Tag Archives: Jim Goodwin

THE JOHN OCHS CHAMBER MUSIC SOCIETY OF SEATTLE: RAY SKJELBRED, JIM GOODWIN, HAM CARSON (April 8, 1988)

Jim Goodwin, photo courtesy of Dave Radlauer

There are musicians, and there are people who make the music possible: record producers, archivists, concert promoters, club owners, managers, and more. Think of George Wein, Norman Granz, Milt Gabler, Jerry Newman, (even) Joe Glaser, George Avakian, Bill Savory, the Ertegun brothers, and three dozen more.  To this list must be added the name (and living presence) of John Ochs, who has generously produced records and CDs on his Rhythm Master label. I have long admired those recordings, but hadn’t known of John as a video-archivist prince until meeting him (and wife Pamela) at the November 2016 San Diego Jazz Fest, when he told me of the marvels I can share with you below.

A youthful Ray Skjelbred, again courtesy of Dave Radlauer.

John is also the authority of Northwest Pacific boxing promoter Jack Hurley, and has just published a three-volume bio-history.  Details here.  (I have no interest in boxing but was caught by these irresistible stories.)

But this post is about some treasured music — by heroes — that I hadn’t known existed.  It’s my pleasure to let John himself introduce it:

The video was recorded at the RhythmMaster recording session in my basement on April 8, 1988.  I borrowed a neighbor’s video camera with auto-focus (as you will see, only sometimes, and even then it was not very good).  The session featured primarily Ray Skjelbred on piano and Jim Goodwin on cornet.  I asked reed man Hamilton Carson to come around for second half of the session to add another voice. Unfortunately, the footage from the session’s first half (the entire portion of the session featuring Jim and Ray as a duo. Damn!) was stolen in a house break-in along with the VCR with which I had been reviewing it.

What remains is the last part of the session just as Ham had come aboard. Unfortunately, after a few tunes, our “cameraman,” had to leave early, and the special lighting was dimmed and the camera put on auto-pilot for the rest of the session.  The quality of the video is not up to your normal standard, but despite the major focus problems, I think it is worth sharing.

Goodwin’s cornet work here might seem a little ragged to some people.  Certainly he is blowing a very breathy horn.  There are several reasons for this.  For one thing, this session took place at a lull in Jim’s musical life when he had moved back to Portland to live with his mother.  What little music he played was mostly for himself on the upright piano in the living room rather than on the cornet.  So also, Jim being the Jim Goodwin we know and love so well, was never one to place a premium on the condition or quality of his horn.  If it had a few leaky valves or hadn’t been cleaned in a while, that was just a challenge to be navigated around rather than fixed.  Most importantly though, as a follower of such musicians as Wild Bill Davison (maybe his earliest as well and most enduring influence), Rex Stewart, Red Allen, and Herman Autrey, etc., Jim naturally gravitated to an expressive, earthy-toned method of horn playing.

These aspects of his style are in full display here, but, more importantly, the footage provides a visual closeup of the creative warmth and vitality Goodwin brought to his music and to the musicians in the band.  When Ham Carson blows an especially beautiful solo, Jim is right there listening and encouraging him. And when the solo ends, Jim can hardly wait to take his turn, not to upstage Ham, but to continue the mood and complement the good work he has done.  So too, when Skjelbred acknowledges Goodwin’s descending run with a tip of his own musical hat, Jim is quick to return the compliment with a smile even as he gets on with the business of making music.  It was this infectious use of his creativity, and his desire to make the band sound better, which made him such a joy to work with and to listen to.  Jim simply brought out the best in those around him. I hope that these video clips might help round out the picture of Jim Goodwin, the musician, and afford those who never saw him play an opportunity to visualize what was happening on the bandstand or studio when they listen to his other sound recordings.

This video also may serve to introduce many of your viewers to the music of clarinetist Ham Carson.  It may be hard to believe, but I am quite sure that neither Goodwin nor Skjelbred, who at the time lived in Berkeley, California, had met Ham prior to the the session. Ham moved to Seattle from Los Angeles about 10 years earlier and had been a fixture in Seattle’s jazz circles ever since. I was familiar with Ham’s affinity for Chicago-style (i. e., Pee Wee, Tesch) playing and thought the styles of the three musicians would be compatible.  Boy, for once, was I ever right!  Ham fit right in!  His playing here is impressive throughout — prodigious even.  As for Ray’s playing on the session, no comment is required.

My dear friend Candace Brown shared two pieces of journalism which are more than relevant.  Sadly, they are obituaries, but written with care and warmth: Ham Carson and Jim Goodwin.  If you’ve been reading this blog for any length of time, you will know of my reverence for pianist Ray Skjelbred, who is very much with us as I write these words.  

But enough words.  To the music, which speaks louder.  Than.

PART ONE: Recorded by John Ochs, April 8, 1988. Ray Skjelbred, piano; Jim Goodwin, cornet; Ham Carson, clarinet: EMALINE; GEE, BABY, AIN’T I GOOD TO YOU; COPENHAGEN; RUNNIN’ WILD.

PART TWO: RUNNIN’ WILD (concluded); SQUEEZE ME (piano solo); I AIN’T GOT NOBODY; NOBODY’S SWEETHEART.

PART THREE:  NEW BALK BLUES; POOR BUTTERFLY (Carson-Skjelbred duet); DIGA DIGA DOO; SAY IT SIMPLE; TRYING TO STOP MY CRYING.

A few things need to be said.  First, ninety minutes of this!  Second, many “rarities” are more rare than gratifying: I hope you all will take the time to savor this hot chamber music recital.

To me, there are four heroes in these three videos: Skjelbred, Carson, Goodwin, and Ochs.  Their generosities uplift us, and we are grateful.

May your happiness increase!

Advertisements

“THE WORLD’S SMALLEST BRASSBAND”: JIM and JOEP, EARLY IN THE DAY (Terneuzen, the Netherlands, 1985)

Yes, video footage of the great and elusive Jim Goodwin, whom I’ve been writing about most recently here.

I cannot tell whether this was somewhat informally recorded or if it was local television coverage, but the music is what matters: an incomplete WHEN YOU’RE SMILING, introduction of the band members, BLUE MONK (faded out), CHATTANOOGA CHOO CHOO, (again faded out):

When, last year, I asked Joep Peeters, the excellent altoist [who evokes both Cap’n John Handy and Pete Brown here], for information on this video, he graciously replied, “The tuba player is John Rijnen and the drummer is Jan-Willem van Zwol. The Terneuzen Festival was a yearly event with lots of music and lots of fun. That year we decided to be the world’s smallest brassband.  But we had to leave Breda around 8 am and start at 11.00 am.  So what you see is not our “Finest Hour” (Churchill).  It’s the start of a day that lasted till 2 am!”

They surely sound fine to me — with a rocking momentum that belies the early hour.

May your happiness increase!

DAVE RADLAUER’S MUSICAL GENEROSITIES

The somber-looking fellow here might not be known to you, but he is the most generous of excavators, finding rare jazz treasures and making them available for free to anyone with a computer and many free hours.  His name is Dave Radlauer, and his site is called JAZZ RHYTHM.

RADLAUER portrait

As is often the case in this century, Dave and I have never met in person, but know each other well through our shared fascinations.  But first a word about JAZZ RHYTHM.  When you go to the site’s home page, you’ll see a left-hand column with famous names from Louis Armstrong to Lester Young, as well as many lesser-known musicians.  Click on one to hear a Radlauer radio presentation, with facts and music and anecdotage nicely stirred together.  The long list of names testify to Dave’s wide-ranging interest in swinging jazz.

But here comes the beautiful part.  Click on “Bagatelle jazz club,” for instance, and you will be taken back in time to a rare and beautiful place where delicious music was played.  Possibly you might not know Dick Oxtot, Ted Butterman, Frank Goudie, Bill Bardin, Pete Allen well, but their music is captivating — and a window into a time and place most of us would not have encountered: clubs in and around San Francisco and Berkeley, California, in the Fifties and Sixties.

Dave has been an indefatigable researcher and archivist, and has had the opportunity to delve into the tape collections of musicians Bob Mielke, Wayne Jones, Earl Scheelar, Oxtot, and others.  And the results are delightful sociology as well as musically: how else would I have learned about clubs called The Honeybucket or Burp Hollow? And there are mountains of rare photographs, newspaper clippings, even business cards.

When I visit Dave’s site, I always feel a mild pleasurable vertigo, as if I could tumble into his treasures and never emerge into daylight or the daily obligations that have to be honored (think: ablutions, laundry, bill paying, seeing other humans who know nothing of P.T. Stanton) but today I want to point JAZZ LIVES’ readers in several directions, where curiosity will be repaid with hours of life-enhancing music.

One is Dave’s rapidly-expanding tribute to cornet / piano genius Jim Goodwin — legendary as musician and singular individualist.

jim-goodwin

And this treasure box, brimful, is devoted to the musical life of Frank Chace — seen here as momentarily imprisoned by the band uniform.

CHACE Radlauer

On Dave’s site, you can learn more about Barbara Dane and Janis Joplin, James Dapogny and Don Ewell . . . all presented with the open-handed generosity of a man who wants everyone to hear the good sounds.

Dave has begun to issue some of these treasures on beautifully-annotated CDs, which are well worth your consideration.

RADLAUER CD one

I’m told that the music is also available digitally via iTunes, but here is the link to Amazon.com for those of us who treasure the physical CD, the photographs, and liner notes.

A postscript.  Until the middle Eighties, my jazz education was seriously slanted towards the East Coast.  But when the jazz scholar and sometime clarinetist John L. Fell befriended me, I began to hear wonderful musicians I’d known nothing of: Berkeley Rhythm, Goodwin, Skjelbred, Byron Berry, Vince Cattolica, and others. So if the names in this piece and on Dave’s site are new to you, be not afeared.  They made wonderful music, and Dave is busily sharing it.

May your happiness increase! 

ANOTHER HIGHLIGHT OF 2015: THE DAWN LAMBETH TRIO (The Second Set) at SAN DIEGO, NOVEMBER 28, 2015: RAY SKJELBRED, MARC CAPARONE

Delicious music, full of warm surprises.

DAWN headshot

The infinite varieties of love in swingtime — the lover bemoaning aloneness; proclamations of the highest fidelity; celebrations of the lover’s sweetness; love couched as the wish for an extended life span . . . with gentle nods to Bix, to Lee Wiley, to Harold Arlen and Ted Koehler, to Louis, to Bing, to Jim Goodwin — all of these tenderly and heatedly embodied by Dawn, Ray Skjelbred, piano; Marc Caparone, cornet, on the morning of November 28, 2015, at the San Diego Jazz Fest.

REACHING FOR SOMEONE (Ray and Marc):

ANYTIME, ANYDAY, ANYWHERE (the Trio):

SUGAR (the Trio):

AS LONG AS I LIVE (the Trio):

CABIN IN THE PINES (Marc and Ray):

(Let’s have a Billy Hill set by this band at the 2016 San Diego Jazz Fest.)

Here — for those who vibrate to such beauty — is the trio’s first set, on the preceding day.

Thanks again to Hal Smith and Paul Daspit for making such beauty not only possible but visible and audible.  I can’t wait to see what happens at the 2016 San Diego Jazz Fest.  And, as I pointed out, the Trio is setting up its touring schedule for this coming year, and might have a few dates available.  If you have a festival or a concert series . . . I’ll help you get in touch with them.

May your happiness increase!

“JUST IMAGINE: CLASSIC JAZZ AT CLASSIC PIANOS”: REBECCA KILGORE, DAN BARRETT, PAOLO ALDERIGHI

Stampa

I am very happy to announce a new CD by the Rebecca Kilgore Trio (Rebecca, vocal and rhythm guitar; Dan Barrett, trombone, piano, arrangements; Paolo Alderighi, piano) — on Blue Swing Fine Recordings 014.  Recorded at the end of 2013 in Portland, Oregon, it’s called CLASSIC JAZZ AT CLASSIC PIANOS, the latter half of that title referring to the congenial place where the Trio performed and where the disc was masterfully recorded by Randy Porter.  Click here to hear samples.

It’s a delicious session, with Rebecca singing (and playing rhythm guitar on a track or two), Dan on trombone, piano, and providing arrangements, Paolo holding everything together on piano for these selections: OH, LOOK AT ME NOW / DADDY, WON’T YOU PLEASE COME HOME? / JUST A LITTLE BIT SOUTH OF NORTH CAROLINA / SONG OF THE BLUES / JUST IMAGINE / THIS IS MY LUCKY DAY / ALMOST IN YOUR ARMS / I’M IN A LOWDOWN GROOVE / I’M RHYTHM CRAZY NOW / THREE COINS IN THE FOUNTAIN / CRY ME A RIVER / SERENADE TO SWEDEN / SOFT WINDS / MIS’RY AND THE BLUES.  Connoisseurs of Song will note the wonderfully varied repertoire, with loving connections to Billie Holiday, Sammy Cahn, Jack Teagarden, Charles LaVere, Annette Hanshaw, Jean Goldkette, Joe Bushkin, Frank Sinatra, Lester Young, Anita O’Day, Sophia Loren, Fletcher and Horace Henderson, Julie London, Jim Goodwin, Duke Ellington and more, but this isn’t a history lesson.  Rather it is fresh buoyant Music — a rare commodity.

I was doubly privileged to be at the recording session and to be asked to write something for the CD, which also has notes by Dan and Becky. Here’s what I wrote:

More often than not, jazz is asked to blossom forth in inhospitable places: the noisy club where musicians must compete with the bartender’s blender, or the recording studio, a maze of headphones and wires. Imagine a quiet room, shaded as if an Edward Hopper nightscape, with three musicians, two grand pianos, the only other people a recording engineer, himself a musician; another man taking notes. It was no fantasy, for this all happened during two December 2013 sessions in Portland, Oregon, in a back room at CLASSIC PIANOS, where three friends gathered for warm, intimate musical conversations in the name of classic jazz.

Becky, Dan, and Paolo believe that music, created on the spot, can bring joy in the moment and renew us in the future. They gave each of the songs they had chosen its own life, reflective or ebullient: the poignancy of DADDY, the bounce of CAROLINA, the swagger of RHYTHM CRAZY, the romance of COINS, the melancholy of MIS’RY AND THE BLUES. Many of the songs have associations with Annette Hanshaw, Anita O’Day, Jack Teagarden, Julie London, Billie Holiday, Ellington, Charlie Christian, Trummy Young, Sophia Loren, Joe Bushkin, Lee Wiley, Fletcher Henderson. But these sessions were no “tribute,” no “repertory” re-creation, for the musicians brought their own personalities to this project, adding new melodies to the ones we know.

When Becky sings, we hear a gently compelling honesty. Yes, we admire the way she glides from note to note, the creamy naturalness of her voice, the way her smallest melodic embellishments enhance the song, her infallible swing. But what sets her apart is her quiet determination to share the song’s emotional message candidly, fully. Becky doesn’t overstate or dramatize. She doesn’t place herself in front of the material, but she opens the song for us, so that we feel what its creators hoped for.

Hearing Dan, I think, “That is how any creative player should sound: forthright, assured, subtle, inventive.” Like a great musical conversationalist, he always knows the right epigram to add at the right time. I can guess what some other musicians might play in their next phrase, but Dan’s imagination is larger and more rewarding than we expect. His reading of a melody is a joy; his improvisations are witty, pungent. The trombone can be a buffoon or a bully; in his hands it can be divinely inspired, even when Dan’s aural messages are earthy indeed.

Becky and Dan could float or soar all by themselves, and they’ve proved that many times in concert and on recordings since they first met in 1994. CRY ME A RIVER on this disc, majestic and mournful, is proof. But recently they have called in an Italian sorcerer, Paolo Alderighi, who generously spreads rich sound-weavings, Garneresque threads glittering – lovely orchestral tapestries, neither formulaic nor overemphatic. His solos gleam and chime.

In duet, Dan and Paolo are a model of creative conversation in jazz – empathic, intuitive, concise yet fervent. And when they sat down at the two pianos to accompany Becky for MIS’RY AND THE BLUES their contrasting textures were a delight. Completely original, too – neither Evans and Brookmeyer nor Ferrante and Teicher, but splendidly themselves.

What we call The Great American Songbook sometimes weaves helplessly towards songs that, if their lyrics were actual speech, would be legal documentation of domestic abuse, self-inflicted destruction. Over time, Becky has turned away from these famous masochistic outcries. But this disc shows her playing bravely in the dark, getting in a lowdown groove, calling out to an absent lover, creating rueful and vengeful tears. This isn’t a major life-shift in all things Kilgore, but a willingness to expand her repertoire into classic songs based on real life-experiences. She is having a good time being so sad for a few minutes: like Basie, she keeps the blues at bay by playing them. Or it might be her own particular jazz homeopathy practice, where dark cures dark.

These sessions produced lasting music, the rare kind that emerges from a devotion to the art. What a gift to us all!

JUST IMAGINE is now available here.  You can also purchase copies directly from Becky, Dan, or Paolo at their gigs — the most personal way to do it.  I’ve seen them with Sharpies after a session, so going home with an autographed copy is a real possibility.

I understand that JAZZ LIVES readers sometimes skip the text and look for the tasty music video. In this case, the sound that Randy Porter recorded of Rebecca’s floating voice was so lovely that it would do everyone a disservice to post one of my session videos.  But I think I will be forgiven if I post Dan and Paolo’s memorably dark and lovely SERENADE TO SWEDEN as a musical appetizer.  Thanks to Randy, it sounds even more glorious on the CD:

Intimate, refreshing, and warm music.

May your happiness increase! 

“EVERYTHING IS ALL RIGHT DOWN AT MY END”: SOMETHING FOR JIM GOODWIN

I never had the good fortune to meet the “spitfire” cornetist Jim Goodwin, but he is very much alive in my aural memory.  If you ever heard him live or on records, you will know what I mean.  He was a daredevil with great passionate intensity, wit, and emotion — and it all came through his horn.

If Jim is new to you, it’s not too late to share in the experience: here is one place to start.  Another, more audible, is Retta Christie’s radio program — wishing Jim happiness on what would have been his birthday, March 19.  Retta (a wonderful forthright singer you also should know about) took loving care of Jim . . . and she treasures him, his music, and wants to make sure more people know him.

Retta writes, “On Monday, March 19th on my radio show the Noontime Jamboree I will be featuring the music of the late Mr. Goodwin. Tune in from 12 – 2 pm on KBOO Portland, 90.7 FM for this special.  Two new CDs with Jim playing horn have come out this last year.  They will be featured along with music that Jim enjoyed listening.”

And since only a few people reading this can pick up KBGO on their car radios, click here to listen online.

I think that no one is dead as long as he or she is remembered . . . so Jim Goodwin lives on.

May your happiness increase.

HAVE YOU HEARD?

Upon hearing the news, Chloe Lang (the West Coast JAZZ LIVES mascot) was suddenly wide awake and wanted to know more!

What news?

How about a new CD compilation of live recordings  featuring pianist Ray Skjelbred and hot cornetist Jim Goodwin from Port Costa, CA gigs?  The CD is called — simply — RAY SKJELBRED ABD JIM GOODWIN / RECORDED LIVE IN PORT COSTA, and it’s issued on Ray’s own label, “Orangapoid,” number 104.  All the music was recorded at the Bull Valley Inn.

So far it’s available only at Ray’s gigs — which is a good thing: you get to see him and take this home, too! — but I wonder if he would be willing to sell it to those not likely to get to the West Coast soon.  Postage and packing are a nuisance, but you could ask — sweetly — at http://www.rayskjelbred.com.

Lovely songs: SLEEPY TIME GAL, PLEASE BE KIND, THE DAY YOU CAME ALONG, RUSSIAN LULLABY, THE RIVER’S TAKING CARE OF ME, LAZY BONES, EVERYONE SAYS “I LOVE YOU,” CHARLESTON, TWO SLEEPY PEOPLE, BLACK AND TAN FANTASY, SWEET SUE, MY DADDY ROCKS ME, LIVIN’ IN A GREAT BIG WAY, HOW LONG HAS THIS BEEN GOING ON?

You’ll notice some lovely ballads and rhythm ballads, early Ellingtonia, rocking dance music, nods to the Marx Brothers, Red Allen, Bing Crosby, Fats Waller, the blues, Bill Robinson . . . good bones, as they say!

The players — of course Ray and Jim, but also Mike Duffy, string bass; Tom Keats, rhythm guitar; Brett Runkle, washboard, Lueder Ohlwein, banjo; Dan Barrett, trombone; John “Butch” Smith, soprano sax; Norvin Armstrong, piano.  Ray sings — wonderfully — on EVERYONE and IN A GREAT BIG WAY.

What’s so special about this disc, all sixty-nine minutes of it?

This is the kind of music that great jazz players create for themselves when there is a congenial audience or none at all: relaxed, swinging, small intense masterpieces of hot architecture where the second chorus builds in elegantly rough-hewn ways upon the first.  It’s the kind of music that rarely makes it whole into the recording studio — and since the Bull Valley Inn is no longer anyone’s music mecca (we drove serendipitously through Port Costa in the summer of 2011: it looked like the set for a Western that hadn’t been completed) . . . . and since Jim is dead, this CD is priceless evidence of days gone by.  And the past leaps to life in our speakers!

Even Chloe thought so.

For Goodwin in searing hot form, here’s the Sunset Music Company from 1979 romping through I NEVER KNEW with

The band was led by banjoist Ohlwein, with Goodwin, Barrett, clarinetist Bill Carter (temporarily filling in for John Smith), bassist Mike Fay, drummer Jeff Hamilton: every one of their recordings on Dan’s BLUE SWING FINE RECORDINGS is worth hearing.

And in case you’ve never seen or heard the eloquent Mr. Skjelbred, here’s a sample, TISHOMINGO BLUES, recorded by Rae Ann Berry in 2009:

Imagine them together — musing, cracking private musical jokes, digging deep into the songs they are playing.  Heart-stirring music from the first note to the last.

P.S.  I count myself very lucky: having met and / or heard Barrett, Hamilton, Smith, Fay, Carter. Norvin Armstrong – – – and I’ll get to shake Ray Skjelbred’s hand at the Jazz Bash by the Bay this March 2.  Wow!