Category Archives: Wow!

PRESTO! “TWERK THOMSON PLAYS UNPOPULAR SONGS”

The CD below is delightfully weird but the results are entirely gratifying. Perhaps that sentence should properly read “and the results”: you decide.

Exhibit A.  The process:

Twerk Thomson with Kris Tokarski and Ben Polcer, and two turntables. Photograph by John A. Dixon.

Twerk Thomson with Kris Tokarski and Ben Polcer, and two turntables. Photograph by John A. Dixon.

Exhibit A.1.a: A Presto disc cutter from eBay:

presto-cutter

Exhibit A.1.b: Blank discs, also from eBay:

presto-discs

Exhibit B. The result:

twerk-cd-cover

Exhibit B.1.a.:

bunk-popular

Exhibit C. The results, continued here.

Exhibiit D.  The explanation.  The story has different parts, which combine. Twerk Thomson is a young yet respected New Orleans string bassist, with a real understanding of the art form, often heard with the Shotgun Jazz Band.  And he, like other musicians and scholars, is fascinated by the intersection of “archaic” sound and the technology of its time. It’s one thing to get musicians into a modern studio — which, at its most “modern,” is a very restrictive environment, where musicians can barely see each other and hear each other through headphones . . . and then try to improvise music that will seem natural to the disc’s purchaser.  But what happens when you record twenty-first century improvisers with the technology of the previous century, the century that gave birth to the innovators they (and we) so admire?  The music I am celebrating in this post, created last year, is a tribute to Bill Russell’s American Music creations. And the new CD sounds wonderful.

But something needs to be said about the Presto home record cutter and discs. Before the computer and the iPhone . . . music used to be packaged tangibly on a variety of discs, and enterprising people could record their own music at home — whether it was Aunt Ella singing and playing hymns or the Paso Robles Wanderers working out the trio of MABEL’S DREAM.  I have found these discs at yard sales, and they’ve never offered something life-changing, such as a broadcast from the Reno Club, but they are tantalizing.  The whole idea is roughly parallel to another piece of archaic technology, the Polaroid camera, but I assure you the discs hold up better.

Twerk told me, “I got my first cutter about a year and a half ago, which ended up being completely useless.  So I ended up buying two more.  They come up on eBay every so often. Finding ones that were affordable was the big challenge.
Blanks come up on eBay as well but they are very hit and miss when It comes to quality. I actually ended up finding a bunch of original presto blanks on there once that were actually still usable. They came in the original packaging which was really cool.  But for higher quality blanks we use a company called Apollo, from California.”

The official version is “The performances herein were recorded live with one microphone into a Presto K8 lathe, cut directly to acetate discs at 78 rpm, and edited only for volume. All Sessions Produced by Twerk Thomson and Recorded by John Dixon, Live at Twerk-O-Phonic Studios, New Orleans, LA.”

The songs: OH, YOU BEAUTIFUL DOLL / OLD FASHIONED LOVE / MY GAL SAL / PRETTY BABY / SOMEDAY, SWEETHEART / SWEET BYE AND BYE (Twerk Thomson, string bass; Ben Polcer, trumpet; Kris Tokarski, piano) / JADA / SHINE  / ONE SWEET LETTER FROM YOU / NOON BLUES / MARIE / YOU ARE MY SUNSHINE / MELANCHOLY BLUES  (Twerk, John Rodli, guitar, vocal on JADA; Kris; Ben; James Evans, C-melody saxophone, clarinet; Charlie Halloran, trombone) / IN THE SHADE OF THE OLD APPLE TREE / MAMA’S GONE, GOODBYE / POOR BUTTERFLY (Twerk, Russell Welch, guitar; Alex Owen, trumpet; Bruce Brackmon, clarinet; Marty Peters, tenor saxophone) / HOW COME YOU DO ME LIKE YOU DO? / HOME (Twerk, tenor guitar; Marla Dixon, trumpet and vocal).

Exhibit E: Twerk Thomson on Facebook.

If you’re familiar with any of the heroes recorded on this disc (and you can hear / download / purchase the music on the Soundcloud link above) you will know what to expect: music that is both romping and elegantly controlled, harking back to the Bunk Johnson – Don Ewell – Alphonso Steele trios and slightly larger ensembles.  The “vintage sound” — powerfully focused if somewhat narrower (at first) than we are used to — is so atmospheric.  The discs have occasional surface noise, whooshes and clicks, but the noise is part of the overall effect rather than something added on synthetically.  Everyone plays beautifully and with heart, so the result is not merely the documentation of a gimmick, but a melding of technology and reverent impulse.

I first heard a few of the individual sessions on Twerk’s Facebook page, and thought, “Wow, I hope he puts these into a form that people who want to get away from their computers can purchase and have.”  And he did.  So I can now time-travel to some indeterminate place whenever I want, even while driving to work.  And Twerk has also established Twerk-O-Phonic Studios as a place (a sanctuary for music!) where you can visit and record your own music onto an actual disc — a single artifact, not a mass-produced product — to have, to hear, to admire.  I don’t want this to become such a phenomenon that he no longer has time to play the propulsive string bass he does so well, but a little prosperity would be nice.

I commend this disc to you.  The music on it both embraces and transcends the technology.  And, to me, the complete idea — the musicians, the home environment, the discs — is heartwarming.

May your happiness increase!

“NIGHT AND DAY”: DAWN LAMBETH / CONAL FOWKES at the SAN DIEGO JAZZ FEST (November 27, 2016)

DAWN headshot

A favorite singer, a favorite pianist: you can tell who’s who.

CONAL FOWKES

Thanks to the San Diego Jazz Fest, we get to delight in Dawn and Conal jauntily performing this Cole Porter classic, which I don’t think I’ve ever heard in live jazz performance in decades of watching and listening. Heartfelt unaffected singing, no tricks; ebullient playing.  Conal and Dawn work together splendidly.

Conal played and sang the part of Cole Porter in Woody Allen’s MIDNIGHT IN PARIS: if this is typecasting, I’m all for it.

P.S. Dawn and Conal have plans for a duo CD. I’ll share details with all of you when it is completed, but, as they used to say when there were stores, “Look for it wherever better books and records are sold.”

May your happiness increase!

 

AND SEVEN TO GROOVE ON: JON DE LUCIA OCTET PLAYS GIUFFRE, MULLIGAN, BRUBECK at SIR D’S LOUNGE (Part Two), FEBRUARY 6, 2017.

jon-de-lucia-2-6-17-flyerThis is the second half of a wonderful evening of intricate swinging melodic music played expertly by people I admire.  Here‘s the first half.

And now (drumroll from Steve Little on a borrowed drumset) . . . .

Here’s PREZ-ERVATION, a tribute wrapped in another tribute: Ted Brown’s variations on TICKLE-TOE, arranged for this band by Jon himself:

Some pretty Gershwin, SOMEONE TO WATCH OVER ME, arranged by Jimmy Giuffre, a performance I would share with anyone disdainful of “modern jazz” or “cool jazz”:

Gerry Mulligan’s FOUR AND ONE MORE:

The Brubeck Octet’s LOVE ME OR LEAVE ME:

Bill Smith’s IPCA, variations on INDIANA:

The Encore Edition of THE SONG IS YOU, a happy reprise:

Mulligan’s SEXTET, an exhilarating romp to close off the evening:

What lovely music: propelled, sentimental, intricate yet lyrical.  Bless these players.

May your happiness increase!

“MISTER GLOOM WON’T BE ABOUT”: JON-ERIK KELLSO, EVAN ARNTZEN, ROSSANO SPORTIELLO, FRANK TATE at LUCA’S JAZZ CORNER (Dec. 22, 2016)

luca-jazz-corner

Feeling lower than a snake’s belly?  Or perhaps is “fump” the objective correlative for now?  (Milt Hinton would be happy to explain.) Is the inside of your skull terribly dark these days?

This might help.  The elixir of life mixes the inspiring shades of Louis Armstrong and Hoagy Carmichael with the real-life inspirations offered us by Jon-Erik Kellso, Evan Arntzen, Rossano Sportiello, Frank Tate and someone holding a video camera — on December 22, 2016, at Luca’s Jazz Corner (1712 First Avenue, New York City).  There are no artistic or audible flaws in this video, but there are a few seconds where the focus blurs.  I wasn’t trying out new special effects, but the bright light from above confused the camera’s little brain.  However, blessedly, the sound is unaltered.  Hear for yourself:

Here is more evidence of the cosmic happiness that took place that night: RUNNIN’ WILD and FINE AND DANDY.  Incidentally, a young musician (I believe he plays trumpet) named Wynton Marsalis came in for the second set.  I am sure that he inspired the band, but I am even more sure that this delicious quartet inspired him as well.  As they did me.

Jon-Erik will be bringing a quartet back to Luca’s on March 23, 2017.  I plan and hope to be there.  You should come too.  (Other heroes — Gabrielle Stravelli, Michael Kanan, Pat O’Leary, and Ken Peplowski — have gigs coming up.)

May your happiness increase!

“I’D LOVE YOU STRONG”: ENRICO TOMASSO PLAYS LOUIS (Mike Durham Classic Jazz Party, November 5, 2016)

one-hour-louis

Today is the day after Valentine’s Day, but we know that romance does not stop when February 14 ends.  Call it what you will, the light of love or the light of Louis or both, but they shine through Enrico Tomasso.  Here, Rico plays and sings his own version of Louis’ 1930 classic at the Mike Durham Classic Jazz Party (on November 5, 2016) accompanied by Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball.

I suppose it took and takes a particularly sensitized listener to understand the depths of Louis’ romantic passion, playing or singing.  Even Mezz Mezzrow, Louis’ great champion, said in his autobiography that the jukebox owners in Harlem had their machines full of Louis’ records, but that they had to have a few others because not everyone heard Louis so deeply.  But Rico does, and conveys that enthusiastic passionate energy, both singing and playing.  The only thing missing here is Vic Dickenson’s visual joke — holding up TWO fingers while singing about “one hour tonight.”  Sixty minutes is just too brief an interval to love someone effectively.

As is often the case, many thanks to Eric Devine for invaluable technical expertise — Eric is “CineDevine,” an expert videographer and a good fellow.

May your happiness increase!

EIGHT OF A MIND: JON DE LUCIA OCTET PLAYS GIUFFRE, MULLIGAN, BRUBECK at SIR D’S LOUNGE (Part One), FEBRUARY 6, 2017.

jon-de-lucia-2-6-17-flyer

It happened; I was there; it was superb.

Jon De Lucia, saxophonist, composer, arranger, archivist, brought together five saxophonists (including himself) and rhythm to play arrangements by Bill Holman, Gerry Mulligan, members of the early Dave Brubeck Octet, Jimmy Giuffre, and others. The reed players — from left — are Jay Rattman, John Ludlow, Jon, Marc Schwartz, Andrew Hadro; the rhythm is Ray Gallon, Fender Rhodes, Aidan O’Donnell, string bass; Steve Little, drums (playing on a borrowed set). All this took place on February 6, 2017, at Sir D’s Lounge in Brooklyn, New York — on the surface of it, an odd place for a jazz recital, but a comfortable room with very gracious staff.

Here is the first half of the evening, a generous helping of delicious sounds.

I know that some listeners still stereotype this music as “cool” or “cerebral,” but these performances definitely swing and the temperature is warm.  Remember that the inspiration for so much of this music came from Lester Young: how chill could it be?  And Jon’s leadership is very comfortable — see how happy the players are — and that pleasure conveys itself right away to the audience, with no hint of the classroom or the museum.  I told someone at the end of the evening that I felt I’d been at a birthday party.

To begin, DISC JOCKEY JUMP (or DJ JUMP), composed by Gerry Mulligan for the Gene Krupa Orchestra, arranged in this version by Bill Holman:

The beautifully gauzy PALO ALTO, composed by Lee Konitz and arranged by Jimmy Giuffre:

VENUS DI MILO, which is most familiar from the Birth of the Cool sessions, although in a different arrangement:

The classic THE SONG IS YOU:

The Gershwins’ LOVE WALKED IN, via Dave Brubeck:

The eternal question, WHAT IS THIS THING CALLED LOVE?

Gerry Mulligan’s REVELATION, which concluded the first half:

May your happiness increase!

SATURDAY NIGHT FUN: DAWN LAMBETH, DAVE STUCKEY’S HOT HOUSE GANG, and DANCERS at SAN DIEGO (Nov. 26, 2017)

DAWN headshot

Dawn Lambeth sings; this band rocks. That’s all you need to know. Dave Stuckey, leader, guitar; Dan Barrett, Corey Gemme, brass (swapping cornet and trombone at will); Nate Ketner, reeds; Carl Sonny Leyland, piano; Katie Cavera, string bass; Gareth Price, drums. Recorded at the Saturday-night dance party at the San Diego Jazz Fest, November 26, 2016.

DAVE STUCKEY photos

Well, maybe a little explanation would do no harm.  Dave’s band is a wonderful combination of Fats Waller and his Rhythm (with sly twists) and any number of fabled Fifty-Second Street small groups.  But not only do they swing, but Dave writes and sings hilariously inventive originals. I’d known of Dave and the Hot House Gang because of their first CD, which I applauded here.

When I met him at San Diego, I immediately perceived him to be genuine, not someone wearing a mask for audiences.  Although he and his band had only one set on Saturday night, and it was to be a battle of the bands for dancers (not conducive to my video questing) I showed up anyway, and was rewarded with this riotous performance (audibly and visually) of SHIM-ME-SHA-WABBLE . . . and then this collection of Dave’s originals and jazz classics.

I met Dawn in the last century, first through the medium of her CDs, and then in person, on both coasts. I was impressed right away by her swing, the gentle timbres of her voice, the subtle way she glides in and out of notes and phrases, her approach always natural.  But usually I heard her in quiet, intimate settings (duos and trios) so when she stood in front of a larger band — such as Clint Baker’s — it was a pleasant shock.  And friends have told me that she is a superb big-band singer, utterly at home in front of four brass, three reeds, and a rhythm section.  I have yet to see this for myself, but look forward to it.  I got a taste of what it might be like when Dawn sang so beautifully with the Hot House Gang.

And these three videos — through no conscious design of mine — resemble Reginald Marsh paintings in motion, no small benefit.

The Forties hit for Ella Mae Morse — cowboy plus Harlem hip — COW COW BOOGIE:

Two for Billie, inspired by but not imitating her.  WHAT A LITTLE MOONLIGHT CAN DO:

And a pensive THESE FOOLISH THINGS, at a tempo to suit the dancers:

Hail, Dawn!  Hail, Dave!  Hail, dancers!  Thank you, San Diego Jazz Fest, for making this magic happen.

May your happiness increase!