Tag Archives: Tom Wilson

SMILES OF A SUMMER NIGHT: CAFE BORRONE, MENLO PARK: CLINT BAKER, RILEY BAKER, JEFF HAMILTON, BILL REINHART, TOM WILSON, CRYSTAL HOLLOWAY (June 7, 2019)

Cafe Borrone from the outside.

In my brief and sometimes intermittent California sojourn (2011-14) in Marin County, one of my pleasures was in going to Cafe Borrone in Menlo Park to hear and video Clint Baker’s Cafe Borrone All Stars.  It was like a regular transfusion of joy and hope, even though the drive was over two hours from where I was living.  I knew not only that I would hear vital music but that I would meet friends — musicians, fellow listeners and dancers, waitstaff, a combination that means the world to me.  The Cafe was another home.  I was welcome there, and I was able to meet people I admire: Clint Baker, Leon Oakley, Bill Reinhart, Bill Carter, Jim Klippert, Tom Wilson, J Hansen, Robert Young, Jason Vandeford, and some whose names I am forgetting, alas.

Today I present a few videos taken on June 7, 2019, by Rae Ann Berry, not because of nostalgia, but because I am captivated by the band’s easy swing.  Borroneans will note that this is a slightly streamlined band, but that’s fine: what you hear is honest unaffected music, no frills, no gimmicks, no group vocals, no tight-and-bright polo shirts.  The generous-spirited creators are Riley Baker, trombone; his father Clint, trombone, trumpet, vocal; Bill Reinhart, banjo; Jeff Hamilton, piano; Tom Wilson, string bass; Crystal Holloway, washboard.  The whole band is in some mystically satisfying way engaged in heartfelt relaxed conversation, a great thing to behold.  I’ve left several tracks for you to find on Rae Ann’s YouTube channel, the California traditional jazz rabbit-hole to end all such diversions.

About the band here.  Yes, I could quip, “Two Bakers!  No Waiting!” but I need to be more serious than that.  Clint has long been one of my heroes, not only for what he plays, but for his religious devotion to the Music.  He understands its Holiness, as I do, but he can then pick up any of several instruments and make that Holiness manifest for all of us.  He is always striving towards the great goals, with Hot Lips Page as one of our shared patron saints.  I met Riley, his son, at Borrone, when Riley was starting to be the superb musician he is now — first on drums, then tuba.  And Riley has blossomed into a wondrous young man and player: I am especially taken with his nicely greasy trombone playing, which you will hear here.  And the emotional telepathy between father and son is both gratifying on a musical level and touching on a human(e) one.  A third horn in the front line would be an intrusion.  Such lovely on-the-spot counterpoint; such delightful lead-and-second voice playing, which isn’t an easy thing to do.  You might think that a trombone-clarinet front line would be automatically New Orleans old-school, but Clint and Riley understand the sweet play of swinging voices: people whose love comes right out to the back of the room without the need to get louder.

Riley will be playing the role of Edward Ory in Hal Smith’s On the Levee Jazz Band at San Diego this Thanksgiving, and I look forward to that: I’ve already videoed him with Dave Stuckey’s Hot House Gang: check those appearances out for yourself.

Jeff Hamilton is such a joy — not only one of the handful of drummers who lifts any band, but also an enlivening pianist who swings without getting in the way, constructs generous accompaniments and memorable melodies.  He has other musical talents that aren’t on display here, but he never lets me down.  Bill Reinhart knows what he’s doing, and that is no idle phrase.  He understands what a rhythm section should do and, more crucially, what it shouldn’t.  And his solos on banjo or guitar make lovely sense.  Tom Wilson’s rich tone, great choice of notes, and innate swing are always cheering.  And Crystal Holloway (new to me) tames that treacherous laundry implement and adds a great deal of sweet subtle rhythm.  Taking nothing away from Clint and Riley, one could listen to any one of these performances a second or third time exclusively for the four rhythm players and go away happier and edified.

I NEVER KNEW, with nods to Benny Carter and Jimmie Noone:

AS LONG AS I LIVE, not too fast:

BLUES FOR DR. JOHN, who recently moved to another neighborhood.  And — just between us — themeless medium-tempo blues are such a pleasure and so rarely essayed:

I always had trouble with math in school, but FOUR OR FIVE TIMES is just what I like:

TRUE, very wistful and sweet:

THE SWEETHEART OF SIGMA CHI, a song I last heard performed by (no fooling) Ben Webster with strings [a 1961 record called THE WARM MOODS].  Sounded good, too:

Asking the musical question WHAT IS THIS THING CALLED LOVE?

IT HAD TO BE YOU.  Yes, it did:

Bless these folks, this place, and bless Rae Ann for being there with her camera and her friend Roz (glimpsed in little bits to the right).

May your happiness increase!

FRIDAY NIGHT SWING SESSION AT CAFE BORRONE: CLINT BAKER, LEON OAKLEY, ROBERT YOUNG, BILL REINHART, SAM ROCHA, TOM WILSON, RILEY BAKER (June 13, 2013)

We didn’t dream it.  It happened last Friday night at Cafe Borrone (1010 El Camino Real, Menlo Park, California) — exalted swing time-travels thanks to Leon Oakley, cornet; Robert Young, alto and soprano saxophone; Clint Baker, guitar; Tom Wilson, string bass; Bill Reinhart, banjo; Riley Baker, drums — a 1937 Fifty-Second Street group transplanted south and west.  The evidence, please.

A good tune to jam on, and one Charlie Christian knew well, ROSE ROOM:

SEPTEMBER IN THE RAIN was the first song played at Eddie Condon’s Third Street club, and the one Ed Polcer chose to close the midtown incarnation, forty years later:

Delighting in the sound of that floating rhythm, a nod to Count Basie and SWINGIN’ THE BLUES:

And a sweet homage to Mister Strong, the wellspring, with THAT’S MY HOME:

After a brief break for nourishment and friendly conversation, the band reassembled itself — with Clint shifting over to trombone and Sam Rocha joining on guitar.

Louis was still on everyone’s mind with BYE AND BYE:

Robert Young sang his own regional lyrics to AVALON:

Blues from that exalted meeting of Django and the Ellingtonians, SOLID OLD MAN:

More Louis (and why not?) with BIG BUTTER AND EGG MAN:

Memories of Wild Bill Davison, who loved to play BLUE AGAIN:

Care for some Hot Five?  Not only ONCE IN A WHILE:

ON THE SUNNY SIDE OF THE STREET, with an unexpected reference to someone who is rich in music:

Magic. (To say nothing of the sweet-natured staff at Cafe Borrone, the good food and drinks — a wonderful experience and place.)

May your happiness increase!

“A SINGABLE HAPPY FEELING”: CLINT BAKER’S CAFE BORRONE ALL STARS (May 16, 2014)

The Friday-night Hot Spot of Rhythm isn’t Boston’s Savoy Cafe on Mass. Avenue, nor is it the Savoy Ballroom uptown: it’s Cafe Borrone, 1010 El Camino Real, Menlo Park, California, on Friday nights from 7:30 to 10 PM, when Clint Baker and the Cafe Borrone All Stars arrange themselves on plain wooden chairs and swing out.

On May 16, 2014, the All Stars were Clint, trombone and vocal; Robert Young, soprano and alto sax and vocal; Leon Oakley, cornet; Nirav Sanghani, guitar; Bill Reinhart, banjo and National guitar; Tom Wilson, string bass; Steve Apple, drums.

Jazz detectives will hear evocations of Dicky Wells, the Rhythmakers, Fred Astaire, Bessie Smith, Clarence Williams, Ruby Braff, Wild Bill Davison, Louis Armstrong, Django Reinhardt, Red Allen, Rex Stewart, the Apex Club Orchestra, and much more. But this music is — blessedly — taking place in 2014, created on the spot by musicians who revere the old records enough to refrain from copying them. The result is simply uplifting.

BIG BUTTER AND EGG MAN:

EVERYBODY LOVES MY BABY:

I’M NOT ROUGH:

JELLY ROLL:

RED SAILS IN THE SUNSET:

A SHINE ON YOUR SHOES:

YOU’RE LUCKY TO ME:

MANDY, MAKE UP YOUR MIND:

SISTER KATE:

MONTMARTRE:

MARGIE:

SEE SEE RIDER:

SWEET SUE:

CRAZY RHYTHM:

I assure you that my videos can’t capture all the joy of hearing this band at close range, live, creating as they go. I waited a long time before making the southerly trek to Cafe Borrone. Don’t let this happen to you. . .

Thanks to Jeffrey Frey and his very pleasant people for making Cafe Borrone a nice place to visit, to hear music, to eat and drink and socialize.

May your happiness increase!

HOT MECCA IN MENLO PARK: CLINT BAKER and the CAFE BORRONE ALL STARS (May 2, 2014)

They did it again — that is, Clint Baker and his New Orleans Jazz Band turned a Menlo Park, California restaurant into a New Orleans dance hall with fervent heartfelt jazz. For this occasion (May 2, 2014), the NOJB was Clint, trumpet and vocal; Bill Carter, clarinet; Jim Klippert, trombone, vocal; Riley Baker, drums; Bill Reinhart, banjo; Jason Vandeford, guitar; Tom Wilson, string bass.

I so admire the band’s tempos, their dynamics, their sweet hot energies.  They are, as Clint said, “a delightfully analog experience.”

SOME OF THESE DAYS:

BLACK SNAKE BLUES:

GYPSY LOVE SONG:

TRUE (a/k/a THOUGH YOU DON’T LOVE ME, a/k/a YOU DON’T LOVE ME):

MOBILE STOMP (based on THE WALTZ YOU SAVED FOR ME):

BILL BAILEY:

MUSKRAT RAMBLE:

Bill Carter preaches his own hot sermon on the spiritual WHAT A FRIEND WE HAVE IN JESUS:

STREETS OF THE CITY (a/k/a RED RIVER VALLEY):

CARELESS LOVE:

PANAMA:

I’LL SEE YOU IN MY DREAMS:

Clint and groups of friends will be at Cafe Borrone (1010 Camino Real, Menlo Park, California) on May 30, June 6, 13, 20 — with more Friday night soirees to come.  They play two hour-long sets, beginning at 7:30 and ending at 10.  The food is very good and the staff is gracious. Call 650.327.0830 for details.  And say hello to me, to Rae Ann, John Plut, Donna Courtenay, Pat Patterson, Roz, Ramona, and some energized dancers when you’re there, too.

Incidentally, I come to this Hot Mecca late (although not too late!) because Clint and friends have been playing at Cafe Borrone for a mere twenty-four years. If you want more, Rae Ann Berry has been video-recording them for a good long time (see her YT collection) and I’ve posted two other evenings at Cafe Borrone on this site . . . but best of all is to see them Hot.

May your happiness increase!

FEELING WEARY? THIS SHOULD HELP.

WEARY BLUES, by Clint Baker’s New Orleans Jazz Band, recorded on Wednesday, April 2, 2014, at the Wednesday Night Hop in Mountain View, California.  Clint, trumpet; Jim Klippert, trombone; Bill Carter, clarinet; J Hansen, drums; Sam Rocha, guitar; Bill Reinhart, banjo; Tom Wilson, string bass:

There!  I feel invigorated already.

May your happiness increase!

A VALENTINE STOMP, or THE NINE-TWENTY SPECIAL (Part Two): CLINT BAKER’S NEW ORLEANS SWING BAND with NICOLE FRYDMAN (Feb. 13, 2014)

Here is the second part of a delightful musical evening (and here, for anyone who missed it, is the first).

Love was in the air at the Nine-Twenty Special — at the Russian Center on Sutter Street in San Francisco the night before Valentine’s Day 2014 when Clint Baker and his New Orleans Swing Band (with the wryly independent singer Nicole Frydman) played a swing dance in honor of Cupid.  I don’t know actually how many couples went home smitten; how many new alliances were forged across the crowded room.  (No one came up to the balcony where I was shooting videos to announce their new happiness.)

I do mean love of melody, of melodic improvisations, of great songs, or bouncing buoyancy.  From my second-story perch, I was able to capture the whole band and that sweet rumble you hear is the sound of the dancers moving, their shoes making graceful arcs, their whispered conversations and giggles.

The band was our man Clint, trumpet, clarinet, vocal; Robert Young, saxophone, vocal . . . and a lovely rhythm section of Jeff Hamilton, piano, gloriously; Tom Wilson, string bass; Katie Cavera, guitar; J Hansen, drums; the aforementioned Nicole Frydman, vocal.

Here are the highlights of the second set.  Love it?  Love it!

MY BLUE HEAVEN:

DIGA DIGA DOO / KRAZY KAPERS:

A meteorological pair by Nicole. First, STORMY WEATHER:

Then everything clears, with BLUE SKIES:

THE GIRLS GO CRAZY:

BUDDY BOLDEN’S BLUES:

HONEYSUCKLE ROSE:

WEARY BLUES:

SAN FRANCISCO BAY BLUES:

“Had a good time every time I went out.”  True indeed, if Clint Baker has a hand in the music. If you missed this Valentine Stomp, Clint will be leading a band for the Wednesday Night Hop in Mountain View, California, on April 2 — from 9:30 to midnight. Hop on!

May your happiness increase!

A VALENTINE STOMP, or THE NINE-TWENTY SPECIAL (Part One): CLINT BAKER’S NEW ORLEANS SWING BAND with NICOLE FRYDMAN (Feb. 13, 2014)

Love was in the air at the Nine-Twenty Special — at the Russian Center on Sutter Street in San Francisco the night before Valentine’s Day 2014 when Clint Baker and his New Orleans Swing Band (with the wryly independent singer Nicole Frydman) played a swing dance in honor of Cupid.

When I write “love,” I don’t know actually how many couples went home smitten; how many new alliances were forged across the crowded room.  (No one kept tabs, and no one came up to the balcony where I was shooting videos to announce their new happiness.  Why, I don’t know.)

But I do mean love of melody, of melodic improvisations, of great songs, or bouncing buoyancy.  You can hear and see for yourself. I am very fond of these videos not only for the music but for the ambiance: from my second-story perch, I was able to capture the whole band and that sweet rumble you hear is the sound of the dancers moving, their shoes making graceful arcs, their whispered conversations and giggles.

The band was our man Clint, trumpet, clarinet, vocal; Robert Young, saxophone, vocal . . . and a lovely rhythm section of Jeff Hamilton, piano, gloriously; Tom Wilson, string bass; Katie Cavera, guitar; J Hansen, drums.

Here are the highlights of the first set.  Love it?  Love it!

CRAZY RHYTHM, with a vocal explication by Robert:

ONE HOUR, with endearments by Clint:

VALENTINE’S DAY JUMP:

EVERYBODY LOVES MY BABY, as described by Nicole, and an enthusiastic Mr. Baker:

THEM THERE EYES, with charms delineated by Ms. Frydman:

A double-header . . .

I DON’T WANT TO SET THE WORLD ON FIRE (Clint at his most Swing Romantic) with a quick segue into BOURBON STREET PARADE:

SWING, SISTER, SWING, with Nicole giving us the embodiment:

AFTER YOU’VE GONE:

“Had a good time every time I went out.”  True indeed, if Clint Baker has a hand in the music.

May your happiness increase!

THE SWING WE HEARD LAST SUMMER (Part Two): CLINT BAKER’S NEW ORLEANS SWING BAND at EPIC SWING (July 13, 2013)

Remembering the past is a good thing, especially when the evidence is so rewarding and swings so well.  Here are some more performances from the evening of merriment and hot music performed by Clint Baker and his New Orleans Swing Band at Epic Swing, San Mateo, California, July 13, 2013.  (The first assortment can be viewed here.)

The band sounds wonderful and I am especially enamored of the Hopperesque lighting afforded everyone onstage.

The participants?  Clint, trumpet, reeds, vocal; Robert Young, reeds, vocal; Ray Skjelbred, piano; Jason Vanderford, guitar / banjo; Tom Wilson, string bass; Jeff Hamilton, drums.

IF I COULD BE WITH YOU ONE HOUR TONIGHT:

THE GIRLS GO CRAZY:

HONEYSUCKLE ROSE:

ABSOLUTELY, POSITIVELY (sung affirmatively by Clint):

IN THE SHADE OF THE OLD APPLE TREE (vocal Jason):

THE SECOND LINE:

SHAKE THAT THING:

LADY BE GOOD:

More to come! Clint and friends will be playing the Wednesday Night Hop in Mountain View, on January 8, 2014 — a very good way to welcome the New Year in.  Details here.  (And on the 15th, Emily Asher’s Garden Party will take the stand!)

May your happiness increase!

THE SWING WE HEARD LAST SUMMER (Part One): CLINT BAKER’S NEW ORLEANS SWING BAND at EPIC SWING (July 13, 2013)

Remembering the past is a good thing, especially when the evidence is so rewarding and swings so well.  Here are some performances from the evening of merriment and hot music performed by Clint Baker and his New Orleans Swing Band at Epic Swing, San Mateo, California, July 13, 2013.

The band sounds wonderful and I am especially enamored of the Hopperesque lighting afforded everyone onstage.

The participants?  Clint, trumpet, reeds, vocal; Robert Young, reeds, vocal; Ray Skjelbred, piano; Jason Vanderford, guitar / banjo; Tom Wilson, string bass; Jeff Hamilton, drums.

CRAZY RHYTHM (with an astonishing extended Skjelbred interlude):

COQUETTE:

PUT ON YOUR OLD GREY BONNET:

SARATOGA SWING:

SOME OF THESE DAYS:

EPIC SWING:

ROYAL GARDEN BLUES:

SWEET SUE, JUST YOU (in a Noone-Poston-Hines mood):

To get the full effect, set the YouTube “toothed wheel” or “gear” to 1080, watch in full screen with sufficient volume, gather the family, roll up the rug . . . .

More to come! And I don’t mean simply another set of videos, but Clint and friends will be playing the Wednesday Night Hop in Mountain View, on January 8, 2014 — a very good way to welcome the New Year in.  Details here.  (And on the 15th, Emily Asher’s Garden Party will take the stand!)

May your happiness increase!

HOP TO IT! (A SWING DANCE PARTY with CLINT BAKER’S NEW ORLEANS JAZZ BAND) August 1, 2012)

I know it’s short notice for anyone who’s not reasonably close to San Francisco . . . but Wednesday night, August 1, 2012, will reverberate with jazz fireworks in Mountain View, California, because Clint Baker’s New Orleans Jazz Band will be playing a swing dance party at the Wednesday Night Hop — from 9:30 to midnight.

The participants?  Clint on trumpet; Jim Klippert, trombone; Bill Carter, clarinet; Jason Vanderford, guitar; Bill Reinhart, banjo; Tom Wilson, string bass; Steve Apple, drums.

Here’s where you can find out all the essentials: the street address, the admission cost, directions . . . but find your dance shoes and your best Lindy Hop getup and get down there!

Why?

Here’s a selection from Clint’s appearance at a Wednesday Night Hop in August 2011.  Different personnel for the most part — but Clint’s bands are seismic phenomena: Clint, Jim Klippert, Jason Vanderford will be returning — the rest of last year’s crew were Robert Banics, clarinet; Jeff Hamilton, piano; Sam Rocha, bass and tuba; J. Hansen, drums.

Come over and say hello at this WNH!

May your happiness increase.

FIFTY-SECOND STREET WEST (Cafe Borrone, Oct. 15, 2010)

Because of the wonderful photographs that Charles Peterson and others took, some of my readers will be able to visualize the bandstand at Jimmy Ryan’s sixty-five years ago — crowded with hot musicians jamming on, say, BUGLE CALL RAG, with every luminary in New York City eagerly improvising at the peak of their powers.

Now imagine that scene with additions.  A wondrous singer — let’s say Connee Boswell, Lee Wiley, or Mildred Bailey is joining in for a few numbers. 

And, if your imagination can hold this, Django Reinhardt and some members of his group are also there, off to the side, having a fine time.  Bob Wills is coming through the door, too. 

Did this happen?  If it did — in New York City, circa 1945 — it hasn’t been documented.  But something very much like it happened last Friday, October 15, 2010, in Cafe Borrone, which sits happily in Menlo Park, California.

Cafe Borrone has — through the generosity and prescience of its owner, Roy Borrone — having Clint Baker’s All-Stars as its Friday night jazz band.  For twenty years of Fridays, mind you.  And the 15th was a twentieth-anniversary party.

And “SFRaeAnn,” who is Rae Ann Berry on her driver’s license, was there to record this occasion.  Clint’s regulars were in attendance, but so were some instrumentally-minded friends.  As was the eloquently hot Gypsy-tinged small group Gaucho, and New York’s own wonder, Tamar Korn.  The musicians (collectively) are Clint Baker, playing everything expertly; Robert Young, saxophone; Leon Oakley, cornet; Katie Cavera, banjo, guitar; Tom Wilson, trombone; Jim Klippert, trombone; Dave Ricketts, guitar; Rob Reich, accordion; Mike Groh, guitar; Ari Munkres, bass, J. Hansen, drums, Riley Baker, drums.

A word about GAUCHO — a group I’ve seen in San Francisco (and I’ve also listened happily to their recordings): many “Gypsy swing” groups that loosely resemble this one specialize in superhero-speedy readings of the Reinhart-Grappelly repertoire.  In such cases, I agree with my friend Anthony Barnett when he proposes a moratorium on such endeavors.  In my case, all I want is not to be pummelled with notes.  But GAUCHO is superbly different.  The overall affect is superficially of music you’d hear on the porch or in the living room, but that feeling is undercut by the instant awareness that no amateur musicians ever, ever sounded this good.  Its two guitarists play and swap roles with grace and a stylish casualness.  Rob Reich makes the accordion an instrument I would happily listen to, as he spins out wandering lines (I was traumatized by an accordion as a child.)  And Ari Munkeres brings together Pops Foster and Paul Chambers very adeptly.  The overall feeling brings together Teddy Bunn and Western swing and a whole host of refreshing improvisations on various subtle, profound models.   

Here’s part of a delightful EXACTLY LIKE YOU, where Tamar and Leon converse:

And a full-fledged YOU’RE DRIVING ME CRAZY — where Tamar’s eyes and facial expressions reveal a great comic actress, singing the twisty lyrics at a rapid clip.  (Not only that: she sings the verse twice!)  This performance becomes a series of witty conversations and overlapping monologues, most fetchingly: 

How about SOME OF THESE DAYS, with an incredible outchorus where instruments and Tamar (the Mills Sister) blend so exuberantly:

Here’s a  delicate, unaffected I’M CONFESSIN’ — a performance where Ari’s arco bass, Leon’s Ziggy Elman – Harry James emoting, Robert’s sweet alto, and more theoretically disparate elements come together to create something terribly moving:

The simplistic philosophy of WHEN YOU’RE SMILING remains true — complain too much and even the dog walks out of the room — but what catches my eye in the first minute of this performance is that an audience member has asked Tamar to dance (unless I am missing the essential subtext).  At what other site do band members dance with the audience?  I ask you!  And don’t miss the vocal duet between Tamar and Jim Klippert, a man who is having just too much fun to keep it to himself:

Tamar sat out PLEASE DON’T TALK ABOUT ME WHEN I’M GONE (perhaps the jitterbugging had worn her out for the moment?) and Clint took the vocal, with solos from everyone: 

And the evening ended with a romp nothing short of ecstatic on BILL BAILEY (or, as Joe Wilder calls it, THE RETURN OF WILLIAM BAILEY), which should have you grinning for days:

I’m thrilled that this music was created and that the apparently tireless Rae Ann Berry saved it for us and for posterity.  Bless Roy Borrone, all the musicians, and our own devoted videographer, too.

P.S.  And I have it from good authority that GAUCHO’s new CD has Miss Korn and Mister Oakley in attendance — with some songs that Tamar has written lyrics for.  I check the mailbox every day . . . and will let you know when it arrives!

LEON OAKLEY SMILES!

“RaeAnn Berry” is, I believe, what it says on her driver’s license — but for fans of Hot Music, she’s “SFRaeAnn,” and we owe her many thanks for the jazz she posts with unflagging regularity on YouTube.  She takes her camera down to Cafe Borrone in Menlo Park, California, to record a few performance by Clint Baker’s All-Stars, and every week I watch the clips with pleasure.  Two tiny mysteries always are a part of the experience: Clint is truly multi-instrumental and multi-talented, so I always wonder, “What instrument(s) will he be playing this week?”  And most sessions feature the wonderful work of trumpeter Leon Oakley.  But Leon always looks serious, pensive, even when he’s just played a beautiful impromptu creation.  I was beginning to wonder about his worldview, although no unhappy man could play so well.

Thus, it is with elation and relief that I post two clips from the All-Stars’ performances of October 23, 2009.  And, rather like the advertisements for early sound pictures that told us GARBO TALKS! — I report with pleasure that 1) Leon is playing splendidly, beyond splendidly, and 2) he grins now and again through these two performances.  You had me worried, my man!

The first performance is EXACTLY LIKE YOU — which Leon starts off with a melodic improvisation instead of a straight melody line — quite fetching — and things get hotter from then on!

Then, a rarely-played Twenties favorite, paying tribute to that kid from New Orleans, PAPA DIP.  Here, I delight in Clint’s directing of musical traffic during the breaks.  Good job!

The other All-Stars are having a good time, as always: Clint on clarinet; Katie Cavera, banjo and vocal; Robert Young, alto and tenor sax; Jim Klippert, trombone; Bill Reinhart, bass; Tom Wilson, guitar; J. Hansen, drums.  Visit Clint at: http://www.clintbakerjazz.com

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?