Tag Archives: Riley Baker

ANOTHER TUNE FOR THE TIMES (March 8, 2020)

This commercialized mirth might strike you as extreme, but bear with me.

Perhaps this will resonate more effectively.  The OKeh sleeve makes me smile.

And this.

This song has been turned into a terrible cliche through ninety years of routine performance, but this effort from March 8 — which seems like ages ago! — takes me right back to Billie and Louis. The cheerful creators here are Danny Coots, drums; Steve Pikal, string bass; Brian Holland, piano; Jacob Zimmerman, clarinet; Marc Caparone, cornet; special guest, Riley Baker, trombone. All this goodness took place at the 2020 Jazz Bash by the Bay in Monterey, California.

As an aside, I’d always thought of SMILING as a post-Wall Street crash song, but not only was Louis’ recording before the market imploded, but the first recording, by Bill Carlsen’s Orchestra, dates from May 1928 in Chicago.  (Thanks to Charles Richdale for this prompt answer to my research query.)  So the suggestion that smiling built community where tears did not was in its own way timeless.  I hope readers can find reason to grin.

In the process of assembling this blog — which often feels like a small-town newspaper — I encountered this sweet 1928 recording, new to me, which I include because it begins with the verse.  And I admire Seger Ellis.  SMILING has gotten criticized by the “true jazz connoisseurs” as saccharine, over-simple: a song that needed improvisers to raise it above the mundane.  I’d disagree: sometimes a sweet uncomplicated tonic is just the thing to settle one’s nerves.

May your happiness increase!

WHEN IN DOUBT, PLAY THAT THING! (March 8, 2020)

From here

to here

is a wonderful wiggly line, elevated by individualism and joy, expertise and passion.

I present here a glorious burst of enthusiasm — in honor of Joe Oliver and Little Louis — created by Clint Baker, trumpet; Ryan Calloway, clarinet; Riley Baker, trombone; Carl Sonny Leyland, piano; Bill Reinhart, banjo; Katie Cavera, string bass; Hal Smith, drums. Jess King also sang, but not on this performance. And late in the video, we have an unscheduled cameo appearance by RaeAnn Berry, the queen of Bay Area videographers. Don’t miss it.

I was privileged to witness and record this on March 8, 2020, at the Jazz Bash by the Bay, Monterey, California.

A postscript, and those who are tired of words on a lit screen have my encouragement to skip it and watch the video again.  The other night, I had an extended telephone conversation with a person who might have become a new friend, who chose to tell me that my emphasis on happiness was inexplicable, because it meant I was ignoring the full range of emotions.  I wish I’d thought to play that person this DIPPER MOUTH BLUES: maybe it would have made tangible some of the things I believe in.  (If art doesn’t evoke feeling, it may be splendid intellectually, but to me it seems incomplete.)  And should you wonder, the conversation is not continuing.  There!  Ruminate on that, if you like.

For now, go and PLAY THAT THING! — whatever shape it might take.  You understand that you don’t need a cornet to be joyous.

May your happiness increase!

TAKE THE SWING CURE, AS PRESCRIBED BY MY MEDICAL GROUP: DOCTORS DURHAM, DONALDSON, KAHN, MOTEN, BAKER, LAMBETH, CALLOWAY, BAKER, LEYLAND, REINHART, KING, CAVERA, SMITH (Jazz Bash by the Bay, March 7, 2020).

Some of the doctors were too busy for photographs, but here are four images of this superb medical group:

Doctors Baker, C.; King; Calloway.

and

Doctors Leyland, Lambeth, Reinhart, Baker, C; King.

and

All this marvelous cure-by-swing took place over several days and nights at the Jazz Bash by the Bay in Monterey, California — a positively elating experience.  Here’s another name for this assemblage of healing, Clint Baker’s New Orleans Jazz Band.  For this weekend, they were Hal Smith, drums; Katie Cavera, string bass; Bill Reinhart, banjo; Jessica King, banjo, guitar, vocal; Clint Baker, trumpet; Riley Baker, trombone; Ryan Calloway, clarinet, and for this set, Dawn Lambeth, vocal; Carl Sonny Leyland, piano.  As Clint explains, this combination of YOU’RE DRIVING ME CRAZY and MOTEN SWING was inspired by a Big Joe Turner recording (BIG JOE RIDES AGAIN, Atlantic) and the blessed Buck Clayton Jam Sessions.  So now you know all  you need.  Prepare to be uplifted. I was and continue to be so.  And I can share more performances by this group.

Keep swinging . . . it’s the opposite of emotional distancing.

May your happiness increase!

REALLY, THEY COME OUT SWINGING! — Hal Smith’s ON THE LEVEE JAZZ BAND at SAN DIEGO (Part One: Nov. 30, 2019): BEN POLCER, RILEY BAKER, JOE GOLDBERG, KRIS TOKARSKI, JOSH GOUZY, HAL SMITH and JOHN GILL

One of the pleasures of the 2019 San Diego Jazz Fest was getting to hear and see Hal Smith’s gliding On the Levee Jazz Band.  Although they are devoted to the later music of Kid Ory and his California-based bands, they are a very subtle, swinging group whose music delights the dancers.  The personnel of this OTL incarnation is Ben Polcer, trumpet, vocal; Riley Baker, trombone; Joe Goldberg, clarinet; Kris Tokarski, piano; Josh Gouzy, string bass; Hal Smith, leader, drums. Ordinarily Alex Belhaj is the OTL guitarist, but Alex was home sick in New Orleans, so for this set his place was taken, splendidly, by John Gill, who also sang one for us.

A technical note (as one says): the band played in the large hall which had space for dancers in front, and the dancers happily took advantage of it.  But that would have made conventional filming difficult, so I took myself, camera, and tripod onto the stage, found a chair, made myself to home, and video-ed from there.  Yes, I lost a little volume on Joe Goldberg’s wonderful clarinet playing, but Joe is a forgiving sort, and I got to feature him in the last set of the festival with John Royen’s New Orleans Rhythm.  Ordinarily I don’t set up near the drums, but Hal is one of the handful of drummers I know who plays for the band, who understands dynamics.  So this was a delightful opportunity to capture exactly what he is doing, visually as well as audibly, and I hope you enjoy the results.

DOWN IN JUNGLE TOWN:

SUGAR BLUES, in honor of Joe Oliver’s glucose addictions:

Feeling low?  Feeling sore?  Consult DOCTOR JAZZ, who makes house calls:

ALL THE ‘GIRLS’ GO CRAZY, a hymn of appreciation:

A feature for Joe Goldberg, Ellington’s CREOLE LOVE CALL, which can be traced back to Joe Oliver:

A swinging treatment by Kris, Josh, and Hal of Jelly Roll Morton’s classic:

MUSKRAT RAMBLE, at a nice easy tempo which shows off all its beauties:

More Morton, WININ’ BOY BLUES, so soulfully sung by John Gill:

The On the Levee Jazz Band, you’ll hear, is playing a venerable repertoire, but their first priority is danceable swing.  You can read more about their CD here and the two CDs that Kris, Hal, and Josh (or Cassidy Holden) have made of delicious New-Orleans-flavored ragtime here.  “Check it OUT,” as they used to say in New York City forty-plus years ago.

 

May your happiness increase!

THE CAPTAIN STRIDES BY (Part Three): JOHN ROYEN’S NEW ORLEANS RHYTHM at the SAN DIEGO JAZZ FEST: JOE GOLDBERG, RILEY BAKER, MARTY EGGERS (December 1, 2019)

I’ve described the pleasures of meeting and hearing Captain John Royen at the piano and at the microphone during the 2019 San Diego Jazz Fest here and  here. I present the third part of Royen’s No Co-Pay Medicine for All Your Ills.  But come back when the videos are done . . . a few words will follow.

Something pretty, IF’N I HAD YOU:

AFTER YOU’VE GONE, featuring Joe Goldberg:

CLARINET MARMALADE (with a good deal of audience commentary):

Jelly Roll’s SWEET SUBSTITUTE, complete with history, etymology, and vocal:

and finally, PANAMA:

If you go to the New Orleans clubs where John plays, what I write will already be obvious.  But for those — audience members and festival promoters — who are encountering John or finding him anew, just this.  He is often presented as a stride pianist, and he is a superb one, treating Willie “the Lion” Smith, James P. Johnson, Fats Waller, and others, with respect and joyous creativity.

But the sets I saw John in, solo and as a band pianist, showed me immediately that he was a complete musician, not just someone locked into a particular style, someone who could immediately take a group of musicians new to him and to each other, and make them into a swinging cohesive band, someone who could take the most familiar repertoire and make it sound fresh.

He is a superb ensemble player, and it would be a fascinating study to listen closely, as I have, to what John does within a band, behind the soloists: he creates consistently uplifting orchestral piano, always swinging, light but intense, with interesting harmonies and variations.  Nothing formulaic, and all very satisfying.

He’s also a delight on the microphone — witty and able to improvise masterfully, no matter what the situation is.  You can’t see it in this room (I don’t walk around or do panoramic views) but John and his band kept a plenitude of dancers very happy.  I will be delighted to see him at festivals in future.  Thank you, Captain!

May your happiness increase!

THE CAPTAIN STRIDES BY (Part Two): JOHN ROYEN’S NEW ORLEANS RHYTHM at the SAN DIEGO JAZZ FEST: JOE GOLDBERG, JOHN OTTO, RILEY BAKER, MARTY EGGERS (December 1, 2019)

Photograph by Alex Matthews, 2014, with Marty Eggers and Katie Cavera.

John Royen is a masterful musician, and it was an honor to encounter him at the 2019 San Diego Jazz Fest.  Here‘s the first part of the story, with performances including Hal Smith, Marty Eggers, Katie Cavera, and Dan Levinson, as well as a dramatic medical tale.

But wait! There’s more.

At the very end of the festival, John assembled a delightful small band with Joe Goldberg, clarinet; Riley Baker, drums [you can’t see him, but you can certainly feel his reassuring pulse]; Marty Eggers, string bass — and, on JUST TELEPHONE ME, the delightful reedman John Otto joined in.  Here are the first performances from that set.  Not only does John play up a storm, but he is a wonderful bandleader — directing traffic and entertaining us without jokes.  If you follow JAZZ LIVES, you already admire Marty Eggers, but Riley’s drumming is better than wonderful, and it’s lovely to hear Joe out in the open like this (he’s one of the sparkplugs of Hal Smith’s On the Levee Jazz Band also).  How they all swing!

I always think I am weary of INDIANA, since so many bands play it too fast in a perfunctory manner, but John’s version is a refreshing antidote to formula:

Then, a highlight of the whole weekend — John Otto brought his alto saxophone and John Royen led the band into a song you never hear north of NOLA — (WHENEVER YOU’RE LONELY) JUST TELEPHONE ME, with a particularly charming vocal — charming because it’s completely heartfelt:

Alas, John Otto “had to go to work,” so he couldn’t stay — I would subsidize a CD of this band, by the way.

I have some of the same feelings about AIN’T MISBEHAVIN’ that I do about INDIANA — many bands run through it too quickly (it is a love song, dear friends) and call it when they can’t agree on the next selection . . . but here John, Joe, Marty, and Riley restore its original character.  And don’t miss John’s surprising bridge:

People who don’t know better will assert that SHINE is a “racist” song — they and you should read the real story — SHINE, RECONSIDERED  — and this performance shines with happy energy:

Since it doesn’t do anyone good to unload the whole truckload of joys at once, I will only say here that five more performances from this set are just waiting for a decent interval.  Watch this space.  And bless these inspired players.

May your happiness increase!

THE CAPTAIN STRIDES BY (Part One): JOHN ROYEN’S NEW ORLEANS RHYTHM and SOLO at the SAN DIEGO JAZZ FEST: DAN LEVINSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH (November 29 / 31, 2019)

An authenticated signature.

Festivals and jazz parties make it possible for me to greet old friends again and bask in their music, but a great thrill is being able to meet and hear someone I’ve admired for  years on record — people who come to mind are Bent Persson, Jim Dapogny, Ray Skjelbred, Carl Sonny Leyland, Rebecca Kilgore, Hal Smith (it’s a long list) and now the wonderful pianist John Royen, whom I met for the first time at this year’s San Diego Jazz Fest.

At work / at play, 2014, with Marty Eggers and Katie Cavera.  Photo by Alex Matthews.

For John’s New Orleans Rhythm, the first set, he was joined by Dan Levinson, clarinet and tenor; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums. I hear someone’s therapy dog, or an audience member was whimpering with delight.

SOME OF THESE DAYS:

WABASH BLUES:

WOLVERINE BLUES:

That was Friday.  We didn’t see John, and Conal Fowkes took his place at a set; we heard that John had decided (not really) on an internal home improvement, and had had a defibrillator installed at a nearby hospital.  This surprised me, because his beat has always been terribly regular.

But he reappeared magically on Sunday, looking like himself.  Virginia Tichenor graciously ceded some of her solo piano time so that he could play.  And play he did.

His solo playing was both assertive and delicate, spicy yet respectful of the originals.  John’s relations with the audience are so charming . . . and his playing, while not always fast or loud, is lively — lit brightly from within.

The Lion’s HERE COMES THE BAND:

ATLANTA BLUES, or MAKE ME A PALLET ON THE FLOOR:

and John’s delightful improvisations on MY INSPIRATION:

There will be a Part Two: John with Joe Goldberg, Marty Eggers, Riley Baker, and a brief visit from John Otto.  An honor to encounter the Captain, who creates such good music.

May your happiness increase!