Tag Archives: John Royen

FEBRUARY 14, AT AN ANGLE

This song was a hit in 1931-2.  YouTube offers many amiable dance-band recordings.  Here I present four, two modern and two classic.

George Probert, soprano; Chris Tyle, cornet, vocal; Mike Owen, trombone; John Royen, piano; Lars Edegran, guitar; Bernie Attridge, string bass; Hal Smith, drums.  1998.  (Thanks to Chris for singing and playing from the heart.  And Hal keeps everyone pointed in the right direction, heartbreak or no.)

Bobby Gordon, clarinet; Keith Ingham, celeste; Hal Smith, drums.  1996.

THE performances, when the song was new, including the verbally treacherous verse, with Bing at one of his many peaks.

Finally, Louis and the Chicago band — with that muted lead.  “Bring it out, saxophones!” And the final bridge, a history of jazz in itself:

If Valentine’s Day is to you just a celebration of commodified love, it will pass.  When the stores close for the night, the tired sales help is already putting 50% OFF stickers on the candy boxes, but it would be gauche to bring some chocolate to the Love Object on the 15th.

The music, however, rings on wonderfully without interruption.

May your happiness increase!

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A THANKSGIVING CORNUCOPIA OF JAZZ: SAN DIEGO JAZZ FEST (November 26-30, 2014)

You can always have turkey if that’s your pleasure, and I hope you will have many occasions to get together with your family, but the San Diego Jazz Fest — the generous creation of America’s Finest City Dixieland Jazz Society comes once a year.  This November will be the thirty-fifth such explosion of music, and it is not to be missed. The SDJF website can be found here, and the amount of good music offered during this long weekend is more than amazing.

Some of the wonderful musicians and bands who will be there are —

Connie Jones-Tim Laughlin New Orleans All Stars, Jim Buchmann, Stephanie Trick, Paolo Alderighi, Marc Caparone, Carl Sonny Leylnd, Marty Eggers, Virginia Tichenor, High Sierra Jazz Band, Josh Duffee’s Graystone Monarchs, the Fat Babies, Yerba Buena Stompers, Dave Bennett, Cornet Chop Suey, Katie Cavera, Titanic Jazz Band, Grand Dominion, Ellis Island Boys, Duke Heitger,Leon Oakley,Kevin Dorn, Conal Fowkes, Orange Kellin, Euphoria Brass Band, Andy Schumm, Chris Dawson, Jonathan Doyle, John Royen, High Society Jazz Band, Sweethearts of Swing, Night Blooming Jazzmen, Clint Baker, Hal Smith, Tom Bartlett, Chris Dawson, Mission Bay High School Preservationists, Sue Palmer and Motel Swing, the Memphis Speed Kings, Red Skunk Gipzee Swing, Corey’s Rolling Figs, Jazz Souffle, South Street Market Jazz Band Reunion, Uptown Lowdown Jazz Band,  Dixie Express Jazz Band, Dick Williams’ Jazzsea Jam, Hal and Georgia Myers’ Dance Classes, Heliotrope Ragtime Orchestra, Chloe Feoranzo, Uptown Rhythm Makers, San Fernando Valley Banjo Band, San Diego Banjo Band, Paragon Quartet, South Bay Jazz Ramblers.

If you can’t find some favorites, some people or groups you love to hear in that list, I would worry for your sake. Anhedonia is a terrible burden.

Paul Daspit, who runs the giant rollicking enterprise, clearly loves the music, and he is a good sort who wants to make sure everyone — musicians, guests, volunteers — is happy and fulfilled.  Full to the brim of fine hot music.

You can buy tickets online here and I urge you to do so soon.

The San Diego Jazz Fest is something to be thankful for.  Truly.

May your happiness increase!

THERE’S GOOD READING TONIGHT: NEW ORLEANS STORIES

When I am looking for new information about jazz, often I have much more fun and learn more from the musicians themselves — as opposed to reading analyses of the music from well-intentioned people who don’t play instruments, so I can recommend a new book to you.  It’s called TRADITIONAL NEW ORLEANS JAZZ: CONVERSATIONS WITH THE MEN WHO MAKE THE MUSIC (Louisiana State Univ. Press, 244 pages, 2011), by Thomas W. Jacobsen, it is accurately titled, and it fills a gap. 

Although jazz often revels in its status as a subversive art form, the literature of jazz is as star-struck as any glossy magazine.  When it comes to New Orleans jazz, there are multiple books on Louis, Bechet, Jelly Roll, Bunk, and George Lewis – all deserving the attention.  But Jacobsen’s book collects interviews with musicians who play New Orleans jazz or who have strong ties to the city.  And only a few of the players depicted here are dead or inactive, which lends this collection a more lively aura. 

Jacobsen’s portraits are rewarding: he introduces his subject, provides scaffolding, but much of the text is first-hand.  We read of Duke Heitger’s early inspiration, trumpeter Jon-Erik Kellso; of Trevor Richards’ involvement with Zutty Singleton; of Brian Oglivie’s musical family; of Tom Fischer and John Royen’s early gigs; of Evan Christopher’s investigations of the Creole roots of New Orleans jazz.  Jacobsen also offers a group portrait of the young New Orleanians who came up under Danny Barker’s affectionate supervision – among them Herlin Riley, Gregg Stafford, and Dr. Michael White.  The oral histories touch on race relations and the business of playing Jazz in the city that was supposedly devoted to it. 

Jacobsen originally created these interviews for The Mississippi Rag, and most of them were published there in slightly altered form.  But now that the Rag has ended its long run, this book is a valuable collection.  Some of the interviews done between 1995 and 2006 leave us wanting to know more about the current lives of their subjects.  To that end, he has written brief introductions to say something about life after Hurricane Katrina).  The book is an original work, full of lively stories that only Rag readers with long memories or piles of newsprint would have access to.  I found it entertaining, heartfelt, and worth its price in compact discs.  You can find out more about it here: http://lsupress.org/authors/detail/thomas-w-jacobsen/

STRIDE PIANO SUMMIT in LAS VEGAS (October 18-19, 2011)

I have never wanted to go to Las Vegas, and this makes me seem even more out of touch with my culture — but this announcement made me think of another trip West.

Here’s the schedule:

Monday, October 17, 2011

4:00 – 7:00 pm – Registration / 5:30 – 7:00 pm – Welcome Reception

Tuesday, October 18, 2011

9:00 – 12:00 pm – Session 1 / Seminars:

9:00 – John Royen

10:00 – Mike Lipskin

11:00 – Dick Hyman

2:00 – 5:00 pm – Session 2 / Solo Sets

2:00 – Brian Holland

2:45 – Carl Sonny Leyland

3:30 – Paul Asaro

4:15 – Dick Hyman

7:30 – 10:00 pm – Session 3 /  Evening Concert

John Royen,  Mike Lipskin,  Jeff Barnhart,  Neville Dickie

Wednesday, October 19, 2011

9:00 – 12:00 pm – Session 4 /  Generation Next

9:00 – Martin Spitznagel

9:35 – Will Perkins

10:10 – Stephanie Trick

10:45 – Max Keenlyside

11:20 – Dalton Ridenhour

2:00 – 5:00 pm – Session 5 /  Solo Sets

 2:00 – Mike Lipskin

2:45 – Jeff Barnhart

3:30 – John Royen

4:15 – Neville Dickie

5:30 – 7:00 pm – Farewell Reception

7:30 – 10:00 pm – Session 6 /  Evening Concert

Paul Asaro, Carl Sonny Leyland,  Brian Holland,  Dick Hyman

This rollicking event is being put on by BEYOND RAGTIME PRODUCTIONS, and if you visit their site, http://www.beyondragtime.com/, you can find out everything you need to know about signing up for the event, and a variety of “packages” that sound more than comfortable.  If you’ll excuse me, I’m off to see how many frequent flyer miles I’ve amassed.  And if you feel the ground rumbling beneath your feet in October, it’s just the Stride Piano Event, seismic murmurs of the best kind.  Maybe someone will perform my favorite thing (one of many), IF DREAMS COME TRUE in three tempos.  Or, if this event is wildly successful, how about an East Coast version with Mark Shane, Ehud Asherie, and Henry Thins Francis . . . or a bicoastal extravaganza with Chris Dawson, Ray Skjelbred, and others?  I can dream, can’t I?