Monthly Archives: July 2018

“HOTTER THAN A FORTY-FIVE!”: CARL SONNY LEYLAND / MARC CAPARONE, PART ONE (Scott Joplin International Ragtime Festival, June 2, 2018)

Both purr; neither is declawed. Carl is to the right.

My title has nothing to do with the NRA.  It was King Oliver’s highest praise.

I’m coming out of a delighted exhaustion — a long weekend at the Evergreen Jazz Festival, a cornucopia of good sounds, prefaced by a night at Dorothy Bradford Vernon’s wonderful barn dance in Longmont, CO — so I can’t muster up many words.  Yes, Virginia, there will be videos.

The two fellows above were stars at Evergreen, and were beautifully hot in duet at the 2018 Scott Joplin International Ragtime Festival, so here they are.  Marc was a wonderful one-fifth of the Holland-Coots Jazz Quintet, and Carl led his own trio.  I don’t have the energy to figure out what one-fifth and one-third add up to in grade school math, but the me the result is Startling Joys.  Put that in your calculator.  Echoes of Big Joe Turner, Bunk Johnson, and W.C. Handy, gloriously.

Marc Caparone and Ricky Riccardi, considering important matters

and when they go crazy, it would not be surprising:

and

More to come, in many delightful shapes and sizes.  You know that Carl and Marc will be gracing the STOMPTIME cruise in 2019, of course?  I think the cat has to stay at home, though.

May your happiness increase!

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JON DE LUCIA OCTET and TED BROWN: “LIVE AT THE DRAWING ROOM” (October 22, 2016)

Although this CD is rather unobtrusive, no fuss or ornamentation, it captures a truly uplifting musical event, and I do not write those words lightly: music from tenor saxophonist Ted Brown, a mere 88 at the time of this gig, and a splendidly unified, inventive ensemble.

I’ve only known Jon De Lucia for a few years, but I trust his taste completely, and his performances always reward me.  Now, if I know that one of Jon’s groups is going to perform, I head to the gig with determination (and my camera). He asked me to write a few lines about this disc, and I was delighted to:

Some jazz listeners disdain “West Coast jazz,” “cool jazz,” or any music in the neighborhood of Lennie Tristano (not just East 32nd Street) as so cerebral that it’s barely defrosted. Jon De Lucia’s Octet shows how wrong that perception is: this music is warm, witty, embracing, not Rubik’s Cube scored for saxophones. Rather, the playful, tender spirit of Lester Young dances through everyone’s heart. This impassioned group swings, even when the players are intently looking at the score. For this gig, the Octet had a great spiritual asset in the gently fervent playing of Ted Brown, a Sage of melodic invention. Also, this session was recorded at one of New York City’s now-lost shrines, Michael Kanan and Stephanie Greig’s “The Drawing Room,” a sacred home for all kinds of music. I am grateful that Jon De Lucia has created this group: so delightful in whatever they play. You’ll hear it too.

Here’s what Jon had to say:

Saxophonist Jon De Lucia met the great tenorist Ted Brown in 2014, and got to play with him soon after. He was and is struck by the pure lyricism and honesty in his improvising. One of the original students of forward thinking pianist Lennie Tristano in the 1940s, Brown, along with Lee Konitz, is among the last of this great school of players. Later, when De Lucia discovered some of Jimmy Giuffre’s original scores from the Lee Konitz meets Jimmy Giuffre session of 1959, which Brown and Konitz both participated in, he knew he wanted to put a band together to play this music with Ted.

Thus the Jon De Lucia Octet was formed. A five saxophone and rhythm lineup with unique arrangements by the great clarinetist/saxophonist Jimmy Giuffre. The original charts featured Lee Konitz on every track, and the first step in 2016 was to put a session together reuniting Brown and Konitz on these tunes. An open rehearsal was held at the City College of New York, Lee took the lead and played beautifully while Ted took over the late Warne Marsh’s part. This then led to the concert you have here before you.

De Lucia steps into Lee’s shoes, while the features have been reworked to focus on Brown, including new arrangements of his tunes by De Lucia and daughter Anita Brown. The rest of the band includes a formidable set of young saxophonists, including John Ludlow, who incidentally was a protege of the late Hal McCusick, who also played on the original recording session of Lee Konitz meets Jimmy Giuffre, and plays the alto saxophone, now inherited, used in the session. Jay Rattman and Marc Schwartz round out the tenors, and Andrew Hadro, who can be heard to great effect on “Venus De Milo,” plays the baritone. In the rhythm section, Ray Gallon, one of NYC’s most swinging veterans on the piano, Aidan O’Donnell on the bass and the other legend in the room, the great Steve Little on the drums. Little was in Duke Ellington’s band in 1968, recording on the now classic Strayhorn tribute …and His Mother Called Him Bill, before going on to record all of the original Sesame Street music and much more as a studio musician.

The show was sold out at Brooklyn’s now defunct Drawing Room, operated by Michael Kanan and Stephanie Greig. Along with the music previously mentioned, De Lucia had recently acquired some of the original parts from Gerry Mulligan’s Songbook session, which featured Konitz, Al Cohn, Zoot Sims, and Allen Eager in another great sax section recording, this time arranged by Bill Holman. Here the band plays “Sextet,” and “Venus De Milo” from that session. Brown, here making the band a Nonet, plays beautifully and takes part in every tune, reading parts even when not soloing. Not included in this CD is an extended take of Konitz’s “Cork n’ Bib” and Giuffre’s piece for three clarinets, “Sheepherders.” Possible bonus releases down the line!

Since this concert, the Octet has taken on a life of its own, covering the repertoire of the original Dave Brubeck Octet, more of the Mulligan material, Alec Wilder, and increasingly De Lucia’s own material. De Lucia continues searching for rare and underperformed material, rehearsing regularly in NYC and performing less regularly. 

Earlier in this post, I wrote about my nearly-obsessive desire to bring my camera to gigs, and this session was no exception.  However, I must preface the video below with a caveat: imperfect sight lines and even more imperfect sound.  The CD was recorded by the superb pianist Tony Melone — someone I didn’t know as a wonderful live-recording engineer, and the sound he obtained makes me embarrassed to post this . . . but I hope it acts as an inducement for people to hear more, in delightfully clear sound:

If you gravitate towards expert warm ensemble playing, soloing in the spirit of Lester, a mixture of romping swing and tender introspection, you will applaud this CD as I do.

You can buy it here, with digital downloads available in the usual places.

May your happiness increase!

“I’LL HAVE SIX OF YOUR BEST MORTONS, PLEASE!”: DAVID HORNIBLOW and ANDREW OLIVER PLAY JELLY ROLL

I’ve fallen behind in my Morton studies, but Professors Oliver (piano) and Horniblow (reeds) of the Complete Morton Project are forgiving.  So here’s a hot half-dozen.

GEORGIA SWING (in a performance that has some of the dash of the 1928 WEATHER BIRD to it):

GET THE BUCKET (with compact glee-club vocals):

The poignant IF SOMEONE WOULD ONLY LOVE ME:

Was Mabel FUSSY or simply sensitive?  The label calls her “Meticulosa,” which sounds better.  We can’t know, but hear this:

Wow, here’s PRETTY LIL (who had a better press agent than Mabel, I guess):

Finally, the floral-sounding PRIMROSE STOMP:

And leave us not forget the Vitality Five’s July e-78:

I have a small collection of 78s, but I applaud e-78s as well: they don’t break and take up less space.  And when one has to move, there’s none of that lower back pain.  Highly recommended.

May your happiness increase!

“EVAN ARNTZEN MEETS LA SECTION RHYTHMIQUE” (DAVE BLENKHORN, SEBASTIEN GIARDOT, GUILLAUME NOUAUX, 2017)

The way art is perceived, explained, and marketed can be distant from the art itself.  Some critics and fans pounce on an artist, decide that (s)he does one thing superbly, and make that an identity.  Dick Wellstood = Stride Pianist.  Vic Dickenson = Dixieland Trombonist.  Gerry Mulligan = Modernist. And so on.  However, artists find these identities imposed by others are rather like clothes two sizes too small.  Happily, through the history of jazz we find musicians who can and want to do more than their “role” asks of them.

One such person is the reed virtuoso, composer, and singer Evan Arntzen.

Evan Arntzen, photograph by Tim Cheeney

This modern age being what it is, I believe I first encountered Evan through video and compact disc before I met him face-to-face in New York, but I admired his deep swing, cheerful musical intelligence, and deep feeling in all the media I saw and heard.  And since I’ve had many more opportunities of late to savor his work because of the Holland-Coots Jazz Quintet, I have come to value him all the more.  He can easily play alongside Terry Waldo in the darkness of Fat Cat, read the notes flying by as a member of Vince Giordano’s Nighthawk rhythm section, fit right in with the EarRegulars . . . as well as being a shining light of a dozen other bands, including his own (one such aggregation was called the Scrub Board Serenaders and may now be called the Animule Dance).  And he’s a compelling singer (hear I’LL GET BY) that had he been born decades earlier, we’d be reading about girls swooning at the Paramount.  This new CD, recorded in France in January 2017, is a marvel because it shows how well he can be himself in many ways, all rewarding.

Here’s Chris Smith’s venerable BALLIN’ THE JACK from this CD:

Some of you might think that is heretical, and you are welcome to do it, because it doesn’t follow the paths you hear in your head, those strictures created by famous records — but it sounds like fine inventive witty music to me.  I know, as do you, how BALLIN’ THE JACK is “supposed” to sound — a performance should, by the laws of whatever Deity you like, start with an ensemble version of the last eight and then go right in to it.  None of this Fifties television mood-setting vamp, no Second Line beats, no exploration, right?  I much prefer these four fellows finding joy in the mildly unexpected and sharing it with us.

“La Section Rhythmique” is not simply your average pianoless trio, but a small stellar musical attraction on its own, lyrical, inquisitive, and impassioned.  They know the past but they live in the present, which I commend.

And this quartet creates immensely pleasing variations on the familiar — Evan’s sweetly intense vocal on MISTER JELLY LORD (is it sincerely audacious or audaciously sincere?); a hip serpentine line on I ONLY HAVE EYES FOR YOU called HALF EYES (wordplay worthy of Mel Brooks); a clarinet-guitar duet on ISN’T IT ROMANTIC, taken a little faster than usual, perhaps in the name of Modern Romance; a glorious TICKLE-TOE that summons up, without imitation, the blessed Lester Young – John Collins live version; a tender PLEASE that begins with a questing improvisation, perhaps to keep the listener from falling into complacencies; a LITTLE WHITE LIES that tips its 1945 fedora to Don Byas; AFTERTHOUGHT, a happy improvisation on a jazz standard with a similar title that works its way in from the outside; I’LL GET BY that so tenderly explores this dear song in a multiplicity of ways, vocally and instrumentally; a TWELFTH STREET RAG that would have made Milt Gabler very happy; the concluding LOTUS BLOSSOM, deeply reverent, quietly emotional.

Evan, in addition to his other talents, is a marvelous bandleader, someone devoted to getting the most out of the other people on the stand.  A musician with a much more limited vision would see himself as The Star and the others as The Supporting Cast, thus performances would be Ensemble-Solos-Ensemble or some other formula.  Evan is untrammeled by conventions unless the conventions work in gratifying ways: like my hero Ruby Braff, he views a quartet as four equal voices, with imaginative possibilities resounding.  If you sit down with one track that especially pleases you and chart who’s-doing-what-now for the three or four minutes, you will be pleasantly astounded at the richness and variety.

If it isn’t clear by now, I think this disc is a treasure.

You can buy a digital download ($10), an actual disc ($15), and hear sound samples here.  Although it’s only by purchasing the disc — how archaic to some! — that you can read the typically splendid notes by Dan Morgenstern.

May your happiness increase!

STOMPTIME! A MUSICAL “CARPE DIEM” AT SEA (April 27 – May 4, 2019)

I’ve never been on a cruise, but I now have one to look forward to in 2019 with the promise of joy afloat on the debut STOMPTIME adventure.

I like things as much as the next person, but I am also a collector of experiences, which are much more durable even though often intangible.  And I believe strongly that we need to seize the day — life, as we know it, has that annoying finite quality — and, in this case, seven days in the Eastern Caribbean to a jazz and ragtime and blues soundtrack — much more alive than Spotify or a pair of earbuds.

A digression: I don’t advertise events or objects (discs, concerts, festivals) on this blog that I wouldn’t listen to or go to, and I pay my way unless some promoter begs me to keep my wallet shut or a musician sends me her CD.  So I am going to be on this cruise, and not for free in return for an endorsement.  Just in case you were wondering.

Here’s one soundtrack for you to enjoy as you read:

That’s not a well-known record, so here’s some data: Red Nichols, Tommy Thunen, Glenn Miller, Jimmy Dorsey, Babe Russin, Adrian Rollini, Jack Russin, Wes Vaughan, Gene Krupa, January 1930.

What, I hear you asking, is STOMPTIME?  To give it its full name, it is Stomptime Musical Adventure’s 2019 Inaugural Jazz Cruise.  It will mosey around ports and islands in the Eastern Caribbean, on the Celebrity Equinox leaving from Miami.  Space is limited to 250 guests, and special offers are available to those who (like me) book early.

Here is the cruise itinerary.

With all deference to the beaches and vistas, the little towns and ethnic cuisines, I have signed up for this cruise because it will be a seriously romping jazz extravaganza, seven nights of music with several performances each day.  Who’s playing and singing?

Evan Arntzen – reeds / vocals; Clint Baker – trumpet / trombone; Jeff Barnhart – piano / vocals; Pat Bergeson – guitar / harmonica; BIG B.A.D. Rhythm; Marc Caparone – cornet / vocals; Danny Coots – drums; Frederick Hodges – piano / vocals; Brian Holland – piano; Holland-Coots Jazz Quintet; Nate Ketner – reeds; Carl Sonny Leyland – piano / vocals; Dick Maley – drums; Steve Pikal – upright bass; Andy Reiss – guitar; Sam Rocha – upright bass / vocals
Stephanie Trick & Paolo Alderighi – piano duo.

Even though that list ends with the necessary phrase, “Performers subject to change,” it’s an impressive roster.

Here’s a six-minute romp for dancers by the Holland-Coots Jazz Quintet, whom I follow on dry land and on sea, that I recorded on June 1, 2018, at the Scott Joplin International Ragtime Festival:

Of course you’d like to know how much a week of pleasure costs: details here.  An interior cabin will cost $1548.13 per person, and there is an additional VIP package for $250.  If this seems a great deal of money, just start repeating to yourself: “A week of lodging, adventure, food, and music,” and do the math.  Feels better, doesn’t it?  My cruise-loving friends tell me that Celebrity is well-regarded — a cruise line catering to adults rather than children, with good food and reassuring amenities.

Amortize, you cats!” as Tricky Sam Nanton used to say.

Two other points that bear repeating.

The great festivals of the past twenty years are finding it more difficult to survive: because they are beautiful panoplies of music, they are massive endeavors that require audience participation. I am a newcomer to this world, having been part of a jazz weekend for the first time in 2004, but I could make myself sad by reciting the names of those that have gone away.  And they don’t return.

Enterprises need support to — shall we say — float?  I know many good-hearted practical people who say, “Wow, I’d love to do that.  Maybe in a few years,” and I can’t argue with the facts of income and expenses.  But we’ve seen that not everything can last until patrons of the arts are ready to support it.  Ultimately, not everything delightful is for free, and one must occasionally be prepared to get out of one’s chair and tell the nice person on the other end of the line one’s three-digit security number on the back of the card.  Be bold.  Have an experience.

I hope you can make this one.

Postscript, just in (July 23) from my nautical-maritime-jazz expert, Sir Robert Cox: “You have picked you ship well as Celebrity Equinox is a Solstice-class cruise ship built by Meyer Werft in Papenburg, Germany. Celebrity Equinox is the second of the five Solstice-class vessels, owned and operated by Celebrity Cruises.”

May your happiness increase!

DENNIS LICHTMAN and THE QUEENSBORO SIX: “JUST CROSS THE RIVER”

Slightly less than three years ago, the superbly gifted multi-instrumentalist / composer Dennis Lichtman assembled his Queensboro Six and gave a concert at the Louis Armstrong House Museum in Corona, Queens.  Here is the first half, and here is the second.  The music was multi-colored and seriously rewarding: Dennis’ tribute to the true jazz borough, Queens County, New York, home of so many jazz figures — from Clarence Williams and Basie to Louis and Dizzy, Milt Hinton and James P. Johnson — and currently home to so many more of the musicians we love.  Dennis assembled his Queensboro Six for a truly delightful new CD, its title above, its theme song below:

This disc is a model of how to do it — musicians and composers take note.  For one thing, the band has an immense rhythmic and melodic energy, but the pieces are compact — sometimes explosions of twenty-first century Hot, sometimes evocative mood pieces, but none of them sounding just like the preceding track.  Dennis is a real composer, so that even an exploration of Rhythm changes sounds lively and fresh.  His arrangements also make for refreshing variety, so that one doesn’t hear him as the featured soloist to the exclusion of the other luminaries, and the performances are multi-textured, harking back to the later Buck Clayton, to Charlie Shavers’ work for the John Kirby Sextet, Raymond Scott, to sensitive elegies and musings that hint at the work of Sidney Bechet and Django Reinhardt.  You’ll also notice compositions by and associated with those Queens denizens Louis, Fats, Clarence Williams.  As that borough boasts some of the finest ethnic restaurants, this disc offers one savory musical dish after another.   As they used to say, “For listening and dancing”!  Peter Karl is responsible for the lovely recorded sound and Ricky Riccardi for the fine liner notes.

Here are some details.  The musicians are Dennis, clarinet; Dalton Ridenhour, piano; Gordon Au, trumpet; J. Walter Hawkes, trombone; Rob Garcia, drums; Nathan Peck, string bass — with guest appearances by Jerron “Blind Boy” Paxton, vocal , guitar; Mazz Swift, violin, vocal; Terry Wilson, vocal; Nick Russo, guitar.  If you know even a few of those performers, you will want this disc, because they seem especially inspired by Dennis’ compositions, arrangements, and playing.  And no one imitates any of the Ancestors.

The songs are 7 EXPRESS / FOR BIX / MIDNIGHT AT THE PIERS / ROAD STREET COURT PLACE AVENUE DRIVE / SOMEDAY YOU’LL BE SORRY / WALTZ FOR CAMILA / L.I.C. STRUT / JUST CROSS THE RIVER FROM QUEENS / BLUE TURNING GREY OVER YOU / 23rd BETWEEN 23rd AND 23rd / SQUEEZE ME / THE POWER OF NOT THEN / I’D REMEMBER HAVING MET YOU / CAKE WALKING BABIES FROM HOME.

You may order a download or a disc here at very reasonable prices.

But perhaps more important than the disc itself, on August 1, the Queensboro Six will play two sets at Dizzy’s Club Coca Cola.  Tickets and details here.  Get yours today:

May your happiness increase!

SYCHRONIZED SWINGING: PAOLO ALDERIGHI / STEPHANIE TRICK, “BROADWAY AND MORE”

Listen, first, to Paolo and Stephanie on two pianos, playing Irving Berlin:

I’ve been at many of their live performances and I think this is the first CD to full capture the scope of what they offer so generously.  Perhaps some of it has to do with their being able to record on two pianos: they are a devoted couple for sure, but the freedom, never verbalized on stage, to have the whole bench and keyboard to oneself, could be liberating.  I won’t ask.  Even in 2018, some facts should stay private.

When I’ve seen them perform, audiences are on their feet at the end of the concert — and it’s not because they want to be the first out to their cars.  Rather, Paolo and Stephanie are not only wonderful pianists and great players, but they are old-fashioned performers, dazzling us every time.

The notion of “performers” may get under the skin of some fans, who insist that their beloved artists are akin to Plato’s mad creators, letting the made-up-right-this-moment transformative energy flow through them like electricity.  What those severe elders don’t understand is that everyone who plays or sings rehearses — so the “jam session” “impromptu” glories we revel in are, in fact, the results of years of practice.  So what Paolo and Stephanie create is polished: let’s say their spiritual model is Dick Hyman, not George Zack (you could look him up).  And what they have to play is plenty.

If you know Paolo and Stephanie, you know that initially they had very different ways of approaching the piano: Paolo’s hero is Erroll Garner; Stephanie comes straight from James P. Johnson and his not-brother Pete.  And as they’ve grown and played together, their influences have melded in the nicest ways, but each of them has retained a deep individuality.  Thus it’s not two artists trying to sound like each other, but working lovingly to complement each other.

The result is delightfully varied: each performance is, without artifice, a whole history of jazz piano, from Joplin to the present moment, seamless and convincing.  Since Paolo and Stephanie are world-travelers and multi-lingual, this ease of movement makes each performance a small yet deeply felt travelogue.  We’re invited to come along, and the cabin is first-class.

The repertoire on this new disc is wide-ranging, but always deeply melodic, and the melodic thread is never lost or abandoned even in the most elaborately glittering improvisations.  An analytical jazz fan will find much to marvel at; your relative who protests that (s)he “hates jazz” will also.  Here’s the tune list:

1. Call Me Madam Medley (Berlin) – 6:30
2. Marie (Berlin) – 4:55
3. Make Believe (Kern, Hammerstein II) – 5:01
4. The Lambeth Walk (Gay, Furber) – 3:49
5. Torna a Surriento / Anema e Core (Curtis, Curtis / D’Esposito, Manlio) – 6:44
6. If I Had a Million Dollars (Malneck, Mercer) – 4:04
7. Heartaches (Hoffman, Klenner) – 3:29
8. The Music Man Medley (Willson) – 7:07
9. An Affair to Remember (Warren, Adamson, McCarey) – 4:50
10. West Side Story Medley (Bernstein, Sondheim) – 7:28
11. Penny Lane (McCartney, Lennon) – 4:57
12. Mr. Sandman (Ballard) – 3:59

If you’re not humming one melody or another, reading those words, you need this CD even more.  And for those who know and love these songs, BROADWAY AND MORE is a treat.

Another helping:

Here you can hear other samples from BROADWAY AND MORE, purchase a disc or download the music.

May your happiness increase!