The people spoke, “Can you post more from that October 17 session at Cafe Bohemia?” And I said, “Yes, I can.”
The sounds come from here (on the map, it’s 15 Barrow Street, New York City):
Good sounds, created by Evan Arntzen, tenor, Felix Lemerle, guitar, Andrew Millar, drums; Alex Claffy, string bass:
There are more beautiful notes to come from sessions at Cafe Bohemia, including one last night with Jon-Erik Kellso, Evan and Arnt Arntzen, Jared Engel, and a surprise visit from Mara Kaye. And more after that!
To me, this is living, breathing music. Listen and see if you don’t agree. And here’s one of the places it flourishes — Cafe Bohemia at 15 Barrow Street, New York City.
On October 17, Evan Arntzen (tenor sax, clarinet, vocal), Felix Lemerle (guitar), Alex Claffy (string bass), and Andrew Millar (drums) played two sets of lively, varied, heartfelt music. And here’s a sample, Charlie Parker’s MOOSE THE MOOCHE:
Cafe Bohemia is hallowed ground — more about that hereand here — BUT it is not a museum of archaic sounds. Nothing’s dusty at Cafe Bohemia, and that includes the tabletops and floor — the music is alive, and that counts a great deal.
And it’s happening tonight: get tickets for a splendid evening of vivid sounds with Jon-Erik Kellso, Jared Engel, Evan and Arnt Arntzen here (the early show) and here (the late show). Before and after the music, as well, the Fat Cat (that’s Matt Rivera) will be spinning his rare and delightful records, and you will hear vibrant music.
Because you love this art, come visit it in its native habitat.
Postscript: if any more skeptical readers ask, “Michael is pushing this new club with enthusiasm. I wonder how much they are paying him?” The answer, dear Skeptic, is that I am not asking to be paid nor am I being paid: I want people to share the joy of fine music in a friendly new place with deep roots. And as we know, sitting home soon means there is nowhere else to go but home.
New York City is full of vanished landmarks: one checks the address of what was once a place both sacred and thriving only to find that it is now a nail salon or, even more common, that its facade no longer exists: it’s now luxury apartments or university offices. But resurrection, however rare, is possible and delightful. The “new” CAFE BOHEMIA, thanks to the labors and vision of Mike Zieleniewski and Christine Santelli, is one of those urban(e) miracles.
There will be divine music there on Thursday, October 24, featuring Jon-Erik Kellso, Evan Arntzen, Arnt Arntzen, and Jared Engel as well as the Hot Club. Tickets here for the 7:00 show; here for the 9:30 show. And for those who “don’t do Facebook,” tickets can be purchased through Eventbrite.
Now . . . .
and another view:
LIVE MUSIC for sure. And there’s also Fat Cat Matt Rivera’s HOT CLUB, which I’ve written about here.
But let’s go back to some of that LIVE MUSIC, performed on September 26, before the Club’s official opening — a delightful all-acoustic jazz and blues evening featuring Mara Kaye, vocal; Matt Munisteri, guitar; Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet and tenor saxophone; Brian Nalepka, string bass. Incidentally, only people who regularly attend live-music events know how rare “all-acoustic” is, and how pleasing.
BLACK SHEEP BLUES:
For Billie, I WISHED ON THE MOON:
Also for Lady Day, NO REGRETS:
“How sad I am,” with a grin, for MY MAN:
I’ll have more music from this night, also from October 17 (Evan, Andrew Millar, Felix Lemerle, Alex Claffy) but I urge you to tear yourselves away from those electronic devices and visit the Cafe on the 24th. It’s tactless to remind people but necessary that clubs, concerts, and festivals need actual human attendees (what a thought!) to survive. So . . . see you there!
You might be walking along Barrow Street, on the Bleecker Street side of Seventh Avenue South (all this conjecture is taking place in Greenwich Village, New York City, New York, the United States); you could look up and see this sign.
You might just think, “Oh, another place to have an ale and perhaps a burger,” and you’d be correct, but in the most limited way.
Surprises await the curious, because down the stairs is the sacred ground where the jazz club Cafe Bohemia existed in the Fifties, where Miles, Lester, Ben, Coltrane, Cannonball, Blakey and the Jazz Messengers, and Pettiford played and live sessions were recorded.
Here’s the room as it is now. Notice the vertical sign?
This isn’t one of those Sic Transit Gloria Mundi posts lamenting the lost jazz shrines (and certainly there is reason enough to write such things) BECAUSE . . .
On Thursday, October 17, yes, this week, the new Cafe Bohemia will open officially. This is important news to me and I hope to you. So let me make it even more emphatic.
THURSDAY, OCTOBER 17, THE NEW CAFE BOHEMIA OPENS.
That is as emphatic as WordPress permits. I was there on September 26, for the club’s trial run (more about that below) and I was delighted to find very friendly staff, good food and drink, pleasing sight lines and a receptive crowd, so it was a nostalgic return to a place I’d never been.
But back to current events. On this coming Thursday, there will be two shows, an early show at 6:45 and a late one at 9:30. These shows will be, as they say in retail, “value-packed”! Each show will feature wonderfully entertaining and enlightening record-spinning of an exalted kind by Fat Cat Matthew Rivera, bringing his Hot Club to the Village on a regular basis, AND live jazz from the Evan Arntzen Quartet including guitarist Felix Lemerle, string bassist Alex Claffy, and drummer Andrew Millar. Although the Bohemia hasn’t yet posted its regular schedule, their concept is both ambitious and comforting: seven nights of live jazz and blues music of the best kind.
Buy tickets here for the early show, here for the late one. It’s a small room, so be prepared. (I am, and I’ll be there.) And here is the Eventbrite link for those “who don’t do Facebook.”
If you follow JAZZ LIVES, or for that matter, if you follow lyrical swinging jazz, I don’t have to introduce Evan Arntzen to you. And if, by some chance, his name is oddly new to you, come down anyway: you will be uplifted. I guarantee it.
But who is Matthew Rivera?
I first met Matt Rivera (to give him his full handle, “Fat Cat Matthew Rivera,” which he can explain to you if you like) as a disembodied voice coming through my speakers as he was broadcasting on WKCR-FM a particularly precious musical reality — the full spectrum of jazz from before 1917 up to the middle Fifties, as captured on 78 RPM disks.
It isn’t a dusty trek into antiquity: Matt plays Miles and Bird, Gene Ammons and Fats Navarro next to “older styles.” Here’s Matt in a characteristically devout pose, at Cafe Bohemia:
and the recording (you’ll hear it on this post) that is the Hot Club’s theme song:
About two weeks ago, I visited the Fat Cat in his Cafe Bohemia lair and we chatted for JAZZ LIVES. YouTube decided to edit my long video in the middle of a record Matt was spinning, but I created a video of the whole disk later. Here’s the nicely detailed friendly first part:
and the second part:
and some samples of the real thing. First, the complete WHO?
DEXTERITY, with Bird, Miles, and Max:
and finally, a Kansas City gem featuring tenor player Dick Wilson and Mary Lou Williams and guitarist Floyd Smith:
Cafe Bohemia isn’t just a record-spinning listening party site, although the Fat Cat will have a regular Hot Club on Monday nights. Oh, no. When I attended the club’s trial run on September 26, there was live jazz — a goodly helping — of the best, with Mara Kaye singing (acoustically) blues and Billie with the joyous accompaniment of that night’s Cafe Bohemia Jazz Band: Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet and tenor saxophone; Matt Munisteri, guitar; Brian Nalepka, string bass. Here’s their opening number, ST. LOUIS BLUES:
The first word Mara utters on that video is “Wow,” and I echo those sentiments. Immense thanks are due owner Mike Zieleniewski and the splendid Christine Santelli as well as the musicians and staff.
See you downstairs at Cafe Bohemia on Thursday night: come over and say hello as we welcome this birth and rebirth to New York City.
Ricky Alexander, saxophonist and clarinetist, holding up his debut CD, July 2019. Photograph by Nina Galicheva.
This Youngblood can play — but he doesn’t wallop us over our heads with his talent. To quote Billie Holiday, recommending a young Jimmie Rowles to a skeptical Lester Young, “Boy can blow!”
Ricky Alexander is an impressive and subtle musician, someone I’ve admired at a variety of gigs, fitting in beautifully whatever the band is (Jon DeLucia’s Octet, Gordon Au’s Grand Street Stompers, The New Wonders, at The Ear Inn, and more) — swing dances, big bands, jam sessions.
I particularly cherish his sweetly understated approach: he loves melody and swing, which is rarer than you might think: youthful musicians in this century are sometimes prisoners of their technique, with the need to show off the chord extensions and substitutions they’ve learned in dutiful hours in the woodshed, even if the woodshed is a room in a Brooklyn walk-up. The analogy for me is the novice cook who loves paprika and then ruins a recipe by adding tablespoons of it. In jazz terms, Ricky’s opposite is the young saxophonist whose debut self-produced CD is a suite of his own original compositions on the theme of Chernobyl, each a solo of more than ten minutes. Perhaps noble but certainly a different approach to this art form.
Ricky tenderly embraces a song and its guiding emotions. He has his own gentle sound and identity. Hear his version of Porter’s AFTER YOU, WHO?:
If readers turn away from this music as insufficiently “innovative,” or thinks it doesn’t challenge the listener enough, I would ask them to listen again, deeply: the art of making melody sing is deeper and more difficult than playing many notes at a rapid tempo. And youthful Mr. Alexander has a real imagination (and a sly wit: the lovers in this Porter song are on the edge of finding a small hotel — run by Dick and Larry — to increase their bliss, in case you didn’t notice).
His music is sweet but not trivial or shallow: hear his sensitive reading of I’VE GOT A RIGHT TO SING THE BLUES for one example. And he quietly shows off a real talent at composition: on first hearing, I thought his I KNEW I LOVED YOU was perhaps an obscure Harry Warren song.
Ricky’s also commendably egalitarian: he shares the space with guitarist James Chirillo, string bassist Rob Adkins, drummer Andrew Millar, and the colorful singer Martina DaSilva, who improvises on several selections to great effect. As well as those I’ve commented on above, the repertoire is mainly songs with deep melodic cores: WHERE OR WHEN, A KISS TO BUILD A DREAM ON, I CAN’T GET STARTED, SKYLARK (as a light-hearted bossa nova), STRIKE UP THE BAND, with several now fairly-obscure delights: THE LADY’S IN LOVE WITH YOU, AND THE ANGELS SING, and a particular favorite from the 1935 hit parade, YOU HIT THE SPOT by Gordon and Revel.
STRIKE UP THE BAND is a model of how artists might represent themselves on disc. Like Ricky, this effort is gracious, welcoming, friendly: listeners are encouraged to make themselves at home, given the best seat on the couch. It’s smooth without being “smooth jazz”; it has no post-modern rough edges on which listeners will lacerate themselves. And although Ricky often gigs with groups dedicated to older styles, this is no trip to the museum: rather, it’s warm living music.
I’m told that it can be streamed and downloaded in all the usual places, and that an lp record is in the works. For those who wish to learn more and purchase STRIKE UP THE BAND, visit here. If you know Ricky, the gently lovely character of this CD will be no surprise; if he’s new to you, you have made a rewarding musical friend, who has songs to sing to us.
It’s lovely to see an enterprising musician take the risk of leading a big band — and Glenn Crytzer(compositions / arrangements / guitar / banjo / vocals) is just that enterprising. Although most New Yorkers know him for his work with quartets and septets, his new Orchestra (four reeds, four rhythm, five brass) is creating a splash at the Fillmore Room — 146 Tenth Avenue at 19th Street — from 7-10 PM every Monday. I was there last Monday, February 29. You can’t see the brilliant dancers off to my left, but you’ll have to imagine them on a substantial wooden dance floor.
Ordinarily I wouldn’t post a dozen videos at one time, but I wanted JAZZ LIVES viewers to get a sense of the band’s sustained energy — the way it barrels through three sets. And just maybe some viewers in the metropolitan area will be sufficiently inspired to make the pilgrimage to Big Band Mondays.
The band itself was Glenn, guitar / banjo / vocal / arrangements / compositions; Ian Hutchinson, string bass; Jesse Gelber, piano; Andrew Millar, drums; Jason Prover, Sam Hoyt, Mike Davis, trumpets; Joe McDonough, Matt Musselman, trombone; Ricky Alexander, Linus Wyrsch, Evan Arntzen, Dan Block, reeds. And the Orchestra’s book is substantial: originals, homages to Goodman, Shaw, Lunceford, Waller, Louis, Lionel, Duke, Webb, Kirk, and more.
Just hold on a moment. Before you start packing the car to flee somewhere pastoral for the final weekend of August, may I inform you of two delightful reasons to stay in (or visit) New York City on Saturday, August 29, 2015?
The first concerns our friend Dennis Lichtman — virtuoso on clarinet, fiddle, and mandolin. I first heard and met Dennis in 2009 when he was a member of the Cangelosi Cards, then heard him in other contexts around the city — always playing marvelously, with a bright sound and memorable creativity, whether sitting in with a hot band or leading his own group, the Brain Cloud.
Photograph by Bobby Bonsey
At 2 PM on Saturday, Dennis will be celebrating his tenth year as a resident of the borough of Queens, New York — in music. He and a great band will be offering a concert celebrating the history of jazz in Queens . . . the result of his first grant project, “Queens Jazz: A Living Tradition.” Thanks to the Queens Council on the Arts, he will be presenting “original music inspired by this borough’s jazz heritage.” In addition, there will be classic songs associated with Queens jazz masters of the Twenties to the Forties. (Think of Clarence Williams and Fats Waller, among others.)
The concert — the FREE concert — will take place at the Louis Armstrong House Museum, 34-56 107th Street, Corona, New York, (718) 478-8274. In case of rain, it will be held at the Queens Public Library, 40-20 Broadway, Queens, New York.
Dennis has assembled a wonderful band: Gordon Au, trumpet; J. Walter Hawkes, trombone; Dalton Ridenhour, piano; Terry Wilson, vocal; Nathan Peck, string bass; Rob Garcia, drums. You can keep up with Dennis hereand here is the Facebook event page for the concert.
But that might leave you at liberty in mid-afternoon on a beautiful Saturday. What to do?
I will be heading towards lower Manhattan for evening music of a most soulful kind: Miss Ida Blue and friends (including Dan Block, reeds, and John Gill, guitar) will be hosting an evening of the blues at Joe’s Pub. The photograph below also shows Andrew Millar, drums, and a figure I assume to be the heroic Brian Nalepka — you hear his sound even when you can’t see him.
Photograph by Steve Singer
Hereis the Facebook event page for this concert. It’s a one-hour gig, starting at 9:30. And Miss Ida and Joe’s Pub go together spectacularly, as I have written hereabout her triumphant May 15 gig. I first heard her delivering the blues like a superb short-order cook — hot and ready — with the Yerba Buena Stompers, and I look forward to more of that spicy cuisine at this year’s Steamboat Stomp, which will begin in New Orleans a little more than a month from this posting.
I note with pleasure that Miss Ida has two pairs of dark glasses in this photograph. Obviously the energy she unleashes is so powerful that wise listeners might want to bring extra protection — aural sunscreen. But don’t be afraid: her power is a healing joyous experience. And you might hear songs associated with blues monarchs Memphis Minnie, Sister Rosetta Tharpe, Robert Johnson, Sister Wynona Carr, and others, all performed with conviction, invention, and ingenuity by our own Ida. To purchase tickets ($15), click here.
Now you know it all, and can make plans. For me, a suburban New Yorker who commutes to Manhattan and Brooklyn for pleasure, I can occupy my spare moments in the next two weeks with the philosophical calculus of transportation: drive to Corona in the morning, enjoy the concert, then choose — take my car into lower Manhattan on a Saturday night and attempt to find street parking, or go home after Corona, take the commuter railroad in . . . matters of time, finance, ease. Such things should be my (or your) largest problems. I hope to see friends at both concerts!
Before you read a word of mine, I urge you to set aside fourteen minutes (multi-tasking discouraged) and enjoy this performance of SWEET SUE and GEORGIA CABIN by Evan Arntzen, reeds / vocal; his grandfather Lloyd Arntzen, reeds / vocal; his brother Arnt Arntzen, guitar / vocal; James Meger, string bass; Josh Roberts, guitar; Benji Bohannon, drums. Recorded at the Vancouver 2013 Jazz Band Ball by Bill Schneider.
There have been some families in jazz but it’s a fairly uncommon phenomenon; in this century I can think of the Marsalis clan, then an A B C — Au, Baker, and Caparone — and I am sure my readers will tell me of others I am unintentionally slighting. But the Arntzen dynasty is truly impressive. (I’ve heard Evan at close range a number of times, and his talent is no fluke.)
The occasion for this celebration is my listening to two fairly recent CDs, both cheerfully swinging without tricks — and they both suggest that the Arntzens have are a musically functional family. (I’m old-fashioned enough to be in favor of families that not only don’t hate each other, but that create something supportive and lasting.)
The first CD, BLACKSTICK, offers a sweet story as well as authentic hot jazz.
This CD is an expression of gratitude to Grandpa Lloyd Arntzen, who taught Evan and Arnt, as children, not only musical fundamentals but gave them a deep love of melodic improvisation and hot jazz. And the best part of the CD is that it is not an elegy or eulogy — but that Lloyd plays and sings (even a Tom Waits paean to New Orleans) throughout the disc. Aside from Evan, Lloyd, and Arnt, the other musicians are Jennifer Hodge, string bass, Dan Ogilvie, guitar; Benji Bohannon, drums. The sound of the music is comfortable, too: what could be better than recording it — with only two microphones — in Lloyd’s “basement rec. room,” where it all began? The music is a happy and free evocation of the Apex Club Orchestra, Sidney Bechet with and without Mezz Mezzrow, and even Soprano Summit: moving from gentle serenades to ferocious swing. Hereyou can hear the CD and — if you are so moved — purchase an actual copy or downloads.
The second CD, cleverly titled INTRODUCING THE BROTHERS ARNTZEN, is just that, a compact but winning introduction to their musical world — which features not only a good deal of expert instrumental interplay but almost as much delightful harmony singing.
The CD isn’t slick or slickly produced: it sounds most gratifyingly like the music dear friends might make in their living room for the enjoyment of a small group of like-minded people. (It is properly advertised on the cover as MUSIC FOR DANCING.)
I am not a fan of manufactured country-and-western music, but this disc has a lovely “roots” flavor to it . . . and when I was only on the second track, a stomping VIPER MAD, which was followed by a truly touching HOME, I was convinced. Jennifer Hodge is back on string bass, and Andrew Millar plays drums most effectively. Evan sticks to the clarinet, Arnt to the banjo, but this foursome creates a rich sound. As before, you may hear / purchase here.
The Brothers aren’t entirely down-home antiquarians: they have their own fraternal Facebook page. They have already brought a good deal of restorative music and good emotions into my world: welcome them into yours.