that won’t be there in 2018 to promote the current festival.  However, by typing EVERGREEN into this blog’s search engine, you can enjoy the evidence for many hours.  More about the 2018 band lineup below.

But since Carl’s Trio is more or less intact with the splendid Jeff Hamilton on drums (I believe Marty Eggers is playing string bass instead of our friend Clint Baker) I have no qualms about sharing this 2016 post with you.  My videos cannot convey the great warm welcome that Dorothy and friends extend to anyone walking through the barn doors.  The music and the dancers were truly memorable.

The Evergreen Jazz Festival offers ten bands, which means that the main problem most guests will have can be expressed by “I can’t decide between seeing X, Y , or Z,” rather than by “There’s nothing to do.”

Here is the schedule: eleven hours on Friday, twelve hours on Saturday, seven hours on Sunday.  You can sleep on Monday, or on the plane.  

A few words about the bands (you can read full descriptions on the EJF site).  Since I am an out-of-towner, I have no problem putting my fellow o-o-t women and men first — a kind of upside-down local pride.

Carl Sonny Leyland will be rocking the house once again (even the elk were doing splendid rhythmic gyrations in the parking lot).

The Holland-Coots Jazz Quintet — a band I succumbed to instantly last year in Nashville, where they recorded their debut CD, a tribute to Fats Waller that brought happiness and swing.  They are Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet and vocal; Evan Arntzen, reeds and vocal; Steve Pikal, string bass.

World-travelers Ivory&Gold — that’s Jeff Barnhart, piano and vocals; Anne Barnhart, flute and vocals — who offer musical world tours that always surprise.

The frolicsome Rock Island Roustabouts — co-led by Hal Smith, drums, and Jeff Barnhart, with Dave Kosmyna, cornet; Doug Finke, trombone; Jonathan Doyle, reeds; Bob Leary, banjo/guitar; Ryan Gould, string bass.  The names alone will tell you that hot music is assured.

Multi-instrumentalist Dennis Lichtman’s Brain Cloud (yes, the name is strange — from a Bob Wills song — but the music is intoxicating) featuring Dennis on clarinet, fiddle, mandolin, and more, also with the phenomenal vocalist Tamar Korn and our man in swing Kevin Dorn, drums.

Pianists Brian Holland, Carl Sonny Leyland, and Jeff Barnhart will perform three trio sets on two pianos in the wonderful Evergreen church: beware of flying black and white ivories!

There will be a jam session set by the “EJF All-Stars”: Marc Caparone, cornet; Eric Staffeldt, trombone; Roger Campbell, clarinet; Rory Thomas, banjo; Jeff Barnhart, piano; Ryan Gould, string bass; Kevin Dorn, drums.

Two sets by the Sweet and Hot Quartet: Jeff Barnhart, Bob Leary, Anne Barnhart, and Steve Pikal (Friday) and Hal Smith (Sunday).

If that were not enough . . . Denver’s own After Midnight, which fashions itself after the Goodman Sextet with vibraphone; Felonius Smith Trio, which pays tribute to venerable guitar blues; the Gypsy Swing Revue, which lives up to its billing;  Joe Smith and the Spicy Pickles, a young energized swing band; the Queen City Jazz Band, celebrating its 65th anniversary and featuring Wende Harston on vocals; youth bands from the University of Colorado, the Denver Claim Jumpers, and the Denver Jazz Club Youth All-Stars.

The EJF features lovely small venues . . . so you need to consider purchasing tickets sooner rather than later.  I’ll be there, but I only take up one seat.  Hope you can make it also!  It’s been a great deal of fun and with this schedule, I know it’s going to continue.

And just in case you say, “What!  No music?” here is RUSSIAN RAG by the Holland-Coots Jazz Quintet, recorded informally in Nashville in July 2017:

May your happiness increase!