Tag Archives: Justin Au

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

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

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

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

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

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

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

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

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

Here’s John, playing Jelly:

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

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

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

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

May your happiness increase!

A YOUNGBLOOD SERENADE: GUILLERMO PERATA and FERNANDO MONTARDIT (June 14, 2019)

These Youngbloods give me hope — people who make lovely music and have a long way to go before asking for the senior discount at the movies.  They are Guillermo Perata, cornet, and Fernando Montardit, guitar: here making merry and making art on the Goldkette-associated pop tune, HOOSIER SWEETHEART at an informal duo session of June 14, 2019.

You’ll also notice (when you listen) that they don’t treat this 1927 song as a holy relic of the Roaring Twenties, but, rather, as a piece of music to improvise on, with lyricism, swing, and a deep love for the melody:

This approach (think Louis, Hackett, Braff, Vache, Tobias, Kellso, Gordon and Justin Au, Caparone in the brass line; think Reuss and Grosz on guitar) never gets old.

I understand that Guillermo and Fernando will be visiting New York City and then New Orleans in the first half of August.  I haven’t seen Fernando in a few years, and I look forward to meeting Guillermo.  They are real, and the music they make is both tangible and memorable.

May your happiness increase!

“LEAP, AND THE NET WILL APPEAR”: NIRAV SANGHANI and the PACIFIC SIX and GUESTS: NIRAV SANGHANI, ALBERT ALVA, SEAN KRAZIT, JUSTIN AU, RILEY BAKER, VIRGINIA TICHENOR, NICK ROSSI, MIKIYA MATSUDA, CLINT BAKER (June 16, 2019)

That serious young man and his friends have done it again, healthfully  rising the planet’s Swing levels.  He’s Nirav Sanghani, leading his flexible band, the Pacific Six, whose new CD I praised just last month here.

Here’s a jazz classic from the recent Bootleggers’ Ball, on Jun 16: the Six plus guests Justin Au, trumpet, and Nick Rossi, electric guitar (wearing tuxedoes).  The rest of the band, Virginia Tichenor, piano; Albert Alva, tenor sax; Mikiya Matsuda, bass; Sean Krazit, tenor sax; Clint Baker, drums; Riley Baker, trombone; Nirav Sanghani, rhythm guitar, bandleader.  The nice floating videography is by Jessica King, vocalist, percussionist, and cinematographer:

So many things in this life are uncertain.  The saying that I’ve chosen for my title is attributed to John Burroughs, Julia Margaret Cameron, and anonymous Zen masters.

LESTER LEAPS IN was most assuredly John Hammond’s title, not Lester’s — for that line on I GOT RHYTHM.  But attributions and minutiae matter less than the effect such things —  those words, that music, that band — have on our hearts.

May your happiness increase!

CHOOSING TO SWING: NIRAV SANGHANI AND THE PACIFIC SIX

I don’t have grandchildren*, but I can imagine myself gathering the younguns around and telling them, “Younguns, Grandpa knew Nirav Sanghani when he was only a swing dancer, before he began to lead a band!” They would be properly awestruck.  As I am by Nirav’s debut CD, its pretty cover displayed above.

Some facts: the CD is immensely danceable music, the tracks at righteous groovy tempos, with a mix of classic standards and riff-based originals.  Nirav is one of the young musicians mentored by Clint Baker, so you know that he has taken all the right impromptu classes and scored high on the real-life exams (in front of audiences).  And he understands rhythm guitar (rather than attempting to become a Famous-Solo-Guitarist-Clone) and playing for the band.  The band is a compact sextet of wise individualists, and they rock in solo and ensemble.  Beautiful sound . . . . and a digital download costs $8.  I am sure that Elders like myself could also buy a physical disc from Nirav at any of the swing events he and the Pacific Six adorn.

The band: Justin Au, trumpet; Jacob Zimmerman, clarinet and tenor saxophone; Rob Reich, piano; Nirav Sanghani, guitar; Jen Hodge, string bass; Riley Baker, drums; Clint Baker, trombone (on BAKER BOUNCE only).

The songs: BAKER BOUNCE / DOODLE RHYTHM / MARIANAS / BLUE (And Broken-Hearted) / IRRATIONAL BLUES / SOMEDAY SWEETHEART / WHO’S SORRY NOW? / LULLABY OF THE WAVES / WHISPERING.  arch 26, 2019

Recorded August 19, 2018 at Community Music Center, San Francisco, CA.

From the first notes, the band floats on a well-connected four-piece rhythm section: Reich, Sanghani, Hodge, and Baker have listened hard to the great small groups of the Forties and the wartime Basie influence is so happily evident (although none of the cliches are).  I noticed happily that more than a few of the tracks began with a rhythm-section introduction, reminiscent of the great small groups and also clearly setting the tempo for dancers.  (Incidentally, that rhythm section has its own delicious quirky approach: hear the opening chorus of WHISPERING to get at it: hilarious and completely effective.)  IRRATIONAL BLUES is beautifully evocative of the 1938 Kansas City Six, with a guitar introduction by Sanghani.

And the horn soloists (Zimmerman switching from clarinet to saxophone on some tracks; a terse, lyrical Au — with the impassioned Clint Baker, jazz parent, adding huge trombone sounds on the first track) are wonderfully idiomatic but never imitative.  Eddie Condon would surely admire their interplay on BLUE and on SOMEDAY SWEETHEART.  The jazz fans in the audience might think of 1946, of Savoy Records, of swing-to-bop; the dancers will be too busy dancing to consider such erudite matters.

Nirav’s originals are made of familiar materials but each has its own little surprises, and the arranging touches are well-shaped but never overfussy.  I know that if I heard this on the radio or on a DJ’s playlist, I might not immediately call each of the players by name but I certainly would insist on knowing about the band and buying a few copies of the disc.

I propose that people who enjoy this CD pass along copies of it to dance organizers who might be out of touch with the best Bay Area jive so that we can spread the swinging word(s).

My only complaint about this disc is that it isn’t a two-disc set.

Here is the band’s Facebook page, and here, perhaps even more important, is the Bandcamp page where you can hear the sounds and download the music.

If you have a swing dance event coming up, this would be one of the many fine bands to hire.  If, like me, you don’t, you surely will want to have the music in your home, your ears, your car . . . the possibilities are endless, and gratifying.

*Because I don’t have grandchildren, I am expecting like-minded younger JAZZ LIVES readers to visit us in assisted living, bearing new CDs, organic fruit and vegetables.  I think that’s not too much to ask.

May your happiness increase!

PISMO JOYS (Part Two): “SHAKE ‘EM UP JAZZ BAND and THE AU BROTHERS”: CHLOE FEORANZO, MARLA DIXON, MOLLY REEVES, DEFNE “DIZZY” INCIRIOGLU, JULIE SCHEXNAYDER, GORDON AU, BRANDON AU, JUSTIN AU (October 26, 2018, Jazz Jubilee by the Sea)

The temperature suddenly rose in Pismo, California, during the late October weekend that the Jazz Jubilee by the Sea transformed that salt-water-taffy town into a swing sauna, a hot haven.

You don’t have to take my word for it.  Conveniently, here is compelling evidence from Larry Scala, Dawn Lambeth, Marc Caparone, Bill Bosch, and Danny Coots.

Then, I was fortunate enough to capture three performances by what I’d call a Constellation of Youngbloods (no “Cats vs. Chicks” in this century), where the Shake ‘Em Up Jazz Band and the actual Au Brothers‘ front line (the band minus Howard Miyata, Danny Coots, and Katie Cavera) shared the stage.  For those keeping score, that’s Gordon Au, trumpet; Justin Au, trumpet; Brandon Au, trombone; Marla Dixon, trumpet and vocal; Chloe Feoranzo, clarinet and vocal; Molly Reeves, guitar; Defne “Dizzy” Incirlioglu, washboard and percussion; Julie Schexnayder, string bass.  (Trombone star Haruka Kikuchi, is — if my sources are correct — currently occupied with matters maternal.  I’m sure she’ll be back in the bass clef before long.)

Oh, how this Constellation wailed.

SHAKE IT AND BREAK IT was first recorded in 1921 — I am sure that it was being played before then — although my favorite versions are by Sidney Bechet and the Varsity Seven.  This twenty-first century explosion rocks along irresistibly, after Molly introduces everyone:

EMPTY BED BLUES is a Bessie Smith lament that Chloe Feoranzo has taken for her very own:

SAY “SI SI” (originally “Para Vigo me voy” by Ernesto Lecuona, who also wrote “Maria La O”) was a Thirties pop tune popularized here by Xavier Cugat, the Andrews Sisters, Glenn Miller, and many others — a song the New Orleans musicians who loved heating up melodic pop melodies took to happily, including Billie and DeDe Pierce, Kid Thomas Valentine, Paul Barnes, George Lewis, Emmanuel Paul, Louis Nelson, Alvin Alcorn — so it has a long and vibrant NOLA tradition.  Marla shows us her multi-lingual flair and grace:

Thanks to Linda and John Shorb and the rest of the Jubilee angels for making such good noises possible and accessible.

May your happiness increase!

CELEBRATING HOWARD MIYATA, MUSICIAN OF THE YEAR, AT DIXIELAND MONTEREY 2013

I waited to post this until the British heir to the throne safely entered this world, so as not to draw attention from that monarch-to-be.  But here’s another royal event, the jazz coronation of Howard Miyata as Musician of the Year on March 2, 2013, at Dixieland Monterey / the Jazz Bash by the Bay.  His regal attendants include Susie Miyata, Gordon, Brandon, and Justin Au (nephews three), and the High Sierra Jazz Band, with special commentary by Pieter Meijers and Bryan Shaw.

Where HAIL TO THE CHIEF meets TIGER RAG, and where “catcalls” are a good thing.  Congratulations to Uncle How!

May your happiness increase!

DAY INTO NIGHT, WITH SWEET SWING: TAMAR KORN, GORDON AU, DENNIS LICHTMAN, JARED ENGEL, JIMMY SPERO, JUSTIN AU, BRANDON AU (Conclusion): SACRAMENTO, CALIFORNIA / June 6, 2013

All good things must come to an end, so here (with regrets) are the last five performances from a magical evening of music.

George Esposito (georgeespo@sbcglobal.net) — well-known on KXJZ Sacramento public radio as a jazz host — has been staging lovely outdoor concerts for a long time: this is the ninth year of his Midweek Sunset Jazz Series. Email him to get on his mailing list for future concerts. On June 6, 2013, I and a large crowd enjoyed a singular concert in George’s spacious backyard, where the music was presented against the changing canvas of the sky, as afternoon shaded into night. And the music mixed sweetness, inventiveness, and surprise.

The creators: Tamar Korn, song; Gordon Au, trumpet / composition / arrangement; Dennis Lichtman, clarinet; Jared Engel, string bass; Jimmy Spero, guitar. And, on the final two tunes, the Au Brothers leaped in — Justin, trumpet; Brandon, trombone. The repertoire: three classics; two originals by Gordon (one with lyrics I’d not heard before).  

HEARTACHES:

Gordon’s evocation of Louis, Duke, and avian splendor, PAVONIS:

His romantic rhythm ballad, ONCE, DEAR:

And the family of Swing enlarges for OLD FASHIONED LOVE (with a remarkable first chorus):

LET YOURSELF GO:

May your happiness increase!