Tag Archives: Reynolds Brothers

HEALING VIBRATIONS: THE REYNOLDS BROTHERS and CLINT BAKER at the SACRAMENTO MUSIC FESTIVAL (May 27, 2012)

I’ve tried fish oil capsules and probiotics, saw palmetto and niacin, magnesium and multivitamins, goldenseal and Bach flower remedies.

But nothing gives me the lift of a Reynolds Brothers set — and one with Clint Baker (trombone, clarinet, occasional vocal) is even more potent.  Take as directed: like homeopathy, the smallest dosage is transformative.

The RB are, as always, Ralf (washboard); John (guitar, whistling); Marc Caparone (cornet); Katie Cavera (string bass) — all four have been known to break into song when the moment is ripe.  See for yourself in this delightful long set recorded at the 2012 Sacramento Music Festival (at the Railroad Museum on May 27, 2012, for the record-keepers).

Alex Hill must have been especially willing to please when he wrote I WOULD DO ANYTHING FOR YOU, and Claude Hopkins suggested that his whole band was equally cooperative:

Sung by Bing.  Who needs more?  LOVE IS JUST AROUND THE CORNER:

THREE LITTLE WORDS (but not with the variant Turk Murphy text):

For Bix and Tram, BORNEO:

Come to Camden, New Jersey — I hear the Bennie Moten band is cooking up something good on BLUE ROOM:

Sweet and sassy, Sister Katie invites us to join her in films, with YOU OUGHTA BE IN PICTURES — and John whistles the theme so engagingly:

Mister Berlin must have liked a drop of schnapps once in a while, thus I’LL SEE YOU IN C-U-B-A — sung with spice and wit by Senorita Cavera:

From the Cotton Club Parade of 1935 (by Ted Koehler and Rube Bloom)  — I just found a copy of the original sheet music: now I’m ready to start TRUCKIN’:

A beautiful excursion into Louis Armstrong – Sammy Cahn – Saul Chaplin democrary in SHOE SHINE BOY.  That Caparone fellow didn’t study at the Waif’s Home, but he sure gets Louis:

If I could wire my refrigerator so that it played FAT AND GREASY when I opened the door, perhaps I would be back to my middle-school weight.  of course having Fats Waller sing and play it does lend a certain ironic twist.  Rockin’ in rhythm:

And the National Anthem of what Eddie Condon called “music,” Louis’ SWING THAT MUSIC:

Feeling better?  I know I am.  (And that’s not my medicine cabinet, in case you were wondering.)

May your happiness increase.

Advertisements

“IT’S GOOD FOR YOU”: HOT JAZZ IN THE HEALTHY OPEN AIR with THE REYNOLDS BROTHERS and CLINT BAKER at the SACRAMENTO MUSIC FESTIVAL (May 26, 2012)

My mother used to gently urge me — “urge” is the nicest way of putting it — to go outside occasionally.  “Are you going to stay in your room with a book all day?  It’s so nice outside!”

This post’s for you, Mom — I made it out-of-doors at a jazz festival — the Sacramento Music Festival — and soaked up the sun, the Vitamin D, the sweet California air.

Of course, I didn’t notice much of those cosmic gifts, because I was busy feeling the good seismic disturbances that the Reynolds Brothers and Clint Baker were creating — that’s John on guitar, vocal, and whistling; Ralf on washboard and vocal; Marc Caparone on cornet and vocal; Katie Cavera on string bass and vocal; Clint Baker on trombone, clarinet, and occasional vocal (he had some laryngitis that weekend).

They began with their public profession of loving willingness from Alex Hill and perhaps Claude Hopkins, I WOULD DO ANYTHING FOR YOU.  John asserts it all so willingly; who would doubt him?

Marc sings about that naughty flirtatious COQUETTE, so tantalizing:

Ralf and John team up for their classic SADIE GREEN (The Vamp of New Orleans):

No one sings on MAHOGANY HALL STOMP (the lyrics would be about the fleshpots of Storyville) but the ghosts of Louis and Higgy certainly were enjoying the outdoors as well:

John, more plaintively this time, gives us the early Thirties version of the solitary lover, pale and wan, HUMMIN’ TO MYSELF:

The other side of the amorous spectrum — having one’s hands full of delights — is offered by the witty Miss Cavera in CHARLEY, MY BOY.  “Shivers of joy,” indeed:

My new quest.  Where or what or why is SAN?:

For Harold Arlen, Louis, and Jack, Marc lets us know he’s GOT A RIGHT TO SING THE BLUES:

I don’t know the source of STOMP STOMP! (is it Slim and Slam or the Cats and the Fiddle or a physical therapist’s command?) but it certainly made the cosmos move:

“Jack, you really come on!”  How true.  Even though no one in the band is named Jack.

“See, Mom, I went outside!  What?  Now you want me to clean my room . . . . ?”

May your happiness increase.

WHEN BEAUTY VISITS, YOU KNOW IT: “STARDUST” by MARC CAPARONE, JOHN REYNOLDS, CLINT BAKER, RALF RAYNOLDS, KATIE CAVERA (Sacramento Music Festival, May 26, 2012)

I had tears in my eyes when I witnessed this music being created in front of us for the first time, and its lovely power hasn’t diminished.

Thank you, Marc, John, Clint, Ralf, and Katie, for being yourselves and for allowing the great lyrical heroes we so revere to live through you.

May your happiness increase.

“IT’S A TÉCLA PEARL!”

At great cost and expense, a major mystery has been solved.

But first, the problem.

Here’s Henry Hall and the BBC Dance Orchestra, with George Elrick singing GOT A BRAN’ NEW SUIT — music by Arthur Schwartz, words by Howard Dietz, from the 1935 revue AT HOME ABROAD, where the song was sung by Ethel Waters:

And here’s singing / tap-dancing Eleanor Powell’s version of the same song with the young Tommy Dorsey Orchestra:

After the bridge, the singer (male or female) sings of donning a “tiepin” or “stickpin,” that’s a genuine “Técla pearl.”  In these versions, “Técla” rhymes with  “Decca,” more or less — although the two most famous versions of this song — by Mister Strong and Mister Waller — pronounce the first syllable to rhyme with “week.”

Since Thirties men’s fashion is not a subject I have studied well, I thought the singers were referring to something particularly arcane: a “T-clasp pearl,” which suggested a jeweled tie clasp.  I only found out that what they were singing was “Técla pearl” when I bought the sheet music for the song at an antique store about a year ago.

Trying to find out what kind of pearl a Téecla pearl was . . . . I must not have had my websurfer’s hat (the one with the light on) fastened correctly.  So I despaired.  I thought it would be another unsolved mystery.  But then a friend recommended that I secure the services of Sir Damien Sitzfleisch, the world’s most successful tracer of the obscure.  We haggled over price, but one we had agreed, results were immediately forthcoming.  Hence and forthwith.

Serene and radiant.

And (circa 1923) there was only one Técla shop in America, so the wearer of such a pearl was someone of means who knew (and wore) the best.  I’m also fascinated with the lyric as an early example of product placement, or perhaps giving a company a free advertisement . . . and that something so well-known in 1935 has become completely obscure today.  With or without the accent over the first E (the sheet music lacks the accent, I believe).

In 1913, the Técla pearl was a standout in Germany:

It was especially ELEGANT in France in 1932:

And here — as a special treat — is the May 2012 version of this song (in G, no less) by John Reynolds, guitar and vocal; Marc Caparone, cornet; Ralf Reynolds, washboard; Clint Baker, trombone; Katie Cavera, string bass.  John knows about a Técla pearl, because I shared the results of my preliminary research with him . . . but he hasn’t seen the advertisements!

Not only is the mystery solved, but we get to hear John sing (twice), Marc and Clint, Ralf and Katie rock it for all time . . . !

And perhaps someone more gifted will share the Louis and Fats versions on YouTube if we all ask politely . . . ?  Perhaps some JAZZ LIVES readers are specialists in early twentieth-century jewelry and can tell us more.  But for me, anything that Arthur Schwartz and Howard Dietz created, that Louis Armstrong, Ethel Waters, Fats Waller, Eleanor Powell, Henry Hall, George Elrick, and the Reynolds Brothers s(w)ing out is important in itself.  (There’s also an instrumental version by Ruby Braff and Dick Hyman on a wondrous Chiaroscuro recording, FATS WALLER’S HEAVENLY JIVE . . . )

You won’t find me wearing a string of Técla pearls at the next jazz party, but that’s only because they make my complexion look sallow.

P.S.  398 Fifth Avenue, once the home of Técla pearls, now is the home of a rug company.  Nothing against rugs, mind you, but sic transit gloria mundi.

May your happiness increase.

FIVE BY FIVE (Part Two): THE REYNOLDS BROTHERS and CLINT BAKER at the SACRAMENTO MUSIC FESTIVAL (May 2012)

My heroes, and that’s no stage joke.

Ralf Reynolds, washboard, vocal; John Reynolds, guitar, vocal, whistling; Marc Caparone, cornet, vocal; Katie Cavera, string bass, vocal; Clint Baker, trombone, clarinet, vocal — live at the Sacramento Music Festival, May 25, 2012.

Irving Berlin’s I’LL SEE YOU IN C-U-B-A wasn’t a stab at capitalism, but a very witty response to Prohibition.  Katie Cavera, whom I nominate for Best Swing Actress in a Motion Picture, handles the deft lyrics nimbly:

You could deconstruct THE OLD MAN OF THE MOUNTAIN as a lie in swingtime fed to the hungry and desolate unemployed (“Hey, fellas and gals, an empty stomach is what God meant you to have!” or as a sweet-natured rebuke to materialism, asking in 4 /4, “How much land does a man need?”  Either way, John sings it wonderfully:

If he struts like a king, HE’S A SON OF THE SOUTH.  He’s their delight.  He’s so polite.  One of my favorite songs, letting Louis shine through Marc Caparone:

Pretty!  DREAM A LITTLE DREAM OF ME:

Our caravan is red-hot in HINDUSTAN:

I will bet you thirteen dollars of my money (as Lester Young used to say to his JATP colleagues) that the Reynolds Brothers would go over gangbusters at a swing dance . . . or in a club . . . at a European jazz party . . . at an East Coast venue.  At present they are delighting people right and left at Disney California Adventure (as “the Ellis Island Boys”) but I want other people to have this experience.  I’m willing to share them with the world, you know.

May your happiness increase.

FIVE BY FIVE (Part One): THE REYNOLDS BROTHERS and CLINT BAKER at the SACRAMENTO MUSIC FESTIVAL (May 25, 2012)

In an early set of jubilant performances at the 2012 Sacramento Music Festival, John Reynolds (vocal, whistling, guitar); Marc Caparone (cornet, vocal); Ralf Reynolds (washboard, vocal); Katie Cavera (string bass, vocal), and Clint Baker (trombone, vocal) created enthusiastic elation in every song — the proven antidote for gloom or what passes for “news” of “current events.”

For Bix, Bing, and Red Allen, OL’ MAN RIVER:

I’LL NEVER BE THE SAME:

In my note to this Clarence Williams tune CANDY LIPS (the subtitle is I’M STUCK ON YOU) I wrote one word, “scorching”; see if you don’t agree:

One of those lucky Thirties songs recorded by both Billie and Fats, SPREADIN’ RHYTHM AROUND:

Did you know the Boswell Sisters had a connection with the song BLACK-EYED SUSAN BROWN?  Here we have the Reynolds Brothers:

More to come.  Oh, my, yes!

May your happiness increase.

GET READY FOR THANKSGIVING JAZZ (Nov. 21-25, 2012)

It might seem odd to be thinking about Thanksgiving at the end of July, but this post has very little to do with heavier clothing or sitting down with the family to a traditional holiday meal.  In fact, what I’m suggesting might be the way to escape the predictable festivities, or at least to make them festive in a different way with more lively music.

Why not run off to the 33rd annual San Diego Thanksgiving Jazz Festival — beginning on Wednesday night, November 21, 2012, and continuing until Sunday afternoon, November 25?  There will be over forty hours of live music — with several bands playing simultaneously in different locations.  The location is the comfortable Town and Country Resort and Convention Center, 500 Hotel Circle North, San Diego, California 92110.  Rates start at $105 per night, and you can call 800-772-8527 or 619-291-7131 to reserve.  A badge enabling you to see and hear everything for five days and nights is $95.  For more information about the festival, visit here.

But I can hear you saying, “If I’m going to run off from a family gathering, there had better be hot music in profusion to make it worth my while.”  No worries, as the children say.  How about Katie Cavera, John Gill, the Reynolds Brothers, Carl Sonny Leyland, Uptown Lowdown, the Yerba Buena Stompers, the Heliotrope Ragtime Orchestra, Grand Dominion, Tim Laughlin and Connie Jones and their New Orleans All-Stars, Chloe Feoranzo, Red Skunk Jipzee Swing, Nannette and her Hotsy Totsy Boys, Stephanie Trick, Cornet Chop Suey, Dave Bennett, and many others?

One special attraction — appearing on Friday night only — is Nouveau Stride, which pairs singer Lorraine Feather and pianist Stephanie Trick in a program of compositions by Fats Waller, Dick Hyman, and James P. Johnson — to which the Grammy-nominated Ms. Feather has put original lyrics . . . to be sung to the accompaniment of Stephanie’s romping piano.  For more information about this group, visit here.

And as our friend Hal Smith writes, Nouveau Stride will make its debut at San Diego in a multi-media presentation: “The show includes a ‘piano cam’ (enabling the entire audience to watch Stephanie’s flying fingers) and Lorraine’s lyrics projected onto a screen.  Also included is a “soundie” of Fats Waller (the soundie was the pre-MTV version of a music video) and an award-winning stride cartoon produced by Lorraine in 2009.”

And guests at the San Diego Thanksgiving Jazz Festival can dine on traditional holiday fare on Thursday night . . .

We savor the rituals . . .

but one can always invigorate the familiar with a new tradition.

May your happiness increase.