DAN WEINSTEIN, trombonist, violinist, vocalist/entertainer, composer, arranger, writer, historian - a "Valley Boy" - has music in his blood. His father, Si, was also a trombonist and gave young Dan a thorough training on that instrument before he even entered school. Every kind of music was heard in the Weinstein household, either live or on record. Dan paid close attention to it all, applying the intensest curiosity and dedication (not to mention talent).

Today, he is one of the busiest, and least jaded, professional musicians in Los Angeles. He plays the entire history of jazz, from dixieland to swing to be-bop to contemporary; Salsa, Cuban, Brazilian and other Latin American flavors; R&B and funk, Yiddish and Irish, Vaudeville and Tin Pan Alley, Classical orchestral and chamber music. He plays them all with authority and affection, and is not afraid to branch out still further.



The critical core of this musical vastness is Dan's love of jazz from the '20s through the '40s. The 78s in his father's collection included two 1928 masterpieces, Duke Ellington's "The Mooche" and Bennie Moten's "South." These led Dan to explore the era. A watershed find was the Columbia 3-LP set, Fletcher Henderson - A Study in Frustration. The Jazz Man Record Shop in Santa Monica was also a rich source of material. But for years, Dan felt quite alone in his taste for this music. It wasn't until he met John Reynolds (q.v.) in 1980, and became a member of Reynolds' superb ensemble Mood Indigo that he had the chance to actually play hot jazz and early swing with musicians of his caliber. Since then, Dan has been heard in many "early jazz" groups, such as Dave Hutson's California Ramblers, The Groove Merchants of Venice, Mike Henebry's Rhythm Kings, Ian Whitcomb's (q.v.) orchestra, and Johnny Crawford's orchestra, to name only several.

To the Parlor Boys, Dan brings his considerable talents and genuine jazz. He feels that in playing this music, it is most important to get correct versions of the old songs, with all the right chord changes, and to "capture the spirit of experimentation of the era without veering into later styles."