Daily Archives: August 3, 2018

A FEW WORDS FOR OUR FRIEND RON HOCKETT

I only had the good fortune to meet Ron Hockett in person once — at a John Sheridan Dream Band session for Arbors Records at Nola Studios in Manhattan. Of course I’d heard him play before, so it was a pleasure to speak to him, but even more than his playing, I was impressed by his easy kindness, the quiet spirituality he brought in to the room, even when he was sitting silently, listening to a playback.

In case his sweet lucid sound isn’t familiar, here he is (with John Sheridan, James Chirillo, Phil Flanigan, Jake Hanna) on IF DREAMS COME TRUE:

Dreams coming true — and needing to come true — are the subject of this post.  Recently, Ron’s friend and mine, Sonny McGown, contacted me to say that Ron’s health was deteriorating.  Here’s the news from Alex, Ron’s stepdaughter:

In February, Ron received a diagnosis of idiopathic pulmonary fibrosis, which is a chronic and progressive scarring of the lungs which eventually leads to respiratory failure. There is no cure, the only real treatment is a lung transplant. He is now a patient at Duke . . . and if all of the testing/evaluations/pulmonary rehab goes well, he will be listed for transplant. He has a five day evaluation in August. He is on supplemental oxygen with exertion but he can still play the clarinet thus far! It is our biggest hope that all of this will happen and that he will be healthy, will once again be able to travel and play larger gigs, see his friends, and of course be able to breathe! As you can imagine, the cost is enormous and he and my mom will be forced to relocate for a year or so.  I’ve just started a fundraising campaign on GoFundMe.

Here‘s the link.

And here’s some lovely music that I hope will evoke generous feelings and actions.  Let us do a friend a favor.

May your happiness increase!

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DALTON RIDENHOUR, POET-NAVIGATOR (Scott Joplin International Ragtime Festival, May 31, 2018)

Dalton Ridenhour, photograph by Aidan Grant

I’ve heard the splendid pianist Dalton Ridenhour several times in New York City, although most often as a member of an ensemble — where, Hines-like, he glitters and surprises.  But this year’s Scott Joplin International Ragtime Festival (in Sedalia, Missouri) offered more opportunities to savor his exceptional solo and duo playing — both deeply rewarding.

I said to him that he reminded me, at the keyboard, of a man who had built his own idiosyncratic, beautiful house, and was gently exploring it in the dark.  And, of course, inviting us along for the journeys.  He said the metaphor was about right.

Dalton can frolic and stomp, but he can also muse, and his playing is always animated by wonderful rhythmic impulses.  He takes familiar repertoire and through slight shifts — he’s never cliched — we visit old songs and hear them, tenderly liberated from decades of routine.  He doesn’t covet “innovation” for its own sake, but his performances reflect his deep self, no matter what the tempo.  Here he guides us, gently but with swinging intent, through four compositions either by or associated with Fats Waller.

I find it so reassuring to know that he and his music exist, and hope you share my delight.

Here’s MARTINIQUE, from Fats’ last show, EARLY TO BED.  I envision it as a hip-swinging chorus line dance: admire how Dalton’s variations within the form expand and extend it without ever undermining it:

SWEET SAVANNAH SUE begins close to the 1929 Waller version, but becomes even more spirited and playful as it goes along:

Another kind of sweetness, the Harry Warren SWEET AND SLOW, as a change of pace.  I love this song dearly, and hear Al Dubin’s always-clever lyrics in my head:

Finally, the Waller classic so often obliterated into a series of chords — but not here — HONEYSUCKLE ROSE, which Dalton turns into a stroll through familiar fields yet with surprising vistas.  And his shift into Uptown tempo halfway through still makes me feel uplifted:

How that young fellow can play!  And his imagination is broad and unfettered.

May your happiness increase!