Tag Archives: JAzz Bash by the Bay

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

WHEN IN DOUBT, PLAY THAT THING! (March 8, 2020)

From here

to here

is a wonderful wiggly line, elevated by individualism and joy, expertise and passion.

I present here a glorious burst of enthusiasm — in honor of Joe Oliver and Little Louis — created by Clint Baker, trumpet; Ryan Calloway, clarinet; Riley Baker, trombone; Carl Sonny Leyland, piano; Bill Reinhart, banjo; Katie Cavera, string bass; Hal Smith, drums. Jess King also sang, but not on this performance. And late in the video, we have an unscheduled cameo appearance by RaeAnn Berry, the queen of Bay Area videographers. Don’t miss it.

I was privileged to witness and record this on March 8, 2020, at the Jazz Bash by the Bay, Monterey, California.

A postscript, and those who are tired of words on a lit screen have my encouragement to skip it and watch the video again.  The other night, I had an extended telephone conversation with a person who might have become a new friend, who chose to tell me that my emphasis on happiness was inexplicable, because it meant I was ignoring the full range of emotions.  I wish I’d thought to play that person this DIPPER MOUTH BLUES: maybe it would have made tangible some of the things I believe in.  (If art doesn’t evoke feeling, it may be splendid intellectually, but to me it seems incomplete.)  And should you wonder, the conversation is not continuing.  There!  Ruminate on that, if you like.

For now, go and PLAY THAT THING! — whatever shape it might take.  You understand that you don’t need a cornet to be joyous.

May your happiness increase!

TAKE THE SWING CURE, AS PRESCRIBED BY MY MEDICAL GROUP: DOCTORS DURHAM, DONALDSON, KAHN, MOTEN, BAKER, LAMBETH, CALLOWAY, BAKER, LEYLAND, REINHART, KING, CAVERA, SMITH (Jazz Bash by the Bay, March 7, 2020).

Some of the doctors were too busy for photographs, but here are four images of this superb medical group:

Doctors Baker, C.; King; Calloway.

and

Doctors Leyland, Lambeth, Reinhart, Baker, C; King.

and

All this marvelous cure-by-swing took place over several days and nights at the Jazz Bash by the Bay in Monterey, California — a positively elating experience.  Here’s another name for this assemblage of healing, Clint Baker’s New Orleans Jazz Band.  For this weekend, they were Hal Smith, drums; Katie Cavera, string bass; Bill Reinhart, banjo; Jessica King, banjo, guitar, vocal; Clint Baker, trumpet; Riley Baker, trombone; Ryan Calloway, clarinet, and for this set, Dawn Lambeth, vocal; Carl Sonny Leyland, piano.  As Clint explains, this combination of YOU’RE DRIVING ME CRAZY and MOTEN SWING was inspired by a Big Joe Turner recording (BIG JOE RIDES AGAIN, Atlantic) and the blessed Buck Clayton Jam Sessions.  So now you know all  you need.  Prepare to be uplifted. I was and continue to be so.  And I can share more performances by this group.

Keep swinging . . . it’s the opposite of emotional distancing.

May your happiness increase!

TRANSIT TIME: March 4-9, 2020

This post is more or less to amuse myself before the Jazz Bash by the Bay begins tomorrow, but you can come along as well.  I have just completed, or perhaps begun, the most intense loop of jazz travel I can recall.  It began with my happy viewing of Nancy Harrow and Will Pomerantz’s play, ABOUT LOVE, which is the subject of yesterday’s blogpost.  (“Don’t miss it” is the edited version).

Yesterday, I went to Philadelphia (the World Cafe Live) to hear, witness, and record Marty Grosz’s ninetieth birthday party, and after that I flew to Monterey, California, to the Portola Hotel and Conference Center, where I write these words.

I am sorry that Dan Barrett isn’t attending the Bash this year — for many reasons, but were he to see me with that button and ribbon pinned to my shirt, he would walk over and put his palm on the ribbon and push.  “It says PRESS.” But I shall go on.

On Thursday, at about 2 PM, I asked a favor of a neighbor who gave me — and my knapsack of video gear — a lift to the train station.  Once there, I found Amtrak (twenty minutes late) and eventually got to Philadelphia, where (once again) I imposed on a friend — this time Joe Plowman, a stellar fellow whether playing the string bass or not — to take me to the World Cafe Live.

The Marty Party was a delight, and, yes, if the Tech Goddess favors me, there will be video evidence.  I asked Danny Tobias and Lynn Redmile for a lift back to the 30th Street Station, and Dan Block and I rode back to New York City — arriving around 1:20 AM on Friday.  Dan went off to his home, about four subway stops away, but the next train to my suburban Long Island town was two hours later, so I asked the first cabbie in a line of cabs what he would charge; we settled on a price, and we were off.  (He had been a lawyer in Egypt, by the way).  Around 2:15 I was home and went to sleep for what I knew would only be a brief interlude.  My alarm went off, as planned, at 7; I did what was needed and got in my car to drive to parking for Kennedy Airport.  At 11:30 we were airborne; I arrived in Monterey close to 6 PM.  (I have adjusted none of this for New York and California time zones, but you can imagine that my eyelids are heavy.)

I really have no idea what time it actually is in my body clock, but will find out.  I can tell you that this travel rhapsody will have cost me about fifteen hundred dollars when it is all through.  I am blessedly fortunate to have that money, but the pleasure of seeing Marty Grosz, Vince Giordano, Dan Block, Scott Robinson, Danny Tobias, Randy Reinhart, Brennan Ernst, Joe Plowman, Jack Saint Clair, Jim Lawlor, meeting people in the flesh whom I’d only known in cyberspace — one night! — as well as receiving an autographed copy of Marty’s autobiography, IT’S A SIN TO TELL A LIE: MY LIFE IN JAZZ (Golden Valley Press) . . . .and from tomorrow on, seeing Marc Caparone, Dawn Lambeth, the Holland-Coots Jazz Quintet, Carl Sonny Leyland, Clint Baker, Jeff Hamilton, Hal Smith, Le Jazz Hot, and more — that pleasure is and will be uncountable in mere currency.  And unless you knew my past life well, the immense freedom to do what I want is bliss, a bliss I hadn’t always been able to have.

And I can sleep next week.

May your happiness increase!

FEAR, OR JOY? YOU PICK.

Someone asked me last week why I wore a Louis Armstrong button, and without thinking, I said, “He taught me how to live my life,” which I was proud of saying. I know that CABARET was written by Kander and Ebb, but I encourage you to take three minutes or so and listen — I mean listen — to Louis’s 1966 version (the one with strings).

That song, and Louis’ performance of it, has a special relevance for me at this moment.  Friends and family are devoting their energies to being afraid of the Coronavirus.  I hear of their buying masks and hand sterilizer, stocking up on food and water for when “the lockdown” comes, restricting their travel.  I can hear their voices over the phone, trying to mask their frightened disapproval, when I say I am getting on a plane in perhaps ninety hours to fly to Monterey for the Jazz Bash by the Bay, which begins March 5.  “You’re getting on a plane, Michael?  Well, be careful not to to touch your face.  You could wear a pair of gloves . . . ”

Their caution might be well-founded.  I could contract the virus, it could turn into pneumonia, I could die.  Or, I could get hit by a Range Rover as I cross the street, even when I have the light in my favor. I’m  not being facetious.  And I hear the voices of my loving over-cautious parents, “Be careful.  Be careful!”

But the opposite of Fear is Courage, and Courage has as its reward Joy.  If I stay home, I won’t hear these fellows play and sing:

So I’m on my way to Monterey on Thursday morning, and here‘s the schedule, a wondrous hot-jazz version of Ceres’ cornucopia.  You pick: stay at home with those books you’ve been promising yourself to read, and perhaps some takeout as a treat, or venture forth with plans to live joyously.  (I know some of you can’t fly to Monterey, but adapt my encouragements to your own neighborhood.)

Now I have to finish packing.

May your happiness increase!

CARPE DIEM! MONTEREY JAZZ BASH BY THE BAY 2020 (March 5-8, 2020)

I’m stunned, but in a delightful way: the band schedule for the Monterey Jazz Bash by the Bay — although it could change — is available here.   I have all I can do to not print it out and start playing jazz-chess with my highlighter (once I find it).  But you’ll see the reason for my opening emotions: there’s so much good music here, some of it in conflict with other explosions of good music . . .

Now, the schedule is too large to be appropriately reprinted here in the space that WordPress allows, and that is in itself significant.  So a few facts.  There’s hot jazz, blues, gospel, trad, zydeco, hokum, singers, banjo players, gypsy jazz, washboards, saloon songs, stride piano, boogie-woogie, and did I mention just plain hot music for dancers and for listeners?

There’s a special Thursday night session.  Friday and Saturday the music runs for more than twelve hours in eight simultaneous venues (all under the same roof); on Sunday the last set begins at 3 PM.

When I called, yesterday, the Portola Hotel still had a few rooms left at the special Jazz Bash rate; Monterey is a lovely town with interesting shops and good things to eat.  Easy.  Now, a few possibly-impolite lines.  If you are coming to the Bash, I salute you, I embrace you (if we’ve signed the appropriate paperwork).  If you’re not coming because you live too far away or because it costs too much or because of health issues, I do not upbraid you, but sorrow with you and hope you will watch the videos I create from the performances this March.

But if could come but you don’t make the effort and say wistfully, “Gee, I’d like to get there.  Maybe in a year or two,” I just hope this and other festivals are ready for you when you are ready to attend.  Festivals, although they look huge and solid, are fragile affairs, and they don’t survive when there are too many empty chairs in the room.  It’s easy, after the fact, to say that “they” did a bad job, whoever “they” are, but you and your attendance are the fuel necessary for the festival car to make it up the hill year after year.  I have spoken.

May your happiness increase!

“THE STRANGE INTERSECTION OF LOVE AND FIDUCIARY MATTERS”: MARC CAPARONE, BRIAN HOLLAND, DANNY COOTS, STEVE PIKAL (San Diego Jazz Fest, Nov. 29, 2019)

Above, the musicians.  Below, the text for the mellow sermon.

Now, this 1930 song seems a charming period piece.  How many people, ninety years later, know the archaic vocabulary painfully current shortly after the stock market crash? It owes its immortality to Louis, as so much music does:

Marc Caparone acknowledges our debt to Mister Strong in his own way, with Danny Coots, drums; Brian Holland, piano; Steve Pikal, string bass:

Some concepts never die: I just heard someone speak of “being emotionally invested” in another person.  May our psychic portfolios always gain in value.

And, speaking of value, the Holland-Coots Quintet will be appearing at the 40th Jazz Bash by the Bay in Monterey, California, this March — and the Musician of the Year will be Mister Caparone.  Good sounds await.

May your happiness increase!

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!

THE KING’S SWINGLISH (Part Two): CARL SONNY LEYLAND, JACOB ZIMMERMAN, MARTY EGGERS, JEFF HAMILTON at MONTEREY (March 3, 2019)

Jacob Zimmerman, clarinet and alto, had never performed with Carl Sonny Leyland, piano and vocal; Marty Eggers, string bass; Jeff Hamilton, drums.  But when they got together for a set at the Jazz Bash by the Bay, “Music was made,” to quote James Chirillo.  The first part of this glorious mutual improvisation can be found here, with exquisite leisurely performances of WABASH BLUES, IF I HAD MY WAY, BOOGIE WOOGIE, also an explanation of my whimsical title.

Here is the remainder of that memorable set.

MOON GLOW:

YOU TOOK ADVANTAGE OF ME:

ROSES OF PICARDY:

WHEN YOU AND I WERE YOUNG, MAGGIE:

47th STREET JIVE:

What a wonderful quartet!  I look forward to their next meeeting(s).

May your happiness increase!

“TENDER EYES THAT SHINE”: DAWN LAMBETH and her RASCALS at MONTEREY (Part Two): DAWN LAMBETH, JACOB ZIMMERMAN, CLINT BAKER, JEFF HAMILTON, IKE HARRIS, JERRY KRAHN, RILEY BAKER (March 2, 2019)

There’s a wonderful tradition that began on records in the late Twenties: sweet and hot singing — female or male — backed by a small improvising combination.  To some, it reached its apex with the series of recordings done by Billie Holiday and Teddy Wilson, but it continues on in this century, something I find reassuring.

Vocalion Records ceased production a long time ago, and the last time I was near a diner jukebox, it lacked Red McKenzie, Bob Howard, Mildred Bailey, Putney Dandridge, Maxine Sullivan, Nan Wynn, Tempo King, Lee Wiley, Connee Boswell, or Dick Robertson, but our friend Dawn Lambeth embodies the tradition beautifully.  As do her Rascals, an ad hoc group of friends who swing.

Here’s the second half of a performance by a lovely little jam band of friends at the 2019 Jazz Bash by the Bay: Dawn Lambeth, vocal; Riley Baker, drums; Jeff Hamilton, piano; Ike Harris, string bass; Jerry Krahn, guitar; Jacob Zimmerman, alto; Clint Baker, trumpet.  And  here‘s the first part.

The very antidote to melancholy . . . with the verse, no less:

Dawn’s venture into rare cosmology:

Those nocturnal visions swing sweetly:

Memorable yet understated music.

May your happiness increase!

“NOTHING TO MAR OUR JOY”: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA at MONTEREY (March 1, 2019)

Dawn Lambeth

By popular demand, another song from a wonderful session at the Jazz Bash by the Bay in Monterey, California — a sweet standard from 1916, performed by Dawn Lambeth, Paolo Alderighi, and Sam Rocha, vocal, piano, and string bass, respectively.

Celebrating monogamous devotion, romance without distractions:

May your happiness increase!

THE KING’S SWINGLISH (Part One): CARL SONNY LEYLAND, JACOB ZIMMERMAN, MARTY EGGERS, JEFF HAMILTON at MONTEREY (March 3, 2019)

Those new to jazz performance may find improvisation a wondrous mystery.  “How do they know how to do that without music?” they ask.  It’s a fair question: how do you play soccer without the rulebook in your hand?  Is there some magic volume, known only to the favored few, that those versed in the secret craft have memorized?

The marvel that is improvisation results from practice, study, scholarly labor, trial and error — difficult to explain simply, but an analogy comes to hand.

With a few exceptions, we are born with the power of speech: we can form words and sentences and make ourselves understood,  That, for the jazz musician, would be mastery of her instrument, skill, technical proficiency, the ability to execute ideas in pleasing logical sequence.  Never as easy as it looks.

But there’s more, much more.  How does anyone have something to express, “things to say”?  That mastery, subtler and deeper, comes through communal exercise and learning from those who know the great wisdoms.  In everyday life, you know the basic vocabulary, but what do you say to someone who is mourning a death?  No thesaurus can teach us the right thing to say, the most appropriate thing to utter, but we can learn by saying the wrong thing and then doing better, or by being in the company of people who express themselves beautifully and learning from them.

Since music is a kind of speech, what jazz artists have is a common knowledge and common language — I’ve invented a whimsical term for it above — a series of conventions that have been internalized.  Not only does the experienced musician know the melody of YOU TOOK ADVANTAGE OF ME, but he knows the verse, the lyrics, the standard key, which tempos lend themselves to which approach; he might know the Whiteman and Bud Freeman recordings.  He might know several sets of harmonies; he might know the common errors he and others make.

With a solid foundation of such experiential knowledge, a musician gains the courage to sing an individual song, listen to, and add to the other songs being created on the bandstand.  The craft is a matter of tens of thousands of hours of practice among friends, colleagues, mentors . . .  listening intently to live performance and to recorded ones.

The results are unmistakable: an ease, an assurance, the kind of skill that lets warm personal improvisations happen, not only in solo, but also in ensemble.

The four musicians who took to the stage without fanfare on March 3, 2019, at the Jazz Bash by the Bay in Monterey, California, are masters of this conversational and inspiring art.  Three of them — pianist / singer / composer Carl Sonny Leyland, string bassist Marty Eggers, and drummer Jeff Hamilton — have worked together as a trio for years, and they are as close as family.  Or closer.

Jacob Zimmerman, of the Pacific Northwest, who plays clarinet and alto sax, writes and arranges, was new to the group.  But these four players fell into delicious harmony easily, and what music was made!  I’ve left in (more than usual) the little conversations that were prelude to each number, because they illustrate “the King’s Swinglish” well, to my eyes and ears.

They began with a lovely old tune, not played as much as it should be — the WABASH BLUES.  Groovy!

Then, a sentimental song that I think no one else does (I hear Bing’s version in my ears), IF I HAD MY WAY.  I love the performance, and I also urge people to watch Jacob intently learning the song from Sonny’s clear exposition.  And how they swing!

And, for the last Musical Offering (four more will appear in a second post), BOOGIE WOOGIE.  You’ll hear Sonny announce it as SOMETHING KIND OF BOOGIE-WOOGIE-ISH, but that title was too long for YouTube:

You’ve heard articulate people praised with the words, “She always knows the right thing to say.”  These four musicians always know the right thing to play.

May your happiness increase!

“AND NOW, WE TAKE YOU DIRECT TO BERLIN”: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA at MONTEREY (Jazz Bash by the Bay, March 1, 2019)

JAZZ LIVES is not taking you to a wartime Edward R. Murrow broadcast, nor to the capital city of Germany, but to the imperishable songbook of the unequaled Irving Berlin as performed by three hero-friends: Dawn Lambeth, vocal; Sam Rocha, string bass; Paolo Alderighi, piano — at the Jazz Bash by the Bay in Monterey, California:

and another song with strong connections to Fred Astaire and Ginger Rodgers:

What a lovely group!  I hope to see them again and would gladly buy their CD.  Or a boxful.

Incidentally, I am embraced by a wonderful synchronicity: I write this post from my hotel room at the astonishingly rewarding Redwood Coast Music Festival, where I heard Dawn yesterday and will hear Sam today . . . talk about being in the right place at the right time.

May your happiness increase!

“HAVE YOU GOT ANY MORTGAGES YOU’D LIKE ME TO PAY, BABY?”: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA at MONTEREY (March 1, 2019)

The wonderful singer Dawn Lambeth, Paolo Alderighi, piano, and Sam Rocha, string bass, had never worked together before, but they make beautiful gliding music as group.  Their March 1 trio set at the Jazz Bash by the Bay might be one of my favorite musical interludes of this year.  I posted a performance from this set here.

Here is another delightful creation by Richard Whiting and Johnny Mercer from the 1937 film VARIETY SHOW, where it was sung by Dick Powell.  I love this song for its bouncy melody and Mercer’s lyrics, a witty mixture of modern and medieval times (mortgages and dragons) . . . and his refusal to lazily choose easy rhymes — a lesser writer would have rhymed “paid” and “slayed,” but easy and dull was never Mercer’s style.

And this performance!  Sam’s solid fluid propulsion, Paolo’s modernist swing, and Dawn . . . . whose easy grace is a constant pleasure, and the way she sings “Baby . . . .” is like biting into a ripe berry.  Savor this!

Wow.  And a few more to come.

May your happiness increase!

WHEN LOVE, MUSIC, and BREAKFAST COINCIDE: DAWN LAMBETH, PAOLO ALDERIGHI, SAM ROCHA (Jazz Bash by the Bay, March 1, 2019)

Some regard caffeine and sugar as if the respective containers were marked with skull and crossbones, with reason.  Those addictive substances upset the physical and nervous system.  Like Macbeth, they murder sleep.

But the music presented here will not cause insomnia, nervousness, or digestive upset.  Its only effect is an increase in one’s holistic well-being.  The subject at hand is a performance from March 1, 2019 at the Jazz Bash by the Bay, by Dawn Lambeth, vocal; Paolo Alderighi, piano; Sam Rocha, string bass, and it makes me as euphoric as good coffee or tea.  And please watch and listen to the end, so you don’t miss any surprises:

I don’t think these three wonderful musicians had ever worked together as a trio.  Their floating sounds delight me, and I imagine a trio of Duke, Ivie, and Blanton brought to life in 2019.

Go ahead, pour yourself another.  Good to the last note.

May your happiness increase!

TELLING TIME, SEVERAL WAYS: DAWN LAMBETH and her RASCALS at the JAZZ BASH BY THE BAY (March 2, 2019)

Sixty memorable minutes. Never mind the odd composer credits.

 

It’s all relative, as Einstein tells his grandmother.  When a man sits on a hot stove, a minute seems forever; when he’s kissing his sweetheart, forever seems like a minute.  She says, “For this you won a prize?”

Dawn Lambeth

At the Jazz Bash by the Bay this last March, Dawn Lambeth and her Rascals (the name I’ve given to this delightful little group of swinging friends) demonstrated Einstein’s discovery in the nicest ways: with performances whose text is the nature of time and how it is perceived, and declarations of love in its many forms.

The Rascals are Riley Baker, drums (catch his wonderful accents behind his father’s trumpet solo on ALWAYS: “Good deal!”); Jacob Zimmerman, alto saxophone; Clint Baker, trumpet; Jerry Krahn, guitar; Ike Harris, string bass; Jeff Hamilton, piano.

First, James P. Johnson’s IF I COULD BE WITH YOU ONE HOUR TONIGHT (or, as it appeared on the 1929 Mound City Blue Blowers record label, ONE HOUR) — with the yearning verse:

From sixty minutes to eternity, Irving Berlin’s ALWAYS:

And as an instrumental meditation on the future — even when the future is seen as the fulfillment of a promise or a threat — Shelton Brooks’ SOME OF THESE DAYS, which rocks: watch out for Jeff and Riley, respectively but not respectfully:

More to come from this nice unbuttoned after-hours set.  (California festivals start early and end early, so I think this evocation of Fifty-Second Street ended at 11 PM, but it felt like the real thing, no matter what our watches said.)

May your happiness increase!

GROOVIN’: THE HOLLAND-COOTS JAZZ QUINTET at MONTEREY: BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, JACOB ZIMMERMAN, STEVE PIKAL (March 1, 2019)

Milt Gabler and Harry Lim would have loved this band.  But to move from the conditional to the present, we love them now.  Here are two rocking performances (and two on-the-spot comic interludes) by the Holland-Coots Jazz Quintet, created for your swing pleasure at the Jazz Bash by the Bay, March 1, 2019, in Monterey, California.  The gentlemen of the ensemble are Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet; Jacob Zimmerman, clarinet and alto saxophone; Steve Pikal, string bass.

Steve and Danny, waiting for the unusually capable soundman to do what needs to be done.  Carnitas, cliantro, and black beans, please:

Then to more serious bidniss: MOPPIN’ AND BOPPIN’ — from the 1943 film STORMY WEATHER — performed by the Quintet in the style of a Hot Lips Page small group:

Brian considers the situation and tells us how he feels, commentary from Danny:

And another massive Forties groove, the love-child of Stephen Foster and Albert Ammons:

What followed (I’ve already posted this one on its own, but for those who might have missed it, here is the lovely Fats ballad, now in context):

I promise to have more music by this band in different locations — joys to come.

May your happiness increase!

“CAN WE PLAY A BALLAD NOW?”: HOLLAND-COOTS PLAYS FATS WALLER at MONTEREY (BRIAN HOLLAND, DANNY COOTS, STEVE PIKAL, MARC CAPARONE, JACOB ZIMMERMAN, March 1, 2019)

LONESOME ME is one of Fats Waller’s most lovely — and least-played — songs.  Marty Grosz has made several versions, but here’s a particularly splendid performance by the Holland-Coots Jazz Quintet (Danny Coots, drums; Brian Holland, piano; Steve Pikal, string bass; Marc Caparone, cornet; Jacob Zimmerman, clarinet and alto saxophone) at the 2019 Jazz Bash by the Bay in Monterey, California.  And catch the beautiful duet between Steve and Jacob once the melody’s been stated.

I didn’t feel lonesome this morning, but had I, this lyrical outpouring would have made me feel better about being in a world where such beauty was not only possible, but accessible.

One way to access it, is, of course, the CD referred to above:

And you can see the HCJQ in person, with “your very own two looking eyes.”  I’ll have the privilege on the Stomptime cruise at the end of April, and at the Evergreen Jazz Festival in July . . . but you should join me.  Video-life can only take you so far.

May your happiness increase!

“OH, MEMORY! ” MARC CAPARONE, JACOB ZIMMERMAN, STEVE PIKAL, BRIAN HOLLAND, DANNY COOTS at MONTEREY (March 1, 2019)

 

The star dust of a song.

Great artists know that passion without control is nothing.  Together, they scrape the clouds.

Here are Marc Caparone, cornet; Jacob Zimmerman, clarinet and alto; Brian Holland, piano; Steve Pikal, string bass; Danny Coots, drums, the Holland-Coots Jazz Quintet, recorded live at the Jazz Bash by the Bay on March 2, 2019, playing Hoagy Carmichael’s STAR DUST:

Hearing that performance, one can talk or think of Bunny Berigan, Louis Armstrong, Artie Shaw, and many others.  But for once, let us celebrate  Caparone, Zimmerman, Pikal, Holland, Coots: people who understand how difficult it is to create Beauty and then do it, in front of our eyes, time after time. Those moments when the dancer and the dance are one: so rare, so compelling.

May your happiness increase!

LET’S GET GROOVY: The HOLLAND-COOTS JAZZ QUINTET at MONTEREY (BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, JACOB ZIMMERMAN, STEVE PIKAL: March 1, 2019)

When it’s in the groove, you know it.  And this was: BEI MIR BIS DU SCHOEN, by Brian Holland, piano; Danny Coots, drums; Jacob Zimmerman, clarinet and alto; Marc Caparone, cornet; Steve Pikal, string bass — recorded on the first day of the 2019 Jazz Bash by the Bay, Monterey, California.  (Evan Arntzen is pictured above.)

Sonic note: about twenty-five seconds in, you’ll hear a noise to the right: the gentleman in the adjacent seat was savoring his hotel cookie in its crackly paper bag (Danny mimes the appropriate response).  To my left, a poised woman from the East Coast — I didn’t get her name — was grooving silently.  Bless you, Sister, wherever you are.

That’s some band, as E.B. White used to say.  Formed in 2017, they are steadily gaining devoted fans at festivals (details here): Three Rivers, Evergreen, the Stomptime cruise, Hot Jazz Jubilee, Sun Valley, San Diego — and that’s just for now.  (Have you heard their debut CD, devoted to Fats?)

I am a devoted fan and supporter, so if you type their name into the JAZZ LIVES search bar, you will find many more wonderful performances . . . and they played magnificently at Monterey.

May your happiness increase!

IT HAPPENS IN MONTEREY (March 1-2-3, 2019): The JAZZ BASH BY THE BAY

For those who love the music, this reminder may be superfluous.  But there are always new people whom we hope to attract into the world of jazz and dance for great fun.  So, first, here is the Bash’s Facebook page, and here is their website.  Several truly pertinent facts — from personal experience.  March in Monterey is balmy, and I recall it as shirt-sleeve / eat gelato with Italians weather.  All of the music at the Bash happens under one roof, on several floors of the same building, and there is (as I recall) an elevator.  There are eight venues — which, loosely translated, means an immense number of choices, enough to produce vertigo.  Approximately 154 sets of music from Friday morning to Sunday afternoon.  Seven dance floors.  All under one roof, a fact worth repeating.

There are also a few names that didn’t fit on the poster, people you’d know and applaud.  Jacob Rex Zimmerman, Steve Pikal, Clint Baker, Jeff Hamilton, Paul Hagglund, Sam Rocha, Chris Calabrese, Sue Kroninger, Ed Metz, Jerry Krahn, Howard Miyata, GROOVUS, Don Neely, and more.  I expect that the final schedule will be posted soon on the website so that people like me can start planning strategy with brightly colored highlighters.

A little personal history: I encountered the Jazz Bash by the Bay in 2011, on my first visit to California — out of the womb, that is — and this is what I encountered.  Dawn Lambeth had a bad cold, but even congested, she sounds thoroughly endearing: with her, are Clint Baker (drums); Marc Caparone (cornet); Howard Miyata (trombone); Mike Baird (clarinet); Katie Cavera (guitar, banjo); Paul Mehling (bass):

And another piece of vintage joy from 2011, featuring Katie Cavera, the 2019 Musician of the Year, in the center, with Clint Baker, Paul Mehling, and John Reynolds on various banjos — with Marc Caparone on bass and surprises (Clint has a surprise for us, too), and Ralf Reynolds on washboard:

Now, this blogpost isn’t a Trip Down Memory Lane, although I must say I nearly went down the largest rabbit-hole I can imagine when I started searching my own videos to see when I’d first visited Monterey.  I couldn’t believe: “Wow, you recorded that?  And THAT?”  The air was thick with immodesty and gratitude.

No, this is to remind people what glories happen at Monterey, and will happen in less than two months: March 1, 2, 3 of this year.  And — let us leave subtlety aside for those who need it — to encourage people to get out of their chairs and be at the Bash.  See you there — maybe in the elevator or rapt in the first row.

May your happiness increase!

“WHICH WAY TO FIFTY-SECOND STREET?”: DAWN LAMBETH, MARC CAPARONE, JOHN REYNOLDS, KATIE CAVERA at the JAZZ BASH BY THE BAY (Monterey, March 2, 2018)

I missed out on the 2018 Jazz Bash by the Bay in Monterey, California, March 2-4 of this year.  But once again the First Lady of Hot Video, RaeAnn Berry, brought back some good sights and sounds for us.

A particular favorite was this set featuring Marc Caparone, trumpet; Dawn Lambeth, piano; John Reynolds, guitar; Katie Cavera, string bass — with nifty vocals from each of the four.  Completely charming, light-hearted melodic swing, with no tricks.  They would have been a hit at the Hickory House or the Onyx Club, and what a blessing to have them with us now.

RaeAnn posted all ten performances, but here are the four I was especially charmed by because the songs are rarely performed — and, as JAZZ LIVES readers know, these four musicians are dear to me.

Anyone want to split cab fare to Fifty-Second Street?

PARDON ME, PRETTY BABY:

WHEN THE RED RED ROBIN COMES BOB BOB BOBBIN’ ALONG (another thing to thank Harry Woods for, as Dawn offers us some tender optimism):

LITTLE GIRL (I dream of the ten-CD set called JOHN REYNOLDS SINGS FOR YOU):

I’VE GOT MY FINGERS CROSSED (with a sparkling conversation between Marc and John near the end):

With luck and a GPS, I’ll be at the 2019 Jazz Bash by the Bay.  It beats worrying about snow and then shoveling it, which is March in my world of New York.

May your happiness increase!