Tag Archives: YouTube

A BEETLE-SIGHTING!

Piano

Yes, you read that right.  But it’s not a termite swarm or something to fear.  No, rather it is two minutes of the legendary stride pianist Stephen “The Beetle” Henderson, playing James P. Johnson’s KEEP OFF THE GRASS on a radio broadcast circa 1940, introduced by Art Hodes.  I assume this is from the period when Hodes had airtime on the New York City municipal station — what we now know as WNYC:

I assume that Henderson got his mildly unflattering name because of wearing thick-lensed eyeglasses.  But there’s nothing to satirize in his playing.  Yes, a few modern masters I know could and would play this more “cleanly,” but Henderson’s version has the earthy gaiety of a dance, and his bass patterns are beautifully varied.  Thanks to the generous BlueBlackJazz for sharing this masterpiece in miniature with us.  I’ve subscribed to that YouTube channel and I encourage you to do so as well.

I have found no solid biographical information about the Beetle, except that he was praised by Ellington, and that (this may be apocryphal) he was notoriously relaxed about showing up for gigs.  This version of KEEP OFF THE GRASS, however, comes from a record called HARLEM STRIDE MASTERS on the Euphonic label, and the record also includes the Beetle’s version of CAROLINA SHOUT.  I’d love to hear that someday also.

It is possible that all might be revealed to us.

May your happiness increase!

 

 

 

to https://www.youtube.com/channel/UCQQFZcDOcAjIk4kwNujo3gw

EXPANDING THE COMMUNITY, or WELCOME, KELLEY!

I think of the small group of people who are so devoted to jazz that they become video archivists as a dear community.  None of this “standing on the shoulders of giants” for me, because my balance is not so good when I am standing in that way.  Merely envisioning this gives me vertigo.

No, my image is a small circle of people holding hands, close enough to look in each others’ eyes and grin, proud of their own work and happy that others are doing it as well.  Here are a few friends I know personally, who have done so much to make the music accessible to people who can’t be everywhere.

My first role model was — and continues to be — the diligent Rae Ann Hopkins Berry, the reigning monarch of California Hot.  Since March 2008, she’s kept up a steady flow of videos on her YouTube channel.  I was inspired by her and continue to be so, even though I am no longer in California.  The people I first thought as the dear heroes of music I saw on her videos.

I started videoing on YouTube a bit later, and my first videos were of David Ostwald’s Gully Low Jazz Band / Louis Armstrong Centennial Band / Louis Armstrong Eternity Band in October 2008.  And I upload while you are sleeping, often while I, too, am sleeping.

New friends and videographers came along.  Eric Devine, the master of multiple cameras, who’s known as CineDevine, creates very polished videos at concerts, parties, and festivals from New England to Florida.  He started in 2008, too, although we continue to have an older brother – younger brother relationship when we talk shop.

A few years later, the Michigander flautist and friend of jazz Laura Beth Wyman set up shop in the Ann Arbor, Michigan area, and has provided JAZZ LIVES with so many gorgeous videos of Professor James Dapogny and friends that she was asked to be the Chief of the Michigan Bureau, a task she accepted with great grace.

The newest member of the hand-holding video community is very welcome: her name is Kelley Rand and although her first videos have only shown up on Facebook about a week ago, her work is astonishing.  For one thing, she is getting splendid results with her iPhone (which means that, unlike me, she is not carrying an eighteen-pound knapsack of cameras) and she has made about a half-dozen astonishing videos in New Orleans.  Several feature the ever-astonishing Dick Hyman and the melodic wonder Tim Laughlin in duet: WHO’S SORRY NOW, ONE HOUR, A NIGHTINGALE SANG IN BERKELEY SQUARE, and Hyman solos on JITTERBUG WALTZ and S’WONDERFUL.  She’s also captured Tim and the brilliant young pianist Kris Tokarski in performance at the Bombay Club: IF DREAMS COME TRUE, LOVE NEST, OH DADDY BLUES, RIVERBOAT SHUFFLE.

Since I am in New Orleans once a year, so far, at most, I have appointed her the Chief of the Louisiana Bureau.  She will only find this out when she reads this far, and I hope she agrees.  The health benefits are not delineated in any contract: they simply mean that more people will get to know her, thank her, and appreciate her diligence and generosities.

The nicest part of all this is that we all respect each other, make subtle courteous agreements not to step on each others’ turf, get in each others’ shots, and so on. We are united in the name of MUSIC, and the deep notion that as many people should get to enjoy it as possible.  And we capture the evanescent and make it tangible, even eternal.

And — as an afterthought — I know there are many people videoing at clubs and concerts around the world, and I mean them no offense by not including them here.  But these four people are dear to me, and I am proud to know them.

May your happiness increase!

HE HAS RHYTHM. AND OTHERS DO AS WELL.

When Louis Armstrong states I GOT RHYTHM, who among us would doubt it?  Here, he uses the Gershwin song to introduce the members of his very energized (and brotherly) Chicago band:

complete with comic ending.

And for those looking for the perfect t-shirt design, may I propose this?  You won’t start many conversations on the street, but those motivated to speak to you because of this shirt will certainly be people with whom you have deep matters in common:

LOUIS I Got Rhythm

Thanks, once again, to eBay and YouTube for making multi-media presentations possible — honoring Louis is always rhythmically satisfying.

May your happiness increase!

HOW FAR IS IT TO NÎMES?

I need Google Maps, or maybe Mapquest, to figure out the distance. Because on the evidence of this and an earlier video clip, that French city is the place to be for Hot!

Here’s what the descriptive summary says beneath the latest YouTube video by washboardist Jeff Guyot and noble pals:

AU PUB O’FLAHERTY’S A NÎMES LE 8 JANVIER 2014 AVEC

Michel BASTIDE(ct) DANIEL HUCK (sax & vocal)Jean-François BONNEL (sax tenor,tp,cl)Bernard ANTHERIEU (Cl)Philippe GUIGNIER (Bj) Patrice AVIET(B) Jeff GUYOT (Wb)

Vidéo: Armand YEPES

Which I translate (!) as Armand Yepes, my French brother, went to O’Flaherty’s Pub on January 8, 2014, and recorded a band with some allegiance to the Hot Antic Jazz Band and the Anachronic Jazz Band romping through AVALON: Michel Bastide, cornet; Daniel Huck, saxophone and ecstatic vocal; Jean-Francois Bonnel, my hero, on tenor saxophone; Bernard Antherieu, clarinet; Philippe Guignier, banjo; Partrice Aviet, string bass; Jeff Guyot, washboard.  Not only are the solos delightful, but the riffs (listen, for instance, behind Antherieu) and the general ebullience . . . priceless.  And my Facebook pals were having a serious debate the other day about their favorite male vocalist — may I ask that the name of DANIEL HUCK be inscribed in anyone’s list in capital letters?

How do you say WOW! in French?

May your happiness increase!

IT HAPPENS IN MONTEREY (March 7-9, 2014)

These two worthies found love at the Jazz Bash by the Bay:

I am not proposing that everyone who goes to this year’s festival (March 7-9) will come away with the Love of His / Her Life — maybe you are all already spoken for.

But the music will be wonderful. And I write this as someone who’s been there since 2010.

For me, the Jazz Bash by the Bay was a transformative experience.

I had not been to California since having been conceived there . . . . insert your own witticism here. And when I had the notion in March 2010 of going to see and hear the people I so admired in their video appearances, I expected to have a good time in a new jazz setting, perhaps make a few new friends.

It was a life-altering experience: I came back to New York and said to the Beloved, “I’ve never had such a good time in my life. Do you think we could spend the summer in California?”

Fast forward to 2014, where I am writing this from Novato, with serious plans to make the Golden State my retirement home.

So if the Jazz Bash by the Bay can make one couple find love; if it can make a native New Yorker say, “I’ll move to California,” I think its powers are . . . powerful.  But enough personal narratives.  What’s in store for you?

As always, a wide variety of well-played music.

You can visit the site to find out if Your Favorite Band is going to be there, but here are some kinds of music that will be played: blazing stride piano in solo and duo, boogie-woogie, sweet singing in so many forms, rocking small-band swing, New Orleans ensemble polyphony, trad, Dixieland, blues, zydeco, gypsy swing, classic songs from the Great American Songbook, Jazz Age hot dance music, ragtime piano, stomp, swing, music to dance to, San Francisco jazz, washboard rhythm, music to hold hands to.

And the stars?  Well . . . Ray Skjelbred, High Sierra, Carl Sonny Leyland, Bob Draga, Rebecca Kilgore Trio, Dan Barrett, Ivory and Gold, Ellis Island Boys, Marc Caparone, Le Jazz Hot, Jeff Hamilton, Dawn Lambeth, Virginia Tichenor, Marty Eggers, Yve Evans, Katie Cavera, Paul Mehling, Clint Baker, Stephanie Trick, Paolo Alderighi, Frederick Hodges, Jim Buchmann, Eddie Erickson, Jason Wanner, John Cocuzzi, Howard Miyata, Big Mama Sue, Ed Metz, the Au Brothers, Bob Schulz, Pieter Meijers, Brady McKay, Tom Rigney, Royal Society Jazz Orchestra . . . and more, and more.

Important links.

The BAND LINEUP.

The all-important too-Much-Of-A-Good-Thing-Is-Wonderful SCHEDULE, which calls for careful planning (“If I go to see X, then I have to miss part of Y, but it puts me in a good place to be right up front for Z.  Anyone have a Tylenol?”) — with four or five sessions going on at the same time.

And most important — with a Sidney Catlett drum roll or a Vic Berton tympani flourish — the GET TICKETS NOW page.

I try to hold down the didactic tendencies that four decades of standing in front of sleepy (good-natured) young men and women have solidified, but I hope readers will permit me this basic logic exercise.  Festivals where people buy tickets last forever.  Festivals where people don’t vanish.  And then there is a wailing and a gnashing of teeth — very hard on the neighbors and harder on the dental work.  I think of the California festivals that have moved into The Great Memory even in my short acquaintanceship with this state.

(Or, as William Carlos Williams — or was it Philip Larkin? — wrote: “Want it to stay?  Do not delay.”)

So I hope to see throngs of friends and even strangers at the Jazz Bash by the Bay.  Anything that makes live jazz in profusion go on is a good thing.

P.S.  Need more evidence?  Go to YouTube and type in “Dixieland Monterey,” or “Jazz Bash by the Bay,” or the name of your favorite artist.  I, Rae Ann Berry, and Tom Warner, among others, have created many videos — enough to while away the hours in the most energized ways.  Proof!

May your happiness increase!

WHY?

The Beloved is very proud of me and what I do, something I treasure.  And in this spirit, she will often introduce me to someone she’s just met who has expressed an interest in music, and say of me, “This is the Sweetie: he has a jazz blog.”

I smile at the person after this identifying statement and wait patiently. Sometimes the reaction is, “Oh, you like Miles?” and I can then explain that my heroes are Louis, Lester, and their living friends. But more often than not the response is polite silence. And a fixed look often comes over the other person’s face — somewhere between puzzled, being struck dumb, having nothing to say, wishing the subject had never been brought up, feeling ignorant, feeling threatened.

I think it has something to do with the ominous, oppressive word

JAZZ

which for a variety of reasons seems to leave people with nothing to say in return.

I am willing and often able to converse on other subjects: the deliciousness of the food, the delights of Northern California, the other person’s interests, where the good places to eat are, how lovely or horrid the weather has been . . . the usual run of non-threatening conversation.

But simply introduce JAZZ into the conversation and the room falls silent.  Is it that people don’t like it, don’t understand it, and are thus reluctant to talk about something so esoteric, so outre?  Really, I have no intention of holding forth about, say, an alternate take of an unissued Jabbo Smith 78 I have found after decades of searching. I am not going to lasso the New Person and force him or her to listen to me play THAT’S MY HOME (badly) on the cornet, or compel him or her to watch my latest YouTube clip.

But someday I am going to try an experiment, and ask the Beloved to introduce me as a) someone who collects rare books; b) builds harpsichords; c) flies model airplanes; d) has a Lionel train setup in the basement; e) is learning the tango; f) rides an adult-size tricycle everywhere; g) just came back from a trip to Wisconsin . . . and see if the petrified stare comes out in the same way.  I wonder what it is about JAZZ that produces such silence?

Note: I have not written this post as an inducement for the cognoscenti to tell me how we are live in a cultural wasteland; how Americans are so stupid; how no one knows anything. Ranting about a current offense to taste is, to me, tedious.  I don’t encourage angry contemptuous bashing here, and hope I have not been guilty of it myself.

But it is — a la Yul Brynner — a puzzlement.

May your happiness increase! 

A UNIVERSAL LANGUAGE: THE SWINGING SWEDES IN CONCERT (KUSTBANDET, NOVEMBER 22, 2013)

Thanks to Claes Jansson, we have these performances by the hot, expert Swedish band KUSTBANDET — a band with fifty years of experience! — recorded in concert on November 22, 2013.

The members are Goran Eriksson, Jon “Jonte” Högman, and Klas Toresson, reeds; Jens “Jesse” Lindgren, trombone / vocal; Bent Persson, Fredrik Olsson, trumpet; Peter Lind, trumpet / vocal; Claes Göran Högman, piano; Hans Gustavsson, guitar / banjo; Bo Juhlin, tuba, string bass; Christer “Cacka” Ekhé, drums / vocal.

Onstage with OVER IN THE GLORYLAND into BIRMINGHAM BREAKDOWN:

More early Ellington with THE MOOCHE:

TISHOMINGO BLUES:

For Luis Russell, Red Allen, and the New Orleans boys in New York, SUGAR HILL FUNCTION:

Then, some Louis-inspired hot music:

AFTER YOU’VE GONE:

YOU’RE DRIVING ME CRAZY (thanks, Peter!):

YOU RASCAL YOU (with mock-threats from Peter and Jesse, who mean no one any harm):

and swing for saxophones with LADY BE GOOD:

What a band!  (How do you say, “Romp it, boys!” in Swedish?  No matter.)

May your happiness increase!