Tag Archives: Jonathan Doyle

FOUR-FOUR RHYTHM: KRIS TOKARSKI, JONATHAN DOYLE, LARRY SCALA, NOBU OZAKI, HAL SMITH at the SAN DIEGO JAZZ FEST (November 24, 2017)

Jazz at Lincoln Center (and JazzTimes) just sent an announcement about the 2019 Jazz Congress, January 7-8, 2019 at Jazz at Lincoln Center, Broadway at 60th Street, New York, New York.  One panel is:

 Jazz, Swing, Race and Culture
Considering swing as a rhythm or swing as a feeling or a verb, what are the social, cultural, and racial factors that affect individuals’ perception, acceptance or rejection of the concept? Player[s] and thinkers ponder what swing means in 2019.

I doubt that it will happen, but in my ideal world, the player[s] and thinkers at JALC will watch these videos before pondering.  The music was created in 2017, not 2019, and there are other ways to swing, but what Kris and his Gang did was genuine and might eliminate some theorizing.

These four performances come from a magical band that made a splash at the 2017 San Diego Jazz Fest: Kris Tokarski, piano; Jonathan Doyle, clarinet / tenor saxophone; Larry Scala, guitar; Nobu Ozaki, string bass; Hal Smith, drums.  I could spend paragraphs pointing out resemblances and echoes of the Ancestors (you’re free to chase such things at your leisure) but I’d rather you admire these living heroes at play, and such expert play.

LOVE ME OR LEAVE ME:

REPEATER PENCIL (and, yes, such a thing did exist: see here):

DROP ME OFF IN HARLEM:

JUST ONE OF THOSE THINGS:

Festival organizers, club bookers, concert promoters with taste: now’s the time!

Incidentally, this is the charming 1929 record from which I take my title:

May your happiness increase!

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“ALL ABOARD!”: THE ROCK ISLAND ROUSTABOUTS VISIT the EVERGREEN JAZZ FESTIVAL (July 27-29, 2018)

A hot band is good to find, and the Rock Island Roustabouts answer to that description.  I’ll leave it to Hal Smith to explain how this band, which debuted at a Davenport, Iowa tribute to Bix Beiderbecke, came to be named after a Chicago train line . . . because he knows about these things.  Me, I come for the music.

And music there was.  I’ve done the unusual thing of sending out a full plateful — nine videos at once, recorded in three sets at the Evergreen Jazz Festival (July 27, 28, 29) so that you can experience this band’s power and versatility.  The Roustabouts are co-led by Jeff Barnhart, piano, and Hal Smith, drums, with — in this incarnation — Dave Kosmyna, cornet; Doug Finke, trombone; Jonathan Doyle, reeds; Bob Leary, banjo / guitar; Ryan Gould, string bass, and on the last three performances here, a guest appearance by Lauryn Gould, soprano sax.

The music goes deep and although there are some favorites, the Roustabouts like songs that don’t ordinarily get played.  So there’s Louis Armstrong and Kid Ory, but also Frank Melrose, Jimmy Blythe, Johnny St. Cyr, and Tiny Parham.

Settle down in your seats.  Make sure you know where the fire extinguisher is, and check that it’s charged.

Kid Ory’s SAVOY BLUES:

THE GIRLS GO CRAZY when this band plays, but the enthusiasm isn’t gender-specific:

Frank Melrose’s MARKET STREET STOMP, scored for Messrs. Smith and Barnhart:

One composition titled MESSIN’ AROUND, this one by pianist Jimmy Blythe:

And Johnny St. Cyr’s song of the same name — to mess around was serious yet delightful business, as you can tell:

Louis’ MAHOGANY HALL STOMP, at the nice 1929 tempo:

An incomplete but wonderful version of Tiny Parham’s WASHBOARD WIGGLES (blame the sun-blinded and exhausted man behind the camera) which adds Lauryn Gould, who plays that irascible saxophone beautifully:

A song that I’d never heard performed live, I LOVE YOU SO MUCH IT HURTS, which coalesces into a lovely rocking performance.  I did some small research, expecting that its source was an obscure Wingy Manone record, but no — the later New Orleans bands, who picked up good tunes no matter their source, found this one, from 1948, by Floyd Tillman.  I am not digressing when I offer the Patsy Cline version first (Ray Charles recorded it also):

Now, hear how the Roustabouts make it their own:

and William H. Tyers’ proven mood-enhancer, PANAMA:

May your happiness increase!

The CASEY MacGILL ORCHESTRA, “THE ROYCROFT SESSION”

You’re going to have to trust me on this — that Casey MacGill’s new five-song CD, pictured below, is excellent and beyond — because I can’t offer you sound samples or downloads.  You’ll have to (gasps from the audience) buy the CD.  It’s $15 and it’s splendidly worth it.  Details here.  The other necessary bit of candor is that it a an EP-CD . . . or whatever they call it nowadays, twenty minutes long.  Take it as the best compliment I can offer that when I first got a copy, I began to audition it in the Mobile Audition Studio (my 2014 Camry) and I played it three times through without stopping, and thought, “That’s more pleasure than many standard-length CDs.”

“A swing band, yes, but what makes this special is the combination of great arrangements, vocals, and its irresistible rhythmic pulse. Flavor, tonal colors, musical storytelling; two brilliant originals and three classics that are must-hear,” is the description on Casey’s website, and it’s an accurate one.  The band recorded on January 8, 2018 — in beautiful sound and no trickery.

Here are the players — and some of them you will not only recognize but greet as masters on their instruments.  Casey plays piano, ukulele, sings lead, and does the arrangements.  The reeds are Jacob Zimmerman, lead alto, clarinet, vocal; Saul Cline, tenor, clarinet; Hans Teuber, alto, clarinet; Jonathan Doyle, tenor, baritone, clarinet, bass sax.  The brass: Charlie Porter, lead trumpet; Dan Barrett, trumpet; Trevor Whitridge, trombone; David Loomis, trombone; Christian Pincock, trombone.  Rhythm: D’Vonne Lewis, drums; Matt Weiner, string bass; Josh Roberts, guitar.

And they rock.

About the music.  Casey understands and embodies several truths in his music — in theory and performance.  One is that if the music isn’t fun, why do it?  (This doesn’t mean jokes, but a certain lively ebullience.  Joy.)  Two is that there is no artificial division between “jazz” and “swing,” that the former ought to get the dancers on the floor, but that the latter has to be ornamented with high-level inspiring improvisations.  Three is that simplicity is commendable rather than a weakness, and that music can fall down under the weight of too much of anything, so that well-played riffs can be a great pleasure, even if we know them by heart.

The disc starts with SWING NATION (its refrain “People groovin’ together!” a philosophical foundation for everything Casey and friends do) with a duo vocal by Casey and Jacob Zimmerman — I thought I heard a little Trummy Young and Sy Oliver in there, and that’s a compliment.  It’s a short performance, but a memorable one: I was humming it in the days that passed after my first listenings.  I was rocking in my driver’s seat before the song was a minute old. Great solo segments by Doyle (on bass sax!), Barrett, Lewis, Loomis, Casey on piano, all deserved multiple hearings on their own.  The arrangement is full of little surprises, but none of them seem obtrusive, and the rhythm section is superb: Casey, switching from piano to ukulele, is a splendid anchor and guide. His piano playing is Basie-like but without any of the half-dozen (by now tedious) Basie “trademarks.”

I NEVER KNEW is often taken too fast, but not here, and the arrangement looks to the 1933 Benny Carter recording, with a sweet discussion between Zimmerman and Cline at the start, before Barrett does what he does so superbly, the second sixteen over to Casey at the piano.  Then — “What is that?” — a transcription of Lester’s 1943 solo for sax section, glossy and supple, again with a piano bridge by Casey leading into a muted brass rendering of the closing Carter chorus, Barrett backed by Lewis’ tom-toms for the bridge.  So far (and I left a phone message with my primary care physician) I have been unable to listen to this track only once.

LA DAME EN BLUES, another MacGill original, is what they used to call a “mood piece.”  Its groove reminds me a little of THE MOOCHE, with a much more harmonically sophisticated second half, that turns into a melancholy yet swinging clarinet solo.  Again, the ensemble writing is compelling without grabbing the listener’s collar.  Loomis summons up Joe Nanton, gruff but tender, before piano leads the band out.

The opening of NIGHT AND DAY — muted brass against and with reeds — makes me wish I had practiced more during those ballroom dancing lessons of 2007.  I delight in the band’s lovely sound: everyone knows how to play as part of a section, which is a great thing.  Casey’s vocal is hip but completely sincere: he doesn’t ooze, but he’s deeply in the pocket of Romance, with an easy conversational lilt to his phrasing.  A gorgeous solo chorus by Teuber (who makes me think of Pete Brown and Rudy Williams, sweet-tart) follows, before Casey returns to woo the unknown hearer and us.

Finally, HONEYSUCKLE ROSE, which has been done so often that it might labor under the burden of familiarity, starts off with a bang — a short vocal introduction before the band says, “HERE we are!” in the opening chorus.  Casey’s vocal, hip and hilarious, is so winning, before Teuber comes on, and that’s no idle 1946 cliche.  Barrett, for the second sixteen, visits NOLA, before the band starts to rock what I think of as “the Henderson riff” or perhaps it’s the Hopkins one — buy the CD and argue among yourselves.  Another riff is overlaid, which I love but cannot place, before Casey does a Johnny Guarneri for the bridge, and the band mixes unison scat — college cheerleaders? — while thinking of Christopher Columbus, before bringing on a Django-and Stephane riff.

Perfectly swinging music, ensemble, solos, vocal: it’s a delight.  I thought, when I’d finished writing this overview, “Hey, the only thing wrong with this disc is that it’s not a two-CD set!” but perhaps that’s best.  Maybe Casey has a firm hand on the tiller and is looking out for us all.  Given two hours of this band, I might be so overwhelmed by pleasure that I couldn’t write.

Buy yours here.  Bliss has rarely been so easy to come by.

May your happiness increase!

WESTWARD HOT! EVERGREEN JAZZ FESTIVAL (July 27-29) and a BARN DANCE PARTY with the CARL SONNY LEYLAND TRIO (July 26)

I am a failure as a well-trained tourist, because I shun guidebook attractions such as churches and museums in favor of second-hand stores, outdoor markets, and restaurants.  But I am not yet at the stage where I want to stay at home all the time.  What makes me happy is going to a place (ideally, a beautiful one) where good friends play and sing the music that makes me even more glad to be alive.  And I know I am not alone in this desire.

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Such opportunities for musical joy and fulfillment still exist, and one of them is the double boon of the Evergreen Jazz Festival in Colorado, and the barn dance concert that Dorothy Bradford Vernon and friends put on in Longmont, in the same state — they coincide most happily.

For those who want to go directly to the source(s), here you can learn all about the barn dance — featuring the Carl Sonny Leyland Trio — and here is the official site for the Evergreen Jazz Festival, a long weekend of beautiful music.

The EJF rotates its out-of-state attractions, so although I have twenty posts (with video evidence!) from my trips there in 2014 and 2016, I don’t feel it’s right to use videos from bands that won’t be there in 2018 to promote the current festival.  However, by typing EVERGREEN into this blog’s search engine, you can enjoy the evidence for many hours.  More about the 2018 band lineup below.

But since Carl’s Trio is more or less intact with the splendid Jeff Hamilton on drums (I believe Marty Eggers is playing string bass instead of our friend Clint Baker) I have no qualms about sharing this 2016 post with you.  My videos cannot convey the great warm welcome that Dorothy and friends extend to anyone walking through the barn doors.  The music and the dancers were truly memorable.

The Evergreen Jazz Festival offers ten bands, which means that the main problem most guests will have can be expressed by “I can’t decide between seeing X, Y , or Z,” rather than by “There’s nothing to do.”

Here is the schedule: eleven hours on Friday, twelve hours on Saturday, seven hours on Sunday.  You can sleep on Monday, or on the plane.  

A few words about the bands (you can read full descriptions on the EJF site).  Since I am an out-of-towner, I have no problem putting my fellow o-o-t women and men first — a kind of upside-down local pride.

Carl Sonny Leyland will be rocking the house once again (even the elk were doing splendid rhythmic gyrations in the parking lot).

The Holland-Coots Jazz Quintet — a band I succumbed to instantly last year in Nashville, where they recorded their debut CD, a tribute to Fats Waller that brought happiness and swing.  They are Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet and vocal; Evan Arntzen, reeds and vocal; Steve Pikal, string bass.

World-travelers Ivory&Gold — that’s Jeff Barnhart, piano and vocals; Anne Barnhart, flute and vocals — who offer musical world tours that always surprise.

The frolicsome Rock Island Roustabouts — co-led by Hal Smith, drums, and Jeff Barnhart, with Dave Kosmyna, cornet; Doug Finke, trombone; Jonathan Doyle, reeds; Bob Leary, banjo/guitar; Ryan Gould, string bass.  The names alone will tell you that hot music is assured.

Multi-instrumentalist Dennis Lichtman’s Brain Cloud (yes, the name is strange — from a Bob Wills song — but the music is intoxicating) featuring Dennis on clarinet, fiddle, mandolin, and more, also with the phenomenal vocalist Tamar Korn and our man in swing Kevin Dorn, drums.

Pianists Brian Holland, Carl Sonny Leyland, and Jeff Barnhart will perform three trio sets on two pianos in the wonderful Evergreen church: beware of flying black and white ivories!

There will be a jam session set by the “EJF All-Stars”: Marc Caparone, cornet; Eric Staffeldt, trombone; Roger Campbell, clarinet; Rory Thomas, banjo; Jeff Barnhart, piano; Ryan Gould, string bass; Kevin Dorn, drums.

Two sets by the Sweet and Hot Quartet: Jeff Barnhart, Bob Leary, Anne Barnhart, and Steve Pikal (Friday) and Hal Smith (Sunday).

If that were not enough . . . Denver’s own After Midnight, which fashions itself after the Goodman Sextet with vibraphone; Felonius Smith Trio, which pays tribute to venerable guitar blues; the Gypsy Swing Revue, which lives up to its billing;  Joe Smith and the Spicy Pickles, a young energized swing band; the Queen City Jazz Band, celebrating its 65th anniversary and featuring Wende Harston on vocals; youth bands from the University of Colorado, the Denver Claim Jumpers, and the Denver Jazz Club Youth All-Stars.

The EJF features lovely small venues . . . so you need to consider purchasing tickets sooner rather than later.  I’ll be there, but I only take up one seat.  Hope you can make it also!  It’s been a great deal of fun and with this schedule, I know it’s going to continue.

And just in case you say, “What!  No music?” here is RUSSIAN RAG by the Holland-Coots Jazz Quintet, recorded informally in Nashville in July 2017:

May your happiness increase!

BEAUTIFUL RARE SOUNDS: JAKE SANDERS, “ESTRELLAS DE RADIO”

I first encountered Jake Sanders almost a decade ago at Banjo Jim’s, when he was the leader of the Cangelosi Cards, the group that had Tamar Korn as its vocal improvising genius.  Later I followed him to other Cards gigs and an especially wonderful rainy evening in a dance studio where he swung like mad, Charlie Christian style, on electric guitar.  When he moved to Chicago, I saw and heard him with the Fat Babies in person, on record, and on video, and now he is blazing his own paths.  (Most recently for me, in a trio with Dennis Lichtman and Jared Engel which appeared at The Django in New York City — lovely eloquent music.)

His new CD is what we used to call a doozy, precisely because it follows no narrow formula.  Here’s a sample of the music Jake loves and plays with great feeling — captured at the February 2018 CD release party in Mexico City:

And here you can buy an actual disc or download the music (each for the low price of $10 USD) or hear four of the thirteen tracks, in case you need convincing.

and here is the prose (not by me) that accompanies the music:

Estrellas de Radio features the sounds of acoustic and electric guitar, mandolin, violin, piano, and upright bass. The songs and styles range across a broad spectrum of traditions, drawing from or expanding upon the roots of American jazz. The album features beautiful waltzes, rags, blues, and band arrangements of four guitar solos originally published in the 30’s which have never been previously recorded. Three of these rare and unique compositions are credited to guitar legend Nick Lucas.

Recorded over a two year period by Alex Hall at Reliable Records in Chicago, the album features a host of musicians from New York, Chicago and Detroit; these include: Jared Engel, Dalton Ridenhour, Dennis Lichtman, Aaron Jonah Lewis, Beau Sample, Paul Asaro, and Patrick Donley.

Three tracks feature the exceptional sounds of Fraulini Guitars hand-crafted by the esteemed luthier Todd Cambio. (Jake Sanders plays an Annunziata on Serate Primaverili, Speranze Perdute, and Flappers Trot; Patrick Donley plays an Angie on Speranze Perdute).

While the early Italian pioneers of the jazz guitar Nick Lucas and Eddie Lang made their mark on 20th century music, an earlier generation of Italian string virtuoso were also recording in America. Masters such as Giovanni Gioviale and Giovanni Vicari brought old world sounds to the new world. L’Ultimo and Serate Primaverili are adaptations of Giovale’s brilliant compositions originally conceived for mandolin. Speranze Perdute was inspired by a recording by Giovanni Vicari, as was the mazurka Mia Carina, which he recorded with The Continental Trio.

While Nick Lucas is famous amongst jazz aficionados both as a vocalist and for his early recorded guitar solos (Picking the Guitar and Teasing the Frets), he is also credited with composing numerous guitar solos which were never recorded, but appeared in folios and early flat-picking method books. Bootlegger’s Blues, Flappers Trot, and Gold Diggers are all examples of Lucas guitar solos which exist as sheet music, but have not been recorded until now.

The exquisite waltz, Margaret, that appears as a piece in The Nick Lucas Guitar Method Vol. 1, however, was composed by J. Nicomede. Sanders’ unique conception and arrangements of these songs are drawn from his nearly 20 years of playing roots music. (Flappers Trot, guitar and piano) (Bootlegger’s Blues, Gold Diggers, Margaret, guitar, violin, piano, bass).

Let Me Call You Sweetheart and Wang Wang Blues are classically-styled guitar and mandolin duets arranged in studio. Charleston Rag, known as a piano solo, is heard here uniquely arranged for piano, guitar, and upright bass. The Memphis Shakedown, made famous by the Memphis Jug band, is a common tune for old-time and jug bands performing today. However on Estrellas de Radio the tune becomes something altogether different, achieving new sounds in old music. The Sunset Blues is the album’s one original composition. Like any blues it borrows from the past, however its spare style, unusual form, and crafted melody give it a sound all its own.

ABOUT JAKE SANDERS:

Jake Sanders is a guitarist, bandleader, and arranger, whose musical career began in New York City at the end of the last century. After years as a street performer, playing jazz and American traditional music, Sanders formed the popular roots band, The Cangelosi Cards. They performed nightly in the back rooms and bars of the East Village, but soon traveled well beyond Manhattan, playing shows from Shanghai to Stockholm. After years with the Cards, Jake joined The Fat Babies, an acclaimed hot jazz band which continues to perform weekly at Chicago’s world famous Green Mill Cocktail Lounge. His last album with the group, Solid Gassuh (Delmark Records), made DownBeat Magazine’s “Best of 2017” list – a rare feat for a traditional jazz band in modern times.

A long time musical collaborator with vocalist and world-renowned Lindy hop champion, Naomi Uyama, Jake both plays guitar and arranges for her swing outfit, Naomi & Her Handsome Devils. Sanders has recorded with the great stride and ragtime piano player Paul Asaro, and has been featured on record and stage with the Jonathan Doyle Swingtet.

Jake Sanders has performed at The Chicago Jazz Festival, The Detroit Jazz Festival and The Brooklyn Folk Festival as well as countless clubs, dance halls and theaters throughout North America. Jake’s guitar playing has brought him across Europe and Asia and he is a regular performer in-residence at Cracovia 32, home of the emerging swing scene in Mexico City. As a solo performer or with the Handsome Devils, The Dotted Halves trio or with the quintet, The Lovestruck Balladeers, Jake Sanders is a consummate traveling musician who can be heard far and wide.

A few words from me, on behalf of JAZZ LIVES.  I trust Jake’s taste completely, so even though some of the compositions on this disc are not Hot Music in the established sense, I fell in love with the sounds here at first playing.  The only reason this post is written at the end of May rather than a few months earlier is because I wanted actual discs to play in the car.  I’ve amazed a number of unsuspecting passengers with ESTRELLAS DE RADIO, and one even said, “Michael, I didn’t know you liked beautiful music like this!”  I do, and you will.

May your happiness increase!

YES, IT’S STILL POSSIBLE! (Part One): KRIS TOKARSKI, JONATHAN DOYLE, LARRY SCALA, NOBU OZAKI, HAL SMITH at the SAN DIEGO JAZZ FEST (November 24, 2017)

Sometimes, as a devout jazz enthusiast, I feel caught between two ideologies — rather like a kernel of corn watching the two stone wheels approach. One group of fans insists that all the great music has already been made: that there’s really no point in leaving the house, because Lester and Louis and Hawkins are dead, so these fans bury their heads in their speakers and do takeout.  Another group embraces the new jazz flavors of the month, and insists that Hank McGillicuddy and his Stompers are as good as Basie at the Famous Door, and by the way, Zelda Red-Dress “brings Billie back.”  She doesn’t, but if you think so, that’s nice.

I offer a third possibility: that there are musicians who don’t have contracts with Jack Kapp or Eli Oberstein; they don’t pack the Palomar or the Savoy — but they are alive today, you can speak to them, they inhale and exhale — and they do that thing splendidly.  They are worth leaving the house for.

One shining example of this phenomenon — why I call this blog JAZZ LIVES rather than JAZZ NEEDS DUSTING — is the small group led by pianist Kris Tokarski that swung like mad at the 2017 San Diego Jazz Fest.  Along with Kris, they are Jonathan Doyle, clarinet and tenor saxophone; Larry Scala, guitar; Nobu Ozaki, string bass; Hal Smith, drums.  No too-small brightly-colored matching polo shirts; no funny hats; no group vocals.  Just wonderful music, sweet when it’s called for, hot enough to make us sweat.

Here are four examples.  Jazz thrives.

LOVE IS JUST AROUND THE CORNER, evoking Crosby and Condon:

and what Kenny Davern used to call “face to face”:

and an explosive LITTLE GIRL:

and a lovely pensive MEMORIES OF YOU:

May your happiness increase!

IN THE NAME OF SWING: KRIS TOKARSKI, LARRY SCALA, JONATHAN DOYLE, HAL SMITH, NOBU OZAKI (San Diego Jazz Fest, November 24, 2017)

Kris Tokarski, piano; Larry Scala, guitar; Nobu Ozaki, string bass; Hal Smith, drums; Jonathan Doyle, clarinet / tenor sax, with guest Katie Cavera, guitar and vocals. San Diego Jazz Fest, Nov. 2017

I followed this band faithfully at the 2017 San Diego Jazz Fest and they didn’t disappoint.  The credits are above; the wonderful music is below.  Festival producers, take note(s)!

NOBODY’S SWEETHEART NOW (how sad, how true):

LULLABY OF THE LEAVES, one of the two great Bernice Petkere songs:

LOUISE (thanks to Richard Whiting: I think of Lester, Teddy, Pee Wee, and a Rodney Dangerfield joke):

CHINA BOY (don’t miss Kris’ bridge):

YOU TOOK ADVANTAGE OF ME (savor Larry — bringing the blues — and Hal on this one, especially):

More to come — eager and expert — but this band is, in Eddie Condon’s words, too good to ignore.

May your happiness increase!