Tag Archives: Rae Ann Berry

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

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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!

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“UNEEDA BISCUIT?” RAY SKJELBRED and THE CUBS with MARC CAPARONE at the HOT JAZZ JUBILEE (Sacramento: Sept. 4, 2016)

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Over the past few years, Ray Skjelbred and his Cubs have given me and others immense consistent pleasure.  (How lovely to see a band with a steady personnel, a rarity in these times.)  They are Ray, piano; Clint Baker, string bass; Katie Cavera, rhythm guitar; Kim Cusack, clarinet; Jeff Hamilton, drums.  At the recent Hot Jazz Jubilee in Sacramento, California, held over Labor Day weekend, the Cubs were joined by cornetist (and hero) Marc Caparone for several sets.  Here are three particular delights, captured for us by the tireless Rae Ann Berry.

In honor of radio disc jockey [how archaic that familiar phrase now seems] and concert host Fred Robbins, here is ROBBINS’ NEST, co-composed by Sir Charles Thompson, a particular hero of Ray’s, and Illinois Jacquet — a lovely Forties groove even in 2016:

and a sad blues, sung by Ray, the only composition I know that has a weeping rabbit at center stage.  (Ray’s version also adds a famous cracker, a snack of my childhood):

Here’s Exhibit A, the photograph from a fascinating blog:

uneeda-biscuit

and another ancient favorite, taken here at a nice tempo (some bands play it so quickly that I worry that the BABY is found for a minute only before slipping out of the finder’s affectionate grasp):

May your happiness increase!

“LAZY ‘SIPPI STEAMER GOING HOME”: LEON OAKLEY, CLINT BAKER, RILEY BAKER, MARTY EGGERS, BILL RINEHART (May 15, 2016)

LEON

I’d heard and admired Leon Oakley on records for a long time before I first met him in five years ago.  We became friends instantly because of our shared love for lyrical hot music and our reverence for Louis.

But in all the performances of Leon’s that I’ve been privileged to witness, I’d never seen him sing.  Although I’m sure he’s done it before in public, this is a first for me — and it’s so lovely.

A little background.  The group Leon is leading was originally called the Black Diamond Blue Five, founded by the late George Knoblauch — devoted to a particular sound and approach, that being Clarence Williams small groups of the middle Twenties.  “Hot and ready,” would be one way to describe it.  This version, called “Friends of the Blue 5,” a title combining “Friends of Jazz” and “Blue 5,” took the stage at the New Orleans Jazz Club of Northern California in El Sobrante, California, on May 15. 2016.  The recording was done by the indefatigable Rae Ann Berry, who’s captured so many hours of pleasure for us all.  The other members of the band are the always-amazing Clint Baker, clarinet, trombone, vocal; his son Riley Baker, tuba; Marty Eggers, piano; Bill Rinehart, banjo.  The song is a late-Thirties Louis composition about the joys of steamboat travel — going no place in a hurry — down the Mississippi River:

One way to “honor” Louis would involve a handkerchief, grins and grimaces — a caricature that barely evoked the surface.  (Joe Muranyi said more than once that Louis hated such acting.)  I delight in the approach that Leon takes: gently earnest heartfelt singing and playing, completely loving, completely authentic.

I look forward to the 2016 Steamboat Stomp — where Leon, Clint, I, and other heroes will be on the Natchez, up and down that river.  Perhaps Brother Leon can be talked into a few vocal choruses?

And this post is for Jean Knoblauch, a dear friend even when at a distance.

May your happiness increase!

JOIN THEIR FUN: RAY SKJELBRED, KIM CUSACK, JEFF HAMILTON, KATIE CAVERA, CLINT BAKER (Rossmoor Jazz Club, July 9, 2015)

One of the deep pleasures of being a temporary / intermittent California resident for large chunks of the past few years was being able to savor the beautiful music created by Ray Skjelbred and his Cubs: Ray, piano, vocal; Kim Cusack, clarinet, vocal; Katie Cavera, guitar, vocal; Clint Baker, string bass, vocal; Jeff Hamilton, drums.

It’s nice to know that through the miracle of technology, I don’t have to miss out on much: Rae Ann Berry took her camera and tripod to Walnut Creek, California, just the other day (July 9, 2015) and captured an evening of Ray and the Cubs at Rossmoor, thanks to the “Rossmoor Jazz Club,” the generous invention of Bob and Vonne Anne Burch.

Here is my absolute favorite from that evening:

SWEETHEARTS ON PARADE:

Everything this band does cheers me — I want a CD devoted to Kim’s vocals! — but this performance has out-in-the-open spectacular drumming, ensemble and solo, from one of the finest on the planet, Jeff Hamilton.  The whole band rocks and soars, but Hamilton elevates it all several stories in the air.  And bring the children into the room to let them hear what a rhythm section sounds like.  It’s not too early to teach them right.

And I have a special fondness for this song because of this fellow.  I think I first heard this recording before I had a driver’s license: I can summon up the picture of the cover of the German Odeon lp which contained it:

I love everything about this 1930 recording, including Lionel Hampton’s drum accents behind Louis’ muted melody statement, the guitar obbligato by Bill Perkins behind the vocal (that vocal!) . . . . and that trumpet solo, which I would stand up against Joyce, Stravinsky, or Kandinsky.  Yeah, man.

Now, I urge you, enjoy the Cubs once again.  Yes, they can follow Louis!

Send this post to your Sweetheart.  And if (s)he says, “What is this?” you can have a good time explaining the mystery of it all, can’t you?

May your happiness increase!

SHE TAKES A STAND: MISS IDA BLUE and THE YERBA BUENA STOMPERS (June 27, 2015)

In a nice way, Miss Ida Blue is a strong-willed person.  Definite rather than ambivalent.  And it comes through in her singing, with this 1938 song a particularly fine example.

I’M GONNA LOCK MY HEART is firmly associated with Billie Holiday in her early golden period, and Billie made the song multi-layered.  The message of the lyrics is, if taken seriously, rather bleak: my heart has been broken and so I am never falling in love again.  But the song itself is curiously jaunty, in the best pop tradition: I will sing about my woes in a swinging way, because you and I really know that this is only a song.

I'M GONNA LOCK MY HEART clearer

I am delighted to have this video — thanks to the diligent generosity of Rae Ann Berry, the crowned Queen of West Coast Hot Jazz Video.  She recorded it on June 27, 2015, at the 25th Annual America’s Classic Jazz Festival in Lacey, Washington.

Miss Ida is accompanied by that spectacular hot band, the Yerba Buena Stompers: Kevin Dorn, drums, Clint Baker, tuba; John Gill, banjo; Conal Fowkes, piano; Orange Kellin, clarinet; Tom Bartlett, trombone; Leon Oakley, cornet; Jon-Erik Kellso (subbing for Duke Heitger), trumpet:

And Miss Ida’s deep love for Billie Holiday is nothing new, as you can read https://jazzlives.wordpress.com/2015/05/18/havin-herself-a-time-miss-ida-triumphs-joes-pub-may-15-2015/ — my frankly ecstatic report on her May 15 gig at Joe’s Pub.  Ida’s evocation of Billie is not a matter of learned gestures; Ida sounds like Ida, and we are terribly glad about that.  She has never locked her heart, and that quality of openness comes through in every note.

May your happiness increase!

KATIE AND FRIENDS PLAY FATS AND FRIENDS! (KATIE CAVERA, CHRIS CALABRESE, MARC CAPARONE, CLINT BAKER, SAM ROCHA): Hot Jazz Jubilee, August 30, 2014)

FATS 1939 Howard Theatre Shep Allen Scurlock Studio

Fats Waller created joy.

In the 1939 photograph, he is with his manager Shep Allen at the Howard Theatre: credit to Scurlock Studios and thanks to Chuck Slate.

Although Fats has been elsewhere for almost sixty-five years, he continues to inspire. One example is this sweetly energetic session recorded by the ubiquitous, diligent Rae Ann Berry (all hail!  all hail!) at the second annual Hot Jazz Jubilee in Rancho Cordova, California.

This energized band — titled JUST KATIE AND FRIENDS — was, for this wonderful gathering, our Miss Cavera, guitar, vocal; Marc Caparone, cornet, vocal; Clint Baker, trombone, clarinet, vocal; Chris Calabrese, piano; Sam Rocha, string bass, vocal.

Their repertoire for this set was primarily Fats — songs composed / featured by him — as well as by fellow pianists Claude Hopkins and Earl Hines. A ringer, WAITING AT THE END OF THE ROAD, is by Irving Berlin — but both Fats and the Paul Whiteman band recorded it.

Notice that JK&F doesn’t aim to reproduce the Waller-Autrey-Sedric-Casey ambiance; there is a welcome absence of “Wallerisms,” either in rapid tempos or shouts by the ensemble. Chris Calabrese, bless him, can hold his own in any stride session, so the relaxed approach is everyone’s choice.

What you will experience is a congenial group of swinging pals, and you might hear echoes of Henry “Red” Allen, Mouse Randolph, J.C. Higginbotham, Al Morgan, Carmen Mastren, James P. Johnson, Albert Nicholas, Count Basie, the Rhythmakers — an aesthetic roundtrip between 1936 and 2014 — but the individual resonances and loving nods coalesce into a joyous whole.

THAT RHYTHM MAN:

HOW CAN YOU FACE ME? (with Katie’s rather plaintive inquiry):

FAIR AND SQUARE (in memory of Lueder Ohlwein and the Sunset Music Company as well as Fats, with an egalitarian vocal by Marc):

UNTIL THE REAL THING COMES ALONG:

LONESOME ME (a feature for the extremely talented Mr. Calabrese):

WAITING AT THE END OF THE ROAD (with hopeful vocalizing by Clint):

ROSETTA (sung by our Sam, with echoes of THE SOUND OF JAZZ):

BABY BROWN (by Alex Hill, who is reputedly the true composer of the next tune as well):

I WOULD DO ANYTHING FOR YOU, an earnest assertion from Clint:

Fats gave us everything he had, and we are still smiling at what (Just) Katie and Friends have made from his inspirations.

We don’t have to wait for The Real Thing To Come Along. Surely it’s here.

Ms. Berry is essential to our edification, for here  is her regularly-updated list of San Francisco / Bay Area hot jazz attractions; here  is her YouTube channel, where she has nearly a thousand subscribers (she’s been posting videos since March 2008).

And she’s had a direct influence on my life, because I saw all there was to see of hot California jazz through her efforts, and you know the rest.  She’s also on Facebook, displaying the same energies as her improvising heroes.

May your happiness increase!

IT HAPPENS IN MONTEREY (March 7-9, 2014)

These two worthies found love at the Jazz Bash by the Bay:

I am not proposing that everyone who goes to this year’s festival (March 7-9) will come away with the Love of His / Her Life — maybe you are all already spoken for.

But the music will be wonderful. And I write this as someone who’s been there since 2010.

For me, the Jazz Bash by the Bay was a transformative experience.

I had not been to California since having been conceived there . . . . insert your own witticism here. And when I had the notion in March 2010 of going to see and hear the people I so admired in their video appearances, I expected to have a good time in a new jazz setting, perhaps make a few new friends.

It was a life-altering experience: I came back to New York and said to the Beloved, “I’ve never had such a good time in my life. Do you think we could spend the summer in California?”

Fast forward to 2014, where I am writing this from Novato, with serious plans to make the Golden State my retirement home.

So if the Jazz Bash by the Bay can make one couple find love; if it can make a native New Yorker say, “I’ll move to California,” I think its powers are . . . powerful.  But enough personal narratives.  What’s in store for you?

As always, a wide variety of well-played music.

You can visit the site to find out if Your Favorite Band is going to be there, but here are some kinds of music that will be played: blazing stride piano in solo and duo, boogie-woogie, sweet singing in so many forms, rocking small-band swing, New Orleans ensemble polyphony, trad, Dixieland, blues, zydeco, gypsy swing, classic songs from the Great American Songbook, Jazz Age hot dance music, ragtime piano, stomp, swing, music to dance to, San Francisco jazz, washboard rhythm, music to hold hands to.

And the stars?  Well . . . Ray Skjelbred, High Sierra, Carl Sonny Leyland, Bob Draga, Rebecca Kilgore Trio, Dan Barrett, Ivory and Gold, Ellis Island Boys, Marc Caparone, Le Jazz Hot, Jeff Hamilton, Dawn Lambeth, Virginia Tichenor, Marty Eggers, Yve Evans, Katie Cavera, Paul Mehling, Clint Baker, Stephanie Trick, Paolo Alderighi, Frederick Hodges, Jim Buchmann, Eddie Erickson, Jason Wanner, John Cocuzzi, Howard Miyata, Big Mama Sue, Ed Metz, the Au Brothers, Bob Schulz, Pieter Meijers, Brady McKay, Tom Rigney, Royal Society Jazz Orchestra . . . and more, and more.

Important links.

The BAND LINEUP.

The all-important too-Much-Of-A-Good-Thing-Is-Wonderful SCHEDULE, which calls for careful planning (“If I go to see X, then I have to miss part of Y, but it puts me in a good place to be right up front for Z.  Anyone have a Tylenol?”) — with four or five sessions going on at the same time.

And most important — with a Sidney Catlett drum roll or a Vic Berton tympani flourish — the GET TICKETS NOW page.

I try to hold down the didactic tendencies that four decades of standing in front of sleepy (good-natured) young men and women have solidified, but I hope readers will permit me this basic logic exercise.  Festivals where people buy tickets last forever.  Festivals where people don’t vanish.  And then there is a wailing and a gnashing of teeth — very hard on the neighbors and harder on the dental work.  I think of the California festivals that have moved into The Great Memory even in my short acquaintanceship with this state.

(Or, as William Carlos Williams — or was it Philip Larkin? — wrote: “Want it to stay?  Do not delay.”)

So I hope to see throngs of friends and even strangers at the Jazz Bash by the Bay.  Anything that makes live jazz in profusion go on is a good thing.

P.S.  Need more evidence?  Go to YouTube and type in “Dixieland Monterey,” or “Jazz Bash by the Bay,” or the name of your favorite artist.  I, Rae Ann Berry, and Tom Warner, among others, have created many videos — enough to while away the hours in the most energized ways.  Proof!

May your happiness increase!