Tag Archives: Arnt Arntzen

“IT’S HOT DOWN THERE!” (Part One): SWINGING JAZZ FROM CAFE BOHEMIA: JON-ERIK KELLSO, EVAN ARNTZEN, JARED ENGEL, ARNT ARNTZEN (October 24, 2019)

Wonderful music has been happening and continues to happen downstairs at the Barrow Street Alehouse on 15 Barrow Street, the hallowed ground of Cafe Bohemia.  Here’s the first part of the splendid music created on October 24 by Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet, tenor saxophone, vocal; Jared Engel, string bass; Arnt Arntzen, guitar, banjo, vocal.

You’ll find so much to admire here: brilliant wise polyphony, hot and sweet soloing, respect for melodies and the courage to improvise.  Beauty is there for those who can listen without preconceptions.  And they swung from the first note of I DOUBLE DARE YOU:

Then, SOMEDAY SWEETHEART, with or without comma:

Something memorable from the pen of William H. Tyers:

Evan offers the verse all by himself, gorgeously:

When I grow too old to take the subway, I’ll have these sounds to remember:

Cafe Bohemia is also offering a variety of musical pleasures, including sets by trumpeter Joe Magnarelli and a rare session by the two sons of legendary jazz bassist Jymie Merritt — keep up to date with their schedule here on Facebook.  Their website is still in gestation but will be thoroughly informative soon.

I will have much more from this band, and Jon-Erik will be back at Cafe Bohemia on November 14 and several more Thursdays in December.  And — if that wasn’t enough — Matt Rivera will be creating his own clouds of joy by spinning 78s before and after: see here for the full story.  The Hot Club is fully in operation Monday nights (by itself, which is wonderful) and alternating with the live music on Thursdays.

Thanks evermore to Mike Zielenewski and to Christine Santelli, aesthetic benefactors who are making all this joy possible. M.C. Escher would be happy to know that glorious sounds scrape the clouds even from the basement of 15 Barrow Street.  S0 find your gloves and that nice scarf Auntie made for you — the one you never wear — and come join us.

May your happiness increase!

AND BY POPULAR DEMAND: A LONG ROMP FROM CAFE BOHEMIA BY EVAN ARNTZEN, ANDREW MILLAR, FELIX LEMERLE, ALEX CLAFFY (October 17, 2019)

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!

May your happiness increase!

THE REAL THING, ONE FLIGHT DOWN: EVAN ARNTZEN, ANDREW MILLAR, FELIX LEMERLE, ALEX CLAFFY (Cafe Bohemia, October 17, 2019)

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 here and 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.

May your happiness increase!

HALLOWED GROUND COMES TO LIFE, or THE SOUNDS AT CAFE BOHEMIA (15 Barrow Street, New York City): MARA KAYE, JON-ERIK KELLSO, MATT MUNISTERI, EVAN ARNTZEN, BRIAN NALEPKA (September 26, 2019)

Once . . . .

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!

May your happiness increase!

A LITTLE LATE, BUT NOT IRREVOCABLY SO: “CHRISTMAS TREATS”: JEN HODGE ALL STARS

jen-hodge

Luckily for me, the splendid string bassist / singer / creative catalyst Jen Hodge is of a forgiving disposition, or else I would be nervous about reviewing her splendid EP, CHRISTMAS TREATS, on December 29.  But my semester ended a week ago, and it took intensive therapy to get the student essays and grading out of my system.

christmas-treats

So here I am, a week and more too late.  BUT the good news is that the music — if you were to play it for someone who didn’t know it was Official Holiday Music — is simply gratifying hot melodic jazz, with surprising twists.

Here’s a sample — music that will be especially appropriate when the January credit card statement, all teeth and eyes, emerges:

CHRISTMAS TREATS features four tracks — including SANTA CLAUS BLUES, they are a Bechet-inspired IL EST NE, LE DIVIN ENFANT; JOLLY OLD SAINT NICHOLAS; GOD REST YE, MERRY GENTLEMEN.  And they rock — the overall effect is hot lyricism with beautiful melodic statements and just the right blend of rocking collective improvisation.

Jen is very proud of the lineup — each track features musicians from Western Canada’s hot jazz scene, their ages from 18 to 89, including Jen herself, Brad Shigeta, Lloyd Arntzen, Sky Lambourne, Arnt Arntzen, Nick James, Aaron Levinson, Dave Taylor, Ben Henriques, Bonnie Northgraves, Kayden Gordon, Joseph Abbott, Don Ogilvie, Josh Roberts, Kelby MacNayr. Some of these names were completely new to me, but the music is convincing throughout.

Nothing on this diminutive but affecting disc is formulaic: neat arranging touches uplift without being overly clever: duets and duels between two of the same instruments; interludes for horns without rhythm within a performance — and a consistently swinging result.  You didn’t hear anything this good at the mall, and this music will still be very tasty when all the ornaments are packed away.

Visit here to get a digital copy, or travel to Jen’s hot homeland for a physical copy at any of her shows.  And here’s Jen on Facebook.

May your happiness increase!

A REMARKABLE MUSICAL FAMILY

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.

BLACKSTICK

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.  Here you can hear the CD and — if you are so moved — purchase an actual copy or downloads.

INTRO BROS ARNTZEN

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.

BROS ARNTZEN photo

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.

May your happiness increase!