- DILL JONES LIVE IN WALES
- “YOU GET A NUMBER FOR A NAME”: SCOTT ANTHONY with BOB SCHULZ and his FRISCO JAZZ BAND (Sacramento Music Festival, May 26, 2014)
- WE LIVE IN HOPE (January 20, 2021)
- “A WONDERFUL WAY TO START THE DAY”
- “THE DAPOGNY EFFECT,” or, PROF. TO THE RESCUE
- SUNDAY NIGHTS AT 326 SPRING STREET (Part Thirty-Two) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)
- PLAYLAND, or SONNY STRIDES BY (2011)
- “WITH TWO IN ONE SEAT,” or CHASING GLOOM (1936, 2016, 2021)
- “CHINATOWN”! — JON-ERIK KELLSO, CHRIS FLORY, EVAN ARNTZEN, NEAL MINER (Cafe Bohemia, November 14, 2019)
- THE WEATHERBIRD JAZZ BAND SOARS ALOFT, AND WE ARE GRATEFUL
- ERNIE HACKETT REMEMBERS HIS JAZZ FAMILY: “DAD,” “UNCLE VIC,” “PAPA JO,” “MR. SINATRA,” and MORE (December 2020)
- ELEGANT GREASE AND FUNK: GRAMOPHONIACS: “UNDERGROUND SWINGTAPES”
- SUNDAY NIGHTS AT 326 SPRING STREET (Part Thirty-One) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)
- GROOVING, DOWNTOWN: CHRIS FLORY, EVAN ARNTZEN, JON-ERIK KELLSO, NEAL MINER (Cafe Bohemia: November 14, 2019)
- HOW’S YOUR SUPPLY OF CRUMBS?
- HOPEFULLY YOURS: JACOB ZIMMERMAN and STEVE PIKAL (Jazz Bash by the Bay, March 7, 2020)
- GLOWING IN THE DARKNESS (Part One): BARBARA ROSENE, DANNY TOBIAS, CONAL FOWKES (Mezzrow, June 13, 2017)
- BILLY BUTTERFIELD, A FEW MORE CHORUSES
- BILLY BUTTERFIELD, “A VERY LOVING MAN,” RECALLED BY HIS FAMILY
- PAINTED PEACOCK AND PURPLE SUNBIRD: JON-ERIK KELLSO, TOM PLETCHER, BOB HAVENS, DAN BLOCK, BOB REITMEIER, EHUD ASHERIE, VINCE GIORDANO, HOWARD ALDEN, PETE SIERS (Jazz at Chautauqua, September 19, 2009)
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Daily Archives: October 19, 2013
AT THE VERY PEAK: MUSIC FROM THE STRIDE SUMMITS (DICK HYMAN, MIKE LIPSKIN, STEPHANIE TRICK, CLINT BAKER, PAUL MEHLING: Lesher Arts Center, August 24, 2013)
Stride piano, beautifully performed, is amazing. For one, there is the simple athleticism required. Try keeping your left hand moving (on a table) at a typical Waller tempo for three minutes without letting the tempo drop or accelerate. And movement in itself isn’t enough; the keyboard is more than a snare-drum head.
But it’s not simply a matter of pounding out single notes and chords (widely-spaced) in the left hand. The best stride players understand that the form has within it the potential to become mechanical, so they create rhythmic tension between bass and treble; they vary dynamics; they add shade and light through chord voicings.
It’s rather like writing a sonnet: that iambic pentameter, those fourteen lines, that set rhyme scheme can be a prison or its apparent limitations can inspire the most dazzling creativity.
And stride duets are even more intense, more precarious: when they come off splendidly, it is beyond remarkable art and precision.
We are fortunate that even after the great stride triumvirate — Waller, James P., and the Lion — left us, there were many successors (think of Wellstood, Ewell, Sutton in the recent past) and there is a wonderfully creative gang of striders, here and globally, who continue to delight.
The form stretches across the generations. In the Stride Summits held in Walnut Creek and San Francisco at the end of August 2013, concerts invented and sustained by Mike Lipskin, we had Stephanie Trick and Dick Hyman, separated by six decades . . . with Mike, Clint Baker, and Paul Mehling, nestled happily in the chronological middle.
Mike Lipskin — known to most as someone who learned from the Lion, from Eubie Blake, and many other elders, a fine pianist, singer, composer, and wit — is also a diligent musical thinker, so his concerts don’t degenerate into Fast and Loud. These three concerts were beautifully planned and the music was varied throughout.
The Beloved and I saw all three concerts (August 24-25) and enjoyed every note. I was able to bring my camera to the Lesher Arts Center and although I recorded them from one side of the stage, then the other, “waiting in the wings” has never been such a pleasure.
Here is a handful of keys (and, yes, that is the first song) from these happy stride nights that didn’t take place uptown in Harlem some time in 1936 — but in our century.
Fats’s early showpiece, HANDFUL OF KEYS, by Dick and Mike:
Eubie Blake’s TROUBLESOME IVORIES, by Stephanie, who tames the keyboard with grace:
Rocking the house in a different way with BOOGIE WOOGIE STOMP by Stephanie and friends (who couldn’t stop themselves from joining in):
Serene and mystical — the early Gershwin theme, LULLABY, by Dick:
Pastoral ruminations in 3 / 4, with Fats’ JITTERBUG WALTZ, by Dick:
A tribute to James P. Johnson, the worthy patriarch, with OLD-FASHIONED LOVE / KEEP OFF THE GRASS, by Stephanie and Mike:
Pete Johnson’s DEATH RAY BOOGIE (inspired by early science fiction, films, or comic books, I wonder?), by Stephanie:
And something truly “ancient,” Cole Porter’s IT’S ALL RIGHT WITH ME, by Mike and Dick:
It was all right — and more — with three audiences, I assure you.
Did you miss these concerts? You might have, since they were sold out very quickly.
But there’s good news. “Mark it down,” as Billie said on MISS BROWN TO YOU.
There will be another Stride Summit at the positively gorgeous Filoli on August 10, 2014. It is not too early to plan for this ecstatic happening.
P.S. Dinah Lee also sang beautifully at the three concerts. Sadly, the technical limitations of my camera prevented her from being shown off as she should be. But there will be videos of Dinah to come!
May your happiness increase!