Tag Archives: Red Onion Jazz Babies

FINE VINTAGE! THE BLACK DIAMOND BLUE FIVE at CLINE CELLARS (June 13, 2013)

The Beloved and I had a fine time at the Cline Wine and Dixieland Festival, and here are the last videos I took of that day as proof.  Fine fellows on the stand:  Leon Oakley, cornet; Robert Young, saxophone / vocal; Marty Eggers, piano; Clint Baker, banjo / vocal; Bill Reinhart, tuba: the Black Diamond Blue Five.  The original BDBF began in 1992 as the inspiration of banjoist George Knoblauch (he left us in March 2012) as a hot two-horn quintet that played the music of Clarence Williams and other small Twenties bands.  (You’ll notice, in the videos below, that Clarence’s picture is on the binder that is the band’s book.) The 1992-2012 band featured the same personnel except that George played banjo and Clint played tuba.

Here they are for a fine — although too-brief — rousing set.

BALTIMORE:

JACKASS BLUES:

WAIT ‘TILL YOU SEE MY BABY DO THE CHARLESTON:

MANDY, MAKE UP YOUR MIND:

WEARY BLUES:

For us, this was the closing set of a delightful day: we are looking forward to the 2014 Cline Wine and Dixieland Jazz Festival in Sonoma, California.

May your happiness increase!

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THREE FOR LOUIS: MARTY EGGERS and FRIENDS at PIER 23 (May 2, 2011)

My West Coast role model Rae Ann Berry was on the move again in the beginning of May 2011 and she captured this hot afternoon session at Pier 23 in San Francisco.

It’s a splendid cross-generational encounter, the kind of music that results when experienced jazz players who know the common language and history get together and have their say, individually and collectively.

The bow-tied gent in front is cornetist Jim Cullum; well behind him in the shades is Leon Oakley, also on cornet; to their left is clarinet hero Bill Carter; Marty Eggers (often on bass) is stompin’ ’em down at the piano, J. Hansen doing the same at his drum kit.  Although my attention is usually focused on the cornetists, Hansen is solid, his sounds colorful; Marty is often thinking about Morton, and Bill Carter sounds exactly like himself — perfectly surprising, heartfelt, witty, brave.

Although Rae Ann recorded fifteen performances, I’ve chosen three I like very much as homages to Louis.

The first comes from the time when Louis was just up from New Orleans, “Little Louis,” although he was hardly slender, playing alongside his musical father, King Joe Oliver, in the Creole Jazz Band: RIVERSIDE BLUES:

And something from the Clarence Williams period (the Red Onion Jazz Babies), a hot CAKEWALKIN’ BABIES FROM HOME where one of the gentlemen of the ensemble, obviously inspired, bursts into song to tell us all about those champions:

Here’s the closing selection of the Louis-evocation, what I think of as the National Anthem of our music, two cornets entwining on WHEN IT’S SLEEPY TIME DOWN SOUTH:

To see the dozen other performances that the diligent Ms. Berry has captured for us and for posterity, visit her YouTube channel:

http://www.youtube.com/user/SFRaeAnn

It’s moments like these that make a man think of pulling up his New York roots and moving — with the Beloved, CDs, turntable, computers, and tea strainer — to California.  Could one of my readers find me an income that will run for the next ten years so that this might be accomplished?

DROP THAT SACK!

Before the words begin to flow, here’s some convincing evidence, courtesy of my videographer friend Elin Smith — Thomas Winteler’s Jazz Serenaders with Bent Persson playing POTATO HEAD BLUES, recorded at the 2010 Whitley Bay International Jazz Festival:

Thomas and his Jazz Serenaders have recorded DROP THAT SACK! — a CD of music associated with Louis and Sidney Bechet, including their collaborations and ending with two songs associated with later Bechet.  The songs are ONCE IN A WHILE / ALLIGATOR CRAWL / SAVOY BLUES / ORIENTAL STRUT / TEXAS MOANER / DROP THAT SACK! / OLD-FASHIONED LOVE / BIG FAT MA AND SKINNY PA / PUT ‘EM DOWN BLUES / NOBODY KNOWS YOU WHEN YOU’RE DOWN AND OUT / DON’T FORGET TO MESS AROUND / PERDIDO STREET BLUES / DOWN IN HONKY TONK TOWN / STRANGE FRUIT / VIPER MAD / PETITE FLEUR.

The musicians are Thomas, clarinet, soprano sax; Bent Persson, trumpet, cornet;  Rodolphe Compomizzi, trombone;  Jean-Claude “Lou” Lauprete, piano; 
Pierre-Alain Maret, banjo, guitar; Henry Lemaire, bass; Jean Lavorel, drums.

I hadn’t heard or heard of Thomas before the 2010 festival, but Bent Persson made a special point of recommending him to me — and when Bent recommends another musician, I take it seriously.  Thomas is a superb player; like Bent, he understands not only the records but the idiom, and can nimbly become Bechet or Johnny Dodds while sounding like himself — no small accomplishment.  And the CD is a delightful representation both of the Masters and of the twenty-first century musicians doing them honor.  It’s always a pleasure to hear some of the less-recorded Hot Five and Hot Seven material, and this band is able to summon up the deep melancholy of STRANGE FRUIT as well as the jubilant elevation of VIPER MAD.

Ideally, one would buy a copy of the CD from Thomas at a gig, but for those who aren’t flying around Europe in search of the real thing, the financial details are:

Send your address and 30 swiss francs or 22 euros to :
   Thomas Winteler
   ch. du levant 10B
   1299 Crans-près-Céligny
   Switzerland

(the price includes postal costs)
 

You can find out more about Thomas and his friends (including his substantial discography complete with music clips) at his website, http://www.winteler-music.ch/. 

Finally, some speculative etymology.  I think with affection of the Czech novelist Josef Skvorecky, who wrote in his novel THE COWARDS (or his novella THE BASS SAXOPHONE) of his difficulties with jazz-related English (he was a youthful amateur tenor player during the Second World War): encountering “Struttin’ With Some Barbecue” for the first time, he was puzzled by the word-by-word translation: could it really mean “Walking pompously with an animal carcass roasted whole”? 

I have the same feelings about “Drop that sack!”  Is it really an old-time racially-based joke about chicken-stealing, or did it mean, “Let’s get out of here” or “Get rid of that unattractive person”? 

It adds something to the resonance of the words that DROP THAT SACK was one of the two titles that Louis recorded “anonymously” with Lil’s Hot Shots for a competing label while he was under contract to OKeh — trying to hide Louis’s conception and sound would be like pretending the great Chicago Fire wasn’t burning . . . . but I wonder if there are hidden meanings to the expression, just as we later learned that “Struttin’ with some barbecue” was a pre-PC way of saying, “Walking proudly with my beautiful girlfriend.” 

Suggestions, anyone?