A SUMMER NIGHT, EIGHT YEARS AGO (June 7, 2009)

Good times, fine sounds.  the calendar says they’re gone; we know they aren’t.

The Ear Inn has been host to gatherings of joyous insight on Sunday nights since July 2007, and I think I was there for the second gathering of The EarRegulars — who may not have been named just yet (Jon-Erik Kellso, Howard Alden, Frank Tate): I was converted rapidly, although going to work with an early teaching schedule has made me at times a lax postulant.

Here’s a delightful interlude from the summer of 2009: SOME OF THESE DAYS, played so buoyantly by Matt Munisteri, guitar; Duke Heitger, trumpet; Harvey Tibbs, trombone; Dan Block, clarinet; Neal Miner, string bass.  And the final minutes of this — with Duke evoking another New Orleans boy who made good — give me chills of the best sort:

You don’t need to climb the Himalayas for spiritual uplift: visit the Ear Inn on Sunday nights; your pilgrimage requires only the C or the 1 train or perhaps an automobile . . . see you there sometime soon!  In the interim, watch, hear, and marvel.

May your happiness increase

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“OF THINGS PAST”: JIMMY KNEPPER, DICK KATZ, GEORGE MRAZ, MEL LEWIS (1986)

This doesn’t require much commentary: it is a gorgeously tender themeless improvisation on THESE FOOLISH THINGS by Jimmy Knepper, trombone; Dick Katz, piano; George Mraz, string bass; Mel Lewis, drums.

Knepper began his recording career with big bands, so playing ballads was part of the training, since one played for dancers.  And if you’ve never heard of him, I invite you to be uplifted by calm, searching music that is at once melancholy and uplifting.

I hope you are as moved by this as I am.

May your happiness increase!

“LET ME OFF MIDTOWN”: RICO TOMASSO VISITS BIRDLAND: THE LOUIS ARMSTRONG ETERNITY BAND (David Ostwald, Bjorn Ingelstam, Adrian Cunningham, Jim Fryer, Vince Giordano, Paul Wells: August 9, 2017)

When the noble Enrico Tomasso visited New York (with wife Debbie and daughter Analucia) on August 9, 2017, his activities had a distinct theme running through them, which shouldn’t be hard to recognize.  First, Rico visited the house that Louis and Lucille Armstrong had called home for decades.  That was in the morning.  In the afternoon, the Tomassos visited the Louis Armstrong Archives at Queens College, got to have a good time with Ricky Riccardi, play Louis’ trumpet, look at scrapbooks and hear tapes from Louis’ library — much of which I captured on video here.  Ricky, who is an estimable tour guide in addition to everything else, got us to the subway by car (through the window, I saw my favorite new business sign — the S & M PHARMACY — and I leave the commentaries to you).  On the E train, Rico told stories of Henry “Red” Allen and other heroes.

Where were we going?  To “New York’s friendliest jazz club,” which would be Birdland — for their Wednesday afternoon-into-evening jazz serenade by the Louis Armstrong Eternity Band, led by David Ostwald.  I present two thrilling performances by Rico and the LAEB (is the theme becoming clear now?), whose members were David, tuba; Paul Wells, drums; Vince Giordano, banjo; Adrian Cunningham, clarinet and alto; Jim Fryer, trombone and euphonium; Bjorn Ingelstam, trumpet.  Attentive viewers will notice a nicely-coiffed immovable object in the middle of the frame: she and her partner were there to stay and I did what I would like to believe was the best I could.

BACK O’TOWN BLUES:

STRUTTIN’ WITH SOME BARBECUE:

As the little boy says to Alan Ladd, “Come back, Rico!  Come back!”

May your happiness increase!

“RADICAL SWING TRIO”: TAD SHULL, ROB SCHNEIDERMAN, PAUL GILL at MEZZROW (September 3, 2017): THE FIRST SET

Jazz from a Sunday night on West Tenth Street, but hardly as ordinary as those words would suggest, for the site was not just the Street, but Mezzrow, that wonderful jazz club now beginning its fourth year of sustaining the musical community:

The participants I enjoyed on September 3 were the “Radical Swing Trio”: Tad Shull, tenor saxophone; Rob Schneiderman, piano; Paul Gill, string bass.  Here’s their first set.

If the word RADICAL scares you off, it’s merely (I think) a way of saying that this trio, although aware and respectful of the past, players and composers and idioms, is not tied to it: they create rather than replicate.  And swing is not tied to any year: it flourished in 1960 as well as in 1940.  Hear for yourself how beautifully Tad, Rob, and Paul make it blossom in 2017.

Tadd Dameron’s TADD’S DELIGHT:

Jackie McLean’s OMEGA:

THE NEARNESS OF YOU.  “In D.”:

Eddie Harris’ FREEDOM JAZZ DANCE:

Monk’s WELL, YOU NEEDN’T:

and as a closer, Hank Mobley’s SOUL STATION:

Another set was just as exhilarating, with seriously focused, lyrical performances of music associated with Dizzy Gillespie, Dameron, Miles, Wayne Shorter, and a pair of lovely ballads.  It, too, will appear here.

May your happiness increase!

MARA KAYE SINGS LADY DAY with JON-ERIK KELLSO, DAVID SAGER, JOHN GILL, BRIAN NALEPKA, SCOTT RICKETTS, EYAL VINER at THE EAR INN (August 13, 2017)

Mara Kaye is one of New York’s great gifts to the world. Two years ago, she did a concert performance at Joe’s Pub, an evening of songs associated with Billie Holiday.  Here is some of what I wrote, that still rings true.

She is a substantial stage personality.  One way this is expressed is in her nearly constant yet genuine motion, as if her energy is too strong for her to stand still.  It’s not just hair-tossing, but a continual series of dance moves that also look like yoga poses and warm-up stretches, even a jubilant marching-in-place. Often she held her arms over her head, her hands open.  I think it was always exuberant emotion, but it was also her own expression of an ancient and honorable theatrical style . . . so that even the people in the most distant balcony of the Apollo Theatre could see you and join in with the person onstage. And her voice matched her larger-than-life physical presence.  On a Twenties record label, she might have been billed as COMEDIENNE WITH ORCHESTRA, and that odd designation rang true. The comedy bubbled up here and there in speech: she hails from Brooklyn, so that her sailboat in the moonlight was idling along in Sheepshead Bay. But it also emerged delightfully in her voice: I heard echoes of Fanny Brice, of comic Eastern European melodies . . . it never sounded as if she was taking Billie or the music lightly, but as if she was having such a good time that she couldn’t help playing. . . . SHOW in the best tradition — not caricature, but something Louis would have admired immensely.

I’m always glad to see Mara, and when she showed up at The Ear Inn (326 Spring Street, Soho) on Sunday, August 13, I had hopes she would be invited to sit in with the EarRegulars.  Leader and brass deity Jon-Erik Kellso has the same feelings about this young woman, so he invited her to join the band . . . and these two performances are the result. The EarRegulars, that night, were Jon-Erik; David Sager, trombone (making a guest appearance from his home in a southern town), John Gill, banjo; Brian Nalepka, string bass, with sitters-in Scott Ricketts, cornet and Eyal Viner, to my left, alto saxophone.  The ghosts of Buck Clayton, Lester Young, and Benny Morton were there, and they approved.

Two gorgeous performances: FOOLIN’ MYSELF:

and I CAN’T GIVE YOU ANYTHING BUT LOVE (during the instrumental portion you’ll see Mara, ever the good jazz citizen, walking around with the tip jar — the tip pumpkin — to help the band:

Music like this, peerless and delicate, improves our world, for these musicians give us love and more.

May your happiness increase!

NOTES FROM MEL, NOTES BY MEL

Kati Powell, August 2013, Menlo Park, California.

I’m honored to know Kathleen Powell — who goes by Kati — whom I met through the kindness of Hank O’Neal.  Kati is a wonderful person on her own: generous in spirit as well as in fact, and her connections to the music are deep. Her mother was Martha Scott, the renowned actress who was the first Emily in Wilder’s OUR TOWN.  Her father began life as Melvin Epstein, but we know him better as Mel Powell, pianist, composer, arranger, and explorer.

In 2013, I had the great privilege of meeting and talking with Kati at her West Coast home (she now lives in New York) about Mel, and our interview can be found here.  And there’s priceless evidence of Kati’s generosity here.  Words and music.

When Kati and I met recently in New York, she had another present for me, and by extension, for you as well.  Yes, the music on the 78 that follows is familiar, or should be, but this disc belonged to Mel, and it is, for that reason, even more special.  I like to imagine the young pianist bending over the speaker in the Thirties, drinking in the sounds, absorbing the magic, making these impulses part of his genetic makeup.

Caveat: YouTube says that this video may be blocked in certain countries because of copyright restrictions.  The music is the 1928 duet of Louis Armstrong and Earl Hines, WEATHER BIRD:

and the beautiful reverse, the 1930 duet of Louis and Buck Washington, DEAR OLD SOUTHLAND:

and some notes by Mel — two sides [one a sparkly original, the other DON’T BLAME ME) recorded in Belgium, c. 1945:

and a little of his elegantly deep voice:

We’ll never have all we need of Mel Powell, though.

May your happiness increase!

“WOULDN’T HAVE A CHANGE OF HEART”: JAMES DAPOGNY, DAWN GIBLIN, MIKE KAROUB, ROD McDONALD, GWEN MacPHEE, LAURA WYMAN at the ZAL GAZ GROTTO (August 20, 2017)

Dawn Giblin. Photograph by Jeff Dunn.

The song IF I WERE YOU, by Buddy Bernier and Robert Emmerich, might have vanished entirely if not for memorable recordings.  I feel it comes from that postage-stamp of inspiration where songwriters seized on a commonplace conversational phrase for a title and made a song out of it.  I’ve not been able to find out much about it, nor has sheet music surfaced online.  But it has a wonderful auditory lineage: it was recorded in quick succession — between April 29 and July 1, 1938 — by Nan Wynn with Teddy Wilson (featuring Johnny Hodges and Bobby Hackett), Billie Holiday, Fats Waller, and by Hot Lips Page’s band, although he left the vocal to one Dolores Payne.

In our time, it’s also been recorded by Dawn Lambeth and Rebecca Kilgore. Beautifully.

Now we can add warm-voiced Dawn Giblin to that list, as of August 20 of this year, where she and eminent friends performed the song at the Zal Gaz Grotto in Ann Arbor, Michigan.  Dawn is accompanied by Mike Karoub, cello; James Dapogny, piano; Rod McDonald, guitar; Gwen MacPhee, string bass.  And, fortunately for us, this and another performance was filmed by Laura Wyman for Wyman Video.

Before you plunge ahead to this latest delight, perhaps you’d like to hear other performances by Dawn Giblin: a gorgeous IF I HAD YOU from last January (no relation to the 1938 song), and a session from May, featuring GIVE ME THE SIMPLE LIFE, ALL MY LIFE, and LOVER, COME BACK TO ME.

And now, the pleasures of August:

Here’s a swing instrumental, with neatly gliding dancers Robin and Lois, Grotto regulars who obviously love to dance and love music by Dapogny and friends:

The new Person in the band (to me, at least) is the admirable string bassist Gwen MacPhee, of whom Dawn says, “I met Gwen at Wayne State University.  She was in my ear training class and took me under her wing.  She was the first friend I made there.”  And now she’s a friend of ours.

I’m happy in New York, but I wish Ann Arbor were closer.  However, it’s delightful to have Wyman Video on the scene for all of us.  Laura, modestly, says she doesn’t deserve to be in the credit line with the musicians, but as a fellow videographer, I politely disagree.  We may not bake the cookies, but we make it possible for you to have a taste.

May your happiness increase!