Tag Archives: paddlewheel

WHAT BETTER WAY TO CARPE THE DIEM? (September 18-20, 2015)

NATCHEZ

I am not sure that Ralph Waldo Emerson would have instantly taken to jazz, although its energy, self-reliant independent passion might have pleased him. But he did write these words in Nature, words I have tried to take to heart: “Life only avails, not the having lived.”  Put more simply, the experience of life is both intense and fleeting: it must be savored while it is here, not in retrospect, as if leafing through a photograph album.  Or, as Patrick Dennis’ Auntie Mame says [in the play of the same name], “Life is a banquet, and most poor sons-of-bitches are starving to death!”  (It became “suckers” in the film version, alas.)

What has all this to do with JAZZ LIVES?  It is my unsubtle way of saying that the Steamboat Stomp is once again happening in New Orleans, on the dates shown above and below, and that if you can be there, your happiness will measurably increase.  This is not an idle bit of press-agentry on my part: I was there two years ago and had a wonderful time.

STOMP 2015

The poster tells you all you need to know, with one emendation.  The Dukes of Dixieland won’t be performing at the Stomp; instead, there will be Jacques Gauthe’s New Orleans Classic Jazz Orchestra.  AND my brilliant friends and pianists Stephanie Trick and Paolo Alderighi will be there also.

The musical festivities will begin Friday night with performances “held at a local offisite location,” which means somewhere nearby, comfortable, and on land. (Incidentally, I do not like small boats and do tend to suffer from mal-de-mer . . .  I felt fine on the Natchez.)

The main Saturday evening concerts will take place aboard a special sailing of the Steamboat Natchez. The evening will include two stages of simultaneous music along with New Orleans-style food served by the Natchez‘s own renowned chef (food not included in price).  On Sunday, a New Orleans style gospel jazz brunch (food included) will conclude the musical festivities, followed by a reception for patrons and sponsors.

Now, with all good things, a little investigation on your part is required. Emerson talked mightily of self-reliance, so one must do some legwork — or some clicking in this modern technological age. Here is the Stomp’s Facebook page.  Here you can reserve tickets and learn more.  And because — as Lester Young said in a comment I will expurgate — seeing is believing, here are a few video posts from the inaugural Stomp.  Oh what fun it was.  And will be.

Duke Heitger’s Steamboat Stompers

The Yerba Buena Stompers and Vince Saunders

Banu Gibson’s Rhythmic Heart

New Orleans Joys With Ray, Tim, Steve, and Jeff

If that doesn’t work, we’ll have to double the dosage of Joy.

May your happiness increase!

REQUIRED RIFFING: THE REYNOLDS BROTHERS and CLINT BAKER at the 2012 SACRAMENTO MUSIC FESTIVAL (May 26, 2012)

It is a truth universally acknowledged that the Reynolds Brothers are a superb hot band, subtle and forceful, offering vivid solos and lovely intertwining ensemble lines.  And they offer us songs, both sweet and spicy, that deserve to be played.  I’ve been a convert for several years now.  But you don’t have to take my word for it: see for yourself.

They’re required reading in my lifetime course on Swing.  And regular field trips are part of the curriculum.

Here they are — with guest Clint Baker — at the 2012 Sacramento Music Festival.  That’s Marc Caparone, cornet; Katie Cavera, string bass; John Reynolds, guitar, whistling; Ralf Reynolds, washboard; Clint Baker, clarinet, trombone — with assorted and sundry vocalizing from the members of the crew.  Here they are on a paddlewheel steamer — heating it up in front of a very receptive audience — on May 26, 2012.

One of the more popular songs about how nice it was to go back home down South (perhaps a safe theme from Stephen Foster up to the Swing Era) ALABAMMY BOUND:

A high-class love song with caffeine, always the way to go — WHEN I TAKE MY SUGAR TO TEA.  I am not being hyperbolic when I write that John Reynolds improves the world by his presence — singing, playing, scatting, whistling:

A prescription for happiness, care of the early Cab Calloway ensemble, THE SCAT SONG.  Fine riffin’ this evening!:

You shiftless person!  Get up off the ground and swing.  Marc shows us how, vocally and with the necessary hardware, on LAZY BONES:

FUTURISTIC JUNGLEISM needs no exegesis, and might baffle anyone attempting to offer one:

WHEN FRANCIS DANCES WIH ME is a 1921 song recorded by Billy Murray and Ada Jones, then by the Andrews Sisters.  I’m only sorry that our Katie left out these deathless lyrics from the second chorus — a natural segue into the Reynolds Brothers’ rendition of FAT AND GREASY, referring to the stylish Francis: “His hair shines like diamonds, he combs it with fat / He wears a Palm Beach and a brown derby hat / Now you know a guy can’t look better than that“:

A delightful Thirties pickup song (earlier than REMEMBER ME) on the immortal theme of “Hey, cutie!  Look over here!  Pay attention to me!” — PARDON ME, PRETTY BABY:

Ralf teaches us Official History with the assistance of Professors Berry and Razaf . . . and listen to how the brass leaps in after the vocal on CHRISTOPHER COLUMBUS:

A plunger-muted SOME OF THESE DAYS featuring the multi-talented Mister Baker on clarinet, trombone, and vocal.  Ralf could no longer endure the fact that washboards are not equipped with plunger mutes — look closely at around the five-minute mark:

With this Fats Waller song, the question is moot.  Or perhaps rhetorical.  AIN’T ‘CHA GLAD?  I know I am:

“I keep cheerful on an earful / Of music sweet.”  HAPPY FEET:

How to spend a Saturday night — deep in riffs!  And I’ll next hear the Brothers (and Friends) at the San Diego Thanksgiving Dixieland Jazz Festival . . . this November.  Look-a-here, as Fats would say — SAN DIEGO!

May your happiness increase.