Over the past half-dozen years, it’s been a rare pleasure to see and hear Bobby Gordon at Jazz at Chautauqua. Without making a fuss about it or announcing himself unduly, he has always been one of the poets of jazz — and not simply of the clarinet. He takes his own unpredictable ways to get where he’s going, and when he arrives you find the journey has been both moving and surprising.
It’s not surprising that one of Bobby’s clarinet heroes is that rare explorer Pee Wee Russell — but Bobby is too much in touch with his own essence to copy Russell’s leaps and weavings. Bobby’s approach is also tempered by the deep-blue sounds and thought patterns of the great but not well-remembered Joe Marsala, a consummate melodist who much admired Jimmie Noone.
Here at Jazz at Chautauqua Bobby was joined by the nimble and down-home pianist Keith Ingham (who has wonderful stories of a career that began when he was a mere boy alongside the finest American and British improvisers), the splendidly multi-instrumental Vince Giordano, here toting his aluminum string bass, and the man of mysterious percussive rumbles and swooshes, Arnie Kinsella. If they sound a little bit like Joe Sullivan / Jess Stacy / Artie Shapiro / Bob Casey / George Wettling / Dave Tough, we don’t mind at all.
Bobby began with a pretty but mobile AT SUNDOWN, a song recorded by an Eddie Condon group back in the halcyon Commodore days:
Another performance with a Commodore pedigree is KEEPIN’ OUT OF MISCHIEF NOW, homage to Fats as well:
A tribute to the later life of Charles Ellsworth Russell (and his friend Nat Pierce), PEE WEE’S BLUES:
Keith, for his feature, thought of the brilliant and much-missed Mel Powell, who wrote this piece as a tribute to Earl Hines when Mel was with the Benny Goodman band — it’s THE EARL:
And Bobby closed his set with a limpid MY MELANCHOLY BABY, in honor of that pretty tune and of Joe Marsala, too:
Bobby’s style is so thoughtful, his voice so human — jazz poetry that comes straight from his heart.
Posted in "Thanks A Million", Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Arnie Kinsella, Artie Shapiro, Benny Goodman, Bob Casey, Bobby Gordon, Commodore Records, Dave Tough, Earl Hines, Eddie Condon, Fats Waller, George Wettling, Jazz At Chautauqua, jazz blog, Jazz Lives, jazz poetry, Jess Stacy, Jimmie Noone, Joe MArsala, Joe Sullivan, Keith Ingham, Mel Powell, Michael Steinman, Nat Pierce, Pee Wee Russell, Vince Giordano
This very inspired duo — Harry on tenor, Ehud on piano — took the stage early on at Jazz at Chautauqua and left a deep impression. Although their play looks casual, they reach memorable heights — whether they are handling the twists and turns of PUTTIN’ ON THE RITZ like a pair of gliding skiers, or turning SOME OTHER SPRING into a rueful ode.
Some duos are an exhibition of two very ego-driven selves who happen — sometimes under duress — to occupy the same space. Harry and Ehud listen seriously to each other, and their duo becomes more than the two men standing on a much larger stage. Ehud’s spikiness plays off Harry’s creamy tone; they complement rather than collide. A witty telepathy governs their interplay. Even the people trotting to and fro with full plates were grinning at what they were hearing.
For Mr. Berlin, Mr. Astaire, and Miss Rogers — ISN’T IT A LOVELY DAY? Who could say anything but “Yes”? Hear Harry’s purring, yearning sound; admire Ehud’s most sympathetic commentary: adding up to a lovely quiet seriousness with not one superfluous note:
Ehud loves James P. Johnson, and here the duo takes that lovely ballad IF IF COULD BE WITH YOU ONE HOUR TONIGHT (or “ONE HOUR” for those in a hurry) at a surprising clip — a young Bud Powell has entered the room. But there’s a sterling precedent for this kind of audacity: think of Bill Basie and his little band riding high on SHOE SHINE BOY in 1936. Midway through the exultant performance, you’ll have to remind yourself that this is a duo, not the Blue Note Jazzmen:
THE LITTLE THINGS THAT MEAN SO MUCH was the song Teddy Wilson used as the theme for his short-lived big band. And as Ehud says, it’s so true — not only for this kind of heartfelt chamber jazz, where every nuance counts — but as a life-motto:
PUTTIN’ ON THE RITZ is virtuosic but never exhibitionistic:
And, to close, a sweetly sad SOME OTHER SPRING, with memories of Lady Day:
Jazz, stripped down to its essential selves, with no distractions!
Posted in "Thanks A Million", Ideal Places, Irreplaceable, Jazz Titans, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love
Tagged Al Cohn, Art Tatum, Ben Webster, Billie Holiday, Blue Note Jazzmen, Bud Powell, chamber jazz, duet, Ehud Asherie, Fred Astaire, Ginger Rogers, Harry Allen, Irving Berlin, James P. Johnson, Jazz At Chautauqua, jazz blog, Jazz Lives, Lady Day, Michael Steinman, swing, synergy, Teddy Wilson, telepathy