Daily Archives: August 29, 2011

PIECES OF OUR PAST (August 2011)

Wordsworth was correct when he wrote that in “getting and spending” we “lay waste our powers.”  I live not too far from a large shopping mall, and visit it only when other ways to buy something necessary are worse.  But certain kinds of “getting” and “spending” aren’t so bad: when the purchases uplift the spirits and don’t cost much.  Exhibits below.  First, sheet music from a Vallejo, California antique shop.

I was motivated to buy this 1926 laff-riot because of the title and the line drawing — I sympathize with that fellow, even though I haven’t worn a three-piece suit in years.  However, instead of being a comic ditty about table manners, it is more literal — X does all the work but Y, who doesn’t, gets all the credit.  And it must have been a smash in vaudeville, for the inside front cover contains 24 knock-em-dead versions of the chorus.  I will spare you.  And if the name “Larry Shay” looks familiar, he was in part responsible for WHEN YOU’RE SMILING.

A much more seriously valuable song: I can hear Billie singing it or Ed Hall playing it.  The most touching part of this sheet music is the inscription of ownership on top — I don’t know if it’s entirely visible, but this copy was the property of WOODY’S DANCE DEMONS.  I looked them up on Google and didn’t find anything, but that doesn’t mean they didn’t play well in 1929 or 1930.

This song is deeply unimaginative, but I thought that if the Benson Orchestra had played it and its composer had written OKLAHOMA INDIAN JAZZ, it might have some merit.  We live in hope.

I wouldn’t call this a memorable Berlin tune (I suspect it was meant as a frisky dance number) but it does contain the lines, “Let me mingle with a peppy jingle / That the jazz bands love to play,” which is certainly hip for 1922.

I heard Rosy McHargue sing this on a Stomp Off recording (he must have been in his middle eighties) and thought it was hilarious.  Also, isn’t that the most thoroughly anthropomorphized dog face you’ve ever seen?  Now for several artifacts that are more fragile, heavier, and harder to pack — but no less irresistible.

Although I can’t imagine Eddie Condon with a novel in front of him, he admired John Steinbeck and was very proud that they were friends.  Steinbeck loved the music that Eddie and the boys created, with only one caveat: he kept asking Eddie to take up the banjo again, an offer Eddie steadfastly pushed aside.  This 12″ 78 cost more than fifty cents when it was new, and the band is flawless.

Also (not pictured, but you can imagine):

another Commodore 12″ of OH, KATHARINA and BASIN STREET BLUES; a Blue Note Jazzmen 12″ of WHO’S SORRY NOW (no question mark) and BALLIN’ THE JACK.  Moving into the microgroove era, I proudly snapped up a Collectors’ Classics lp of the Red Allen Vocalions 1934-5 (with the exultant ROLL ALONG, PRAIRIE MOON), Ray Skjelbred’s first solo session for Berkeley Rhythm Records, from 1973-4 (signed by the artist), and the JUMP compilation of (Charles) LaVere’s Chicago Loopers, with Jack Teagarden, Joe Venuti, Nick Fatool, and other stalwarts.

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YOUNGBLOODS

Two great minds with but a single thought: the joy of jazz.  Jon-Erik Kellso (left); Jim Goodwin (right), captured on film in Florida.  Photograph courtesy of the John Smith Jazz Archive / United Swing Federation, LLC.

Jon-Erik is still in fine form and will flash that smile if you say the right thing.  We miss Jim Goodwin.

MICHAEL KANAN and FRIENDS (Sept. 1, 2011)

You don’t ordinarily think of special things happening on Thursday — Friday morning work looms — but September 1, 2011, will be a special night for beautiful improvisations in New York City.  If you can get to 211 West 46th Street between 7 and 11:30, you will hear some splendid music.

The occasion is another one of Michael Kanan’s beautiful piano evenings, taking place at Sofia’s!  Michael, Larry Ham, Tardo Hammer, and Pete Malniverni will be alternating at the keyboard for the entire evening — ably supported by Lee Hudson, bass; Eliot Zigmund, drums.

From those names, you know that lyrical explorations of melody, of songs newly reconsidered and ones you haven’t heard in a long time, will be the consistent subject.  All the pianists on this bill are friends; they have their own deep ways of exploring music without falling back on the usual post-bop cliches, and they are players who easily get to the heart of a song.

Michael is not only a subtle man at the keyboard; he has a subtle architectural way with musical evenings.  Rather than organize his friends into possibly lengthy solo showcases, he makes these Sofia’s evenings a series of small surprises, a tumbling cornucopia of musical gifts.  Each of the four pianists will perform two songs and then get off the piano bench for his colleague.  The result is not only a night of bright moments and subtle contrasts, but each of the players, in his own way, reflects what he’s just heard — so the evening is much more than one improvisation after another, it takes on its own shimmering shape — as if you’d eaten a wonderful layered multi-course meal, seen a moving three-act play.  It’s a chamber concert of the finest kind for jazz listeners.

Sofia’s is at 221 W. 46th Street, NYC (between Broadway and Eighth Ave): no cover, no minimum, just quiet jazz mastery.