Tag Archives: Otis Mourning

THE MANY (BEAMING) FACES OF JEFF BARNHART

The more I hear Jeff Barnhart — pianist, singer, improviser — the more I admire him.  He has an ebullient spirit, whether he is striding or playing a rag, but there’s a soulful vein of sweet melancholy that underlies his work — a tenderness that never disappears in the humor and hot music.  See and hear for yourself.

HONEY, THAT REMINDS ME (from the 2010 Whitley Bay Classic Jazz Party — with Michel Bastide, Paul Munnery, Jean-Francois Bonnel, Jacob Ullberger, Josh Duffee, with leader Bent Persson standing off to the side, admiring) comes from a Red Allen tribute, and it is notable for those of us who revere Vic Dickenson as his first real appearance on record — as a singer — with a song that is a little unpredictable.  Thus, Jeff’s looking at the lyrics is the act of a wise man, not an unprepared one.  And you’ll hear, fore and aft, his glistening piano coming through the ensemble in a wonderful Hines manner:

Let’s move things up a little bit — a video created by Tom Warner — something I adore, for its dancing comedy and incredible swing.  Ladies and gentlemen, the duo of Messrs. Barnhart and Danny Coots, performing Uncle Fred Coots’ A BEAUTIFUL LADY IN BLUE — a small theatrical romp, whatever the tempo.

But first!  You need to hear the song as originally performed — with absolute mastery — by Jan Peerce in a 1935 radio airshot (wait for the final cymbal crash!) . . . to get the full flavor of the Barnhart-Coots spectacular.

Jan Peerce:

Jeff and Danny:

(I can’t comment on Jan Peerce’s showmanship — it’s all there in his passionate voice — but Jeff wins the prize for me for one gesture, the way he lifts his right hand while playing at a violent tempo to point to his heart.  That’s the best old-school stride piano Method acting you’ll ever see.)

And one more.  Why not?  It’s a favorite of mine, one of the half-dozen videos I would self-prescribe if I got up feeling gloomy.  A proven spiritual panacea — variations on the 1933 Crosby hit YOUNG AND HEALTHY, with a true Cast of Characters:  John Reynolds (guitar);  Ralf Reynolds (washboard);  Katie Cavera (bass);  Marc Caparone (cornet);  Dan Barrett (trombone); Bryan Shaw (trumpet).  I recorded this at Dixieland Monterey — the Jazz Bash by the Bay, nearly two years ago — March 5, 2011 — and it still delights me.  Jeff does honor to Fats and to Putney Dandridge while remaining himself.

Convinced?  I should think so.

But experiencing Jeff and his music in person is even better.  He travels the country with wife Anne, a classically trained flautist, in their own duo or trio IVORY AND GOLD (with Danny Coots), and he shows up everywhere, spreading joy and mirth and swing.

I am happily going to see him at least three times this year — at the March 1-2-3 Jazz Bash, at the April 20-21 Jeff and Joel’s House Party, and at the 2013 Whitley Bay Classic Jazz Party, turning the corner from October into November).

You can find out more about his peregrinations and recordings here.  And you can hear samples of his music as well — I’ve picked out a particular favorite, an excerpt from  a CD I love, called THUMP! FIRST WHACK Down in Honky Tonk Town.

The title of that recording should say something about its delightful individuality.  The performers are Jeff (piano, vocal, co-leader); SherriLynn Colby (vocal, co-leader); Clint Baker (trumpet, trombone, vocal); Matty Bottel (banjo, tenor guitar); Otis Mourning (clarinet, soprano, alto sax); Marty Eggers (string bass); Lauri Lyster (drums); Simon Stribling (cornet, trombone).  JAZZ LIVES readers will know how much I admire Clint, Marty, Simon, and now Jeff — but the other musicians are quite wonderful as well.

The scope of this recording comes through in its repertoire: GOT NO TIME / TANK TOWN BUMP / AM I BLUE? / LINA BLUES / KITCHEN MAN / I WOULD DO MOST ANYTHING FOR YOU / A KISS TO BUILD A DREAM ON / DOWN WHERE THE SUN GOES DOWN / EGYPTIAN FANTASY / DOWN IN HONKY TONK TOWN / DADDY DO / CHATTANOOGA STOMP / DELTA BOUND / EXACTLY LIKE YOU.

Its character can best explained metaphorically.  THUMP sounds the way the food of our childhood tasted: succulent, multi-layered, perhaps a little drippy (the tomato eaten in the garden) or a bit greasy (real chicken on the barbecue), rather than the sanitized modern version — neat but flavorless.  After you listen to THUMP, you might have to wipe your hands on a napkin, but your ears will be full of savory large musical flavors.  Hot horn solos, beautiful interplay in the ensembles, a rocking rhythm section, and delightful vocals — this is my first introduction to SherriLynn Colby, whose sweet-tart approach to her material suggests that she is really a Thirties film star who Warner Brothers never had the sense to hire — and that is a very large compliment.

And Jeff has recorded many other CDs — while keeping a busy traveling schedule.  We are very lucky to have him, whichever of his many joyous visages he turns to the audience.

May your happiness increase.

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GOOD NEWS FROM THAT OTHER COAST

Hello, Michael – – –

Jazz Lives on the Left Coast, too.
I have no idea how many of your subscribers live in Southern California and hereabouts; I can only humbly ask that you consider sending out a notice (attached) about an upcoming event sponsored by JazzAmerica.  We’re  a 501(c)(3) non-profit corporation co-founded by Los Angeles by jazz legend Buddy Collette. Since our inception in 1994, we have provided continuous jazz instruction to hundreds of middle- and high-school students, and it’s always tuition-free.from the early teens. 

On November 23 – sandwiched between nights of the Pharoah Sanders Quartet – we will take over LA’s top jazz venue, Catalina Bar & Grill, for a jazz brunch.  We’ll open with the Fairfax high school Young Lions, a fledgling jazz band comprised mostly of members of that school’s marching band. The Fairfax Lions marched their way to top honors in statewide competition last year.  We’re sharing with them information, recordings and charts that reflect the transition between marching music and early jazz. In that vein, their opening number is a Victor Goines arrangement of “Second Line,” a traditional sound from New Orleans.  Then they’ll play W.C. Handy’s “Beale Street Blues,” James P. Johnson’s “Victory Stride,” and make their way through the big band era, early Herbie Hancock and Stevie Wonder.
Following the Young Lions will be String Fever, a new ensemble consisting of classically-trained cellists, violinists and violists.  We’re exploring the sophisticated harmonic subtleties of Oliver Nelson’s “Stolen Moments,”   some Ellingtonia (“It Don’t Mean a Thing…” and “Caravan,”) plus some original material provided by the eclectic Turtle Island String Quartet.
Closing the show will be some traditional/swing performers based in Sacramento, CA: vocalist Brady McKay,pianist/vibist John Cocuzzi, reedman Otis Mourning and drummer Daryl von Druff.
Why should your readers know about this, especially if they aren’t local?  Maybe it will spawn some interest in generating jazz instruction for youngsters where it doesn’t already exist.
Before we knew the outcome of the recent election, we took a chance and billed the event as “A November to Remember.”  With the sea change of last Tuesday, there’s an added gravitas to the banner.   Candidate Obama was asked what appealed to him so much about playing basketball. He compared it to the improvisational essence and collaborative excitement of jazz.  Imagine the possibilities of inspired young people turning to music to experience that same adrenaline rush.  At JazzAmerica, we think it’s a slam-dunk.
Fraternally,
Richard Simon
Program Director
www.JazzAmerica.org

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P.S. from the East Coast “Jazz Lives” person: When I first read this letter, I was enthusiastic about the enterprise.  Anything that helps children become jazz musicians or even exposes them to jazz is, no question, valid and valuable.  Then I remembered that Richard Simon is an ace jazz bassist himself, who played splendidly on Eddie Erickson’s CD, IT’S A GREAT FEELING.  Any friend of Eddie Erickson is a friend of mine! 

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