Paul "Pazzo" Mehling
Paul Mehling, the leader of HCSF, Le Jazz Hot, and the Ivory Club Boys, has been dubbed the godfather of American gypsy jazz. He discovered the music of Django Reinhardt and the Quintet of the Hot Club of France in grammar school, and decades later the music that took root in his young soul finally bore fruit.
“I was born in Denver and grew up in what is now Silicon Valley, when it was all fruit trees,” Mehling recalls. “My father was a record collector. I grew up with the music of Benny Goodman, Tommy Dorsey, Glenn Miller and all the swing era bands. He’d come home and turn on the stereo and, at a year old, I’d sit in front of the speakers and soak up the music. To this day, I get a sense of déjà vu whenever I hear a song I heard back then. When I was older, I became a discipline problem because I wanted to stay up all night and listen to records. Being exposed to swing at an early age predisposed me to playing this kind of music.
“I had an older sister who turned me onto rock’n’roll. When I was six, we saw The Beatles on Ed Sullivan and it was like getting hit by lightening. I said, ‘I wanna do that - make the girls scream and give people the buzz I get from hearing the music.’ The Beatles made music guitar-centric and I picked up the guitar. I tried playing in rock bands, but it didn’t work for me. The music wasn’t satisfying. I liked the acoustic guitar better and learned classical music, but that wasn’t what I wanted either. Then I heard Django: three guitars, bass, and violin and they sounded and acted like a rock band. I saw pictures of them and they looked sharp, sophisticated and mysterious.
“When I was a teenager, I saw Dan Hicks & his Hot Licks and he was playing a contemporary blend of The Beatles and Django. I went to see them a lot and listened to their combination of rhythm guitar with jazz violin and tried to figure out how it worked.” Around the same time, Mehling discovered folk and bluegrass. He taught himself violin and mandolin after hearing David Grisman’s Dawg Music, a blend of swing and bluegrass that became known as ‘newgrass.’
After graduating from high school in Santa Cruz, Mehling landed his first gig as a professional musician playing rhythm guitar and banjo with Jake Stock and the Abalone Stompers, a New Orleans style traditional Dixieland jazz band. He played the happy hour at The Catalyst (the premier Santa Cruz live music venue) with the Stompers every Friday evening for the next 15 years. He freelanced with The Santa Cruz Symphony on viola and played in jazz and swing combos, including The Magnolia Jazz Band and The Hot Club of Friends, his first gypsy jazz group.
In 1981, Mehling took a break from the Abalone Stompers to bicycle across Europe with his girlfriend. In Holland, he saw a live performance by Waso, a band from Belgium that played gypsy jazz. “Fapy Lafertin was the lead guitarist and he was playing Django solos note for note, then he’d take off and start improvising.” Mehling says. “It was galvanizing. I didn’t think anyone could really play Django’s style and I realized it’s no secret. You just have to know how to do it. I decided I’d have to come back to Europe and learn to play gypsy guitar.”
Two years later, Mehling was in Paris playing violin in Metro stations all day and looking for gypsy musicians all night. He had a cheap apartment and made enough playing to support himself. “Then I got lucky. I met Serge Krief, a Django style guitarist. He was very warm; especially when he found out I could play guitar and violin. We played jazz in the Metro together, him on guitar, me on violin, and I watched his fingers like a hawk. When we counted the money out at the end of the afternoon, he’d insist I take my share. ‘You’re my brother, but you’re not my brother if you don’t take your share of the money.’ I knew I could learn to play they way he played, so I made a bunch of cassettes. I’d take apart his solos and figure out what he was doing. I should have done that with Django, but it was too vast and daunting when I was young.” Krief also imparted an important piece of advice. “He told me gypsy music is full of emotion and that’s an important part of the music. It’s hot, mysterious, emotional and romantic. That stayed with me.”
Mehling returned to Santa Cruz and the Abalone Stompers, but he was getting restless. In 1985, he heard Dan Hicks was looking for a lead guitarist for his new band, The Acoustic Warriors. Mehling got the job and stayed with the band until 1990. “After the Loma Prieta earthquake, I finally decided it was time to make the leap. I moved to San Francisco and auditioned people for months, but nobody knew how to play this music. Finally, I started training people how to play gypsy style jazz.”
The band’s first album was produced by Mehling and put out on the band’s own label. Since then, they’ve put out nine more fine albums of gypsy flavored jazz including Lady in Red, a set for Clarity in 1999, featuring Maria Muldaur, Dan Hicks and San Francisco jazz singing legend Barbara Dane, Swing This (2003 Panda Digital) and Postcards from Gypsyland (2005 Lost Wax) which includes tangos, waltzes and sparkling Mehling originals. In 2000, The Hot Club of San Francisco was the first American band invited to play the Festival de Jazz Django Reinhardt in Samois-Sur-Seine, ground zero for the current Django revival. The current edition of the HCSF has been together for five years, anchored by Mehling and the improvisational brilliance of violinist Evan Price.
Critics have noted that the music of Mehling and the HCSF owes as much to 52nd street as gypsy jazz, a characterization Mehling doesn’t dispute. “We have a swing or die approach to the music that’s distinctly American. We’re trying to challenge the tendency to slavishly imitate Django’s style, without watering down the gypsy tradition or diluting the music. We bring out the visceral element of the music that Serge told me is so important. When I talk with gypsy musicians, they say that they love what we do because they can tell we love the music. If people dig our music, when gypsy bands come to America, there will be an audience waiting to hear them.”
Isabelle Fontaine was born and raised in the French countryside with the voices of Edith Piaf, Charles Trenet, and Yves Montand ringing in her ears. She originally had no intention of becoming a professional musician but when she started singing with a group of friends for fun, her talent was immediately recognized and her life took an unexpected turn. She spent the next twenty years singing and playing the snare drum to the jumping jive music of the 50’s throughout France, with detours to Spain and over the Alps to Switzerland.
During this period, she developed an unconditional love for the Ladies and the Dukes of the Big Band Era and was eventually drawn to the gypsy swing of Django Reinhardt and The Hot Club of France. It wasn’t long before she picked up the guitar and applied her impeccable sense of rhythm to the stringed instrument.
In 2004 she moved with her family to the Bay Area and has since become highly sought after not only as a vocalist but also as a rhythm guitar player.
Evan Price is steadily becoming one of the most respected jazz violinists of his generation. A native of Detroit, MI, his musical background includes some earnest dues-paying in a variety of genres. As a young competitive fiddler he won his share of awards, having been named the U.S. Scottish Fiddling Champion, Canadian Junior Fiddle Champion, and Canadian Novelty Fiddling Champion. He also performed with some of the masters of fiddle lore—Stephane Grappelli, Johnny Frigo, Claude “Fiddler” Williams, Johnny Gimble, Buddy Spicher, and Vassar Clements—as well as a diverse array of pop icons from Stevie Wonder and Led Zeppelin’s Jimmy Page and Robert Plant to comedian, Steven Wright.
Evan’s college career included stints at both The Cleveland Institute of Music and at Berklee College of Music, and has himself served as a member of the music faculty at Wellesley College.
Evan is a ten-year veteran of the world-renowned, paradigm-shifting jazz ensemble, the Turtle Island Quartet. During his tenure in Turtle Island, Evan gave over five hundred performances in concert venues from Latvia to Australia and had the opportunity to collaborate with many musical luminaries, such as Cuban clarinetist Paquito D’Rivera, and pianists Dr. Billy Taylor and Kenny Barron. He recorded five CD’s with Turtle Island, two of which—“Four + 4” and “A Love Supreme: The Legacy of John Coltrane”—received GRAMMY® awards in 2006 and 2008 in the Classical Crossover category.
Since 1998, Evan has been proud to call himself a member of The Hot Club of San Francisco, perhaps the most venerable gypsy jazz band in the US. During his tenure, the group has thrilled audiences from Iceland to Mexico and across the United States, and has released six CD’s which feature Evan on violin.
An accomplished composer, Evan has contributed compositions and arrangements to the repertoires of HCSF, Turtle Island Quartet, Quartet San Francisco, Orchestra Nashville, The San Francisco Girls’ Chorus, and the New Century Chamber Orchestra. He lives in Mill Valley, CA, with his wife and daughter.
Jordan Samuels is an accomplished guitarist who has been studying, performing and teaching throughout the San Francisco Bay Area for the last twenty years. While at San Francisco State University, he completed his formal training in music composition under the guidance of Ronald Caltabiano and Richard Festinger while simultaneously pursuing a jazz studies curriculum directed by Andrew Speight and John Calloway.
Since completing his studies in 2010, Samuels has become an in-demand jazz guitarist and can be seen performing regularly with the Hot Club of San Francisco, Erik Jekabson’s Electric Squeezbox Orchestra, and his own trio Certified Organic. He has also appeared with Doug Martin, Paula West, Wil Blades, Smith Dobson, Adam Theis, Matt Clark and Bobby Watson among many others.
A Fresno, California native, Sam Rocha showed an interest in music from a very early age. Beginning with piano lessons at age 4, his formal musical studies soon expanded to include the viola and bass guitar. At age 15, he fell in love with the acoustic string bass and has since identified himself as a bassist, playing his first professional gigs at 17 with Fresno’s Blue Street Jazz Band, among others. While largely self-taught on the string bass, Sam has closely studied such masters of the instrument as “Pops” Foster, Al Morgan, Milt Hinton, Bob Haggart, Jimmy Blanton, Ray Brown, Walter Page, and Scott LaFaro. In addition to his in-depth study of classic bass playing, Sam has absorbed the nuances of classic jazz tuba, cornet, and guitar playing, and he regularly performs on those instruments as well. Quickly becoming one of the rising stars of the traditional jazz and gypsy swing circuit, Sam is known for his innate musicality and rhythm and for his inventive, melodic solos. While on tour, Sam plays a Chadwick Folding Bass with a hybrid set of gut and steel strings.