By Ashley Zimmerman
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In cities such as New York, Los Angeles, Chicago, and San Francisco, hundreds of bands like Jump n' Jive are playing music from the Forties for kids in their twenties sporting gabardine suits and greased-back 'dos. The swing revival -- a close cousin of the martini-fueled lounge scene -- has reinvented a culture that peaked before the parents of its current disciples were born.
Yet South Florida has barely felt its influence. In Broward County college-age kids flock to dance at boom-box warehouses such as Baja Beach Club or the Bermuda Triangle. Jump n' Jive (which, in addition to Powers, includes Pete Berard on drums, Al Shikaly on alto sax, Richard Malfitano on tenor sax, and Tom Roberts on bass) is perhaps the only local band to fully embrace the swing trend. Ironically it plays its weekly gigs at O'Hara's on Las Olas Boulevard, a club where twentysomethings are more in danger of running into their parents than their peers.
"In the year and a half we've been around, no one else has done this," Powers says as he sits at an outdoor table at O'Hara's before taking the stage for Jump n' Jive's regular Tuesday-night gig. "I think one of the problems with creating a scene here is the lack of a venue. You need a big room with a dance floor. O'Hara's gets some pretty wild people who are into being entertained, but they don't have that floor."
The high-energy, horn-fueled music known as "jump" came to prominence in the Forties thanks to artists such as Louis Jordan and Cab Calloway. A combination of blues and swing jazz, jump was music for the feet, with fast rhythms and hot riffs. With the rise of bebop in the Fifties, jump's popularity waned, but thanks to a growing number of young groups -- Squirrel Nut Zippers, Mighty Blue Kings, Royal Crown Revue, and Cherry Poppin' Daddies, to name but a few -- jump's jivin' vibe has found favor with a new generation.
At O'Hara's the average age of the audience is 35 and older -- sometimes so much older that Jump n' Jive's music feels less like a revival and more like nostalgia. "In New York, Los Angeles, and Chicago swing is really hot, but there it's mostly young kids in their twenties," notes Powers. "They're into dressing up and taking the swing dance lessons prior to the sets, so that when the bands come on they're ready to test their skills. But here it's 30 to 50 -- we're not getting the twenty-year-olds."
Powers' energy in conversation reflects his on-stage turbulence: Body in fluid motion, hand gestures in overdrive. His fingers never stop playing keyboard. Whether discussing the local music scene or his twenty-year heroin addiction, Powers' digits are always in midsong, banging out Louis Jordan's "Choo Choo Ch' Boogie" or perhaps his own "I'm a Dirty Bird" on the pub's checkered tablecloth.
"Maybe they're just not hip to it here," he suggests. "We're trying our damnedest to spread the gospel, and people dig it, but we're not getting the younger crowd."
Kitty Ryan, the owner of O'Hara's, plans to include a dance hall in a soon-to-be-finished second O'Hara's in Hollywood. The venue's restaurant, cafe, and bar sections will open toward the end of this month, but the dance hall, called Alley Cats, will not open until the end of this year. Ryan plans to pair dance lessons with band performances, and Jump n' Jive is slated to play at the new O'Hara's every Thursday evening. Ryan believes the swing scene can catch on here, but she expects her Hollywood locale to draw the same age group that currently populates the O'Hara's in Fort Lauderdale.
"When you have a younger crowd, they haven't found their niche yet -- they're unpredictable," she explains. "Jazz has worked for us and given us a steady base. The younger crowd likes to jump around. You never know what trend they are going to like next."
Michael Moss, the publisher of San Francisco-based Swing Time Magazine, believes that swing is more than just a trend. "We started listening to swing seven or eight years ago in San Francisco," says Moss, speaking on the telephone from his office. "There was a whole community of people wishing to hear more melodic music. Swing was a stand against grunge and rap, a rebellion against the tattoo crowd. It wasn't manufactured or marketed, it came from us and spread by word of mouth."