Tag Archives: Susie Miyata

CELEBRATING HOWARD MIYATA, MUSICIAN OF THE YEAR, AT DIXIELAND MONTEREY 2013

I waited to post this until the British heir to the throne safely entered this world, so as not to draw attention from that monarch-to-be.  But here’s another royal event, the jazz coronation of Howard Miyata as Musician of the Year on March 2, 2013, at Dixieland Monterey / the Jazz Bash by the Bay.  His regal attendants include Susie Miyata, Gordon, Brandon, and Justin Au (nephews three), and the High Sierra Jazz Band, with special commentary by Pieter Meijers and Bryan Shaw.

Where HAIL TO THE CHIEF meets TIGER RAG, and where “catcalls” are a good thing.  Congratulations to Uncle How!

May your happiness increase!

GRATITUDE IN 4/4: THE 2011 SAN DIEGO THANKSGIVING JAZZ FESTIVAL: TIM LAUGHLIN – CONNIE JONES NEW ORLEANS ALL STARS, Part One (with thanks to Rae Ann Berry)

It’s a long title, but the music and the experience justify it.

The 2011 San Diego Dixieland Jazz Festival combined a number of “firsts” for me — my first time at this rollicking festival, my first visit to San Diego, first meetings with many lovely people (Justin, Brandon, and Yvonne Au; Susie Miyata; Janie McCue and Kevin Lynch; Allene Harding, Paul Woltz, Sue Fischer, Stephanie Trick, and two dozen more) . . . .

And then there was the gloriously familiar: Connie Jones, Tim Laughlin, Bob Havens, Hal Smith, Chris Dawson, Katie Cavera, Jeff Hamilton, Clint Baker, Carl Sonny Leyland, Marc Caparone, Dawn Lambeth, Ralf and John Reynolds — reasons to be happily jet-lagged both coming and going.

Because of Paul Daspit and his friends, the festival was a happy and musical place no matter where you turned; things ran efficiently without pressure; the audiences listened intently to the music, and the musicians soared.

I would have been presenting JAZZ LIVES with more than a hundred videos — except for the combined forces of accident, gravity, and hubris, which I have detailed elsewhere — so I turned to one of my dear friends who also happens to be the Uncrowned Queen of Bay Area Jazz — which extends down to San Diego and up to Olympia, Washington, but who’s worrying about such details?

You will know Rae Ann Berry from her two thousand-plus videos on YouTube (as “SFRaeAnn”) and her twenty-five years of vigorous advocacy of the music and musicians she loves.  She maintains an up-to-date list of hot jazz gigs in the area on www.sfraeann.com and you can visit her YouTube channel here.

So with thanks to all concerned both behind and in front of the camera, let me offer a short — but exciting — tour of the 2011 San Diego Thanksgiving Dixieland frolic, beginning with four songs from a set recorded on November 25, 2011, by Tim Laughlin’s All-Stars: Tim, clarinet; Connie Jones, cornet; Bob Havens, trombone; Chris Dawson, piano; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums.

I won’t praise individual solos or the way the band sounds as a unit — but everything is precisely where it ought to be, and all the parts are in balance, with each player offering a beautiful tone combined with deep intensity.  At times I thought of the finest recordings of Eddie Condon, the Teddy Wilson small groups, the Vanguard recordings of the early Fifties, nicely seasoned — but this band is no spinning disc or mp3: it’s being created right in front of us.

PALESTEENA:

SUGAR (with a charming vocal from Connie):

WHO’S SORRY NOW?:

and an utterly rocking WANG WANG BLUES:

More to come!

HOWARD MIYATA AND HIS MAGIC HORN (Jan. 7, 2012)

When the eminent brass player, teacher, and historian Howard Miyata and his wife Susan (she plays the French horn among other instruments) came to visit us this afternoon in Sonoma, California, I didn’t expect that there would be an impromptu concert-demonstration . . .but I am so delighted to be proven wrong!

For those of you who don’t know Howard, he is famous for playing with many bands — beginning with the Royal Society Jazz Orchestra and continuing up through the Zinfandel Stompers, the New Eldorado Stompers, Clint Baker’s New Orleans Jazz Band, and the High Sierra Jazz Band — which is where I first met him.  Howard studied at San Jose State University and directed bands for the Gilroy Unified School District. He also directs the Pacific Brass Band — one of only three authentic British style brass bands in California.  You might have encountered him on a JazzDagen cruise or at a jazz party; brass players will know him through his work as a tuba / trombone / euphonium artist and clinician for Kanstul (http://www.kanstul.com).  He is also a superb singer – vaudevillian (I’ve posted his performance of THE YAMA YAMA MAN here

and, more recently, A KISS TO BUILD A DREAM ON here.)

And before I had ever heard Mr. Miyata play, I had known of him as “Uncle How,” the man behind Gordon, Brandon, and Justin Au — and no doubt hundreds of grateful younger players.  (He is a superb teacher — but more about that in another post sometime.)  Most recently, I’ve posted videos of the Au Brothers Jazz Band with Uncle How, Katie Cavera, and Danny Coots in the rhythm section.

Howard had two horns in his car — a huge tuba and his Conn double-bell euphonium.  And when I said I had only heard of the latter horn in the lyrics to SEVENTY-SIX TROMBONES, he was more than happy to bring it in to show off how it sounded.  About ten seconds into his cheerful presentation, I asked him to hold everything, and I brought my video camera — thinking that this was too good not to share:

Even without a double-bell euphonium, Howard Miyata makes music wherever he goes.  We are very lucky to have him!

I JUST FLEW IN FROM SAN DIEGO!

. . . and boy, are my arms tired!  But my ears are still full of wonderful music.  I don’t mean “San Diego” as a city, but the 32nd annual San Diego Thanksgiving Dixieland Jazz Festival, which began for me on last Thursday night and continued into the middle of Sunday afternoon.

Festivals and parties take on the personalities of their organizers, and this one benefited so much from Paul Daspit, who stepped in after the death of the much-loved trombonist Alan Adams.  Paul is tall, soft-spoken, carefully-dressed, usually sporting a nifty hat (no beanie with a propeller for this gent), and his demeanor is both calm and amused.  Even when he was dealing with a series of flooded hotel rooms, he seemed to know that getting all flurried would do him — and us — no good.  So it was a great delight to see Paul come in, savor the music with a quiet smile on his face, and move on to something else.  His generosity of spirit made it possible for me to attend, for the musicians to play their best.  By the way, when I asked Paul about this, he said he was only carrying on Alan’s philosophy: to establish a space where everyone would be so comfortable and easy that the music would flow out and around everyone.

And it did.  I am a devoted follower of a few bands — my heroes are the Reynolds Brothers and the Tim Laughlin-Connie Jones All-Stars, the Yerba Buena Stompers, High Sierra, as well as the individual musicians Clint Baker, Jeff Hamilton, Sue Fischer, Bryan Shaw, Dawn Lambeth, Hal Smith, Carl Sonny Leyland, Marty Eggers, Kevin Dorn, Marc Caparone, the amazing Paul Woltz, and a dozen others . . . but I looked at the schedule more than a dozen times and figured that if I had been able to see all the sets I’d wanted to, the number would have been more than fifty . . . not possible for one person.  Because the festival was unashamedly a cornucopia, with six or more bands playing at once in different venues, I would have had to be willing to run from the middle of one set to the middle of another, which I wasn’t willing to do.

Too many highlights, and I won’t list them here for fear of leaving something out that was good, better, best.  I think I liked the surprises, though: being outside the main building, coming back from dinner, and hearing a band — it turned out to be Grand Dominion — and recognizing, “My goodness!  That’s Clint Baker — on trumpet — beating out JOE LOUIS STOMP!”  Or, again, hearing music from afar of a small group, around 9 AM, working its way through MUSKRAT RAMBLE — with an absolutely spine-tingling trombone solo . . . none other than tne Saint of Dixieland, Uncle Howie Miyata, playing that thing.  I also had my spirits lifted by people who don’t play instruments, at least not professionally: Jane Lynch and husband Kevin; Allene Harding; Frank Selman; Susie Miyata, Yvonne and Bill Au, Brandon and Justin of the same lineage.  I got to sit between Jane, Laurie Whitlock, and Carol Andersen . . . fun times in SoCal!

I’ll be posting my videos in a few weeks (I have Whitley Bay to share with you) but would point out that my newly-mobile West Coast doppelganger Rae Ann Berry had her video camera, her tripod, and many batteries . . . and she’s already posted a great many videos which would warm the coldest day.

But I’ll just say that there was a Reynolds-Brothers-plus jam session on Saturday night . . . where fourteen musicians got onto a tiny bandstand to wail — and I don’t use that word lightly — on MY LITTLE BIMBO and DIGA DIGA DOO.  You could hear the angels stomping.

More to come . . . . but I have already made a mental space for Thanksgiving 2012.