Tag Archives: Holland-Coots Jazz Quintet

LET’S GET GROOVY: JACOB ZIMMERMAN, MARC CAPARONE, BRIAN HOLLAND, STEVE PIKAL, DANNY COOTS (a/k/a THE HOLLAND-COOTS JAZZ QUINTET) at the JAZZ BASH BY THE BAY, March 7, 2020

DINAH is one of the standbys of the swing-jazz-vocal repertoire, and has been so since Ethel Waters introduced it in 1925.

But it has been played faster and faster since then.  Here it’s completely groovy, performed by the Holland-Coots Jazz Quintet, featuring Jacob Zimmerman, alto saxophone; Marc Caparone, cornet; Danny Coots, drums; Steve Pikal, string bass; Brian Holland, piano, at the Jazz Bash by the Bay in Monterey, California, on March 7, 2020.

Harry Lim texted me to say how much he approves of this, by the way. He wants to sign the HCQ to a Keynote Records contract but is having trouble sending the paperwork.

They can really play.

May your happiness increase!

ANOTHER TUNE FOR THE TIMES (March 8, 2020)

This commercialized mirth might strike you as extreme, but bear with me.

Perhaps this will resonate more effectively.  The OKeh sleeve makes me smile.

And this.

This song has been turned into a terrible cliche through ninety years of routine performance, but this effort from March 8 — which seems like ages ago! — takes me right back to Billie and Louis. The cheerful creators here are Danny Coots, drums; Steve Pikal, string bass; Brian Holland, piano; Jacob Zimmerman, clarinet; Marc Caparone, cornet; special guest, Riley Baker, trombone. All this goodness took place at the 2020 Jazz Bash by the Bay in Monterey, California.

As an aside, I’d always thought of SMILING as a post-Wall Street crash song, but not only was Louis’ recording before the market imploded, but the first recording, by Bill Carlsen’s Orchestra, dates from May 1928 in Chicago.  (Thanks to Charles Richdale for this prompt answer to my research query.)  So the suggestion that smiling built community where tears did not was in its own way timeless.  I hope readers can find reason to grin.

In the process of assembling this blog — which often feels like a small-town newspaper — I encountered this sweet 1928 recording, new to me, which I include because it begins with the verse.  And I admire Seger Ellis.  SMILING has gotten criticized by the “true jazz connoisseurs” as saccharine, over-simple: a song that needed improvisers to raise it above the mundane.  I’d disagree: sometimes a sweet uncomplicated tonic is just the thing to settle one’s nerves.

May your happiness increase!

DAWN LAMBETH SENDS THE MELLOW SERMON (with DANNY COOTS, STEVE PIKAL, BRIAN HOLLAND, JACOB ZIMMERMAN, MARC CAPARONE: Jazz Bash by the Bay, March 8, 2020)

A friend said to me a few days ago, only half-joking, “Could you hold down the optimism a bit?  It’s getting on my nerves.”  I apologized, but these days, “Latch on to the affirmative!” is my motto.

Dawn Lambeth is one of my favorite singers, and she keeps getting better: I had the pleasure of seeing and hearing her again at the 2020 Jazz Bash by the Bay earlier this month, and she delivered some telling words that have only gotten more relevant.  With her are Steve Pikal, string bass; Brian Holland, piano; Danny Coots, drums; Jacob Zimmerman, clarinet and alto saxophone; Marc Caparone, cornet — a group of amiable ruffians known as the Holland-Coots Jazz Quintet.  And here they are!

This is understandably an arid time for live jazz in performance, but I will keep sending the sermon through this blog, with many delightful moments from the Jazz Bash by the Bay, less than two weeks ago.

May your happiness increase!

May

MONTEREY DELIGHTS! (Jazz Bash By the Bay, 40th Anniversary Edition, March 5-8, 2020)

It’s never too early to get prepared for joy, especially the varieties that the Jazz Bash by the Bay delivers so generously.  (An All-Events badge is available at a discount before December 31, so if thrift makes your eyes gleam, check here.) Now.

I’ve been attending this March festival every year since 2011 (I missed 2018) and have fond memories.  I could write a good deal about the pleasures of this grouping of musicians and fans, and the pleasures of being able to walk around a truly charming town center . . . or the pleasure of being a guest at the Portola Hotel and Spa, with the music just a trot away, but I will simply direct you to the Bash’s website, where you can find out such useful information as the dates (March 6-8), the band schedule (not available yet), ticket prices, and the bands themselves.

For me, the bands and guest stars are the reason to come to a particular festival, so I will list them here (as of January 2020) so you can see the delights to be had.  First, the Musician of the Year is my hero Marc Caparone, so even though I doubt there will be a parasol-laden coronation, I want to be there to see the rites and praises.  Then, guest stars Bob Draga, Brian Holland, Danny Coots, Dawn Lambeth, Eddie Erickson, Gary Ryan, Jeff Barnhart, Jerry Krahn, and Katie Cavera.  The bands: Blue Street Jazz Band, Bye Bye Blues Boys Band, Carl Sonny Leyland Trio, Clint Baker’s New Orleans Jazz Band, Cornet Chop Suey, Crescent Katz, Don Neely’s Royal Society Jazz Orchestra, Fast Mama Excitement, Holland-Coots Jazz Quintet, Ivory&Gold, Le Jazz Hot, Midiri Brothers, Sierra Seven, Tom Rigney and Flambeau, We Three (Thursday only), Yve Evans and Company, and the Zydeco Flames.

Looking at the 2019 schedule, the Bash offered four simultaneous sessions for full twelve-hour days on Friday and Saturday, and a half day on Sunday . . . one hundred and fifty sessions, including full bands, singers, solo and duo pianos, youth bands, sets for amateur jammers, and more.  Even someone like myself, who doesn’t fell compelled to see and hear everything, finds it a delightfully exhausting experience.  There’s a separate Thursday-night dance and an appearance by We Three, and I quote: “Kick off Jazz Bash by the Bay on Thursday, March 5, 2020, with a big band dance party featuring Clicktrax Jazz Orchestra. Attendees will enjoy danceable swing and traditional jazz at the Portola Hotel and Spa from 7:30 to 11 pm. Admission is $25.00. Also, in a Special One-Night-Only appearance, the hit trio We3 featuring Bob Draga, Jeff Barnhart, and Danny Coots will be playing from 7 to 8:30 pm. Admission is $30.00. Add the dance for $20 more. All tickets can be purchased by phone, mail, online or at the door.”

Did you notice that there is an Early Bird All-Events Badge at a discount if you order before December 31, 2019?  Yes, I repeat myself: details here.

For me, a post advertising a particular festival is not effective unless some musical evidence can be included.  I broke one of my rules — that is, there are musicians in the 2011-19 videos below who do not appear at this year’s Bash, and I apologize to them if anyone’s feelings are bruised.  But I started to go through the 200+ videos I’d posted of various Monterey Bashes, and some of them were do fine that I couldn’t leave them out.  You’ll get a panoramic sense of the wide variety of good, lively, inventive music that happens here.  And each video has a detailed description of who’s playing and singing, and when it happened.

an old song, swung, 2019:

for Django:

Becky and the blues:

the late Westy Westenhofer:

Ivory&Gold (Jeff and Anne Barnhart):

Paolo Alderighi, Phil Flanigan, Jeff Hamilton:

Katie Cavera and the Au Brothers:

Bob Schulz and the Frisco Jazz Band:

Allan Vache, John Sheridan, John Cocuzzi, Paul Keller, Ed Metz:

High Sierra:

Hot Strings at Monterey 2011:

a jam session with Bryan Shaw, Jeff Barnhart, Dan Barrett, Marc Caparone, John Reynolds, Katie Cavera, Ralf Reynolds:

Carl Sonny Leyland, Marty Eggers, Jeff Hamilton, performing Sonny’s composition that insures that no rodents visit the Portola during the Bash:

It might seem a long way away, but it isn’t.  And it’s a truly enjoyable event.

May your happiness increase!

PARADOXES OF FEELING: BRIAN HOLLAND, MARC CAPARONE, JOHN OTTO, STEVE PIKAL, DANNY COOTS at the EVERGREEN JAZZ FESTIVAL (July 27, 2019)

Ann Ronell’s 1932 song is a terribly sad one, a story of romance that failed.  Here is the verse that few sing — perhaps because it is so openly melancholy:

Oh Lord, why did you send the darkness to me?
Are the shadows forever to be?
Where’s the light I’m longing to see?
Oh Lord, once we met by the old willow tree
Now you’ve gone and left nothing to me
Nothing but a sweet memory.

But the instrumental version I present here — although its hues are dark — does not leave this listener feeling despondent.  Rather, I admire the technical, lyrical, and emotional mastery of these players: Brian Holland, piano; Marc Caparone, cornet; John Otto, reeds; Steve Pikal, string bass; Danny Coots, drums, in this performance recorded at the 2019 Evergreen Jazz Festival:

One reason I call this post PARADOXES OF FEELING is that the five people playing such gloriously sad music are not in themselves depressives — to them it’s another artistic opportunity to enter an emotional world, fully inhabit it, and then move on to something of a different hue, perhaps CHINATOWN, MY CHINATOWN, and “be” that song as well.

Another reason, more personal, is that tomorrow morning, when it is still quite dark, I will be driving to the airport to travel to the San Diego Jazz Fest, where this band and others will work marvels right in front of us.  The other bands?  Hal Smith’s “On the Levee Jazz Band,” Grand Dominion, the Yerba Buena Stompers, John Royen’s New Orleans group, the Carl Sonny Leyland trio, the Chicago Cellar Boys, and too many others to mention . . . to say nothing of attending everyone’s set.  I’ll see my friends and heroes Jeff Hamilton, Kris Tokarski, Clint Baker, John Gill, Katie Cavera, and others — even if only in passing in the halls.

If I’m not laid low by a spoiled avocado or attacked by an enraged fan who wants to know why his favorite band doesn’t receive sufficient coverage on JAZZ LIVES, I will return with evidence of beauties, sad or joyous, to share with you.

May your happiness increase!

“LIKE THE RIPPLES ON A STREAM,” or IMPERMANENCE, by HARVEY SHAPIRO and by BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, JOHN OTTO, STEVE PIKAL (Evergreen Jazz Festival, July 26, 2019)

For those of us who keep music in our hearts, this 1934 song is special.

Yes, it is a carpe diem love song, but it is also about how nothing lasts forever.  It inevitably leads me back to Harvey Shapiro’s poem about Charlie Shavers, reprinted here with apologies for copyright infringement:

That melancholy sharply-realized poem leads me back to these moments in time:

I don’t know the remedy for impermanence — but, as Doctors Holland, Coots, Caparone, Otto, and Pikal enact here: “Take your saddest song and make sure it swings.  You don’t have unlimited chances to swing your song.”

May your happiness increase!

LIFE IMPROVES AT FORTY, ESPECIALLY FOR THE SAN DIEGO JAZZ FEST and SWING EXTRAVAGANZA (Nov. 27-Dec. 1, 2019)

The 1932 best-seller (with a Will Rogers movie a few years later):

Even before I was 40, I was slightly suspicious of the idea, even though it came from better health and thus longer life expectancy.  Was it an insult to the years that came before?  And now that I’m past forty . . . .

But the San Diego Jazz Fest and Swing Extravaganza is celebrating its fortieth this year and is in full flower.  So no Google Images of birthday cakes for us — rather, music of the highest order.

The bands and soloists who will be featured include John Royen, Katie Cavera, the Holland-Coots Jazz Quintet, Grand Dominion, John Gill, On the Levee Jazz Band, the Mad Hat Hucksters, Carl Sonny Leyland, the Heliotrope Ragtime Orchestra, the Yerba Buena Stompers, the Chicago Cellar Boys, Titanic Jazz Band, the Night Blooming Jazzmen, and more than twenty others, with youth bands, sets for amateur jammers, and the Saturday-night dance extravaganza featuring On The Levee and the Mad Hat Hucksters.

The Festival is also greatly comfortable, because it is one of those divine ventures where the music is a two-to-five minute walk from the rooms at the Town and Country Convention Center.

Click to access schedule.pdf

is the “almost final” band schedule for Wednesday night through Sunday.  I will wait until the “final” schedule comes out before I start circling sets in pen and highlighting them — but already I feel woozy with an abundance of anticipated and sometimes conflicting pleasures.

For most of the audience, one of the pleasures of the festival circuit is returning to the familiar.  Is your trad heartthrob the duo Itch and Scratch, or the Seven Stolen Sugar Packets?  At a festival, you can greet old friends both on the bandstand and in the halls.  But there’s also the pleasure of new groups, and the special pleasure of getting to meet and hear someone like John Royen, whom I’ve admired on records for years but have never gotten a chance to meet.

Here’s John, playing Jelly:

And here are a few previously unseen videos from my visits to the Jazz Fest.  First, one of my favorite bands ever, the band that Tim Laughlin and Connie Jones co-led, here with Doug Finke, Katie Cavera, Hal Smith, Chris Dawson, and Marty Eggers — in a 2014 performance of a Fats classic:

and the Chicago Cellar Boys — who will be at this year’s fest — in 2018.  The CCB is or are Andy Schumm, John Otto, Paul Asaro, Johnny Donatowicz, and Dave Bock:

and for those deep in nostalgia for traditional jazz on a cosmic scale, how about High Sierra plus guests Justin Au and Doug Finke in 2014:

Pick the bands you like, explore those new to you, but I hope you can make it to this jolly explosion of music and friendship: it is worth the trip (and I’m flying from New York).  You’ll have an unabridged experience and lose your anxieties!

May your happiness increase!