Tag Archives: Katie Cavera

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!

RAY SKJELBRED and his CUBS at OLYMPIA, WASHINGTON (June 2019): RAY SKJELBRED, KIM CUSACK, JEFF HAMILTON, MATT WEINER, JOSH ROBERTS

I was closer to home — Beantown in Beverly, Massachusetts — when Ray Skjelbred and his Cubs played several sets (more than forty videos recorded and posted by Rae Ann Berry) at the 28th Annual Greater Olympia Dixieland Jazz Festival, in Lacey, Washington.  Ray also appeared at a crucial member of the Evergreen Jazz Band, which Rae Ann also captured on video for us.

Three of the Cubs were the heroes we know: Ray, piano, vocal, and moral leadership; Kim Cusack, clarinet, vocal; Jeff Hamilton, drums, banter.  But two other stars — Clint Baker and Katie Cavera — couldn’t be there, so Ray brought two splendid young musician-colleagues from the Pacific Northwest, whom you should get to know right away: Matt Weiner, string bass, vocal; Josh Roberts, guitar.  What music they make!

Here are a few glorious samples: finding the rest is not difficult and worth the clicking and mousing.

BOLL WEEVIL BLUES, one I’ve never heard Ray play and sing:

I’LL ALWAYS BE IN LOVE WITH YOU: what if Kim Cusack had been the right age to sit in with the 1937 Basie band?

IDA (for Ida Melrose Shoufler, of course, “Auntie”):

and a blues inspired by an Eddie Condon Commodore record, BEAT TO THE SOCKS:

and another Condon homage, IMPROVISATION FOR THE MARCH OF TIME:

I think of “Buy them, trade them, collect the set!” but that isn’t right: how about “Watch them, enjoy them, honor this music!” You can find more of Rae Ann’s treasures here.

May your happiness increase!

THE VIEW FROM THE FRONT ROW (Jazz Bash By The Bay, Monterey, March 1-2, 2019)

A garden of earthy delights and delightful people.

 

 

It’s the late afternoon of March 2 at the Bash, and it has been wonderful and promises to continue.  So far, I’ve heard Carl Sonny Leyland, Marty Eggers, Jeff Hamilton, Brian Holland, Marc Caparone, Jacob Zimmerman, Steve Pikal, Danny Coots, Dawn Lambeth, Paolo Alderighi, Sam Rocha, Danny Tobias, Jim Lawlor, and I’ve swapped hellos, stories, and hugs with Clint Baker, Riley Baker, Stephanie Trick, Paul Hagglund, Katie Cavera, Jeff and Anne Barnhart, Amy Holland, Rae Ann Berry, Barbara Sully, Bill Reinhart, and more.  Tonight, if the stars align, I’ll meet the Crescent Katz with Jacob Zimmerman, Holland-Coots again (they blew the roof off yesterday and construction crews have been called in), GROOVUS, and Dawn Lambeth with Clint and Riley Baker, Jerry Krahn, and Ike Harris.  Sunday . . . . more Carl Sonny Leyland, Jacob Zimmerman, and GROOVUS.

There are, of course, many other bands and itinerant musicians . . . but these are the people I’ve flown across the continent to see.  And I’ll be smiling all the way home.  Videos to come, if the Tech Goddess smiles on my efforts.  Next year is the Bash’s fortieth anniversary — about fifty-one weeks from now.  Make plans!

May your happiness increase!

GOIN’ TO TISHOMINGO: A FEW WORDS FOR CONNIE JONES

This morning, I learned through Ed Wise and Tim Laughlin that Connie Jones died in his sleep at home next to his beloved wife Elaine.  Although I hold to cherished ideas about death and transitions — that those who leave their earthly form behind never leave us utterly, that they have merely moved to another neighborhood — I find it hard to write that Connie has left us. He was a great poet without a manuscript, a great singer of immediate heartfelt songs even when he wasn’t singing.

I had the immense good fortune to see and video-record Connie in performance from 2011 to 2015: mostly at the San Diego Jazz Fest, but once at Sweet and Hot and once during the Steamboat Stomp, and I’ve posted as many of those performances as I could.

We didn’t converse much: I suspect he had some native reticence about people he didn’t know, and perhaps he had a perfectly natural desire to catch his breath between sets, ideally with a dish of ice cream.

His playing moved me tremendously.  I tried not to gush, although my restraint failed me once, memorably.  After a particularly affecting set, I came up to him and said, more or less, “Do you think of yourself as a religious man?” and he gave me the polite stare one gives people who have revealed themselves as completely unpredictable, and said, after a pause, “Yes, I do,” and I proceeded to say, quietly, “Well, I think your music is holy.”  Another long pause, and he thanked me.  And I thanked him.  Which is what I am doing in this post.

With all respects to the people who recorded him and played alongside him in various recording studios, I think the real Connie Jones only came through complete when he was caught live — one reason I am proud that I had the opportunity to catch him, as it were, on the wing.  He was the bravest of improvisers, reminding me at turns of Doc Cheatham, of Bob Barnard, of Bobby Hackett — someone so sure of his melodies that he would close his eyes and walk steadily towards a possible precipice of music . . . but creating the solid ground of loving music as he went.

I expect to have more reason to celebrate and mourn Connie in the future, but I think this is one of the most quietly affecting vocal and instrumental performances I will ever hear or witness. See if you don’t agree: Connie, cornet and vocal; Tim Laughlin, clarinet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums, at the San Diego Jazz Fest on Nov. 29, 2014:

He was so unaffected, so generous in what he gave us.  No one can take his place.

May your happiness increase!

ON THE ROAD TO FRESNO (February 7-10, 2019): DAVE STUCKEY AND THE HOT HOUSE GANG

 

 

 

Tomorrow I’m on my way to Fresno — thanks to Delta, United, and Alaska Airlines.  Why?  Well, for Bob Schulz, Kim Cusack, Clint Baker, Marc Caparone, Jeff Hamilton, Carl Sonny Leyland . . . and Dave Stuckey and his Hot House Gang.  Here they are in a November 2016 Saturday-night dance gig at the San Diego Jazz Fest, with Dan Barrett, Corey Gemme, Nate Ketner, Carl Sonny Leyland, Katie Cavera, Gareth Price:

I hope to see you there.  But if I just smile and wave from behind my camera, don’t be offended: I will be too busy with good music.  Incidentally, I believe that the Hot House Gang at Fresno will be Marc Caparone, Nate Ketner, David Aus, and Sam Rocha — among others.  (All schedules subject to change.)  The point is that any ensemble with Dave Stuckey in it or in front of it can’t help but swing.  Had he been a few decades older, Jack Kapp and Eli Oberstein would have fought to sign him to record contracts, and he would have appeared in B pictures . . . . and he’d be legendary.  He is now.

May your happiness increase!

TRICKY SAM’S EXUBERANT SOUNDS (1940)

JOSEPH “TRICKY SAM” NANTON, 1904-46, thanks to Tohru Seya.

One of the great pleasures of having a blog Few jazz listeners would recognize is the ability to share music — often, new performances just created.  But I go back to the days of my adolescence where I had a small circle of like-minded friends who loved the music, and one of us could say, “Have you heard Ben Webster leaping in on Willie Bryant’s RIGMAROLE?”  “Hackett plays a wonderful solo on IT LOOKS LIKE RAIN (IN CHERRY BLOSSOM LANE).”  Allow me to share some joy with you, even if we are far away from each other.

Some of the great pleasures of my life have been those players with sharply individualistic sounds.  Think of trombonists: Vic Dickenson, Dicky Wells, Bennie Morton, Jack Teagarden, Jimmy Harrison, Bill Harris, Trummy Young, J.C. Higginbotham, Miff Mole, Sandy Williams, and more.  And the much-missed fellow in the photograph above.  This high priest of sounds is a hero of mine.  He left us too young and he loyally refused to record with anyone except Ellington.  I don’t ordinarily celebrate the birthdays of musicians, here or in other neighborhoods, but February 1 was Mister Nanton’s 115th, and he deserves more attention than he gets.  He was influenced by the plunger work of Johnny Dunn, a trumpeter who is far more obscure because he chose a route that wasn’t Louis’, but Tricky Sam was obviously his own man, joyous, sly, and memorable.

Here he is with Ellington’s “Famous Orchestra” band on perhaps the most famous location recording ever: the November 7, 1940 dance date in Fargo, North Dakota, recorded by Jack Towers and Dick Burris on a portable disc cutter.  ST. LOUIS BLUES, unbuttoned and raucous, closed the evening, with solos by Ray Nance, cornet; Barney Bigard, clarinet; Ivie Anderson, vocal; Ben Webster, tenor saxophone; and Tricky Sam — before the band combines BLACK AND TAN FANTASY and RHAPSODY IN BLUE to end.  (The complete band was Duke, Rex Stewart, Ray Nance, Wallace Jones, Tricky Sam Nanton, Lawrence Brown, Juan Tizol, Otto Hardwick, Johnny Hodges, Barney Bigard, Ben Webster, Harry Carney, Fred Guy, Jimmie Blanton, Sonny Greer, Ivie Anderson, Herb Jeffries.  And the whole date has been issued on a 2-CD set.)

It says a good deal that Duke saved Tricky Sam for the last solo, the most dramatic.  Who, even Ben, could follow him?

You will notice — and it made me laugh aloud when I first heard it, perhaps fifty years ago, and it still does — that Tricky Sam leaps into his solo by playing the opening phrase of the 1937 WHISTLE WHILE YOU WORK (Larry Morey and Frank Churchill) from the Disney SNOW WHITE AND THE SEVEN DWARFS.  How it pleases me to imagine Ellington’s men taking in an afternoon showing of that Disney classic!

Let no one say that Sonny Greer couldn’t swing, and swing the band.  To paraphrase Gloria Swanson in SUNSET BOULEVARD, “They had sounds then.”

And just on the Lesley Gore principle (“It’s my blog and I’ll post if I want to”) here’s a full-blown 2013 version of WHISTLE WHILE YOU WORK by John Reynolds, guitar and whistling; Ralf Reynolds, washboard; Katie Cavera, string bass; Marc Caparone, cornet; Clint Baker, clarinet — recorded at the 2013 Jazz Bash by the Bay in Monterey, California . . . another stop on the 2019 JAZZ LIVES hot music among friends quest.  No trombone, but Joseph Nanton would have enjoyed it for its headlong verve:

May your happiness increase!

GRAB YOUR HIGHLIGHTERS: THE BAND SCHEDULE FOR FRESNO “SOUNDS OF MARDI GRAS” 2019 IS HERE (with some delightful MUSICAL EVIDENCE)

I’ve already posted this cheering bouquet of balloons, and I’m making my first trip to Fresno for “the sounds of Mardi Gras” early next month.  And not simply in hope of finding balloons.

Now, we can all get down to the delightful business of planning what to see and hear.  I’m sure there are people who simply amble through a festival, guided by the sounds they hear coming from one room or another.  But I’m a man with a mission: I know the bands I particularly want to hear and video . . . so I have to plan.  If I go to see X and her Jelly Whippers at 6, then I can’t (as Sir Isaac Newton reminds me) hear Y and her Joy Boys at the same time.  So either in the solace of my apartment or perhaps on the airplane, I bring out the highlighters so that I can plot and plan . . .
NEWS FLASH: as of January 25, some last-minute changes – – – –
On Friday, in Salon C/D, the morning – afternoon sequence is now Young Bucs / Yosemite / Climax / Tom Hook / High Sierra.  The evening sequence in C/D is now Bob Schulz, Dave Stuckey, and the rest unchanged.    As far as  my nearsighted eyes can tell, those are the only changes.  But the sole way to be sure you have the right schedule is to go to the Sounds of Mardi Gras and pick up the current paperwork.
I believe that an even larger version — spread it out on the floor so the whole family can play — can be found  here.  Since this is my maiden voyage to this festival, I haven’t any videos of my own to share.  But my colleagues have filled that need for years — one of them being the faithful Bill Schneider, who captured Bob Schulz’s band playing a lyrical YOU’RE DRIVING ME CRAZY at the 2018 festival — with lovely work from Bob, Kim Cusack, Ray Skjelbred, Doug Finke, Scott Anthony, Jim Maihack, and Ray Templin:

and a very hot MONA LISA from a 2010 performance by the New El Dorado Jazz Band co-led by Hal Smith and Clint Baker, with Marc Caparone, Howard Miyata, Mike Baird, Carl Sonny Leyland, Katie Cavera, and Georgia Korba.  Not everyone in this band will be at the 2019 festival, but their music is preserved for us thanks to RaeAnn Berry:

I look forward to the 2019 banquet of good sounds.  For details, visit the festival’s website and their Facebook page.  But don’t take so long looking for the right color highlighter that this hot weekend passes you by.

May your happiness increase!