Tag Archives: Jake Sanders

BEAUTIFUL RARE SOUNDS: JAKE SANDERS, “ESTRELLAS DE RADIO”

I first encountered Jake Sanders almost a decade ago at Banjo Jim’s, when he was the leader of the Cangelosi Cards, the group that had Tamar Korn as its vocal improvising genius.  Later I followed him to other Cards gigs and an especially wonderful rainy evening in a dance studio where he swung like mad, Charlie Christian style, on electric guitar.  When he moved to Chicago, I saw and heard him with the Fat Babies in person, on record, and on video, and now he is blazing his own paths.  (Most recently for me, in a trio with Dennis Lichtman and Jared Engel which appeared at The Django in New York City — lovely eloquent music.)

His new CD is what we used to call a doozy, precisely because it follows no narrow formula.  Here’s a sample of the music Jake loves and plays with great feeling — captured at the February 2018 CD release party in Mexico City:

And here you can buy an actual disc or download the music (each for the low price of $10 USD) or hear four of the thirteen tracks, in case you need convincing.

and here is the prose (not by me) that accompanies the music:

Estrellas de Radio features the sounds of acoustic and electric guitar, mandolin, violin, piano, and upright bass. The songs and styles range across a broad spectrum of traditions, drawing from or expanding upon the roots of American jazz. The album features beautiful waltzes, rags, blues, and band arrangements of four guitar solos originally published in the 30’s which have never been previously recorded. Three of these rare and unique compositions are credited to guitar legend Nick Lucas.

Recorded over a two year period by Alex Hall at Reliable Records in Chicago, the album features a host of musicians from New York, Chicago and Detroit; these include: Jared Engel, Dalton Ridenhour, Dennis Lichtman, Aaron Jonah Lewis, Beau Sample, Paul Asaro, and Patrick Donley.

Three tracks feature the exceptional sounds of Fraulini Guitars hand-crafted by the esteemed luthier Todd Cambio. (Jake Sanders plays an Annunziata on Serate Primaverili, Speranze Perdute, and Flappers Trot; Patrick Donley plays an Angie on Speranze Perdute).

While the early Italian pioneers of the jazz guitar Nick Lucas and Eddie Lang made their mark on 20th century music, an earlier generation of Italian string virtuoso were also recording in America. Masters such as Giovanni Gioviale and Giovanni Vicari brought old world sounds to the new world. L’Ultimo and Serate Primaverili are adaptations of Giovale’s brilliant compositions originally conceived for mandolin. Speranze Perdute was inspired by a recording by Giovanni Vicari, as was the mazurka Mia Carina, which he recorded with The Continental Trio.

While Nick Lucas is famous amongst jazz aficionados both as a vocalist and for his early recorded guitar solos (Picking the Guitar and Teasing the Frets), he is also credited with composing numerous guitar solos which were never recorded, but appeared in folios and early flat-picking method books. Bootlegger’s Blues, Flappers Trot, and Gold Diggers are all examples of Lucas guitar solos which exist as sheet music, but have not been recorded until now.

The exquisite waltz, Margaret, that appears as a piece in The Nick Lucas Guitar Method Vol. 1, however, was composed by J. Nicomede. Sanders’ unique conception and arrangements of these songs are drawn from his nearly 20 years of playing roots music. (Flappers Trot, guitar and piano) (Bootlegger’s Blues, Gold Diggers, Margaret, guitar, violin, piano, bass).

Let Me Call You Sweetheart and Wang Wang Blues are classically-styled guitar and mandolin duets arranged in studio. Charleston Rag, known as a piano solo, is heard here uniquely arranged for piano, guitar, and upright bass. The Memphis Shakedown, made famous by the Memphis Jug band, is a common tune for old-time and jug bands performing today. However on Estrellas de Radio the tune becomes something altogether different, achieving new sounds in old music. The Sunset Blues is the album’s one original composition. Like any blues it borrows from the past, however its spare style, unusual form, and crafted melody give it a sound all its own.

ABOUT JAKE SANDERS:

Jake Sanders is a guitarist, bandleader, and arranger, whose musical career began in New York City at the end of the last century. After years as a street performer, playing jazz and American traditional music, Sanders formed the popular roots band, The Cangelosi Cards. They performed nightly in the back rooms and bars of the East Village, but soon traveled well beyond Manhattan, playing shows from Shanghai to Stockholm. After years with the Cards, Jake joined The Fat Babies, an acclaimed hot jazz band which continues to perform weekly at Chicago’s world famous Green Mill Cocktail Lounge. His last album with the group, Solid Gassuh (Delmark Records), made DownBeat Magazine’s “Best of 2017” list – a rare feat for a traditional jazz band in modern times.

A long time musical collaborator with vocalist and world-renowned Lindy hop champion, Naomi Uyama, Jake both plays guitar and arranges for her swing outfit, Naomi & Her Handsome Devils. Sanders has recorded with the great stride and ragtime piano player Paul Asaro, and has been featured on record and stage with the Jonathan Doyle Swingtet.

Jake Sanders has performed at The Chicago Jazz Festival, The Detroit Jazz Festival and The Brooklyn Folk Festival as well as countless clubs, dance halls and theaters throughout North America. Jake’s guitar playing has brought him across Europe and Asia and he is a regular performer in-residence at Cracovia 32, home of the emerging swing scene in Mexico City. As a solo performer or with the Handsome Devils, The Dotted Halves trio or with the quintet, The Lovestruck Balladeers, Jake Sanders is a consummate traveling musician who can be heard far and wide.

A few words from me, on behalf of JAZZ LIVES.  I trust Jake’s taste completely, so even though some of the compositions on this disc are not Hot Music in the established sense, I fell in love with the sounds here at first playing.  The only reason this post is written at the end of May rather than a few months earlier is because I wanted actual discs to play in the car.  I’ve amazed a number of unsuspecting passengers with ESTRELLAS DE RADIO, and one even said, “Michael, I didn’t know you liked beautiful music like this!”  I do, and you will.

May your happiness increase!

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NAOMI AND HER HANDSOME DEVILS: “THE DEVILS’ MUSIC”

naomi-cd-2016

This is an irresistible CD.  The first time I put it in the player, after about a half-chorus, I leaned forward and raised the volume.  When I had heard Naomi sing ISN’T IT ROMANTIC? for the first time, I played it again.  And then again.  And several times over.  And (I know this might seem monotonous) I played the disc again from the start.  That should serve as the JAZZ LIVES Seal of Approval, shouldn’t it?  (Note: the apostrophe in the title is also a hilarious gift to us.)

naomi-portrait

If you visit YouTube and type in “Naomi Uyama,” you will find many videos showing her as a championship swing dancer.  But I first encountered Naomi as a singer, and a fine one — singing a chorus from a Boswell Sisters recording alongside Tamar Korn and Mimi Terris — on a cold night in 2009 outside Banjo Jim’s.  Naomi and her expert friends resurfaced with their first CD, which I reviewed here with great pleasure in August 2014.

Here are several tracks from that CD — to show you that Naomi and her Devils know and knew how to do it.  Lil Johnson’s TAKE IT EASY, GREASY:

Something more polite, the Basie GEORGIANNA:

I know I’m getting carried away here — a wonderfully sweet / swinging performance of IF I COULD BE WITH YOU:

The band on THE DEVILS’ MUSIC is of course, Naomi Uyama, vocals; Jake Sanders, guitar; Jonathan Doyle, tenor sax / clarinet; Jeremy Noller, drums;
Matt Musselman, trombone; Jared Engel, string bass; Dalton Ridenhour, piano;
Mike Davis, trumpet, and the sessions took place in Chicago in August 2016.

Naomi and the Devils write, “Our hope was to show the growth we’ve had as a unit since our debut album was released 2 years prior. Our focus: having original arrangements of swinging tunes – some well loved by the dance community and other hidden gems. We also added to our line-up, and over half the songs on this album feature Mike Davis on trumpet, expanding our hot horn harmonies and giving us a new sound. Lastly Naomi wrote the band’s first original composition, track 1 “Little Girl Blues,” putting something out there that you can’t hear from any other swing band. With a vintage ear and expertise from recording engineer Alex Hall we’ve mixed and mastered the whole shebang and can’t wait for the world to hear it. We hope you enjoy “The Devils’ Music”.

Now, some comments from me.  Naomi, as I hope you’ve already heard, is not just someone who sings: she is a singer, with a voice that’s attractive in itself, which she uses to great effect, depending on the material.  She can handle complicated lyrics at a fast tempo; she swings; she has a sure sense of dynamics. She doesn’t copy old records; she doesn’t overdramatize; she understands the songs; she can be rueful, tender, brassy, and she’s always lively.  Her phrasing is playful, and she’s no swing robot — by which I mean she’s loose, not repeating a set of gestures.  And a witty lyricist on LITTLE GIRL BLUES.

I also think that it is so much harder to sing ISN’T IT ROMANTIC than a swing number, and on this delicate love song Naomi captivates me.  The same for IF WE NEVER MEET AGAIN, even when Gerlach’s lyrics defy logic.  Her I’M LIVIN’ IN A GREAT BIG WAY made my living room rock, and I nearly hurt my neck bobbing my head to SHOO SHOO BABY.  Having heard Louis, Bing, and Billie make imperishable versions of PENNIES FROM HEAVEN, I’ve come to dread contemporary versions, but hers is special, with a hilarious scat break.

That band!  I’ve met and admired six of the players in person (to me, their names are an assurance of swing).  I bow to them.  I’ve not met Jeremy Noller, but he is another Worthy — a rocking Worthy at that. Catch his tom-tom work on ROSE OF THE RIO GRANDE.  And although the Devils sit so comfortably in a Basie / Lunceford / small-group Ellington groove, there’s a delicious c. 1929 A GOOD MAN IS HARD TO FIND, completely convincing.  (The band likes to riff, with about half of the tracks arranged by Naomi or Jake: nice uncluttered charts, expertly rehearsed but never stiff.)  Naomi lays out on PERDIDO (a good thing, considering the thin lyrics), BLUES WITH A BEAT (a Forties-sounding romp), DELTA BOUND (a pleasure at any tempo), and a grooving THESE FOOLISH THINGS.

This is a long expression of praise, but you will notice I haven’t listed all the delightful moments on the CD; were I to do so, the post would be three times longer.

You can download the CD here ($13) or see how to buy a physical disc on the same page . . . AND . . . you can hear all the tracks on the disc.  “If that don’t get it, well,  forget it right now,” to quote Jack Teagarden, more or less, on the 1947 SAY IT SIMPLE.  For more first-hand information, here is the band’s Facebook page, and here is Naomi’s page.

It’s all quite devilishly wonderful.

May your happiness increase!

CLIMB EVERY MOUNTAIN: STILL MORE FROM THE FAT BABIES at the EVERGREEN JAZZ FESTIVAL (July 30, 2016)

fatbabiespress2

Yes!  Even more from one of the most gratifying jazz bands — and working bands — on the planet.  THE FAT BABIES can offer electrifying transcriptions of recordings both familiar and obscure, but they can wonderfully “go for themselves” in convincing solos and hot ensemble playing.  In the videos below, you’ll hear idiomatic and swinging evocations of Benny Carter, Joe Robichaux, Jelly Roll Morton, Andy Kirk, Jabbo Smith, and Bing Crosby (is that Nat W. Finston and the Paramount Orchestra I hear in the hills?) — beautifully done with no museum archaisms or modern “innovations.”  Just good fun — created by Beau Sample, string bass and leader; Alex Hall, drums; Jake Sanders, guitar and banjo; Paul Asaro, piano and an ANIMULE vocal; Jonathan Doyle, John Otto, saxophones; Dave Bock, trombone; Andy Schumm, cornet.

I’ve posted a goodly number of Fat Babies videos from the Evergreen Jazz Festival hereherehere, and here — so no one can go to the larder and find it bare of salutary Fat.  But my videos (I’m proud of them) are nothing compared to the experience of hearing and seeing this band live, so the message should be clear.

KRAZY KAPERS:

NOBODY’S SWEETHEART:

THE SOPHOMORE:

THE ANIMULE DANCE:

PLEASE:

WEIRD BLUES:

KING KONG STOMP:

Check their website to see their schedule, learn about their new CD, and more. I see they will be back at the Evergreen Jazz Festival at the end of July 2017.

May your happiness increase!

“IT’S FAT LIKE THAT”: MORE FROM THE FAT BABIES at the EVERGREEN JAZZ FESTIVAL (July 30, 2016)

Rainbow One

One of the great pleasures of the summer of 2016 was the Evergreen Jazz Festival in Evergreen, Colorado.  There I and others enjoyed the Carl Sonny Leyland trio with Clint Baker and Jeff Hamilton; the Kris Tokarski trio with Tim Laughlin and Hal Smith (and guest star Andy Schumm), and the Fat Babies, with Beau Sample, Andy Schumm, Dave Bock, John Otto, Jonathan Doyle, Paul Asaro,  Jake Sanders, and Alex Hall.

I’ve posted videos from the Fat Babies’ July 29 set here.  And some especially Fat music here. And even here.

Here are three more from the next day’s frolic.

The first, a composition from 1925 where Louis Armstrong plays slide whistle as well as cornet with his Hot Five, WHO’S IT . . . which I am assuming might have something with playing tag or an adult version rather than being a metaphysical inquiry into the slippery parameters of identity.

whos-it

Here are the Fat Babies romping through the thickets of swing:

Another Louis-related item, I AIN’T GONNA PLAY NO SECOND FIDDLE, which he recorded with Perry Bradford’s Jazz Phools as well as with Bessie Smith:

and Jimmie Noone’s APEX BLUES:

And here is my review of the band’s latest CD — on the Delmark Records label, SOLID GASSUH — a disc whose virtues I do not exaggerate.

Support The Fat Babies!  They’re remarkable.

May your happiness increase!

TRUTH IN (HOT) ADVERTISING: THE FAT BABIES, “SOLID GASSUH,” DELMARK RECORDS 257

We hope this truth can be made evident.  The new CD by The Fat Babies, SOLID GASSUH, on Delmark Records, embodies Truth in Advertising in its title and its contents.

solid-gassuh

“Solid gassuh,” as Ricky Riccardi — the Master of all things Louis — informs us in his excellent liner notes, was Louis’ highest expression of praise.  (I’d like to see it replace “sick” and “killin'” in the contemporary lexicon.  Do I dream?)

The Fat Babies are a superb band — well-rehearsed but sublimely loose, authentic but not stiff.  If you don’t know them, you are on the very precipice of Having Missed Out On Something Wonderful — which I can rectify herehere, and here.  (Those posts come from July 29, 2016 at the Evergreen Jazz Festival, and feature the “new” Fat Babies with the addition of the heroic Jonathan Doyle on reeds.)

SOLID GASSUH was recorded at the Babies’ hangout, the Honky Tonk BBQ, but there’s no crowd noise — which is fine — and the recorded sound is especially spacious and genuine, thanks to Mark Haynes and Alex Hall.  I know it’s unusual to credit the sound engineers first, but when so many recordings sound like recordings rather than music, they deserve applause.

The Babies, for this recording, their third, are Andy Schumm, cornet and arrangements; Dave Bock, trombone; John Otto, reeds; Paul Asaro, piano and vocals (also the chart for EGYPTIAN ELLA), Jake Sanders, banjo and guitar, Beau Sample, leader, string bass; Alex Hall, drums.

Their repertoire, for those deep in this music, says so much about this band — DOCTOR BLUES / AFTER A WHILE / FEELIN’ GOOD / DID YOU EVER SEE A DREAM WALKING? / ORIGINAL CHARLESTON STRUT / PENCIL PAPA / I MISS A LITTLE MISS / PARKWAY STOMP / YOU WERE ONLY PASSING TIME WITH ME / ALABAMY BOUND / SLOW RIVER / DELIRIUM / EGYPTIAN ELLA / SING SONG GIRL / MAPLE LEAF RAG.  There are many associations here, but without looking anything up I think of Ben Pollack, Paul Mares, Boyce Brown, Ted Lewis, Benny Goodman, Bix Beiderbecke, Fud Livingston, Red Nichols, Miff Mole, Luis Russell, Bud Freeman, Bing Crosby, Nat Finston, Thomas Morris, Lil Hardin, Sidney Catlett, Al Wynn, Punch Miller, Alex Hill . . . and you can fill in the other blanks for yourself.  And even though some of the songs may be “obscure,” each track is highly melodic and dramatic without ever being melodramatic.  (As much as we love ROYAL GARDEN BLUES, it’s reassuring to know that it wasn’t the only song ever played.)

The Babies are remarkable for what they aren’t — not a “Dixieland” or “New Orleans” or “Condon” ensemble, but a group of musicians who obviously have studied the players, singers, and the recordings, but use them as inspired framework for their own creativity.  Occasionally, the Babies do offer us a transcription of a venerable recorded performance, but it is so energized (and by that I don’t mean faster or louder) that it seems as if someone has cleaned centuries of dust off an Old Master and it’s seen freshly.  More often, they use portions of an original arrangement, honoring it, as a way to show off their own bright solos.  So the effect at times is not an “updating,” but music seen from another angle, an alternate take full of verve and charm, as if the fellows had been playing the song on the job rather than in the studio.

If you follow the Babies, and many do, you will have known that this recording is coming, and will already have it.  When my copy arrived, I played it through three times in a row, marveling at its energy and precision, its lively beating heart.  SOLID GASSUH is immensely satisfying, as are the Fat Babies themselves.

You can purchase the disc and hear sound samples here, and  this is the Delmark Records site, where good music (traditional and utterly untraditional) flourishes.

May your happiness increase!

SO FAT, SO GOOD (Part One): THE FAT BABIES at the EVERGREEN JAZZ FESTIVAL (July 29, 2016)

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

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

Wonder of wonders (continue) with the Miracle Boys of Hot, The Fat Babies, at their July 29, 2016.  Even the elk were swinging.  They are (of course) Alex Hall, drums; Beau Sample, string bass; Paul Asaro, piano / vocal; Jake Sanders, guitar / banjo; Jonathan Doyle, John Otto, reeds; Dave Bock, trombone; Andy Schumm, cornet, clarinet, arrangements.

MANDY, MAKE UP YOUR MIND:

PLEASURE MAD (later known as VIPER MAD, by Sidney “Bash-shay” in any case:

HE MAY BE YOUR MAN (BUT HE COMES  TO SEE ME SOMETIMES):

and a quick but satisfying set-closer, MAPLE LEAF RAG, Charles LaVere 1935 style:

So hot it’s delightful.  And another whole Evergreen set to come.

And . . . the Babies have three CDs out on the Delmark label: CHICAGO HOT, 18th and RACINE, and the new Baby, SOLID GASSUH, as well as two featuring Paul Asaro on Rivermont, WHAT A HEAVENLY DREAM (devoted to Fats) and SWEET JAZZ MUSIC (for Jelly).  Lay in a supply.  They say it’s going to be a cold cold winter.

May your happiness increase!

“OH, FAT THAT THING!” THE FAT BABIES, featuring PAUL ASARO and JOHN OTTO, PLAY FATS WALLER (Evergreen Jazz Festival, July 29, 2016)

The most difficult part of this blogpost has been trying to find a polite title for the congenial combination of THE FAT BABIES and THOMAS “FATS” WALLER, but I think I’ve managed to be as little offensive as possible.  I hope.  No suggestions solicited, please.

Here are three performances by that wonderful octet — Andy Schumm, cornet; Dave Bock, trombone; John Otto and Jonathan Doyle, reeds; Paul Asaro, piano and vocals; Jake Sanders, banjo / guitar; Beau Sample, leader / string bass; Alex Hall, drums — at the Evergreen Jazz Festival in Evergreen, Colorado, on July 29, 2016.

THE FAT BABIES, before Jonathan Doyle had joined the band.

THE FAT BABIES, before Jonathan Doyle had joined the band.

From Fats’ first published song (based on THE BOY IN THE BOAT, as we know), onwards to a sadder one:

Finally, the delightful Jimmy McHugh tune that Fats made his own — performing it in the 1935 film KING OF BURLESQUE.  (Then, it got taken up by Louis and others, happily):

On all these performances, the ebullient Paul Asaro — striding, singing, and smiling — stands out, as he always does.  Paul has made two CDs — tributes to Waller and Morton — with the Fat Babies, issued on Rivermont Records.

More to come from Colorado — and if you’re near Chicago, you can hear The Fat Babies live.  http://www.thefatbabies.com/ is their website and performing schedule.  And — even more! — I’m waiting for a copy of their latest release, correctly titled SOLID GASSUH (!) on Delmark Records.

Hotter than a fat baby, for sure.

May your happiness increase!