This new feature in TST will bring longtime friends and jazz musicians Jeff Barnhart and Hal Smith together for the first time in print. They have enjoyed a long association in various onstage incarnations and have had an ongoing dialogue about the evolution of jazz, its times and its practitioners over the years. They are thrilled to bring some of these discussions to light in this new monthly column. In it, Hal and Jeff will cover a kaleidoscopic array of jazz topics, from in-depth explorations of pioneering individuals and styles to the larger ebbs and flows of classic jazz throughout the ages, up to the present and (hoped-for) future.
“Ain’t’cha Got Music?” was composed in 1932 by James P. Johnson, for the musical Harlem Hotcha. The best known recording of the song was made by Henry “Red” Allen, Coleman Hawkins and their Orchestra in 1933. Johnson did not record his own composition until 1947.
Jeff Barnhart: Hal, as you recall, we omitted one recording in our discussion of the New Orleans Owls (TST, March-April 2023) to work out a
Jeff Barnhart: Hal, onto Part 2 of our exploration of the New Orleans Owls, a hot band that recorded some terrific sides over five sessions
Jeff Barnhart: Hal, this month we’re listening to and discussing the music of a really hot, and polished, band from New Orleans. The New Orleans Owls
Jeff Barnhart: Welcome back, hot music enthusiasts! This month, we offer the sequel to our exploration of trombonist Edward “Kid” Ory. On July 14th, 1926,
Jeff Barnhart: Hal, we’re beginning 2023 with a look at one of the most influential, colorful and exciting musicians in Jazz history; trombonist Edward “Kid”
Jeff Barnhart: We return this month to conclude our exploration of the remaining sides by the New Orleans-based Halfway House Orchestra, recorded between October 1927
Jeff Barnhart: Hal, this month we’re examining the output of the remarkably polished Halfway House Orchestra, a white dance band that had a residency at
Jeff Barnhart: Hal, after our in-depth exploration of a single tune, it’s time to broaden our scope to the music of the immortal Joe “King”
The 1930s Jeff Barnhart: Hal, last month we explored the tune “Copenhagen” from the first recording by Bix in 1924 to versions essayed through 1929.
Jeff Barnhart: Hal, we’ve wanted to return to an in-depth exploration of a single tune, and this one is the Mt. Everest of the classic
Jeff Barnhart: Hal, last month I mentioned we’d continue with an exploration of the seminal early jazz classic, “Copenhagen.” Let’s postpone that for a month
Jeff Barnhart: This month, we conclude our exploration of the Firehouse Five Story, with plans to revisit the band and examine their many themed albums
JB: For this installment, we turn to the wild and wonderful world of the Firehouse Five Plus Two. I am happy to welcome Hal Smith
Jeff Barnhart: My erstwhile collaborator, Hal Smith, needs a while to erst on other projects this time around and requested I invite a guest. I’ve
Jeff Barnhart: Hal, we’re taking a month break from our exploration of Moten to concentrate on the music of the band we compared to early
JB: When one thinks of large hot jazz outfits predating the swing era that would bring—to name a few—Goodman, the Dorseys and Miller to prominence,
Jeff Barnhart: Hal, after our brief, but wonderful, foray into the musical world of little-known trumpet man Benny Strickler, let’s talk about the Post-War version
Hal Smith: One of the greatest musicians of the New Orleans Revival was a trumpet man from Arkansas named Benny Strickler. During his too-brief career
JB: Hal, when someone studies the traditional jazz “revival” of the 1940s-1950s (if anyone actually does anymore!!!), two names emerge as towering figures. While there
Jeff Barnhart: This column is a special one for me! Several years ago, Hal introduced me to the music of Frank Melrose (it’s truly a
JB: Hal, over the past several columns, we’ve explored obscure musical heroes, dissected seminal early jazz pieces, and celebrated iconic ensembles. Let’s take a break
JB: So many fantastic musicians of the jazz era who made their living as sidemen never received enough limelight to be widely remembered by modern
In the previous issue of The Syncopated Times, we explored the similarities and (copious) differences between recordings of “Panama” made during the 1920s and 1930s.
Hal Smith: Jeff, when you think about the traditional jazz “warhorses”—like “At The Jazz Band Ball,” “That’s A Plenty” or “Fidgety Feet”—traditional jazz musicians usually
