Tag Archives: Val Jansen

UP IN THE CLOUDS (Part One): The JONATHAN DOYLE SWINGTET at THE REDWOOD COAST MUSIC FESTIVAL: JONATHAN DOYLE, JACOB ZIMMERMAN, CHARLIE HALLORAN, KRIS TOKARSKI, JAMEY CUMMINS, STEVE PIKAL, HAL SMITH (May 11, 2019)

Jonathan Doyle, 2015

 

It’s lovely to have heroes, and the man in the photograph is one of mine.  The only problem with the photograph is that it’s a still picture, and he is rarely still, but the videos below will remedy that.

When I was fortunate enough to chat with clarinetist Frank Chace on the telephone (now more than twenty years ago), he remembered that he and Marty Grosz had listened, rapt, over and over, to Pee Wee Russell’s solo on SWEET SUE with the Muggsy Spanier Ragtimers on Commodore. Marty’s comment was, “Well, if that doesn’t scrape the clouds . . . !” which is as good a summation of what artistic bliss feels like.

Those words kept coming back to me all through my weekend immersion in joy at the Redwood Coast Music Festival: I listened, quite amazed, at the wonderful music I was privileged to hear.  I’m still in a state of blissful amazement: feelings shared by those around me.

One of the reasons for this unearthly happiness has to do with reedman / composer / arranger / imaginative-phenomenon Jonathan Doyle, a rare source of  renewable energy in our time. Here ‘s where you can find him on Facebook as well.  Spiritual electricities course through him without harming him or us, and they come out as the most beautiful surprising patterns of notes, tones, and rests.  He never coasts; he never parodies anyone or himself.

Jonathan was a stimulating presence all through the weekend: with Charlie Halloran’s Calypsonians, leading several sets of his own and with Jacob Zimmerman (one a Walter Donaldson tribute with Doyle on bass sax), as lead horn in Hal Smith’s Swing Central, with the extravagant Western Swing Party co-led by Hal and Dave Stuckey.  (He was also one-third of the double tribute to composer-players Gordon Au and Josh Collazo, but by that time I had collapsed as if I’d been made of damp cardboard.  I’ll do better next year, I hope.)

Here are four uplifting performances from the first set of Jonathan’s Swingtet, a glorious affair consisting of Doyle, Jacob Zimmerman, alto; Charlie Halloran, trombone; Kris Tokarski, piano; Steve Pikal, string bass; Jamey Cummins, guitar; Hal Smith, drums.

BLUE DRAG (a nod to 1934 Django):

CHICAGO (he’ll show you around!):

THE FED HOP (Jonathan’s irresistible original):

DICKIE’S DREAM (Basie 1939, anyone?  Because of sudden battery demise, I lost the first ensemble chorus and Charlie Halloran’s delicious solo, but what remains is very satisfying):

When you’re through admiring the solo work and the overall joyous bounce of these four performances, I urge you to listen again to Jonathan’s arrangements, their sweet surprises, their dynamics and voicings.  He’s not just a great player and composer: he’s a wonderful orchestral visionary who makes his dreams and ours come true in swing.

More to come from my hero JD and his friends.

May your happiness increase! 

“A PACKAGE OF SUNSHINE AND FLOWERS”: MARC CAPARONE PLAYS LOUIS ARMSTRONG at the REDWOOD COAST MUSIC FESTIVAL: MARC CAPARONE, CLINT BAKER, JACOB ZIMMERMAN, DAN WALTON, SAM ROCHA, JEFF HAMILTON (May 12, 2019)

My own periodic table of the essential chemical elements has a space for OP, or optimism, the substance that has carried me and others through darkness — the organism needs it in regular doses.  (Under my breath, I say, “Especially these days.”)

Next to it, of course, is the element LA, for Louis Armstrong, who conveyed more optimism than any other human being.

I grew up deeply in love with the music of Louis’ last quarter-century, with the most played jazz record in my tiny childhood collection the Decca sides with Gordon Jenkins; the second in line, TOWN HALL CONCERT PLUS, which I played until its grooves were a soft gray.  (My original copy disappeared in a period of marital acrimony, but I found another one for solace.)

 

Here is William P. Gottlieb’s famous photograph of that band, that place, and even hints of that fortunate 1947 audience:

But we are in 2019, where I can magically share a passionate new performance of a song very important to Louis — coming from the 1936 film in which he was billed alongside Bing Crosby, PENNIES FROM HEAVEN — created by Marc Caparone, cornet; Clint Baker, trombone; Jacob Zimmerman, clarinet; Dan Walton, keyboard (which he makes sound like a piano); Sam Rocha, string bass; Jeff Hamilton, drums. Uncredited dancers and irrelevant conversation free of charge.

All this goodness took place at the 2019 Redwood Coast Music Festival (thanks to Mark and Val Jansen) in Eureka, California, a musical weekend that made me extremely happy and fulfilled.  More about those joys as I share videos of this and other bands.

On the original performance at Town Hall in 1947, Louis was accompanied by “little Bobby Hackett” on cornet, playing magnificently.  Marc hints at both Louis and Bobby while sounding like himself.  When the group makes their CD, we will bring back George Avakian to do his magical multi-tracking, so that Marc can play cornet filigree to his own vocal.

By the way, if you are one of those lopsided souls who believe that Louis had little to give the world after 1929, I encourage you to read this book, slowly and attentively:

And there are two pieces of good news.  One is that there is more from this Louis tribute; the second is that Ricky Riccardi has completed the second volume of what may become a Louis-trilogy, HEART FULL OF RHYTHM, covering the period 1929-1947.

Blessings on all the musicians, Mark and Val Jansen, Ricky, and all the optimists we have the good fortune to encounter.

May your happiness increase!