- MIGHTY PROSPEROUS: MARTY GROSZ and his DIVIDENDS, 2013 and 2016 (ED WISE, DAN BLOCK, DANNY TOBIAS // JON-ERIK KELLSO, BILL ALLRED, DAN LEVINSON, SCOTT ROBINSON, EHUD ASHERIE, JON BURR, HAL SMITH)
- MAKING NEW MEMORIES: MARC CAPARONE, BRIAN HOLLAND, STEVE PIKAL, DANNY COOTS at the SAN DIEGO JAZZ FEST (November 29, 2019)
- PARADOXES OF FEELING: BRIAN HOLLAND, MARC CAPARONE, JOHN OTTO, STEVE PIKAL, DANNY COOTS at the EVERGREEN JAZZ FESTIVAL (July 27, 2019)
- “HOW HAPPY WE WILL BE” and “THE LITTLE STARS CLIMB”: TWO CLASSIC SONGS by RICKY ALEXANDER, DAN BLOCK, ADAM MOEZINIA, DANIEL DUKE, CHRIS GELB (Cafe Bohemia, Nov. 22, 2019)
- “OH, MEMORY! OH, MEMORY!”: The MANHATTAN RAGTIME ORCHESTRA at THE CAJUN, PART ONE: JOHN GILL, MATTHEW SZEMELA, JON-ERIK KELLSO, CONAL FOWKES, BRAD SHIGETA, PETE MARTINEZ, JESSE GELBER, ROB GARCIA (July 13, 2006)
- BILLIE AND BLUES at THE CAFE BOHEMIA PREQUEL (Part Two): MARA KAYE, JON-ERIK KELLSO, MATT MUNISTERI, EVAN ARNTZEN, BRIAN NALEPKA (Sept. 26, 2019)
- “THE LAMB OF GOD!”: ELEGIES FOR DONALD LAMBERT IN STORIES, PHOTOGRAPHS, AND MUSIC
- ANDY’S GANG, OR “BIX ONE-SIX”: ANDY SCHUMM, JIM FRYER, LARS FRANK, ROBERT FOWLER, DAVID BOEDDINGHAUS, JOSH DUFFEE (Mike Durham Classic Jazz Party, November 4, 2016)
- BRIGHT SPARKS, DEEP SHADOWS: JON-ERIK KELLSO, ROSSANO SPORTIELLO, TAL RONEN at MEZZROW (Sept. 16, 2019)
- “SPIRITUAL REFRESHMENT = LIVE MUSIC” (Part Two): YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)
- “LIKE THE RIPPLES ON A STREAM,” or IMPERMANENCE, by HARVEY SHAPIRO and by BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, JOHN OTTO, STEVE PIKAL (Evergreen Jazz Festival, July 26, 2019)
- “V. HOT”: A JAM SESSION AT THE MIKE DURHAM CLASSIC JAZZ PARTY (November 3-4, 2019)
- “JAZZ ON BROAD” AT THE HOPEWELL VALLEY BISTRO AND INN: PHIL ORR, WARREN VACHÉ, LARRY McKENNA, JOE PLOWMAN, DANNY TOBIAS, ANGELO DiBRACCIO: September 9, 2019
- “IT’S HOT DOWN THERE!” (Part One): SWINGING JAZZ FROM CAFE BOHEMIA: JON-ERIK KELLSO, EVAN ARNTZEN, JARED ENGEL, ARNT ARNTZEN (October 24, 2019)
- HAL SMITH’S SWING CENTRAL AT THE REDWOOD COAST MUSIC FESTIVAL, PART ONE: HAL SMITH, STEVE PIKAL, DAN WALTON, JAMEY CUMMINS, JONATHAN DOYLE (May 11, 2019)
- JAMES DAPOGNY IN RECITAL (Jazz at Chautauqua, September 20, 2013)
- “WARM REGARDS” and “THANK GOD FOR EARS”: A COLLECTION OF PRECIOUS PAGES
- FREDERICK HODGES, HIMSELF, CHARMS US (Stomptime, April 27 – May 3, 2019)
- DELIGHT IN DECEIT, or A FEW MINUTES MORE WITH REBECCA KILGORE, ROSSANO SPORTIELLO, DAN BARRETT, JON BURR, RICKY MALACHI (Jazz at Chautauqua, Sept. 21, 2012)
- START WITH OPTIMISM, AND IF THAT DOESN’T WORK, AIM FOR RESILIENCE: REBECCA KILGORE, ROSSANO SPORTIELLO, DAN BARRETT, JON BURR, RICKY MALACHI at JAZZ AT CHAUTAUQUA (Sept. 21, 2012)
SUBSCRIBE TO “JAZZ LIVES” BY E-MAILSUBSCRIBE TO "JAZZ LIVES" BY E-MAIL Subscribe to Jazz Lives by Email
- Need a little more Thirties romance... jazzlives.wordpress.com/2013/03/24/the… 12 hours ago
- All happiness to one of the most surprising artists we will know! facebook.com/michael.jazzli… 1 day ago
- jazzlives.wordpress.com/2019/12/05/mig… jazzlives.wordpress.com/2019/12/05/mig… 1 day ago
- jazzlives.wordpress.com/2019/12/02/mak… jazzlives.wordpress.com/2019/12/02/mak… 4 days ago
- jazzlives.wordpress.com/2019/11/27/par… jazzlives.wordpress.com/2019/11/27/par… 1 week ago
SUBSCRIBE TO “JAZZ LIVES” BY EMAILSUBSCRIBE TO "JAZZ LIVES" BY E-MAIL Subscribe to Jazz Lives by Email
Daily Archives: January 8, 2009
A delicious interlude: Lynne Koehlinger and Peter Varshavsky do an inspired Charleston routine to Jimmie Noone’s “Every Evening,” at the 2008 Gatsby Ball.
Lynne and Peter defy the laws of physics. At some points, they seem to be moving in slow motion, with every kick and turn clear, never blurred. But you know that they’re really dancing at an exhausting pace. Hard work made to seem effortless! Their routine has a lovely shape: they begin as a couple in perfect physical harmony, then break out for inspired capers during Earl Hines’s solo and the stop-time chorus, and conclude as a pair. It’s worthy of Olympic consideration. Why there isn’t a category for Jazz Dance still mystifies me. Let’s call it Hot Made Visible.
Thanks to SUN, the Singers’ Underground Network (I just made that up) of Meredith Axelrod and Melissa Collard, who passed this gem on to me. And now, to you.
Melissa Collard should be someone readers of this blog know and admire. Her first CD, OLD FASHIONED LOVE, is a treasure. Rumor has it that she and Hal Smith have completed a second one, which is great news.
Meredith Axelrod, who often works with guitar genius Craig Ventresco, has thoroughly internalized the vocal styles of the early twentieth-century in a way both eerie and exhilirating.
Few people today know of the cornetist Johnny Windhurst, but those who do speak of him with awe and affection.
I first heard him on a Folkways record called JAZZ OF THE FORTIES, which contained excerpts from a concert put on by Bob Maltz in 1946. The other participants inckuded Sidney Bechet, Pops Foster, Vernon Brown, Mezz Mezzrow, Baby Dodds, James P. Johnson. Windhurst had a ballad feature on “She’s Funny That Way” that wasn’t very long — perhaps two choruses — but it was instantly memorable. The idea of a brass player having a golden tone is and was an obvious cliche, but it applied to Johnny. He had built his style on a synthesis of Bobby Hackett and Louis and moved on from there. His playing had a simplicity and tenderness I haven’t heard anyone else approach. At the time, the only Windhurst I could hear was on recordings he had made with the fine singer Barbara Lea.
In mid-1972, when I began to go into New York City to hear live jazz (with Stu Zimny and Rob Rothberg) the Sunday afternoon sessions led by bassist Red Balaban at Your Father’s Mustache were a special treat. Balaban was not a stirring leader, bassist, banjoist, or singer, but he had good taste in guest stars. One of them was Windhurst, who came down from Poughkeepsie, where his mother lived, to lead the band — either Dick Rath or Herb Gardner on trombone, Herb Hall on piano, either Chuck Folds or Red Richards on piano, and Marquis Foster or Buzzy Drootin on drums.
Windhurst looked much as he had ever looked — boyish, small, bespectacled, with a natty bow tie. He seemed a little distant, a little tired, but he played beautifully.
After that Sunday, I began to ask my collector-friends for the private tapes they had. John L. Fell, generous and erudite, shared his treasures. Joe Boughton, a true Windhurst friend and fancier, let me hear tapes of Windhurst playing in the early Fifties at college gigs; later, I found the two lps on which he had appeared (one, a quartet session under his own name; the other, a session led by the drummer Walt Gifford). He had recorded with Condon for Decca. Still later, the “Jazz Nocturne” programs of 1945, where a 19-year old Windhurst stood next to Sidney Bechet and didn’t give an inch, came out on the Fat Cat’s Jazz label, and the “Doctor Jazz” broadcasts from 1952 or so, also appeared on Storyville. I even found a semi-private recording made in Poughkeepsie at “The Last Chance Saloon,” where Johnny and his friend, trombonist Eddie Hubble, played in front of a local session. Later, I heard broadcasts from the Savoy Cafe in Boston, where in 1947, Windhurst had run in the quickest of company: Ed Hall, Vic Dickenson,Kenny Kersey, John Field, and Jimmy Crawford.
In all these recordings, Windhurst took risks but never faltered, and his tone never grew acrid or shrill. But, for whatever reasons, he stayed out of the limelight. Because he never cared to learn to read music, he had turned down gigs with Benny Goodman and Woody Herman, preferring informal jamming. He died in Poughkeepsie at 54. The reference books I have say that he died of a heart attack, but I recall that having been mugged had something to do with his early death.
Had he lived . . . alas. And the recordings that have come out in the last few years — one a 1947 jazz concert where Windhurst and Jack Teagarden play beautifully alongside one another — are beautifully stirring, saying much about the musician we lost.
These thoughts are motivated by a cyber-find: I haven’t given up on my quest for the 1946 “March of Time” clip featuring Dave Tough at Eddie Condon’s. My quest led me to www.dailymotion.com., where trumpeter and film scholar Bob Erwig has posted excerpts from a 1958 “Jazz Party,” a television show hosted by jazz disc jockey Art Ford. Ford’s program was simultaneously broadcast on the radio, so some diligent collectors have tapes that are as close to stereo as we shall get. The programs tended to be informal to the point of messiness, with players ranging from Lester Young to Willie the Lion Smith to Mary Osborne and Teddy Charles. Here is the only film footage of Windhurst, accompanied by pianist Roland Hanna, Osborne, bassist Mark Goldberg, and drummer Morey Feld (the last a particular favorite of our own Kevin Dorn).
On this 1958 clip, an earnest Windhurst considers “Pennies From Heaven” in yearning style, reminding us of the pretty song that Bing Crosby, Hackett, and Louis explored. In it, we see a player not afraid to take his time, to make beautiful sounds, to gently explore the melody. It’s a lovely performance, and it doesn’t give up all its secrets on one viewing.
Did any readers of this blog hear Johnny or play alongside him? I would love to hear your memories. Without them, who will remember Johnny Windhurst?