Tag Archives: Jerry Krahn

AN HOUR OF JOY WITH EDDIE ERICKSON and FRIENDS at the JAZZ BASH BY THE BAY: DANNY TOBIAS, KATIE CAVERA, GARY RYAN, JERRY KRAHN (March 6, 2020)

In one of those curious episodes of dislocation we all take for granted (read Philip K. Dick’s “The Eyes Have It”) my ears met Eddie Erickson long before the rest of me caught up.  Perhaps I first heard him on recordings with Dan Barrett, Rebecca Kilgore, Melissa Collard?  I know we met in Germany in 2007 for one of Manfred Selchow’s concert weekends, and a few years later, in California.  More to the point: I saw him, to my great delight, at the Jazz Bash by the Bay in March of this year.

Those who know Eddie only superficially categorize him as a dazzling vaudevillian — someone who, had he been born earlier, would have starred in Vitaphone short films and on Broadway — a natural comedian, a banjo virtuoso, a walking compendium of lovable entertainment.  I think of his performances of MY CANARY HAS CIRCLES UNDER HIE EYES and the dreadful honeymoon night of SIDE BY SIDE.  But he goes much deeper.  I celebrate the other Eddie: the swinging guitarist whose solos make sense, and, perhaps most of all, the very touching ballad singer.  And were you to visit my YouTube channel,  “swingyoucats”, you would find that I’ve been documenting Eddie’s multi-faceted self for nearly a decade now.

But that’s history of a very delightful kind, which I plan to add to right now.  What follows is a set of music performed on March 6, 2020, at the Jazz Bash by the Bay in Monterey, California, under the title “Eddie Erickson and Friends.”  Strictly speaking, that was inaccurate, because if all of Eddie’s friends had assembled at 7:39 in the Colton Room, all the other rooms would have been empty and the fire marshals would have been called.  So it was “and Friends who are Expert Musicians,” which meant Jerry Krahn, guitar; Katie Cavera, string bass and vocal; Danny Tobias, trumpet and Eb alto horn; Gary Ryan, banjo and vocal; Kathy Becker, attendant to the Emperor.

Two details to point out before you dive in.  Ordinarily, I would edit the pre-song conversation and getting-ready more seriously, but in Eddie’s case, his asides are precious, so what you have here is as close to the full hour as my camera would allow.  (I lost a few notes of ALWAYS, but you can imagine what was left out.)  And ordinarily I would not post ten performances at one time, but I envision people — needing more joy and uplift right now — setting aside an hour to visit with Eddie, to savor the joy they might not have been able to have when it was happening.  So . . . stop multi-tasking and enjoy, please.

After an introduction that hints at ZONKY, Eddie heads into BLUE SKIES:

What would a jazz festival be without a belated coronation?

Gary Ryan keeps working at it, in honor of the National Pastime:

When skies are cloudy and gray . . . we can always think of Eddie:

Katie Cavera’s saucy feature, I BET YOU TELL THAT TO ALL THE GIRLS:

Louis, 1947 — SOMEDAY YOU’LL BE SORRY:

Jerry Krahn’s pretty IF I HAD YOU:

A banjo Ecstasy for Messrs. Erickson and Ryan, THE WORLD IS WAITING FOR THE SUNRISE, with a little Prokofiev at the start and some NOLA:

Something to change the mood, Danny Tobias’ ST. JAMES INFIRMARY:

Eddie’s heartfelt version of Berlin’s ALWAYS:

And a closing romp on Hoagy’s JUBILEE:

What a treasure Eddie is!

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!

“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!

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!

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!

THE JAZZ BASH BY THE BAY IS COMING! (March 1-3, 2013)

I’m happy, excited, bewildered, and reaching for the oaktag and the colored Sharpies.  No arts and crafts project is on the horizon, but Dixieland Monterey’s JAZZ BASH BY THE BAY has just published its 2013 schedule.  This moment is always a combination of elation and puzzlement.  “Are all my favorite bands playing or am I dreaming?” to quote a late-Thirties record.  Yes, there’s John Sheridan and Jeff Barnhart, Carl Sonny Leyland and the Au Brothers, High Sierra, The Reynolds Brothers, David Boeddinghaus, Banu Gibson, Katie Cavera, Marc Caparone, Eddie Erickson, Sue Kroninger, Danny Coots, Howard Miyata, Pieter Meijers, Allan Vache, Bob Draga, Ivory and Gold, Jim Fryer, Titan Hot Seven, John Cocuzzi, Virginia Tichenor, Marty Eggers, Ivory and Gold, Frederick Hodges, We 3, Jerry Krahn, Ed Metz, Paul Keller, and more . . .

That’s wonderful.  Then the headache starts to creep up my neck.  “All right.  I have to see X but Y is playing at the same time, and Z starts a half-hour later.  Where shall I go?”

We should all have such problems.  Plot out your perfect weekend — including dance lessons and a Thursday-night concert by We 3 (Barnhart, Coots, Draga) to kick things off properly.

Here is the schedule.

Try it for yourself.  You have seven weeks to calculate the possibilities that will bring the most joy.  But you can do it!

And I’ll see you in the Portola Room, or the De Anza, or the Bonsai . . . look for me and say hello!

May your happiness increase. 

“WE’RE A HORNY BAND”: A REYNOLDS BROTHERS JAM SESSION at DIXIELAND MONTEREY JAZZ BASH BY THE BAY (March 3, 2012)

Before my title makes anyone flinch, permit to explain the context.  The Reynolds Brothers took the stand at Dixieland Monterey 2012 as the ordinarily brilliant quartet: John (guitar, vocal, whistling); Ralf (washboard); Katie Cavera (string bass, vocal); Marc Caparone (cornet).  That would have been enough sweetly incendiary music for anyone.

But soon they were joined by Howard Miyata (double-bell euphonium) and Bryan Shaw (cornet).  Knowing a good thing when they heard it, Flip Oakes (trumpet); Jerry Krahn (guitar) joined in.  If you count up the brass players, they certainly outnumbered the rhythm section.  At one point, Ralf looked around and said (approximately), “We’re a horny band!”  The crowd approved the sentiments and the evidence was visible.  After the session was over, I went over to the original RB, who were relaxing . . . and asked, most politely, “Would you mind if I used WAHB as the blog title?” surveying all four faces.  Major grinning resulted, and a unanimous Yes.

So there you have it.  With all that brass tubing and valve oil . . . I think my title is mild in comparison to more expansive ones that could have been.

Here’s the extravagant music!

The HB band began with the Claude Hopkins – Alex Hill anthem of love, I WOULD DO ANYTHING FOR YOU.  Even a moribund sound system can’t stop this band:

Ready to launch, everyone?  Here’s the 1928 DIGA DIGA DOO.  Or KRAZY KAPERS if you like:

Now for some moralizing in swing — if you do naughty things, there will be divine retribution.  Or THERE’S GONNA BE THE DEVIL TO PAY (whose opening phrase looks forward two or three years to I HOPE GABRIEL LIKES MY MUSIC, doesn’t it?):

Attentive viewers will have noticed that trumpeter Flip Oakes [bearing his Wild Thing horn] and guitarist Jerry Krahn were indeed ready to launch at the end of that number (did they hear the sermon and decide to join in?) — Flip is seen adjusting his horn (understandably) but Jerry is heroically strumming away on ground level — a man with a mission!  Ralf directs the assembled masses into another kind of moral injunction — MAMA, DON’T GIVE ALL THE LARD AWAY — where the precious stuff is more than slightly metaphorical:

It was indeed a logical leap to Fats Waller’s FAT AND GREASY — which swings along because of or in spite of its rather revolting lyrics.  “I’m going in!” assures Ralf.  And Jerry Krahn slides home:

After all that jocular abuse of the imaginary plus-sized character, it’s a relief to have our Katie warble this pretty late-Twenties tune about the restorative benefits of astronomy and romance, GET OUT AND GET UNDER THE MOON, which begins with her vocal and then Bryan takes a very pretty solo (neither fat nor greasy):

And finally — HIGH SOCIETY (although it’s just the trio) which seems like a delirious meeting of Alphonse Picou and Rafael Mendez:

What a band, what a band!

May your happiness increase.

ON THE WAY / TO MONTEREY / JAZZ BY THE BAY

Many JAZZ LIVES readers aren’t close enough to California to hear the siren song of Hot Jazz that will be emanating from the 2012 Jazz Bash by the Bay in Monterey.

And carry-on rules are stringent, so I can’t establish a raffle for the most enthusiastic / lightest reader to be smuggled aboard my JetBlue flight.  Anyway, the Beloved has first dibs — although being a woman of discernment and breeding, she would require a seat.

But it’s not too late to remind, to urge you all to put aside the possibly mundane plans for the coming weekend and choose a Jazz Holiday.  Ask yourself, “Would Turk Murphy spend his weekend taking the car in for an oil change?”  Would Big Sid Catlett take Fluffy to the groomer’s instead of playing the drums?”  “What would Lee Wiley do?”  “Would George Lewis spend his time putting up the new curtains for spring?”  If none of these names resonate with you as a personal role model, please feel free to fill in the blank until you come up with the proper answer: “Given the chance, ______________ would be heading for Monterey.”

Having arrived at this revelation, come join me and hear the Reynolds Brothers with Marc Caparone, Dawn Lambeth, and Katie Cavera; the Bob Schulz Frisco Jazz Band with Doug Finke, Kim Cusack, Jim Maihack, Scott Anthony, Ray Skjelbred, and Hal Smith; Bob Draga; Eddie Erickson; the Vache-Cocuzzi Swing All-Stars with John Sheridan; Carl Sonny Leyland; the Titan Hot Seven; High Sierra with Bryan Shaw, Pieter Meijers, Howard Miyata; Jeff and Anne Barnhart; Jerry Krahn; Sue Kroninger; Chris Calabrese; Jason Wanner; Marty Eggers, Virginia Tichenor; Royal Society Jazz Orchestra; Yve Evans; Gonzalo Bergara; a host of youth bands.  And more.  Here’s the link to the schedule.  Feast your eyes, as they used to say.

I don’t want to be grim, but festivals are quietly closing up all around us — not only in California.  Better to create a pleasant surprise for this next weekend than to regret indefinitely into the future.  And that’s no stage joke.

See you there!

ONCE AGAIN, IT HAPPENS IN MONTEREY — the 2012 JAZZ BASH BY THE BAY is COMING!

I’m a late-adopter but a deep convert to California jazz.  My first exposure to it in the flesh took place a year ago at the Jazz Bash by the Bay in Monterey, and — since tempus fugit at an alarming rate, the 2012 edition will be here in two months.  Here’s a link to the site:

Sue Kroninger, who not only runs the show but also sings and plays the washboard, tells me, “The theme of the year is variety, diversity, mix and match.  We’ve got a whole bunch of exciting and unexpected pairings from within the core bands and it is my fondest wish that guests will have a tough time deciding among all the choices.”

I know this is true from my one experience last year: I had a long session with the schedule and a highlighter, thinking, “I want to go here, but if I do that, I can’t go there.”  We should all have such problems.

Between 11:30 AM Friday, March 2, and late afternoon Sunday, March 4, you’ll have more than one hundred and sixty sets to choose from, from solo piano to the Royal Society Jazz Orchestra, and dance lessons from Dave & Linda Dance Company.

Some of the other players and bands are John Sheridan, Katie Cavera, Eddie Erickson, Bob Draga, Hal Smith, Bill Allred, Doug Finke, Bob Schulz and his Frisco Jazz Band, Take Two, Old Friends, Reynolds Brothers, High Sierra, Marc Caparone, Hal Smith, Carl Sonny Leyland, Josh Colazzo,  Mary Eggers, Virginia Tichenor, Titan Hot Seven, John Cocuzzi, Allan Vache, Ed Metz, Side Street Strutters, The Barehanded Wolfchokers, Yve Evans, Gonzalo Bergara, Jeff Barnhart, Anne Barnhart, Jerry Krahn, Tom Hook, Bill Dendle, Shelley Burns, Westy Westenhofer, Jason Wanner, Howard Miyata, Bryan Shaw, Mark Allen Jones, Frederick Hodges, Crown Syncopators Ragtime Trio, Chris Calabrese, Dave Gannett, the Rhythm Hounds, Grant Somerville, Reedley River Rats, Crazy Eights, Bob Phillips, George Young, Saxaphobia, Danny Coots (Musician of the Year at the festival, with good reason), sets of gospel music for Sunday, tributes to Bix, Nat Cole, Fats Waller, Harold Arlen, the washboard, Scobey and Clancy . . . duo-piano sets, lots of solo and group ragtime, and many surprises, as people sit in and have a good time, on and off the bandstand.  Most sets run an hour, giving us leisurely mini-concerts.

To purchase tickets, visit here.

Children under 12 are admitted free with an adult, as are high school students with an ID.  Discounted tickets are also available for college students, so if you have a music major in the house or just someone glued to his or her iPod oriPhone, the discounted tickets make a meaningful gift — perhaps the beginnings of a conversion experience.

Dear grandparents who lament that the young people “aren’t coming to hear our kind of music”: now’s the time to take steps to reverse the trend!  Jazz, like charity, begins at home.

Here’s some vivid evidence from 2011.  First, A KISS TO BUILD A DREAM ON, featuring Marc Caparone, Bryan Shaw, Howard Miyata with High Sierra:

And another kind of romantic serenade, SENTIMENTAL GENTLEMAN FROM GEORGIA by the Reynolds Brothers:

And 2012 promises even more!  So — to refer back to a song performed by Clarence Williams around 1933 — I hope you’ll come over and say “Hello”!  I’ll be juggling a video camera and a notebook. And I’ll be happy as the day is long.

THE TITAN HOT SEVEN at DIXIELAND MONTEREY (March 5, 2011)

The Titan Hot Seven is (are?) a lively, multi-faceted, energetic band — full of jostling good humor.  They aren’t locked into one narrow style or approach; they are popular and swinging both.  A full-service jazz band!

The band is spearheaded by pianist / singer / raconteur Jeff Barnhart, someone you’ve just heard about on JAZZ LIVES for his Fats Waller CD.  Then there’s the multi-talented Jim Fryer (trombone, vocals, euphonium) and the swinging Danny Coots, master of the matched grip and rocking down-home rhythms.  Danny’s partners in the rhythm section are the very able guitarist / banjoist Jerry Krahn and the powerful bassist Ike Harris.  Up in the front, there’s the splendidly assured pairing of Flip Oakes (trumpet / fluegelhorn) and reedman Jim Buchmann.  A hot band and a great show!

Here they are at Dixieland Monterey, the Jazz Bash by the Bay.

Danny Coots and Jeff start things rocking instantly with the Twenties favorite (it seems one of those bits of Oriental exoticism — here given a Krupa SING SING SING kick-off) SAN:

And for an instant change of pace, how about the TH7’s romantic side?  Here Flip Oakes dedicates Porter’s I LOVE YOU to his wife, in the audience:

Deadpan comic raconteur Jim Fryer brings us to France to honor Sidney Bechet, on the latter’s PROMENADE DES CHAMPS-ELYSSES:

I don’t think the Titans know my dear Aunt Ida Melrose, but they take an easy lyrical trot through “her” song.  Listen for Jim Buchmann’s sweet soprano and booting tenor, and Jeff’s irresistible late-vaudeville singing, mixing sincerity and just a hint of Wallerian satire:

I’m sorry that the variety shows on television no longer exist: it seems to me that I’M GOING TO SKEDADDLE BACK TO SEATTLE would have been perfect as a production number for Carol Burnett or Jackie Gleason.  Where did the June Taylor Dancers go?

In honor of young Bella Coots, a rocking (klezmer-tinged) I FOUND A NEW BABY:

Something for everyone and then some!

BE A TITAN!  CLICK HERE TO GIVE TO THE MUSICIANS YOU SEE IN THESE VIDEOS (ALL MONEY COLLECTED GOES TO THEM):

https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQAS

GO WEST! GET HOT!

It might be a New Yorker’s prejudice, but I don’t associate hot jazz with Arizona.  In this, however, as in so many things, the evidence proves me wrong. 

Our Hot benefactress, SFRaeAnn, took her video camera to the Arizona Classic Jazz Festival in Chandler, Arizona.  Here are three performances she captured on November 6.  The first is a set-closer by a Condonite band (with Ed Polcer up front and Kevin Dorn at the back, how could it be otherwise?) — Hoagy Carmichael’s RIVERBOAT SHUFFLE — with friendly assistance from Tom Fischer, clarinet; Doug Finke, trombone; Jeff Barnhart, piano; Jerry Krahn, guitar; Richard Simon, bass.  Listen closely to Kevin Dorn’s shifting accompanying, his use of the bass drum, his varied, pushing cymbal work.  

Then, RaeAnn caught two performances by the Yerba Buena Stompers: Leon Oakley and Duke Heitger, trumpet; Tom Bartlett, trombone; Orange Kellin, clarinet; Marty Eggers, piano; John Gill, banjo / vocal; Clint Baker, tuba; Hal Smith, drums.

On 1919 RAG — even with sheets of music flying around — the YBS get very close to what I imagine the Oliver band must have sounded like at the Lincoln Gardens: a group of ferocious individualists coming together to rock the room.  The two trumpets, the trombone-clarinet passages — jazz hymns. 

What could follow that?  How about an easy, medium-tempo version of I’M A DING DONG DADDY with Duke Heitger giving us his own heroic version of Louis, and John Gill remembering the tongue-twisting lyrics, hilariously expert — four choruses of them! 

 I’ve revised my overall impressions of Arizona for the better, you’ll be happy to know.