Tag Archives: ragtime

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!

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PLAY HOT, BE SWEET: THE HOLLAND-COOTS JAZZ QUINTET at the SCOTT JOPLIN INTERNATIONAL RAGTIME FESTIVAL, June 1, 2018 (BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, EVAN ARNTZEN, STEVE PIKAL)

The Holland-Coots Jazz Quintet, Nashville, Summer 2017: From left, Marc Caparone, Steve Pikal, Danny Coots, Evan Arntzen, Brian Holland. Photograph by Amy Holland.

More from the delightful Holland-Coots Jazz Quintet, a band which sprang full-grown to public acclaim in 2017.  They are Brian Holland, piano; Danny Coots, drums; Steve Pikal, string bass; Marc Caparone, cornet, vocal; Evan Arntzen, clarinet, tenor saxophone, vocal.  They soar; they woo.

Here they are outdoors in the very nice Gazebo Park during the 2018 Scott Joplin International Ragtime Festival in Sedalia, Missouri.

Their band version of RUSSIAN RAG has some kinship with the Wilbur DeParis performance, but do you know that Fats Waller recorded it, solo, in 1935?

A late-period Waller love song, from the score of EARLY TO BED, 1943, here crooned by Evan:

A romp by the magnificently creative yet short-lived Alex Hill, BABY BROWN:

And a very endearing love ballad, recorded but not composed by Fats, LET’S PRETEND THERE’S A MOON:

The HCJQ has also made a CD — appropriately, the music of Fats Waller.  You can purchase it here and hear sound samples also.

This HCJQ will be playing the Evergreen Jazz Festival at the end of this month, and next spring they will be part of the Stomptime Musical Adventure Inauguaral Jazz Cruise, April 27 to May 4, 2019, “departing from Miami to the Eastern Caribbean (San Juan, Charlotte Amalie, Punta Cana, and Nassau) on the Celebrity Equinox for 7 nights of music and fun.”

May your happiness increase!

IN AND OUT OF TRADITIONS: JOEL FORRESTER at JULES (June 27, 2018)

I’ve been taking as many opportunities as I can to see, hear, and sometimes record pianist-composer-inventer Joel Forrester in this summer of 2018, because he and Mary will be in France for much of the next year, from September onward.  If you take that as an undisguised suggestion to go to one of his gigs, none of us will mind.

JOEL FORRESTER, photograph by Metin Oner

Joel is a remarkable explorer: not only does he follow his own whimsies, giving himself over to them as they blossom in sonic air, but he also is curious about forms.  He casually said at this gig (last Wednesday night at JULES (65 St. Marks Place) that one composition came about, decades earlier, when he was deciding to be a bebop pianist or a stride one.  I think the two “styles” coexist nicely in him to this day.  Here’s some evidence.  And if “traditionally-minded” listeners can’t hear and enjoy his wholly loving heretical embraces, more’s the pity.  Or pities.

Joel is also full of various comedies, and some of them come out in wordplay.  So this tune, which makes me think of Chicago, 1933,  is called THE SPERM OF THE MOMENT.  Imagine that:

Celebrating a tender domestic return (as Joel explains), BACK IN BED:

NATURAL DISASTER, which happily does not live up to its title:

GONE TOMORROW, a meditation on the passage of time, which makes me think of 11:57 PM on my wristwatch:

SHELLEY GETS DOWN, complete with siren, in honor of singer Shelley Hirsch:

An entire tradition of improvised music passes through Joel while he is busily making it his own.  We’d be poorer without him.

May your happiness increase!

TRIUMPHANT! (Part Two) THE HOLLAND-COOTS JAZZ QUINTET at the SCOTT JOPLIN INTERNATIONAL RAGTIME FESTIVAL in SEDALIA, MISSOURI (May 31-June 2, 2018): BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, EVAN ARNTZEN, STEVE PIKAL

We continue the further adventures of our Quintet of Superheroes at the 2018 Scott Joplin International Ragtime Festival: those real-life vanquishers of gloom and inertia being the Holland-Coots Jazz Quintet: Brian Holland, piano; Danny Coots, drums; Steve Pikal, string bass; Marc Caparone, cornet, vocal; Evan Arntzen, clarinet, tenor saxophone, vocal.

Here‘s Part One, and a little text of approval from Kerry Mills here.

And three more juicy and flavorful examples of this band’s versatility: a hot ballad (vocal by Marc), a Joplin classic, and a searing tribute to a dangerous animal or to Michigan (you can choose) by Jelly Roll Morton.

SOMEDAY, SWEETHEART (I prefer the comma, although you can’t hear it):

What some people think of as “the music from ‘The Sting,'” Scott Joplin’s THE ENTERTAINER, here in a version that owes something to Mutt Carey and Bunk Johnson, who loved to serve their ragtime hot:

Jelly Roll’s WOLVERINE BLUES, in a version that (once we get past Danny’s carnivorous introduction) blows the mercury out of the thermometer:

A Word to the Wise. Get used to these five multi-talented folks, singly and as a band.  (“These guys can do anything,” says Brian, and he’s right.)  They’re going to be around for a long time.  I’m going to be posting their music as long as I can find the right keys on the keyboard.

May your happiness increase!

KERRY MILLS LIKES IT: BRIAN HOLLAND, DANNY COOTS, STEVE PIKAL, MARC CAPARONE, EVAN ARNTZEN (Scott Joplin International Ragtime Festival, Sedalia, Missouri, May 31, 2018)

Because I am a Nassau County employee, my Verizon phone plan offers special features.  The most relevant one here is my phone’s abilities to receive texts from the dead, and they don’t even have to be Verizon subscribers.  I won’t bore you with previous instances of this, except to say that Sophie Tucker goes on and on.  One would think she’d never texted before.

This afternoon, my phone gave its special secret tone — somewhere between a canary in mating season and a pelican with its mouth full of fish — and there was a text from ragtime composer and publisher Kerry Mills.  I had never heard from Mr. Mills before, but saw that he does subscribe to JAZZ LIVES.  (People saying “But he’s been dead since 1948! can go in their room and play with their toys.  Or they can perhaps get better phones tomorrow.)

Mr. Mills’s text:

Michael u went to Joplin Festival did they play my rags Kerry Mills

I am writing this post to assure him that, indeed, his most famous cakewalk was played — by musicians who win the cake as far as I’m concerned: Brian Holland, piano; Danny Coots, drums; Steve Pikal, string bass; Marc Caparone, cornet; Evan Arntzen, clarinet.  Outdoors, too, and for free, for all the community to hear, which in my book gets them extra credit:

And while I was finishing this post, my phone made its noise again, and I saw these words:

v nice tx to band Kerry

Good enough for me.  See you at the meeting, or another location of your choice.  “Kerry sent me!” will open the door.

May your happiness increase!

TRIUMPHANT! (Part One) THE HOLLAND-COOTS JAZZ QUINTET at the SCOTT JOPLIN INTERNATIONAL RAGTIME FESTIVAL in SEDALIA, MISSOURI (May 31-June 2, 2018): BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, EVAN ARNTZEN, STEVE PIKAL

For me, one great thrill is being there for the birth of a band, fierce and subtle.  The Holland-Coots Jazz Quintet is just such a memorable band, co-led by Brian Holland, piano; Danny Coots, drums, with Steve Pikal, string bass; Marc Caparone, cornet and vocal; Evan Arntzen, clarinet, tenor saxophone, and vocal.

I didn’t get to see them at the Durango Ragtime Festival in 2017, but I delighted in Judy Muldawer’s YouTube videos.  I followed them to Nashville that summer, and did the same for the Scott Joplin International Ragtime Festival just a few days ago. I’m still vibrating with happiness — not a new disorder I have to tell my neurologist about.

The Holland-Coots Jazz Quintet, Nashville, Summer 2017: From left, Marc Caparone, Steve Pikal, Danny Coots, Evan Arntzen, Brian Holland. Photograph by Amy Holland.

So, here is the band’s first set of that festival: outdoors, before noon, making remarkable music.  You don’t need to know more.

MAPLE LEAF RAG:

YOU TELL ME YOUR DREAM (frankly, a highlight of my year: see if you agree):

KANSAS CITY STOMPS:

DOWN IN HONKY TONK TOWN:

I intentionally left out a few details when I wrote above, “You don’t need to know more.”

You just might.  One is that the band’s debut CD, THIS IS SO NICE IT MUST BE ILLEGAL, a tribute to Fats Waller and his musical associations, has been pleasing listeners for some time now.  You can get your copy here.  And to experience this band in person — you can see the joyous energy they generate — come to the Evergreen Jazz Festival — which will happen in Colorado on July 27-28-29.  I’ll be there, and there’s room for you as well.

In the interim, share this music with friends, with strangers you feel kindly to, relatives, concert and festival promoters . . . you can extend this list at your leisure.  Brighten the corner, guided by these five most excellent sages.

May your happiness increase!  

ON THE ROAD TO SEDALIA, MISSOURI (May 30 – June 2, 2018)

The Sages urge us to live in the moment, but I need something to look forward to — even if it’s nothing larger than that second cup of coffee.

But this post is about something far more expansive: the 37th Scott Joplin International Ragtime Festival that will take place in Sedalia, Missouri from May 30 – June 2, 2018.

The performers at the 2017 Festival, a welcoming bunch.

You can see the enticing list of the people who will be playing, singing, talking, and (if I guess correctly) being lively and funny at the 2018 Festival here.  I don’t know every one on the list, because I have never been immersed in ragtime, but those I do know are very exciting artists and good friends: Brian Holland, Danny Coots, Marc Caparone, Steve Pikal, Evan Arntzen (that’s the Holland-Coots Jazz Quintet), Carl Sonny Leyland, Jeff Barnhart, Marty Eggers, Virginia Tichenor, and Dalton Ridenhour.  There are just as many luminaries I haven’t mentioned here, and I hope they don’t take offense: look at the list to see what heroes and friends of yours will be there also.

The map suggests that the festival is neatly laid out, and it should be a pleasure to be trotting around in the late-Spring sun:

I expect to be dazzled by people I’ve never heard before (although I am no longer obsessed with Seeing and Hearing Everything — that’s for people with more energy) but here are two favorite groups / performers.  One is the Holland-Coots Jazz Quintet, the five brilliant planets that came together for a hot constellation last summer in Nashville.  I wrote about my visit here and about the CD that resulted here.

Incidentally, I don’t promote the CDs below as substitutes for the experience you will have in Sedalia — rather, as a way of making the time between now and May 30 seem easier to endure.

Here you can learn more and buy copies.

And if the thought of reading more words makes the room spin, try this:

As Eubie Blake would shout exultantly at the end of a performance, “That’s RAGTIME!”  And who would disagree?

The other group also has Brian Holland and Danny Coots at its center, but with the addition of the best chemical catalyst I know — the wonderful one-man orchestra, gutty and tender and rocking, Carl Sonny Leyland.  Here are more details.  And a few words from me.

OLD FASHIONED refers to two pleasures: music-making the way it used to be, and the cocktail . . . sometimes consumed in tandem.  Recordings of two pianos plus “traps” go back to 1941 or perhaps earlier — I am thinking of a Victor set called EIGHT TO THE BAR, featuring Albert Ammons, Pete Johnson, and Jimmy Hoskins, which was about twenty-five minutes of locomotion, no matter what the tempo.  Having the train come roaring down the track is a pure adrenaline jolt, but eighty minutes of high-intensity, high-speed music could soon pall.  So the three wise men have opted for sweet variety — slow drags and old pop tunes treated with affection, originals in different moods.  Thus the CD rocks its way to the end before you know it.  And the sound is lovely — it’s possible that Carl’s singing voice has never been captured so well on disc.

May your happiness increase!