I wrote this email the afternoon after Jazz with Ramona.
My only regret is that I don’t have any sound files or video to flaunt this band’s mad skills.
I had to write to you immediately to tell you about the band we used last night at the Jazz with Ramona weekend: Andrew Dickeson’s Blue Rhythm Band.
I’ve been looking for small to medium sized band that just plays good, solid swing. I’ve been working with Andrew for a while on putting together the right line up, charts, and set structure, he’s done a gig for me with this band before, and played in lots of other bands for, but last night…
I was just amazed.
It was like someone shoved Basie’s band into a four piece. Andrew is gifted drummer and jazz historian (he teaches jazz at the Conservatorium here in Sydney), but more importantly, he really understands what lindy hoppers are looking for in a band. And he has spectacular taste. He not only played great arrangements, be combined the songs inside the set the way a the best DJ would. I was amazed. I just couldn’t believe how good it was. And the musicians play by ear, with some strong leadership and collaboration on who solos when. Andrew invited Mona to tap with him, and it was integrated so well into the band, it was like she was just another musician. It was riveting.
They play classic solid swing. Four on the floor and no cheating – perfect for lindy hopping. Song-wise, they played the things we want. King Porter Stomp. Swinging the blues (the ~150bpm version). Moten Swing. Doodlin’. Jumpin at the Woodside. Jeep is Jumpin’, Flying Home. And they knew how to work the tempos to suit what the dancers could handle, but also to adjust the energy in the room. Playing together, they’d call things like “King Porter’s Stomp, but brighten it up and put some energy in it,” or “Jeep, but go in heavy”. I can’t believe a 4 piece can play a song like Jumpin’ at the Woodside and make it feel like a big band.
Anrdrew’s also very good to work with.
His email: firstname.lastname@example.org
His phone number: +61 401 354 897
I cannot recommend this band enough. I have him booked for all three nights of the Little Big Weekend in May, putting together a 4piece, a slightly larger band, and then a 3 piece barrelhouse band. I have absolute confidence in his ability to give each band a different flavour, and to deliver top shelf swinging jazz to my brief.
More importantly, Lennart declared this band very nice and actually went in a jam of his own free will in October. They are that good.
I was approached by Glenn Crytzer a couple of weeks months ago, saying “I’d love to have you do a piece on our new record. Please let me know if that’s something you’d be interested in. Here’s a digital copy of the album for you.”
And there was a digital copy of the album Uptown Jump by Glenn Crytzer’s Savoy Seven.
My review in brief:
Buy this album because it’s good, and it’s only $15. Buy it because you want to tell the band you support what they’re doing and you want them to keep doing it. You want dancers to hear this music and then demand organisers have them play their events. We need this stuff. I know I’d hire them in a heartbeat.
the sound quality is not ok for DJing, unless you are a rockstar DJ at a professionally run event, or just plain lucky enough to have a great local DJing sound set up. If you’re listening at home for pleasure, then fuck all that shit about sound quality and just buy it and LISTEN to it.
My review in extreme length:
As you probably know, this latest Crytzer project was funded by a kickstarter, and I have no idea whether I supported it or not. I’m usually quite happy to buy an album after it’s come out. More importantly, I will almost definitely buy an album if it’s on sale at a band gig. Which is the problem with Crytzer’s bands: they’re only playing in America (and maybe Canada?), which is far away, and not on my ‘to-travel’ list any time soon (soz america). I am all about Korea, as you know. So I will have to enjoy this band in recorded form.
This is important, because Crytzer is a dancer (or was – I dunno if he has time to dance these days, what with all the touring and recovering) and plays all the big American dance events. This is a dancer’s band, playing dance music for dancers. I’ve spoken about one particular gig in detail before. His first release, by Crytzer’s Blue Rhythm Band, Chasin’ the Blues, was popular with dancers, the band’s name an obvious nod to DJ and dancing nerds. But it was the second album Harlem Mad by Glenn Crytzer and His Syncopators that was wildly popular, DJed by people all over the place. Including me. I still hear people DJing ‘Fortunate Love’ with Meschiya Lake on vocals.
I think this 2011 recording, combined with the popular live shows, and the presence of the massively popular Meschiya Lake, really was the perfect storm, dropping at just the right time. Lake and all things NOLA were supercrazy popular (and some of us had begun to wail about the lack of big band action at events and in DJ sets), and squishing this charismatic performer into the line up was genius. The music itself managed to combine the rough edges and ‘real’ sound of NOLA with the larger band format and more complex arrangements of a bigger band.
After that, there was Skinne Minne by Glenn Crytzer and his Syncopators in 2011. This album used what many dancers would describe as an ‘authentic’ recording sound. Simply put, it sounds like an olden days recording. And I will be very blunt here: it was unDJable. This is a terrible shame, because it was recorded live at Lindy Fest, and the songs are just great. It feels exciting and fun. There are a couple of musical rough spots, but who cares – it FEELS LIKE LINDY HOP! But I have only DJed from it perhaps once or twice, ever. Because I tend to DJ in shitty halls with shitty sound gear, and if I’m going to take a risk on a ‘poor quality’ recording, I’ll go with Ellington or Basie or Hamp.
In fact, my experience with this album was so disappointing, I didn’t even buy the next album, Focus Pocus by the Savoy Seven, and featuring all original compositions. Listening to it right now, I feel like a total fool. This has a more conventionally ‘modern’ recording sound, but definitely still feels ‘old’. In fact, I’m buying it now. And you should too, because it’s only $7. Crazy.
It’s worth mentioning the christmas album A Little Love this Christmas, because lindy DJs are often looking for christmas themed music, and Glenn has gone and made some that’s actually good. Buy this too.
Ok, so what does all this have to do with the new album? I think it’s important, because Crytzer is now a well-known name and band in the lindy hop scene, particularly on the more competitive big American event circuit. DJs and dancers aren’t as likely to cut him some slack now. The ‘authentic’ earlier swing sound is a bit more common, and we are pickier. We are less likely to tolerate poor quality recordings.
This is, of course, the first thing I noticed about the new album Uptown Jump. It uses an ‘old style’ recording technology. And I did groan. No matter how great the songs are, they’re going to be up against all those old masters again. It isn’t fair, it’s uncool, it’s even ungrateful to think like that. But this is the bottom line for a swing DJ: it has to sound good on a sound system in a crowded or empty room. And every modern band is competing with a mythic ‘golden age’ of swing.
Listening to it over the following couple of weeks and talking about it with my DJing friends, the general consensus was: great album, unworkable sound ‘quality’. It’s very unfair, because this is an album of original compositions that are actually quite good. These days when I hear a band introduce an ‘original’, I cringe a little. There’s some really bad shit out there. But the actual songs on this are pretty bloody good. They are properly in keeping with musical history (for the most part), they swing, they make great dancing. I just can’t hear them properly! ARGH!
As a friend said, I wish I could have a copy of ‘clean’ master. I’d DJ the shit out of that.
Even the album itself – the song order – is perfect for dancers. Good range of tempos, good range of styles and feels.
The musicians are all great too:
Mike Davis, tpt
Evan Arntzen, cl/ts
Dan Levinson, ss/as/ts
Jesse Gelber, pno
Glenn Crytzer, g/vcl/ldr
Andrew Hall, sb
Kevin Dorn, d
It’s a 7 piece – not too big, not too little – and there are musical moments that make me squee. Everything is here, but I can’t hear it!
Of course, I do have severely fucked up hearing from all these years DJing and dancing. And I am a picky DJ. Who has to play on some of the worst sound gear and in some of the worst rooms ever. I’m no pampered ILHC DJ, that’s for sure :D .
But I’m also a DJ who collects and plays a lot of modern bands, so I’ve heard a lot of different modern recording set ups. Some have sucked big time (there was one Tuba Skinny album that was pretty darn bad. But when I listen to something like the latest Tuba Skinny album Pyramid Strut, with a lovely, lovely warm studio sound – each instrument right THERE in the room – and that really nice, energetic street jazz musician camaraderie… I get sad about this Crytzer recording.
But let’s talk about authenticity. That is the point of Glenn’s approach to the production process. Dude had a VISION, and we need to engage with that. Glenn responded to a fairly lively discussion about the new album on facebook with this great post Low-fi.
I like that he begins with the term ‘lo-fi’. Because fidelity is, of course, the idea of ‘trueness’ or faithfulness to truth, honesty, exactness of a copy, realness. This is what we are all about with recreation in lindy hop: we are looking for ‘realness’. Authenticity. We value ‘realness’ in so many ways in the lindy hop scene, from historically accurate choreography to bringing ‘real’ feels in a dance competition (the argument about improvisation vs choreography following Lindy Focus is an example of this). The key tension seems to be between recreating music/dance/art in minute detail and accuracy, and tempering that with recreating the intentions of the original artists. So we may recreate the lindy hop routine in Hellzapoppin’ to pinpoint accuracy, but miss the point that these guys valued making shit up – invention and improvisation
I have written about recreationism in the lindy hop scene approximately one million times, most recently about DJing in Herrang, land of recreationist obsession. There are good things about being an obsessive recreationist, and there are bad things. And there are interesting things that are worth talking about.
So let’s accept the premise of Glenn’s project: this is recreationism. Let’s engage with the album on those terms, lets talk about those interesting things.
One of the things I like about this album is that it’s a smaller band. I am a massive fan of Ellington’s small groups, the Goodman/Hamp small groups, John Kirby’s groups… and so on. I really like the way a small group – in the swing era, peopled by musicians who also played in big bands – allowed a band to explore more complex, more ‘modern’ arrangements and vibes. A lot of the guys in these groups went on to do bop and modern music. And each band allowed each musician a unique style and real role in the band.
Listening to Crytzer’s band, it definitely sounds like a swing era small group. Sometimes to the point of… um… homage? Take the song ‘Road to Tallahassee’. It sounds very similar to the Ellington small group recording of ‘Ain’t the Gravy Good’ (credited to Cootie Williams and his Rugcutters). Cootie’s an interesting example, because he had such a distinct sound, and Ellington’s band played arrangements that were developed just for Cootie, with parts that showcased his style.
This seems the point of this recording by the Savoy Seven, though. To do homage to these groups. And that’s what they do. There’s nothing wrong with that – we dig it! But there are moments on this album, though, where I feel they don’t give enough love and attention to developing their own sound.
Let’s have a look at something Glenn says in that tumblr post about the recording process for this album:
The modern “standard” way to record an album these days is to put mics very close to every instrument to isolate their sound. In fact sometimes the instruments are even put into separate rooms with the musicians listening to each other through headphones to create total isolation. Using this technique everyone doesn’t even have to play at the same time!
This creates the sound we’re all used to in the 21st century – the sound of rock and pop music. It’s very bright, the instruments each sound very clearly like themselves and are isolated from each other, the sound can push the speakers really hard because the signal is super intense.
There were also some technologies that were available but were not used – by the 1940s the technology existed to put a mic on every instrument in the studio – but they chose to still use just a couple of mics – to let the sounds blend and then to record that. To me, that’s a cue that the natural blending and balancing of sounds was really important to band leaders. (link)
I like this point. I really like this idea of the importance of recording musicians who are all playing together in one room. It gets closer to capturing that sense of group is so central to jazz music, to improvised music!
I’m not sure this album as a whole is quite there. I don’t think the actual relationships between the instruments in each song are quite right. There’s something about the to-and-fro of musicians in Goodman’s small group that is unique. Their ways of taking turns, replying to each other, and interacting, reflect the dynamics and personality of the group. Goodman is the boss, but you hear him say “Ok, bring your shit. Let’s ignore all this segregation shit. You are GOOD, I am GOOD, let’s make the best fucking music ever.” And they all step up. You hear their personalities in their style and way of interacting to each other.
In Crytzer’s band, I hear people ‘taking turns’, having their say, rather than having a living conversation. A living conversation can involve interruption, call-and-response and collaborative meaning making. It doesn’t have to be this mannered, overly polite formal turn taking.
Do we have to sacrifice the clarity of sound to get that feeling of togetherness? Of course not. Nor do we have to push for that super-bright, ‘harsh’ sound that Glenn finds a bit much (and which I also find a bit much). The Tuba Skinny Pyramid Strut album is a good example of a modern recording that has real depth and warmth, but still manages sharp lightness when it needs to.
Does a modern recording have to have that particular recorded sound to be authentic? Here let’s look at a band that is almost ridiculously hardcore in their attention to historical detail. The Hot Jazz Alliance, recording their forthcoming album:
Milenberg Joys – The Hot Jazz Alliance The ‘Hot Jazz Alliance’ recording their debut album at ‘HiHat Studios’, April 2014. Michael McQuaid – clarinet, Jason Downes – alto sax, Andy Schumm – cornet, Josh Duffee – drums, John Scurry – banjo, Leigh Barker – string bass.
Sounds old, but isn’t. Different style of jazz to Glenn’s album, but I think my point is clear: it’s a pleasure to hear old music with that clarity of sound brought by modern technology. But we’ll wait and see what their recording is like.
Let me just finish off with a bit of attention to the songs themselves. Do they carry that same commitment to ‘old’ – recreationism? Is Glenn’s band pulling off this grand project?
I’m going to start with the song ‘Smokin’ that Weed’.
Songs about vipers, chasing the gong, and plain old garden variety tea are a dime a dozen in the jazz world. They don’t call them jazz cigarettes for nothing. But this one… hm. The lyrics are just too obvious, and it leaves the song feeling kind of juvenile. Sure, there were some dumb, obvious songs written in ye olden days about drugs. And sex. And food. But many of the songs about dope from the swing era (particularly for mass release) could be very clever, hiding their drug references in innuendo, metaphor and word play. Part of the pleasure of these songs is getting away with something naughty. so ‘Smokin’ that Weed’ could have been a bit…cleverer? Subtler?
I also find the lyrics of ‘Smokin’ that Weed’ and their delivery a bit too… intense. Which conflicts with the vibe of ‘floatin’ in the sky’. The accenting and pacing of the first lines is uncomfortable, and the emphasis on “suckin'” is too harsh and sharp:
Do you like the vipe
suckin’ on that pipe,
it gets ya feeling tight
aw smokin’ that weed
This song has real potential. The first, brassy notes remind me a lot of Herb Morand and the Harlem Hamfats, who of course recorded ‘If You’se a Viper’, a song that’s been very popular with American dancers over the years. This is a clever touchstone for Crytzer’s band. The Hamfats have jazzcred, being relatively obscure and yet still featuring a few very good musicians (like Buster Bailey, Rosetta Howard, Alberta Smith, etc). But the vocals in ‘Smokin’ that Weed’ aren’t right. If you listen to someone like Rosetta Howard singing ‘If Youse a Viper’, her pronounciation is mellow and relaxed, just as it should be if you’re chilling with a spliff.
But in ‘Smokin’ that Weed’, they’re rushing to get the joke out, and it feels a bit forced and eager to me. Not quite cool enough. More to the point, I’m not sure what the joke is, exactly. They’re basically just giggling about singing a song about smoking weed.
I guess what I’m saying is that this song lacks subtlety and nuance. Which I think is my quibble with a lot of the songs on this album, and with the general recreationist vibe. It’s not subtle. I need a little more nuance to really dig this. And it needs a little more sophistication to pass as properly ‘authentic’ in both tone and content.
What about the other songs? My favourite song is ‘Glenn’s Idea‘, because I like the piano in there. It reminds me very of all those nice small swing era groups. I’d certainly play ‘Savoy Special‘ for dancers, because it comes in strong and exciting and continues that way. ‘Missouri Loves Company‘ is definitely my sort of song, and I love it. To be honest, I’m a girl for instrumentals. Unless you’re the Hot Club of Cowtown and you have a voice like Whit Smith‘s on hand.
So, in sum, as I said up there at the beginning, buy this. It’s worth it. The musicians are good, it’s great dance music, it’s all good. But I’m disappointed by the sound ‘quality’, and I can’t DJ it at my regular gigs. :(
Here are four bands playing Milenberg Joys. They all have quite different styles.
This is an interesting set of bands because they include some of the bigger name/most popular musicians of the moment, but each version has a distinct style, even though the bands have some members in common.
The ‘Hot Jazz Alliance’ recording their debut album at ‘HiHat Studios’, April 2014. Michael McQuaid – clarinet, Jason Downes – alto sax, Andy Schumm – cornet, Josh Duffee – drums, John Scurry – banjo, Leigh Barker – string bass.
This is the most recent, and the band is pretty darn good. All the musicians have great projects on the boil, and they’re all Australian (Melbournian!), bar Josh Duffee and Andy Schumm. I have mad feels for John Scurry’s playing. I like this version a lot, but there are times when the band feels a bit square. You can see the drummer Josh Duffee has moments where he’s kind of pushing them to let go a little. This feel is probably because they’re playing in a studio, on camera, as they’re all usually a little rowdier in person. Except Michael McQuaid, who is very rarely rowdy :D This is very definitely ‘recreationist’ and has a very solidly ‘authentic’ feel.
The Hot Jazz Alliance have a new album coming out soon. Keep an eye out – it’ll be great.
Dan Levinson’s New Millennium All Stars (http://www.danlevinson.com) play at the 2012 Hot Steamed Jazz Festival in Essex CT (http://www.hotsteamedjazz.com/)
Dan Levinson – Reeds
Andy Schumm – Cornet
Matt Musselman – Trombone
Gordon Webster – Piano
Molly Ryan – Guitar and Vocals
Rob Adkins – Bass
Kevin Dorn – Drums
I think of this as a very New York combination of musicians. Again, great stuff. But also a bit more into the ‘swing era’. At first the drumming annoyed me with all the hihat action, but then I understood. Webster is of course a dancers’ favourite (though I feel he might just have passed his apex), and this solidly swinging style makes for great lindy hop. I can’t really understand how that crowd of greybeards can just sit there, utterly still while all this is going on onstage.
Clint Baker (cornet), Marc Caparone (cornet), Howard Miyata (trombone and euphonium), Mike Baird (clarinet), Dawn Lambeth (piano), Katie Cavera (banjo), Paul Mehling (bass), and Jeff Hamilton (drums)
This is a much rowdier performance, partly because of the instrumentation, but also because this is midway through a megajazzfan party, so they’re all warmed up. I think of this grouping as more San Francisco inspired, probably because of Clint Baker’s presence. Baker has been doing a lot of work with SF dancers over the past few years, including mentoring musician-dancers. When I listen to this, I think of that ‘new orleans revival’ sound that was big in the 50s. It has an old school vibe, but it swings pretty seriously. There’s different stuff happening in the drums again. As busy as the previous performance, and nowhere near as sparse as the first clip.
Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Mark Lopeman, reeds; Rob Adkins, string bass.
This performance is different again. The Ear is a New York restaurant bar that squeezes a very good band into a tiny space, and the crowd may or may not listen to them at all. But you can be sure they bring the business. This performance has a chilled vibe again, but they bring the shit, and they’re really digging on each other.
Note the lack of drummer, but presence of bowed bass! Nerdgasmic!
While we’re talking strings, it’s intresting to see which bands use banjos v guitars. The first is definitely a banjo outfit (though John Scurry is a JOY on guitar as well), the second uses guitar, the third banjo, and the final guitar. The replacement of banjo with guitar is usually a cue to dancers that we’re going to hear a more swinging, later sound. Same goes for replacing tuba with bass – the bass replaced tubas in a lot of bands. All four instruments have different aesthetics, styles, and modes of playing which affect the ‘feel’ for dancers. If there’s banjo + tuba, you’re thinking more uppydowny, and if there’s guitar + bass, you get a little deeper in the pocket, more lateral momentum and a ‘swingier’ feel that makes you get into your swingout like Frankie.
You might have noticed that two of these videos were filmed by Jazz Lives. Michael Steinman is a generous, thoughtful jazz fan and author, who’s written about his approach to filming jazz in his post Expanding the community. I recommend his site. Just nail your wallet shut before you start browsing.
The first three paragraphs are poorly written rambling messes using every cliche ever (and inaccurate when it comes to Lafarge’s music and influences). The descriptions of the band’s clothing are strangely devoid of awareness of what’s chic atm. This is the most interesting part of this band – they’re perfectly positioned to cash in on the popularity of this ‘retro’ fashion vibe while still being ‘true’ to their own style.
Nor is this band hardcore recreationist, as the review suggests. They play and perform in a decidedly modern way, with modern twists on traditional folk songs and hits. And Pokey’s new album is perhaps even less ‘recreationist’ than the earlier ones. Their vibe reminds me a lot of what St Louis friends tell me about their city: a sort of creative tension between history and change.
This was a professional, well-choreographed show with a really well planned set of music that works the energy room very powerfully. The musicians are all well-seasoned, most of them involved in other popular and professional bands and acts. The merch, website, and PR for Pokey Lafarge is really impressive, they play ‘proper’ venues, and this band isn’t by any means a ‘small’ or hokey old time act any more (if it ever was).
This is what makes the Pokey Lafarge band so much fun to see live: they combine old school influences with an exciting contemporary edge. Feels old, but isn’t.
[addendum:] I’d add, that while CW Stoneking (who the author compares this act to) is actually dead serious about what he does (and a super odd person), Pokey and his band do this show with a wink and a nod. They understand that this _is_ a performance, and that playing these old timey roles requires a bit of self-reflexivity. [/]
My previous post led to this discussion on the facey, which really caught my interest. I’ve quoted other people without their permission, so do let me know if you want it deleted, you peeps.
Hetty Kate (Tues 7 April 4pm)
That’s quite a rant, however a few nice pics, a nice video, a schtick, a costume and a cute name doesn’t mean you’re actually any good. Though it does make a bookers job easier.
Sam (Tues 7 April 4.16pm)
It’s a mega rant. Having those things does make a booker’s job easier (and a dance event organiser’s – which is a slightly different role), which I guess is my point. I guess with all these things you can fake it til you make it, right?
But I actually feel quite sad when I come across fantastic musicians (especially the older ones) who don’t have any online presence . Makes it really hard for me to discover them, or chase them down after a gig. Maybe I should start a side business – ‘Dodgy Sam’s Dodgy Websites for Jazzniks.’
Hetty Kate (Tues 7 april 4.17pm)
haha, well the older musicians came up in a different environment..
Sam (Tues 7 April 4.24pm)
Totes. But they gotta get on it, if they want to develop a new (or continuing) audience. It’s a shame, because the older doods have mad skills that many younger musicians could really benefit from working with. The dance scene is particularly respectful of elders, and we really dig seeing younger and older people working together.
Hetty Kate (Tues 7 April 4:24pm)
Bruce (Tues 7 April 4:46pm)
You can have the best product in the world, but if its not marketed properly no one will know about it!
Sam (Tues 7 April 5:09pm)
And I guess that’s the difference between the very olden jazz days and now. In those days bands travelled endlessly, and were gigging endlessly, so the word of mouth talk was strong. And there were magazines and general news stories (because this was mainstream music then) talking up bands and musicians all the time.
But today there are fewer opportunities for jazz bands and musicians, fewer gigs, and small audiences… though part of me thinks that olden days’ musicians had it a bit easier because they were pitching to the mainstream (ie a bigger market), and modern day musicians need to work a bit harder to convince people to try something new (old). But there is the internet, which makes reaching niche audiences easier.
…although playing and recording music professional has always been about networks. I’m reminded of a line I read in an article about Black Swan Records. Though they were explicitly designed to record and sell to black artists and audiences, they actually sold in the Asia Pacific region, because segregation happened in our part of the world too.
So getting your product to the right market – getting your music to the right ears – is still a matter of having a savvy promoter with the right contacts and a clever understanding of who might dig what you do. John Hammond, anyone?
I am (obviously) interested in the way specific communities of interest use digital media. That was my doctoral research. Now I’m thinking about jazz musicians and how they use (or don’t use) digital media. I guess I’m especially fascinated by the tension between ‘pre-digital’ media and cultural practices operating in a ‘digital’ world.
This piece is really a companion piece to Make it Easy for me to hire your band, where I talk about the sorts of things I need bands to have to make my job easier. Basically, they need an online presence and a name. Or, in other words, they need to make it possible for me to a) find them, b) hire them, and c) promote them. And I buy a lot of music, because I’m also a DJ.
I don’t mind (I quite like) hunting down bands and musicians, but I have only limited time and resources.
In this post, I talk explicitly about how I find new music by musicians today.
And of course I had a one million word reply.
You know, my responses are always long because I type quickly, and because I spent 10 years in higher education learning to write and think quickly. It’s just a job skill. It helps if you can read quickly too :D
Anyway, on track.
This was my reply. I’ve used the facey links here, because they’re a useful way of demonstrating how it’s useful for musicians to have a facebook presence, so they can be tagged and see who’s talking about them and where.
Mostly my brain. :D
I use Bandcamp for new bands, particularly American and European bands
As a bandcamp member, I then follow a bunch of people who are dancers or DJs, and their purchases pop up in my feed, which then gives me ideas about what to buy. I can also check out the ‘supporters’ of a band I like, and buy what they buy.
If you add Adrian Cunningham (who played on Gordon’s Live In Philadelphia album) you can follow him to Crytzer’s band with Musselman, Naomi Uyama’s Handsome Devils and the Baby Soda band.
…and then you can follow each of those bands to other good bands. That will give you a good overview of New York musicians. Mona’s Hot Four, for example, will lead you to Tamar Korn, which leads you to the Cangelosi Cards and Gaucho. Gaucho will help you find San Francisco musicians. Cassidy and the Orleans Kids will help you find New Orleans musicians.
I do the same with Australian musicians, but I’m finding the older generation (ie these guys’ parents or grandparents) are rubbish at using digital media, so it’s really hard to find their recordings. Unless you stalk the Sydney Jazz Club gigs, and look at their CD stall.
I was hiring a guy called Paul Furniss for a gig recently, and gave him a googling to see what I could find out about him. This led me to some great youtube videos, which helped me find some good bands and other musicians. Then I had to email the guys who ran their website and order a CD by mail. Laborious, but worth it.