Tag Archives: Paolo Alderighi

WE SAVOR THE RITUALS (WITH A SMALL UPDATE): THANKSGIVING at THE SAN DIEGO JAZZ FEST (Nov. 21-25, 2018)

Even in the midst of darkness there are always reasons to be thankful.  Here is a detail from the classic Norman Rockwell portrait of a late-November American celebration, make of it and its assumptions (culinary, sociological, political) what you will.

But this post is about another ritual of communal gratitude, another place to give thanks: the thirty-ninth San Diego Jazz Fest, held this year from November 21 through the 25th. My update (as of late November 11) is to offer the flyer below, and to point out something I didn’t know when I’d written this blogpost — that the Saturday night Swing Extravaganza will also feature the wonderful band Michael Gamble and the Rhythm Serenaders with the wonderful singer Laura Windley. Add that piece of news into your computations.

I’m sitting here with the band schedule in front of me, and can narrate my own pleasure-map of delights for the weekend.  How about dance lessons, opportunities for “jammers” to play with others of their ilk, a Saturday night swing extravaganza?  Ongoing solo piano recitals featuring Kris Tokarski, Vinnie Armstrong, Stephanie Trick, Carl Sonny Leyland, Conal Fowkes, Paolo Alderighi, Paul Asaro, Marty Eggers, Virginia Tichenor?  Then sets by the Dawn Lambeth Trio featuring Marc Caparone, High Sierra, Grand Dominion, the Chicago Cellar Boys, the On the Levee Jazz Band, the Original Cornell Syncopators, the Heliotrope Ragtime Orchestra, Katie Cavera, Clint Baker, Hal Smith, Yerba Buena Stompers, Titanic, Colin Hancock, Charlie Halloran, Ben Polcer, Joe Goldberg, John Gill, Kevin Dorn, Andy Schumm, John Otto, Leon Oakley, Tom Bartlett, and more.

And more.  At any given moment at the fest, let us say on a Saturday, the music goes from breakfast to wooziness — 9 AM to near midnight — in six separate locations.  Using my right index finger (the highly-skilled instrument for such computations) I counted sixty-six sets of music on Saturday, sets either 45 minutes or an hour.

At other festivals, that would make for transportation difficulties (a euphemism for “How am I going to get to that other building before the band starts?) but since all the action is contained in one building, even people with limited mobility make it in before the music starts.

Did I mention that everyone I’ve ever dealt with at San Diego has been terribly nice, including such luminaries of cheer and comfort as Paul Daspit and Gretchen Haugen?  This is no small thing.

And for those of you who think you will be deprived of Thanksgiving edibles (which means “too much food”) as depicted by Mr. Rockwell above, take heart. There is a splendiferous buffet served on Thursday from 2 to 6 — you can reserve a place there, with a discount for those who do so before November 15: details here.  If you’re vegetarian or vegan, you’ll still totter out of there, quite stuffed.

I am a late adopter who hasn’t made all 38 festivals (to explain why would tax all your five wits) but when I did make my way to the Fest, of course it was video camera at the ready.  And here are three sets that pleased me greatly.  I have shot several hundred videos, and that’s no stage joke, but I don’t feel right about using videos of X if X isn’t at this year’s festival.  But the three sets below feature people who are alive and well for this year.  First, here are the Cornell Syncopators featuring Katie Cavera in 2017.  Then, here are the Yerba Buena Stompers in 2016, and here are Marc Caparone and Conal Fowkes paying tribute to Louism also in 2017.

Going back to 2009, I remember when I first started this blog, I used Rae Ann Berry’s videos as glimpses of the Promised Land.  Here, for example, is John Gill paying tribute, beautifully, to Mister Crosby, in 2009:

Why am I concluding this post with PENNIES FROM HEAVEN and John’s beautiful rendition?  It seems an obvious message as far as the San Diego Jazz Fest is concerned, this year or in years to come. Good things are coming, the lyrics say, but you can’t hide under a treeIf you bestir yourself on Monday, November 26, you’ll have to wait a whole year for this opportunity to be grateful amidst friends and lovely heated music.  Take a look here and you will be glad you did.  See you there.

May your happiness increase!

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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!

SYCHRONIZED SWINGING: PAOLO ALDERIGHI / STEPHANIE TRICK, “BROADWAY AND MORE”

Listen, first, to Paolo and Stephanie on two pianos, playing Irving Berlin:

I’ve been at many of their live performances and I think this is the first CD to full capture the scope of what they offer so generously.  Perhaps some of it has to do with their being able to record on two pianos: they are a devoted couple for sure, but the freedom, never verbalized on stage, to have the whole bench and keyboard to oneself, could be liberating.  I won’t ask.  Even in 2018, some facts should stay private.

When I’ve seen them perform, audiences are on their feet at the end of the concert — and it’s not because they want to be the first out to their cars.  Rather, Paolo and Stephanie are not only wonderful pianists and great players, but they are old-fashioned performers, dazzling us every time.

The notion of “performers” may get under the skin of some fans, who insist that their beloved artists are akin to Plato’s mad creators, letting the made-up-right-this-moment transformative energy flow through them like electricity.  What those severe elders don’t understand is that everyone who plays or sings rehearses — so the “jam session” “impromptu” glories we revel in are, in fact, the results of years of practice.  So what Paolo and Stephanie create is polished: let’s say their spiritual model is Dick Hyman, not George Zack (you could look him up).  And what they have to play is plenty.

If you know Paolo and Stephanie, you know that initially they had very different ways of approaching the piano: Paolo’s hero is Erroll Garner; Stephanie comes straight from James P. Johnson and his not-brother Pete.  And as they’ve grown and played together, their influences have melded in the nicest ways, but each of them has retained a deep individuality.  Thus it’s not two artists trying to sound like each other, but working lovingly to complement each other.

The result is delightfully varied: each performance is, without artifice, a whole history of jazz piano, from Joplin to the present moment, seamless and convincing.  Since Paolo and Stephanie are world-travelers and multi-lingual, this ease of movement makes each performance a small yet deeply felt travelogue.  We’re invited to come along, and the cabin is first-class.

The repertoire on this new disc is wide-ranging, but always deeply melodic, and the melodic thread is never lost or abandoned even in the most elaborately glittering improvisations.  An analytical jazz fan will find much to marvel at; your relative who protests that (s)he “hates jazz” will also.  Here’s the tune list:

1. Call Me Madam Medley (Berlin) – 6:30
2. Marie (Berlin) – 4:55
3. Make Believe (Kern, Hammerstein II) – 5:01
4. The Lambeth Walk (Gay, Furber) – 3:49
5. Torna a Surriento / Anema e Core (Curtis, Curtis / D’Esposito, Manlio) – 6:44
6. If I Had a Million Dollars (Malneck, Mercer) – 4:04
7. Heartaches (Hoffman, Klenner) – 3:29
8. The Music Man Medley (Willson) – 7:07
9. An Affair to Remember (Warren, Adamson, McCarey) – 4:50
10. West Side Story Medley (Bernstein, Sondheim) – 7:28
11. Penny Lane (McCartney, Lennon) – 4:57
12. Mr. Sandman (Ballard) – 3:59

If you’re not humming one melody or another, reading those words, you need this CD even more.  And for those who know and love these songs, BROADWAY AND MORE is a treat.

Another helping:

Here you can hear other samples from BROADWAY AND MORE, purchase a disc or download the music.

May your happiness increase!

“JAZZ ITALIAN STYLE, FROM ITS ORGINS IN NEW ORLEANS TO FASCIST ITALY AND SINATRA,” by ANNA HARWELL CELENZA

“I prefer books that tell me things I don’t know,” said Mark Twain. Or if he didn’t, he should have.

JAZZ ITALIAN STYLE is such a book — wide-ranging, full of intriguing information, and refreshingly straightforward.

I will say that I thought I knew a great deal about the title and the subject.  After all, I know Rossano Sportiello, Marc Caparone, Paolo Alderighi, and Larry Scala. I have recordings by Frank Sinatra, Joe and Marty Marsala, Leon Roppolo, Louis Prima, Joe Venuti and Eddie Lang, Wingy Manone, Jimmy Durante, Tony Sbarbaro, Nick La Rocca, Marty Napoleon, Phil Napoleon, Lino Patruno, and others.  Years ago, I owned a vinyl anthology on Italian Odeon called ITALIAN JAZZ OF THE 50s, which had music from the Roman New Orleans Jazz Band and Romano Mussolini, with other bands I do not recall.  In the very early Seventies, I ate authentic Italian food at the Half Note, under the loving supervision of the Canterino family.  (All of the above is true, although not meant to be taken with the utmost seriousness.)

But the glory of Celenza’s book is the information it offers — subtle illumination of areas of the subject that I was ignorant of, and I am sure my ignorance is not my sole property.  And the fruits of her investigation are the substance of this appreciation of her book.

But first: we are told, even before the book starts, that Celenza is “the Thomas E. Caestecker Professor of Music at Georgetown University, where she teaches courses in music history, radio journalism, and the music industry.”  To some readers, those credentials will seem either the kiss of death or the black hand: another academic book, indigestible, a forest of footnotes, theoretical and ideological beyond endurance.  Calm yourselves.  Celenza is an engagingly straightforward writer, clear, candid, and witty.  (I saw the wit when I opened my copy at random and saw she had translated “Il Quattro Buffoni,” a band name on a record label, as “The Four Idiots.”

She doesn’t talk down to the general reader, and the book down’t labor under chunks of undigested digressive facts.  And leaving aside the useful documentation and index, the book is a compact 192 pages, because Celenza has not felt an obsessive need to include every fact that wanders by, and her chosen time period is under half a century.  It isn’t a book-length study of Sinatra, fascism, or every Italian who’s ever improvised, and that adds to its charm and effect.  Rather, like effective cultural studies, it traces the interweavings of many phenomena: radio and the growth of the recording industry, political struggles and performance, and much more.

As I promised above, I salute this book for adding information to my mental hoard.  Here are a number of things I didn’t know before reading JAZZ ITALIAN STYLE.

•     “The most horrific mass lynching in US history occurred in New Orleans in 1891, when eleven Italian immigrants were shot and strung up by an angry mob after a  jury found them innocent of assassinating the local police chief, David Hennessey.”

•     In 1919, Chevalier Bruno Zuculin wrote a description of the musical scene in New Orleans — and the music itself — for Italian readers.  The article was published two months before Ernest Ansermet’s famous celebration of Will Marion Cook’s Southern Syncopated Orchestra, which included the young Sidney Bechet.

•     “D. Onivas,” whose orchestra is on the reverse of some 78s by Cliff Edwards, is the pseudonym of Domenico Savino, composer and conductor.

•     Jazz first came to Italy with the USAAS (United States Army Ambulance Service) and its American Jazz Band landed  — and when members of the American and Italian armies recorded for Fonotopia in December 1918.

•     I had assumed that Mussolini, like Hitler, was hostile to jazz as decadent music: not so, in fact, Il Duce “embraced” it as an expression of the Futurist art he celebrated.

•     Josephine Baker, Herb Flemming, and Al Wynn visited and worked in Italy.  Louis Armstrong gave two concerts in Turin in January 1935 and wrote a detailed happy letter to an Italian fan and record collector.

•     I had never heard or heard of the female vocal trio, “the three graces of the radio,” the Trio Lescano — Alexandra, Judith, and “Kitty,” originally from the Netherlands, who became singing stars in Italy.

•  During the Second World War, when recordings by American artists were played on the radio, new Italianized names for the musicians were invented: Luigi Braccioforte, La Colema, Del Duca, and Beniamino Buonuomo.  (Answer key on request.)

•     Sinatra’s four trips to Italy, in 1945, 1953, 1962, and 1987 — and the audience’s elation when he described his Genoan heritage, then their silence when he revealed his family was also half-Sicilian.

These excerpts are, of course, not the substance of this book.  Celenza has a wonderful understanding of the widespread forces that go into the development and growth of jazz in Italy, and one will come away from this book with a much deeper understanding of the mingling of history, race, ideology, and politics — during war and in peacetime.

JAZZ ITALIAN STYLE is very rewarding, but never ponderous.  Here are the publisher’s resources for the book, and this is the link for the CD label offering for sale almost all the jazz described in the book.  And since a book like this cries out for a soundtrack, here is the one Celenza has generously created — 124 relevant musical examples that delight and illustrate.

May your happiness increase!

FOUR DAYS at the SAN DIEGO JAZZ FEST (November 24-27, 2016)

san-diego-jazz-fest-stock-photo

THINGS I LEARNED (OR RE-LEARNED) AT THE 2016 SAN DIEGO JAZZ FEST:

1. Never set up a travel schedule that gets you home (after a long weekend of life-changing music) at 5:20 AM Monday.  Not “sleeping” on a plane is worth a higher fare.

2. Music is best experienced in the company of friends — those on the bandstand, those in the audience.  The former, a partial list: Marc Caparone, Dawn Lambeth, Ray Skjelbred, Conal Fowkes, Kris Tokarski, Clint Baker, John Gill, Duke Heitger, Jeff Hamilton, Kevin Dorn, Orange Kellin, Leon Oakley, Dan Barrett, Tom Bartlett, Stephanie Trick, Paolo Alderighi, Katie Cavera, Josh Duffee, Andy Schumm, John Otto, Dave Stuckey, Dan Barrett, Larry Scala, David Boeddinghaus, Nobu Ozaki, Virginia Tichenor, Marty Eggers, Mike Davis.

Off the stand: John Ochs, Pamela Ochs, Donna Feoranzo, Allene Harding, Rae Ann Berry, Barbara L. Sully, Judith Navoy, Mary (“The Ambassador of Fun”) and her twin, Chris and Chris, Paul Daspit, Jim and Mary McNaughton, Gretchen Haugen, Patti Durham, Angelica, Carol Andersen, Bess Wade, Cat and Scotty Doggett, Ed Adams.

Much-missed and I await their return: Hal Smith, Janie McCue Lynch, Donna Courtney, Mary Cross.

I know those lists are incomplete, and I apologize to any reader I’ve accidentally omitted.

3. This festival is delightfully overwhelming.  At any given time, music was happening in seven rooms simultaneously.  There was a Wednesday night session, a Thursday night session, full days on Friday and Saturday (with approximately seventy offerings of music, most an hour long) and a full afternoon on Monday.  By six PM on Monday, I was full and sloshing.

4. I am a man of narrow, precisely defined “tastes.”  I didn’t grow up sitting in Turk Murphy’s lap — now there’s a picture! — I began my listening education with Forties and Fifties Louis, so I need lyricism and melody the way plants need sun and air.

Many of the bands so dear to my California friends strike me as perhaps over-exuberant.  And when a fellow listener, politely curious, asked me “When did you get into trad?” I had to consider that question for a moment before saying, “I didn’t start listening to ‘trad’ . . . ”  As I get older, I find my compass needle points much more to subtle, quiet, sweet, witty, delicate — rather than the Dixie-Apocalypse.  Each to his or her own, though.

5. Videos: I videoed approximately eighteen sets, and came home with perhaps ten times that number of individual videos.  They won’t all surface; the musicians have to approve.  And I probably didn’t video your favorite band, The New Orleans Pop Tarts.  Rather than mumble about the unfairness of it all, come to next year’s Fest and live in reality rather than virtually!  Or buy an RV and a good camera so that you can become an official NOPT groupie-roadie-archivist.

6.  For the first time in my life I helped sponsor a group.  It was extremely rewarding to think that I had helped some music to be heard in public that otherwise would not have.  I’ve offered to do it again for 2017.  And, not incidentally, sponsors get to sit in the very front row, a great boon for people like me who want to capture the music to share with you.  Videographers like myself want to be made welcome.

7.  Moral tradeoffs are always possible and sometimes happily inevitable.  At the San Diego Jazz Fest, one can share a large platter of tempura-batter-fried pickle slices and fresh jalapenos . . . because one is doing so much walking that the second activity outweighs the first.  Or one tells oneself this.

8.  On a darker note, odd public behavior is more pungently evident. People who call themselves jazz fans talk through a whole set about the new puppy (and I like puppies).  Years ago I would have blamed this on television and the way viewers have been able to forget the difference between private and public behavior.  Now I simply call it self-absorption, and look for a window that I can open.

Others stand up in front of a band to take iPhone photos of the musicians, pushing their phones into the faces of people who are playing and singing. Photographers have treasured costly cameras that beep, whir, and snap — we ignore these aberrations at many events (I think some photographers are secretly excited by such things) but at musical performances these noises are distracting.

I won’t say anything about those folks who fire off flash explosions in well-lit rooms.

I cannot be the only person who thinks of creatively improvised music as holy, a phenomenon not to be soiled by oblivious behavior.  As a friend of mine says, “You’re not the only person on the planet.”

9. The previous paragraph cannot overshadow the generosity of the people who put on the Fest and the extreme generosity of those who create the music.  Bless them.  And the nice young sound people who worked hard to make music sound as it should!

It’s appropriate that the Fest takes place at Thanksgiving: I feel so much gratitude as I write these words, upload videos, and look at my notes of the performances I attended.

More — including videos! — to come.  Start planning to come to the 2017 Fest, to bring your friends, to sponsor a band.  Any or all of these activities are so much more life-enhancing than Black Friday.

May your happiness increase!

MUSIC IN ABUNDANCE, FOR WHICH I AM THANKFUL: THE SAN DIEGO JAZZ FEST (November 23-27, 2016)

One way to celebrate Thanksgiving — eating a communal meal:

thanksgiv-day

(In honor of my vegan / vegetarian friends, among them Lisa, Susan, Hedda, Sam, Melissa, and others yet unmet, a photograph free from animals and relatives with knives.)

But there are other ways to celebrate gratitude — although we know such celebrations should be every day.

swing-dance-at-san-diego-2016

I am not light on my feet, and my usual dance partner is a camera tripod, so I might simply be observing this . . . but please note that it is just one part of the very pleasing San Diego Jazz Fest — which has been my Thanksgiving celebration for the last five or six years.

Here’s one of the great pleasures of last year’s Fest — thanks to Hal Smith!  Dawn Lambeth (more about her below) introduces Ray Skjelbred and Marc Caparone for a tribute to Jim Goodwin, Bing Crosby, and Louis Armstrong:

It would be unkind to relegate Dawn to the role of M.C., so here she is — one of the most subtly swinging singers I’ll ever hear:

Ray, Marc, Dawn, Carl Sonny Leyland, the Yerba Buena Stompers, David Boeddinghaus, Paolo Alderighi, Stephanie Trick, Grand Dominion, High Sierra, Kris Tokarski, Lakeshore Syncopators, Chloe Feoranzo, Hal Smith, Virginia Tichenor, Katie Cavera, John Gill, Marty Eggers, and more.  But you don’t have to imagine who might be playing and singing: you can visit here — with colored markers — to begin arranging a weekend of Thanksgiving pleasures, including parasol parades, brass bands, rockabilly, zydeco, and other dishes.

More about the bands here, and the crucial page — how to buy tickets! — here.  The whole website lives here on Facebook.

You’ll be grateful, I promise you.  So much more refreshing than carb-induced slumber, sports on television, and a week of turkey sandwiches, getting less appealing by the day.

May your happiness increase!

 

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