Tag Archives: steam trains

INDOOR SPORTS IN SAUSALITO: MAL SHARPE, LEON OAKLEY, RICHARD HADLOCK, BILL DE KUIPER, SAM ROCHA, CARMEN CANSINO at THE NO NAME BAR, July 22, 2012

Some pleasurable experiences evaporate almost as soon as they’ve ended.  But July 22, 2012, was our third consecutive visit to Mal Sharpe’s Sunday afternoon gig (3-6 PM) at The No Name Bar in Sausalito (757 Bridgeway) and the pleasure was as powerful as ever.

Mal remains a solid gutty player and his comedic improvisations (involving Thanksgiving, zippers, the NBC Red Network) are as fresh and unbalanced as ever.  But he shines greatly as a trombonist and lively singer.  Those who think of him only as a radio and television personality would be surprised at his deep immersion in hot jazz.

To Mal’s right was the jazz critic and reedman Richard Hadlock, floating behind the beat or keening on his straight soprano.  In the middle was the cornetist who could lead the troops into battle with never a qualm — someone capable of great subtleties and shadings, too — Leon Oakley.  In the back were swinging regulars Bill De Kuiper, guitar; Carmen Cansino, drums — with the eloquent bassist and eager swing singer Sam Rocha.  A band to conjure with!

After a holiday-themed introduction, the band swung into a version of LONESOME ROAD.  (It was a highly inappropriate soundtrack — the path to the No Name Bar was sunny, filled with people, and one could feast on Thai or Mexican cuisine, fish and chips, ice cream, or my choice — spicy nasturtium blossoms.  I saw no one trudging under a heavy load, but it was still a good opener.)

A nearly perverse defiance seemed behind the second song choice, too.  July, warm, sunny?  No, SEPTEMBER IN THE RAIN:

Some people in the audience were visiting from Indiana, and I had hopes that Mal would call ALABAMMY BOUND or THE YELLOW ROSE OF TEXAS, but all turned politely respectful as the band swung into BACK HOME AGAIN IN INDIANA:

Laying bare his soul (but keeping his green hat on), Mal called for I’M CONFESSIN’:

If Mal could Confess, it was only right that Sam could sing about ROSETTA:

The No Name Bar serves drinks that are some distance from a pot of Earl Grey, but Mal’s version of WHEN I TAKE MY SUGAR TO TEA was suitably hot and sweet:

YELLOW DOG BLUES connected neatly with Leon’s deep interest in steam trains:

One of the young women in the audience who had come from the Canary Islands, directly, it seemed, to 757 Bridgeway, was named Maria: a good reason to call Berlin’s MARIE, even if Bunny was not in the house:

Everyone got serious for an impassioned BLACK AND BLUE, so strongly identified with Louis, Fats, and Andy Razaf:

The somber mood was quickly dispelled by Mal’s romping though an accusatory YOU RASCAL YOU, called late enough in the session so that none of the patrons would stalk out into the sunlight, offended, too early:

And Mal and the Big Money in Jazz Band told us it was time to go home with another Berlin classic, THE SONG IS ENDED:

But only for a week, as Fred Robbins used to say at the end of the 1944-45 Eddie Condon Town Hall broadcasts.  And Mal brings the Big Money in Jazz Band to the Savoy Tivoli in San Francisco every Saturday afternoon, and there’s a once-a-month Thursday gig at Armando’s in Martinez . . . as well as other spectaculars unknown to JAZZ LIVES but worth investigating.

May your happiness increase. 

SWINGING FOR JOHN PENDLETON: HAL SMITH’S INTERNATIONAL SEXTET at SACRAMENTO (May 27, 2011)

What better way to honor a beloved jazz friend, now gone, than with the music he loved so much?  And played so eloquently by the people he admired so deeply. 

The man: John Pendleton, whom you’ll hear spoken of in the videos that follow.

The musicians: Hal Smith’s International Sextet, recorded on May 27 at the 2011 Sacramento Jazz Jubilee.  That’s Hal (drums), Katie Cavera (guitar / vocals), Clint Baker (string bass / vocals), Anita Thomas (clarinet, alto, vocals), Kim Cusack (clarinet, tenor, vocals), Carl Sonny Leyland (piano, vocals).

“Music speaks louder than words,” Charlie Parker told condescending Earl Wilson in that famous film clip, and Bird was right, so I won’t elaborate the virtues of this rocking group at length: viewers can find their own pleasures for themselves. 

But I would point out that Hal, Katie, Sonny, and Clint make a peerless rhythm section, with their four sonorities weaving together, their pulses aligned without their individualities being flattened for some specious idea of the common good.  Hear the ripe-fruit sound of Katie’s guitar; the swish and flow of Hal’s cymbals, the deep commentaries of Clint’s bass, the down-home rock of Carl’s piano.  And the horns intertwine with each other and float over this sweet propulsion: Kim, bringing his own perspective to Bud Freeman, Eddie Miller, Joe Marsala, Pee Wee Russell, and Frank Chace; Anita, completely in control but entirely fearless, following her impulses in the best self-reliant way.  And the vocalizing is wonderful (jazz instrumentalists make the best singers!) neither slick nor amateurish.

Watch everyone on the stand smiling — always a guarantee of heartfelt music and deep gratifications being spread all around. 

Katie and Anita tell us all about the new dance craze that everyone’s doing — or should be doing — that’s TRUCKIN’:

RIDIN’ ON THE L&N celebrates a train that ran between Louisville and Nashville, according to Brother Hal, who knows these things:

John loved baseball and swing.  Hence this funny, surprising TAKE ME OUT TO THE BALL GAME:

A hot one!  RUNNIN’ WILD (hear Clint’s bass behind Kim):

SENTIMENTAL JOURNEY is such a simple song, but it works so well on our deepest impulses to go home, or some imagined version of it.  Katie and Anita remind us that Doris Day had a great hit with this song; the rest of the band says (implicitly), “Hey, remember the great Buck Clayton Jam Session?”  Works perfectly:

Here’s Carl’s version of the 1949 hit by Sticks McGhee (younger brother of Brownie), DRINKIN’ WINE (SPO-DEE-O-DEE).  Original lyrics — according to Nick Tosches and Wikipedia — reprinted below, definitely unvarnished and unsanitized.*

Katie is not salacious in person, but she loves songs about Twenties flirtation — perhaps she was a naughty flapper in a past life?  Here’s MA! (HE’S MAKING EYES AT ME):

I couldn’t abide THIS OLD HOUSE even when I owned one (no real-life workmen were ever such models of decorum and skill) but I love LOUISIANA FAIRY TALE, and it’s clear that Anita does too.  Music by J. Fred Coots, Danny’s uncle:

And a little Basie is always good for the soul, as Hal reminds us with JUMPIN’ AT THE WOODSIDE:

I never met John Pendleton, but he must have been what the Irish call a grand fellow to have these candid people so deeply devoted to him.  And to have such wonderful music played in his memory!

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*”Drinkin’ that mess is our delight, And when we get drunk, start fightin’ all night. Knockin’ out windows and learnin’ down doors, Drinkin’ half-gallons and callin’ for more. Drinkin’ wine motherfucker, drinkin’wine! Goddam! Drinkin’ wine motherfucker, drinkin’wine! Goddam! Drinkin’ wine motherfucker, drinkin’wine! Goddam! Pass that bottle to me!”