Daily Archives: March 19, 2014

“JUST IMAGINE: CLASSIC JAZZ AT CLASSIC PIANOS”: REBECCA KILGORE, DAN BARRETT, PAOLO ALDERIGHI

Stampa

I am very happy to announce a new CD by the Rebecca Kilgore Trio (Rebecca, vocal and rhythm guitar; Dan Barrett, trombone, piano, arrangements; Paolo Alderighi, piano) — on Blue Swing Fine Recordings 014.  Recorded at the end of 2013 in Portland, Oregon, it’s called CLASSIC JAZZ AT CLASSIC PIANOS, the latter half of that title referring to the congenial place where the Trio performed and where the disc was masterfully recorded by Randy Porter.  Click here to hear samples.

It’s a delicious session, with Rebecca singing (and playing rhythm guitar on a track or two), Dan on trombone, piano, and providing arrangements, Paolo holding everything together on piano for these selections: OH, LOOK AT ME NOW / DADDY, WON’T YOU PLEASE COME HOME? / JUST A LITTLE BIT SOUTH OF NORTH CAROLINA / SONG OF THE BLUES / JUST IMAGINE / THIS IS MY LUCKY DAY / ALMOST IN YOUR ARMS / I’M IN A LOWDOWN GROOVE / I’M RHYTHM CRAZY NOW / THREE COINS IN THE FOUNTAIN / CRY ME A RIVER / SERENADE TO SWEDEN / SOFT WINDS / MIS’RY AND THE BLUES.  Connoisseurs of Song will note the wonderfully varied repertoire, with loving connections to Billie Holiday, Sammy Cahn, Jack Teagarden, Charles LaVere, Annette Hanshaw, Jean Goldkette, Joe Bushkin, Frank Sinatra, Lester Young, Anita O’Day, Sophia Loren, Fletcher and Horace Henderson, Julie London, Jim Goodwin, Duke Ellington and more, but this isn’t a history lesson.  Rather it is fresh buoyant Music — a rare commodity.

I was doubly privileged to be at the recording session and to be asked to write something for the CD, which also has notes by Dan and Becky. Here’s what I wrote:

More often than not, jazz is asked to blossom forth in inhospitable places: the noisy club where musicians must compete with the bartender’s blender, or the recording studio, a maze of headphones and wires. Imagine a quiet room, shaded as if an Edward Hopper nightscape, with three musicians, two grand pianos, the only other people a recording engineer, himself a musician; another man taking notes. It was no fantasy, for this all happened during two December 2013 sessions in Portland, Oregon, in a back room at CLASSIC PIANOS, where three friends gathered for warm, intimate musical conversations in the name of classic jazz.

Becky, Dan, and Paolo believe that music, created on the spot, can bring joy in the moment and renew us in the future. They gave each of the songs they had chosen its own life, reflective or ebullient: the poignancy of DADDY, the bounce of CAROLINA, the swagger of RHYTHM CRAZY, the romance of COINS, the melancholy of MIS’RY AND THE BLUES. Many of the songs have associations with Annette Hanshaw, Anita O’Day, Jack Teagarden, Julie London, Billie Holiday, Ellington, Charlie Christian, Trummy Young, Sophia Loren, Joe Bushkin, Lee Wiley, Fletcher Henderson. But these sessions were no “tribute,” no “repertory” re-creation, for the musicians brought their own personalities to this project, adding new melodies to the ones we know.

When Becky sings, we hear a gently compelling honesty. Yes, we admire the way she glides from note to note, the creamy naturalness of her voice, the way her smallest melodic embellishments enhance the song, her infallible swing. But what sets her apart is her quiet determination to share the song’s emotional message candidly, fully. Becky doesn’t overstate or dramatize. She doesn’t place herself in front of the material, but she opens the song for us, so that we feel what its creators hoped for.

Hearing Dan, I think, “That is how any creative player should sound: forthright, assured, subtle, inventive.” Like a great musical conversationalist, he always knows the right epigram to add at the right time. I can guess what some other musicians might play in their next phrase, but Dan’s imagination is larger and more rewarding than we expect. His reading of a melody is a joy; his improvisations are witty, pungent. The trombone can be a buffoon or a bully; in his hands it can be divinely inspired, even when Dan’s aural messages are earthy indeed.

Becky and Dan could float or soar all by themselves, and they’ve proved that many times in concert and on recordings since they first met in 1994. CRY ME A RIVER on this disc, majestic and mournful, is proof. But recently they have called in an Italian sorcerer, Paolo Alderighi, who generously spreads rich sound-weavings, Garneresque threads glittering – lovely orchestral tapestries, neither formulaic nor overemphatic. His solos gleam and chime.

In duet, Dan and Paolo are a model of creative conversation in jazz – empathic, intuitive, concise yet fervent. And when they sat down at the two pianos to accompany Becky for MIS’RY AND THE BLUES their contrasting textures were a delight. Completely original, too – neither Evans and Brookmeyer nor Ferrante and Teicher, but splendidly themselves.

What we call The Great American Songbook sometimes weaves helplessly towards songs that, if their lyrics were actual speech, would be legal documentation of domestic abuse, self-inflicted destruction. Over time, Becky has turned away from these famous masochistic outcries. But this disc shows her playing bravely in the dark, getting in a lowdown groove, calling out to an absent lover, creating rueful and vengeful tears. This isn’t a major life-shift in all things Kilgore, but a willingness to expand her repertoire into classic songs based on real life-experiences. She is having a good time being so sad for a few minutes: like Basie, she keeps the blues at bay by playing them. Or it might be her own particular jazz homeopathy practice, where dark cures dark.

These sessions produced lasting music, the rare kind that emerges from a devotion to the art. What a gift to us all!

JUST IMAGINE is now available here.  You can also purchase copies directly from Becky, Dan, or Paolo at their gigs — the most personal way to do it.  I’ve seen them with Sharpies after a session, so going home with an autographed copy is a real possibility.

I understand that JAZZ LIVES readers sometimes skip the text and look for the tasty music video. In this case, the sound that Randy Porter recorded of Rebecca’s floating voice was so lovely that it would do everyone a disservice to post one of my session videos.  But I think I will be forgiven if I post Dan and Paolo’s memorably dark and lovely SERENADE TO SWEDEN as a musical appetizer.  Thanks to Randy, it sounds even more glorious on the CD:

Intimate, refreshing, and warm music.

May your happiness increase! 

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LOOKING AND LISTENING CLOSELY: “IN SEARCH OF RAG-A-JAZZ,” by ANDREW SAMMUT

One of the pleasures of the last few years has been that I have met a whole host of jazz people younger than myself — sometimes seriously younger.

The musicians I cherish and celebrate you all know, and I dare not start the list because a) it would be very long, and b) I surely would leave someone out and hurt her / his feelings.  I’m talking about people who write about this music.

I’ve recently reminded people of the fine heartfelt work Ricky Riccardi is doing — in print, in person, online, on the media — and he is someone I admire and trust, when he speaks about Louis Armstrong and about jazz in general.

You may not know the other young man I am about to celebrate, because he doesn’t have the ebullient public profile of our Mr. R.

But you should know him and his work.  He’s Andrew Jon Sammut, and he thinks deeply but not ponderously about a variety of “early musics,” Vivaldi as well as The Georgians, Locatelli and Larry Binyon. He admires Louis and Bix and the Masters whose names we all know, but he also writes intelligently and with feeling (with research, too) about the people who sometimes get ignored.

His blog is called THE POP OF YESTERCENTURY — Andrew is witty — and the most recent posting is wise and thoughtful, an investigation into that not-well-studied music that draws from ragtime and early ensemble jazz, dubbed later “rag-a-jazz.”  He’s done some serious homework here — in a modern vein — talking with jazz scholar-players Dan Levinson, Vince Giordano, Chris Tyle, Jon-Erik Kellso, David Sager, Hal Smith, and others.

I hope you can read Andrew’s piece: IN SEARCH OF RAG-A-JAZZ. He asks good questions, and invites others to add what they know: the hallmarks of an honest and humane scholar.  I read the piece with pleasure when it came out, and I am proud that he and I can discuss shared passions and questions.  (“What would Don Murray have been like at a dinner party?”  “Is this an important question?” and more.)

May your happiness increase!