Tag Archives: Tom Sharpsteen

“A POST-GRADUATE SEMINAR IN NEW ORLEANS CLARINET,” featuring RYAN CALLOWAY with CLINT BAKER’S NEW ORLEANS JAZZ BAND: RYAN CALLOWAY, CLINT BAKER, RILEY BAKER, JEFF HAMILTON, KATIE CAVERA, BILL REINHART, JESS KING, HAL SMITH (Jazz Bash by the Bay, Monterey, California, March 7, 2020)

“Don’t be afraid,” Clint says to some audience members, timidly straggling in to this session at the Jazz Bash by the Bay, and I would echo his words.  I know that “seminar,” to some, will mean a dry academic exercise . . . heaven forbid, a lecture. But that isn’t the case here.  Clint guides us through the subject, so I don’t have to write much, but this set is a joyous exploration into music that we take for granted, and players unjustly neglected in the rush to celebrate the newest and the most photogenic.  Take your seat: the fun’s about to begin.

This dapper young man spent eight years studying Albert-system clarinet under the tutelage of Professor Baker, and you’ll hear the delicious results.  (More musical than my doctoral orals.)  Clint plays trumpet here; Riley Baker, trombone; Hal Smith, drums; Jeff Hamilton, piano; Katie Cavera, string bass; Bill Reinhart, Jess King, banjo.

JUST A LITTLE WHILE TO STAY HERE, for Willie Humphrey:

PERDIDO STREET BLUES, for Johnny Dodds:

ORIENTAL MAN, for Dodds and Jimmy Blythe:

JUST TELEPHONE ME, for Tom Sharpsteen and the New Orleans revival players:

WOLVERINE BLUES, for Jelly Roll Morton and his clarinetists:

ST. LOUIS BLUES, for Larry Shields and the ODJB:

BURGUNDY STREET BLUES, for George Lewis:

HIGH SOCIETY, for Alphonse Picou and all the giants who play(ed) it:

I didn’t deceive you.  That was fun, and you’ve gotten some post-graduate music and education also.  Hail Ryan Calloway and his bandmates, and Professor Baker!

May your happiness increase!

PIPING HOT at CAFE BORRONE (June 10, 2011)

You might need to get a pot-holder from the kitchen before proceeding.  Perhaps you’d like to turn on the air conditioning?

Through the generosity of Rae Ann Berry and Clint Baker’s Cafe Borrone All-Stars, I am able to share with you two video performances that perfectly exemplify HOT JAZZ at its finest.  The first is a pretty, mournfully rocking “rhythm ballad,” TRUE:

The wizards on your screen are Clint Baker, clarinet; Leon Oakley, cornet; Jim Klippert, trombone; Jeff Magidson, guitar; Sam Rocha, bass; Bill Reinhart, banjo; and Isabelle Fontaine, washboard.

HOT, to remind you, isn’t fast or loud: it’s intense while all the time pretending with the greatest casualness that nothing difficult is being accomplished.  Here’s something that is both HOT and romping, a performance of WEARY BLUES that is anything but — with Riley Baker added on drums:

It is HOT in here — it isn’t just me.

ALISA’S PARTY: JEFF HAMILTON and CLINT BAKER (May 18, 2010)

Veteran radio broadcaster and jazz lover Alisa Clancy teaches a jazz course called JAZZ FROM THE HILL at San Mateo Community College that ends with a music party — as a reward for the students, perhaps, so they now know how much they know!  Alisa is the Operations Director at KCSM (91.1 FM) and host of “A Morning Cup Of Jazz,” four hours of well-chosen jazz every weekday morning to soothe the nerves of people caught in traffic. 

This year (as in the past) the tireless Rae Ann Berry brought her camera.  I was far away when the party was in full swing, but now we can see and hear the delightful duets between Jeff Hamilton and Clint Baker.  (There are still more on YouTube — visit “SFRaeAnn” to lose yourself in a day’s worth of hot jazz.)

Most people know Jeff Hamilton as a wonderfully swinging drummer (there are two J.H.’s who play the drums: this one’s my favorite) but he’s also a splendid pianist.  He has two CDs out under his own name where he’s featured, beautifully, on that instrument — combining classical training with a great down-home rock.  He can rhapsodize or dig into the deep blues of people like Tut Soper and Cassino Simpson. 

And my audience (and Rae Ann’s) knows Clint as a polymorphous jazz multi-tasker, which is to say he plays many instruments very very well.  Here he emphasizes his cornet playing (with a splendidly evocative assortment of mutes), sits in on the drums, and plays an unusual and rare clarinet as well.  (It’s an Albert system one with an upturned bell — I believe it once belonged to West Coast legend Tom Sharpsteen.)  Clint does it all with great expertise and the kind of nonchalance that makes it seem easy.  Which it isn’t.  I thought of Jim Goodwin; I thought of Sidney Catlett; of the great New Orleans clarinet tradition. 

Here’s a medium-tempo MEMORIES OF YOU (with the rarely-heard verse) as Clint plays quietly effective, simple drums alongside him (on the simplest drum set one could imagine):

The well-worn SUNNY SIDE OF THE STREET, played as if it hadn’t gotten its paint rubbed off over the years:

ISLE OF CAPRI, complete with verse and a tango interlude.  Why should Wingy Manone have had all the fun?  I’d call the rideout chorus here “hot Chicago jazz,” even though the session took place in San Mateo, California:

A soulful reading of MY IDEAL:

ROSETTA, energetically:

And (to close things off on the right note) a rendition of SQUEEZE ME which made me think of its origins as THE BOY IN THE BOAT, a naughty anatomical ditty.

What I recall of the lyrics is something like this: “Oh, the boy, the boy in the boat.  He don’t wear no hat or no coat.  He don’t have no house.  He don’t have no shoes.  He don’t care nothing ’bout those weary blues.”  Full text and subtext gratefully accepted, even though this is a family blog. 

Jeff’s idiosyncratic mixture of Hines, Sullivan, and Hamilton is truly wonderful:

Thanks, Alisa, for throwing this little bash — how very gracious of you!