Tag Archives: Irving Fazola

SOLITUDE, THEN RUSHING WATER: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (November 30, 2014)

I am not a certified Hoarder, although perhaps someone scrupulous would look at the books and music in the room I’m writing this in and say otherwise.  (I like clear paths in and around objects.)  But if I am guilty of Hoarding, it would be of video recordings of performances by the Tim Laughlin – Connie Jones All Stars, such as the two that follow, recorded at the San Diego Jazz Fest in November 2014).  You’ll understand why evidence of this magical orchestra is precious to me in about four bars.  Melodic, gentle, intense, swinging.  Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums.

Irving Berlin’s ALL BY MYSELF:

and the folk-tinged favorite, DOWN BY THE OLD MILL STREAM:

This band won’t come again, but if JAZZ LIVES’ readers want to see and hear more, all that is needed would be to type in “Tim Laughlin” and “Connie Jones” into the magic Search box, and the whole day could be deliciously spent on things more uplifting than the news.  And . . . Tim, pianist David Boeddinghaus, and Hal have recently created the second volume of Tim’s “Trio Collection,” which I am told will soon be available to the eager public, of whom I am one.

May your happiness increase!

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SWEETLY IN BALANCE: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, JIM BUCHMANN, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (November 29, 2014)

COSMIC HARMONY

I once read a Persian poet on music.  The translation ran, “Melody is the song the universe sings to us, harmony the beautiful twining-together of many songs, and rhythm is the universe’s heartbeat echoed in our own.”  Although that poet lived and wrote perhaps five hundred years before the 2014 San Diego Jazz Fest, I am sure that he would have agreed that the performances I offer you today exemplify those words.

TIM CONNIE YouTube

They come from the final set of the Tim Laughlin – Connie Jones All Stars with the addition of clarinetist Jim Buchmann for several numbers.  That’s Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

Here is the full band for AS LONG AS I LIVE:

Then, two clarinets plus rhythm for THE ONE I LOVE:

Another helping of that nice combination for IT’S THE TALK OF THE TOWN:

And the ensemble for a Bobcat-inspired SPAIN:

May your happiness increase!

FEEL THAT REFRESHING BREEZE

BREEZE

As a “Fox Trot”: 

As a “Blues”: 

Willie “the Lion” Smith, in 1935, with Ed Allen, Cecil Scott, and Willie Williams, feels it too:

Clarence Williams feels the breeze, but it’s a very slow sad one (with Ed Allen, Cecil Scott, Floyd Casey:

And, on an Edison cylinder, the Premier Quartet:

And perhaps a century later — in our century (2014), Ray Skjelbred and his Cubs celebrate those very same zephyrs:

It was a hit song in 1919, and it stays in our minds today.  Is it that it is so easy to sing, with whole notes and easily remembered steps up and down the scale?  I don’t know.  Perhaps the spirit of Zephyrus is ready to animate us at any moment.  I hope so.

Breeze sheet

My title comes from another place — a John Cheever story, “The Jewels of the Cabots,” where after the narrator’s father and mother have had their ritual Sunday argument about his inability to carve the roast, this passage emerges:

She would sigh once more and put her hand to her heart. Surely this was her last breath. Then, studying the air above the table, she would say, “Feel that refreshing breeze.”

Would it spoil the effect for JAZZ LIVES readers to know that Cheever’s narrator then states, ruefully or realistically, that there was seldom a breeze.

But there is always BREEZE.

May your happiness increase!

GOOD FEELINGS: DANNY TOBIAS, KENNY DAVERN, TOM ARTIN, JOHN BUNCH, JOHN BEAL, TONY DeNICOLA at the 2004 MARCH OF JAZZ

Hot jazz can be both leisurely and intense.  It doesn’t have to be too loud or too fast. And the best musicians do the neat trick of honoring their ancestors while sounding exactly like themselves.

New evidence of this — a swing session by masters, recorded in 2004 — has recently surfaced.  It comes from Mat and Rachel Domber’s (the team responsible for so much joy on Arbors Records) MARCH OF JAZZ in celebration of Kenny Davern’s birthday, and the noble, gently convincing participants are Kenny, clarinet; Danny Tobias, cornet; Tom Artin, trombone; John Bunch, piano; John Beal, string bass; Tony DeNicola, drums.

Kenny Davern is justly the most famous and perhaps the most missed person on stage, but I would like to draw your attention also to the cornet player.

Young Mister Tobias plays with easy lyrical grace.  When I first heard him a decade ago (as the trumpet with Kevin Dorn’s Traditional Jazz Collective at the Cajun) I was instantly a convert and fan.  At the end of the first set, I went over, introduced myself, and said, “You sound beautifully.  I guess you also like Buck Clayton and Ruby Braff, don’t you?”  He grinned, and we became friends.

Please enjoy, observe, and commit to memory:

JAZZ ME BLUES:

SUGAR:

and a most remarkable ALL OF ME, in a romantic tempo (the romance isn’t diminished by Kenny’s silent-film comedy gestures at the start):

I asked Danny what he remembered about this session:

I was delighted that Kenny got me on the event.  I remember being very nervous playing because in the hospitality room, on the top floor of the Sheraton Hotel the other musicians watched the stage via closed circuit TV.  I was, and am, in awe of the musicians who were in attendance that weekend. I remember talking to Bucky, Joe Wilder, Dave Frishberg, Bob Dorough, and many more. I had no idea what Kenny would call, and was relieved when he asked the audience if anyone had played “All of Me” yet that weekend?  He then turned to the band and said, “Nobody played it like this!” and counted off the slowest tempo I’ve ever heard for that tune.  It could have been painful but with Bunch, and Tony DeNicola it was pure bliss. Watching the video reminds me of how lucky I was to be able to make music with these masters. Kenny was so generous with me.  He would make me tapes of PeeWee, Joe Sullivan, Irving Fazola, Johnny Dodds, etc. When I heard the recording of “Who Stole the Lock?” I flipped out!  It was clear after listening to these records that Kenny incorporated these players into his playing. For example when he would soar into the final chorus on a gliss, I knew that he was channeling Fazola.  He would, after a gig, invite me to hear something in his car. Sometimes it was a rare recording of Benny Goodman playing tenor, or William Furtwangler conducting movement of a Beethoven symphony.

I miss Tony, and John Bunch, and Kenny.  But I feel good that I knew how good it was when it was happening and let them know I felt.

Danny Tobias is a modest fellow with a true subtle talent, and in these videos you can experience what many already know, that he is a master among masters.

And — as a postscript — it reminds me how much I and everyone who knew him miss Mat Domber. (Rachel, bless her, is still with us.)  I believe these videos were done by the faithful and diligent Don Wolff: bless and thank him, too.

May your happiness increase!

LYRIC POETRY: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (Nov. 29, 2014)

I must be candid here.  Other bands make more of a ruckus.  Other bands have better-coordinated bright polo shirts.  Other bands have more memorable gimmicks.

But I don’t know other bands that make such beautiful lyrical floating jazz, song after song.

I hear in them a gentle mingling of all sorts of influences: as if Kenny Davern and Bobby Hackett and Teddy Wilson and the Basie rhythm section were their guardian angels, as if the Thirties Bobcats — with the Blessed Irving Fazola — decided to play music for dancing — sweet pastoral swing of the highest order.

The musicians I am extolling are Tim Laughin, clarinet; Connie Jones, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

Here are three examples of what they give us unstintingly, without fanfare — as they offered their art so generously at the 33rd annual San Diego Jazz Fest in November 2014:

I’M SORRY I MADE YOU CRY:

AUNT HAGAR’S BLUES:

SUNDAY:

Please notice the easy tempos, so beautifully maintained, the delicious translucent ensemble interplay, the distinctive tone each musician gets on his / her instrument, the impeccable rhythmic flow, the rocking outchoruses, the overall elegance, the avoidance of cliche . . . the overall singing sound of this band.

Reviewing these videos, if I close my eyes and listen deeply, I think this band the equal of many with larger reputations from the Thirties onwards.  See if you don’t agree.  I have learned from them at every San Diego Jazz Fest since 2010, and I think it an honor to be in their presence.

May your happiness increase!

BRILLIANT VERSATILITY: KEN MATHIESON’S CLASSIC JAZZ ORCHESTRA: THE GLASGOW SUITE / CLARINET GUMBO

Here’s what I wrote about Ken Mathieson’s Classic Jazz Orchestra when I first heard their three CDs (one devoted to Louis, one to Jelly, one to a jazz panorama) in 2010.  Five years later, it’s just as true.

It’s possible that you haven’t heard of Ken Mathieson, the leader-percussionist-arranger of the Classic Jazz Orchestra, but this post is designed to remedy this omission right away. For Ken Mathieson is a truly ingenious man who has made the CJO an equally flexible, innovative orchestra.

The CJO has been working since 2004, and Ken is a veteran leader, arrangger, and drummer with impeccable credits.  For fifteen years, he was the resident drummer at the famous Black Bull Club near Glasgow — where he supported and learned from Bud Freeman, King Benny Carter, Wild Bill Davison, Sonny Stitt, Art Farmer, Bobby Hackett, Al Cohn, Johnny Griffin, Ruby Braff, Sweets Edison, Teddy Wilson, Tal Farlow, and more.

And he’s offered his own solution to one of the problems of classic jazz performance.  Suppose the leader of a “classic” jazz ensemble wants to pay tribute to Ellington, Morton, Carter, or Armstrong.  Commendable enough.  One way is to transcribe every note and aural flutter on the great records.  Then, the imaginary leader can gather the musicians, rehearse them for long hours until they sound just like a twenty-first century rendition of this or that hallowed disc.

Admirable, but somewhat limited.  Emerson said that imitation is suicide, and although I would love to have my own private ensemble on call to reproduce the Morton Victors, what would be the point?  (In concert, hearing a band pretend to be the Red Hot Peppers can be thrilling in the same way watching acrobats — but on record, it seems less compelling.)

Getting free of this “repertory” experience, although liberating, has its disadvantages for some who take their new freedom too energetically.  Is POTATO HEAD BLUES still true to its essential self if played in 5/4. as a waltz, as a dirge, by a flute quintet?  Is it possible to lose the thread?

Faced with these binary extremes — wanting to praise the past while remembering that the innovations we so prize were, in fact, innovations, Mathieson has steered an imaginative middle course.  On two new CDs, he has managed to heed Ezra Pound’s MAKE IT NEW while keeping the original essences. Ken and the CJO have an open-ended and open-minded approach to jazz history and performance.  The original compositions stay recognizable but the stylistic approach to each one is modified.  Listening to the CJO, I heard not only powerful swinging reflections of the original recordings and period idioms, but also a flexibility that suggested that Mingus, Morton, Oliver Nelson, and Benny Carter were on an equal footing, respectfully swapping ideas.

The CJO has an unusual instrumentation which allows it to simulate a Swing Era big band or a hot trio: Billy Hunter plays trumpet; Phil O’Malley, trombone; Dick Lee, soprano and alto sax, clarinet; Konrad Wiszniewski, tenor; Martin Foster, tenor, baritone, and bass sax, clarinet and bass clarinet; Tom Finlay or Paul Harrison, piano; Roy Percy, bass; Ken, drums and arrangements.

Ken and his players seem to have made a silent pact with the music to treat it as if it were new: the solos exist in a broadly-defined area of modern Mainstream: thus, you are much more likely to think of Roy Williams or Scott Robinson than of Clarence Williams or Prince Robinson. I’ll leave the surprises on these three CDs to the buyers and listeners.  But in almost every case I found myself hearing the music with a delighted grim, thinking, “Wow!  That’s what they’re doing with that old chestnut?”

Now.  Here we are in 2015, with more good music on two new CDs.

The new CDs are KEN MATHIESON’S CLASSIC JAZZ ORCHESTRA: CLARINET GUMBO /WITH EVAN CHRISTOPHER (Lake LACD 133) and ALAN BARNES with KEN MATHIESON’S CLASSIC JAZZ ORCHESTRA: THE GLASGOW SUITE: THE MUSIC OF BENNY CARTER (Woodville WVCD 133).

CLARINET GUMBO, as you can guess, draws fervently and superbly on the New Orleans clarinet tradition, with delightful reed work from Evan, Dick, Konrad, and Martin — as well as several Jelly Roll Morton rarities which were part of the library of his abortive late big band, GANJAM, STOP AND GO, and JAZZ JUBILEE. evocations of Bechet, Bigard, Noone, Fazola, Simeon, and others — all voiced imaginatively and without cliche.  You can gather something about Ken and the CJO’s consistent ingenuity by noting this: the disc has five Morton pieces, including the venerable BLACK BOTTOM STOMP and the less well-known SUPERIOR RAG, but Ken has also reimagined Mingus’ JELLY ROLL as a musical scuffle between Messrs. Ferdinand and Chazz, each earnestly proposing that his way is the only right way.  Throughout the disc, even when the melodies are familiar (DARDANELLA, for instance, a tribute to Ed Hall) the scoring is fresh and lively without ever going against the essential nature of the song or its associations.  Beautifully recorded and nicely annotated, too.

Here’s FAZOLA from the clarinet CD: 

and the lovely, moody PELICAN DRAG: 

Tributes to Benny Carter are not as frequent as they might be, perhaps because his music is orchestral as well as featuring a saxophone soloist; it’s not easy to play well, and Carter himself created glowing examinations of his music while he was alive — which was only right, since his “old” charts still sounded wonderful. (I think of hearing his Swing Masters onstage at the first Newport in New York, in 1972.)

For this wonderfully varied tribute to Carter, the great Alan Barnes plays alto and clarinet — but as in the case of CLARINET GUMBO, he is one of many delights.  Those familiar with Carter’s recorded history will know A WALKIN’ THING, SYMPHONY IN RIFFS, HONEYSUCKLE ROSE, MALIBU, DOOZY, and a few others, but it is Carter’s five-part GLASGOW SUITE, composed in 1987, that is the delight of this CD.  Mathieson had the opportunity to work with Carter, and the two became friends as well as colleagues, something that shines through this recording.  It is not at all the endeavor of musicians hired for the moment to play scores they don’t love deeply.  Again, beautiful sound and warmly personal notes.

From the Carter tribute, here’s the perfectly sprightly DOOZY: 

and EASY MONEY .

(As an aside, I have grave reservations about YouTube’s practice of offering CDs in this fashion — no doubt without asking permission of the artists or offering them a thousandth of a cent royalty per view.  But I also feel that people need to hear the music before deciding to buy the CD . . . so I hope that these glimpses propel some readers to purchase rather than to “get it for free,” which has unpleasant effects on artists everywhere.)

Details of the CJO’s history and current performing schedule can be found here, and he Lake Records site is here.

These two discs, as is the case with all the CJO’s efforts, show a bright path into the future that carries the past along with it in the most tender way — while understanding that the innovations of the past need to be treated in living ways.

May your happiness increase!

KEY NOTES

I bought myself a truly gratifying holiday present:

KEYNOTE BOX

For details from the Fresh Sound website, click here.

It’s possible that some readers might be unfamiliar with the Keynote Records catalogue, so if the tiny portraits above don’t pique your interest, here are a few words.  Between 1941 and 1947, with the bulk of its sessions taking place in 1944-6. this independent jazz label produced a wide sampling of the best jazz records ever made — from the New Orleans jazz of George Hartman to the “modern sounds” of Lennie Tristano and Red Rodney.  Keynote was the expression of one man’s intelligent taste — the Javanese jazz fan and producer Harry Lim (1919-1990).  Lim’s records neatly balance written arrangements, head arrangements, and improvised solos.  Many of the Keynote issues were recorded for issue on 12″ 78s, thus giving musicians room to create in more leisurely ways.  In fairness, the Keynote sessions were not the only ones taking place in the wartime years: Lim’s issues ran parallel with Commodore, Blue Note, Hot Record Society, Signature, and even smaller labels — Asch, Jamboree and Wax among them.  Keynote featured jazz players who were already stars: Coleman Hawkins, Roy Eldridge, Lester Young, Red Norvo, Benny Carter, Sidney Catlett, Teddy Wilson, Johnny Hodges, Slam Stewart, Jack Teagarden, Earl Hines, Count Basie (pseudonymously), as well as improvisers of equal worth who were often not given their due: trumpeter Joe Thomas, Milt Hinton, Bill Harris, Willie Smith, Kenny Kersey, Jonah Jones, George Barnes, Johnny Guarneri, Emmett Berry, Aaron Sachs, Herman Chittison, George Wettling, Hilton Jefferson, Tyree Glenn, Gene Sedric, Juan Tizol, Rex Stewart, Pete Brown, Cozy Cole, Charlie Shavers, Nick Fatool, Bujie Centobie, Irving Fazola, Allan Reuss, Dave Tough, and many others.  Three particularly remarkable sessions brought together like-minded but singular horn players: trumpeters Eldridge, Thomas, and Berry; saxophonists Hawkins, Don Byas, Tab Smith, Harry Carney; trombonists Vic Dickenson, Harris, Claude Jones, and Benny Morton.

Several things need to be said about the new Fresh Sounds reissue.  For one, it is a “European bootleg,” which will repel some collectors of this music, and I think rightly so.  However, the Keynotes have never been issued in any systematic way on compact disc — in their home country or otherwise.  And the Fresh Sound set concentrates, with a few exceptions, on issued material.  I don’t know whether this was a choice designed to entice listeners who find alternate takes annoying, or to keep the set’s price attractive.  (I bought mine on Amazon for $94, which seems a good value for 243 sides.)  The sound is good, although I haven’t compared it to any 78 or vinyl issues.  True Keynote devotees will, of course, have their own copies of the comprehensive vinyl issue of the label’s offerings, and the Fresh Sound box won’t replace that.

The reissue history of the Keynote recordings is characteristically odd — leaving aside the comprehensive vinyl set — with early vinyl assortments assembled by instrument (trumpet, trombone, or saxophone), then later ones featuring stars Hawkins, Young, Woody Herman sidemen, Norvo, Tristano, etc.  As I write this, I am taking great pleasure in the sixth disc — selected at random — hearing sessions led by Barney Bigard, Horace Henderson, Bill Harris, Willie Smith, Corky Corcoran, and Milt Hinton — a fascinating cross-section of timeless jazz recorded in 1945.  “Fresh Sound” is an apt description for these sides recorded more than half a century ago.

Fresh Sound producer Jordi Pujol made an intriguing and ultimately rewarding choice when looking for documentary material to fill the 125-page booklet.  He included a careful history of the label — sources unknown — which tells a great deal about how these sessions came to be.  (I feel, once again, that we should all give thanks to selfless men such as Harry Lim.)  Then, rather than reprint the enthusiastic, empathic notes written by Dan Morgenstern for the Keynote vinyl box set, Pujol returned to the archives of DOWN BEAT and METRONOME for contemporary reviews and session photographs.  The photographs — although many of them have been reproduced elsewhere — offer a few treasures: Lester Young, Johnny Guarnieri, Slam Stewart, and Sidney Catlett at their December 1943 session, and photographs from the jam sessions Lim created before Keynote began recording regularly: one, in particular, caught me: a 1940 Chicago session featuring Rex Stewart, Lawrence Brown, Earl Hines, John Simmons, Tubby Hall . . . and the elusive Boyce Brown.  The reviews from the contemporary jazz magazines are both grating and revealing.  One might forget just how hard those writers and editors worked to appear breezy, slangy, hip — Catlett is referred to as a “colored tubman” in one review — and how severe they were in assessing what now seem masterpieces, using “uneventful,” “nothing distinctive,” “routine,” “pleasant,” “don’t emerge as anything too special.”  Lester Young is referred to as “Les,” his tenor sound as “muddy-toned.”  That the music survived this critical approach from writers who were its advocates says much about its durability.  Here, by the way, is a side DOWN BEAT termed a “fiasco” and gave it a grade of C.  I rest my case:

I think I got more than my money’s worth.  You might agree.

May your happiness increase!