Tag Archives: Albanie Falletta

“CAN I GET YOUR LOVIN’ NOW?”: ALBANIE FALLETTA, JON-ERIK KELLSO, SEAN CRONIN, RICKY ALEXANDER at CAFE BOHEMIA (January 2, 2020)

These artists:

and these too:

were here to begin 2020:


and they (and friends) transported everyone in the room.  It all happened at my new second home, Cafe Bohemia (15 Barrow Street, Greenwich Village, New York City) on Thursday night, January 2, 2020.  And the makers-of-magic are Albanie Falletta, vocal and resonator guitar; Jon-Erik Kellso, trumpet; Sean Cronin, string bass; Ricky Alexander.  Their text: HESITATION BLUES.  And how moving!

There will be more videos from this session, but — for those who like to live their lives close-up to reality (that is, getting sensation from people rather than from a lit screen) — Albanie, Jon-Erik, Evan Arntzen, and Jen Hodge will be performing at Cafe Bohemia tomorrow evening at 8 and 10 PM . . . reason to put your shoes back on and leave the chair in front of the computer.  Seriously.  Life is larger than any of our phones.

May your happiness increase!

ALBANIE PAYS US A VISIT: ALBANIE FALLETTA, JON-ERIK KELLSO, MATT MUNISTERI, PAT O’LEARY (The Ear Inn, October 13, 2019)

The shrine of more than 500 Sunday evenings, 326 Spring Street, New York City:

Our NOLA visitor, Albanie Falletta:

Albanie, 2017, by Eric Morales.

and two still photographs to verify that it actually happened on October 13:

Here’s another view, with your videographer at left, next to an voluble woman from the British Isles who had enthusiastic stories to tell.  Thanks to Neal Siegal, my Associate Producer for the set, who graciously offered a seat at his table.

Photograph by Doug Pew.

Before this, I had only heard Albanie on a recent CD, where her emotional force (and I don’t mean volume) impressed me greatly.  She was and is even more delightful in person, even though my camera was not close to her.

Her single-string playing has some of the ease and substance of early Django and the best acoustic players of the Thirties, and on her one vocal, her multi-hued voice is poignant without being melodramatic.  Surrounded by players she admires, she wasn’t intimidated, but created concise, memorable statements as well as adding a great deal to the ensemble.  On the basis of this short acquaintance, she’s someone to admire.

Albanie, 2018, photograph by David Conklin.

Here’s the musical evidence.  I was wrestling with camera and tripod (and gravity — things fell and had to be retrieved) in a small space, so it took a little time for me to get everything together and to progress to complete performances.  But I think the results are quietly spectacular — and that praise includes my heroes Jon-Erik Kellso, trumpet; Matt Munisteri, guitar, Pat O’Leary, string bass.  (In an early draft of this post, I’d typed that Pat was playing “strong bass,” which is true, as you will hear.)

MY GAL SAL:

I’LL NEVER BE THE SAME:

If you have patience for only one performance, make it this one, a supercharged WILLIE THE WEEPER, dangerously heating up the whole block:

I GET THE BLUES WHEN IT RAINS, with a wonderful Albanie vocal:

GEE, BABY, AIN’T I GOOD TO YOU, Magic of Mutation thanks to Jon-Erik:

HOW COME YOU DO ME?:

For the finicky: The Ear Inn is dark, and people talk.  But The EarRegulars provide irreplaceable experiences.  And my sole words to Albanie are, “Come back soon!”

May your happiness increase!

“PASS THE BOUNCE”: BROOKS PRUMO ORCHESTRA at the HOT RHYTHM HOLIDAY (Jan. 28, 2017)

The charts for the BPO at Hot Rhythm Holiday.

The charts for the BPO at Hot Rhythm Holiday.

Nothing beats music, which is its own kind of prayer, for both instant and lasting spiritual relief.  No extra calories, liver damage, or worries about The Law. One of the newest groups of roving spiritual practitioners is the Brooks Prumo Orchestra led by young Mister Prumo of Austin, Texas, dancer, rhythm guitarist, and man-with-more-than-one-plan.  And we can now see and hear the results of his energetic devotion: a swing band that is serious about the music but has a large light heart.  (Thanks to Kevin Hill for the fine videos.)

Here are the band members, many of them familiar as players in the Thrift Set Orchestra, the Sahara Swingtet, Swing Central, and groups led by Jonathan Doyle and Hal Smith.  (Speaking about Hal, this gig was, I believe, his second or third after being sidelined for a time because of an auto accident.  WELCOME BACK!  WE MISSED YOU!  The sound of Hal’s drumming — his percussive insight as well as the silvery float of his hi-hat — always makes me feel good, and I know I am not alone.)

Back to the BPO: Cale Montgomery, Marcus Graf, David Jellema, trumpet; Mark Gonzales, Leo Gauna, trombone; Jonathan Doyle, Lyon Graulty, tenor saxophone / clarinet; Zack Varner, alto saxophone / clarinet; Greg Wilson, alto / baritone saxophone; Dan Walton, piano; Ryan Gould, string bass; Hal Smith, drums; Brooks Prumo, guitar; Albanie Falletta, vocal.  All these very pleasing videos are on YouTube (where else?) and you can subscribe to the Orchestra’s channel .  I did.

ESQUIRE BOUNCE, arranged by Jonathan Doyle:

BENNY’S BUGLE, a mixture of Lee and Lester Young 1941-2, SWEETHEARTS ON PARADE, Charlie Christian, Cootie Williams, and Benny Goodman. (arrangement by David M. Jellema, his first for this band):

BOLERO AT THE SAVOY (echoes of Krupa and Basie), vocal by Albanie Falletta:

AVENUE C (by Buck Clayton for the 1942-3 Basie band):

PASS THE BOUNCE (arranged by Lauryn Gould), vocal by Albanie Falletta:

JON’S DREAM a/k/a DICKIE’S DREAM, arranged, properly, by Jonathan Doyle:

LAST JUMP, arranged by Zach Varner:

I know that it won’t be the LAST JUMP for this swinging band for some time: wishing them many gigs, appreciative audiences, public notice, and pleasures — like the ones they give us.

May your happiness increase!

ALEX OWEN’S SAVORY HOT CUISINE

I know that many of my metaphors and analogies are about food (the result of blogging-while-hungry) but in this case I have good reason: listening to and celebrating the second CD, THAT’S MY HOME, by The Messy Cookers Jazz Band, led by trumpeter Alex Owen:

MESSY COOKERS JB cover

and a photograph of the band caught in its natural habitat:

messycookers

Here you can listen to samples from the CD — ideally, while you read about it below.  (The CD stands up wonderfully without my text, I assure you.)

There is a certain kind of “modern performance practice” that I like and admire very much.  It’s based on a deep reverence for and knowledge of a beloved tradition, where the musicians treat the music tenderly but with light hearts, knowing that the way to show love for an innovative art form is to gently innovate within its idioms.  (As an early unpublished draft of Emerson’s “The American Scholar” points out, “Krupa was never made by the study of Krupa.”)

So while this amiable twenty-first century approach to jazz classics isn’t imitative, it isn’t self-consciously “innovative,” either.  RIVERBOAT SHUFFLE is light and energized, not recast as a samba or a dirge.  Jazz scholars can very well appreciate the sounds of the Messy Cookers — they are expert, passionate, and precise — but so could an audience that doesn’t have a wall of E+ Halfway House Orchestra 78s, an audience in the mood for lyrical syncopated dance music.

It isn’t atmospheric but amateurish busking.  And it isn’t repressed archaeology.

One of the nicest aspects of this CD (and of the Cookers as an organization) is their subtle flexibility.  The collective ensemble has Alex, trumpet / vocals; James Evans, clarinet, saxophone, vocals; Benjamin “Benny” Amón, drums; Andy Reid, bass, vocals; John Eubanks, guitar; Albanie Falletta, guitar / vocals; Steve Pistorius, piano.  Notice, no trombone, tuba, or banjo.  And as Alex explains in his notes, the instrumentation shifts from song to song — with smaller units within the band for variety and liveliness, also to reflect the different ways in which the Cookers reconfigure themselves for actual gigs.  The overall effect is streamlined but fulfilling: I never missed the instruments I was supposed to miss by the laws of jazz orthodoxy.

And although the songs on this disc might qualify for Social Security and Medicare, coming to us before the Second World War, everything is happily energized here.  “Play it like you mean it!” seems to be the underlying principle, vocally and instrumentally, and the results are charming and convincing — not a group of people who have tried to become “authentic” in an intensive weekend. I love the group vocal congregational responses on HESITATION BLUES and MILENBERG JOYS, and even though I’ve heard BLUES MY NAUGHTY SWEETIE often enough, Albanie’s tangy singing makes it come alive for me. Alex gets plus points for including THAT’S MY HOME on his disc, making it the title cut, singing it naturally and soulfully, refusing to imitate Louis.  James Evans’ ferocious alto and intensely satisfying singing make WHO’S SORRY NOW? a modern evocation of the Rhythmakers, which is a great thing indeed.

Some of the names on this disc — Reid, Amón, Eubanks, Falletta, and even the leader — might be less familiar than Evans and Pistorius — but the band is delightfully unified at the highest level.  Alex is a splendidly casual player and singer, and by that I mean he makes the difficult seem matter-of-fact; his lines ring and sing.  Everything he does has a rhythmic bounce, no matter what the tempo, and he is a superb leader, letting everyone have a turn, creating witty, varied ensembles that rock in the best modern way.

When I was finished with my first playing of this disc, the only natural thing was to play it again.  It’s delightful music.  And not only would I suggest that you indulge yourself in purchasing a copy, but perhaps one for a younger person who likes jazz — so that (s)he can be reminded that this lovely raucous delicate art is still being practiced in the most exultant ways in this century.  And for us, it’s a wonderful hopeful sign of vibrant life in the art form we cherish (and worry about).

Oh, and in case “Messy Cookers” makes you wonder whether the rangetop is a war scene of burnt-on food, take heart: I am sure that Alex and company mean it as the best sly compliment to music and musicians who create something loose, exuberant, spicy, and tasty.

Visit here to purchase the disc, or, better still, find the Messy Cookers at one of their gigs.

May your happiness increase!

DUKE WAS YOUNG ONCE, TOO

Yes, today is Duke Ellington’s birthday. But isn’t every day?

By a happy confluence, last night I was listening to the Thrift Set Orchestra‘s debut CD. Talk about rocking in rhythm! (I will have more to say about that disc soon.  But don’t wait for me: I assure you it is an aural treat.)

original

Here is the band’s Facebook page, and their website.

And here is some wonderful evidence I can share with you: to celebrate Duke and to delight us: two versions of THE MOOCHE, that sinuous dance, recorded by the TSO in 2013.

Take Two:

Take Three:

The clarinetists are Jonathan Doyle, David Jellema (the band’s fine cornetist), and Lyon Graulty; that naughty trombone is played by Mark Gonzales; the rhythm section is Albanie Falletta, guitar (she also sings!); Westen Borghesi, banjo; Ryan Gould, string bass; and the always propulsive Hal Smith, drums.

On this day and other days, many of us recall Duke as famous, world-renowned, yet older.  I summon up that electric-blue suit; that elaborate hairdo; the deep expression balancing knowledge, sadness, too many late nights.

But Duke was young once. He would have loved the Thrift Set Orchestra. As do I.

May your happiness increase!