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: 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
Hal Smith: When we finished our last article for The Syncopated Times, Jeff kindly offered to let me choose the subject for our next collaboration.
Jeff Barnhart: Hal, we left off our discussion in Part One with a brief analysis of the Original Dixieland Jazz Band and their way of
Jeff Barnhart: Hal, this month’s column marks a thematic departure for us, but it is a subject about which I’ve given considerable thought over the
After several phone calls and e-mails were exchanged, Jeff and I decided to postpone the discussion on “Panama.” While we mulled over a variety of
Jeff Barnhart: Well, Hal, I am excited to delve into Euday Bowman’s “12th Street Rag” with you! Before we start chewing over the myriad interpretations
Hal Smith: Jeff, since I suggested Johnny Dodds as the subject for our second column in The Syncopated Times, I would like to select the
Jeff Barnhart is an in-demand solo performer, sideman, bandleader and festival musical director with a well-deserved, international fan base. Besides sharing a bandstand with this
