Tag Archives: Nate Ketner

“THE STRANGE INTERSECTION OF LOVE AND FIDUCIARY MATTERS”: MARC CAPARONE, BRIAN HOLLAND, DANNY COOTS, STEVE PIKAL (San Diego Jazz Fest, Nov. 29, 2019)

Above, the musicians.  Below, the text for the mellow sermon.

Now, this 1930 song seems a charming period piece.  How many people, ninety years later, know the archaic vocabulary painfully current shortly after the stock market crash? It owes its immortality to Louis, as so much music does:

Marc Caparone acknowledges our debt to Mister Strong in his own way, with Danny Coots, drums; Brian Holland, piano; Steve Pikal, string bass:

Some concepts never die: I just heard someone speak of “being emotionally invested” in another person.  May our psychic portfolios always gain in value.

And, speaking of value, the Holland-Coots Quintet will be appearing at the 40th Jazz Bash by the Bay in Monterey, California, this March — and the Musician of the Year will be Mister Caparone.  Good sounds await.

May your happiness increase!

FREDERICK HODGES, HIMSELF, CHARMS US (Stomptime, April 27 – May 3, 2019)

Frederick Hodges, in a very serious moment

The singular pianist / singer / archivist / entertainer Frederick Hodges describes what he does as “Sophisticated and Jazzy Piano Stylings of the Great American Songbook,” and it is a reassuring example of truth in advertising.

I had not encountered him in person before last spring’s Stomptime cruise in the Eastern Caribbean, but he dazzled us all.  He is an elegant personage who likes to amuse as well as play music: there is nothing stuffy about him, and he has all the characteristics of a great entertainer, whether he is recounting a comic anecdote, whipping up and down the keyboard, singing in English (or occasionally in another tongue): he’s a complete show in himself.

His piano style is at once ornate and swinging — a window into 1936 pop music and jazz when they were comfortable bedfellows.  Those who don’t listen closely will hear only the ornamentation, impressive in itself: those who pay closer attention will hear a very precise artist who draws on varied inspirations for his own brightly shining result.  You can hear ragtime and stride and “cocktail piano” in his work — and the admiring shades of Fats Waller and Eubie Blake.  He also has listened closely to the duo-piano teams of the last century, and can make you believe there is another person on the piano bench.

Here, he makes KEEPIN’ OUT OF MISCHIEF NOW gleam:

With Steve Pikal, string bass, and Dick Maley, drums, he dances through LADY BE GOOD, a performance framed by characteristic puckishness:

another classic, PENNIES FROM HEAVEN:

Perhaps the most famous Gershwin tune, I GOT RHYTHM:

Some more Fats (in the daylight, hence the change of hue):

And a Eubie Blake extravaganza, properly titled:

Frederick also plays well with others: (Nate Ketner, reeds; Marc Caparone, trumpet; Clint Baker, trombone; Sam Rocha, string bass; Danny Coots, drums) on the TIN ROOF BLUES.  Slow-moving dancers (or are they ships docking?) impede our view of the band but the music comes through:

and the beloved ROYAL GARDEN BLUES by the same bunch:

He’s a singular musician, a remarkable personality.

May your happiness increase!

“MAY I SWING YOU A SONG?” DAVE STUCKEY and the HOT HOUSE GANG at the REDWOOD COAST MUSIC FESTIVAL: DAVE STUCKEY, MARC CAPARONE, NATE KETNER, CARL SONNY LEYLAND, WALLY HERSOM, JOSH COLLAZO, DAWN LAMBETH (May 10, 2019)

Dave Stuckey knows how — how to put together a hot congenial swinging band, how to sing in a convincing heartfelt Thirties style that engages an audience, how to find rare material . . . how to put on a show that doesn’t require his dad’s barn (although he will work in barns for the right offer).  He is comic without being jokey, and his friendly approach to the band and to us is heartfelt, not a series of ad-libs.  He’s having fun, and we feel it also.

He showed off all these talents with the Hot House Gang at this year’s Redwood Coast Music Festival — the Gang being Josh Collazo, drums; Wally Hersom, string bass; Carl Sonny Leyland, piano; Nate Ketner, reeds; Marc Caparone, cornet; Dawn Lambeth, vocal.  Here are seven tunes — count ’em, seven! — from the Gang’s first set.

Here’s melodious Dawn to sing a rare tune I associate with Henry “Red” Allen, which is always an asset, I’LL SING YOU A THOUSAND LOVE SONGS:

In the wrong hands, EXACTLY LIKE YOU can sound overfamiliar and thus dull, but not in these hands — those of Dawn and the Gang, helped immensely by Father Leyland’s righteous groove:

I confess that I’ve heard many versions of WHAT A LITTLE MOONLIGHT CAN DO that made me mutter to myself, “Not much,” but this performance gets at the heart of the ebullience of the Billie Holiday records of the Thirties, thanks to glorious playing by the band as well as Dawn’s choice to sing the song rather than the record.  Those riffs, those riffs!

Hoagy Carmichael’s love song to New Orleans, of the same name, wistfully sung by Dave and eloquently by Marc:

Father Leyland’s rocking bouquet for IDA, which is so much music packed into three minutes:

The new dance they’re doing uptown, TRUCKIN’:

and, to close the set, the joyous affirmation of collective swing, a song that brings together Ivie Anderson and the Marx Brothers as well as the Hot House Gang.  Who would complain?

If  you learn that Dave Stuckey and the Hot House Gang are coming to your city, toss the dogs some dry food, break into the birthday fund, give up those plans to make the kitchen floor shine, and go.  Joy like this is rare and not to be disregarded.

Thanks to Mark and Valerie Jansen of the Redwood Coast Music Festival for their generous embrace of soulful music.  Be there May 7-10, 2020 . . . !

May your happiness increase!

 

IN SWING WE TRUST: CANDY JACKET JAZZ BAND: “UNSTUCK IN TIME”

Yes, another wonderful new CD.  But remember: I told you to save your spare change, to make coffee at home instead of going to Starbucks, that there would be great pleasures in store.  But enough of that.  The four-minute video that follows might make prose superfluous: watch and listen to the end:

Josh Collazo is a magnificent jazz drummer: I had a great deal of gleeful first-hand evidence at the Redwood Coast Music Festival a short time ago to reinforce what I already knew.  He listens, he makes thrilling sounds, he leans forward into the beat so that any band he’s part of levitates.  But better than that, he has a huge imagination based in swing and melody, in danceable new music.  This is an elaborate prelude to say that his new CD, UNSTUCK IN TIME, by the organization he calls the CANDY JACKET JAZZ BAND, is an unerring delight.

This was no surprise: here is my delighted reaction to the CJJB’s first disc.

But let us return to whimsical-completely serious video:

Facts?  Eleven original swing compositions by Josh, Dan Weinstein, Albert Alva, and Seth Ford-Young alone or in combination; a lovely small band of Josh, drums, vocal; Seth Ford-Young, string bass; Jonathan Stout, guitar; Chris Dawson, piano; Dan Weinstein, trombone, vocal; Corey Gemme, cornet; Albert Alva, tenor saxophone; Nate Ketner, alto saxophone, clarinet; arrangements (and they’re important, since UNSTUCK IN TIME is not a jam session) by Albert, Dan, and Josh.

And a few words about this disc’s glorious antecedents.  For me, one of the unheralded peaks of jazz happened while the official “Swing Era” was no longer at its apex: the period between 1942-7, more or less, that coincided with the more dramatic recording ban.  Because of that ban, small record companies had their pick of jazz artists — think Keynote, Blue Note, Comet, Savoy, Regis, Jamboree, HRS, Jazz Record, Musicraft, Black and White, Apollo, Sittin’ In, and a dozen others.  The music as passed down to us on recordings, loosely defined, moves from Art Hodes to early bebop, but the middle ground is what attracts me: small groups with a few horns, ample space for solos, but intelligent arrangements.  Why do I write of this?

Simply, because UNSTUCK IN TIME by the Candy Jacket Jazz Band seems to my ears a glorious extension of the best Keynote sessions.  I will even write that were someone able to narrow the sound and add some surface noise, many of the tracks on this CD could pass as previously-unheard and intensely refreshing Forties gems that had been overlooked.  It’s just that warmly idiomatic, sweetly rhythmic, and full of improvisational delight.

And the title is more than a verbal two-bar tag.  Josh and the band value time highly in the sense of knowing where “one” is, in keeping the rhythm going in the nicest ways (did I point out how splendid this CD is as dance music?) but they are not tied down by clock and calendar: this disc is not a poker-faced science experiment in the Jazz Lab, bringing 1944 forward by cloning it, but rather a blend of present and past swinging into the future, free to groove without concerns of “repertory” or “authenticity.”  I think of Golden-Era science fiction, full of alternate universes: “What kind of tune would Johnny Hodges like?”  And that spirit — to honor a Hodges-universe — lifts the music in performance after performance, honoring the innovators by refusing to imitate them except in exuberant playful ways.

I’ll stop here, so that you can get to pleasure as quickly and directly as possible.  You can hear the music here.  You can buy a digital download or CD here.  You can hear the CJJB’s first CD here.

I’m so grateful this light-hearted free-wheeling yet level-headed band exists.  Their inventive music is the very heart of what I hold dear.

May your happiness increase!

RUNNING WITH SWINGERS: JEFF BARNHART, CLINT BAKER, NATE KETNER, ANDY REISS, STEVE PIKAL, DICK MALEY (Stomptime, 4.27.19)

I am sure you’re not supposed to run on a cruise ship — dangerous, that.  And RUNNIN’ WILD would be frowned upon even more.  But a small group of swinging, daring musicians pulled it off in the opening set of the STOMPTIME Eastern Caribbean cruise just concluded.

I knew this song — nearly a century old — because of Vic Dickenson’s and Benny Goodman’s recordings — but I didn’t know it had been portrayed as an EBONY JAZZ TUNE, nor that the verse and choruses were about the singer, male, whose “gal” had treated him with disrespect . . . and now he was enjoying the pleasures of being solo.  You could look up the whole narrative for yourself.

But here are the loose-limbed pleasures of April 27, 2019, created and recorded somewhere between Miami and Puerto Rico.  The creators are Jeff Barnhart, piano; Steve Pikal, string bass; Dick Maley, drums; Nate Ketner, reeds; Andy Reiss, guitar; Clint Baker, trumpet.

More to come.  Not only on this blog, but in STOMPTIME’s June 2020 Alaska cruise.  You could look that up, too.

May your happiness increase!

IT COMES OUT HOT: DAVE STUCKEY, MARC CAPARONE, NATE KETNER, RILEY BAKER, DAVID AUS, SAM ROCHA, GARETH PRICE: Fresno “Sounds of Mardi Gras,” February 8, 2019

I find “novelties” charming: their goofy allure harks back to my childhood.  This one has stuck since I saw Danny Kaye perform it in THE FIVE PENNIES.

We can (in the best Amazon way) peek inside:

In 1935, it was a phenomenal hit for this band, and one of them, probably Mike Reilly, had an ancient brass instrument, very complicated, that he used in the nightclub presentation:

But this post isn’t a nostalgic ramble down “Swing Street” (New York’s Fifty-Second Street between Sixth and Seventh Avenues, its raucous charm obliterated for decades) — it’s about living hot music, with a touch of comedy, performed right now, at the Fresno “Sounds of Mardi Gras,” by a lively hot band.  They’re Dave Stuckey and the Hot House Gang, for this occasion, Dave on guitar, vocal, and amusement; Marc Caparone, cornet, verbal japes; Nate Ketner, reeds; David Aus, piano; Sam Rocha, string bass; Gareth Price, drums, with guest star Riley Baker, trombone — he only gets a few bars on this number, but he makes the most of them.

If you don’t understand the circular course that hot music takes, watch the video again.  Share with your friends who need to be enlightened.  It will turn up on the final exam in your Doctorate in Hot.  Until then . . .

May your happiness increase!

“FINE RIFFIN’ THIS EVENIN'”: DAVE STUCKEY and the HOT HOUSE GANG at FRESNO: DAVE STUCKEY, MARC CAPARONE, GARETH PRICE, SAM ROCHA, NATE KETNER, DAVID AUS (February 9, 2019)

Seat belts fastened, seat backs upright, tray tables in the upright position?

As the ebullient guitarist / singer / bandleader Dave Stuckey says, “Come on, cats!”

Here are three Stuckey-beauties from the Fresno “Sounds of Mardi Gras,” last month, in which our heroes teach the Gentle Art of Swing and the Arcane Secrets of Riffing.  (See: “Arrangement, head” in the index.)

The rollicking heroes are Dave Stuckey, guitar, vocal, imagination; Marc Caparone, cornet; Nate Ketner, reeds, David Aus, piano; Sam Rocha, string bass; Gareth Price, drums.  Special plaudits go to Youngbloods Rocha and Price, who make seismic upheaval fun.

FROM MONDAY ON, for Bix, Bing, and Eddie:

I NEVER KNEW, for Benny Carter:

YOU’RE GONNA LOSE YOUR GAL, for Red Allen:

“Wow wow wow!” as my friend Anna Katsavos says.

“May your happiness increase!”

“SHE YELLED WITH DELIGHT”: DAVE STUCKEY and the HOT HOUSE GANG at FRESNO: DAVE STUCKEY, MARC CAPARONE, NATE KETNER, RILEY BAKER, DAVID AUS, SAM ROCHA, GARETH PRICE (February 9, 2019)

The Twenties marked an explosion of female freedom that would blossom in our time, with political empowerment and social power running parallel: the right to vote and the right to choose what you would wear.  I am sure that somewhere in that decade a singer was whimpering through SHE’S ONLY A BIRD IN A GILDED CAGE, and NOBODY’S SWEETHEART appears to — note I write “appears” — say that a young woman could lose her virtue in the big city, with a wink at the listener as if to say that scandal is more fun than conformity. But the songs below, which resurface as hot jazz classics in their own decade, say that the rewards of freedom and pleasure and hugely gratifying.  (I amused myself a few years ago here by writing about several of those songs — with a guest appearance by Thomas Hardy.)

By coincidence, the songs I am considering were given splendid performances by Dave Stuckey and the Hot House Gang at the 2019 “Sounds of Mardi Gras” in Fresno, California — on February 9.  The HHG was Dave, guitar and vocal; Gareth Price, drums; Sam Rocha, string bass; David Aus (subbing for Carl Sonny Leyland), piano; Nate Ketner, reeds; Marc Caparone, cornet — on LIZZIE, the delightful trombonist Riley Baker joins in the fun.

Let’s begin with Bessie, from 1929 — not Smith, but a young woman with no last name who is completely enjoying herself.  I’ve always wondered if Bessie’s yelling with delight celebrates the female orgasm.  And although the lyrics suggest a faux-pity about Bessie, who “couldn’t help it,” as if she could be an entry in Krafft-Ebing, we are meant to cheer her on:

Then there’s Lizzie, who is dancing all over town with such wild abandon that she shakes the pots and pans in what we must assume is a more sedate lady’s kitchen.  Ah, flaming youth!  (Or, as Dave exhorts the band, “Come on, cats!”).  I also note the repeated reference to what I know as “Oh, they don’t wear pants / in the southern part of France,” which suggests that Lizzie’s dance is close to the hootchy-kootchy:

These songs have wonderful jazz pedigrees, should you want to listen to other versions: Louis and Hoagy and Marty Grosz for BESSIE; “Irving Mills” and then Eddie Condon for LIZZIE.

Hot jazz, social emancipation, wild dancing, orgasms.  Fine with me.  And I write with untrammeled pride that I think this is the only jazz blog where Krafft-Ebing and Louis have equal time.

May your happiness increase!

THEY’RE BACK! DAVE STUCKEY and the HOT HOUSE GANG at FRESNO (Part Two): DAVE STUCKEY, MARC CAPARONE, NATE KETNER, DAVID AUS, SAM ROCHA, GARETH PRICE, and RILEY BAKER (January 8-9, 2019)

Yesterday’s post of PARDON MY SOUTHERN ACCENT by Dave Stuckey and the Hot House Gang received a great deal of attention and praise . . . so here is a second helping.  But I confess that I am posting more music by this band for an even simpler reason: they make me feel jubilant, and I can’t dismiss that reaction.

Here are three more rocking performances by Dave and the Hot House Gang from February 8-9th at the “Sounds of Mardi Gras” in Fresno, California.  The swing luminaries on the stand in addition to Dave, guitar and vocal, are Gareth Price, drums; Sam Rocha, piano; David Aus, piano [taking the place of Carl Sonny Leyland for this gig]; Nate Ketner, reeds; Marc Caparone, cornet; guest star Riley Baker, trombone.

The first, ‘T’AIN’T NO USE, comes from the 1936 book of Stuff Smith and his Onyx Club Boys:

Another reproachful meditation on romance that hasn’t quite reached the target, WHY DON’T YOU PRACTICE WHAT YOU PREACH? — renowned because of Henry “Red” Allen and the Boswell Sisters.  Here it has a little glee-club flair, which works so well:

A splendid swing classic by Edgar Sampson, BLUE LOU:

Don’t they just rock the building?  I’ve known almost all of the Gang — on disc and in person — through my California Period — but I would especially call out for praise and attention a few Youngbloods, Messrs. Price, Baker, and Rocha.  How very inspiring.

May your happiness increase!

GROOVIN’ WITH DAVE STUCKEY and the HOT HOUSE GANG at FRESNO (Part One): DAVE STUCKEY, MARC CAPARONE, NATE KETNER, DAVID AUS, SAM ROCHA, GARETH PRICE, and RILEY BAKER (January 9, 2019)

You’ve heard of people dowsing for water — using a forked stick or a pendulum to discern where there’s water under the surface of apparently barren land.  I think of Dave Stuckey as the modern swing equivalent.  His skill is just as rewarding, for he finds the groove where other musicians or bands might not.  Audiences, dancers, and players hear it and respond beautifully.  I’d heard Dave and the Hot House Gang only once before in person, at a Saturday-night dance at the 2016 San Diego Jazz Fest (results here) and on the group’s debut CD (read my review here) but these pleasurable interludes made me incredibly eager to hear Dave and Co. at the 2019 “Sounds of Mardi Gras” in Fresno, California — a weekend I’ve just come back from.  More about Fresno below.

Here’s one sweet convincing sample.  Dave has a deep affinity for the music Henry “Red” Allen recorded in the Thirties, and PARDON MY SOUTHERN ACCENT by Matty Malneck and Johnny Mercer is one of those memorable tunes.  Dave is joined by Marc Caparone, cornet; Nate Ketner, reeds; David Aus (a newcomer, subbing this once for Carl Sonny Leyland) piano; Sam Rocha, string bass; Gareth Price, drums, and guest Riley Baker, trombone.

I video-ed everything Dave and the Gang created, and it was rather like a wonderfully unusual yet compelling blend of Fats, Wingy, Red Allen, Tempo King, Bob Howard, Putney Dandridge, Joe and Marty Marsala, Stuff Smith, Eddie Condon, and Django — with great riffing both afternoon and evening.  They can play ballads as well as stomps, and the groove was something to behold: you could ask the dancers.

Mercer came by his Southern accent authentically, being a Savannah native.

A few words about Fresno.  It was my first visit to that jazz festival and I’ll be back next year — not only because of the fine music and the convenience (everything was under one comfortable roof) but the pervasive geniality: much friendliness from everyone, from the waitstaff to the musicians and volunteers. Thanks to Linda Shipp, Alberto, and friends for making everyone so comfortable.  And you can bet there will be more video evidence from the Hot House Gang and Bob Schulz and his Frisco Jazz Band (featuring Ray Skjelbred and Kim Cusack).

 

May your happiness increase!

DANCE OFF BOTH YOUR SHOES: MICHAEL GAMBLE and the RHYTHM SERENADERS featuring LAURA WINDLEY (November 24, 2018): JOSH COLLAZO, JONATHAN STOUT, KRIS TOKARSKI, JOE GOLDBERG, NATE KETNER, CHARLIE HALLORAN, COREY GEMME

We didn’t miss the Saturday dance, I assure you.  And they crowded the floor.

The event I’m referring to took place at the 39th annual San Diego Jazz Fest — a Saturday-night swing dance featuring Michael Gamble and the Rhythm Serenaders and Laura Windley, sharing the bill with the Mad Hat Hucksters.  I could only stay for Michael’s opening set, but the music I captured was honey to my ears.  And you’ll see many happy dancers too.

The Rhythm Serenaders were a mix of local talent and gifted people from New Orleans: Michael on string bass; Kris Tokarski, piano; Jonathan Stout, guitar; Josh Collazo, drums; Joe Goldberg, clarinet and tenor; Nate Ketner, alto and clarinet; Corey Gemme, cornet; Charlie Halloran; trombone; Laura Windley, vocals.  Did they rock!  And you’ll notice the delightfully unhackneyed repertoire: this is not a group with a narrow range: no IN THE MOOD here.

An incomplete PENNIES FROM HEAVEN (the late start is my doing: at swing dances I have a hard time finding a good place for camera and tripod, and at this one the music was so good that I decided to take the risk of being intrusive and set my tripod on the stage, right behind Kris at the piano. The dancers didn’t notice, or if they did, no one came over to object.  Later on, I was able to achieve a pleasing split-screen effect.):

Laura sings IF DREAMS COME TRUE, and they do:

Rex Stewart’s ‘T’AIN’T LIKE THAT:

Laura’s homage to Teddy Grace, the charming I’VE TAKEN A FANCY TO YOU:

Laura’s warning, courtesy of Kay Starr: DON’T MEDDLE IN MY MOOD:

The Henderson COMIN’ AND GOIN’:

Sid Phillips’ MAN ABOUT TOWN:

Chu Berry’s MAELSTROM:

For Billie and Lester, Laura’s HE AIN’T GOT RHYTHM:

and the classic swing tune (Carmen Lombardo, don’t you know) COQUETTE:

Find Michael Gamble and the Rhythm Serenaders on Facebook here.

May your happiness increase!

I HAVE A NEW DESTINATION FOR FEBRUARY 7-10, 2019. CARE TO JOIN ME?

Here’s the first clue: 

and the second:

Although February is brief on the calendar, it can be a long month for those of us, in New York and elsewhere, waiting for a thaw.  I have a cure I’ll be trying out in 2019 — the Fresno Sounds of Mardi Gras — which takes place from February 7-10 in the DoubleTree by Hilton in Fresno, California.  Rumors that I have fallen in with some strange linguistic cult (Pismo, CA, in October 2018, and now another place ending in a vowel) just aren’t true, and the people spreading such gossip should stop.  No, the reasons I’ll be there are musical (and the opportunity to meet some California hot-jazz pals).  Here’s a sample, in a video by Bill Schneider from 2018:

Bob told me that the band he’s bringing in 2019 has got the same personnel: himself, Doug Finke, Kim Cusack, Ray Skjelbred, Scott Anthony, Jim Maihack, and Ray Templin.

and there’s Grand Dominion, featuring Clint Baker, Gerry Green, Jeff Hamilton, and other spreaders of the gospel (video by Franklin Clay):

and Dave Stuckey and the Hot House Gang.  Since they are new to Fresno, I can’t draw on the Mardi Gras video trove but bring forward this delightfully raucous one, shot at the Saturday-night swing dance in 2016 at the San Diego Jazz Fest, featuring Dan Barrett, Nate Ketner, Corey Gemme, and other rascals:

Dave tells me that the Fresno Hot House Gang will have Marc Caparone, who’s also appearing with High Sierra on one of that venerable band’s last gigs, Nate Ketner, Sam Rocha, and David Aus on piano.

Here is the Facebook page for the 2019 blast.  And here is the complete band listing (I believe) for 2019 . . . click http://www.fresnodixie.com/badges-online for details about badges, pins, sponsorships, and other nifty artifacts.

I’ll be leaving my snow shovel behind for a weekend in early February, and I won’t miss it.  Even if there’s no snow where you are, the hot music is better than any pharmaceutical I know.  See you there.

May your happiness increase!

JAZZ AFLOAT: STOMPTIME! (April 27 – May 4, 2019)

I try hard to make JAZZ LIVES not indiscriminately commercial: so, although you might not notice, I only advertise activities and products (concerts, festivals, CDs, gigs) that I am going to or have heard with pleasure.  Otherwise, this blog becomes a store, which is not its purpose.

But I am thrilled to remind you about the debut STOMPTIME adventure.

AND NEWS (as of September 2018): a note from Brian Holland, who not only plays piano and leads band but has ideas that result in our pleasure: “Cabins are selling well.  We’ve actually sold out of Interior and Oceanview classes, so only Verandah and Concierge classes remain.” 

I would direct you to the STOMPTIME site to translate all of that: what it suggests to me is that he, she, or it who hesitates will be whimpering at the dock next April.

To me, even though being afloat in something larger than my bathtub has not always been first priority, seven days in the Eastern Caribbean to a jazz and ragtime and blues soundtrack is much more alive than Spotify or a pair of earbuds.  Yes, it requires that you get out of your chair, but the physical therapists say this is a good thing.  And it requires funding, but the first three letters of that word carry their own not-hidden message.

What, I hear you asking, is STOMPTIME?  To give it its full name, it is Stomptime Musical Adventure’s 2019 Inaugural Jazz Cruise.  It will mosey around ports and islands in the Eastern Caribbean, on the Celebrity Equinox leaving from Miami.  Space is limited to 250 guests, so this cruise will not be one of those floating continents.

Here is the cruise itinerary.

With all deference to the beaches and vistas, the little towns and ethnic cuisines, I have signed up for this cruise because it will be a seriously romping jazz extravaganza, seven nights of music with several performances each day from these luminaries:

Evan Arntzen – reeds / vocals; Clint Baker – trumpet / trombone; Jeff Barnhart – piano / vocals; Pat Bergeson – guitar / harmonica; BIG B.A.D. Rhythm; Marc Caparone – cornet / vocals; Danny Coots – drums; Frederick Hodges – piano / vocals; Brian Holland – piano; Holland-Coots Jazz Quintet; Nate Ketner – reeds; Carl Sonny Leyland – piano / vocals; Dick Maley – drums; Steve Pikal – upright bass; Andy Reiss – guitar; Sam Rocha – upright bass / vocals
Stephanie Trick & Paolo Alderighi – piano duo.

Even though that list ends with the necessary phrase, “Performers subject to change,” it’s an impressive roster.  Of course you’d like to know how much a week of pleasure costs: details here.    My cruise-loving friends tell me that Celebrity is well-regarded — a cruise line catering to adults rather than children, with good food and reassuring amenities.  The great festivals of the past twenty years are finding it more difficult to survive: because they are beautiful panoplies of music, they are massive endeavors that require audience participation. When they vanish, they don’t return.  Enterprises need support to — shall we say — float?  I know many good-hearted practical people who say, “Wow, I’d love to do that.  Maybe in a few years,” and I can’t argue with the facts of income and expenses.  But we’ve seen that not everything can last until patrons of the arts are ready to support it.  Be bold.  Have an experience.

And here are Musical Offerings from Carl Sonny Leyland / Marc Caparone,

and the Holland-Coots Jazz Quintet:

I can’t promise that STOMPTIME will turn Blues into Dreams, but it’s better than other alternatives.

May your happiness increase!

 

STOMPTIME! A MUSICAL “CARPE DIEM” AT SEA (April 27 – May 4, 2019)

I’ve never been on a cruise, but I now have one to look forward to in 2019 with the promise of joy afloat on the debut STOMPTIME adventure.

I like things as much as the next person, but I am also a collector of experiences, which are much more durable even though often intangible.  And I believe strongly that we need to seize the day — life, as we know it, has that annoying finite quality — and, in this case, seven days in the Eastern Caribbean to a jazz and ragtime and blues soundtrack — much more alive than Spotify or a pair of earbuds.

A digression: I don’t advertise events or objects (discs, concerts, festivals) on this blog that I wouldn’t listen to or go to, and I pay my way unless some promoter begs me to keep my wallet shut or a musician sends me her CD.  So I am going to be on this cruise, and not for free in return for an endorsement.  Just in case you were wondering.

Here’s one soundtrack for you to enjoy as you read:

That’s not a well-known record, so here’s some data: Red Nichols, Tommy Thunen, Glenn Miller, Jimmy Dorsey, Babe Russin, Adrian Rollini, Jack Russin, Wes Vaughan, Gene Krupa, January 1930.

What, I hear you asking, is STOMPTIME?  To give it its full name, it is Stomptime Musical Adventure’s 2019 Inaugural Jazz Cruise.  It will mosey around ports and islands in the Eastern Caribbean, on the Celebrity Equinox leaving from Miami.  Space is limited to 250 guests, and special offers are available to those who (like me) book early.

Here is the cruise itinerary.

With all deference to the beaches and vistas, the little towns and ethnic cuisines, I have signed up for this cruise because it will be a seriously romping jazz extravaganza, seven nights of music with several performances each day.  Who’s playing and singing?

Evan Arntzen – reeds / vocals; Clint Baker – trumpet / trombone; Jeff Barnhart – piano / vocals; Pat Bergeson – guitar / harmonica; BIG B.A.D. Rhythm; Marc Caparone – cornet / vocals; Danny Coots – drums; Frederick Hodges – piano / vocals; Brian Holland – piano; Holland-Coots Jazz Quintet; Nate Ketner – reeds; Carl Sonny Leyland – piano / vocals; Dick Maley – drums; Steve Pikal – upright bass; Andy Reiss – guitar; Sam Rocha – upright bass / vocals
Stephanie Trick & Paolo Alderighi – piano duo.

Even though that list ends with the necessary phrase, “Performers subject to change,” it’s an impressive roster.

Here’s a six-minute romp for dancers by the Holland-Coots Jazz Quintet, whom I follow on dry land and on sea, that I recorded on June 1, 2018, at the Scott Joplin International Ragtime Festival:

Of course you’d like to know how much a week of pleasure costs: details here.  An interior cabin will cost $1548.13 per person, and there is an additional VIP package for $250.  If this seems a great deal of money, just start repeating to yourself: “A week of lodging, adventure, food, and music,” and do the math.  Feels better, doesn’t it?  My cruise-loving friends tell me that Celebrity is well-regarded — a cruise line catering to adults rather than children, with good food and reassuring amenities.

Amortize, you cats!” as Tricky Sam Nanton used to say.

Two other points that bear repeating.

The great festivals of the past twenty years are finding it more difficult to survive: because they are beautiful panoplies of music, they are massive endeavors that require audience participation. I am a newcomer to this world, having been part of a jazz weekend for the first time in 2004, but I could make myself sad by reciting the names of those that have gone away.  And they don’t return.

Enterprises need support to — shall we say — float?  I know many good-hearted practical people who say, “Wow, I’d love to do that.  Maybe in a few years,” and I can’t argue with the facts of income and expenses.  But we’ve seen that not everything can last until patrons of the arts are ready to support it.  Ultimately, not everything delightful is for free, and one must occasionally be prepared to get out of one’s chair and tell the nice person on the other end of the line one’s three-digit security number on the back of the card.  Be bold.  Have an experience.

I hope you can make this one.

Postscript, just in (July 23) from my nautical-maritime-jazz expert, Sir Robert Cox: “You have picked you ship well as Celebrity Equinox is a Solstice-class cruise ship built by Meyer Werft in Papenburg, Germany. Celebrity Equinox is the second of the five Solstice-class vessels, owned and operated by Celebrity Cruises.”

May your happiness increase!

WHIMSY THAT SWINGS: CANDY JACKET JAZZ BAND

Josh Collazo by Jessica Keener

I had met the excellent drummer Josh Collazo only once — at Dixieland Monterey in 2012, where he played splendidly with Carl Sonny Leyland and Marty Eggers.  The evidence is here.  After that, I heard him on record and saw him on video with Dave Stuckey, Jonathan Stout, Michael Gamble and possibly another half-dozen swinging groups.  So I knew he could play, and that sentence is an understatement.

What I didn’t know is that he is also a witty composer and bandleader — whose new CD, CANDY JACKET JAZZ BAND, I recommend to you with great pleasure. And in the name of whimsy, Josh made sure that the CD release date was 4/4.

And this is how the CJJB sounds — which, to me, is superb.  Some facts: it’s a small band with beautifully played arrangements that make each track much more than ensemble-solos-ensemble.  The band is full of excellent soloists, but they come together as a unit without seeming stiff or constricted by an excess of manuscript paper.  Few bands today use all the instruments so well and wisely: a horn background to a piano solo, for instance.  Hooray!

The players are Josh, drums and compositions; Albert Alva, tenor saxophone and arrangements; Nate Ketner, alto and clarinet; Bryan Shaw, trumpet; Dave Weinstein, trombone; Chris Dawson, piano, Seth Ford-Young, string bass; guests (on two tracks)  Jonathan Stout, guitar; Corey Gemme, cornet.

To my ears, this band is particularly welcome because it does the lovely balancing act of cherishing the traditions (more about that shortly) while maintaining its own identity.  The latter part — a swinging originality, splendid for dancers and listeners — blossoms because the compositions are not based on easy-to-recognize chord sequences, and there are no transcriptions from hallowed discs.  The soloists have profoundly individual voices — and are given ample freedom to have their say — and the rhythm section rocks.  The first time I listened to the CD, I enjoyed it for its own sake: you would have seen me grinning in an exuberant way.  On another hearing, I put on my Jazz Critic hat (the one with the ears) and noted with pleasure some echoes: here, an Ellington small group; here, an HRS session; there, Woody Herman’s Woodchoppers and the Basie Octet; over here, a 1946 Keynote Records date; and now and again, a late-Forties Teddy Wilson group.  You get the idea.  Buoyant creation, full of flavor.

The cover art — by artist / clarinetist Ryan Calloway — reminds me so much of David Stone Martin’s best work that it deserves its own salute:

I asked Josh to tell me more about the band and the repertoire, and he did: you can hear his intelligent wit come through:

The term “Candy Jacket” was birthed during a conversation with my cousin at a family get together a few years ago. He was telling me that he saw a segment on the news about the first marijuana-friendly movie theater being opened in Colorado. Jokingly, he went on to say that he was going to open a candy shop next door and sell “Candy Jackets” so that people could sneak stuff in. All in all, it was really just a silly conversation but the term stuck inside my head. I then got to thinking about how much I love all the jive talk of the early jazz era. Why couldn’t I just make up my own? That being said, I like to think of the term as a way to describe someone who (A) is a jazz/swing lover, (B) is fun to be around, and (C) doesn’t take themselves too seriously. Again, very silly but I like it!

The main drive of putting this group together was to create original, classic sounding jazz and swing. The music of the 1930’s and 1940’s is my musical passion. After recreating it for so long in various bands, I just had a burning desire to make something new with respect to the musical framework of that time period that we all love.

Regarding the songs…

“Don’t Trip!” – While I was sitting at the piano coming up with the melody to this song, my son (4 years old) had set up a bunch of his toys around and behind the piano bench.  He then proceeded to put on a pair of my shoes and navigate the elaborate toy landscape like a giant walking through a city. I found myself giving him the side-eye every so often and thinking “Don’t Trip…”. Thankfully, he didn’t but guess who did? HA!

“Vonnie” – This is obviously written for my wife, Vonnie, for whom I love so much. When Albert Alva and I finished the arrangement for the tune, he turned to me and said “You’ve captured the essence of Vonnie – sweet and sassy!”

“Here’s the Deal” – Another song written for my son. With him being 4 years old, my wife and I find ourselves making little deals with him every so often in exchange for good behavior. After awhile, the phrase “Here’s the deal” became so common between us that he even began using it. I really tried to capture his mischievous side with this song starting with the clarinet representing my son and the drums being myself and us going back and forth in conversation.

“March of the Candy Jackets” is the first song I wrote for this album years ago. It was just the melody which is quite quirky and only has two chords in the form. I showed it to Albert Alva many times and each time we ended up passing over it for something with more of a traditional form and melody. As we began the arranging process on the other tunes, this song kept coming back to me. Finally I realized that I wanted it to be a blues song but not just a basic blues that just keeps going round and round. I wanted the solo forms to unfold just like the melody was designed.

“From Bop to Swing” is a take on the Ira Gitler book title, “Swing to Bop,” as well as the live recording with the same name by Charlie Christian and Dizzy Gillespie. Back in the day, swing musicians evolving into bop musicians was a naturally standard progression. Nowadays, I find that most young jazz musicians that love playing swing music have reversed this progression since bop and modern jazz has become the starting point in most schools. I do love bebop music and love all the recordings during the transitional period of the 40’s where the rhythm sections would be playing in a swing style while the horns began branching out melodically with trickier heads. It still had that rhythmic bounce that the dancers could move their feet to. Jonathan Stout is a devout Charlie Christian disciple and I thought this would be a perfect song to feature him on along with Nate Ketner.

“Monday Blues” was literally written on a Monday morning after a long night out playing. I do love the interplay between Albert Alva and Dan Weinstein trading solos.

“Stompin’ with Pomp” – While writing this song, I only had the dancers in mind. I wanted to create the feeling of excitement that you get while dancing to a band live. The song “Ridin’ High” by Benny Goodman is my end all of swing era dance music and I just love the energy that his band had.

“Relume the Riff” – This track track features Corey Gemme and Nate Ketner keeping it cool throughout. I really wanted to get this song on the album last minute so I banged out the arrangement the morning of the session.

“Amborella” was written for our friend and trumpet player, Barry Trop, who passed away last year. He was always a fun guy to be around as well as play alongside. I heard of his passing while working on another song at the piano. The melody just poured out of me. Later, while watching a documentary on prehistoric earth, the flower, Amborella, was talked about. This flower is one of the oldest plant species on our earth. I immediately thought of Barry and how he would indeed live on a long time through our memories of him.

“Giggle in the Wiggle” is a bare bones swinger that I used as a vehicle to feature everyone on the album.

“Albert’s Fine Cutlery” – My nickname for Albert Alva is the “knife” because he is very sharp witted in his humor. He always catches you off guard. I wanted to capture that with the melody of the song.

This CD is a consistent pleasure.  To have it for your very own, there’s Bandcamp (CD / download high quality formats) — here — CD Baby (CD or download) — here — iTunes (download only) — here.  The CJJB site is here and their Facebook page here.  Now, having navigated the Forest of Hyperlinks, I hope you go and enjoy this fine music.

May your happiness increase!

SATURDAY NIGHT FUN: DAWN LAMBETH, DAVE STUCKEY’S HOT HOUSE GANG, and DANCERS at SAN DIEGO (Nov. 26, 2016)

DAWN headshot

Dawn Lambeth sings; this band rocks. That’s all you need to know. Dave Stuckey, leader, guitar; Dan Barrett, Corey Gemme, brass (swapping cornet and trombone at will); Nate Ketner, reeds; Carl Sonny Leyland, piano; Katie Cavera, string bass; Gareth Price, drums. Recorded at the Saturday-night dance party at the San Diego Jazz Fest, November 26, 2016.

DAVE STUCKEY photos

Well, maybe a little explanation would do no harm.  Dave’s band is a wonderful combination of Fats Waller and his Rhythm (with sly twists) and any number of fabled Fifty-Second Street small groups.  But not only do they swing, but Dave writes and sings hilariously inventive originals. I’d known of Dave and the Hot House Gang because of their first CD, which I applauded here.

When I met him at San Diego, I immediately perceived him to be genuine, not someone wearing a mask for audiences.  Although he and his band had only one set on Saturday night, and it was to be a battle of the bands for dancers (not conducive to my video questing) I showed up anyway, and was rewarded with this riotous performance (audibly and visually) of SHIM-ME-SHA-WABBLE . . . and then this collection of Dave’s originals and jazz classics.

I met Dawn in the last century, first through the medium of her CDs, and then in person, on both coasts. I was impressed right away by her swing, the gentle timbres of her voice, the subtle way she glides in and out of notes and phrases, her approach always natural.  But usually I heard her in quiet, intimate settings (duos and trios) so when she stood in front of a larger band — such as Clint Baker’s — it was a pleasant shock.  And friends have told me that she is a superb big-band singer, utterly at home in front of four brass, three reeds, and a rhythm section.  I have yet to see this for myself, but look forward to it.  I got a taste of what it might be like when Dawn sang so beautifully with the Hot House Gang.

And these three videos — through no conscious design of mine — resemble Reginald Marsh paintings in motion, no small benefit.

The Forties hit for Ella Mae Morse — cowboy plus Harlem hip — COW COW BOOGIE:

Two for Billie, inspired by but not imitating her.  WHAT A LITTLE MOONLIGHT CAN DO:

And a pensive THESE FOOLISH THINGS, at a tempo to suit the dancers:

Hail, Dawn!  Hail, Dave!  Hail, dancers!  Thank you, San Diego Jazz Fest, for making this magic happen.

May your happiness increase!

SEISMIC MOTION, or “WAIL, FELLOWS, WAIL!”: DAVE STUCKEY, DAN BARRETT, NATE KETNER, COREY GEMME, CARL SONNY LEYLAND, KATIE CAVERA, GARETH PRICE at SAN DIEGO (Nov. 26, 2016)

DAVE STUCKEY photos

Without trying to copy a note or a cadence, Dave Stuckey and the Hot House Gang can take me back into the imagined past.  It’s not adoration that becomes cloning: at times he and the band resemble Fats Waller and his Rhythm or a Red McKenzie group, but they all sound like themselves: playful, joyously tumbling around — musically, that is. And Dave’s originals have a friendly kinship with the best music of the middle Thirties, so I could imagine some of them having been issued, in an alternate jazz universe, on Vocalion, Decca, Bluebird, and Brunswick.  But they’re here — glowing right in front of us — in this case at the Saturday-night dance party at the San Diego Jazz Fest on November 26, 2016. I’d posted the first tune I’d heard, a rollicking SHIM-ME-SHA-WABBLE, here — and I urge you to see it or see it again, because it is a Hoot and a Holler with serious Commodore roots for certain.

But after that, I moved up to a more stable position (on one side, of course, but the side where I could in effect look over Carl’s shoulder, always a nice spot) and I stayed there.  Dave offered three of his originals, all gratifying.  And the Hot House Gang certainly lived up to its name: Dan Barrett, Corey Gemme, brass; Nate Ketner, reeds; Carl Sonny Leyland, piano; Dave, guitar, vocal; Katie Cavera, string bass; Gareth Price, drums.

MAYBE IT’S THE BLUES:

Dave’s Egyptian serenade, THE POTENTATE OF HARLEM:

PARDON MY FRENCH (an expression that my mother used to use before saying something naughty):

Those are really good tunes, aren’t they?  They are complete expressions, words and music — not just scraps pasted together with Gorilla Glue and hope.

Here’s a homage to Wingy Manone in his Capitol Period, BESAME MUCHO:

and the jazz classic I associate with Louis and Lillie Delk Christian, TOO BUSY:

Never too busy to swing!  And the banquet’s not over: three delicious vocals from this set by Dawn Lambeth, bluesy, hot, and tender, will follow shortly.

Incidentally, it is possible that Dave and the Gang possess too much talent, but until the authorities find out, we’ll enjoy the superfluity.

May your happiness increase!

FIELD RECORDING: DAVE STUCKEY and THE HOT HOUSE GANG at the SAN DIEGO JAZZ FEST (PART ONE): November 26, 2016)

DAVE STUCKEY photos

Last year, I’d had the pleasure of hearing the debut CD of Dave Stuckey and The Hot House Gang — expertly jubilant — but the San Diego Jazz Fest this November afforded me my first chance to meet Dave (a warm, funny, swinging fellow — truly a solid sender) and to hear The Gang in person . . . thrills indeed. For this Saturday-night dance party, the Hot House Gang was Dave Stuckey, guitar, vocals, leader, moral guidance; Dan Barrett, cornet / trombone; Corey Gemme, trombone / trumpet; Nate Ketner, reeds; Carl Sonny Leyland, piano, vocals; Katie Cavera, string bass; Gareth Price, drums.

A word about the video that follows.  I had had some anxiety about trying to video this most adorable band, not because of them, but because of the situation: a dance party in a large room.  I love the dancers I know as people, but en masse they are not conducive to my videoing, because they are supposed to be there, in motion, as opposed to a rather slow-moving person with a camera and a tripod who wants to stand stock-still in the midst of things. But I was drawn by the music (Dave always swings!) and by the challenge . . . so I approached timidly from the back of the room and started shooting in the spirit of “What the hell!”

When the band started to play, it sounded so very good that I thought, “If this is visually terrible, at least the sound will be preserved.”  As it is. The dark shapes passing in front of my lens are dancers, and my camera takes a second to readjust, but just keep listening and watching.

Thus, I present to you a rocking version of the 1917 SHIM-ME-SHA-WABBLE:

More orthodox videos will follow, some with guest vocalist Dawn Lambeth, a special pleasure.  And for my own sardonic pleasure, I will see how long it takes one of the armchair experts out there to “dislike” this video on YouTube. Everyone’s a critic.  But not you!

May your happiness increase!

“JOHN PAUL GEORGE AND DJANGO”: THE HOT CLUB OF SAN FRANCISCO

2016hcsflivingroom

I think I am older than Paul Mehling, but we both came up in a time when the Beatles were not only the sensational mop-tops who had made all the girls scream at concert performances but when their songs were the ubiquitous popular soundtrack.  I can remember buying each new album as it came out and listening avidly.  Of course, both Paul and I felt drawn to a different kind of music, as he writes in the brief notes to this new CD:

The idea that Django Reinhardt would have played the Beatles’ tunes has haunted me ever since I took up the guitar.  Like so many of my generation who were galvanized by their appearance on the Ed Sullivan show in 1964, I became part of the ‘culture of guitar’ and never looked back.  But unlike my guitar brethren who stayed on for sex, drugs, and/or rock ‘n’ roll, I was devastated by the breakup of the Beatles and I quit listening to rock entirely, foolishly believing that the best was now over.  Luckily, I was already deeply inspired by traditional jazz — Goodman, Bechet, Dorsey, Shaw, & others of the swing era, especially Django.  This record was inevitable in that regard.

johnpaulgeorgedjangocdcover

For those impatient with words, here you can hear sound samples, learn more about the Hot Club of San Francisco, and purchase the music.

The HCSF is a venerable band — much of its personnel staying the same for a long time — and it has the ease and intensity of a working band.  The players are Paul Mehling, Evan Price, SAm Rocha, Iabelle Fontaine, Jordan Samuels, with guests Jeff Hamilton, Nate Ketner, Jeff Magidson, Michel Saga.

The repertoire neatly balances the familiar (going all the way back to 1964) and the less well-known: ALL MY LOVIN’ / BECAUSE / MICHELLE / I WILL / HERE THERE AND EVERYWHERE / YOU WON’T SEE ME / THE FOOL ON THE HILL / IF I NEEDE SOMEONE / JULIA / YOU CAN’T DO THAT / FOR NO ONE / DON’T BOTHER ME / HEY JUDE – DUKE & DUKIE / THINGS WE SAID TODAY / YELLOW SUBMARINE.  Because Mehling is a gleeful subversive, there is a French group vocal, visits from musical saw, banjo, melodica, and barrel organ. It isn’t the Beatles on hallucinogens visiting an abandoned gypsy caravan, but it has immense wit, verve, and variety.  As impatient as I can be, I listened to this CD without a break many times.

In the Sixties and beyond, there were many recordings of Beatles “covers”: the Hollyridge Strings Play Lennon and McCartney; Nelson Eddy Sings the Beatles; Wilbur Sweatman Plays the Hits of Today (seriously, both Basie and Ellington attempted this, and Louis sang — most convincingly — GIVE PEACE A CHANCE).  In general, these recordings were often an attempt to bridge the generations and to give record buyers senior and junior something to purchase. But the end result was often watery.

Not so the HCSF CD.  Each song is quietly linked to the ones before and after — so the end result is a charming Beatles suite, a too-brief immersion.  But it’s also a brightly colored journey, with each track exhibiting its own glowing personality: brilliant and sometimes surprising arranging makes this delightfully possible.  And if you are worried about such things, the session swings mightily and is wonderful dance music. To describe this CD track-by-track would be to spoil the fun, but I can see why devoted fans of the HCSF had been after Paul to make a CD like this.

May your happiness increase!

FIRST-RATE FROLICS: DAVE STUCKEY and the HOT HOUSE GANG: “HOW’M I DOIN’?!”

HOT HOUSE GANG two

These fellows mean business: to swing and to lift our spirits.  And unlike a good many bands who market themselves as “retro swing,” the Hot House Gang can really play.  Experience, not imitation via the iPhone 92S.

DAVE STUCKEY photos

Happiness is hearing new music that has an old-time feel with modern vivacity. May I present Dave Stuckey and the Hot House Gang?

Their new CD, HOW’M I DOIN’?!, is a delight.

HOT HOUSE GANG

Dave himself (guitar and vocals) has an infectious swing, and the musicians he’s gathered around him are some of the best in the West, or perhaps the known world.  I was immediately reminded of Fats Waller and the ebullience he created on his Victor discs . . . but Dave has an advantage here.  Where Fats often had to lampoon substandard material (I am thinking of ABERCROMBIE HAD A ZOMBIE, where the last word refers to a particularly potent drink, not the night creature), Dave writes many of his own songs, words and music, and they have a jaunty, side-of-the-mouth comic flair: I found myself listening several times to each track — for the band, for Dave’s singing, for the lyrics.  In a different era, these would be hit singles — although they might be too hip for the room.  And although Dave urges the band on a la Waller, he can also be tender — on a rhythmic performance of GHOST OF A CHANCE or a romping I NEVER KNEW.

I knew this was a fine band and a fine CD about ninety seconds into the first track because I was smiling and bobbing my head — sure signs of swing pleasure. Dave’s ebullient singing caught me instantaneously, and I thought, “This is a song that would have fit right in on a 1936 Bluebird, although the lyrics are as hip as Mercer and the band has more room to rock.”

About those originals — they are new but seem immediately familiar (and the CD includes a lyric sheet for those readers on long car trips) — and each one rocks in its own fashion.  I worry about CDs that are entirely composed of the leader’s originals, but Dave is a triple threat: singer, rocking guitarist, and songwriter. Dave also has done the clever trick so beloved of Thirties songwriters: to base the conceit of his lyrics on a familiar phrase: LET’S GET HOT AND GO, STOP ME IF YOU’VE HEARD THIS ONE BEFORE, WHAT WILL IT TAKE?, MAYBE IT’S THE BLUES, and two oddities, SISTER KATE (The Potentate of Harlem) and OPTIMISTICIZE.

And there is a pleasing sheaf of jazz classics that will never grow old: I NEVER KNEW, LOVE IS JUST AROUND THE CORNER, SHIM-ME-SHA-WABBLE, I DON’T STAND A GHOST OF A CHANCE WITH YOU, ‘T’AIN’T NO USE.

Dave has two overlapping bands, each one filled with stars who can create mellow sermons — as soloists or as an ensemble playing Dan Barrett’s charts, which grace seven songs):  Corey Gemme, cornet, trombone, clarinet; Dan Barrett, trombone, trumpet; Nate Ketner, alto, clarinet; Carl Sonny Leyland, piano; Wally Hersom, string bass; Josh Collazo, drums — or Corey; Josh “Mooch” Petrojvic, piano; Larry Wright, alto, soprano, clarinet; Wally, Josh.

I confess to a surge of pleasure that the CDBaby page devoted to this CD says you will like it if you like Clarence Williams, Fats Waller, and Wingy Manone.  Someone’s got the best intentions, and someone’s been listening closely: mid-Thirties joy without any museum dustiness.  And that page offers a chance to buy the disc (how twentieth-century of us!) or to download the music.

Just to whet your appetite for the CD — or to pass the time until it arrives — here are a few videos of the band in their natural habitat:

TOO  BUSY, from December 2014, with Carl Sonny Leyland, Corey Gemme, Rob Hardt, Jeff Hamilton and Marquis Howell:

SHIM-ME-SHA-WABBLE, from October 2015, shot by JediJen7:

and BLUE LOU from the same evening:

Here’s Dave’s Facebook page, for those people fortunate enough to live in Southern California, where the band currently romps; you can also see and hear more and even find out how to purchase the CD.

The CD asks the question — even though the song is not one of the twelve titles — HOW’M I DOIN’?!  I can answer in the enthusiastic affirmative for Dave and his band.  Long may they swing and cheer us.

May your happiness increase!

WHEN THE SONG (and the BAND) SAY “YES!”: STEPHANIE TRICK, CHRIS DAWSON, NATE KETNER, JOHN REYNOLDS, RALF REYNOLDS, KATIE CAVERA, BRAD ROTH at SAN DIEGO 2012

The song chosen was the cheerful assent ‘DEED I DO.  And they certainly did.  This took place at the San Diego Jazz Fest (nee the San Diego Thanksgiving Dixieland Jazz Festival) on November 25, 2012, and the participants were that festival’s edition of the Reynolds Brothers (John, guitar); Ralf (washboard); Nate Ketner (alto saxophone); Katie Cavera (string bass) . . . and guests Brad Roth (banjo) and the duo-pianists, the team of Dawson and Trick . . . Chris and Stephanie.

There is a bit of bench-swapping here, but it’s legal, innocent, and consensual.  No need to send the children from the room.  And those eye-popping visual explosions?  Not the Fourth of July or Guy Fawkes Day . . . someone’s flash camera.  But the music triumphs, as always.

May your happiness increase.

A LITTLE JAM AT SAN DIEGO (Nov. 25, 2012): JOHN REYNOLDS, CHRIS DAWSON, NATE KETNER, KATIE CAVERA, MOLLY REEVES, BRAD ROTH, RALF REYNOLDS

Two tunes from the end of a Reynolds Brothers set at the 2012 San Diego Jazz Fest that show brother John in typically fine voice (vocal / tricone resonator guitar) along with the splendid Chris Dawson (piano); Nate Ketner (alto saxophone); Katie Cavera (string bass); Molly Reeves (guitar); Brad Roth (banjo); Ralf Reynolds (washboard).

AIN’T MISBEHAVIN’:

ALL GOD’S CHILLUN GOT RHYTHM:

I hope that you have time for some swing misbehavin’ this fine day!

May your happiness increase.

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