Our subjects today are the overlap of “madness” and “pleasure.” Please be prepared to take notes.
“But first, this,” as they used to say on public radio.
PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren’t issued, except for this one. Did the record company find it too direct to be acceptable? Here’s Ethel Waters’ version, clear as a bell:
Perhaps the song continued to be performed with those lyrics, but I don’t have any evidence. However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O’Neil Spencer:
There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?
While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks! 12 pounds!) to share with you. A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham’s International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.
Here are three samples, videoed by me, songs and personnels named:
I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience. The Party continues to do its special magic splendidly, a magic that videos only partially convey. This year it’s November 1-3, and details can be found here. And if you search JAZZ LIVES for “Whitley Bay” or “Durham,” you will find a deluge of posts and videos.
But this post isn’t exactly about the Party as such, nor is it about my videos. Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling. It’s called PLEASURE MAD: ‘LIVE RECORDINGS FROM MIKE DURHAM’S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007). As I wrote above, 36 live performances in beautiful sound.
And the sound is worth noting, with delight. At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could. But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years. Torstein is a phenomenal player, so I may be permitted this digression:
He’s got it, for sure. And his recordings are wonderful.
Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie “the Lion” Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:
And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle. If I’ve left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.
I think it’s taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay. A few highlights, deeply subjective: Martin Litton’s sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham’s NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis’ WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN’ BLUES with layers and textures as rich as great architecture. You will find your own favorites; those are mine of the moment.
My advice? If you can, get thee to the Party, where seats are going fast. Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades. If you can’t get to the UK, you can still purchase the set, which I urge you to do.
And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, “Well, Officers, I’m PLEASURE MAD! Would you like to come in?” And all will be well.
May your happiness increase!
Kris Tokarski has been one of my favorite solo and ensemble pianists for some years now. It can’t be “many” years, because Kris is perhaps half my age, but my admiration is not limited by the length of our acquaintance. He listens, he creates melodies, he swings, he sounds like himself, and he has a deep appreciation for the past without being chained by narrow historical definitions.
He’s recorded in a variety of settings, but here I draw your attention to two CDs of ragtime pieces done with delicacy and individuality: the first, issued in 2016 on Solo Art, paired him with drummer-scholar Hal Smith and string bassist Cassidy Holden, pleased me and others immensely: read more about it here. KINKLETS from that disc:
The second disc by Kris and Hal, now joined by bassist Joshua Gouzy, issued on Big Al Records, is called RAGTIME – NEW ORLEANS STYLE, VOLUME TWO, and it’s a real pleasure. Hear a sample for yourself here (scroll down the page through the evidence of how well Kris plays with others and on his own).
The premise is a collection of rags that Jelly Roll Morton planned to record — or would have known and played. And it’s not a fanciful vision, as Hal Smith’s solid annotations show — in 1939, Morton discussed with Roy Carew his plans to play Joplin and others in his own style, because, as he told Carew, “he didn’t know of anyone more qualified to do it than himself,” and he envisioned recording thirty or forty rags. (Oh, had he lived for another decade!)
He didn’t live to accomplish this, but we have Tokarski, Gouzy, and Smith to make the fantasy real.
I am especially fond of projects that take a gently imaginative look at the past. Let those who feel drawn to such labors reproduce recordings: the results can be dazzling. It takes decades of skill to play BIG FAT MA AND SKINNY PA and sound even remotely like the Hot Five. But even more entrancing to me is the notion of “What might have happened . . . .?” going back to my early immersion in Golden Era science fiction. An example that stays in my mind is a series of Stomp Off recordings devoted to the Johnny Dodds repertoire, with the brilliant Matthias Seuffert taking on the mantle. But the most memorable track on those discs was Porter’s YOU DO SOMETHING TO ME, a pop tune from 1929 that Dodds might well have heard or even played — rendered convincingly and joyously in his idiom. (It really does something to me.)
That same playful vision applies to this disc. It merges, ever so gently, Jelly Roll Morton and an unhackneyed ragtime repertoire, mixing piano solos and piano trio. That in itself is a delightful combination, and I replayed this disc several times in a row when I first acquired a copy.
Kris plays beautifully, with a precise yet flexible approach to the instrument and the materials. He doesn’t undercut, satirize, or “modernize”; his approach is simultaneously loving and easy. It’s evident that he has heard and absorbed the lessons of James P. Johnson and Teddy Wilson — their particular balance of propulsion and relaxation — as well as being able to read the notes on the page. He doesn’t pretend to be Morton in the way that lesser musicians have done (with Bix, Louis, Monk, and others) — cramming in every possible Mortonism over and over. What he does is imagine a Mortonian approach, but he allows himself freedom to move idiomatically, with grace and beauty, within it. And he doesn’t, in the name of “authenticity,” make rags sound stiff because they were written before Joe Oliver and Little Louis took Chicago. He’s steady, but he’s steadily gliding. His approach to the rags is neither stuffy reverence nor near-hysterical display.
He’s in good company with Josh and Hal. Many string bassists working in this idiom confuse percussiveness with strength, and they hit the fretboard violently: making the bass a victim of misplaced enthusiasm. Not Joshua, who has power and melodic wisdom nicely combined: you can listen to his lines in the trio with the delight you’d take in a great horn soloist. Every note sings, and he’s clearly there with the pulse.
As for the drummer? To slightly alter a famous Teagarden line, “If Hal don’t get it, well, forget it right now,” which is to say that Hal’s playing on this disc is a beautifully subtle, completely “living” model of how to play ensemble drums: gracious yet encouraging, supportive. He doesn’t just play the beat: he creates a responsive tapestry of luxuriant sounds.
The CD is beautifully recorded by Tim Stambaugh of Word of Mouth Studios, and the repertoire is a treat — rags I’d never heard (THE WATERMELON TRUST by Harry C. Thompson, and ROLLER SKATERS RAG by Samuel Gompers) as well as compositions by Joplin, Lamb, Scott, Turpin, Matthews, and May Aufderheide. Nothing overfamiliar but all melodic and mobile.
Here’s another sample. Kris, Joshua, and Hal are the rhythm section of Hal’s Kid Ory “On the Levee” band, and here they play May Aufderheide’s DUSTY RAG at the San Diego Jazz Fest in November 2018:
Hear what I mean? They play with conviction but their seriousness is light-hearted. Volume Two is a disc that won’t grow tired or stale. Thank you, Kris, Josh, and Hal! And Jelly, of course.
May your happiness increase!
When I first read poet / jazz-lover / jazz-essayist Philip Larkin’s “law,” some forty years ago, I thought it sardonically amusing, as was Groucho’s “I wouldn’t want to belong to any club that would have me as a member.” Now, I find it and its effects quite sad:
“If I were to frame Larkin’s Law of Reissues, it would say that anything you haven’t got already probably isn’t worth bothering about. In other words, if someone tries to persuade you to buy a limited edition of the 1924-25 sessions by Paraffin Joe and his Nitelites, keep your pockets buttoned up: if they were any good, you’d have heard of them at school, as you did King Oliver, and have laid out your earliest pocket money on them.”
I’ve always had an odd admiration for Larkin, while making the necessary effort to ignore much of what he wrote: he is the embarrassing relative at the holiday dinner table who shares his racist, misogynistic views. I am also certain that had we met, he would have satirized me in his diary that evening. But his vigorous parochialism ran parallel to some of my taste: he thought the 1932 Rhythmakers sessions the height of Western civilization, a sentiment I can understand.
Larkin’s Law would seem valid to many in “the jazz audience” I know, a credo in support of Their Kind of Music. Caveat immediately: there are so many jazzes and thus so many audiences that I can only speak of the small slice I experience, in person, in correspondence, and through social media.
With JAZZ LIVES as my creation for over a decade, I continue to be thrilled by the music yet often puzzled by the provincialism of the response it receives. Of course this blog is an expression of my own tastes, which have been shaped by experience(s). I prefer X to Y even if received wisdom says I shouldn’t. And although my response may be simply “That band doesn’t move me,” I stand by my aesthetics.
However, even though jazz was once a radical music, an art form relegated to the basement where it wouldn’t upset the pets, the audience can be aesthetically conservative, defining itself in opposition.
As Sammut of Malta writes, people view art as a box rather than as a spectrum.
I think many of the jazz-consumers have decided What They Like and it is often What They Have Always Liked. Their loyalty is fierce, even in the face of unsettling evidence. My analogy is the restaurant at which one has a brilliant meal, then a good meal, then a dreadful meal — but one keeps returning, because one always eats there. Familiarity wins out over the courage to experiment. “I love this band. I first heard them in 1978!”
As an aside: I’ve watched audience members at jazz festivals who race to see Their Favorite Band and then talk through the set, applauding loudly what they could not have heard, convinced that they are having the time of their lives. (This phenomenon is a subject for another blog: it worked its way in here and it deserves its few words.)
Loyalty is a lovely thing, and audience members certainly may gravitate to what pleases them. If you tell me that Taco Bell is the best Mexican food that ever was, I can protest, I can meet you after lunch, I can invite you to the taqueria down the street, but changing your mind is difficult. You like what you like for a complex network of reasons, many of them unexamined.
What does worry me is when affection becomes rigidity and turns into a rejection of anything a few degrees away from the Ideal. It happens on both ends of the aesthetic continuum. One of my Facebook fans used to dismiss music she found too modern as “Too swingy.” I suggested to her that jazz of the kind she preferred also swung, but it was clear that some music I embraced seemed heretical to her. Conversely, “I don’t like banjos and tubas” is a less-heard but prevalent response, to which I want to say, “Have you heard A play the banjo or B play the tuba? Perhaps your condemnation needs to be refined to ‘I prefer rhythm guitar and string bass in rhythm sections, but other ways to swing can be pleasing as well’.” I can even say, “Have you heard Bernard Addison and John Kirby in 1933?” but does everyone recognize those names?
In practical terms, Larkin’s Law means that many people reject as unworthy what they do not immediately recognize. Closing the door on anything even slightly different will not help those who want the music they love to go on. And it will deny the listener pleasurable surprises.
I, too, know jazz parochialism. When I was 14, I could have told you that I liked jazz. Pressed for a definition of what I liked, I would have said Louis Armstrong, Jack Teagarden, Benny Goodman small groups, and not much else. Soon I added the Billie Holiday small groups, 1940 Ellington, 1938 Basie, and so on. It took a long time before I could “hear” Charlie Parker and Dizzy Gillespie with pleasure and understanding, but I knew there was something worth investigating. I have not gotten beyond early Ornette or Wilbur Sweatman, but I keep listening and attending live jazz performances.
I know some JAZZ LIVES readers and friends have more open ears than what I describe. And some of them, whom I celebrate happily, have written to say, “Thank you, Michael, for introducing me to _____ and _________, whom I wouldn’t have heard without your blog.” Reading this, I think gleefully, “My work on the planet is done,” and go to do the dishes with a big grin. But I wonder how many listeners have seriously considered, let us say, both Mike Davis and Lena Bloch, Kim Cusack and Ted Brown, Paul Asaro and Joel Forrester, the Chicago Cellar Boys and the Microscopic Septet, Kirk Knuffke and Danny Tobias — to pick a few vivid examples.
My apparent ecumenicism does not mean I like everything. And I receive a good number of solicitations from music publicists and even CDs: I listen before saying, “No, that’s not for me.” Rarely do I think, “Wow, that’s bad music!”; rather, I say, “What that artist is doing is not pleasing to me, but that says much about me as well as what it says about the art.”
We all, I believe, fell in love with certain varieties of this art because they made us feel excited, joyous, alive, exuberant — a WOW moment. For some, the Love Object may be Oliver’s ROOM RENT BLUES or the closing chorus of the Hot Seven’s WEARY BLUES, or a Decca Lunceford, the Jones-Smith session, Hawkins’ SIRIUS . . . . And no one would propose to say to an enraptured listener, “You really shouldn’t listen to that,” unless one wants to argue. But what if some musician or band offered a serious WOW moment and the listener had refused to try it out, because, “I don’t listen to anything that isn’t . . . . “? Should we be so in love with what we love that we keep our ears closed, as if it would be fatal for us to spend two or three minutes with a music that didn’t instantly please us?
Our preferences are strong. But occasionally those preferences are so negative that they make me envision my fellow jazz-lovers as irritable toddlers. “Honey, we have A through L for lunch. What would you like?” The response, in a howl, “No! No! No! Want R!”
There is another manifestation of this calcified reaction, one I perceive regularly through JAZZ LIVES. Certain artists have powerful magnetism: call it star quality, so whatever they play or sing attracts an audience. (It is reminiscent of the imagined book with the widest audience, called LINCOLN’S DOCTOR’S DOG.) I have often thought that the most-desired video I could offer would have technically dazzling music at a fast tempo, performed by young people, women and men both. A little sexuality, a drum solo, novelty but not too much, evocations of this or the other jazz Deity . . . it’s a hit!
But it also should be music made by Famous Names. You can compile your own list of stars who often play and sing beautifully. But when I offer a video without Famous Names, without the visual novelty, fewer people go to it, enacting Larkin’s Law. “I don’t know who that is. How could (s)he be any good?”
Do we listen with our ears or our eyes or with our memory for names?
Could listeners, for instance, make serious judgments about music they knew nothing about — the Blindfold Test? I admire Hot Lips Page above most mortals, but I have learned to be courageous enough to say, “I love Lips, but he seems bored here — he’s going through the motions.” Whether I am right or not matters less, but making the critical judgment is, I think, crucial.
These thoughts are provoked by Larkin’s Law as an indication of historical allegiance rather than expansive taste, of a narrowness of reaction rather than a curiosity about the art form.
What I conceive as the ideal may seem paradoxical, but I applaud both a willingness to listen outside one’s tightly-defended parameters and, at the same time, to be seriously aware in one’s appreciation and not turn habit into advocacy. Let us love the music and let us also hear it.
And, in honor of Philip Larkin, who may have stubbornly denied himself pleasure by hewing to his own asphyxiating principles, here are some of his artistic touchstones:
A personal postscript: JAZZ LIVES gives me great joy, and I am not fishing for praise. Many people have told me in person how much they appreciate my efforts. But I perceive provincialism creeping up the limbs of the jazz body as sure as rigor mortis, and I would like this music to continue, vigorous, when I am no longer around to video it.
May your happiness increase!
They’re back! And below I’ll have news of their appearance at a one-day Midwest festival on March 30, 2019.
The Chicago Cellar Boys made beautiful music at the 2018 San Diego Jazz Fest, and I caught as much of it as I could. (Type in CELLAR on the search bar and see for yourself.)
Here is part of a set that I recorded on November 24. The CCB are Andy Schumm, cornet, tenor saxophone, clarinet; John Otto, alto saxophone, clarinet; Paul Asaro, piano, vocal; Johnny Donatowicz, guitar, banjo; Dave Bock, tuba. Dee-lightful.
INDIAN CRADLE SONG (in honor of the Dorsey Brothers and, faintly, Louis Armstrong). Andy told me that he had hidden another song in the “chorale” section, but he’s too smart for me. Maybe you’ll recognize it?:
BOSTON SKUFFLE (something for and by Jabbo Smith):
HOME, CRADLE OF HAPPINESS (a song popular in the early Twenties, recorded by a Sam Lanin group and by Ethel Waters):
FIDGETY FEET (a tribute to Bix and the Wolverines):
KING PORTER STOMP (the CCB’s homage to the 1924 Autograph duet session by King Oliver and Jelly Roll Morton — also the band-within-the-band):
Aside from their inspiring playing and singing, hot and sweet, there are the marvelous arrangements that make this two-horn quintet sound like a large group, and the positively exciting repertoire. I know the music of this period fairly well, but I always go away from even one CCB set saying to myself, “I’ve never heard that wonderful tune before.”
And here — because listeners need to get away from their computers now and again (it’s good for us!) — is the festival they will be illuminating at the end of this month, along with Petra’s Recession Seven (featuring Petra van Nuis, Andy Brown, Russ Phillips, and other luminaries):
May your happiness increase!
Let us start with the glorious evidence.
That’s the opening track of Benny’s new CD, and when the band shifts into tempo after Benny’s interlude I find myself in tears of joy.
Benny Amón is one of my heroes And hero Benny can also write.
Often I’ve felt complete awe and incredulity for my experiences playing music in the city of New Orleans. I have been incredibly fortunate to gain mentors, many of whom are featured on this recording session, who have taught me to play New Orleans traditional music with the right feeling and spirit while also encouraging me to find my own voice as a musician.
This recording session is snapshot of that journey after spending most of my 20’s living in this beautiful city. The session is comprised of some of the most treasured musicians to come from this city and some of the greatest to have moved here. This exchange of generations, of cultures, of perspectives of music and life is what has helped make this recording session so successful.
My most important mentor and collaborator over the past several years, Steve Pistorius is featured prominently on this record whether it be ragtime duets, trios with horn players, or in the 7 piece ensemble. As Wendell Brunious likes to say, Steve is the #1 interpreter of the Jelly Roll Morton style of piano. Steve contributed much by writing out good melodies and chords as well.
Speaking of Wendell Brunious, we have worked together often at Preservation Hall over the past few years. Wendell is one of the best trumpet players and entertainers in the whole world and comes from one of the most important musical families of New Orleans. He is a gem that we cannot take for granted.
Freddie Lonzo is another of the New Orleans born and raised musicians who I have been working with over the past years at Preservation Hall and also at the Palm Court Jazz Cafe. He is one of the few trombone players left who understands how to play New Orleans style tailgate trombone. His positive energy and humor is infectious, as is his singing.
Tom Fischer has been in New Orleans for longer than I have been alive and his dedication to excellence on both clarinet and alto saxophone is evident on this record.
New Orleans’ own clarinetist Tim Laughlin recorded two songs on this cd that turned out beautifully. He is one of the my first and most important mentors in New Orleans.
Tyler Thomson also known as “Twerk” by many, is absolutely on fire on this record. Bringing incredible power and solidity to the bands he plays with. He would make Pops Foster, Chester Zardis, and Alcide Louis “Slow Drag” Pavageau proud.
Alex Belhaj is a dear friend of mine who moved to New Orleans a few years ago and he is a frequent collaborator with the Riverside Jazz Collective. His fine banjo and guitar playing is featured in the 7 piece band.
Joe Goldberg is another transplant to New Orleans who has earned the respect of all the top players in both the traditional and modern jazz scenes. His clarinet and soprano saxophone playing as well as his singing is featured on a couple of songs.
As a final note I would like to add a reflection on the actual site of the recording session. George Blackmon, an old friend and excellent studio engineer moved his entire set up to the Scandinavian Jazz Church (Formerly known as the Norwegian Seamen’s Church) to record the bands. The sound he got in that beautiful old church is reminiscent of old New Orleans dance halls where the New Orleans Jazz Revival bands led by such luminaries as Bunk Johnson and George Lewis used to play and record. The Jazz Church unfortunately was sold and since has been closed down after over a 100 years of service to the New Orleans community. The Church hosted jazz concerts and jazz prayer services for decades. The Church generously allowed us to record and use their facilities free of charge. This recording, and the accompanying videos produced, will stand as a last testament to this beautiful and historically important New Orleans institution.
Most importantly, the music on this record is an authentic and timeless account of the New Orleans Jazz scene as I experienced it at this time of my life; full of life, and joy. I am proud to release this music and hope that you enjoy it!
You might think that Benny has said everything that needs to be said, but I want to add some perceptions he might be too modest to write himself. Although he turns 30 this year, he is a mature artist with large heartfelt visions and sensitivity. He is a spectacularly fine drummer. He makes beautiful sounds, he plays for “the comfort of the band,” he knows dynamics and timbres, and he swings no matter what the tempo. But he’s more than a wonderful percussionist.
Much of what is marketed as jazz these days — although it says it is inclusive — is a matter of boundaries and barriers, enacted in terms of repertoire and colleagues. “Ourselves alone,” as the Irish used to say. Benny understands the music as spacious, its boundaries easy and flexible. That doesn’t mean the new CD takes an iconoclastic approach for novelty’s sake, but it does mean that his vision of New Orleans jazz is easy and loose. There are echoes on this disc of Bunk Johnson, King Oliver, Louis Armstrong, Jelly Roll Morton, Johnny Dodds, Jimmy Blythe, and Zutty Singleton — but also Eddie Condon, Billie Holiday, James P. Johnson. Sidney Bechet is in town, but it is the later rhapsodic French Bechet; the Bunk echoes are of the “Last Testament” session. I am tempted to write a track-by-track guided tour, but why spoil your surprises?
Benny’s gracious understanding also extends to the musicians he chose for this disc. He has opened his musical house to friends who can really play and sing, people who are individualists. And the welcome includes Elders and Youngbloods, which makes the session particularly earthy, fresh, and sweetly -surprising — it has some of the feel of a cross-generational down-home jam session where everyone is grinning their faces off at what they are hearing and what they are part of creatively. It isn’t trad-by-the-numbers; it isn’t busker-stomp; it isn’t formulaic in any way. And the repertoire is splendidly unhackneyed without being consciously esoteric.
Many CDs offer a huge plateful of The Same Thing, the musical equivalent of an eight-pound plateful of shrimp with lobster sauce. But I have played this disc half a dozen times from first to last, enraptured. There are full-ensemble pieces, one-horn, piano-drums trios, a gorgeous drum solo (BENNY FACE, as melodic as any orchestral piece), piano and drums, a few vocals (Goldberg on MY BABY; Brunious on BACKYARD; Lonzo on CALIFORNIA) — and speaking of BACKYARD . . .
How fresh and heartfelt that is!
Now I must explain the “GFP Award.” I’d asked Benny to send me a copy of the disc when it was ready (handsome art direction there, too) and when I got it in the mail, drawn by whatever magnetism, I played it that night and wrote him immediately that it was, and I quote, a GIANT FUCKING PLEASURE (I use the vernacular when possible) and he asked me to please use that language in my blog. I am too restrained to make it the heading . . . but the disc makes me happy. You can buy the physical disc or a digital download here. Don’t miss an opportunity to be uplifted.
Bless Benny and his friends. They bring such joy.
May your happiness increase!
Enthusiasm, precision, and love are qualities that the Original Cornell Syncopators brought to their New York debut at the Triad Theater on West 72nd Street.
“Direct from Cornell University in Ithaca, New York, your favorite collegiates, the Original Cornell Syncopators, bring you Hot Jazz from the 1920s and 30s to the Triad Theater! Music includes songs by King Oliver, Bix Beiderbecke, the New Orleans Rhythm Kings, Paul Specht, The Original Prague Syncopated Orchestra, Bennie Moten and more!”
This joyous young band is not only curious about where the music we love came from, but righteously works to make sure it doesn’t get dusty. They delve into “all of jazz’s earliest forms, from its first recorded sounds, to the roots of Swing and beyond.”
Can you tell I admire and love this band and that it was a joy to see and hear them in Manhattan? (I’ll see them again — and you can too — at the San Diego Jazz Fest. You could come, too.)
Here are four of my rather informal videos: Colin tells me that professional videos and a CD issue of this concert are coming . . . a great pleasure.
The “Syncs,” as they jovially call themselves, are Colin Hancock, cornet, clarinet, vocals; Lior Kreindler, trumpet, vocals; Dave Connelly, trumpet; Rishi Verma, trombone; Kieran Loehr, alto saxophone, clarinet; Stephen Newcomb, alto and baritone saxophone, clarinet; Troy Anderson, tenor saxophone, clarinet; Clare Burhenne, tenor and baritone saxophone, vocals; Uche Chukwukere, violin;
Robbert Van Renesse, banjo, guitar, vocals; Christina Li, piano; Noah Li, drums;
Sarah Cohn-Manick, tuba. And, remarkably, not one of them is majoring in music at Cornell . . . so they have (as we say) other strings to their bow.
I WONDER WHAT’S BECOME OF JOE sports a fervent vocal by Clare and superb ensemble work by the OCS:
SWEET LIKE THIS is a melancholy 1929 King Oliver rumination:
ECCENTRIC summons up the New Orleans Rhythm Kings, always welcome:
And BLUE (or BLUE AND BROKENHEARTED) is homage to the Goodman – McPartland hot ballad:
This just in! SYNCS TAKE TO THE PARK! (Who said jazz musicians are solely nocturnal?)
May your happiness increase!