Tuesday, January 27, 2009

Live Swing, Jazz & Big Band Sound with a Small Combo

How many musicians does it take to play great jazz, swing and big band music?

As Jimmy Durante used to say, “everybody wants to get into the act.”

But that doesn’t make them good.

Experience, skill …and musical taste… mean a lot.

Our trios, quartets and bands play “the good stuff,” the vintage music of the jazz age, WWII big band, glorious Old Hollywood retro and deco, ballroom, standards and elegant jazz along with hard-driving R&B, Motown, vintage “doo-wop” oldies, grooving rock, funk and soul and classic R&B. There’s plenty of music from old Fred Astaire movies and the musical extravaganzas of the 1930’s, 1940’s and 1950’s along with Broadway show tunes, hip blues and country classics.

And we get rave reviews in the press for all of the above!

The score of “South Pacific” and The Rolling Stones’ “Satisfaction” in the same set? It’s child’s play for us.

Nobody is reading from a “fake book” or imitating Michael Buble imitating Frank Sinatra or Bobby Darin.

Just a few good people, an enormous repertoire…and a lot of talent.

We know what to play, and when to play it.

If you want “big,” we can give you big with the best of them.

It’s just not always necessary.

We enjoy the challenge of playing music not everyone else plays, and are unusually adept at performing the big band repertoire with a small group. It’s a trick I learned from Frank Sinatra.

Because he could hear every bad note a musician played from across the room or around the corner and had very high standards, Sinatra used only the very best musicans in Los Angeles, which really means the best musicians in the world. And the smaller the performance group was, the better the musicians had to be.

That’s what we do.

I’ve been collecting handknitted sweaters, velvet evening coats and unique musicians for years. I don’t need a lot of them, and the best will always do.

We’re lean, mean and mobile, and you can dance to everything we play.

Or not.

It’s fun to simply sit and listen to our repertoire, which is seemingly endless.

We take requests directly from the dance floor. We do it all the time, because we can.

At a recent upscale elegant anniversary party in Palm Springs, someone asked us to play “So Rare,” an obscure old chestnut from the swing era.

We knew it, and played it immediately. It’s a good thing we didn’t need to rely on a “fake book,” because that’s not a song that would be found in a book anywhere anymore.

And then we swung into Roy Orbison’s “Pretty Woman,” followed by “I Will Survive.”

We don’t like to stop for more than a second or two between songs, if that.

At another recent wedding in Temecula, we worked primarily from a list of both family’s favorite songs. They were great music lovers and knew exactly what they wanted: lots of partying and dancing.

As soon as we finished the first dance, father/daughter dance and mother/son dance – and the bride’s parents top request, “Get Here,” songs like “Shout” and James Brown’s “I Feel Good” launched a dance floor rush long before dinner service had ended.

Sometimes I feel like we’re putting on a rock concert!

Our members have played on vintage soul, funk, rock and disco albums with Gloria Gaynor, Ray Charles, Frank Sinatra, The Temptations, Little Anthony and the Imperials, Beck, Justin Timberlake, Paul McCartney and so many more.

We play, we sing.

And none of us are imitating Michael Buble imitating Frank Sinatra or Bobby Darin.

The esteemed jazz critic Don Heckman calls the stuff we play “irresistable music.”

It’s intelligent, sophisticated, charming and exciting music, familiar and well-loved and also from a very deep place in a time when live music was generally better than it is today. We enjoy keeping the tradition alive.

Most of all, it’s not about us. It’s tailored to fit the mood and the moment, then take the audience, guests, bride and groom, family and friends on a fabulous journey.

We call it “the good stuff.”

Our small combo virtuoso ensembles are living proof that having a bunch of superfluous musicians onstage doesn’t sound as good as a tight handful of the world’s best.

Sometimes, less really is more.

Monday, January 12, 2009

Notes from an American Jazz Swing & Wedding Band

…and the food on the road’s not bad….

From Palm Springs and San Diego to Phoenix, Tucson, Scottsdale, Dallas and Palm Beach, we enjoy entertaining people who appreciate good music.

We’re constantly expanding our horizons …and our song list!

Recent additions include:

Beyond The Blue Horizon
Dancing Queen
Fernando
I Walk The Line
Maybe I’m Amazed
One Fine Day
Only The Lonely
Pretty Woman
Shangri La
Take A Chance On Me
Thank You For The Music
Time In A Bottle
Why Don’t You Do Right
You’re The Best Thing That Ever Happened To Me

From ABBA to Jim Croce, Carol King, Roy Orbison, Johnny Cash, The Beatles and….Peggy Lee!

OK, so we’re not exactly normal. But we never promised to be.

The ABBA tunes were suggested by my husband, which is proof that as much as I think I can read minds, I probably can’t.

Esteemed jazz critic Don Heckman had this to say yesterday in The International Review Of Music:

Live: Judy Chamberlain and Bill Cunliffe
January 11, 2009
By Don Heckman
The International Review of Music

Judy Chamberlain is a singer who’s always a pleasure to hear. In part, because her astonishing repertoire makes every performance a fascinating journey through a century of song. But even more so because she brings such care, authenticity and musicality to everything she touches.

Her appearance at Spazio in Sherman Oaks Saturday night was further enhanced by the presence of a sterling back up ensemble – pianist Bill Cunliffe, bassist Tony Dumas and drummer Devin Kelly. Despite the fact that Chamberlain was, as always, utterly spontaneous about her choice of songs, the trio – guided by Cunliffe’s deep understanding of the subtleties of vocal accompaniment – found the right framework for every tune.

Which was a considerable accomplishment, since the program ranged in all directions: classics such as “Summertime,” “Lover” and “September Song” (done with its scene-setting verse); the very different jazz-oriented grooves of “Why Don’t You Do Right?” and “Night in Tunisia”; off-beat items such as Don McLean’s “And I Love You So” and Quincy Jones’ “Who Needs Forever?” Chamberlain’s interpretations combined an empathic respect for lyrics and story telling reminiscent of Mabel Mercer and Peggy Lee with her own conversational approach to phrasing and occasional twists of melodic paraphrase. She also made it clear, from the first number, that the evening’s framework – with Cunliffe present as a guest artist – would be a jazz setting. Solo spots were open for the instrumentalists in virtually every tune……

Sitting through two sets overflowing with irresistible songs…..it’s rooms such as these – with the vital presence of performers such as Chamberlain and Cunliffe – that are the in-the-trenches areas where jazz lives and thrives, even in today’s uncertain economy.

Thank you all, for the ideas and the inspiration.

Thank you for the music.