BLISS IN THE NIGHT (APRIL 18, 2010)

You know how “the jam session” is handled in films of a certain vintage.  Magically, the cameras take us to a clearly fictive basement club where Art Tatum is playing.  He plays for a few bars, then the door opens and a whole troop of musicians who apparently have unpacked their horns outside on the sidewalk burst in, exchange a few words of greeting, and a whirlwind jam session begins, only to end in two or three minutes.  (The 1947 THE FABULOUS DORSEYS.)

Or there’s the cutting contest between trumpet players, perhaps the Young Cub and the Old Lion, aiming their horns at each other, playing higher and louder.  (The scene here is between Louis and “Red Nichols,” played by Danny Kaye in 1959 THE FIVE PENNIES, is a most benign example, and Louis gets to make some good, albeit scripted jokes.)

But real jam sessions, especially the magical ones that happen during the second set at The Ear Inn (326 Spring Street in New York City) have little to do with either fantasy.  For one thing, they are a collection of friends.  In the videos below the two trumpeters (or, to be precise, the trumpeter Jon-Erik Kellso and the cornetist Marc Caparone) or the two guitarists (Matt Munisteri on electric and Julian Lage on acoustic) and the reed players (Dan Block on clarinet, Andy Farber on tenor saxophone, Nick Hempton on alto) have no aggression in their souls.  No one seeks to play higher, faster, louder.  And those single men — Harvey Tibbs on trombone and Jon Burr on bass — don’t pick fights with anyone.  It’s all congenial. 

Imagined dialogue, overheard in part: “What would you like to play?”  “RITE OF SPRING?”  “Sure.  How many flats?  Your tempo . . . ”  And off they go.  There’s no JATP crowd-pleasing (or crowd-baiting); the music just grows.  The musicians smile at each other.  They listen closely, even if the crowd sometimes doesn’t. 

The second set of Sunday, April 18, 2010, began with a swinging version of AVALON that harked back to the Benny Goodman Quartet — in arrangement only, since the Ear Regulars had cleverly decided that they didn’t need a vibraphone, piano, or drum kit.  But hear how nimbly they negotiate the closing chorus — “they” being Jon-Erik, Harvey, Matt, Jon, and guest Julian Lage, playing somewhere over my left shoulder:

Then Jon-Erik called up the Pride of Paso Robles, California — someone I would give every honor I could — the noble cornetist Marc Caparone, here on a week’s visit to New York City.  Marc should be better known here: he is a plain-spoken but subtle player who favors such delightful left-handers as Henry “Red” Allen and Jim Goodwin.  In his approach, ferocity and delicacy are pals.  Here, he makes the quintet of AVALON a sextet for a lively ONE HOUR, a performance that would have pleased the very finicky Ruby Braff.  His wife, the wonderful singer Dawn Lambeth, watched Marc happily (I was grinning widely from behind my video camera, I assure you):

Each selection seemed to add a new player: next up was the gifted Dan Block, who joined in for a strolling WHISPERING, while Jon-Erik caught his breath:

Tenorist Andy Farber joined in (his back is to the camera, but I didn’t take it personally) for PERDIDO, a song with a historically-established countermelody.  Tizol’s line lends itself to long performances, and this one needed two sections to be visible on YouTube.  What passes for a bandstand at The Ear Inn (flat on the floor, really a space cleared among the diners) was too small for the musicians, so Jon-Erik was now playing somewhat over my right shoulder, with Marc employing a thoroughly Ellingtonian plunger mute. 

Some viewers will be disturbed by the intrusive white piece of paper at the lower right: it is the banner reading TIPS that lets people know what the jar was for.  I preferred to keep on filming rather than miss a note by indulging in feng shui): 

And the conclusion:

To finish, something melodic, a long romp on THREE LITTLE WORDS.  The common language is so well established here that all Jon-Erik had to do was to say to the horns, “A little Lester,” and everyone fell into the riff taken from the 1943 Kansas City Six date for Commodore — you can’t miss it.  And, in true Hollywood fashion, the Australian Nick Hempton appeared, apparently from nowhere, to offer his singular evocation of right-this-minute mixed with 1940 Charlie Parker:

The concluding moments:

I know that the “three little words” of the title are “I love you” — but certainly “The Ear Inn” is a close second.  If you know of another place where such marvels happen on a weekly basis, do write in!

2 responses to “BLISS IN THE NIGHT (APRIL 18, 2010)

  1. Pingback: BLISS IN THE NIGHT (APRIL 18, 2010)

  2. As Ellington said at Newport ’56 “Blues To Be There”.
    You guys should go on tour.

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