Tag Archives: Josh Collazo

“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!

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“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.