Tag Archives: Matt weiner

“BUSY DOING NOTHING”: JACOB ZIMMERMAN TRIO (COLE SCHUSTER, MATT WEINER) — a NEW RELEASE on BANDCAMP

First, how about some music? — multi-layered and subtle, full of joy and surprises.  The creators are Jacob Zimmerman, reeds and arrangements; Cole Schuster, electric guitar; Matt Weiner, string bass:

Now, before we move on, a relevant and pleasing cat portrait:

You’ll have to ask Jacob and Elena about the curious feline: I stick to music.

The occasion here is the release of the Jacob Zimmerman Trio’s new record (or CD or download), called BUSY DOING NOTHING.  Don’t let the self-deprecating title fool you: it’s quietly warm music that remains in your feelings and thoughts.

I believe that when Jacob told me about his new project, I said, with all the delicate guile at my fingertips, “I want to write something for that,” and he graciously agreed.  Here is the Bandcamp link.  (My version of this link says “You own this,” because I do, but I hope that acts as an inducement to follow in my path after you’ve listened to LITTLE WHITE LIES.)

And here’s what I wrote about the music.

Some jazz listeners rhapsodize over the seismic power of a large ensemble. But such efforts make me say to no one in particular, before I stop the disc, “Please. Take the pianist, drummer, and all but one horn away. There’s a great Thai place two blocks south. Have lunch on me.” Many of the most beautiful sounds I know have been made by the smallest groups, austerely lovely, energetically romping, each a triumph of intuition and empathy: Lucky Thompson, Oscar Pettiford, Skeeter Best; Pee Wee Russell, Joe Sullivan, Zutty Singleton; Duke and Blanton; Vic Dickenson and Ralph Sutton. And when the instrumentation is “unorthodox,” all the better.

It’s in this spirit that I greet and embrace BUSY DOING NOTHING, a sly title for these trio performances. They have a translucent sparseness yet they are also rich in melody and improvisation. Each chorus seems a complete composition in itself: BILL, for one gorgeous example. These three musicians create lovely textural variations as well as melodic embellishment and sweet harmonic delving, and the results feel honest, fresh but never self-consciously “adventurous.”

CHRISTMAS IN JAIL has a deep-blue moan to it – even though I would suspect that Jacob, Cole, and Matt have done nothing more criminal than parking tickets. Jacob told me that this session was inspired by the Braff-Barnes Quartet and the Jimmy Giuffre Trio – and this track has a close kinship with THE TRAIN AND THE RIVER, which is great praise. For uncomplicated irresistible swing, there’s MY GAL SAL – “good and groovy,” to quote Trummy Young. ALL OF YOU has, in its quiet pensive splendor, echoes of Brahms, if Brahms had been wiser. I WON’T DANCE is charming, expert, and hilarious: “Look what they did there!” is how I felt on first listening. THE BOY NEXT DOOR gave me chills – moving from unaffected tenderness to sophistication and back again.

BLUE ROSE holds a special place in my affections: when I last saw Jacob, an occasion that, pre-pandemic, seems a lifetime ago, at the March 2020 “Jazz Bash by the Bay,” he and Riley Baker joined me for a meal and conversation, then Jacob brought his tiny audio setup to my hotel room so that we could hear a track from this session. It was this, his gift to our hero Ray Skjelbred, an improvisation on a passage from the 1933 Horace Henderson record of HAPPY FEET. When I could form words, I said only, “Would you play that again?” It thrills me to know that I, and you, can play BLUE ROSE forever. There is an arching imagination behind this – composition and the trio’s playing – that makes me very glad. It feels like a three-dimensional aural ballet, airy and solid at once.
LAZYBONES is the soundtrack for a Swing Cowpoke short subject that hasn’t been filmed yet, with Matt, Cole, and Jacob rounding up the out-of-tune rustlers and getting them to play their parts correctly before riding off to educate the next bunch of amateurs. IDA of course harks back – how beautiful Matt’s arco sounds! – to Nichols, Rollini, and Livingston, but Jacob’s entrance reminds me of Lester, ten years later, and the whole performance is a sweet world that we are encouraged to make ourselves at home in. SOMEBODY LIKE YOU is one of Jacob’s discoveries of otherwise-forgotten Walter Donaldson music. It has an unaffected 1927 lope to it, dance music for another time and place, shined up by this trio so that we can delight in it right now. I love Cole’s chiming arpeggios and Matt’s serious two-four dance underneath Jacob’s bright-toned melodies. My only complaint about this track (and others as well) is that they are so sweetly terse that I said, on first hearing, “Wait. Is that over?” THE NIGHT HAS A THOUSAND EYES suggests some lovely Sixties music heard at a distance – another dance, both saying, “Come join us.”

I wonder how listeners in 2021 and beyond will take this music in. It is so rewarding, track by track, that I hope they will not gobble it down in one sitting. I wistfully envision these thirteen performances as being issued as a set of Victor Red Seal or Keynote 12” discs in a cardboard “album” that one would have to reverently play, one after the other, placing each disc on the turntable and lowering the tone arm. The thirteenth side would be shiny and ungrooved, a reminder for us to go back to LITTLE WHITE LIES, in amazed delight at what Jacob, Cole, and Matt create for us. This session is immense fun, but approaching it with joyful astonishment would be right.

When you’ve heard the music, and I hope you will, you will understand that I did not overstate here.  And if you can find it in your heart and wallet to purchase this music on Juneteenth — June 19, 2020, Bandcamp has done something both moral and special.  I quote from their site:

The recent killings of George Floyd, Tony McDade, Sean Reed, Breonna Taylor, Ahmaud Arbery and the ongoing state-sanctioned violence against black people in the US and around the world are horrific tragedies. We stand with those rightfully demanding justice, equality, and change, and people of color everywhere who live with racism every single day, including many of our fellow employees and artists and fans in the Bandcamp community.

So this this coming Juneteenth (June 19, from midnight to midnight PDT) and every Juneteenth hereafter, for any purchase you make on Bandcamp, we will be donating 100% of our share of sales to the NAACP Legal Defense Fund, a national organization that has a long history of effectively enacting racial justice and change through litigation, advocacy, and public education. We’re also allocating an additional $30,000 per year to partner with organizations that fight for racial justice and create opportunities for people of color.

The current moment is part of a long-standing, widespread, and entrenched system of structural oppression of people of color, and real progress requires a sustained and sincere commitment to political, social, and economic racial justice and change. We’ll continue to promote diversity and opportunity through our mission to support artists, the products we build to empower them, who we promote through the Bandcamp Daily, our relationships with local artists and organizations through our Oakland space, how we operate as a team, and who and how we hire.

Beyond that, we encourage everyone in the Bandcamp community to look for ways to support racial equality in your own local community, and as a company we’ll continue to look for more opportunities to support racial justice, equality and change.

Blessings on Jacob, Cole, and Matt, and thanks to Bandcamp for not only making this music accessible to us but also giving an extra moral push towards a kinder future for all.

May your happiness increase!

LESSONS IN LEVITATION: RAY SKJELBRED and his CUBS: RAY SKJELBRED, KIM CUSACK, JOSH ROBERTS, MATT WEINER, JEFF HAMILTON (June 30, 2019)

An inspiration for this inspiring little band.

Thanks to the ever=devoted SFRaeAnn, we have a five-minute treatise on the most inspired floating, created in front of an audience at America’s Classic Jazz Festival in Lacey, Washington, on June 30, 2019.  The players here are Ray Skjelbred, making that old keyboard sound exactly like new; Kim Cusack, clarinet; Josh Roberts, guitar; Matt Weiner, string bass; Jeff Hamilton, drums. And their particular text is LADY BE GOOD, by George and Ira Gershwin, first performed in 1924 and immediately taken up by jazz musicians, dance bands, and singers of all kinds — from Ben Bernie and the California Ramblers to the present day.

Perhaps because tempos in performance naturally increase, and because it is such a familiar set of chord changes (from the 1936 Jones-Smith, Incorporated recording on) it’s usually played at a brisk tempo.  This performance is a sly glide, a paper airplane dreamily navigating the air currents before coming to a gentle landing.  And — taking the Basie inspiration to new heights — this performance so lovingly balances appreciative silence with sound.

It doesn’t need my annotations: it reveals itself to anyone willing to pay attention.  Watch the faces of the musicians; hear their delighted affirmations.  As James Chirillo says, music was made:

Blessings on them all, past and present, visible and ectoplasmic.  The Cubs lift us up but never drop us down.

May your happiness increase!

FLYING, GLIDING: THE JACOB ZIMMERMAN 3: JACOB ZIMMERMAN, COLE SCHUSTER, MATT WEINER (July 2019)

Some ensembles need many people to make a statement: Jacob Zimmerman, Cole Schuster, and Matt Weiner (reeds, guitar, string bass) create memorable vignettes in a small space: it’s a band that could travel comfortably in a subcompact car.  They have a new CD coming out, and Jacob has posted two selections recorded last month — what ease and grace, what quiet impact.

Jacob wrote of the first selection, LANTERN OF LOVE (a 1925 tune),
A few weeks back my trio that plays Tuesdays at IL Bistro got together to rehearse some of the fancier arrangements I’ve written. I first heard this song on a Roger Wolfe Kahn record. I love the elegance of this melody. I tried to channel the spirit of the Jean Goldkette orchestra and feature Matt Weiner playing his version of Steve Brown style slap and arco bass playing.

and here’s the more familiar THE SONG IS ENDED — a remarkable treatment of a lovely Berlin melody which makes me think of Ruby Braff at the start and then segues into what I think of as 1945 Jamboree Records swing, up on the aesthetic mountaintop in less than four minutes (I kept waiting for Joe Thomas to appear and take the bridge):

I don’t see a trip to Seattle soon (although anything is possible) but I believe I will see Jacob again as part of the Holland-Coots Jazz Quintet at the San Diego Jazz Fest and Swing Extravaganza in November, and I certainly look forward to that new CD!

May your happiness increase!

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

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

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

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

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

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

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

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

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

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

May your happiness increase!

NINE BLOSSOMS ON THE BOUGH: RAY SKJELBRED, JACOB ZIMMERMAN, MATT WEINER IN CONCERT at KENYON HALL, SEATTLE, WASHINGTON (April 20, 2019)

I’m thrilled that there are some people I know and hold dear who are doing what I do — documenting the jazz scene with video cameras and a respect for the music and musicians.  I may leave someone out, but first among them, Laura Wyman of Wyman Video and Eric Devine of CineDevine, and my esteemed California role model, Rae Ann Hopkins Berry.

To this list I now add the brilliant string bassist and very effective videographer Matt Weiner.  I’d heard and admired his playing on Jacob Zimmerman’s MORE OF THAT and I got to see him on video in a January 2019 performance here.  He may be mildly shocked by being the center of attention, but once you see the evidence you will understand why he deserves the bright lights and bouquets.

Going back a bit, I don’t recall seeing this announcement for a trio performance at Seattle’s Kenyon Hall:

My ignorance was all to the good, because I would have whined and sulked, “I can’t be there to hear or video this music.  How can they do this to me?” But Matt rescued me — and now you — from such dolorous utterances by not only recording nine selections by this wondrous trio but sending them to me, and thus to us.

Hence, delights.  If you don’t know the Masters here, Skjelbred and Zimmerman, you have fallen behind on your blog-homework and will be sent to blog-detention.  Matt is a noble member of this trio.  The videos below should unfold as a set of glories: lyrical, tender, hot, wise, and heartfelt.  A rare and lasting gift.

Blessings on these three fellows.  And gratitude.

May your happiness increase!

THREE BEAUTIES by JACOB ZIMMERMAN AND HIS PALS (LIVE!): FEATURING RAY SKJELBRED, MATT WEINER, D’VONNE LEWIS, COLE SCHUSTER, CHRISTIAN PINCOCK (KNKX Public Radio, January 3, 2019)

Illustration by Jesse Rimler

Last August, I did handsprings (a figure of speech) about the debut CD of Jacob Zimmerman and his Pals, MORE OF THAT; you can read my joyous words here.  The CD impressed me so that I did something — in complete seriousness — that I’ve never done in ten years of blogging, that is, I told readers that if they bought the CD and disliked it, I would buy it back from them and give them their money back.  I was and remain so convinced, and no one has contacted the JAZZ LIVES Customer Service Department.

For this intimate swing session — TV on the radio, perhaps? — Jacob plays alto and clarinet, aided immeasurably by: Matt Weiner, string bass; Josh Roberts, guitar; Ray Skjelbred, piano; D’Vonne Lewis, drums; Cole Schuster, guitar; Christian Pincock, trombone and valve-trombone.

To quote the Blessed Eddie Condon, “Too good to ignore.”  And Count Basie called the station to say only, “Yes.”

Thanks to KNKX Public Radio for this swing session, and especially for these three videos, which they offered to us on January 24.  And thanks some more!

SONG OF THE ISLANDS:

RADIATOR, in tribute to the eminent Mr. Skjelbred, poet and poet of the piano, based on his hero’s PIANO MAN — that would be Earl Hines — which was itself based on SHINE:

SCULPT-A-SPHERE, harmonically built on NICE WORK IF YOU CAN GET IT, Jacob’s fanciful idea of a collaboration between Monk and Pres:

This is glorious music — “Old Time Modern,” you might call it.  And if it needs explication, you might want to visit an ENT professional (first checking that she is an approved network provider.)  I also think that you might well want to investigate Jacob’s new CD here.  It’s pressed (if that archaic verb still applies) in an edition of 400; the price is $15, and the your-money-back offer still applies.

May your happiness increase!

SPLENDIDLY GENUINE: “MORE OF THAT,” JACOB ZIMMERMAN and his PALS

This is not really a post about shopping, but since shopping is one of the experiences held in common by so many of us, it works as metaphor.  A dozen years ago, if I thought I needed a new shirt, I would have headed to The Mall, where I could gaze at two dozen machine-made shirts, identical except for size and perhaps color.  The plenitude was a reassuring reminder that we live in the Land of Too Much, and often I bought more than I needed.

As my clothing style became more personal, the racks of identical product no longer charmed.  I began to go thrift-shopping for the quest for unique pleasures.  Surprise was the rule, even among the inexplicable proliferation of plaid shirts (why?). I would spot something thirty shirts away, move towards it as if magnetized, and might have a small breath-taking experience.  “That’s for me!  I could wear that!  That looks like it belongs to me!”

Illustration by Jesse Rimler

Such impassioned bonding happens with music also: I was two minutes into the first track of a new CD — its cover above — and my mental soundtrack alternated between, “Oh, my goodness, this is wonderful!” and the more defensive, “You’re not getting this CD away from me.”  And then,addressing the invisible JAZZ LIVES audience, “You need to hear this,” I thought.

“This” is the debut CD of Jacob Zimmerman and his Pals called MORE OF  THAT, and to use my own catchphrase, it has increased my happiness tremendously.

The cover drawing, which I love, by Jesse Rimler, says much about the cheerful light-heartedness of the enterprise.  Why has this twenty-first century Nipper got his head in a protective cone?  Has he been biting himself?  Is the cone a visual joke about the morning-glory horn?  Is this the canine version of cupping a hand behind your ear to hear your singing better?  All I know is that this dog is reverently attentive.  You’ll understand why.

Here is Jacob’s website, and you can read about his musical associations here.

I had heard Jacob’s name bandied about most admiringly a few years ago; he appeared in front of me in the Soho murk of The Ear Inn and was splendidly gracious.  He’d also received the equivalent of the Legion of Honor: he was gigging with Ray Skjelbred.  But even these brightly-colored bits of praise did not prepare me for how good this CD is.

The overall ambiance is deep Minton’s 1941, Keynote, and Savoy Records sessions, that wonderful period of music where “swing” and “bop” cuddled together, swinging but not harmonically or rhythmically constrained.  And although Jacob and Pals have the recorded evidence firmly in their ears and hearts, and under their fingers as well, this is not Cryogenic Jazz or Swing Taxidermy (with apologies to Nipper’s grandchild on the cover).

As a leader, Jacob is wonderfully imaginative without being self-consciously clever (“Didja hear what the band did there?  Didja?”)  Each performance has a nifty arrangement that enhances the song rather than drawing attention from it — you could start with the title tune, MORE OF THAT, which Jacob told me is based on MACK THE KNIFE, “MORITAT,” so you’ll get the joke — which begins from elements so simple, almost monochromatic, and then builds.  Each arrangement makes full use of dynamics (many passages on this CD are soft — what a thing!), there’s some dark Ellingtonia and some rocking neo-Basie.  And each song is full of delightful sensations: when I get through listening to BALLIN’ THE JACK (a song often unintentionally brutalized) I think, “That’s under three minutes? How fulfilling.”  So the Pals are a friendly egalitarian organization with everyone getting chances to shine.

A few words about the compositions.  SIR CHARLES is Ray’s homage to our hero Sir Charles Thompson; Jacob says RADIATOR “was composed as a feature for Ray and was inspired by the Earl Hines record “Piano Man.” It’s based on “Shine.”  SOMETIMES I’M HAPPY “is a feature for bassist Matt Weiner and pays homage to the record of that tune by Lester Young and Slam Stewart.”  “FIRST THURSDAY is based on”Sunday.” My monthly gig at the jazz club “Egan’s Ballard Jam House” has happened every first Thursday for over 5 years.” And SCULPT-A-SPHERE “is based on “Nice Work If You Can Get It”…I tried to imagine what it would be like if Thelonious Monk and Lester Young wrote a tune together.”

Before I get deeper into the whirlpool of praise, some data.  Jacob plays alto and clarinet (more about that in a minute), aided immeasurably by: Matt Weiner, string bass; Josh Roberts, guitar; Ray Skjelbred, piano; D’Vonne Lewis, drums; Cole Schuster, guitar; Christian Pincock, trombone; Meredith Axelrod brings voice and guitar to the final track.  And the compositions: RADIATOR / SOMETIMES I’M HAPPY / FIRST THURSDAY / SONG OF THE ISLANDS / BLUE GUAIAC BLUES / BLUES FOR SIR CHARLES / IN A SHANTY IN OLD SHANTY TOWN / MORE OF THAT / BALLIN’ THE JACK / BROTHER, CAN YOU SPARE A DIME? / SCULPT-A-SPHERE / I AIN’T GOT NOBODY.  All immensely tasty, none crowding its neighbor.

This being the twenty-first century, many saxophonists live in a post-Parker era, which works for some. But Jacob has deeply understood that there are other sounds one can draw upon while playing that bent metal tube: a mix of Pete Brown (without the over-emphatic pulse), Hilton Jefferson (rhapsodic but tempered), and Lee Konitz (dry but not puckering the palate).  On clarinet, he suggests Barney Bigard but with none of the Master’s reproducible swoops and dives: all pleasing to the ear.

Because I have strongly defined tastes, I often listen to music with an editor’s ear, “Well, they’re dragging a little there.”  “I would have picked a brighter tempo.”  “Why only one chorus?” and other mind-debris that may be a waste of energy.  I don’t do that with MORE OF THAT, and (imagine a drumroll and cymbal crash) I love this CD so fervently that I will launch the JAZZ LIVES GUARANTEE.  Buy the disc.  Keep the jiffybag it came in.  Play it twice.  If you’re not swept away, write to me at swingyoucats@gmail.com, send me the CD and I’ll refund your money and postage.  I don’t think I will be reeling from a tsunami of mail, and should some people (inexplicably) not warm to this disc, I’ll have extra copies to give away.

You heard it here first.

May your happiness increase!

The CASEY MacGILL ORCHESTRA, “THE ROYCROFT SESSION”

You’re going to have to trust me on this — that Casey MacGill’s new five-song CD, pictured below, is excellent and beyond — because I can’t offer you sound samples or downloads.  You’ll have to (gasps from the audience) buy the CD.  It’s $15 and it’s splendidly worth it.  Details here.  The other necessary bit of candor is that it a an EP-CD . . . or whatever they call it nowadays, twenty minutes long.  Take it as the best compliment I can offer that when I first got a copy, I began to audition it in the Mobile Audition Studio (my 2014 Camry) and I played it three times through without stopping, and thought, “That’s more pleasure than many standard-length CDs.”

“A swing band, yes, but what makes this special is the combination of great arrangements, vocals, and its irresistible rhythmic pulse. Flavor, tonal colors, musical storytelling; two brilliant originals and three classics that are must-hear,” is the description on Casey’s website, and it’s an accurate one.  The band recorded on January 8, 2018 — in beautiful sound and no trickery.

Here are the players — and some of them you will not only recognize but greet as masters on their instruments.  Casey plays piano, ukulele, sings lead, and does the arrangements.  The reeds are Jacob Zimmerman, lead alto, clarinet, vocal; Saul Cline, tenor, clarinet; Hans Teuber, alto, clarinet; Jonathan Doyle, tenor, baritone, clarinet, bass sax.  The brass: Charlie Porter, lead trumpet; Dan Barrett, trumpet; Trevor Whitridge, trombone; David Loomis, trombone; Christian Pincock, trombone.  Rhythm: D’Vonne Lewis, drums; Matt Weiner, string bass; Josh Roberts, guitar.

And they rock.

About the music.  Casey understands and embodies several truths in his music — in theory and performance.  One is that if the music isn’t fun, why do it?  (This doesn’t mean jokes, but a certain lively ebullience.  Joy.)  Two is that there is no artificial division between “jazz” and “swing,” that the former ought to get the dancers on the floor, but that the latter has to be ornamented with high-level inspiring improvisations.  Three is that simplicity is commendable rather than a weakness, and that music can fall down under the weight of too much of anything, so that well-played riffs can be a great pleasure, even if we know them by heart.

The disc starts with SWING NATION (its refrain “People groovin’ together!” a philosophical foundation for everything Casey and friends do) with a duo vocal by Casey and Jacob Zimmerman — I thought I heard a little Trummy Young and Sy Oliver in there, and that’s a compliment.  It’s a short performance, but a memorable one: I was humming it in the days that passed after my first listenings.  I was rocking in my driver’s seat before the song was a minute old. Great solo segments by Doyle (on bass sax!), Barrett, Lewis, Loomis, Casey on piano, all deserved multiple hearings on their own.  The arrangement is full of little surprises, but none of them seem obtrusive, and the rhythm section is superb: Casey, switching from piano to ukulele, is a splendid anchor and guide. His piano playing is Basie-like but without any of the half-dozen (by now tedious) Basie “trademarks.”

I NEVER KNEW is often taken too fast, but not here, and the arrangement looks to the 1933 Benny Carter recording, with a sweet discussion between Zimmerman and Cline at the start, before Barrett does what he does so superbly, the second sixteen over to Casey at the piano.  Then — “What is that?” — a transcription of Lester’s 1943 solo for sax section, glossy and supple, again with a piano bridge by Casey leading into a muted brass rendering of the closing Carter chorus, Barrett backed by Lewis’ tom-toms for the bridge.  So far (and I left a phone message with my primary care physician) I have been unable to listen to this track only once.

LA DAME EN BLUES, another MacGill original, is what they used to call a “mood piece.”  Its groove reminds me a little of THE MOOCHE, with a much more harmonically sophisticated second half, that turns into a melancholy yet swinging clarinet solo.  Again, the ensemble writing is compelling without grabbing the listener’s collar.  Loomis summons up Joe Nanton, gruff but tender, before piano leads the band out.

The opening of NIGHT AND DAY — muted brass against and with reeds — makes me wish I had practiced more during those ballroom dancing lessons of 2007.  I delight in the band’s lovely sound: everyone knows how to play as part of a section, which is a great thing.  Casey’s vocal is hip but completely sincere: he doesn’t ooze, but he’s deeply in the pocket of Romance, with an easy conversational lilt to his phrasing.  A gorgeous solo chorus by Teuber (who makes me think of Pete Brown and Rudy Williams, sweet-tart) follows, before Casey returns to woo the unknown hearer and us.

Finally, HONEYSUCKLE ROSE, which has been done so often that it might labor under the burden of familiarity, starts off with a bang — a short vocal introduction before the band says, “HERE we are!” in the opening chorus.  Casey’s vocal, hip and hilarious, is so winning, before Teuber comes on, and that’s no idle 1946 cliche.  Barrett, for the second sixteen, visits NOLA, before the band starts to rock what I think of as “the Henderson riff” or perhaps it’s the Hopkins one — buy the CD and argue among yourselves.  Another riff is overlaid, which I love but cannot place, before Casey does a Johnny Guarneri for the bridge, and the band mixes unison scat — college cheerleaders? — while thinking of Christopher Columbus, before bringing on a Django-and Stephane riff.

Perfectly swinging music, ensemble, solos, vocal: it’s a delight.  I thought, when I’d finished writing this overview, “Hey, the only thing wrong with this disc is that it’s not a two-CD set!” but perhaps that’s best.  Maybe Casey has a firm hand on the tiller and is looking out for us all.  Given two hours of this band, I might be so overwhelmed by pleasure that I couldn’t write.

Buy yours here.  Bliss has rarely been so easy to come by.

May your happiness increase!

CRAZY RHYTHM and MORE: CASEY MacGILL’S BLUE 4 TRIO

Mike Daugherty, Matt Weiner, Casey MacGill

A band that calls itself “the Blue 4 Trio” has a touch of surrealism about it — reminiscent of the Magritte painting of a pipe that is subtitled “This is not a pipe.” But don’t let the quartet-that’s-really-a-trio disconcert you.

Casey MacGill and his colleagues make delicious music — in the best old-fashioned ways without being a “repertory orchestra” devoted to copying vintage 78s.

Casey, Matt, and Mike all sing — in that infectious way that recalls the Mills Brothers, the Spirits of Rhythm, the early King Cole Trio, Duke Ellington’s 1937 vocal trio, Slim and Slam, the Cats and the Fiddle, with touches of Fats, Louis, and Bing added to the mix.

Instrumentally, Casey is a fine pianist, ukulele player, and a heartfelt middle-register cornet serenader.  You’ve heard Mike Daughterty swing the First Thursday Jazz Band; here he gets many opportunities to show off his skill on the wirebrushes; bassist Matt Weiner who would make Milt Hinton proud.

I stress the inherent musicality of the B4T because many groups across the country market themselves as “swing bands” offer a rigid, by-the-numbers version of swing.   Sartorially, they are perfect: the hats, two-tone shoes, suits, but their music is rigid and limited.  Not this little band.

I listened to the Blue 4 Trio at length — two CDs worth — while driving back and forth to work.  I would testify under oath in Jazz Court that they swung, that every track lifted my spirits.

There’s no postmodern irony here, no “distance” from the material: their readings of I FOUND A MILLION DOLLAR BABY or I AIN’T LAZY, I’M JUST DREAMIN’ (memories of Jack Teagarden in 1934) are deep inside the song.  I now know the verse to CRAZY RHYTHM, which is no small boon.

Here’s a three-minute video portrait of these fellows and the band — created in Casey’s Seattle living room by filmmaker Keith Rivers:

Although the Trio’s repertoire is drawn from the Swing Era, they aren’t prisoners of 1936: their CDs and performances feature a few idiomatic originals and some more recent material: DAYDREAM (by John Sebastian) and the Leiber-Stoller THREE COOL CATS.

Visit here to hear music samples, keep up with the band’s gig schedule, and more.

And if you visit here and click at the top of the page, you can hear Casey and Orville Johnson play and sing ALOHA OE BLUES . . . a pleasure.

The two CDs I got so much pleasure from are THREE COOL CATS (which has guest appearances from guitarists Orville Johnson and Del Ray, as well as tenor sax and clarinet from Craig Flory).  The songs are GANGBUSTERS / THREE COOL CATS / I FOUND A MILLION DOLLAR BABY / LULU’S BACK IN TOWN / SUNNY AFTERNOON / UP JUMPED YOU WITH LOVE / THE SPELL OF THE BLUES / EVERYTHING BUT YOU / IT’S MY LAZY DAY / LOVE IS JUST AROUND THE CORNER / CHICKEN DINNER / DAYDREAM.

and the newest one, BARRELHOUSE (a MacGill original with clever lyrics), features the Trio plus Orville Johnson, Hans Teuber on tenor sax and piccolo, and New York’s own guitar master Matt Munisteri.  It begins with the title tune, and goes on to PALM SPRINGS JUMP / CHANGES / ME AND THE MOON / OUT OF NOWHERE / SMALL FRY / CRAZY RHYTHM / COW COW BOOGIE / I AIN’T LAZY, I’M JUST DREAMIN’ / I’VE GOT TO BE A RUG CUTTER / BLUE BECAUSE OF YOU / WARM IT UP TO ME.

They are the real thing.  Accept no substitutes!

HARLEM MAD: GLENN CRYTZER AND HIS SYNCOPATORS

The stuff is here and it’s mellow!

Many jazz musicans present themselves not only as players but as composers, with varying results. 

Seattle-based Glenn Crytzer — guitarist, banjoist, singer — is one of those rare creative beings who beautifully fills both roles.  The evidence is on YouTube, and most recently on a new small-band CD, HARLEM MAD, which presents twenty (count ’em) originals by Glenn, with star turns by Meschiya Lake, Solomon Douglas, and Ray Skjelbred. 

Instead of brooding “compositions” that serve only as jumping-off places for long solos, or thirty-two bar borrowings that take their A section from something familiar and their B from something even more so, Glenn’s songs have real shape and authenticity. 

On HARLEM MAD, you’ll hear a broad variety of performances that could be taken from the archives — unissued takes and masters from 1926 to 1949, from Glenn’s own take on rough-hewn South Side Chicago of the Twenties (Jelly Roll Morton, Jimmy Bertrand) to cheerfully lopsided jump tunes that nod to Monk as well as Jacquet and Byas. 

And there are vocals as well — for the justly-praised Meschiya Lake, who comes through on this CD as a fully-developed star personality, whether moaning the blues or suggesting that we get rhythm and jump with her.  The songs romp, groove, and moan — there are paeans to getting frisky on the dance floor, as well as heartbroken blues and naughty laments about making love to the wrong woman in the dark . . . all genres are more than adequately spoken for!’

I thought of Rod Serling — a jazz fan wanders into a diner where he’s never been, in an unidentified time and place.  The coffee is hot; the apple pie is fine . . . . and the jukebox needs no coins and plays one wildly appealing yet unfamiliar song after another . . .  But this isn’t the Twilight Zone, and HARLEM MAD isn’t a science-fiction dreamlike artifact.  

Here are Glenn, Meschiya, and the Syncopators performing one of Glenn’s originals from HARLEM MAD, NEW YEAR BLUES.  (And, yes, who could mistake the trumpet player in the clip?  That’s our own Bria Skonberg.):

And TEN ‘TIL FIVE, which suggests both the 1941 Goodman Sextet with Charlie Christian and one of the Minton’s sessions recorded that same year by Jerry Newman:

See what I mean?  The compositions on HARLEM MAD are the title song / TEN ‘TIL FIVE / YOU DON’T SAY / WITCHING HOUR BLUES / FORTUNATE LOVE / BARNEY’S BOUNCE / PAYIN’ NO MIND / CENTURY STOMPS / NEW YEAR BLUES / WALLINGFORD WIGGLES / I GOT NOTHIN’ / LAZY / THE CLAWJAMMER / MR. RHYTHM / FUMBLIN’ AROUND / THE DEPRIVATION BLUES / RAINIER VALLEY RHYTHM / PARC ON SUMMIT / THE BEAVER BUMP / NICE AND SLOE. 

The multi-talented musicians on the CD are Steve Mostovoy, trumpet / cornet; Dave Loomis, trombone; Craig Flory, clarinet / tenor; Paul Woltz, alto / brass bass; Ray Skjelbred or Solomon Douglas, piano; Glenn Crytzer, guitar / banjo / vocal; Dave Brown or Matt Weiner, string bass; Mike Daugherty, drums / washboard; Meschiya Lake, vocals. 

It’s not nice to tease people, but if you’re feeling whimsical when one of your jazz pals is visiting, you might pick a track from this CD and put it on, unannounced and unidentified . . . when the eyebrows go up and the friend wants to know exactly what that music (newly encountered) is, see how far you can go with a straight face, “Oh, that’s an unissued 1930 Champion by an otherwise unknown Chicago band,” or “That’s something they dug out of the Savoy vaults from 1947.  Like it?” 

Glenn  Crytzer and the Syncopators are just that good, just that swinging. 

There’s a great interview with Glenn at SWUNGOVER: http://swungover.wordpress.com/2011/03/08/interview-with-glenn-crytzer-of-the-syncopators/

and for more information about HARLEM MAD, visit Glenn’s website: http://www.syncopators.com.  Mellow indeed.