Tag Archives: stop-time chorus

IN A LOUIS MOOD: CLINT BAKER and FRIENDS

Milt Hinton used to say, “If you don’t like this, you don’t like broccoli.”  (Readers who loathe that delicious green are advised that here at Jazz Lives substitutions are possible, even encouraged.)

Courtesy of SFRaeAnn (is that her dainty manicured hand descending from the right of the frame in “Come Back Sweet Papa”?) I present some fine jazz from Clint Baker’s Cafe Borrone All-Stars, recorded live just a few days ago (June 5, 3009) in Menlo Park, California.  The CBAS are Clint Baker, clarinet; Leon Oakley, cornet; Jim Klippert, trombone; Evan Price, guitar; Bill Reinhart, bass; Tom Wilson, guitar; and J. Hansen, drums. 

First, they swing out on the Hot Five classic (a favorite of Vic Dickenson’s, when he could surround himself with people who knew the changes), COME BACK, SWEET PAPA — notable for Oakley’s stop-time excursion, Hansen’s old-time melodic solo, and the general ebullience.  

Here’s SOME OF THESE DAYS, not too fast:

I especially admire the flourishes Clint gets into at the end of his chorus (he was ready to go for another one), Leon’s soaring eloquence (and no one applauded?  for shame!), the four-bar trades that precede Clint’s nicely offhanded vocal, and Hansen’s energetic tom-tom accents in the final eight bars.

Since I’ve been only recently reminded that Louis did, in fact, record SOMEDAY, SWEETHEART, I felt obliged to include this version — complete with verse and neat horn backing to Clint’s clarinet chorus.  Leon leaps into his solo almost aggressively and returns in the same mood after Jim has had a brief comment.  (Need I say that I am exceedingly envious of Clint’s abilities on what are apparently a half-dozen instruments?)

James P. Johnson’s sweetly sentimental paean to romantic love, IF I COULD BE WITH YOU ONE HOUR TONIGHT, begins with some down-home Oakley eloquence (his solo begins with a sidelong remembrance of WE JUST COULDN’T SAY GOODBYE, which is both musicially and thematically apt).  Nice rhythm section playing — subtle harmonies — behind Clint’s clarinet, as well. 

These clips make me want to take a plane to Cafe Borrone some Friday (8-11 PM, I’m told) and experience this band in person.  Broccoli, anyone?

CHARLESTON IS THE BEST DANCE AFTER ALL

A delicious interlude: Lynne Koehlinger and Peter Varshavsky do an inspired Charleston routine to  Jimmie Noone’s “Every Evening,” at the 2008 Gatsby Ball.   
 
Lynne and Peter defy the laws of physics.  At some points, they seem to be moving in slow motion, with every kick and turn clear, never blurred.  But you know that they’re really dancing at an exhausting pace.  Hard work made to seem effortless!  Their routine has a lovely shape: they begin as a couple in perfect physical harmony, then break out for inspired capers during Earl Hines’s solo and the stop-time chorus, and conclude as a pair.  It’s worthy of Olympic consideration.  Why there isn’t a category for Jazz Dance still mystifies me.  Let’s call it Hot Made Visible.
Thanks to SUN, the Singers’ Underground Network (I just made that up) of Meredith Axelrod and Melissa Collard, who passed this gem on to me.  And now, to you.   
Dramatis Personae:
Melissa Collard should be someone readers of this blog know and admire.  Her first CD, OLD FASHIONED LOVE, is a treasure.  Rumor has it that she and Hal Smith have completed a second one, which is great news. 
Meredith Axelrod, who often works with guitar genius Craig Ventresco, has thoroughly internalized the vocal styles of the early twentieth-century in a way both eerie and exhilirating.