Tag Archives: acoustic guitar

THE CHAMBER MUSIC SOCIETY OF LOWER STOCKTON STREET: PROFESSORS GROSZ, OAKLEY, and VENTRESCO (August 17, 2014: Part Two)

This music gives me such pleasure that I am reposting both halves of the performance, and my original prelude:
A long time ago, when I was a college student listening to string trios, quartets, and quintets, I was told that the great groups were Thibaud-Cortot-Casals, the Budapest Quartet and Friends, the Guarneri Quartet (whom I saw several times in concert). But while I was learning my Brahms, Schubert, Haydn, Mozart, Dvorak, and others, I was getting deeper into small-group jazz.  And it occurred to me often that the inspired interplay I heard in the “Trout” or the “American” was no different from a record of Sammy Price and Sidney Catlett boogieing their way through a blues, or the Edmond Hall Celeste Quartet, the Goodman Trio, Jimmie Noone’s Apex Club Orchestra, the Basie rhythm section.  And in person I saw Soprano Summit, Al and Zoot, Bobby and Vic, the Braff-Barnes Quartet, the EarRegulars, and many others.
All this is long prelude to say that inspiring chamber music takes many forms. In jazz, it is always incredibly uplifting to see a very small group of musicians do two or three things at once — create communal variations out of their shared knowledge and conventions AND go their own brave ways. Courage, joy, playfulness, and beauty.
Here is some very recent evidence that stirring chamber-jazz sessions are happening all around us, with some of the finest players.  This one brought together East and West — East being Professor Grosz (Chicago, New York, and Philadelphia) and West being Professors Oakley and Ventresco from the San Francisco Bay Area.  No music stands, just swing and on-the-spot frolicking. Acoustic splendor, with two very different approaches to the guitar — in solo and accompaniment — and with Leon’s very heartfelt cornet shining a light for us all to follow. (Highlights from the 2014 Marty Grosz West Coast Tour, for the historians in the audience.)
SONG OF THE WANDERER:
SHOE SHINE BOY:
I’M CONFESSIN’:
JOE LOUIS STOMP:
CRAIG’s LOWDOWN BLUES:
And here are three more performances from the second half.  The sky had grown darker outside and thus the interior lighting needed help.  The visual image is less sharp but the music remains exquisite.
S’WONDERFUL:
A very mellow KEEPIN’ OUT OF MISCHIEF NOW:
FROM MONDAY ON, a sweet conversation all the way through, with Mister Grosz bursting in to song:
May your happiness increase!
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(CAFE) DIVINE INSPIRATION: LEON OAKLEY and CRAIG VENTRESCO, IN LIVING COLOR (Part Two: June 15, 2014)

Good things happen at Cafe Divine (1600 Stockton Street, San Francisco, California) — the food and the North Beach ambiance — but for me the best things happen on the third Sunday of each month, when the Esteemed Leon Oakley, cornet,and Craig Ventresco, guitar and banjo, improvise lyrically on pop tunes and authentic blues for two hours.  I posted four performances from their satisfying June 15, 2014, session here. I was taught as a child to share . . . so here are five more beauties, in living color both in the view and the soaring improvisations.

STRUTTIN’ WITH SOME BARBECUE (with Craig on banjo, delightfully):

BLUES IN F (nothing more, nothing less — evoking Joseph Oliver):

MARGIE (that 1920 lovers’ classic):

And two songs that make requests — one spiritual, connected to Bunk Johnson and Sidney Bechet, LORD, LET ME IN THE LIFEBOAT:

and one secular — I think of Pee Wee Russell with TAKE ME TO THE LAND OF JAZZ:

Which they do.  More Divine Music to come.

 May your happiness increase!

(CAFE) DIVINE INSPIRATION: LEON OAKLEY and CRAIG VENTRESCO, IN LIVING COLOR (Part One: June 15, 2014)

Have you been? I refer to the hot chamber music sessions created by Maestro Leon Oakley and Professor Craig Ventresco — improvising on classic themes — held at Cafe Divine, 1600 Stockton Street, San Francisco, California, on the third Sunday of each month.

Here are the first four of a dozen treats — in living color visually as well as musically:

SOMEDAY SWEETHEART:

A SHINE ON YOUR SHOES:

I WOULD DO ANYTHING FOR YOU:

MOONGLOW:

May your happiness increase!

MUSIC FOR STRING ENSEMBLE, 1938

Bobby Sherwood (1914-81) isn’t well-known as a jazz guitarist today, but in the early Thirties he was so deeply respected that he was Bing Crosby’s accompanist on 1934 recordings (MOONBURN and SOMEDAY SWEETHEART); he recorded with the Boswell Sisters, Cleo Brown, and Joe Venuti.  (In 1940 he was guitarist and one of the arrangers for Artie Shaw.)

To me, this means he was viewed as a player equal to the late Eddie Lang, and his beautiful sonority and chordal subtleties — and swing — don’t disappoint.

A few years earlier, violinist Harry Bluestone (1907-92) was recording with hot dance studio bands, Connee Boswell, the Boswell Sisters, Lee Wiley, the Dorsey Brothers, Glenn Miller, Bill Challis, Casper Reardon, and again Artie Shaw . . . .

While Sherwood eventually led his own band (playing a variety of instruments, composing, and singing), Bluestone became the first-chair violinist and concertmaster for many many recordings with everyone from Peggy Lee to Quincy Jones.

But this Decca 78, recorded in November 1938, shows them quietly and wittily evoking Eddie Lang and Joe Venuti — to great effect — while sounding like themselves.

First, the punning KIDDIN’ ON THE STRINGS:

Then, a sweet AM I BLUE?:

The moral?  Great music is made by people you might not have heard of except as side-people on more famous people’s record date.

May your happiness increase!

IN THE SPIRIT of TEDDY BUNN

Here’s a band of young fellows — recorded in January 2011 at the VU Bar in Newhall, California — called CAPTAIN JEFFREY AND HIS MUSICAL CHUMBUCKETS*.  The lead guitarist, Patrick Morrison, is a deep Teddy Bunn devotee, and it shows.  His colleagues are Captain Jeffrey (Jeffrey Moran), vocals, steel guitar; Carlos Reynoso, drums; Eli Hathaway, rhythm guitar; Marquis Howell, string bass.  Here they pay tribute to and reinvent the late-Thirties recording of WILD MAN BLUES by Johnny Dodds and his Chicago Boys:

P.S.  *Patrick says that everyone hates the band’s name.  But I say they swing!

MENAGE A TROIS: ROB, MIKE, and MISS BROWN

I’d known the work of swing cellist Mike Karoub from his appearance on Jon-Erik Kellso’s CD, CHAPTER TWO, so I was very pleased to encounter this gently swinging duet performance of SWEET GEORGIA BROWN by Mike and guitarist Rob Bourassa — delightfully swinging! 

Even for people like myself who have some nervous about the proliferation of “Hot Club of _____ ” groups, this is The Right Stuff!  Rob has his own YouTube channel — “robourassaguitarist” — with more enjoyable jazz.

MELISSA COLLARD RETURNS: File Under “WHAT GOOD NEWS!”

Here she is — singer and guitarist Melissa Collard, toting that beautiful Gibson L5, ready to share her lovely music with us. 

How?  Is she ready to sing to us over that most archaic object, the pay  phone?  I wish.  No, this post is to announce and celebrate something more tangible. 

 Melissa’s second CD — something I and other admirers from here to Tokyo have been waiting for . . . is out!  It’s on the Audiophile label, titled IN A MELLOW TONE (how apt) and on it Melissa is surrounded by musical friends: Hal Smith, drums; Chris Dawson, piano; Richard Simon, bass; Bryan Shaw, trumpet / fluegelhorn. 

On it, she sings and plays OUT OF NOWHERE, HOW AM I TO KNOW?. I’M CONFESSIN’, I DON’T WANT TO SET THE WORLD ON FIRE, IN A MELLOW TONE, JITTERBUG WALTZ, LOVE YOU MADLY, LULLABY OF THE LEAVES, INDIAN SUMMER,   AS LONG AS I LIVE, WE’LL BE TOGETHER AGAIN, IF I HAD YOU, YOU’RE DRIVING ME CRAZY (irresistibly swinging), AZURE, SAVE YOUR SORROW, LOVE LOCKED OUT (heartbreaking), O BARQUINHO.

If you’ve read all you need to read, you have my permission to skip to http://www.jazzology.com/item_detail.php?id=ACD-327 and do what seems both right and gratifying!

If Melissa’s name is new to you, it was to me some five years ago — until my new friend Barb Hauser, the royal guide to San Francisco jazz, arrived with a copy of a compact disc called OLD-FASHIONED LOVE.  An attractive woman I’d never heard of was on the cover, and the band she’d assembled included some world-class talents: Dan Barrett, Eddie Erickson, and Ray Skjelbred among them.  I was entranced by Melissa’s warmth, understanding, and swing . . . and became one of the many people who not only played that disc over and over but wrote about it wherever I could and wanted her (listeners are greedy, aren’t they?) to make another one, and another.

Here’s what I wrote about the new disc.  

Great art balances paradoxes: precision and abandon, delicacy and intensity, casualness and technique. Melissa Collard’s singing exemplifies all this while sounding as artless as conversation. Melissa serves the song, displaying its contours in a restrained yet moving way, her approach changing from song to song. She loves the melody and never smudges the lyrics, but she is not imprisoned by the written music. Her improvisations are subtle yet lasting; she delicately underlines a note, pauses for a breath where we don’t expect it, bends a line up or down. Her pleasure in singing becomes ours. Hear her sing “Drifting, dreaming” on AZURE or “Honest I do,” on I’M CONFESSIN’. Because she never tries to impress listeners with her sincerity, it comes through in every bar. Her swinging momentum is a gift at any tempo, and it comes through in her guitar playing, whether she is adding fluidity to the rhythm section (I thought of Steve Jordan’s work on the Vanguard sessions) or spinning memorable lines.

She’s surrounded herself with world-class players. Richard Simon has lifted many sessions with his egoless but powerful ensemble playing, his eloquent, unfussy solos. Four bars from Chris Dawson are a master class in piano; his melodies are lovely compositions, his accompaniment a singer’s dream. Hal Smith understands everything about swinging the band: hear his wire brush and hi-hat cymbals. And Bryan Shaw’s trumpet and fluegelhorn work, glowing or dark, adds so much. These players embody the great jazz tradition while singing their own songs. On several tracks, Chris and Bryan trade phrases in charming dialogues. Jake Hanna said, “Start swinging from the beginning!” and they do just that: listen closely to YOU’RE DRIVING ME CRAZY and I DON’T WANT TO SET THE WORLD ON FIRE.

But I keep coming back to Melissa. By refusing to demand our attention through vocal pyrotechnics or drama, she focuses our attention on the quiet riches of her voice, her clear diction and pure intonation, her emotional understanding. Gently she compels us to hear – as if for the first time – what the lyricist and composer aimed for, sometimes, what they would have written had they known. She illuminates her songs, giving each performance its own logic, its own shape. Melissa imbues everything with tenderness, whether the mood is pensive (HOW AM I TO KNOW suggests players in a deserted bar at 3 AM) or exuberant (SAVE YOUR SORROW). There’s no posturing here, no self-dramatization, only warmth. Her feeling for the lyrics transforms even the well-worn IF I HAD YOU into something yearning and genuine. Yet her emotional range is complex: I hear ruefulness underneath the optimism, melancholy coloring cheerfulness. And the masterful LOVE LOCKED OUT (which Melissa calls her “protest song for our current world situation”) has a mournful sweep. Her reading of “A world without love” resonates. Yet she is not despairing but hopeful, and the intimacy she and Chris create is memorably reminiscent of Ruby Braff and Ellis Larkins. Melissa has a soft spot for Ellington material, and she says, “I’ve been known to list my religion as Ellingtonist.” I predict many dramatic conversions when this session is issued.

The lyrics to MELLOW TONE urge us to “make a pretty noise.” Melissa does this and so much more, sharing her great gifts with us whenever she sings.