Tag Archives: Lindy Hop

“GLIDE, SLIDE, PRANCE, DANCE!”: ERIN MORRIS, BRITTANY ARMSTRONG, NATHAN BUGH (and the JAMES DAPOGNY QUARTET) DO THAT THING! (May 8, 2015)

To set the mood, Bessie Smith singing NEW ORLEANS HOP SCOP BLUES, from where I take my title.  (It’s especially appropriate because of the welcome attention paid Miss Bessie, and this track counteracts the prevailing impression of her as an artist who lived in darkness and sadness.)

She sings most convincingly about the joys of gliding, sliding, prancing, dancing. But that’s only sound.  We need more.

Let’s have some thrilling audio-visual evidence here from Erin Morris and friends, performed and recorded on May 8, 2015.

AIN’T ‘CHA GOT MUSIC? (by James P. Johnson) performed by Erin Morris and Brittany Armstrong with vocal by Nathan Bugh. Instrumental support by James Dapogny, piano; Mike Karoub, cello; Rod McDonald, guitar; Joe Fee, string bass. And they offer the verse:

LOVE ME OR LEAVE ME, by Erin and Nathan, a performance that is clearly more about dancing love than making exits:

and EXACTLY LIKE YOU, by Nathan and the Quartet:

I think of these performances — aurally, visually — as happiness in its purest form embodied.  When I am sad ad I need an aural reassurance that the world is a generous place, I put on the music of Louis Armstrong and Gordon Jenkins.

When I want to look at something to remind me how joyously expansive life is, I look at the videos of Erin Morris and her Ragdolls / James Dapogny and friends. Works for me, and it can work for you too.  These three videos come from Erin Morris & Her Ragdolls’ JASSAFRASS show: recorded for us by Laura Beth Wyman.

If you feel the spirit, why not truck on down to Erin Morris and Her Ragdolls and click the button marked “Like.”  Costs nothing; no obligation; it makes these hard-working joy-spreaders happier. And you can see more life-affirming videos there as well.

May your happiness increase!

NAOMI AND HER HANDSOME DEVILS

I first met Naomi Uyama in a downtown New York music club five years ago. Soon, we adjourned to the sidewalk.

It’s less melodramatic or noir than it appears.  The club was Banjo Jim’s — ‘way down yonder on Avenue C — where a variety of jazz-folk-dance groups appeared in 2009. The most famous was the Cangelosi Cards, in their original manifestation, featuring among others Tamar Korn, Jake Sanders, Marcus Milius, Cassidy Holden, Gordon Webster, Kevin Dorn. Tamar, who has always admired the Boswell Sisters, got together with singers Naomi and Mimi Terris to perform some Boswell numbers as “The Three Diamonds.” On one cold night, the three singers joined forces on the sidewalk to serenade myself, Jim and Grace Balantic, and unaware passers-by with a Boswell hot chorus of EVERYBODY LOVES MY BABY. Tamar has recorded on her own, as has Mimi, but I and others have been waiting for Naomi to record, to share her sweet swing with the world. And the disc is delightful.

NAOMI

The first thing one notices about the disc is its authentic swing feel courtesy of players who have a deep affection for a late-Basie rhythmic surge and melodic ingenuity: Jake Sanders, guitar; Dalton Ridenhour, piano; Jared Engel, string bass; Jeremy Noller, drums, and a two-person frontline of Adrian Cunningham, tenor saxophone and clarinet; Matt Musselman, trombone.  The band is neither over-rehearsed or overly casual; they provoke regular movements of the listener’s head, torso, and limbs.  (I can attest to this.)  They aren’t busily copying the sound of classic recordings; they are swinging out in fine style. I heard echoes of Illinois Jacquet and Al Grey, of a Buddy Tate band uptown or a Forties Jay McShann small group, of Tiny Grimes and Sir Charles Thompson — those players who swung as reliably as breathing. The band never gets in Naomi’s way, and they make happy music for dancers, riffing as if to the manner born.

But this might seem to ignore Naomi, which would be unthinkable. She came to jazz through lindy hop, which means her rhythm has a cheerful bounce to it, even on slower numbers. But she knows well that making music is more than beating a solid 4/4 so that the dancers know where one is. Naomi is an effective melodist, not tied to the paper but eminently respectful of the melodies we know. Her improvisations tend to be subtle, but when she breaks loose (trading scat phrases with the horns on MARIE) she never puts a foot wrong. (MARIE, incidentally, is the fastest track on the disc — 223 beats per minute — and it never seems rushed. I approve that Naomi and her Handsome Devils understand the beautiful shadings possible within medium-tempo rocking music.)

Naomi’s voice is a pleasure in itself — no rough edges, with a wide palette of timbres, but perfectly focused and with an effective phrase-ending vibrato. She doesn’t sound like someone who has spent her life memorizing Ella, Billie, or a dozen others; she sounds, rather, like someone who has fallen in love with the repertoire and decided to sing it, as if she were a bird bursting into song. In swingtime, of course. On Lil Johnson’s seductive encouragement, TAKE IT EASY, GREASY, she does her own version of a Mae West meow, but she doesn’t go in for effects and tricks. Her phrases fall in the right places, and she sounds natural — not always the case among musicians offering milkless milk and silkless silk in the name of Swing.

And I had a small epiphany while listening to this CD. A front-line of trombone and reed (mostly tenor) is hardly unusual, and it became even less so from the middle Forties onwards, but it makes complete aesthetic sense here, because the spare instrumentation (two horns, powerful yet light rhythm section) gives Naomi the room she needs to be the graceful and memorable trumpet player of this little band. Think, perhaps, of Buck Clayton: sweet, inventive, bluesy, creating wonderful phrases on the simplest material, and the place Naomi has made for herself in the band seems clear and inevitable.

The songs also suggest a wider knowledge of the Swing repertoire than is usual: Basie is represented not with a Joe Williams blues, but with the 1938 GLORIANNA, and the Dorsey MARIE is an evocation rather than a small-band copy. There are blues — I KNOW HOW TO DO IT and the aforementioned TAKE IT EASY, GREASY — as well as classic pop standards that feel fresh: I CAN’T GIVE YOU ANYTHING BUT LOVE, ONE HOUR, LOVER, COME BACK TO ME, AFTER I SAY I’M SORRY, GOODY GOODY, IS YOU IS OR IS YOU AIN’T MY BABY, WHAM, and THIS CAN’T BE LOVE.

The disc offers nothing but good music, never ironic or post-modern, neither copying nor satirizing, just beautifully crafted melodic Swing.  Welcome, Naomi — with your Handsome Devils alongside. On with the dance!

Now, some bits of information. You can find Naomi on Facebook here; the band has its own page here. To buy the disc (or a download), visit here, where you also can hear samples of the songs. To hear complete songs, visit here. Naomi and a version of her Devils can be found on YouTube, and here is her channel. Enough data for anyone: listen to the music and you’ll be convinced.

May your happiness increase!

A HOT BAND IS GOOD TO FIND (Part Two): CLINT BAKER’S NEW ORLEANS JAZZ BAND at the WEDNESDAY NIGHT HOP (August 1, 2012)

Jim Klippert said it best.  “I always wanted to play with a band like this.”

On August 1, 2012, Clint Baker’s New Orleans Jazz Band rocked the house — the Cheryl Burke Dance Studio in Mountain View, California — at the “Wednesday Night Hop.”

The participants?  Clint on trumpet and vocal; Jim Klippert, trombone; Bill Carter, clarinet; Jason Vanderford, guitar; Bill Reinhart, banjo; Tom Wilson, string bass; Steve Apple, drums.

Here’s where you can find out about future Wednesday Night Hops.

And here’s the first part of the evening.

Now, to the second.  The constant delights were beautiful ensemble energy and precision, wonderful hot playing — passion, relaxation, and intuition — no matter what the tempo.  More than one person let me know that the first set was so entrancingly distracting that it got them off track at work . . . . I have visions of people at their desks all over the world trying hard to stay focused while Sister Kate does her thing . . . . for Clint and his colleagues create music that is deliciously distracting.  Their music is a sure cure for gloom, tedium, ennui, Victorian swoons, pins-and-needles, existential dread, coffee nerves, the blahs, low blood sugar, high anxiety, and more.

SISTER KATE (or, for the archivists in the room, GET OFF KATIE’S HEAD):

Woe, woe.  It’s CARELESS LOVE.  Be careful, now!

Thanks to Puccini, here’s AVALON, not too fast:

For Bix, for Louis, for Papa Joe — ROYAL GARDEN BLUES:

SOMEDAY SWEETHEART:

KNEE DROPS is an irresistible Louis Armstrong song from the Hot Five sessions. For this post, I tried to find more information on what the dance move would have looked like in 1926 . . .but I am not sure that the “knee drop” as practiced in break-dancing and ballet would have been recognized at the Sunset Cafe or other Chicago nightspots:

When in doubt, SHAKE THAT THING (defined loosely):

May your happiness increase.

A HOT BAND IS GOOD TO FIND (Part One): CLINT BAKER’S NEW ORLEANS JAZZ BAND at the WEDNESDAY NIGHT HOP (August 1, 2012)

What happened in Mountain View, California, on Wednesday, August 1, 2012, might have been noted by global weather scientists as the best kind of seismic alteration.  Clint Baker’s New Orleans Jazz Band played two sets for dancers at the “Wednesday Night Hop” held at the Cheryl Burke Dance Studio and they made the cosmos rock — as far as I and the dancers could tell.

The participants?  Clint on trumpet and vocal; Jim Klippert, trombone; Bill Carter, clarinet; Jason Vanderford, guitar; Bill Reinhart, banjo; Tom Wilson, string bass; Steve Apple, drums.

Here’s where you can find out about future Wednesday Night Hops: the street address, the admission cost, directions.

And here’s the first part of the evening.

But a word before you immerse yourselves in the rocking hot sounds.

Some of my nicest readers gently write in, “Michael, you really should have put your camera here or there,” and I try not to let that SHOULD weigh too heavily on me. The gentle suggesters do not realize that I am at these gigs because the band members are generous kind people who put up with my presence and my camera.  But the world is not my personal video studio and I am trying my best to be unobtrusive — not the jazz world’s Erich von Stroheim.

So at Mountain View I could have set up my camera under a huge whirring electric fan (needed to keep the dancers from heatstroke) or over the drums.  I chose the latter and initially I was anxious.  But necessity is not only an inventive mother — sometimes Miss Necessity is a real pal (think of Joan Blondell in the Thirties movies where she tells the naive heroine what really needs to be said).

Setting up close to Steve Apple was a religious experience, for he played with such quiet strength,  such variety of sound and timbre, such deep swing that my vantage point was a true gift.  You can hear how the horns floated on top of and through this blissful rhythm section . . . . and how they mixed 2012 swing with a beautiful New Orleans splendor!  Clint’s solid lead would have made the masters grin; Bill Carter and Jim Klippert weave curlicues and romp on the harmonies in the best way — and those fellows in the back: Reinhart and Vanderford and Wilson would get my vote for Best String Trio anywhere.  The real thing, alive and well.

Clint called DALLAS BLUES to start, which is the hallmark of a man who loves the music — and he had been playing Luis Russell in the car on the way down to Mountain View, always a good idea:

ABSOLUTELY, POSITIVELY is a sweet Jabbo Smith tune that’s getting more play these days (Eddie Erickson does it, too!) — romance in swingtime:

WHISPERING shows, once again, how a band sensitive to the dancers can swing anything:

RED SAILS IN THE SUNSET brings back 1935 Louis (this is a Decca band) and the New Orleans tradition of playing pop tunes rather than sticking to a narrow repertoire of  “good old good ones”: I think of Bunk Johnson preferring PISTOL PACKIN’ MAMA and MARIA ELENA on dance gigs:

EVERYBODY LOVES MY BABY, with the verse — and I swung my camera around to catch the expert hopping of Audrey Kanemoto, our heroine, and Manu Smith.  Watching this video, I thought of the Czech writer Josef Skvorecky, who loved jazz and had been an amateur saxophonist in his homeland under a variety of occupations.  In one of his novels, he has a passage describing playing in a band while the current love of his life is doing a beautiful expert vigorous Charleston to the music.  He would have loved to see this band and these dancers:

There was no beer at Mountain View, although there were Fritos in little bags from the vending machine.  Perhaps that’s why THE BUCKET’S GOT A HOLE IN IT came to mind.  Or perhaps it was time for some Lowdown Groove, which I have not found in any vending machine:

WEDNESDAY NIGHT HOP, a fast blues for the Lindy Hoppers:

I love SOLID OLD MAN — a simple line from the session that Rex Stewart, Barney Bigard, and Billy Taylor did with Django in 1939:

KRAZY KAPERS is, as Clint mentions, a line on DIGA DIGA DOO — recorded first by Benny Carter in 1933 with one of our dream bands, featuring Floyd O’Brien, Chu Berry, Sidney Catlett, Teddy Wilson, Max Kaminsky, Lawrence Lucie, and Ernest Hill.  (Thank you, John Hammond!):

My goodness!  What a hot band!  And there’s more to come.

May your happiness increase.

HOP TO IT! (A SWING DANCE PARTY with CLINT BAKER’S NEW ORLEANS JAZZ BAND) August 1, 2012)

I know it’s short notice for anyone who’s not reasonably close to San Francisco . . . but Wednesday night, August 1, 2012, will reverberate with jazz fireworks in Mountain View, California, because Clint Baker’s New Orleans Jazz Band will be playing a swing dance party at the Wednesday Night Hop — from 9:30 to midnight.

The participants?  Clint on trumpet; Jim Klippert, trombone; Bill Carter, clarinet; Jason Vanderford, guitar; Bill Reinhart, banjo; Tom Wilson, string bass; Steve Apple, drums.

Here’s where you can find out all the essentials: the street address, the admission cost, directions . . . but find your dance shoes and your best Lindy Hop getup and get down there!

Why?

Here’s a selection from Clint’s appearance at a Wednesday Night Hop in August 2011.  Different personnel for the most part — but Clint’s bands are seismic phenomena: Clint, Jim Klippert, Jason Vanderford will be returning — the rest of last year’s crew were Robert Banics, clarinet; Jeff Hamilton, piano; Sam Rocha, bass and tuba; J. Hansen, drums.

Come over and say hello at this WNH!

May your happiness increase.

AT THE HOP (Part Two): CLINT BAKER’S NEW ORLEANS JAZZ BAND (Aug. 20, 2011)

One set by Clint Baker’s New Orleans Jazz Band wouldn’t have been enough for anyone — either the audience at the Wednesday Night Hop at Mountain View, California, or for the wider audience of JAZZ LIVES.  So here’s the second collection of exuberances: six songs, four of them explicitly New Orleans-rooted, the other two jazz classics.

And a surprise.  When the band took to the stage for the first set, it was Clint (trumpet, leader, vocals); Jim Klippert (trombone, vocal); Robert Banics (clarinet), Jason Vanderford (banjo, vocal); Sam Rocha (bass, tuba); J. Hansen (drums), Carl Sonny Leyland (piano).  But a very nimble pianist — masquerading as the brilliant drummer Jeff Hamilton — was prevailed upon to sit in, and Jeff played the first four tunes of the set, having a good time himself.

And you’ll notice the absence of microphones.  Who needs them when you’ve got swing this hot?

Those tunes?  Well, why not start off with a Debussyian dream, full of watercolor shadings and sweet pastels?  On second thought, let the impressionists be dreamy elsewhere.  Here’s TIGER RAG:

Clint (who’s not a whiner) likes the Jelly Roll Morton tune, a thinly-veiled advertisement of erotic prowess, WININ’ BOY BLUES.  Don’t deny his name:

William H. Tyers’ classic PANAMA followed, its multiple strains in place:

And one of the most-often played and most durable songs in the common language of small-band-swing, HONEYSUCKLE ROSE:

Carl came back to play his part in an energetic SOME OF THESE DAYS:

And the set closed with a funky blues — somewhere between Bill Haley and the Comets and MOP MOP — which I know as JOE AVERY’S PIECE (although it might also be JOE AVERY’S BLUES):

Oh, play those things!

AT THE HOP: CLINT BAKER’S NEW ORLEANS JAZZ BAND (Part One): AUG. 20, 2011

Getting the kitten down from the tree is heroic, as is untying the maiden from the railroad tracks as the train bears down on her.  But so is what Clint Baker and his New Orleans Jazz Band did at Mountain View, California, on August 20, 2011 — making the room and the dancers vibrate with a sweet intensity.

Here’s the evidence.  Clint led the band on trumpet, with Jim Klippert (trombone), Robert Barics (clarinet), Carl Sonny Leyland (piano), Jason Vanderford (banjo), Sam Rocha (bass and tuba), Jason (or J.) Hansen (drums).  I had watched and heard versions of this band at Cafe Borrone (through the generosity of Rae Ann Berry and her Magic Tripod) and they are superb, but I was unprepared for the hot energy that emanated from this group — no microphones except for Clint’s announcements — and took over the room.

They began their set with AVALON, effectively wiping out any associations with Benny Goodman or Al Jolson:

Then, Clint sang James P. Johnson’s ONE HOUR and the band followed his entreaty in the best spirit:

Drummer Paul Barbarin is a beloved figure to me because of the way he drove both the Luis Russell band and the Louis Armstrong Orchestra (1935-39).  But he also composed BOURBON STREET PARADE and the jolly THE SECOND LINE:

SWEET LOTUS BLOSSOM, a paean to some herb or other, was a feature for singer-banjoist Jason Vanderford.  Knocked me right out!

MILENBERG JOYS (or GOLDEN LEAF STRUT, a cousin of the BLOSSOM above) just romped:

TEXAS MOANER BLUES points backwards in time to Sidney Bechet and Louis Armstrong, but it seems vigorous in its moaning splendor today:

And the set closed with Clint’s swinging exercise in New Orleans group therapy (with help from Dr. Klippert from Vienna), YOU TELL ME YOUR DREAM:

The dancers loved it, as I did.  And there’s another, equally hot set to come.  And this event was sponsored by WEDNESDAY NIGHT HOP — check out their site for information on future events:

http://wednesdaynighthop.com/events/CaliforniaWorkshop2011.php

PROFESSOR EVE WILL TEACH YOU!

I’ve never met Eve Polich although we’ve been at the same event and we’ve corresponded — but I have seen her dance!  So I can recommend her upcoming dance classes with confidence.  Maybe she will encourage me to find my Capezios, get over my previous lack of success as a ballroom dancer, and try once again.

Here’s the information: worth a trip from everywhere!

AVALON JAZZ DANCE LESSONS!

 So many people have approached me asking about dance lessons that I have decided to start some classes starting in March every 2nd and 4th Monday/Tuesday to test the waters. These classes are ridiculously cheap if you are a musician. Just sayin’.  (All classes are $10 for civilians, $5 for musicians.)

Beginner Lindy-Hop! Mondays

Learn traditional partnered swing dancing from the 1920’s and 30’s.  This class will cover the basic steps as well as discuss technique, connection, and musicality.

March 8th and March 22nd: 8-9 PM

Beginner/Intermediate Lindy-Hop! Tuesdays

Learn traditional partnered swing dancing from the 1920’s and 30’s.  This class will be for beginner students who want to take their dancing to the next level.  We will focus on more complex moves, technique, connection, and musicality.

March 9th and 23rd: 6-7 PM

Solo Charleston! Tuesdays

Learn traditional solo jazz movement from the 1920’s and 30’s.  Not only is this awesomely fun, but will also inform your partnered dancing.

March 9th and 23rd

All classes will be held at Chelsea Studios, 151 West 26th Street, between 7th and 8th Avenues

If you attend both Tuesday classes, together they will be only $16 or $8 for musicians!

Private lessons available for $40/hour or bartered goods and services.

RSVP to evepolich [at] avalonjazz [dot] com

And if you visit Eve’s site (AVALON) and click on the hyperlinks, she promises you’ll see “examples old and new” of these dances — worth investigating!  Check out http://avalonjazz.blogspot.com/2010/02/avalon-jazz-dance-lessons.html

Here’s the ideal — the collegiate Shag done to Artie Shaw’s DIGA DIGA DOO.  Anything’s possible, right?

“ECHOES OF HARLEM” with MICHAEL McQUAID

One of my loyal readers, Trevor Hutchison, let me know that Michael McQuaid and a troupe of enthusiastic dancers had created a Cotton Club show — with several performances of Ellington songs posted on YouTube.  Here’s “East St. Louis Toodle-Oo,” performed in front of an audibly enthusiastic audience.  Shades of the Savoy Ballroom in the glory days!

For the record, the dancers in this clip are Cam Mitchell, Noni Clarke, Evan Hughes, and Francine Jeffery.  Other clips feature Andy Fodor, Shob Nambiar, Keith Hsuan, Shaz Callaghan, Anthony Wheaton, Sarah Farrelly, Harry Doan, Loz Yee and Nicole Smith.  Swing,you cats!

HAPPINESS ON THE FLOOR

KEEPING IN THE SWING OF THINGS TOGETHER

SARAH MORAN, Special to the Star Tribune

 

 

 

 

 

 

 

Photo by David Joles

Photo by David Joles

 

 

 

 

Dance partners Allen Hall, 77, and his wife, Rudy Hall, 64, have danced every other night this summer. “It’s a mild form of insanity,” Allen said.

Allen Hall, 77, and Rudy Hall, 64, swing dancers • South Haven, Minn.

Him: When I was a kid in St. Louis a long time ago, I always wanted to be a jitterbugger because the coolest guys could do the jitterbug. I was too shy to ask girls to dance and didn’t know how to do it anyway. But a long period of time transpired and I married Rudy, and she’s always been a dancer. She got me into dancing and into swing dancing, so it took a while but I finally had the little light pop over my head and I said to myself, “Maybe I’m going to be able to do this.”

Her: I started doing the Lindy Hop in 1953. My family [members] were musicians, and I tried my hand at playing instruments, but I couldn’t make myself stay with it because when I’d hear music I just wanted to dance. It took me years to get Allen to dance. He was too shy to dance when he was young, but after he retired he had more time. I was still going out dancing with friends and I’d come home every night soaking with sweat, talking about what a good time I had. Finally he said, well, maybe he should take a renewed interest. He took some lessons, and I taught him also.

Him: We get it where we can. We’re home about five months of the year in Minnesota, and I’m guessing we dance about two or three nights a week — sometimes more. We’re on the road in the motor home the remainder of the year, and last year we danced almost every other night.

Her: I was so in love with dancing and music, and of course I was driving to dance a couple nights a week without him, and there was just always something missing, but I couldn’t put my hand on it. Once he started dancing with me I just looked forward to it a lot more because I knew he was going with me. It was just a totally different feeling. It seemed like my dance was more complete.

Him: Every marriage is different, but I think successful marriages rely at least in part in having something in common, so we have this. This is a great part of our social life, our friends are mostly all younger people who also dance. There’s no intergenerational friction in dancing. They don’t care if you’re blue and have only one leg — if you can dance, you’re in.

Her: We both have something to look forward to together every week, and sometimes every night because we dance so much. It just keeps the relationship together.

Thanks to John Cooper for this inspiring tale!

KEEP THE HEAT IN IT!

But sweeten it . . . !

If you need something to cheer you up, or you are already cheerful, watch the Silver Shadows, male and female, strut and wiggle.  It’s not hard to see how much fun they are having, is it? 

I first met Naomi Uyama at Banjo Jim’s, when she had come up from her Washington, D.C. home to be one of Tamar Korn’s Boswell Sisters.  (I didn’t ask whether she aspired to be Vet or Martha, but perhaps that question would have been impudent.)  And now I find out that she is a champion Lindy Hop dancer as well. 

Visit www.naomiuyama.com for more delightful information.

SHE CAME, SHE SANG, SHE SWUNG!

I know that it’s not an exact translation from the Latin axiom — but it sums up what Dawn Lambeth accomplished with the Boilermaker Jazz Band last night at an Upper West Side swing dance. 

For finicky viewers, I must offer a caveat (that’s an even better tidbit of Latin): the video in this post is imperfect.  There’s a good deal of noise from the dancers.  But I think that’s a delightful thing.  It did my heart good to see so many young people who wanted to swing.  Their bodies reflected the music in three dimensions, and I didn’t hear anyone say a word about Jazz Being Dead.  It isn’t and it wasn’t for them. 

Next time (when Dawn and the Boilermakers are in New York during the third week of April — mark it down!) Flip will try harder to get better videos.  But he was distracted by the dancers, and I couldn’t blame him.  Anyway, the Beloved was busy giving me a crash course in the basic Lindy Hop — slow slow quick quick.  I’m good on 1 and 2 although 3 and 4 tend to become a blur.  I do apologize to the three people whose toes I stepped on while going backward.  I hope I caused no permanent damage.  But I learned enough of the dance, to an uncritical eye, to get up on the floor several times at a medium tempo.  All credit goes to the Beloved: a far better dance instructor that the long-suffering woman I tried to learn from for ten Firday nights in a row.  If you’ve taken up another line of work because of me, Robin — something like munitions — I’m so sorry.      

My model in terpsichorean endeavors is one of my readers, a noble fellow named Ray Cerino, who’s a really fine dancer.  He’s also one of those generous people who believes in sharing pleasures, and it was at his birthday party in 2004 tha I met, face to face, Kevin Dorn, Jon-Erik Kellso, Mark Shane, Vince GIordano, and Dan Levinson.  What a band, and what a constellation of people to meet!  Thank you, Ray!   

But back to Dawn Lambeth.  To hear Dawn at her best, check out one of her CDs — details available at her website (www.usoniajazz.com); the same goes for the Boilermaker crew (www.boilermakerjazzband.com).

But here they are in person.  The song is one everyone associates with Billie Holiday, I’M GONNA LOCK MY HEART (AND THROW AWAY THE KEY).  But bless Dawn — she doesn’t try to be Lady Day.  Rather she approaches the song as a new text, on its own terms, and sings it for herself, which is what the great artists do.  Notice her unaffected, conversational delivery, her mellow voice, her easy glide over the rhythm. 

If you don’t know her work, you should . . . .