Tag Archives: Kevin Dorn

VIVIDLY ALIVE: THE BRAIN CLOUD, “LIVE AT BARBES”

I adore the surprises that happen at jam sessions or when musicians are asked to play alongside each other in new combinations, but Heaven smiles on that rare entity, a WORKING BAND.  The Brain Cloud, led by Dennis Lichtman (clarinet, violin, mandolin, and more) is such a remarkable entity — and they’ve just released their third CD, “Live at Barbes.”

Photo by Seth Cashman

Here’s a sample: music does speak louder than words!

Dennis Lichtman and all the members of the Brain Cloud have created the world’s most swinging, melodic “safe space”: which is to say, a place where all kinds of lyrical music are welcome to flourish — not historical or archaeological, but alive now.

Once upon a time, we know, there was just MUSIC — a beautifully undulating landscape as far as we could see.  Then, people looking to sell product — journalists, publicists, record company executives, even some musicians — came and divided the landscape up into little fiefdoms whose occupants glared at one another.  The Brain Cloud suggests that a return to the prelapsarian world is possible: imagine a record store where The Carter Family and Benny Carter are friends, where Lester Willis Young and Bob Willis share a drink, a cigarette, and a story.  Or a place where double-entendre blues sit in the same pew as hymns, where “Dixieland,” “roots music,” “Americana,” all those dazzling names for what is essentially the same thing, coexist beautifully, because they are all only music that has stories to tell and in the telling, enlightens the listener.

Photo by Tom Farley

To the music: as you can hear and see above, the opening track on this CD, JEALOUS HEARTED ME, is no academic exercise: a Carter Family song, it reminds me of rocking Fifties rhythm and blues, with an outchorus that would equal any Eddie Condon IMPROMPTU ENSEMBLE.  The expert Merrymakers here are Dennis Lichtman, clarinet, mandolin, fiddle; Tamar Korn, vocal improvisations; Skip Krevens, guitar, vocals; Raphael McGregor, lap steel guitar; Andrew Hall, string bass; Kevin Dorn, drums.

Each track is wonderfully itself — the CD isn’t a monochromatic blur — but each is a joyous lesson in the merging of “styles.”  So aside from the “roots” classics — venerable as well as new (from Jimmie Rodgers and Patsy Cline) — there’s Alex Hill’s YOU WERE ONLY PASSING TIME WITH ME (hooray!) and the 1939 Broadway song COMES LOVE and the Twenties LONESOME AND SORRY and IF YOU WANT THE RAINBOW.

Since the Brain Cloud has had a long residency at Barbes (on Monday nights) there is a delightful mix of exuberance and comfort.  Everyone’s made themselves to home, as we might say.  And — in case you worry about such things — the recorded sound is excellent.  Those who have been to Barbes already have multiple copies of this disc; if you’ve never made it into Brooklyn for such frolics, you’ll want your own copy.  And on a personal note: listening to the Brain Cloud has helped me to drop my own narrow suspicions of music that I didn’t think was “jazz,” always a good thing; I’ve been following them since 2009, and this disc is a wonderful encapsulation of what the band does so well.

Here you can find out more about the Brain Cloud, hear more music, buy this disc, or a download, or even as a limited-edition cassette.  And more.  Don’t just sit there!  Move that cursor!

May your happiness increase!

“Have one to sell? Sell now #D366 VINTAGE 1950S 8X10″ JAZZ ORCHESTRA NEGATIVE PHOTO Benny Goodman Big Band”

When I looked up “Benny Goodman” and “1938” in preparation for this blogpost, Google quite naturally led me to the Carnegie Hall concert of January 16.  But there was wonderful music made later in the year, by a band elevated by Dave Tough, drums, and Bud Freeman, tenor saxophone.  Here’s a sample:

The link between that performance and my odd title might not be clear, so here’s the answer key: the title is the convoluted language of eBay, that odd treasure house.  And thanks to David J. Weiner, scholar and friend (pal of my childhood days, to be precise) I have the treasure below to share with you.  It’s a remarkable photograph — the negative of one — of the 1938 band, dressed up in performance garb, but not on the stand, and not holding instruments.  And even better, the normally somber-looking Dave Tough has just heard something funny or said something of the same kind (I think that Lionel made Dave laugh): a visage rarely if ever captured on film.

The bad news is that I did not win this photograph for my very own.  The good news is that someone who wanted it even more fervently did . . . to the tune of $105 and some change.  I hope (s)he enjoys it tremendously and hangs it in a place of honor.  For us, the magic of “Save image” means that we can hitch a ride for free, and moral questions aside, that is a great thing.

Now, I will confess ignorance and say that I cannot identify everyone in the picture, and I solicit the assistance of the readers of JAZZ LIVES who know more than I do — when they are irksome, I silently call them The Corrections Officials, but today I invite informed responses.

Here’s what and whom I know.

Front row left, unknown; Ziggy Elman, trumpet; Bud Freeman, tenor saxophone; unknown woman who doesn’t look like Martha Tilton or, for that matter, Gladys Hampton, at all; Lionel Hampton, vibraphone; Dave Tough, drums; unknown (is that Chris Griffin, trumpet?)

Back row left, Vernon Brown, trombone; unknown; unknown; Arthur Rollini, tenor saxophone; unknown; Harry James, trumpet.

Where’s Benny?  Where’s Jess Stacy?  I assume some of the heroes I couldn’t identify are a second trombone, perhaps Noni Bernardi and Dave Matthews, guitarist Benny Heller.  Does anyone recognize the room?  The fireplace suggests a hotel rather than a recording studio, but that is a guess, nothing more.

And while you’re scrambling to prove your Benny-knowledge is just the best, here’s a soundtrack to inspire you, the deliciously loose rendition of SUGAR by Benny, Lionel, Teddy Wilson, and Dave:

This post is in honor of David Weiner, Kevin Dorn, and Richard Salvucci.  Of course!

May your happiness increase! 

“WILD REEDS AND WICKED RHYTHM” (Part Two): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, BOB RINGWALD, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

The Cajun Restaurant, no longer extant but the vibrations and sights still exist here and in our memories.

Eddy Davis, “The Manhattan Minstrel”

A little more than a week ago, I posted the first of a three-part series on this wonderful band, with videos from 2006 that I rediscovered.  I am taking the liberty of reprinting the text from that post here.  And the music from that first post is also here.  (For those impatient with prose — and some have told me this in ungentle terms — the new video is at the bottom of this posting.)

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.  [Update to this posting: pianist / singer Bob Ringwald of California and father of Molly, sits in for this set.]

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

The songs are AFTER YOU’VE GONE / OLD BONES / YOU TOOK ADVANTAGE OF ME / TROUBLE IN MIND, all with vocals by Bob.

It’s so lovely to be able to reach back into the past and find it’s not only accessible but glowing.  There’s more to come.

May your happiness increase!

“WILD REEDS AND WICKED RHYTHM” (Part One): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, CONAL FOWKES, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

Eddy Davis, “The Manhattan Minstrel.”

Hallowed ground.

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

Here’s the first part of the evening.  Eddy announces the songs, some of them his originals and a few transformations — all listed in the descriptions below the videos.

Come with me to the glorious days of 2006, to a club that has been replaced by a faceless high-rise apartment building, which has none of the joyous energy of the band and the Cajun.  And enjoy the music, with no cover charge — yours for keeps.

Part One:

Part One, concluded (with apologies to Dmitri):

Part Two:

May your happiness increase!

“GET HOT, CAMPERS!”: NEW YORK HOT JAZZ CAMP (May 15-21, 2017)

I’m writing this on March 14, 2017, which on the East Coast of the United States was supposed to be “the blizzard of the century,” and although the forecast was more than a little hyperbolic, when I look out of my window, I can see my car covered with snow below me.  It might lead anyone to dream of warmer weather and appropriate musical pleasures.

Imagine a Cozy Cole drum roll here, as I present to you . . .

Now, if the words “ADULT CAMP” summon up visions of skinny-dipping in the woods, I think you might have the wrong venue.  I’m sorry.  My guess is that the campers might be too busy working through the strains of WOLVERINE BLUES for such aerobics, but I could be wrong.  At least I can promise you that no one will get carsick on the bus.

Some details:

ADULTS –18 and up. All Skill levels. “A great participatory learning experience with some of New York’s most respected trad-jazz musicians, recording artists, and mentors.  Related guest lectures, master classes, and exclusive music & history field excursions.  Evening jams at notable historic jazz venues.
Informal, non-intimidating active small ensemble and improvisation work with a select, encouraging network of like-minded musicians.  Space and sectional openings limited: of course, first come, first served.  Visit here to sign up or to learn more.”

That’s from the press release.  This is from Michael: everyone on that list really knows how to play and sing; you can find them on this blog and in my videos. They are good-hearted people, so if you mess up the introduction to WEST END BLUES you won’t get snapped at.  I’m told that fifty percent of last year’s campers are returning this year, which is a good indication that people enjoyed themselves, learned a good deal, and thought it was worth the price.  Check it out while space remains.

May your happiness increase!

BY POPULAR DEMAND, MORE HEALING WARMTH: THE YERBA BUENA STOMPERS at the SAN DIEGO JAZZ FEST (November 25/26, 2016)

Like balm to the afflicted areas, with no side effects.  Apply as needed. And here‘s the first part of the prescription for all ailments, delivered promptly by those expert board-certified practitioners of joy, John Gill, Leon Oakley, Duke Heitger, Orange Kellin, Tom Bartlett, Conal Fowkes, Clint Baker, Kevin Dorn — drawing on the phamacopeia created by Oliver, Armstrong, Morton, Dodds, ory, Murphy, Watters, and other esteemed scientists of Stomp.

ybs-portrait

WILLIE THE WEEPER (Parental advisory: this song depicts the use of illegal substances, although this is a wholly instrumental version):

TACK ANNIE (and thanks to Professor Gill, a major mystery has been solved):

WHEN ERASTUS PLAYS HIS OLD KAZOO (performed by Johnny Dodds, composed by Sam Coslow, Larry Spier, and Sammy Fain — anachronistic for the late Twenties but a good song to improvise on):

NEW ORLEANS SHUFFLE (thanks to the Halfway House Dance Orchestra, 1925, and later versions):

And two sides of King Oliver, late and early.  First, a request for RHYTHM CLUB STOMP (the YBS attracts hip audiences):

And early — SOUTHERN STOMPS:

I’ve learned from official sources that we will indeed see and hear the Yerba Buena Stompers at the 2017 San Diego Jazz Fest (that’s November 22 – 26), a pleasing bit of news for sure.

May your happiness increase!

HEALING WARMTH: THE YERBA BUENA STOMPERS at the SAN DIEGO JAZZ FEST, PART ONE (November 25/26, 2016)

ybs-portrait

There is a small-scale blizzard outside my window, with ten inches of snow predicted, so the need for something warming — hot stomping music — is intense, and medically necessary. Therefore I present some videos of one of my favorite bands, the Yerba Buena Stompers, as they rocked the room at the San Diego Jazz Fest, last November 25 and 26th.

The YBS is a working band, with a fairly consistent personnel for the last fifteen years, and their music shows it — the friendly comfort of an ensemble where everyone knows everyone else.  I’ve seen and videoed them at a variety of festivals — most often, I think, at the San Diego Jazz Fest, which (coincidentally) is a place of friendly comfort and hot music.  (I look forward to their return appearances!)

They are: John Gill, banjo / vocal; Leon Oakley, cornet; Duke Heitger, trumpet; Tom Bartlett, trombone / vocal; Orange Kellin, clarinet; Conal Fowkes, piano; Clint Baker, tuba; Kevin Dorn, drums.  Although — on paper — they honor the music of Lu Watters and, by extension, Turk Murphy, their roots are deeper, going back to the hot Chicagoans, Freddie Keppard, Louis, Kid Ory, Joe Oliver, Jelly Roll Morton, Scott Joplin, venerable pop tunes, and more.  They honor the revered recordings, but their solos — hot and spicy — are their own.  And they make the world a warmer place.

Honoring Doc Cooke and Keppard, HERE COMES THE HOT TAMALE MAN:

For Kid Ory and Louis, SAVOY BLUES:

Ostensibly for Scott Joplin, but I think of Paul Mares as well, MAPLE LEAF RAG:

Turk Murphy’s theme song, BAY CITY:

A new dance from the early Twenties, SHIM-ME -SHA -WABBLE:

The snow is abating somewhat.  Thank you, Stompers!  (And there will be more video from their time at the San Diego Jazz Fest.)

May your happiness increase!