Tag Archives: Marty Eggers

THE PURSUIT OF SWEETNESS, OR, LIFE BEYOND “ROYAL GARDEN BLUES”: RAY SKJELBRED, MARTY EGGERS, JEFF HAMILTON, a/k/a “THE HOT CORNER” (September 15, 2019)

Hot Lips Page is supposed to have said, on the subject of repertoire one could improvise on, “The material is immaterial.”  Or, as a segment on the Benny Goodman Camel Caravan was headlined, “Anything can swing!”  Many jazz fans cling to a favored selection of songs, performed loud and fast — you know the tunes that the audience is ready to applaud even before a note is played, the lure and comfort of the familiar.  Not so here.  This is music for people willing to pay close attention, and to feel what’s being created for them.

Ray Skjelbred goes his own way, deep in the heart of melody, and we are glad.  Here he is with Marty Eggers, string bass, and Jeff Hamilton, drums, documented for all of us and for posterity by RaeAnn Berry.  Ray’s renamed this trio “The Hot Corner,” a reference to third base in baseball, but the music lives up to the name in very subtle ways.  In fact, it’s quiet and thus even more compelling, reminding me of the passages on 1938-40 Basie records where only the rhythm section is playing, quiet and even more quiet: enthralling!

Ray loves Bing Crosby, and Bing inspired some of the best songs, including his theme, a melody almost forgotten now:

Here’s what my dear friend Mike Burgevin would call “another Bingie,” this one best listened to over a dish of fresh — not canned — pineapple:

We wander from Bing to King — Wayne King, “the Waltz King,” that is:

Notice, please, the sweet patience of musicians who don’t have to jump into double-time, who can stay contentedly in three-quarter time, and it all swings so affectingly.  And here, just because technology makes it so easy, for those listeners who might not know the originals (and can now marvel even more at what Ray, Jeff, and Marty make of them), here they are.

Bing, with added attractions Eddie Lang and Franklin Pangborn:

and in a Hawaiian mood:

That famous waltz (which Bob Wills and Tamar Korn have also made their own):

and the Wills version, because why should I deny us the pleasure?

May your happiness increase!

THE MUSIC WAS HOT IN AVALON, BESIDE THE BAY: CARL SONNY LEYLAND, MARTY EGGERS, JEFF HAMILTON (Evergreen Jazz Festival, July 26, 2019)

The rainbows I associate with the Evergreen Jazz Festival weren’t always in the sky.  More often than not, they appeared on the bandstand and went vibrating towards everyone in the audience, memorably. One of the people I most associate with cosmic phenomena is pianist-singer-composer Carl Sonny Leyland.  People who like to categorize say that Sonny is a fine boogie-woogie and Chicago blues pianist and singer . . . and they would be correct.  But he’s also a rollicking full-spectrum jazz pianist, and one of my great pleasures is listening to him rip into a classic pop song as if he were a large puppy and the song a brand-new chew toy.  Or, once you’ve calmed down after this performance, you may want to invent a more demure metaphor, and I invite you to do so.

I associate AVALON with numberless Benny Goodman small-group performances and Goodman-inspired performances, but the song was “written” and published in 1920 — composer credits Billy Rose, Al Jolson, and Buddy De Sylva (to figure out who actually “wrote” this would tax my five wits, especially since its initial melody came from Puccini’s TOSCA).  However, it remains a reliable uptempo jazz standard for performers with certain associations.

Here is the strain from Puccini, sung by that Caruso fellow:

Hear Sonny, Marty Eggers, string bass, and Jeff Hamilton, drums, make a meal out of it at the Evergreen Jazz Festival:

By the way, no matter what MyLife might say, there is only ONE Jeff Hamilton.  Accept no substitutes.

May your happiness increase!

DOUBLE RAINBOWS OF SOUND: COME TO THE EVERGREEN JAZZ FESTIVAL! (July 26-28, 2019)

At the end of July, I will make my fourth visit to the Evergreen Jazz Festival, a weekend of music I look forward to avidly.  The rainbow photograph comes from my first visit; unfortunately, I couldn’t find the photographs I took of elk in the parking lot, but everybody comes out for fine jazz.

A small cautionary note: I waited until almost too late to find lodging — if you plan to go to Evergreen, make arrangements now: there’s a list of places to stay on their site, noted above . . . then there’s air travel and car rental.  But it’s all worth the time and money, I assure you.  Last night, I landed happily in Bears Inn Bed and Breakfast, among my friends, and I feel so fortunate: thank you, Wendy!

For me, previous highlights of Evergreen have been the music of Tim Laughlin, Andy Schumm, Kris Tokarski, James Dapogny’s Chicago Jazz Band, Hal Smith, the Holland-Coots Jazz Quintet, the Riverboat Roustabouts, and I am leaving out many pleasures.

Here’s the band schedule for this year:

You see that great music will flourish.

I confess that my heart belongs to the Holland-Coots Jazz Quintet (this weekend with John Otto in the reed chair), Hal Smith’s On the Levee Jazz Band (playing songs associated with Kid Ory in truly swinging style, with Clint Baker playing the role of the Kid) and the Carl Sonny Leyland trio, but I hope to see the Wolverine Jazz Band also . . . there are a host of local favorites as well, including Joe Smith and the Spicy Pickles, Wende Hairston and the Queen City Jazz Band, After Midnight, and more.

Time for some music!

Here’s a romping tribute to Fats Waller by the Holland-Coots Jazz Quintet, whose debut CD “This Is So Nice It Must Be Illegal”) is a Waller tribute: that’s Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet; Jacob Zimmerman, reeds; Steve Pikal, string bass, seen here at the Monterey, California Jazz Bash by the Bay on  March 2, 2019.  At Evergreen, the reed chair will be filled by John Otto from Chicago (you know him from the Fat Babies and Chicago Cellar Boys):

and COME BACK, SWEET PAPA by the On the Levee crew:

This band is devoted to the music of Kid Ory in his later decades, led by drummer / scholar Hal Smith, and including Charlie Halloran, trombone, Ben Polcer, trumpet, Joe Goldberg, clarinet; Kris Tokarski, piano, Alex Belhaj, guitar, Josh Gouzy, string bass: PAPA was recorded on November 25, 2018, at the San Diego Jazz Fest.

And finally, a real delight — Dorothy Bradford Vernon’s Thursday-night barn dance in Longmont, Colorado, featuring Carl Sonny Leyland, piano and vocals; Marty Eggers, string bass; and Jeff Hamilton, drums.  Information here — wonderful music, irreplaceable atmosphere, reasonable ticket price.  That’s July 25, 7:30-10:00 PM.

I will miss it this year (travel conflicts) but here’s how YOU TOOK ADVANTAGE OF ME rocked the barn last year:

I hope to see many of JAZZ LIVES’ readers and friends in Evergreen.

May your happiness increase!

THE KING’S SWINGLISH (Part One): CARL SONNY LEYLAND, JACOB ZIMMERMAN, MARTY EGGERS, JEFF HAMILTON at MONTEREY (March 3, 2019)

Those new to jazz performance may find improvisation a wondrous mystery.  “How do they know how to do that without music?” they ask.  It’s a fair question: how do you play soccer without the rulebook in your hand?  Is there some magic volume, known only to the favored few, that those versed in the secret craft have memorized?

The marvel that is improvisation results from practice, study, scholarly labor, trial and error — difficult to explain simply, but an analogy comes to hand.

With a few exceptions, we are born with the power of speech: we can form words and sentences and make ourselves understood,  That, for the jazz musician, would be mastery of her instrument, skill, technical proficiency, the ability to execute ideas in pleasing logical sequence.  Never as easy as it looks.

But there’s more, much more.  How does anyone have something to express, “things to say”?  That mastery, subtler and deeper, comes through communal exercise and learning from those who know the great wisdoms.  In everyday life, you know the basic vocabulary, but what do you say to someone who is mourning a death?  No thesaurus can teach us the right thing to say, the most appropriate thing to utter, but we can learn by saying the wrong thing and then doing better, or by being in the company of people who express themselves beautifully and learning from them.

Since music is a kind of speech, what jazz artists have is a common knowledge and common language — I’ve invented a whimsical term for it above — a series of conventions that have been internalized.  Not only does the experienced musician know the melody of YOU TOOK ADVANTAGE OF ME, but he knows the verse, the lyrics, the standard key, which tempos lend themselves to which approach; he might know the Whiteman and Bud Freeman recordings.  He might know several sets of harmonies; he might know the common errors he and others make.

With a solid foundation of such experiential knowledge, a musician gains the courage to sing an individual song, listen to, and add to the other songs being created on the bandstand.  The craft is a matter of tens of thousands of hours of practice among friends, colleagues, mentors . . .  listening intently to live performance and to recorded ones.

The results are unmistakable: an ease, an assurance, the kind of skill that lets warm personal improvisations happen, not only in solo, but also in ensemble.

The four musicians who took to the stage without fanfare on March 3, 2019, at the Jazz Bash by the Bay in Monterey, California, are masters of this conversational and inspiring art.  Three of them — pianist / singer / composer Carl Sonny Leyland, string bassist Marty Eggers, and drummer Jeff Hamilton — have worked together as a trio for years, and they are as close as family.  Or closer.

Jacob Zimmerman, of the Pacific Northwest, who plays clarinet and alto sax, writes and arranges, was new to the group.  But these four players fell into delicious harmony easily, and what music was made!  I’ve left in (more than usual) the little conversations that were prelude to each number, because they illustrate “the King’s Swinglish” well, to my eyes and ears.

They began with a lovely old tune, not played as much as it should be — the WABASH BLUES.  Groovy!

Then, a sentimental song that I think no one else does (I hear Bing’s version in my ears), IF I HAD MY WAY.  I love the performance, and I also urge people to watch Jacob intently learning the song from Sonny’s clear exposition.  And how they swing!

And, for the last Musical Offering (four more will appear in a second post), BOOGIE WOOGIE.  You’ll hear Sonny announce it as SOMETHING KIND OF BOOGIE-WOOGIE-ISH, but that title was too long for YouTube:

You’ve heard articulate people praised with the words, “She always knows the right thing to say.”  These four musicians always know the right thing to play.

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!

“KINDLY RESTRAIN THAT WILD CREATURE”: BRIAN HOLLAND, DANNY COOTS, MARTY EGGERS, MARC CAPARONE, EVAN ARNTZEN at the Scott Joplin International Ragtime Festival (Sedalia, Missouri: June 2, 2018)

A completely torrid interlude from the 2018 Scott Joplin International Ragtime Festival, featuring the Holland-Coots Jazz Quintet with Marty Eggers, string bass, sitting in for Steve Pikal.  The other incendiaries are Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet; Evan Arntzen, clarinet.  Although TIGER RAG owes something to Jelly Roll Morton, this rendition owes a great deal to Louis Armstrong. And who would find fault with that?

I’ve written a good deal and posted more than a few videos of this multi-talented group on this blog, which you can find.  However, I hope you know that they are among the stars of the late-Spring STOMPTIME cruise in the Eastern Caribbean: details here.  I am fairly sure that no pets are allowed on board, so you’ll have to check with the cruise line.

May your happiness increase!