Tag Archives: Anat Cohen

HARMONY AND HIJINKS: DUCHESS, “LAUGHING AT LIFE”

duchess-portrait

DUCHESS: Amy Cervini, Hilary Gardner, Melissa Stylianou

The superb vocal harmony group DUCHESS has released their second CD, LAUGHING AT LIFE, and it’s a wonder.

duchess-laughing-at-life

Here’s a sample of their originality, energy, and fun: EVERYBODY LOVES MY BABY, at the Jazz Standard, accompanied by Michael Cabe, piano; Matt Aronoff, string bass; Jared Schonig, drums.

 

For those of you who, like me, didn’t catch every rapid-fire turn of the new “original” lyrics, here they are in slow-motion print:

How did the Bozzie’s do their rapid-fire scatting
When they yes-siggle-dirred when they double dogged their Latin
There were so many words just a flyin’ and a rat-n-tatting how?

Vet, Martha, Connie gave us all the Heebie Jeebies
Said Duchess ought to try it but you know it isn’t easy
So we gotta tip our hat to the Bozzie’s oh, they really dazzle, wow!

Harmony and hijinks are the currency we deal in
Though we love the Bozzie’s honey, no we ain’t a-stealin’
Got a style that’s all our own and we know it’s so appealing here and now!

There’s only one problem with that gloriously expert and exuberant video.  A casual viewer might assume, “Oh, that’s a Boswell Sisters cover band,” in the odd parlance of this century, drop this versatile trio into a convenient classification, and be completely wrong. Someone else might misread the group because of their “vintage” twentieth-century repertoire.

But DUCHESS is not a tour of the local museum of past greatness, and no one pretends to be anyone else.

The glory of this group is their quirky sweet transforming energy, which enables them to do so many things so beautifully and with such deep emotions. LAUGHING AT LIFE is a wonderful showcase for their swinging versatilities.

The CD’s delights begin early, with a modern-Basie version of SWING, BROTHER, SWING — where one can delight in the three piquant voices and their distinctive blend (as well as a solo by postmodern intergalactic rhythm ‘n’ blues tenorist Jeff Lederer).

Then they move into familiar (and possibly dangerous) territory . . . the 1930 SUNNY SIDE OF THE STREET, a song that I would guess no one has ever called “dangerous.”  But as a song, it has become over-familiar and thus open to formulaic run-throughs in the same way as PENNIES FROM HEAVEN.  But halfway through this track, after a pleasing rhythm-section interlude, something magical happens.  Whitney Balliett called a similar instrumental passage “slow-motion leapfrog,” and on this track, the three voices slide over one another, each singer starting a phrase in a different place, creating a kind of three-dimensional cathedral of sounds.

There’s the rubato voices-plus-Michael Cabe’s sensitive piano reading of the verse of LAUGHING AT LIFE.  Then, Amy Cervini’s quite definite reading of GIVE HIM THE OO LA LA, with a fine solo from guitarist Jesse Lewis, a wooing WHERE WOULD YOU BE WITHOUT ME? featuring Melissa Stylianou, and a down-home frolic by Hilary Gardner on HALLELUJAH, I LOVE HIM SO!

The tender ache of EV’RY TIME WE SAY GOOD-BYE is followed by the hilarity of STRIP POLKA (thank you, Mister Mercer!).  And the bonus track, DAWN, a song known to only a few, is immensely touching — its author is someone we honor for other reasons.

Buy the CD and find out all.  I didn’t linger over every track for its delights: you can find the little bowers of bliss for yourself.

DUCHESS fans already know this, but it bears repeating: each of the three singers is a very distinctive soloist, but their blending is impeccable: their intonation and diction are splendid.  The clever and witty arrangements are complex, but only truly attentive listeners will understand just how beautifully layered they are — a key change here, an almost unnoticed shift from a lead voice with support to a unison ensemble, and more.  Incidentally, there are guest appearances by clarinetist Anat Cohen and trombonist / vocalist Wycliffe Gordon to add to the mix.

Learn all the secrets here, and follow Duchess on Instagram, Twitter, and Facebook if you while away the hours in such revelries.  But most important, here you can purchase / download the CD through Bandcamp. Amazon, or iTunes.  You’ll find it extremely rewarding.

May your happiness increase!

 

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BEAUTIFULLY IN BALANCE: REBECCA KILGORE AND FRIENDS at the ATLANTA JAZZ PARTY (April 27, 2014)

This is how it’s done. 

The masters of melodic improvisation here are Rebecca Kilgore, vocal; Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet; Rossano Sportiello, piano; Bucky Pizzarelli, guitar; Paul Keller, string bass; Ed Metz, drums — at the twenty-fifth Atlanta Jazz Party in April 2014.

Becky and Bucky, romantics, quieting the room with their duet on TRES PALABRAS (and what courage it takes to begin a set with such a tender ballad):

Southern pastoral in swing (recalling Lester Young and Anita O’Day), JUST A LITTLE BIT SOUTH OF NORTH CAROLINA, with delicious playfulness all the way through:

Becky so sweetly and tenderly honors Judy Garland, Clark Gable, and Roger Edens, YOU MADE ME LOVE YOU (and Dan Barrett has Vic on his mind, too):

She and the band give us an ebullient finish, with JEEPERS CREEPERS:

This set was so  very satisfying, lyricism and swing, feeling and expertise intermingled throughout: I wouldn’t change a single note. And I’ve listened to the twenty minutes of music here, over and over, delighted, moved, and amazed.

Rebecca has two new CD releases: JUST IMAGINE (with Dan Barrett and Paolo Alderighi) and I LIKE MEN (with Harry Allen, Rossano Sportiello, Joel Forbes, and Kevin Kanner) for those of us who find our appetites for tenderness, joy, and subtlety stimulated (not satiated) by these four videos.

And if you’re in New York City on Monday, May 19, 2014, in the early evening, you should seriously consider visiting Becky and friends at Symphony Space for the Sidney Bechet Society’s tribute to Mat Domber . . . particularly apt here because Mat and Rachel Domber recorded so many sessions for their Arbors Records label that are as beautiful as this live performance. “All-Star Tribute to Mat Domber & Arbors Records“: Anat Cohen, Wycliffe Gordon, Bob Wilber, Dick Hyman, Bucky Pizzarelli, Randy Sandke, Warren Vache, Harry Allen, Rebecca Kilgore, Ed Metz, Joel Forbes, John Allred, Rossano Sportiello, and Rajiv Jayaweera.

May your happiness increase!

WHILE IT’S HOT: TWO CONCERTS, COMING SOON

I revere the jazz Past: the recordings, the actual men and women, their stories, their holy artifacts.

But I would not want this art form to become a museum, where we can only hear the Great Dead People.

So I encourage my friends to seek out occasions where we can live in the present moment: hearing living men and women play and sing their own versions of this lovely music right in front of us. It’s an experience different and deeper than listening to the Electrobeam Gennett you just got on eBay, although I am not making fun of that pleasure, not at all.

Enjoying the present makes me think of fish and chips, which I will explain below.  Trust me, it’s relevant.

The two concerts I am reminding you all about are put on by the Sidney Bechet Society in New York City. Were I there, I would be there. They take place on Monday, at 7:15 (a nice serene early hour) at Symphony Space at 2537 Broadway at 95th Street.

Monday, April 21, is the second “Jam Session of the Millenium,” led by our own Dan Levinson:

SBS.April.Show.Flier.V6 (Neal Siegal)

If you’re one of those Jazz Lovers who wonders, “Who are these kids and are they any good?” you and your skepticism are in luck — because someone (thank you, Anonymous Person) recorded the first Jam Session of the Millennium in its entirety.  Consider this!

Monday, May 19, is a tribute concert in honor of Mat Domber, who made so much good music possible for all of us (along with his wonderful wife Rachel, still with us) on Arbors Records from the late Eighties onwards.  The audience of jazz listeners thanks him as do the musicians — and some of them gather onstage to say it with music: Randy Sandke, Wycliffe Gordon, Anat Cohen, Dick Hyman, Bucky Pizzarelli, Warren Vache, Joel Forbes, Rebecca Kilgore, Ed Metz, Rossano Sportiello, Harry Allen, John Allred, Rajiv Jayaweera, and Bob Wilber!

Tickets are $35 (students $10) ahttp://youtu.be/TfKz2nIok-Qnd the Symphony Space contact information is 212.864.5400 / www.symphonyspace.org.

Fish and chips, Michael?”

Yes.  In one of my favorite Irish novels of the last few decades, THE VAN, by Roddy Doyle, two fellows open a mobile fish and chips “cooker” out of an old van — a very funny and touching novel.  But one of their selling points is a sign that says TODAY’S CHIPS TODAY. Get this music while it’s HOT.

May your happiness increase!

LOVE IN BLOOM AT BIRDLAND: DAN BLOCK / JAMES CHIRILLO (May 8, 2013)

May 8, 2013, was a special day in jazz lore — although the mainstream jazz media didn’t pay it any attention: the fourteenth anniversary of David Ostwald’s Wednesday early-evening gig at Birdland with the band once called the Gully Low Jazz Band, then the Louis Armstrong Centennial Band, now (appropriately) the Louis Armstrong Eternity Band.  The participants included Jon-Erik Kellso, Tom Artin, Dan Block, David Ostwald, James Chirillo, Marion Felder — and guest stars Anat Cohen and Bria Skonberg.  The joint was jumping, but here’s a sweet bit of musical romance: Dan and James duetting, becoming a tiny but fulfilling orchestra on TAKING A CHANCE ON LOVE:

Who knew midtown New York City could suddenly become so bucolic?  The pipes of Pan and a verifiable Roman lute . . .

This one’s for the Beloved, who was at my side, for Lynn and Danny, for Mar and Ricky, Noya and Eric, and all the other loving couples out there.  And if you’re currently single, be not afeard: take a chance on love!

May your happiness increase!

A PARTY FOR DAN MORGENSTERN

If you read JAZZ LIVES and the name Dan Morgenstern doesn’t ring an entirely lyrical bell, then something in the cosmos is surely out of synch.

I can only speak for myself — as someone who, since the early Seventies, read his liner notes so closely as to unintentionally memorize them, someone who looked for his articles and reviews in books and jazz magazines, someone who tuned in to WBGO on Sunday nights to hear his presentations on “Jazz From the Archives” as a special treat.

And everyone I know in the field — musicians and writers — shares my enthusiastic gratitude to Dan during his illustrious work (since 1976) as the director of Rutgers-Newark’s Institute of Jazz Studies in Dana Library.  And the larger world has noticed, too — Dan has won eight Grammy awards.

It’s always especially rewarding to be able to celebrate someone while that person is around to hear the tributes in person . . .

On Tuesday, April 17, 2012, from 4-8 PM, at the Newark Club, One Newark Center, 22nd Floor, Newark, New Jersey 07102, there will be a celebration of Dan Morgenstern’s Life in Jazz — with cocktails, hors d’oeuvres, music, and entertainment.  The Institute of Jazz Studies at Dana Library at Rutgers University – Newark will commemorate Dan’s contributions to jazz and the university with a retirement event in his honor.

Dan’s musical friends — Randy Sandke, Daryl Sherman, Anat Cohen, Joe Peterson, and Dan Faulk — will be performing through the evening, and there will be three special musical tributes.  The price of a single ticket is $75.00, and you can RSVP by contacting Elsa Alves at 973.353.3798 or emailing Merve Fejzula at fejzula@andromeda.rutgers.edu.  If you can make it, please let Elsa or Merve know as soon as possible — and you might also want to make a contribution to support the Dan Morgenstern Endowment Fund (completely tax-deductible).  Checks should be made out to Rutgers University, and sent to

Elsa Alves, Institute of Jazz Studies; John Cotton Dana Library; Rutgers, the State University of New Jersey; 185 University Avenue; Newark, New Jersey 07102-1814.

Dan has done so much for us and for jazz — !

May your happiness increase.

AUGUST IN NEW YORK: FOUR DAYS WITH JIM FRYER

Photograph by Lorna Sass, 2008

(This is trombonist / euphonist / vocalist Jim Fryer’s essay on life-as-a-hard-working-jazz-musician . . . as printed in the November 2010 edition of The American Rag and reprinted here with everyone’s permission)

ME & NYC

6 gigs in 4 days: a life of slice

August 15–18, 2010

This is a somewhat random “Report From NYC,” based on a few days of “feet on the sidewalk” activity. It’s certainly not an exhaustive accounting of the activity around here, although it was a bit exhausting. There is so much great music, great jazz, and great trad jazz around here. This is just a slice, my little slice, of the scene. I think it was Hemingway who said you should write about what you know, and what you know best is your own life. It is also true, in my experience, that narcissism is one of the few skills that can improve with age, and I’m definitely on that bandwagon. So here goes. I hope someone else may find this interesting. I know I do.

* * *

Following a big chunk of time and energy expended (along with Jeff & Anne Barnhart) in helping our 5 “International All Stars” from the UK have a swell time in Connecticut, New York, and California (including doing double duty at the Orange County Classic Jazz Festival with the Titan Hot 7, the band that most readers of this journal will know me from), I enjoyed a respite visiting my parents at their house in the Maine woods. A short time after my return to New York, I found myself back on the busy streets & subway trains: the Asphalt Jungle. A small flurry of local gigs helped reorient me to this place where I am trying to live the good – or at least, the interesting – life.

Sunday August 15: From our domicile in West Harlem, I drove south on the Henry Hudson Parkway and West Side Highway, down to the Fat Cat Café, just off Sheridan Square in the West Village. This is one of my favorite joints ever: down the stairs to a very large room that contains games such as ping pong, pool, scrabble, chess, and beer and wine drinking. And oh yes, a small music area off to the side, easy chairs and sofas, a grand piano and a sound system (with a sound engineer!). When I die, if I’m lucky enough to choose my personal heaven, it will look a lot like the Fat Cat. (Our younger daughter once came along to a gig there, and decided that was where she wanted to get married.)

The band at the Fat Cat was a classic: Terry Waldo leading his Gotham City Jazz Band from the piano, singing & striding along; Peter Ecklund (tpt), Chuck Wilson (clr/as), Brian Nelepka (sb), John Gill (dms),and me (with my euphonium along for the ride). Nice, relaxed, easy. Good IPA on tap. 2 sets, no muss, no fuss, just plain fun. Girls boogie to our music while playing foozball. I’m very thankful that there are bandleaders who hire me for such good times. John Gill sang a lovely rendition of Irving Berlin’s When The Midnight Choo-Choo Leaves For Alabam’. John continues vocalizing (accompanying himself on guitar) later on Sunday nights over at the National Underground, where he, Brian, & drummer Kevin Dorn play good old rock and roll & country/western.

Normally, after the Fat Cat, I have the option to sit in with the Dixie Creole Cooking Jazz Band (led by cornetist Lee Lorenz) at Arthur’s Tavern, right around the corner from the Fat Cat, on their weekly Sunday gig; and then travel a few blocks down to The Ear, New York’s oldest saloon, for another fantastic session with the Ear-Regulars (led by Jon-Erik Kellso and Matt Munisteri). But today, it’s back into the car and a scramble against heavy crosstown traffic and over the Williamsburg Bridge, to the Rose Café in Brooklyn. The gig thankfully started late anyhow! I played a duo set with Bliss Blood, the talented singer/songwriter/ukelele-ist from Texas via Brooklyn. We followed a young violinist/singer/synthesizer player who managed to sound like a rock band and symphony orchestra, all by herself. Playing old blues and Bliss’s original songs, our music sounded simple in comparison (one of my goals, actually), but the ‘elite’ (small) audience seemed to enjoy it.

Monday August 16: Every Monday brings me a steady musical diet. I play with a rehearsal big band in the afternoon. Working jazz musos the world over know what that means: get together for a few hours every week and ‘read’ (play) big band ‘charts’ (arrangements) for no commercial purpose whatsoever. The opportunity to sight read new material (often written by someone in the band) and schmooze with friends is sufficient compensation. If you hang out at the American Federation of Musicians Local 802 building on West 48th Street for a week, you’ll hear dozens of these bands, taking advantage of the very low room rental rates.

Next comes one of the musical highlights of my life for the last several years: Vince Giordano and The Nighthawks making their weekly Monday appearance at Club Cache, downstairs from Sofia’s Restaurant in the famed Edison Hotel on West 46th Street, just a few feet west of Times Square. I’m not enough of a wordsmith to adequately bring to life the excitement and dynamism that Vince Giordano brings to each & every gig he plays. He is a one man tornado, playing hot string bass, tuba, and bass sax, singing, performing mc duties, meeting & greeting each customer who comes down the stairs into our subterranean cabaret, and setting up & breaking down equipment for hours each week. A characteristic touch is added by our technician & ‘introducer,’ John Landry (aka Sir Scratchy), and we couldn’t do without our various ‘Mikes’ (Mike being the generic term to describe anyone who helps out on the gig, from moving equipment to playing music). Our steadiest Mike is Carol, Vince’s partner, who [wo]mans the door and seats patrons; we also are lucky to have Earl, who in addition to schlepping equipment, spends his ‘down’ time translating Vince’s antique arrangements into modern notation via Sibelius software – at an incredible clip (he will complete a full 13 piece arrangement during the course of the 3 hour gig, something that would take me weeks).

Vince’s Monday night gig has become enormously popular since its debut in May of 2008. A great dance floor brings in the rugcutters (including many athletic young lindy hoppers), and the room is typically full of customers from the world over. The legendary 88 year old clarinetist Sol Yaged is featured on a tune each set. Vince is the Toscanini of the evening, conducting our journey through the sublime world of Fletcher Henderson, Paul Whiteman, Louis Armstrong, Bix Beiderbecke, Jelly Roll Morton, and a plethora of songwriters & arrangers: Bill Challis, Raymond Scott, Fats Waller, Irving Berlin. From the downbeat at precisely 8pm to the closing at 11pm, it is truly a world of amazing music & delight. We often have quite well known folks ‘sitting in:’ singers like Michael Feinstein, Nellie McKay, and Daryl Sherman; instrumentalists from around the world; the comedian Micky Freeman; and famous audience members such as cartoonist R. Crumb, a big classic jazz fan.

This particular Monday included all members of what I call the “A Team;” that is, all the first call musicians. (The band hardly suffers when subs come in: John Allred in the trombone chair could not be described as bringing the level down!). Many of these players are quite well known in a variety of genres. Here they are:

Reeds: Dan Block, Dan Levinson, Mark Lopeman

Trumpets: Mike Ponella, Jon-Erik Kellso

Trombone: your humble (ahem!) reporter

Violin/Sax: Andy Stein

Piano: Peter Yarin

Banjo/Guitar: Ken Salvo

Percussion: Arnie Kinsella

Basses/Everything: Vince Giordano

Tuesday August 17: Tuesday daytime may bring a few trombone students to me (in the summer, a handful; during the school year, a full day – if I’m lucky); or an occasional concert in a Connecticut school, with a band called the Cool Cats; then comes a reprise of Monday night. Vince has been working hard since this past June to get a second night established. It’s still the quieter night, and I bet Vince is counting audience members as he’s counting off tunes; but it also can work more as a rehearsal, Vince handing out charts on stage from his vast collection (60,000 in the archives).

At 11:40pm, I’m back on the train from Grand Central Station (busy place, that) to Rye, 25 miles NE of the city, where my wife (sometimes described as “long suffering”) works at a private school, which offers on-campus housing as a benefit for her very hard work. I love the view walking east on 43rd Street, with the Chrysler Building looming over the majestic train terminal. By 12:30am I’m strolling down our very quiet and pretty suburban street, where Peter Cottontail may sometimes be seen munching lettuce in the garden. This particular night a local cop car slows to a stop as I’m walking up to our place. The cop looks me over (trombone, wheelie bag for mutes etc, garment bag with tux), and says, “Ya got everything?” Funny guy. It’s good to know they’re out on the beat. Sometimes I stay “in town,” at the apartment we have in West Harlem (currently also the abode of our eldest daughter, a fervent New Yorker).

Wednesday August 18: Wednesday brings another doubleheader (paydirt for us musos; even better, the rare tripleheader; many years ago I played 4 gigs on the Fourth of July). First the late afternoon session at Birdland, the world famous club on West 44th: David Ostwald’s Louis Armstrong Centennial Band. This long running (10+ years) weekly gig features a rotating roster of the finest trad players in town. Today, in addition to tuba player & leader Osti, I had the pleasure of being on stage with Jon-Erik Kellso (tpt), Anat Cohen (clr), Ehud Asherie (pn), & Marion Felder (dms). Yours truly was the old guy on stage. (I’m trying to get used to that.) David’s bands are some of the most ‘diverse’ in the biz, in terms of not only age but also gender and race. The general lack of diversity can be a slightly touchy issue in the trad jazz arena, so it’s nice to see Osti put together bands that ‘look like America’ – and also swing like crazy! This Wednesday session was a very special one: Dave Bennett, the young clarinet virtuoso from Michigan, sat in, along with a young also sax player (from Russia, I believe; I didn’t catch his name); and in the audience, 91 year old George Avakian, one of the most esteemed figures in jazz history (George has produced hundreds of classic jazz albums).

Then to Brooklyn (by subway), to play again with Bliss Blood, this time with the Moonlighters (20s/30s swing, with a Hawaiian flavor). Bliss’s vocals & uke are joined by Cindy Ball (guitar & impeccable vocal harmonies), Raphael McGregor (lap steel), Rus Wimbish (string bass), & the horn section: me! I love being the only horn player, it’s nice & quiet, with no temptation to engage in technical battles: who can play faster, higher, or more cleverly. As I get older, I feel pleasure in knowing how to add a bit of value to the music, no pyrotechnics, please. I’m trying to play better by playing less. It’s a thrill to learn brand new songs that Bliss and Cindy write. The art form continues to evolve. I also love this venue. The Radegast Beer Hall, a big open space, with fine beer (of course) and hearty German food, is in the heart of Williamsburg, a neighborhood that feels young and vibrant. It restores my faith in humanity when the band is fed so well on the gig! All kinds of bands play here, including several youthful units, such as Gordon Au’s Grand Street Stompers, and the Baby Soda band (which includes trombonist Emily Asher of Mighty Aphrodite Jazz Band fame). Several times folks got up and danced around the bar area, in most cases to our music. Finishing after midnight means arriving back in Harlem close to 2am – fortunately, not driving, which reduces the danger and risk (seriously, everyone who’s been in the music business knows musos who have fallen asleep at the wheel late at night); as long as I don’t sleep through my subway stop and end up in Riverdale (a nice neighborhood, but miles north of my pad).

* * *

It was a great little run of gigs. I feel quite lucky to be able to work with so many interesting people. And if sometimes being the oldest on stage is a bit of a bittersweet experience (I guess I ought to get used to it as “As Time Goes By”), it is certainly encouraging for the future of the music. From long time residents (like drummer Kevin Dorn, born in Manhattan about 30 years ago – his band, the Traditional Jazz Collective, gigs all over town) to those newly arrived, NYC is still, as ever, a magnet for young, ambitious, and hardworking people. A few of the young “immigrants:” trombonist Emily Asher, transplanted from Washington state for a couple of years to get her Masters degree; trumpeter Gordon Au, from California (I should mention Gordon’s very musical family: brothers Justin and Brandon are fine players who have blown with the Titans in Pismo Beach CA, and Uncle Howard Miyata plays a mean tailgate trombone with High Sierra Jazz Band); young trombonist Matt Musselman from Maryland, a recent graduate of Manhattan School of Music, and one of my subs in the Nighthawks (his band is called Grandpa Musselman and His Syncopators); and trumpeter/vocalist Bria Skonberg, due to arrive any second now. There is most definitely a youth movement going on! I wouldn’t know how to advise these young people about putting together an actual living in NYC: this is one tough town to pay your bills in – but somehow they are doing it. Perhaps I should ask them for advice! The total take from my 6 gigs (minus the expenses) will buy a few bags of groceries, pay back the loan for a couple of textbooks for my younger daughter’s college degree, with about $1.13 left for my pension contribution. Guess I can’t retire yet. I’ll get up tomorrow and go off in search of more students and gigs. I know one musician who was heard to say: “Retire! How can I retire? I’ve never had a job!”

I would be remiss if I didn’t also tip my cap to the folks around here who have been promoting the classic jazz scene for many years, such as: Bruce McNichols, musician, impresario, and radio OKOM producer; Jack Kleinsinger, whose “Highlghts In Jazz” series has run for 37 years; the Sidney Bechet Society, which puts on fine concerts in Manhattan; New Jersey folks like Bruce Gast & the New Jersey Jazz Society; Connecticut jazzers who put together the Hot Steamed Festival and the Great Connecticut Traditional Jazz Festival; & radio hosts such as Rich Conaty on WFUV-FM and Phil Schaap on WKCR-FM. Youth combined with Experience will carry the day for the music we love!

Jim Fryer

August 2010

For more info:  www.jfryer.com, www.terrywaldo.com, www.blissblood.com, www.myspace.com/vincegiordanothenighthawks, http://www.ostwaldjazz.com/., www.coolcatjazz.info,

WHO IS SHE?

These photographs — by the esteemed photographer Otto F. Hess — just emerged on eBay (in my favorite evening-browsing pasture, Entertainment Memorabilia).  I know that there were women reed players — in the International Sweethearts of Rhythm — but this young woman with a clarinet in a Benny-pose is not someone I recognize.  And, in the second photograph, I don’t have any idea about the bassist and guitarist.  My knowledge of obscure musicians is of course imperfect, but I wonder if this concert or performance was done somewhere besides New York City.  Any suggestions? 

That’s the trio.  Here’s the back of one of the photographs:

And here she is, assuming the famous posture of jazz ecstasy:

And I seriously  doubt that this young woman is Anat Cohen!