Monthly Archives: July 2015

THE FROLICS AT FRAUNCES (Part One): ROB ADKINS, MIKE DAVIS, CRAIG VENTRESCO (July 25, 2015)

Fraunces Tavern

To some, Fraunces Tavern at 54 Pearl Street in lower Manhattan is most famous as the spot where George Washington held a farewell dinner for his troops in 1789.  Others like it because of their wonderfully extensive beer list and straightforward food — nice servers always, too.  Also, it’s a fine place to bring the family if you’re coming or going to Ellis Island or the Statue of Liberty.

For me, it’s a little-known hot spot of rhythm on Saturday afternoons from 1-4. I came there a few months ago to enjoy the hot music of Emily Asher’s Garden Party Trio [plus guest] — which you can enjoy here — fine rocking music.

But let us live in the moment!  Here are four performances by Rob Adkins, string bass; Craig Ventresco, guitar (the legend from San Francisco and a friend for a decade); Mike Davis, cornet AND trombone.

“Trombone?” you might be saying.  Mike is very new to the trombone — a number of months — and he was playing an instrument not his own.  So he was a little sensitive about my making these performances public (those dangerous eyebrows went up and threatened to stay there) but I assured him that his playing was admirable, even if he was severe on himself.  His cornet work is a complete delight.  The music Rob, Craig, and Mike make is delicate and forceful, incendiary and serene.  You’ll see and hear for yourself on these four performances.  Rob swings out with or without the bow, by the way.

LILA, which I associate with a Frank Trumbauer / Bix Beiderbecke OKeh — a song I’ve never heard anyone play live, so thank you!

WHISPERING, which was once one of the most-played songs in this country and is now terribly obscure:

WAITING AT THE END OF THE ROAD, with memories of Paul Whiteman, Bing Crosby, Andy Secrest, Bix Beiderbecke, and Irving Berlin:

ALEXANDER’S RAGTIME BAND, another Berlin classic, this performance evoking Red Nichols and Miff Mole:

And although it gets me in trouble with some people every time I write it, these three musicians are not necrophiliac impersonators.  They know the old records — those cherished performances — intimately and lovingly, and the records might act as scaffolding, but they are not restricted to copying them. (Ironically, this session reminds me more than a little of the lovely impromptu recordings made by Johnny Wiggs and Snoozer Quinn, although those two musicians didn’t have the benefit of a wonderful string bassist of Rob’s caliber in the hospital.)

There will be more to come from this Saturday’s glorious hot chamber music performance.  And this coming Saturday (August 1) Rob Adkins has asked trombonist Matt Musselman and guitarist Kris Kaiser to start the good works.  I know they will.

May your happiness increase!

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CHAPTER THREE OF SWEET AND HOT IN CLEVELAND: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, NICKI PARROTT, HOWARD ALDEN, RICKY MALICHI (Allegheny Jazz Party 2014)

If you have been living a normal life away from the computer — normal for a warm late July — and have been sitting by the pool rather than following this thread, I understand.

Here and here are the first two chapters of this saga, including leisurely uplifting versions of WHEN YOU AND I WERE YOUNG, MAGGIE; THAT DA DA STRAIN; IF WE NEVER MEET AGAIN.

These performances happened on September 19, 2014, at the Allegheny Jazz Party  — which will happily take place this year from September 10-13, at the very comfortable Inter-Continental Hotel on Carnegie Avenue in Cleveland, Ohio, with music from Thursday night to Sunday afternoon by some of the finest in the world.  The AJP website can be found here.

I went to my first Allegheny Jazz Party in 2004 — when it was still Jazz at Chautauqua — and it was and continues to be a high point of my year.  Why? How about Duke Heitger, trumpet; Dan Block, clarinet; Scott Robinson, taragota, C-melody saxophone, cornet; Dan Barrett, trombone; Rossano Sportiello, piano; Howard Alden, guitar; Nicki Parrott, string bass; Ricky Malichi, drums . . . . playing three more beauties.

One, associated with Kid Ory and Louis Armstrong and his Hot Five, SAVOY BLUES:

Two and three, CALIFORNIA, HERE I COME, with extraordinary solo duets — no, that isn’t an oxymoron! — and then an instant segue into WHEN IT’S SLEEPY TIME DOWN SOUTH, poignantly sung by Duke:

To me — and I know not everyone will agree with me here — these are the three ideal food groups: a blues, a venerable pop song, and something associated with Louis (in this case, two of three).  Can’t go wrong with that fine offering!  This post is happily dedicated to Don “Zoot” Conner, who lives in New England, and who is one of the blog’s most fervent supporters and admirers.  After the first or second offering, he commented — as he sometimes does — asking for MORE.  It pleases me to be able to gratify him.  And myself.  And I hope you.

Onwards to the 2015 Party — where the eight musicians above will be joined by another twenty luminaries (my math is approximate, but you get the idea)!

Tickets and  prices and other necessary information here.  I hope to see some of my readers there.  And I will offer more sterling music from 2014 as we get closer to September 10.

May your happiness increase!

CHAPTER TWO of SWEET AND HOT IN CLEVELAND: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, NICKI PARROTT, HOWARD ALDEN, RICKY MALICHI (Allegheny Jazz Party 2014)

THAT DA DA STRAIN

It felt so good that another helping was the only thing.  Two days ago I posted a delicious performance of WHEN YOU AND I WERE YOUNG, MAGGIE, from the 2014 Allegheny Jazz Party — no, the Allegheny Jazz Party September 10-13, at the very comfortable Inter-Continental Hotel on Carnegie Avenue in Cleveland, Ohio, with music from Thursday night to Sunday afternoon by some of the finest in the world.  The AJP website can be found here.  And you can visit MAGGIE here.

Now for the reason for all these words.  I went to my first Allegheny Jazz Party in 2004 — when it was still Jazz at Chautauqua — and it was and continues to be a high point of my year.  Why?  How about Duke Heitger, trumpet; Dan Block, clarinet; Scott Robinson, taragota, C-melody saxophone, cornet; Dan Barrett, trombone; Rossano Sportiello, piano; Howard Alden, guitar; Nicki Parrott, string bass; Ricky Malichi, drums . . . . playing two.  One, a venerable Dixieland classic, THAT DA DA STRAIN:

How that romps!

And something definitely pretty — a sweet ballad by Louis and his lyric-writer, Horace Gerlach, IF WE NEVER MEET AGAIN:

I think that’s glorious music.  Hot and sweet, too.

IF WE NEVER MEET AGAIN

Tickets and  prices and other necessary information here.  I hope to see some of my readers there.  And I will offer more sterling music from 2014 as we get closer to September 10.

A postscript: more than one musician and listener has asked about the source of THAT DA DA STRAIN.  Either the answer has been a shrug or a hopeful association with Marcel Duchamp and Dada.  It was a song with lyrics — a self-referential opus: “That Da Da Strain” was such irresistible music that it could cause a delightful mental instability.  Hear Eva Taylor (in 1923) make it perfectly clear:

May your happiness increase!

JULIE GELLER’S TRUE SONG

JULIE GELLER

Julie Geller isn’t a jazz singer.  But her heartfelt candid art deserves your attention.  Her music and words need to be heard and absorbed.  Please take three minutes for this:

I’ve never met Julie (a dear friend shared this video with me) but I admire her and what she has created.  And I feel that the cyber-commonplace “Please share” is more than a cliche here.

Here is Julie’s YouTube channel; here is her website.  And her Facebook page.

Music, not death. Always.

May your happiness increase!

SWEET AND HOT IN CLEVELAND: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, NICKI PARROTT, HOWARD ALDEN, RICKY MALICHI (Allegheny Jazz Party 2014)

When_You_and_I_Were_Young,_Maggie_(Ditson_sheet_music_cover)

My first memory of WHEN YOU AND I WERE YOUNG, MAGGIE, is from a life-changing recording by Vic Dickenson on Vanguard Records — a leisurely performance featuring Shad Collins, Ed  Hall, Sir Charles Thompson, Steve Jordan, Walter Page, and Jo Jones.  The song was first a poem, written in 1864, and I wonder if Vic knew it from John McCormack’s recording.

I can hear Vic’s version in my head as I write these words (of course, you can find the performance on YouTube).  Here’s the cover picture, which I treasure for Vic’s expression (you could write your own caption) and the matching light-blue socks:

VIC Showcase

Our business today is with the present, not the early Fifties, with living musicians who will be performing later this year in Cleveland, Ohio, at the Allegheny Jazz Party September 10-13, at the Inter-Continental Hotel on Carnegie Avenue in Cleveland (very comfortable) with music from Thursday night to Sunday afternoon by some of the finest in the world.

My interest in such events has always been THE MUSIC first, talking with people I love second, but the hotel is very modern and refreshing.  One could bring a friend who’s not entirely jazz-mad and (s)he would have a fine relaxing weekend as well.  The AJP website can be found here.

Now for the reason for all these words.  I went to my first Allegheny Jazz Party in 2004 — when it was still Jazz at Chautauqua — and it was and continues to be a high point of my year.  Why?  How about Duke Heitger, trumpet; Dan Block, clarinet; Scott Robinson, C-melody saxophone; Dan Barrett, trombone; Rossano Sportiello, piano; Howard Alden, guitar; Nicki Parrott, string bass; Ricky Malichi, drums . . . . playing MAGGIE:

And perhaps you have family and friends in or near Cleveland?  Or you can advertise for some on Craigslist.

Tickets and  prices and other necessary information here.  I hope to see some of my readers there.  And I will offer more sterling music from 2014 as we get closer to September 10.

May your happiness increase!

IF YOU SLOW DOWN, THE PLEASURE LASTS LONGER

slow_signs

I think my title can be applied many ways, but right now we are talking about music.  One of my particular obsessions — and musicians I’ve talked to about this don’t always agree with me — is that tempos gradually increase, and most bands play music far too fast.  I hear I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME as a ballad or a rhythm ballad; LOUISIANA as a sultry drag; MEAN TO ME as a lament rather than a romp.  (In this, I have noble precedent: think of Louis majestically proceeding through THAT’S FOR ME.  And I heard Ruby Braff play I GOT RHYTHM at ballad tempo with unforgettable results.)

Perhaps because of Henry “Red” Allen, many bands play ROSETTA (officially by Earl Hines but the real story is that it was written by Henri Woode) as an uptempo tune.  But there are two delightful exceptions to this.  One took place during a 1971 concert in upstate New York — led by Eddie Condon, a superb band featuring Bernie Privin, Lou McGarity, Kenny Davern, Dill Jones, Jack Lesberg, and Cliff Leeman.  (It’s been issued on Arbors Records under Davern’s name, as A Night With Eddie Condon, so you can hear it yourself.)  The band leaps in to the first tune, AT THE JAZZ BAND BALL, and does it with speed and energy.  Condon, I think, calls ROSETTA to follow, and Dill Jones, used to playing the song as an uptempo number, starts it off quickly — and Condon stops him, correcting the tempo with a “boom . . . . boom” to a slow, groovy sway. Instructive indeed.

The other example I can offer is more readily accessible, and it started with everyone in a delicious groove from the first notes.  I was there to witness, delight, and record it — on November 28, 2014, at the San Diego Jazz Fest.  The creators are Ray Skjelbred, piano (who set this fine tempo), Marc Caparone, cornet; Beau Sample, string bass; Hal Smith, drums:

And you might want to know that there is going to be a 2015 San Diego Jazz Fest, Thanksgiving weekend, November 25-29, 2015. I know Thanksgiving seems so far away, but time rushes on.

Find out more here and here. I know that Ray Skjelbred, Marc Caparone, Katie Cavera, Dawn Lambeth, Clint Baker, the Yerba Buena Stompers, Carl Sonny Leyland, Nicki Parrott, Rossano Sportiello, Stephanie Trick, Paolo Alderighi, Miss Ida Blue, Molly Ryan, Dan Levinson, Jonathan Stout, Bob Schulz, Chloe Feoranzo, and many others will be making music there.

May your happiness increase!

“POCATELLO,” or SWING LYRICISM, 1946

The trumpeter Joe Thomas would have celebrated his birthday yesterday, but since he left us in 1984, I will do it in another fashion here.

joe-thomas-1

Throughout his career, Thomas was surrounded by more assertive, even aggressive trumpeters, who could play louder, faster, higher.  And thus he did not always get the attention he deserved for his lyrical balanced style, which shone.  But he is a great poet of shadings, tone, and beautifully placed phrases.  At first, his playing might seem simple: ascending arpeggios that woo the ear.  But his singing tone, the darks and lights of his sound, are permanently memorable.  I saw him a few times in the early Seventies, and solos I heard still ring in my memory.  That, to me, is the highest art.

POCATELLO is an improvisation over the harmonies of the then-famous IDAHO, recorded in 1946 by Thomas and friends for his great champion Harry Lim of Keynote Records.  (Thomas had other musical friends who recognized him as special: he recorded with Lil Hardin Armstrong, Fletcher Henderson, Teddy Wilson, Benny Carter, Vic Dickenson, Claude Hopkins — so his beautiful sound and phrasing was heard, as we say.)

The other players on this brief poetic interlude — a swinging one! — are Tyree Glenn, trombone; Hilton Jefferson, alto saxophone; Jerry Jerome, tenor saxophone; Bernie Leighton, piano; Hy White, guitar; Billy Taylor, Sr., string bass; Lee Abrams, drums.

The YouTube video has a verbal introduction by “Leif Smoke Rings Anderson,” which initially startles but is clearly affectionate.  I encourage you to hear and re-hear Joe’s opening chorus and the way he rides out over the band.  Although this was his session, he so graciously makes room for everyone else:

Joe Thomas, a true poet of the idiom.  His work never fades.  I wrote at greater length about his quiet majesty here in 2009.  Happily, much more of his work is available on CD and on YouTube, so he can be heard and loved in this century.

May your happiness increase!