Tag Archives: John Royen

PARADOXES OF FEELING: BRIAN HOLLAND, MARC CAPARONE, JOHN OTTO, STEVE PIKAL, DANNY COOTS at the EVERGREEN JAZZ FESTIVAL (July 27, 2019)

Ann Ronell’s 1932 song is a terribly sad one, a story of romance that failed.  Here is the verse that few sing — perhaps because it is so openly melancholy:

Oh Lord, why did you send the darkness to me?
Are the shadows forever to be?
Where’s the light I’m longing to see?
Oh Lord, once we met by the old willow tree
Now you’ve gone and left nothing to me
Nothing but a sweet memory.

But the instrumental version I present here — although its hues are dark — does not leave this listener feeling despondent.  Rather, I admire the technical, lyrical, and emotional mastery of these players: Brian Holland, piano; Marc Caparone, cornet; John Otto, reeds; Steve Pikal, string bass; Danny Coots, drums, in this performance recorded at the 2019 Evergreen Jazz Festival:

One reason I call this post PARADOXES OF FEELING is that the five people playing such gloriously sad music are not in themselves depressives — to them it’s another artistic opportunity to enter an emotional world, fully inhabit it, and then move on to something of a different hue, perhaps CHINATOWN, MY CHINATOWN, and “be” that song as well.

Another reason, more personal, is that tomorrow morning, when it is still quite dark, I will be driving to the airport to travel to the San Diego Jazz Fest, where this band and others will work marvels right in front of us.  The other bands?  Hal Smith’s “On the Levee Jazz Band,” Grand Dominion, the Yerba Buena Stompers, John Royen’s New Orleans group, the Carl Sonny Leyland trio, the Chicago Cellar Boys, and too many others to mention . . . to say nothing of attending everyone’s set.  I’ll see my friends and heroes Jeff Hamilton, Kris Tokarski, Clint Baker, John Gill, Katie Cavera, and others — even if only in passing in the halls.

If I’m not laid low by a spoiled avocado or attacked by an enraged fan who wants to know why his favorite band doesn’t receive sufficient coverage on JAZZ LIVES, I will return with evidence of beauties, sad or joyous, to share with you.

May your happiness increase!

LIFE IMPROVES AT FORTY, ESPECIALLY FOR THE SAN DIEGO JAZZ FEST and SWING EXTRAVAGANZA (Nov. 27-Dec. 1, 2019)

The 1932 best-seller (with a Will Rogers movie a few years later):

Even before I was 40, I was slightly suspicious of the idea, even though it came from better health and thus longer life expectancy.  Was it an insult to the years that came before?  And now that I’m past forty . . . .

But the San Diego Jazz Fest and Swing Extravaganza is celebrating its fortieth this year and is in full flower.  So no Google Images of birthday cakes for us — rather, music of the highest order.

The bands and soloists who will be featured include John Royen, Katie Cavera, the Holland-Coots Jazz Quintet, Grand Dominion, John Gill, On the Levee Jazz Band, the Mad Hat Hucksters, Carl Sonny Leyland, the Heliotrope Ragtime Orchestra, the Yerba Buena Stompers, the Chicago Cellar Boys, Titanic Jazz Band, the Night Blooming Jazzmen, and more than twenty others, with youth bands, sets for amateur jammers, and the Saturday-night dance extravaganza featuring On The Levee and the Mad Hat Hucksters.

The Festival is also greatly comfortable, because it is one of those divine ventures where the music is a two-to-five minute walk from the rooms at the Town and Country Convention Center.

http://www.sdjazzfest.org/data/uploads/pdf/schedule.pdf

is the “almost final” band schedule for Wednesday night through Sunday.  I will wait until the “final” schedule comes out before I start circling sets in pen and highlighting them — but already I feel woozy with an abundance of anticipated and sometimes conflicting pleasures.

For most of the audience, one of the pleasures of the festival circuit is returning to the familiar.  Is your trad heartthrob the duo Itch and Scratch, or the Seven Stolen Sugar Packets?  At a festival, you can greet old friends both on the bandstand and in the halls.  But there’s also the pleasure of new groups, and the special pleasure of getting to meet and hear someone like John Royen, whom I’ve admired on records for years but have never gotten a chance to meet.

Here’s John, playing Jelly:

And here are a few previously unseen videos from my visits to the Jazz Fest.  First, one of my favorite bands ever, the band that Tim Laughlin and Connie Jones co-led, here with Doug Finke, Katie Cavera, Hal Smith, Chris Dawson, and Marty Eggers — in a 2014 performance of a Fats classic:

and the Chicago Cellar Boys — who will be at this year’s fest — in 2018.  The CCB is or are Andy Schumm, John Otto, Paul Asaro, Johnny Donatowicz, and Dave Bock:

and for those deep in nostalgia for traditional jazz on a cosmic scale, how about High Sierra plus guests Justin Au and Doug Finke in 2014:

Pick the bands you like, explore those new to you, but I hope you can make it to this jolly explosion of music and friendship: it is worth the trip (and I’m flying from New York).  You’ll have an unabridged experience and lose your anxieties!

May your happiness increase!

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!

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?