Tag Archives: San Diego Jazz Fest

RARE OR FAMILIAR, ALL SPLENDID: THE CHICAGO CELLAR BOYS (and a GUEST) at the SAN DIEGO JAZZ FEST: ANDY SCHUMM, JOHN OTTO, PAUL ASARO, JOHNNY DONATOWICZ, DAVE BOCK, and COLIN HANCOCK (November 25, 2018)

I admire the Chicago Cellar Boys immensely, as JAZZ LIVES readers have seen since their inception in 2017, and I’ve been privileged to see and hear them in person (the most recent time just a day ago at the Juvae Jazz Mini-Fest in Decatur, Illinois . . . more from that occasion soon).  I also hear that their debut CD is on the way.

Their virtues are considerable.  They are that most glorious entity, a working band with beautiful arrangements, hot or sweet, wonderful solo and ensemble playing.  But something that may not catch the listeners’ attention quickly is the breadth of their repertoire — visible in the thick black binders brought to the stage.  Every CCB set has several tunes in it that I’ve known only as obscure recordings or ones I’ve never heard at all, and when they perform a “chestnut,” it is beautifully alive in its own idiomatic shape.  They are: Andy Schumm, cornet, clarinet, tenor saxophone, arrangements; John Otto, clarinet, alto saxophone; Paul Asaro, piano, vocals; Johnny Donatowicz, banjo, guitar; Dave Bock, tuba.  And here are six delights from the 39th San Diego Jazz Fest, performed on November 25, 2018.

First, a charming 1929 exclamation of delight:

and something cosmological from the same year, by Phil Baxter.  Feel free to sing the special aviation-themed lyrics as the Cellar Boys soar lyrically:

Here’s Andy’s superbly indefatigable reading of the Johnny Dodds showcase, LITTLE BITS:

and a reading of THE SHEIK OF ARABY that owes more to Rudolph Valentino than to Hot Lips Page, but I don’t mind at all:

I’ve already posted the two videos below, but these exercises in spontaneous combustion, Chicago-style, deserve multiple watchings.  Don’t be afraid to cheer! (As I write this, the first video has been seen 591 times.  One person took the trouble to “dislike” it.  What a pity, Sir!) Here the youthful multi-instrumentalist Colin Hancock sits in on cornet with the Cellar Boys (Andy switches to clarinet) and the results are ferocious:

SHIM-ME-SHA-WABBLE:

Finally, a rousing WEARY BLUES:

I promise you there will be more of the Chicago Cellar Boys “while breath lasts,” as my dear benefactor Harriet Sheehy used to say.  For now, enjoy the sweet heat.

May your happiness increase!

 

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ZIGZAG BEAUTIES: RAY SKJELBRED at the PIANO (San Diego Jazz Fest, Nov. 27, 2016)

Ralph Waldo Emerson would have admired Ray Skjelbred, who trusts himself, listens to his own heart, knows the sources and honors them but goes his own beautiful zigzag ways.  Soulful, whimsical, making the piano sing songs it didn’t know it could sing.

Here are four solo transformations created by Ray at the 2016 San Diego Jazz Fest.  How lovely and how surprising they — and he — are!

K.M.H. DRAG, in honor of Max Kaminsky, Freddie Moore, and Art Hodes:

You may call it MUSKRAT RAMBLE or SAVOYAGER’S STOMP.  Either will receive full credit:

Ellington’s 1933 BUNDLE OF BLUES (“from the motion picture of the same name”) — melodic and quixotic both:

I don’t think that there’s an alternate title for STRUTTIN’ WITH SOME BARBECUE, but please notice the cheerful subversions Ray works on it from the inside . . . laproscopically, perhaps?

When Ray sits down to the piano, beautiful memorable surprises spring up.

May your happiness increase!

THEM THERE BOYS: THE CHICAGO CELLAR BOYS at the SAN DIEGO JAZZ FEST: ANDY SCHUMM, JOHN OTTO, PAUL ASARO, DAVE BOCK, JOHNNY DONATOWICZ (November 24, 2018)

They’re back!  And below I’ll have news of their appearance at a one-day Midwest festival on March 30, 2019.

The Chicago Cellar Boys made beautiful music at the 2018 San Diego Jazz Fest, and I caught as much of it as I could.  (Type in CELLAR on the search bar and see for yourself.)

Here is part of a set that I recorded on November 24.  The CCB are Andy Schumm, cornet, tenor saxophone, clarinet; John Otto, alto saxophone, clarinet; Paul Asaro, piano, vocal; Johnny Donatowicz, guitar, banjo; Dave Bock, tuba.  Dee-lightful.

INDIAN CRADLE SONG (in honor of the Dorsey Brothers and, faintly, Louis Armstrong).  Andy told me that he had hidden another song in the “chorale” section, but he’s too smart for me.  Maybe you’ll recognize it?:

BOSTON SKUFFLE (something for and by Jabbo Smith):

HOME, CRADLE OF HAPPINESS (a song popular in the early Twenties, recorded by a Sam Lanin group and by Ethel Waters):

FIDGETY FEET (a tribute to Bix and the Wolverines):

KING PORTER STOMP (the CCB’s homage to the 1924 Autograph duet session by King Oliver and Jelly Roll Morton — also the band-within-the-band):

Aside from their inspiring playing and singing, hot and sweet, there are the marvelous arrangements that make this two-horn quintet sound like a large group, and the positively exciting repertoire.  I know the music of this period fairly well, but I always go away from even one CCB set saying to myself, “I’ve never heard that wonderful tune before.”

And here — because listeners need to get away from their computers now and again (it’s good for us!) — is the festival they will be illuminating at the end of this month, along with Petra’s Recession Seven (featuring Petra van Nuis, Andy Brown, Russ Phillips, and other luminaries):

May your happiness increase!

“LIKE THE FRENCH PEOPLE DO”: DAWN LAMBETH, CONAL FOWKES, MARC CAPARONE (San Diego, Nov. 23, 2018)

As an affirmation, “C’est si bon!” works for me — and it was a substantial hit for Louis, Eartha Kitt, and others in the early Fifties.  Louis kept it in his repertoire for more than fifteen years, and it’s been recorded by Harry Allen, Eddie Erickson, Nicki Parrott, Abbey Lincoln, and Jaki Byard — which says that this simple tune has an appeal both deep and wide.

Here it is again — a sweet surprise when performed by Dawn Lambeth, vocal; Conal Fowkes, piano; Marc Caparone, cornet, at the 39th San Diego Jazz Fest last November:

I hope you caught Conal’s little offering of Louisness at :39.  It would be reason to enjoy this video again.  And as far as this trio: They’re so good!

May your happiness increase!

SEVEN MEN AND THE KID: THE “ON THE LEVEE JAZZ BAND” at the SAN DIEGO JAZZ FEST: HAL SMITH, JOSH GOUZY, ALEX BELHAJ, KRIS TOKARSKI, JOE GOLDBERG, BEN POLCER, CHARLIE HALLORAN (November 25, 2018)

Some children get upset if the green beans and mashed potato on their plate are touching.  Some listeners separate “their” music into schools and styles, existing in the same space but kept at a safe distance.  I just read a review of a festival where the writer delineated “trad” and “not trad at all,” which to me is a shame.  Musicians know that they can play any repertoire in inventive ways, move in and out of rigidly defined “traditions” and create lasting satisfying art.

Here’s a shining example, the ON THE LEVEE JAZZ BAND (that’s the cover of their debut CD above).  I’ve posted music from another performance here.  To me, their joyous essence is a mixing of “genres”: soloists who know Blakeney, Darnell Howard, Don Ewell, but who are also aware of Buck Clayton, Ed Hall, Vic Dickenson, Steve Jordan, Walter Page, and Jo Jones.  The secret is a flowing 4/4 — music for dancing as well as listening.

This most excellent small band is devoted to the music of Kid Ory in his later decades, led by drummer / scholar Hal Smith, and including Charlie Halloran, trombone, Ben Polcer, trumpet / vocal; Joe Goldberg, clarinet; Kris Tokarski, piano, Alex Belhaj, guitar, Josh Gouzy, string bass. The set presented here was recorded on November 25, 2018, at the San Diego Jazz Fest.

. . . .and study war no more:

A problem with transporting a precious substance:

Hey, Dad — you coming back?

Some early Ellington with a debt to Joe Oliver:

“Honey, are you free on Monday?”:

Gus Mueller, if I recall, said decades after the fact that the title had no hidden meaning — they just liked the sound:

This one always comes in handy:

A song for parents of newborns or anyone embracing transformations:

For further announcements and more good news, visit here.  I’m pleased to say I will see them three times in 2019: the Redwood Coast Music Festival, the Evergreen Jazz Festival, and the San Diego Jazz Fest.  You come, too.

May your happiness increase!

“IT MUST BE SOME MAGIC ART”: DAWN LAMBETH, CONAL FOWKES, MARC CAPARONE (San Diego, Nov. 24, 2018)

Yes, it’s the Real Thing.

This wonderful little-known 1932 song by Fats Waller, Don Redman, and Andy Razaf, is yet another celebration of romantic devotion.

But it is one of the clever concoctions I call “backwards songs” for want of a better name.  The lyricist and singer don’t say “This is love,” because that gambit had animated a thousand pop songs even by this date.  Rather, the lyrics upend the expected conceit by asking, “If it ain’t love, why are its effects so powerful?”  The parallel song is the Dietz-Schwartz THEN I’LL BE TIRED OF YOU where the singer doesn’t state “I will never tire of you,” but proposes, “I will be tired of you when — and only when — these unimaginable cosmic events take place,” entering love’s house by the window.

Here’s a very tender performance of this song — only a few months ago — by three of my favorites: Dawn Lambeth, vocal; Conal Fowkes, piano; Marc Caparone, cornet — in performance at the San Diego Jazz Fest, November 24, 2018:

I love drama in music: Louis soaring; Big Sid and Sidney Bechet rocking the once-stable world; the Basie band in a final joyous eruption in the outchorus.  But I have a deep feeling for music like this, that tenderly caresses my soul, that comes in the ear like honey.  Dawn, Conal, and Marc do more than play a song: they beam love out at us.  And I, for one, am grateful.

May your happiness increase!

GUESS WHO’S IN TOWN? THE CHICAGO CELLAR BOYS at the SAN DIEGO JAZZ FEST: ANDY SCHUMM, JOHN OTTO, PAUL ASARO, JOHNNY DONATOWICZ, DAVE BOCK (Nov. 24, 2018)

The Chicago Cellar Boys are a lovely band — not only the easy swing, the ringing solos, the choice of material, the consistent lyricism, the faith that melody, played with feeling, is essential — but they have an ensemble conception, so that something pleasing is always going on.  Five pieces make a wonderful portable orchestra, where sweet and hot balance and show each other off by contrast.  People unfamiliar with this group might think it landlocked — a quintet devoting itself to Twenties and very early-Thirties music — but they would be wrong, because this is one of the most versatile groups I know: tempo, approach, arrangements, instrument-switching, and more.  They give great value!

I suggest that any listener who is deeply involved in creative improvisation, not only solos but ensemble timbres, the possibilities of a small group that transcend soloist-plus-rhythm, and the beauty of imaginative arrangements could study any one of these performances with the attention normally given to a hallowed OKeh or Oriole disc and be both enthralled and enlightened.

I’ve posted other videos of them herehere, and (with Colin Hancock sitting in) here.

The individual heroes are Andy Schumm, cornet, tenor, clarinet, arrangements; John Otto, clarinet, alto; Paul Asaro, piano, vocal; Johnny Donatowicz, banjo, guitar; Dave Bock, tuba.  Here they are at the 29th San Diego Jazz Fest, in a set performed on November 24, 2018.  They began with one of the classic late-Twenties songs about the glory to be found below the Mason-Dixon line:

and from the Clarence Williams book, by Maceo Pinkard, PILE OF LOGS AND STONE, another song glorifying the joys of rustic home life:

Thanks to Irving Berlin, Bing, and Ethel Waters:

Bless Don Redman is what I say:

LET’S DO THINGS is one of those songs I’d never known before (typically, I go away from a CCB set with new discoveries).  I was unable to find the composers, but I did stumble into a 1931 Hal Roach comedy of the same name starring ZaSu Pitts and Thelma Todd, in which the then new song THEM THERE EYES figures happily and prominently.  Here is the link to the film.  Now, the ingenious song (is it a Schumm concoction? Youth wants to know):

Another song I associate with Clarence Williams, NOBODY BUT MY BABY (IS GETTING MY LOVE):

Finally, James P. Johnson’s GUESS WHO’S IN TOWN — beloved of Ethel Waters and Max Kaminsky on Commodore:

There are many CCB videos (about thirty — yes!) still for me to share with you: I think I missed at most one and one-half of their sets at this jazz weekend.  So watch this space for more good news.

May your happiness increase!