Tag Archives: Josh Collazo

GORDON AU PAYS TRIBUTE TO LOUIS ARMSTRONG and his ALL-STARS at LINDY FOCUS

It’s distressingly easy to make a paper-thin tribute to Louis Armstrong and his All-Stars: start with the “Greatest Hits,” add a Louis-caricature, stir in high notes, fast tempos and a dash of audience-clapping, and stand back.  Or one could decide to be “innovative” and “harmonically adventurous,” but I will not even consider those possibilities, because the room is starting to spin.

But Gordon Au is a studious and deep musician and individual, so that when I heard he was planning a tribute to the music that Louis and his world-famous band created over nearly twenty-five years, I was eager to hear it.  And the results are subtle and gratifying.  You can find out more here while you listen.  I’ve picked two songs from this recording that are — sadly or wryly — currently appropriate:

and a song I wish were not so relevant, the somber BLACK AND BLUE:

That should send listeners who get it right to the link to download and purchase.  But perhaps some of you need more information.

Gordon writes, “I grew up listening to Louis Armstrong. Last year I had the chance to do something I’ve wanted to do for a long time: bring the music of Louis & the All-Stars to swing dancers. I heard a few hip DJs play Louis for lindy hoppers over the years, but I always wished there were more, and I knew that I myself would love dancing to the All-Stars. I wanted to give dancers the chance to hear the music of the All-Stars with a live band, and to dance to it and fall in love with it.

Last December, that wish came true. At Lindy Focus XVIII, I presented a tribute to Louis Armstrong & His All-Stars with a dream team of 10 musicians, and finally got to share that music I love with hundreds of people dancing their hearts out, late at night in a packed ballroom, surrounded by smiling faces, at the largest lindy hop event in the nation. And now I’m happy to share it with all of you.”
1. Squeeze Me (79 BPM)
2. All That Meat and No Potatoes (110 BPM)
3. Twelfth St. Rag (128 BPM)
4. I’ll Walk Alone (88 BPM)
5. Back o’Town Blues (74 BPM)
6. Blueberry Hill (96 BPM)
7. Faithful Hussar (133 BPM)
8. Someday You’ll be Sorry (105 BPM)
9. Unless (87 BPM)
10. My Bucket’s Got a Hole in It (141 BPM)
11. Beale St. Blues (105 BPM)
12. Lovely Weather We’re Having (88 BPM)
13. C’est Si Bon (143 BPM)
14. Yellow Dog Blues (88 BPM)
15. Black and Blue (99 BPM)
16. Don’t Fence Me In (106 BPM)
17. Saint Louis Blues (118 BPM)
18. Keepin’ Out of Mischief Now (130 BPM)

All tracks adapted/arranged by Gordon Au (Gordonburi Music – ASCAP)

Laura Windley—vocals (1,2,4,6,9,10,16-8)
Jim Ziegler—vocals (1,2,5,8,10,12,14), trumpet (8,14)
Gordon Au—trumpet/leader
Keenan McKenzie—soprano sax (2,3,6,8,10,12-15,17), clarinet (4,5,8,9,16,18)
Jacob Zimmerman—clarinet (1-4,6-15,17)
Lucian Cobb—trombone
Jonathan Stout—guitar
Chris Dawson—piano
Jen Hodge—bass
Josh Collazo—drums

And if the combination of music and words were not enough, I would add my own of the latter.  I don’t remember if I asked Gordon if he needed some prose or I insisted on writing something (I did see Louis live on April 23, 1967 — that would be my opening credential) and he graciously agreed.  So here’s mine:

I tried to walk like him, talk like him, eat like him, sleep like him. I even bought a pair of big policeman’s shoes like he used to wear and stood outside his apartment waiting for him to come out so I could look at him.

The magnificent cornetist Rex Stewart remembered the monumental effect Louis Armstrong had when Louis came to New York in 1924. More to the point, he recalled without embarrassment his awestruck attempts to gain some of Louis’ splendor by magic. (How lucky for him and for us that Rex had his own splendor for four decades.)

I write this to remind readers of Louis’ life-changing power, and to point out that musicians began trying to emulate him nearly one hundred years ago – when Louis himself was not yet 25. Somewhere I read of a group of players, stripped-down to their underwear, shivering in an unheated basement, hoping to catch cold so that their singing voices would be closer to his. Everyone wanted some of his celestial power: Earl Hines and Teddy Wilson, Billie Holiday, Connee Boswell, Bing Crosby, Bobby Darin, and many others. As I write, musicians are posting their versions of Louis’ WEST END BLUES’ cadenza on Facebook.

Trying to capture his essence, his admirers have taken many diverse paths. The most shallow efforts have been grotesque: a distended grin, waving a handkerchief as if drowning, and growling a few chosen phrases, ending inevitably with an extended “Oh yeah!” (If you knew nothing of Louis, you might think, “Someone get that man to a hospital now!”) Such approaches resemble a jazz version of demonic possession, and we have it on good authority (clarinetist Joe Muranyi) that Louis hated such imitations.  Some trumpet players misunderstood Louis’ mastery simply as his ability to play an octave higher than anyone else had, but they mistook range for music.  Only those who understood Louis’ art perceived that it was essentially a singer’s craft, melodic to its core, offering songs that any listener, skilled in jazz or not, could appreciate immediately. It was emotive more than exhibitionistic.

This is especially true in the period of Louis’ greatest popular appeal – his triumphant quarter-century of worldwide fame, recognition, and affection. Those who don’t understand his final sustained triumph suggest that his All-Stars period was marked by a desire for larger audiences, “popularity” at the expense of innovative art, and the limitations of an aging man’s playing and singing. To this I and others would say “Nonsense,” a polite euphemism selected for these notes, and point out that the splendidly virtuosic playing of Louis’ earlier years was – although dazzling – not as astonishing as, say, his 1956 WHEN YOU’RE SMILING or THAT’S FOR ME. Ask any trumpeter whether it is easier to copy Louis’ solo on NEW ORLEANS STOMP – the most brilliant amusement-park ride – or to play LA VIE EN ROSE as Louis did. (Those who are struck by this CD might investigate the original recordings and be amazed, and they might follow their amazement to the best book on the subject, Ricky Riccardi’s WHAT A WONDERFUL WORLD: THE MAGIC OF LOUIS ARMSTRONG’S LATER YEARS.)

Gordon Au understands the sweet ardor at the heart of Louis’ last quarter-century, and he also understands that sincere admiration of an innovator’s art requires loving innovation as well as expert imitation. I’ve been admiring Gordon’s playing for over a decade now, and it has always had subtle Armstrongian qualities while remaining perfectly personal: a clarion sound, hitting those notes squarely, a love of melody, but also an essential whimsy: Gordon’s phrasing is not predictable, nor are his particular choices. His solos have their own arching structure and they always deliver pleasant shocks. He moves with quiet daring and great wit between declarations and subversions.

Elsewhere in these notes, Gordon has eloquently written of his own journey to the music of Louis’ All-Stars, so I will leave that to him, and I will not debate those who felt Louis had abandoned his “pure jazz” for “showmanship” by choosing CABARET over POTATO HEAD BLUES. The All-Stars repertoire, in performance and on record, was delightfully varied, from funky New Orleans blues to pop songs new and venerable, as well as Louis’ own compositions and attempts at pop hits — perhaps a broader palette than at any other time in his career (even though we have heard tales of the Creole Jazz Band and Fletcher Henderson playing waltzes and tangos). I have always loved Gordon’s spacious imagination, and it is evident here not only in his playing and arranging, the musicians he has working with him – wonders every one! – but the songs chosen. A dull tribute could have been Greatest Hits (I might not be writing for this project had it included WHAT A WONDERFUL . . . . and DOLLY!) or it might reproduce an All-Stars concert, inexplicable to those who aren’t Louis-scholars. But Gordon understands that UNLESS and BLACK AND BLUE are both music and must be cherished – and performed – with amiable reverence.

The result of Gordon and the band’s deep understanding makes for truly gratifying music, even for those who had never heard the originals. I know the originals, and my experience of listening has been a constant happiness, the warm thought, “Listen to what they are doing there!” And since this band was conceived for swing dancers, the music is always groovy, rocking, and stimulating, no matter what the tempo. The slightly enlarged instrumentation and Gordon’s imaginative arrangements make for a more varied experience than the All-Stars I heard in person in 1967 (I know that is a heretical statement). At their finest, Louis’ group was a collection of inspired soloists, but they could also sound skeletal: three horns, three rhythm, and a “girl singer” – but we were so dazzled by Louis that we did not care how much open space there was in the performances. Gordon’s vision is far more orchestral, and the band pleases on its own terms from first to last, with delightfully jaunty singing by Laura Windley and Jim Ziegler, who do us the compliment of sounding just like themselves, sailing along.

I also know that Louis would be delighted not only with the music here but would have been thrilled to be invited to perform with this band. He left for another gig far too early, and I regret that this collaboration never happened, but I can hear it in my mind’s ear.

“I’m so excited, y’all!” Laura bursts out at the end of DON’T FENCE ME IN. I am also. You can hear the effect the band had on the dancers. And it will offer the same magic to you as well.

Ultimately, here’s my verdict on this lovely musical effort:

So good!  Find it here.

May your happiness increase!

WHERE WE WERE IN MAY 2019 AND HOPE TO BE AGAIN IN MAY 2021: BOUNCING WITH THE JONATHAN DOYLE SWINGTET (Part Two) at the REDWOOD COAST MUSIC FESTIVAL: JONATHAN DOYLE, JOSH COLLAZO, SAM ROCHA, JAMEY CUMMINS, ALEX BELHAJ, GORDON AU, CHARLIE HALLORAN (May 12, 2019)

I know it’s the most unwieldy title in the history of JAZZ LIVES’ unwieldy titles, but so be it.  At least readers know what they’re getting, or getting into.  Here I can offer you gorgeous music from the Jonathan Doyle Swingtet: Jonathan, tenor, composer; Gordon Au, trumpet; Charlie Halloran, trombone; Sam Rocha, string bass; Josh Collazo, drums; Jamey Cummins, Alex Belhaj, guitars. Recorded on May 12, 2019, at the Redwood Coast Music Festival, the second part of a very rewarding set, and here is the first.

Let us begin with Cole Porter’s whimsical-salacious depiction of a very practical amorous relationship, MY HEART BELONGS TO DADDY, which has a good deal of moral ambiguity to it, but who thinks about such things when sunk deeply into this groovy evocation?

More groove, more funk — Al Sears’ CASTLE ROCK:

The venerable CRAZY RHYTHM, at a surprisingly tender tempo, featuring the eloquent Charlie Halloran:

Jonathan’s own JUMP IN, JUMP OUT — which, like his other originals, shows a fully-developed compositional sense.  Even when his originals are built on familiar harmonic patterns, his introductions, riffs, textures, and voicings show his expansive imagination:

Fine riffin’ this afternoon — with Illinois Jacquet’s BOTTOMS UP:

and finally, the dark-hued YOU NEVER KNEW ME AT ALL, based on a noble Thirties ballad:

Jonathan and friends were just one highlight of the immensely stirring Redwood Coast Music Festival that made my May 2019 completely memorable.  Eleven months from now, there will be the 2021 version . . . and I’ll be there.  It’s not too soon to start anticipating these joys and more.  May 6-9, 2021.  “Mark it down.”

May your happiness increase!

FINE [REMOTE] RIFFING THIS AFTERNOON (April 2020)

One of the nicest things about my jazz-immersion through this blog is the possibility of having dear friends and admired artists — rarely or never met face-to-face.  I think of these two: the saxophonist / composer Keenan McKenzie (still only a cyber-pal) and the singer Laura Windley, whom I’ve had the good fortune to encounter on both coasts.

Let me begin with the most recent expression of good-humored swing and expert rockin’ in rhythm, Keenan’s PARTS AND LABOR, beautifully Basie-fied by Josh Collazo, drums; Noah Hocker, trumpet; William Ledbetter, string bass; Keenan McKenzie, saxophone; James Posedel, piano; Jonathan Stout, guitar:

Keenan’s also a composer of nifty love songs — here’s a favorite, with Laura singing and charming us, along with Lucian Cobb, trombone; Daniel Faust, drums; William Ledbetter, Keenan McKenzie, James Posedel, and Jonathan Stout:

Yes, socially distant but emotionally close.

Now, some history and then some commerce.

I first encountered Laura and the Mint Julep Jazz Band in 2013 (can it be that long ago?) when a friend sent me a copy of their CD, DURHAM ON SATURDAY NIGHT, and I wrote happily about it here.  And the same thing happened again two years later, with their BATTLE AXE, and my pleasure here.  Keenan offered his own wonderful CD, FORGED IN RHYTHM, in 2017 — my post here  — and so I trust these people to make the best music, subtle and groovy.  They are also part of what I would respectfully call the Great Swing Dance Collective, so they pop up with their own groups and as side-people: I video-ed Laura at San Diego (2018) with Michael Gamble’s Rhythm Serenaders, and she sings gorgeously as part of Gordon Au’s evocation of the Louis Armstrong All-Stars.

Now, since Sam Goody’s is just a memory (insert name of your favorite record store chain) those in the know go to bandcamp.com — where we can purchase the music of independent artists on CDs and downloads.  TODAY, MAY 1, Bandcamp has waived all fees, so that whatever you pay goes directly to the artist.  “Good deal!” to quote my hero Sidney.

So, please, instead of wallowing in the torrents of free music offered open-heartedly, go visit https://keenanmckenzie.bandcamp.com/  and  https://mintjulepjazzband.bandcamp.com/ and https://gordonau.bandcamp.com/ — drop some bills in the tip jar, and enhance the gray days of isolation / quarantine / lockdown with music that rewards not only the hearer but the artists.  You’ll find the irritations of daily life diminished because of the sounds.

May your happiness increase!

BOUNCING WITH THE JONATHAN DOYLE SWINGTET (Part One) at the REDWOOD COAST MUSIC FESTIVAL: JONATHAN DOYLE, JOSH COLLAZO, SAM ROCHA, JAMEY CUMMINS, ALEX BELHAJ, GORDON AU, CHARLIE HALLORAN (May 12, 2019)

Bouncing has been shown to have salutary therapeutic effects, so join us!

The source of all this joy is the Jonathan Doyle Swingtet, recorded in performance at the magical Redwood Coast Music Festival on May 12, 2019.  That’s Jonathan Doyle, tenor saxophone / compositions / arrangements; Gordon Au, trumpet; Charlie Halloran, trombone; Jamey Cummins [right], Alex Belhaj [left], guitars; Sam Rocha, string bass; Josh Collazo, drums. . . .  captured in a still photograph by the JAZZ LIVES staff:

Now to the music played for the first half of this gratifying set — what Mildred Bailey might have called “a hot half-dozen.”

Take us back to 1943, while Coleman Hawkins stands off to the side, smiling:

and something sweet that Jonathan calls DON’T WALK OUT (the harmonic hint is this — imagine Louis’ opening number as a rhythm ballad and you have it):

Winnie the Pooh couldn’t make it, but in his honor, HONEY JAR, his love:

SLIPPERY SLOPE, perhaps named because of  ascending and descending lines:

I’VE NEVER BEEN TO NEW YORK.  If this is true, I have to invite Jonathan and Corinne to sit in Washington Square Park in the late spring:

Thinking of Austin, Texas, zoology, where THE BATS ARE SINGING:

The best news is that Jonathan and friends will be appearing — in whatever permutations they choose — at the Redwood Coast Music Festival, May 7-10, 2020.  Here you can see a list of the other artists, a cornucopia of musical joys that increases my heart rate dangerously.

See you there!

Even better! — here is the schedule for the Festival.  I can’t wait.

May your happiness increase!

JUST ADD RUM, ICE, AND SUNGLASSES: “CHARLIE AND THE TROPICALES” (Part Two): CHARLIE HALLORAN, BEN POLCER, JONATHAN DOYLE, KRIS TOKARSKI, ALEX BELHAJ, JOSHUA GOUZY, JOSH COLLAZO (Redwood Coast Music Festival, May 11, 2019)

Back by popular demand (and not just mine)!

Here’s the second half of Charlie Halloran’s glorious set of hot and sweet island dance music, performed at the Redwood Coast Music Festival last May 11.  Charlie is on trombone (and I believe research and arrangements as well); Ben Polcer, trumpet; Jonathan Doyle, clarinet; Kris Tokarski, piano; Alex Belhaj, guitar; Joshua Gouzy, string bass; Josh Collazo, drums.  And here is the first  half of their musical cocktail.

Lord Melody’s THE RIVER:

JULIANNE:

The title of Charlie’s most recent CD, CE BIGUINE:

THE RHYTHM WE WANT, which would be a good CD title:

MIRANDA:

The Mighty Sparrow’s JEAN AND DINAH:

I have it on good authority that there will definitely be another set like this at next May’s Redwood Coast Music Festival . . . I’ll be in front, grooving!

May your happiness increase!

SO FLAVORFUL: “CHARLIE and the TROPICALES” at the REDWOOD COAST MUSIC FESTIVAL (Part One): CHARLIE HALLORAN, BEN POLCER, JONATHAN DOYLE, KRIS TOKARSKI, ALEX BELHAJ, JOSHUA GOUZY, JOSH COLLAZO (May 11, 2019)

Charlie Halloran’s wonderful CD of rocking island music.

I confess that if you tapped me on my shoulder at a jazz festival and said, “Do you want to hear a band playing calypsos, music from the islands?” even though I live on one, I might be skeptical.  But if you said, “Charlie Halloran is leading a group on this stage,” I would trip over myself in my eagerness to be there.  (And those of you who want only ROYAL GARDEN BLUES . . . I encourage you to be brave and approach the new songs without fear.)

(I first fell in love with the music Charlie and friends create because of his Quality Six, and then his CD devoted to rocking Caribbean music, CE BIGUINE, which I’ve written about here and here.)

I didn’t have to go through this imagined playlet at the musical Garden of Delights that is the Redwood Coast Music Festival: I was ready in my seat for this set, which Charlie now calls “Charlie and the Tropicales.”  Perhaps you need to know who else was there besides Charlie on trombone: Ben Polcer, trumpet; Jonathan Doyle, clarinet; Kris Tokarski, piano; Alex Belhaj, guitar; Joshua Gouzy, string bass; Josh Collazo, drums.

Much has been said about the multi-cultural influences on what we loosely call the music of New Orleans: I’ll leave such ruminations to the cultural anthropologists — I prefer music to theorizing.  And what music did Charlie and the Tropicales make!  If you can listen to it without smiling and swaying, that (as they say) is your problem.  And if you’ve turned away because it isn’t a jazz classic played by your favorite band, to quote Louis, “too bad for you.”  Here’s music that rocks!

ROAD MARCH:

DOUDOU PAS PLEURE:

VICKY:

VOLTIGE ANTILLAIS:

TABU:

If you sat still in your seat through that music, let me talk to your neurologist, please.  There’s a second part of this set to come . . . quickly, if you ask nicely.

May your happiness increase!

“MAY I SWING YOU A SONG?” DAVE STUCKEY and the HOT HOUSE GANG at the REDWOOD COAST MUSIC FESTIVAL: DAVE STUCKEY, MARC CAPARONE, NATE KETNER, CARL SONNY LEYLAND, WALLY HERSOM, JOSH COLLAZO, DAWN LAMBETH (May 10, 2019)

Dave Stuckey knows how — how to put together a hot congenial swinging band, how to sing in a convincing heartfelt Thirties style that engages an audience, how to find rare material . . . how to put on a show that doesn’t require his dad’s barn (although he will work in barns for the right offer).  He is comic without being jokey, and his friendly approach to the band and to us is heartfelt, not a series of ad-libs.  He’s having fun, and we feel it also.

He showed off all these talents with the Hot House Gang at this year’s Redwood Coast Music Festival — the Gang being Josh Collazo, drums; Wally Hersom, string bass; Carl Sonny Leyland, piano; Nate Ketner, reeds; Marc Caparone, cornet; Dawn Lambeth, vocal.  Here are seven tunes — count ’em, seven! — from the Gang’s first set.

Here’s melodious Dawn to sing a rare tune I associate with Henry “Red” Allen, which is always an asset, I’LL SING YOU A THOUSAND LOVE SONGS:

In the wrong hands, EXACTLY LIKE YOU can sound overfamiliar and thus dull, but not in these hands — those of Dawn and the Gang, helped immensely by Father Leyland’s righteous groove:

I confess that I’ve heard many versions of WHAT A LITTLE MOONLIGHT CAN DO that made me mutter to myself, “Not much,” but this performance gets at the heart of the ebullience of the Billie Holiday records of the Thirties, thanks to glorious playing by the band as well as Dawn’s choice to sing the song rather than the record.  Those riffs, those riffs!

Hoagy Carmichael’s love song to New Orleans, of the same name, wistfully sung by Dave and eloquently by Marc:

Father Leyland’s rocking bouquet for IDA, which is so much music packed into three minutes:

The new dance they’re doing uptown, TRUCKIN’:

and, to close the set, the joyous affirmation of collective swing, a song that brings together Ivie Anderson and the Marx Brothers as well as the Hot House Gang.  Who would complain?

If  you learn that Dave Stuckey and the Hot House Gang are coming to your city, toss the dogs some dry food, break into the birthday fund, give up those plans to make the kitchen floor shine, and go.  Joy like this is rare and not to be disregarded.

Thanks to Mark and Valerie Jansen of the Redwood Coast Music Festival for their generous embrace of soulful music.  Be there May 7-10, 2020 . . . !

May your happiness increase!

 

UP IN THE CLOUDS (Part Two): THE JONATHAN DOYLE SWINGTET at the REDWOOD COAST MUSIC FESTIVAL: JONATHAN DOYLE, GORDON AU, CHARLIE HALLORAN, JAMEY CUMMINS, ALEX BELHAJ, SAM ROCHA, JOSH COLLAZO (May 12, 2019)

Jonathan Doyle, 2015

I think I first took notice of Jonathan Doyle — clarinetist, tenor saxophonist, later bass saxophonist, composer, arranger — when he was a member of the Thrift Set Orchestra some six years ago, then working with Hal Smith, leading his own groups, in combos with Ray Skjelbred, part of the Fat Babies, with Hal’s Swing Central, and more than I am no doubt leaving out.  By the time I met him in person, possibly at the 2014 San Diego Jazz Fest, I was already dazzled.

What Jonathan has and shares with us is a special emotional-spiritual energy, as if he’s connected to electric current, no matter how lazy the tempo might be.  I’ve never seen him coast or fall back on formula: he is fully present and fully engaged.  I offered these two splendid performances by his Swingtet at the Redwood Coast Music Festival (with Jacob Zimmerman, Charlie Halloran, Kris Tokarski, Jamey Cummins, Steve Pikal, Hal Smith) here and they deserved all the enthusiastic prose I could write and all the accolades from audience members.  A day later at the RCMF, Jonathan assembled a slightly different Swingtet: Gordon Au, trumpet; Charlie Halloran, trombone; Sam Rocha, string bass; Josh Collazo, drums; Jamey Cummins, Alex Belhaj, guitars.

I love this music dearly.

First, Jonathan’s original A SYBARITE’S DREAM, featuring Gordon, musing and soaring, in the fashion of an Ellington mood-piece but purely Doyle:

Then, an utterly captivating romp on Benny Carter’s KRAZY KAPERS, inspired by the 1933 Chocolate Dandies recording — a line on DIGA DIGA DOO.  Watch Gordon’s face as Jonathan solos: it tells you all you need to know.  And if you’d been sitting near me, you would have seen my even more dramatic look of astonished delight as Jonathan announced the song . . . as if I’d been given a lovely present.  I haven’t changed my mind at all since then:

Such remarkable passion, allied to an irresistible swing.  Bless Jonathan and his musicians, and Mark and Valerie Jansen for creating such a splendid space for beauties.  (The 2020 Redwood Coast Music Festival will be next May 7-10, and it will be a doozy, a honey, or a blast: you pick.  I think it will be all three.)

May your happiness increase!

IN SWING WE TRUST: CANDY JACKET JAZZ BAND: “UNSTUCK IN TIME”

Yes, another wonderful new CD.  But remember: I told you to save your spare change, to make coffee at home instead of going to Starbucks, that there would be great pleasures in store.  But enough of that.  The four-minute video that follows might make prose superfluous: watch and listen to the end:

Josh Collazo is a magnificent jazz drummer: I had a great deal of gleeful first-hand evidence at the Redwood Coast Music Festival a short time ago to reinforce what I already knew.  He listens, he makes thrilling sounds, he leans forward into the beat so that any band he’s part of levitates.  But better than that, he has a huge imagination based in swing and melody, in danceable new music.  This is an elaborate prelude to say that his new CD, UNSTUCK IN TIME, by the organization he calls the CANDY JACKET JAZZ BAND, is an unerring delight.

This was no surprise: here is my delighted reaction to the CJJB’s first disc.

But let us return to whimsical-completely serious video:

Facts?  Eleven original swing compositions by Josh, Dan Weinstein, Albert Alva, and Seth Ford-Young alone or in combination; a lovely small band of Josh, drums, vocal; Seth Ford-Young, string bass; Jonathan Stout, guitar; Chris Dawson, piano; Dan Weinstein, trombone, vocal; Corey Gemme, cornet; Albert Alva, tenor saxophone; Nate Ketner, alto saxophone, clarinet; arrangements (and they’re important, since UNSTUCK IN TIME is not a jam session) by Albert, Dan, and Josh.

And a few words about this disc’s glorious antecedents.  For me, one of the unheralded peaks of jazz happened while the official “Swing Era” was no longer at its apex: the period between 1942-7, more or less, that coincided with the more dramatic recording ban.  Because of that ban, small record companies had their pick of jazz artists — think Keynote, Blue Note, Comet, Savoy, Regis, Jamboree, HRS, Jazz Record, Musicraft, Black and White, Apollo, Sittin’ In, and a dozen others.  The music as passed down to us on recordings, loosely defined, moves from Art Hodes to early bebop, but the middle ground is what attracts me: small groups with a few horns, ample space for solos, but intelligent arrangements.  Why do I write of this?

Simply, because UNSTUCK IN TIME by the Candy Jacket Jazz Band seems to my ears a glorious extension of the best Keynote sessions.  I will even write that were someone able to narrow the sound and add some surface noise, many of the tracks on this CD could pass as previously-unheard and intensely refreshing Forties gems that had been overlooked.  It’s just that warmly idiomatic, sweetly rhythmic, and full of improvisational delight.

And the title is more than a verbal two-bar tag.  Josh and the band value time highly in the sense of knowing where “one” is, in keeping the rhythm going in the nicest ways (did I point out how splendid this CD is as dance music?) but they are not tied down by clock and calendar: this disc is not a poker-faced science experiment in the Jazz Lab, bringing 1944 forward by cloning it, but rather a blend of present and past swinging into the future, free to groove without concerns of “repertory” or “authenticity.”  I think of Golden-Era science fiction, full of alternate universes: “What kind of tune would Johnny Hodges like?”  And that spirit — to honor a Hodges-universe — lifts the music in performance after performance, honoring the innovators by refusing to imitate them except in exuberant playful ways.

I’ll stop here, so that you can get to pleasure as quickly and directly as possible.  You can hear the music here.  You can buy a digital download or CD here.  You can hear the CJJB’s first CD here.

I’m so grateful this light-hearted free-wheeling yet level-headed band exists.  Their inventive music is the very heart of what I hold dear.

May your happiness increase!

UP IN THE CLOUDS (Part One): The JONATHAN DOYLE SWINGTET at THE REDWOOD COAST MUSIC FESTIVAL: JONATHAN DOYLE, JACOB ZIMMERMAN, CHARLIE HALLORAN, KRIS TOKARSKI, JAMEY CUMMINS, STEVE PIKAL, HAL SMITH (May 11, 2019)

Jonathan Doyle, 2015

 

It’s lovely to have heroes, and the man in the photograph is one of mine.  The only problem with the photograph is that it’s a still picture, and he is rarely still, but the videos below will remedy that.

When I was fortunate enough to chat with clarinetist Frank Chace on the telephone (now more than twenty years ago), he remembered that he and Marty Grosz had listened, rapt, over and over, to Pee Wee Russell’s solo on SWEET SUE with the Muggsy Spanier Ragtimers on Commodore. Marty’s comment was, “Well, if that doesn’t scrape the clouds . . . !” which is as good a summation of what artistic bliss feels like.

Those words kept coming back to me all through my weekend immersion in joy at the Redwood Coast Music Festival: I listened, quite amazed, at the wonderful music I was privileged to hear.  I’m still in a state of blissful amazement: feelings shared by those around me.

One of the reasons for this unearthly happiness has to do with reedman / composer / arranger / imaginative-phenomenon Jonathan Doyle, a rare source of  renewable energy in our time. Here ‘s where you can find him on Facebook as well.  Spiritual electricities course through him without harming him or us, and they come out as the most beautiful surprising patterns of notes, tones, and rests.  He never coasts; he never parodies anyone or himself.

Jonathan was a stimulating presence all through the weekend: with Charlie Halloran’s Calypsonians, leading several sets of his own and with Jacob Zimmerman (one a Walter Donaldson tribute with Doyle on bass sax), as lead horn in Hal Smith’s Swing Central, with the extravagant Western Swing Party co-led by Hal and Dave Stuckey.  (He was also one-third of the double tribute to composer-players Gordon Au and Josh Collazo, but by that time I had collapsed as if I’d been made of damp cardboard.  I’ll do better next year, I hope.)

Here are four uplifting performances from the first set of Jonathan’s Swingtet, a glorious affair consisting of Doyle, Jacob Zimmerman, alto; Charlie Halloran, trombone; Kris Tokarski, piano; Steve Pikal, string bass; Jamey Cummins, guitar; Hal Smith, drums.

BLUE DRAG (a nod to 1934 Django):

CHICAGO (he’ll show you around!):

THE FED HOP (Jonathan’s irresistible original):

DICKIE’S DREAM (Basie 1939, anyone?  Because of sudden battery demise, I lost the first ensemble chorus and Charlie Halloran’s delicious solo, but what remains is very satisfying):

When you’re through admiring the solo work and the overall joyous bounce of these four performances, I urge you to listen again to Jonathan’s arrangements, their sweet surprises, their dynamics and voicings.  He’s not just a great player and composer: he’s a wonderful orchestral visionary who makes his dreams and ours come true in swing.

More to come from my hero JD and his friends.

May your happiness increase! 

DANCE OFF BOTH YOUR SHOES: MICHAEL GAMBLE and the RHYTHM SERENADERS featuring LAURA WINDLEY (November 24, 2018): JOSH COLLAZO, JONATHAN STOUT, KRIS TOKARSKI, JOE GOLDBERG, NATE KETNER, CHARLIE HALLORAN, COREY GEMME

We didn’t miss the Saturday dance, I assure you.  And they crowded the floor.

The event I’m referring to took place at the 39th annual San Diego Jazz Fest — a Saturday-night swing dance featuring Michael Gamble and the Rhythm Serenaders and Laura Windley, sharing the bill with the Mad Hat Hucksters.  I could only stay for Michael’s opening set, but the music I captured was honey to my ears.  And you’ll see many happy dancers too.

The Rhythm Serenaders were a mix of local talent and gifted people from New Orleans: Michael on string bass; Kris Tokarski, piano; Jonathan Stout, guitar; Josh Collazo, drums; Joe Goldberg, clarinet and tenor; Nate Ketner, alto and clarinet; Corey Gemme, cornet; Charlie Halloran; trombone; Laura Windley, vocals.  Did they rock!  And you’ll notice the delightfully unhackneyed repertoire: this is not a group with a narrow range: no IN THE MOOD here.

An incomplete PENNIES FROM HEAVEN (the late start is my doing: at swing dances I have a hard time finding a good place for camera and tripod, and at this one the music was so good that I decided to take the risk of being intrusive and set my tripod on the stage, right behind Kris at the piano. The dancers didn’t notice, or if they did, no one came over to object.  Later on, I was able to achieve a pleasing split-screen effect.):

Laura sings IF DREAMS COME TRUE, and they do:

Rex Stewart’s ‘T’AIN’T LIKE THAT:

Laura’s homage to Teddy Grace, the charming I’VE TAKEN A FANCY TO YOU:

Laura’s warning, courtesy of Kay Starr: DON’T MEDDLE IN MY MOOD:

The Henderson COMIN’ AND GOIN’:

Sid Phillips’ MAN ABOUT TOWN:

Chu Berry’s MAELSTROM:

For Billie and Lester, Laura’s HE AIN’T GOT RHYTHM:

and the classic swing tune (Carmen Lombardo, don’t you know) COQUETTE:

Find Michael Gamble and the Rhythm Serenaders on Facebook here.

May your happiness increase!

“FORGED IN RHYTHM”: KEENAN McKENZIE with LAURA WINDLEY, GORDON AU, LUCIAN COBB, CHRIS DAWSON, JONATHAN STOUT, SETH FORD-YOUNG, JOSH COLLAZO (AUGUST 2017)

To paraphrase St. Thomas Aquinas, “To one who feels the groove, no explanation is necessary. To one who doesn’t feel it, no explanation is possible.”

This new CD is just wonderful.  Listen to a sample here while you read.  And  that link is the easiest way to purchase a download or a disc.

The irresistibly catchy songs are TRANSCONTINENTAL* / MY WELL-READ BABY* / PARTS AND LABOR / LIGHTS OUT / IF I WROTE A SONG FOR YOU / CINCINNATI / DOWN THE HATCH / CALLOUS AND KIND* / BUFFALO CONVENTION / FORGED IN RHYTHM* / WHEN I’M HERE ALONE* / POCKET ACES / CITY IN THE DEEP / EASTBOUND / THE DWINDLING LIGHT BY THE SEA*.

I don’t write “irresistibly catchy” often, but I mean it here.  The lyrics are clever without being forced, sometimes deeply tender.  “Don’t send me names / Of potential flames,” is one tiny example of the Mercer-Hart world he visits. I emphasize that Mister McKenzie not only wrote music and lyrics, but arranged these originals AND performs beautifully on a variety of reeds.  He is indeed someone to watch, and admire.  He’s also a generous wise leader who gives his colleagues ample space, thus the CD is truly varied, each performance its own pleasing world.

The “tunes” themselves stick in the mind.  Some are contrafacts — new melodies built over sturdy lovable harmonic sequences (SUGAR BLUES, ST. JAMES INFIRMARY, INDIAN SUMMER, and BETWEEN THE DEVIL AND THE DEEP BLUE SEA if my ears do not deceive me).  These hybrids work delightfully: it’s as if you’ve met beloved friends who have decided to cross-dress for the evening or for life: you recognize the dear person and the garb simultaneously, admiring both the substance and the wrappings.

The delicious band, sounding so much larger than a septet, is Keenan McKenzie, reeds; Gordon Au, trumpet; Lucian Cobb, trombone; Jonathan Stout, guitar; Chris Dawson, piano; Seth Ford-Young, string bass; Josh Collazo, drums; Laura Windley, vocals*.  You might not recognize all the names here, but you are in for compact explosions of joy when the music starts.

The soloists are playing superbly — and that includes players Gordon and Chris, whom I’ve been stalking for what seems like a decade now (my math is wrong but my emotions are correct) as well as the newer members of the Blessed Swing Flock.  Although they don’t work together regularly as a unit, they speak the same language effortlessly and listen contentedly to each other: Soloist Three starts his solo with a variation on the phrase that Soloist Two has just played.  That’s the way the Elders did it, a tradition beautifully carried forward here.

The rhythm section has perfected the Forties magic of seeming to lean forward into the beat while keeping the time steady.  Harry Lim and Milt Gabler smile at these sounds.  This band knows all that anyone needs to know about ensemble playing — they offer so much more than one brilliant solo after another.  Yes, Virginia, there are riffs, send-offs, and all those touches of delightful architecture that made the recordings we hold dear so memorable.  Without a vibraphone, this group takes some spiritual inspiration from the Lionel Hampton Victors, and you know (or should) just how fine they are.  “Are,” not “were.”

And there is the invaluable Laura Windley, who’s never sounded more like herself: if Joan Blondell took up singing, she’d sound like Laura.  And Joan would be thrilled at the transformation.

The lovely sound is thanks to Miles Senzaki (engineer at Grandma’s Dojo in Los Angeles, California; Jason Richmond, who mixed the music; Steve Turnidge, who mastered the disc).  The nifty artwork and typography — evoking both David Stone Martin and Al Hirschfeld — is by artist-clarinetist Ryan Calloway.

The disc is also available through CDBaby and shortly on Amazon and iTunes: check here for updates on such matters.  And here you can find out more about Keenan’s many selves, all of them musical.

I end on a personal note.  I first began to enjoy this disc at the end of the semester for me (I teach English at a community college) — days that are difficult for me.  I had graded enough student essays to feel despondent; I had sat at the computer for so long so that my neck hurt and my eyes ached.  But this disc had come in the mail, and I’d heard TRANSCONTINENTAL and MY WELL-READ BABY already, so, feeling depleted and sulky, I slipped it into the player.  Optimism replaced gloom, and I played the whole disc several times in a row, because it made me tremendously happy.  It can do the same spiritual alchemy for you, if you only allow it in.

May your happiness increase!

“SPREADIN’ RHYTHM AROUND”: JONATHAN STOUT AND HIS CAMPUS FIVE

I did my own private Blindfold Test, and played a track from this new CD for a very severe jazz friend who prides himself on his love of authenticity, and he said, “Well, they’ve GOT IT!” which is how I feel about Jonathan Stout and his Campus Five.

Here’s a sample of how they sounded in 2016 at the Lindy Blossom Weekend:

The first piece of good news is that this group knows how to swing.  Perhaps “knows” is the wrong word, because I never believe that genuine swing feeling could be learned in a classroom.  They FEEL it, which is immediately apparent. Second, although some of the repertoire will be familiar, this isn’t a CD devoted to recreating the fabled discs in better fidelity; the group understands the great recorded artifacts but uses them as jumping-off places to stretch out, to offer their own creations.

I hear traces of the Goodman Trio on LIMEHOUSE BLUES, the 1937 Basie band on HONEYSUCKLE ROSE; Don Byas and Buck Clayton drop by here and there; as do Louis and Astaire; NAUGHTY SWEETIE owes some of its conception to Jimmie Noone, as SUNDAY does to Lester . . . but these versions are expressions of the blended personalities that make up a working band, and are thus precious for us in this century.

Jonathan’s two originals, MILL HOUSE STOMP and DANCE OF THE LINDY BLOSSOMS, work on their own as compositions with their own rhythmic energy. The former bridges the late Hampton Victors and 2 AM at Minton’s; the latter suggests EVENIN’, in mood more than chord changes.

Those familiar with the “modern swing dance scene,” however you define it, will recognize the musicians as energized and reliable: the leader on guitar; Jim Ziegler, trumpet; Albert Alva, tenor saxophone and clarinet (both of the horn players bringing a variety of selves to the project — but often I thought of Emmett Berry and Illinois Jacquet, players I am grateful to hear evoked — and a rhythm team of Chris Dawson (yes!) piano; Wally Hersom, string bass; Josh Collazo, drums.  Jim takes the vocal on CHEEK TO CHEEK, sincerely but with a light heart, and several of the other songs are charmingly sung by Hilary Alexander, who has an engaging primness and delicacy while swinging along.  “Special guests” for a few numbers are the splendid Bryan Shaw, trumpet; Marquis W. Howell, string bass.

The individual soloists are a pleasure: everyone has the right feeling, but I’d just like to single out the leader, because his guitar work is so much the uplifting center of this band.  Stout has obviously studied his Charlie Christian but his solos in that context sound whole, rather than a series of patented-Charlie-phrases learned from transcriptions strung together for thirty-two bars.  His chord work (in the ensemble) evokes Reuss, McDonough, and VanEps in marvelous ways — glimpses of a near-vanished swing landscape in 2017.

And here they are in 2017, once again at the Lindy Blossom Weekend:

When I had heard the CD once again this morning, for purposes of writing this post with the evidence in my ears, I put it on for a second and third time, with no diminution of pleasure.  Later, I’ll play it in my car with the windows open, to osmotically spread joy as I drive.  Look for a man in a Toyota: he’ll be smiling and nodding rhythmically, although both hands on the wheel in approved position.  Rhythm, as they say, will be spread.  Around.

May your happiness increase!

WHIMSY THAT SWINGS: CANDY JACKET JAZZ BAND

Josh Collazo by Jessica Keener

I had met the excellent drummer Josh Collazo only once — at Dixieland Monterey in 2012, where he played splendidly with Carl Sonny Leyland and Marty Eggers.  The evidence is here.  After that, I heard him on record and saw him on video with Dave Stuckey, Jonathan Stout, Michael Gamble and possibly another half-dozen swinging groups.  So I knew he could play, and that sentence is an understatement.

What I didn’t know is that he is also a witty composer and bandleader — whose new CD, CANDY JACKET JAZZ BAND, I recommend to you with great pleasure. And in the name of whimsy, Josh made sure that the CD release date was 4/4.

And this is how the CJJB sounds — which, to me, is superb.  Some facts: it’s a small band with beautifully played arrangements that make each track much more than ensemble-solos-ensemble.  The band is full of excellent soloists, but they come together as a unit without seeming stiff or constricted by an excess of manuscript paper.  Few bands today use all the instruments so well and wisely: a horn background to a piano solo, for instance.  Hooray!

The players are Josh, drums and compositions; Albert Alva, tenor saxophone and arrangements; Nate Ketner, alto and clarinet; Bryan Shaw, trumpet; Dave Weinstein, trombone; Chris Dawson, piano, Seth Ford-Young, string bass; guests (on two tracks)  Jonathan Stout, guitar; Corey Gemme, cornet.

To my ears, this band is particularly welcome because it does the lovely balancing act of cherishing the traditions (more about that shortly) while maintaining its own identity.  The latter part — a swinging originality, splendid for dancers and listeners — blossoms because the compositions are not based on easy-to-recognize chord sequences, and there are no transcriptions from hallowed discs.  The soloists have profoundly individual voices — and are given ample freedom to have their say — and the rhythm section rocks.  The first time I listened to the CD, I enjoyed it for its own sake: you would have seen me grinning in an exuberant way.  On another hearing, I put on my Jazz Critic hat (the one with the ears) and noted with pleasure some echoes: here, an Ellington small group; here, an HRS session; there, Woody Herman’s Woodchoppers and the Basie Octet; over here, a 1946 Keynote Records date; and now and again, a late-Forties Teddy Wilson group.  You get the idea.  Buoyant creation, full of flavor.

The cover art — by artist / clarinetist Ryan Calloway — reminds me so much of David Stone Martin’s best work that it deserves its own salute:

I asked Josh to tell me more about the band and the repertoire, and he did: you can hear his intelligent wit come through:

The term “Candy Jacket” was birthed during a conversation with my cousin at a family get together a few years ago. He was telling me that he saw a segment on the news about the first marijuana-friendly movie theater being opened in Colorado. Jokingly, he went on to say that he was going to open a candy shop next door and sell “Candy Jackets” so that people could sneak stuff in. All in all, it was really just a silly conversation but the term stuck inside my head. I then got to thinking about how much I love all the jive talk of the early jazz era. Why couldn’t I just make up my own? That being said, I like to think of the term as a way to describe someone who (A) is a jazz/swing lover, (B) is fun to be around, and (C) doesn’t take themselves too seriously. Again, very silly but I like it!

The main drive of putting this group together was to create original, classic sounding jazz and swing. The music of the 1930’s and 1940’s is my musical passion. After recreating it for so long in various bands, I just had a burning desire to make something new with respect to the musical framework of that time period that we all love.

Regarding the songs…

“Don’t Trip!” – While I was sitting at the piano coming up with the melody to this song, my son (4 years old) had set up a bunch of his toys around and behind the piano bench.  He then proceeded to put on a pair of my shoes and navigate the elaborate toy landscape like a giant walking through a city. I found myself giving him the side-eye every so often and thinking “Don’t Trip…”. Thankfully, he didn’t but guess who did? HA!

“Vonnie” – This is obviously written for my wife, Vonnie, for whom I love so much. When Albert Alva and I finished the arrangement for the tune, he turned to me and said “You’ve captured the essence of Vonnie – sweet and sassy!”

“Here’s the Deal” – Another song written for my son. With him being 4 years old, my wife and I find ourselves making little deals with him every so often in exchange for good behavior. After awhile, the phrase “Here’s the deal” became so common between us that he even began using it. I really tried to capture his mischievous side with this song starting with the clarinet representing my son and the drums being myself and us going back and forth in conversation.

“March of the Candy Jackets” is the first song I wrote for this album years ago. It was just the melody which is quite quirky and only has two chords in the form. I showed it to Albert Alva many times and each time we ended up passing over it for something with more of a traditional form and melody. As we began the arranging process on the other tunes, this song kept coming back to me. Finally I realized that I wanted it to be a blues song but not just a basic blues that just keeps going round and round. I wanted the solo forms to unfold just like the melody was designed.

“From Bop to Swing” is a take on the Ira Gitler book title, “Swing to Bop,” as well as the live recording with the same name by Charlie Christian and Dizzy Gillespie. Back in the day, swing musicians evolving into bop musicians was a naturally standard progression. Nowadays, I find that most young jazz musicians that love playing swing music have reversed this progression since bop and modern jazz has become the starting point in most schools. I do love bebop music and love all the recordings during the transitional period of the 40’s where the rhythm sections would be playing in a swing style while the horns began branching out melodically with trickier heads. It still had that rhythmic bounce that the dancers could move their feet to. Jonathan Stout is a devout Charlie Christian disciple and I thought this would be a perfect song to feature him on along with Nate Ketner.

“Monday Blues” was literally written on a Monday morning after a long night out playing. I do love the interplay between Albert Alva and Dan Weinstein trading solos.

“Stompin’ with Pomp” – While writing this song, I only had the dancers in mind. I wanted to create the feeling of excitement that you get while dancing to a band live. The song “Ridin’ High” by Benny Goodman is my end all of swing era dance music and I just love the energy that his band had.

“Relume the Riff” – This track track features Corey Gemme and Nate Ketner keeping it cool throughout. I really wanted to get this song on the album last minute so I banged out the arrangement the morning of the session.

“Amborella” was written for our friend and trumpet player, Barry Trop, who passed away last year. He was always a fun guy to be around as well as play alongside. I heard of his passing while working on another song at the piano. The melody just poured out of me. Later, while watching a documentary on prehistoric earth, the flower, Amborella, was talked about. This flower is one of the oldest plant species on our earth. I immediately thought of Barry and how he would indeed live on a long time through our memories of him.

“Giggle in the Wiggle” is a bare bones swinger that I used as a vehicle to feature everyone on the album.

“Albert’s Fine Cutlery” – My nickname for Albert Alva is the “knife” because he is very sharp witted in his humor. He always catches you off guard. I wanted to capture that with the melody of the song.

This CD is a consistent pleasure.  To have it for your very own, there’s Bandcamp (CD / download high quality formats) — here — CD Baby (CD or download) — here — iTunes (download only) — here.  The CJJB site is here and their Facebook page here.  Now, having navigated the Forest of Hyperlinks, I hope you go and enjoy this fine music.

May your happiness increase!

WHAT A BAND! MICHAEL GAMBLE and THE RHYTHM SERENADERS

Yes, Virginia, there are many “swing” “bands” that “play” Thirties and Forties repertoire for dancers and listeners.  I could tell many a tale.  But Michael Gamble and The Rhythm Serenaders really swing, without a quotation mark in sight.  Maybe it’s because their leader is a swinging string bassist who’s thus situated in the heart of the rhythm section that the disc sounds so good.  Maybe it’s because Michael has surrounded himself with musicians who understand ensemble playing as well as their solo excursions.  Musicians, I point out, who understand Buck Clayton, Ben Webster, Lester Young, Allan Reuss, Pete Brown, Dicky Wells, Charlie Christian, Jo Jones, Billie Holiday without copying them.

Whatever magic it took to create this band and this CD is in the hearts and bodies of the creators, I can only imagine.  I can only comment on the gratifying results.

michael-gamble

Their debut CD is an authentic-sounding tasting menu of good things.  If you’re like me, a close listener who has many Swing Heroes and Heroines, the list of people on the disc will immediately act as confirmation that a purchase would be a good idea (you have a birthday behind you or coming soon, correct?):

Michael Gamble, Bass / Keenan McKenzie, Clarinet and Saxes / Jonathan Stout, Lead Guitar / Paul Cosentino, Clarinet and Saxes / Russ Wilson, Vocals and Drums / Brooks Prumo, Rhythm Guitar / Gordon Au, Trumpet / Craig Gildner, Piano / Noah Hocker, Trumpet / James Posedel, Piano / Josh Collazo, Drums / Lucian Cobb, Trombone / Laura Windley, Vocal / David Wilken, Trombone.

And the repertoire: BACK IN YOUR OWN BACKYARD / I NEVER KNEW / SLIDIN’ AND GLIDIN’ / SEVEN COME ELEVEN / PICK-A-RIB / A MELLOW BIT OF RHYTHM / BUG IN A RUG / HE AIN’T GOT RHYTHM / WHO’S SORRY NOW? / WOKE UP CLIPPED / ROSE ROOM / WHAT A NIGHT, WHAT A MOON, WHAT A GIRL / CRAZY ABOUT LESTER /SCOTTIE / SMOKE GETS IN YORU EYES.

You’ll notice that this band has dug deeply and wisely into the music rather than offering the standard two dozen overplayed standards of the swing era.  Rocking tempos with lovely fervent playing and singing throughout.  I guarantee it.

And here’s an audio-visual sampler, quite authentic and lively:

 

Here is the spot that’s hot: where you can purchase this disc. Even if you’re like me, whose swing dancing is the happy motion of my head and my right foot — an imagined choreography much more than a full-body actualized one — you will love the music that Michael and the band create.  It feels real — rhythmically, melodically, and spiritually.  (If you are a swing dancer, you surely have encountered this band somewhere and already have purchased their music, which amounts to a compact party.  Just add bottled water and snacks.)

And here is the band’s schedule: coming soon to a waxed floor near you!

May your happiness increase!

FIRST-RATE FROLICS: DAVE STUCKEY and the HOT HOUSE GANG: “HOW’M I DOIN’?!”

HOT HOUSE GANG two

These fellows mean business: to swing and to lift our spirits.  And unlike a good many bands who market themselves as “retro swing,” the Hot House Gang can really play.  Experience, not imitation via the iPhone 92S.

DAVE STUCKEY photos

Happiness is hearing new music that has an old-time feel with modern vivacity. May I present Dave Stuckey and the Hot House Gang?

Their new CD, HOW’M I DOIN’?!, is a delight.

HOT HOUSE GANG

Dave himself (guitar and vocals) has an infectious swing, and the musicians he’s gathered around him are some of the best in the West, or perhaps the known world.  I was immediately reminded of Fats Waller and the ebullience he created on his Victor discs . . . but Dave has an advantage here.  Where Fats often had to lampoon substandard material (I am thinking of ABERCROMBIE HAD A ZOMBIE, where the last word refers to a particularly potent drink, not the night creature), Dave writes many of his own songs, words and music, and they have a jaunty, side-of-the-mouth comic flair: I found myself listening several times to each track — for the band, for Dave’s singing, for the lyrics.  In a different era, these would be hit singles — although they might be too hip for the room.  And although Dave urges the band on a la Waller, he can also be tender — on a rhythmic performance of GHOST OF A CHANCE or a romping I NEVER KNEW.

I knew this was a fine band and a fine CD about ninety seconds into the first track because I was smiling and bobbing my head — sure signs of swing pleasure. Dave’s ebullient singing caught me instantaneously, and I thought, “This is a song that would have fit right in on a 1936 Bluebird, although the lyrics are as hip as Mercer and the band has more room to rock.”

About those originals — they are new but seem immediately familiar (and the CD includes a lyric sheet for those readers on long car trips) — and each one rocks in its own fashion.  I worry about CDs that are entirely composed of the leader’s originals, but Dave is a triple threat: singer, rocking guitarist, and songwriter. Dave also has done the clever trick so beloved of Thirties songwriters: to base the conceit of his lyrics on a familiar phrase: LET’S GET HOT AND GO, STOP ME IF YOU’VE HEARD THIS ONE BEFORE, WHAT WILL IT TAKE?, MAYBE IT’S THE BLUES, and two oddities, SISTER KATE (The Potentate of Harlem) and OPTIMISTICIZE.

And there is a pleasing sheaf of jazz classics that will never grow old: I NEVER KNEW, LOVE IS JUST AROUND THE CORNER, SHIM-ME-SHA-WABBLE, I DON’T STAND A GHOST OF A CHANCE WITH YOU, ‘T’AIN’T NO USE.

Dave has two overlapping bands, each one filled with stars who can create mellow sermons — as soloists or as an ensemble playing Dan Barrett’s charts, which grace seven songs):  Corey Gemme, cornet, trombone, clarinet; Dan Barrett, trombone, trumpet; Nate Ketner, alto, clarinet; Carl Sonny Leyland, piano; Wally Hersom, string bass; Josh Collazo, drums — or Corey; Josh “Mooch” Petrojvic, piano; Larry Wright, alto, soprano, clarinet; Wally, Josh.

I confess to a surge of pleasure that the CDBaby page devoted to this CD says you will like it if you like Clarence Williams, Fats Waller, and Wingy Manone.  Someone’s got the best intentions, and someone’s been listening closely: mid-Thirties joy without any museum dustiness.  And that page offers a chance to buy the disc (how twentieth-century of us!) or to download the music.

Just to whet your appetite for the CD — or to pass the time until it arrives — here are a few videos of the band in their natural habitat:

TOO  BUSY, from December 2014, with Carl Sonny Leyland, Corey Gemme, Rob Hardt, Jeff Hamilton and Marquis Howell:

SHIM-ME-SHA-WABBLE, from October 2015, shot by JediJen7:

and BLUE LOU from the same evening:

Here’s Dave’s Facebook page, for those people fortunate enough to live in Southern California, where the band currently romps; you can also see and hear more and even find out how to purchase the CD.

The CD asks the question — even though the song is not one of the twelve titles — HOW’M I DOIN’?!  I can answer in the enthusiastic affirmative for Dave and his band.  Long may they swing and cheer us.

May your happiness increase!

“DECIDED,” I WOULD CALL THIS: JONATHAN STOUT, CASEY MacGILL, CHRIS DAWSON, JIM ZEIGLER, ALBERT ALVA, WALLY HERSOM, JOSH COLLAZO in SEATTLE (January 2013)

UNDECIDED — by Charlie Shavers — evokes a certain ambivalence.  “What do you want to call this tune, Charlie?” “UNDECIDED” comes back in a telegram — or so the story goes.  I remember Bobby Hackett, Vic Dickenson, Dave McKenna, Jack Lesberg, and Cliff Leeman playing it in such a manner that you knew there was no dithering at all.

Here’s a more current example: Jonathan Stout and the Campus Five, with guest Casey MacGill on guitar and scat vocal; Jim Ziegler on trumpet; Albert Alva on tenor saxophone; Chris Dawson on piano; Wally Hersom on string bass; Josh Collazo on drums; Jonathan himself on guitars.  It was recorded just a few days ago — January 4, 2013, at Rusty’s Rhythm Club – a weekly swing dance at an Elks Lodge in Playa del Rey, California.  Rusty’s also has live music on the first Fiday of the month: details here.

I like music that knows its own mind.  Even though the video is somewhat informal, it’s a gift to have it.  To see more of Jonathan’s bands, you need only visit here.

May your happiness increase.

IN THE GROOVE with CARL SONNY LEYLAND, MARTY EGGERS, JOSH COLLAZO (Monterey 2012)

All the circumstances were against it: a Sunday morning session in a small room off the main stem at the 2012 Jazz Bash by the Bay (also called Dixieland Monterey) 2012.  But anyone who underestimates the superpowers of pianist Carl Sonny Leyland is in for a swinging series of shocks.  And on this session he was joined by the reliable Marty Eggers, string bass, and Josh Collazo, drums.  Power, style, grace, and the blues!

Here are a few selections from their exuberant commingling.

A nicely seasoned performance of the Albert Ammons BOOGIE WOOGIE BLUES:

Faster than a speeding bullet — and twice as accurate — SONG OF THE WANDERER:

Showing us all the subtleties and variations within the form: MR. FREDDIE BLUES:

Feeling like a few notes of Rachmaninoff would suit you nicely?  Here’s the RUSSIAN RAG, played at a splendidly leisurely tempo:

Be sure to hang on to the bannister, please!  OH, BABY! — evoking old Chicago:

Masters of swing!

May your happiness increase.

SWING SCENES

A friend sent me links to two YouTube videos I wouldn’t have otherwise found — posted by “swingscenevideos”: what they have in common is the presence of Jonathan Stout and that they both swing mightily in their own fashion.

Jonathan Stout leads a small hot group called the Campus Five — and he’s posted half-hour shows on YouTube, beautifully recorded and presented, on the “famouspictures” channel.  Here’s a more informal combo performing THERE’LL BE SOME CHANGES MADE led by Western Swing guitarist and singer Dave Stuckey — featuring Corey Gemme on cornet, Dan Barrett on valve trombone, Chris Dawson on piano, Wally Hersom on bass, and Jonathan on drums rather than his customary guitar.  (Fine drumming, there!)

With the Campus Five, Jonathan offers a swinging version of JAMMIN’ THE BLUES (complete with their own take on the famous Illinois Jacquet – Jo Jones duet near the end).  The band is Albert Alva, tenor; Jim Ziegler, trumpet; Richard Geere, piano, Art Gibson, bass; Josh Collazo, drums:

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While I’m asleep on the East Coast, these scenes are going on out West, which is very reassuring.