Tag Archives: Benny Goodman Sextet

EVER GREEN! (July 25-27, 2014)

I know I am a very fortunate mortal, and am reminded of this every moment. One of the more tangible reminders for me is the Evergreen Jazz Festival in the Colorado city of the same name, happening very soon — July 25-27, in fact. Here is the link which tells you all the exciting necessary details. Tickets are still available.  Plane flights are still possible.  There is going to be so much lovely hot and sweet music that I know I won’t get to more than a small percentage of it.

The Festival is arranged so that each band plays eight sets over three days in five venues (is there a math major in the house?) ranging from intimate to large, with room for energetic swing dancing.

I’m looking forward to seeing and hearing artists whose music I admire greatly:

JAMES DAPOGNY’S CHICAGO JAZZ BAND (with Jon-Erik Kellso, Kim Cusack, Russ Whitman, Chris Smith, Rod McDonald, Pete Siers)

“IVORY & GOLD”: JEFF and ANNE BARNHART

BIG MAMA SUE (I know her as Sue Kroninger, and she’ll be joined by Eddie Erickson,, and Chris Calabrese)

PETER ECKLUND TRIO

and some bands new to me that come highly recommended:

AFTER MIDNIGHT (reminiscent of the Goodman Sextet)

QUEEN CITY JAZZ BAND with Wende Harston

BOGALUSA STRUTTERS

JONI JANAK and CENTERPIECE JAZZ

HOT TOMATOES DANCE ORCHESTRA

YOUR FATHER’S MUSTACHE BAND

If we’ve never met or if we have, come say hello!  I love meeting my readers in person.  I will be wearing brightly colored clothing; I will be intent and silent and beaming behind a video camera . . . while the music is playing. Otherwise I admit to a great deal of speech. Anyway, it would be lovely to meet more JAZZ LIVES friends in the mountains of Colorado.

May your happiness increase!

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MOUNTAIN AIRS: THE 2014 EVERGREEN JAZZ FESTIVAL (July 25-27, 2014)

EVERGREEN

I’m very excited to be going to the 2014 Evergreen Jazz Festival — that’s Evergreen, Colorado, near the end of July. The last time I visited that state was also for rewarding jazz — I have fond memories of Sunnie Sutton’s Rocky Mountain Jazz Party — so my mind automatically associates Colorado with good music and new friends.   

The Festival is arranged so that each band plays eight sets over three days in five venues (I can’t do the math; perhaps some of you can) ranging from intimate to large, with room for energetic swing dancing. 

I’m looking forward to seeing and hearing some artists whose music I admire greatly:

JAMES DAPOGNY’S CHICAGO JAZZ BAND (with Jon-Erik Kellso, Kim Cusack, Russ Whitman, Chris Smith, Rod McDonald, Pete Siers)

“IVORY & GOLD”: JEFF AND ANNE BARNHART

BIG MAMA SUE (I know her as Sue Kroninger, and she’ll be joined by Eddie Erickson, Chris Calabrese, and Clint Baker)

PETER ECKLUND TRIO

and some bands new to me that come highly recommended:

AFTER MIDNIGHT (reminiscent of the Goodman Sextet)

QUEEN CITY JAZZ BAND with Wende Harston

BOGALUSA STRUTTERS

JONI JANAK and CENTERPIECE JAZZ

HOT TOMATOES DANCE ORCHESTRA

YOUR FATHER’S MUSTACHE BAND

Filmmaker Franklin Clay made a very expert video of the 2012 Festival that you can see here. Although the 2014 lineup is different, the video shows what the Festival feels like better than ten thousand words would.

And here’s Jenney Coberly’s film of the 2011 festival: 

Elsewhere on the Festival site, there is appealing news for those people trying to hold on to their dollars until the eagle grins: discounts apply to tickets ordered before May 31, so the race is indeed to the swift.  (You need not be swift to attend the Festival: I see there is a shuttle between venues.)

I will say more about this as the calendar pages fall off the wall, but I wanted to tell JAZZ LIVES readers about good times sure to come.

May your happiness increase!

I CAN EAR IT NOW!: “JAZZ ME BLUES” (The Ear Inn, Nov. 20, 2011)

I tend to hold myself back from making requests of jazz musicians — you know, “would you play _____ in the next set?” because I often see the brief flicker of pain in the hearer’s face or — in more severe cases — note the sudden attack of temporary deafness when someone requests a favorite song that is in some way not right for the band, the venue, the collective mood.

But even though I don’t come from a family of aristocrats — at least in the sense of official genealogies — I have this small fantasy of having the band play “songs I like.”  Of course this is specious, because the reality of improvisation is that even if I dread another rendition of, say, MUSKRAT RAMBLE, a fine band can make me forget my initial dread and even reproach myself silently for those vestiges of judgmental small-mindedness.

This brings us to The Ear Inn, always a good thing.  In my previous post, CONN MEN AT THE EAR INN, I shared some of the delights of that evening.

Here’s another, taken from the second-set-EarRegulars-and-friends celebration.  (If you ask, “Celebrating what?” one answer might be, “The joy of being alive and making music for people who are listening to it,” not small things.)

The Regulars were Jon-Erik Kellso, trumpet; Scott Robinson, trumpet, metal clarinet, tenor sax; Chris Flory, guitar; Joel Forbes, string bass.  The Visitors were Dan Block, tenor sax; Simon Wettenhall, baritone horn.

When they assembled in their corner (sprawling out in a line past the telephone booth) there was a momentary pause for thought: what should they play next?  I forgot my cautious self and said aloud, “JAZZ ME BLUES?”  And because the stars were in the right alignment and the EarRegulars know I am Friend, not Foe, it was taken up as the common theme.  Part Bix, part Eddie Condon, part Lester Young, part Goodman Sextet, part Basie at the Famous Door 1938 — all the parts coalescing into something romping and glorious — at an especially sweet medium tempo (with breaks and riffs and a real surprise at 8:47).

Come on, Professors, come on and Jazz Me!

I heard the music of the spheres at The Ear.

HEARING IS BELIEVING: GORDON AU / TAMAR KORN (Dec. 16, 2010)

If you close your eyes, something interesting might happen.  Listen deeply. 

Last Thursday, I made a pilgrimage to Williamsburgh in Brooklyn, New York, and eventually arrived at RADEGAST, a beer garden on the corner of Berry and North Third Streets.  The Grand Street Stompers were playing: they are directed by trumpeter Gordon Au (always a good thing) and this edition was all-star: Emily Asher, trombone; Dennis Lichtman, clarinet; Nick Russo, guitar / banjo; Rob Adkins, bass.  And Tamar Korn sang.

But.

Before anyone embarks on the first video, the viewers I call the Corrections Officers should know that Radegast is the darkest club I have ever been in.  Cozy but Stygian.  My video camera was not entirely happy.  So the result is nocturnal, visually. 

Also, the dance floor in front of me was properly filled with dancers: once your eyes get accustomed to the whirling shadows you can discern the most graceful pair, in harmony with each other and the music.

Because of the season, Gordon chose to play I SAW MOMMY KISSING SANTA CLAUS.  Leaving aside the psychological associations: adultery, roleplay with costumes, the primal scene, love-for-sale . . . it’s a Thirties tune that I can hear in my head as a Teddy Wilson Brunswick . . . or what would Fats have done with this?  This version has some of the rocking motion of a Goodman Sextet circa 1941, thanks to Nick and Dennis; also echoes of a Fifties date for, say, Ruby Braff and Benny Morton, courtesy of Gordon, Emily, and Rob:

The same flavors continue into I’M CONFESSIN’ — with the addition of the remarkable Tamar Korn, singing from her heart while standing to the left of Rob’s bass.  Catch the whimsical contrast between Tamar’s air-trajectories and Gordon’s muted answers: is he our modern Hot Lips Page?  And Emily Asher’s tone gets bigger, broader, and more lovely every time I hear her:

With music like this, who couldn’t weather the storm?  Homage to Irving Berlin and more of that Thirties combination of sweet-tart vocals and hot playing, I’VE GOT MY LOVE TO KEEP ME WARM.  I’ve always admired Tamar as a singer who doesn’t cling to safe routines, and her reach continues to expand into space:

I knew the next performance was Serious Business when someone turned on the light above the music stand.  I didn’t immediately recognize the pretty melody Dennis was delicately playing, but I knew I had heard it once.  Then Gordon braved the way into . . . . THE SOUND OF MUSIC, which came back to me from 1962.  As the performance progressed and everyone relaxed (Rodgers’ melody takes a few unexpected turns), I had a different aural epiphany. 

Joe Glaser, Louis Armstrong’s manager, was obsessed with the quest for more popular hits for Louis.  Sometimes this worked: consider MACK THE KNIFE and HELLO, DOLLY!  But Joe missed this one!  I can hear an imagined All-Stars version of this song (with banjo) that would have been extraordinary.  And Gordon might have felt it too, as he launched into his solo with a passage that suggests Louis — hinting at the bluesy flourishes of the Hot Seven and the cosmic scope of the 1932 Victor sides.  Then Nick’s chimes before settling into a very non-von Trapp Family (say that three times) segment backed by Rob’s Hintonian bass.  Hear and see for yourself:

Tamar returned, for one of her classics — LOVER, COME BACK TO ME — that would have pleased Sigmund Romberg, especially if he’d had some of the delicious German beer that Radegast offers all and sundry.  And she swings out on invisible trumpet (meeting Gordon’s!) in her second outing. 

But I have to apologize to the gifted tenor saxophonist who appeared to the right and began to swing out.  Who are you, kind Sir?  Are you the ghost of Dick Wilson?

Finally, in honor of the season and of Elvis, Tamar creates a mourning rockabilly interlude in BLUE CHRISTMAS, with Nick going a-sliding along.  (I can hear Louis and Trummy Young doing this one, too.  Where was Joe Glaser?):

I hope the only thing of yours that’s blue this holiday season is the sky.  Or socks, lingerie, or a fleece sweatshirt!

“JONATHAN STOUT and his CAMPUS FIVE” SWING!

Perhaps it’s because I live in New York, but I had heard little about guitarist Jonathan Stout and his various swing ensembles until recently, but when I heard that Jonathan often employed pianist Chris Dawson and Hal Smith, when I read that he considers Allan Reuss his favorite rhythm guitarist . . . then I began to pay attention.

And, as Arthur Miller has Linda Loman say in DEATH OF A SALESMAN in quite a different context, “Attention must be paid.”

To be blunt, there are many orchestras and combos billing themselves as “Swing bands.”  Most of them, although diligent, miss the point.  Swing isn’t simply a matter of wearing the appropriate period clothing; it isn’t a matter of copying arrangements off the records or from the page.  Ellington called it “bouncing bouyancy,” and he was of course right.  It isn’t a matter of letting the tenor soloist wail in a post-bop manner for a number of choruses on A STRING OF PEARLS.  To play Swing convincingly, it’s necessary to swing — and not everyone is born with that rhythmic / harmonic / melodic DNA.  But the musicians who make up Jonathan Stout’s “Campus Five” know what it’s all about — not in some academic way, not by reproducing old records live.  They feel it, and the evidence is right here. 

The band appeared at the Cicada Club in Hollywood on May 17, 2009, for three long sets.  Amazingly, these performances are accessible in their entirety on YouTube (which usually restricts civillians to ten minutes) and in High Definition.  The band, for this occasion, is made up of  Jim Ziegler, trumpet (and an engaging Southern-tinged vocal on CHEEK TO CHEEK), Albert Alva on tenor sax and clarinet; Richard Geere on piano; Jonathan himself on acoustic and electric guitar; Wally Hersom on bass; and, for this occasion, Hal Smith on drums; Hilary Alexander is the sweetly genial girl singer.

Here’s the first set — including a number of variations on jazz classics, HONEYSUCKLE ROSE and S’WONDERFUL; material made famous by the Benny Goodman Sextet featuring Charlie Christian, BENNY’S BUGLE and ROSE ROOM, the Lionel Hampton FLYIN’ HOME, and several charming vocals from Miss Alexander, including COW COW BOOGIE, SUNNY SIDE OF THE STREET, and Lester Young’s vocal feature, JUST A LITTLE BIT SOUTH OF NORTH CAROLINA. 

The dancers enjoyed themselves: I did as well.    

P.S.  Ending the set is some rather tedious period banter between the master of ceremonies and the owner of the club, which some may wish to avoid.

“HAPPY BIRDLAND TO YOU!” (MAY 6, 2009)

The Beloved and I went to Birdland last night, video camera and tripod at the ready, to celebrate.  Not an occasion of our own, but to raise our glasses and cheer a long run that shows no sign of abating.  It’s the Wednesday night gig of David Ostwald’s Louis Armstrong Centennial Band (a/k/a/ the Gully Low Jazz Band) — which celebrated its ninth anniversary.  As David correctly pointed out, a two-week gig in jazz is a rare thing.  So for the LACB to be on the stand for approximately four hundred and fifty Wednesdays in a row is testimony to their endurance, the love they generate in their audiences, and the lasting appeal of the music they play and the exuberant way they play it.  It also says something about the enduring appeal of the man whose music they celebrate, but that should be obvious to everyone by now.

This Wednesday’s gig wasn’t a riotous affair.  True, a tidy little cake with one candle appeared during the second set, but the general atmosphere was superficially quiet.  But that’s a good thing in a jazz club when it is the attentiveness of a great band (musicians who listen to each other!) focused on their material and the quiet of a happy, perceptive audience, listening closely — people sitting straight in their chairs, grinning, tapping their feet, applauding in the right places.  A hip band, a hip crowd.  Just how hip was the crowd?  How about George Avakian, Daryl Sherman, Dan Morgenstern, Lloyd Moss, the Beloved, and myself.

The band was a first-class version of David’s floating ensembles: Jon-Erik Kellso on trumpet; Vincent Gardner on trombone and vocal; Anat Cohen on clarinet; Mark Shane on piano; David Ostwald on tuba and commentary; Kevin Dorn, “young Kevin,” on drums.  Here’s some of what they played — for those of you beyond midtown.

About the music: they began this Wednesday as they always have, in tribute to the Louis Armstrong All-Stars of blessed memory, with a nostalgic WHEN IT’S SLEEPY TIME DOWN that segued, after Kevin kicked it off, into a rousing BACK HOME AGAIN IN INDIANA.  (For wise commentary on Louis and the All-Stars, be sure to visit Ricky Riccardi’s site, “The Wonderful World of Louis Armstrong,” and save your dimes (get some cash for your trash!) for his book on Louis’s later years, to be published in 2010 by Pantheon.

ROYAL GARDEN BLUES is a song that has been flattened down somewhat by formulaic playing by many jazz bands of varying quality, but it was first a tribute to the place where Louis and King Oliver amazed everyone, so it has to be taken seriously.  And Bix Beiderbecke and his Gang did a pretty good version of it as well.  (So did Count Basie and the Benny Goodman Sextet, so the song — and its routines — are durable for sure.)

Don Redman’s pretty rhythm ballad, SAVE IT PRETTY MAMA, was recorded twice by Louis — in 1928 with his Hot Five, and in 1947 at Town Hall.  In these days of economic uncertainty, saving whatever “it” might be seems like a good idea, and Vincent Gardner sings the simple lyrics with conviction and a bit of amusement.

W.C. Handy’s compositions drew on traditional folk and blues forms, and ATLANTA BLUES is one of his most lively, also memorably recorded by Louis in his 1954 Columbia tribute, a recording produced by the venerable and venerated Mr. Avakian.

I don’t think Louis ever recorded SOMEDAY, SWEETHEART but it’s certainly a lasting tune.  Here, the spotlight falls on a quartet: Anat, Mark, David, and Kevin, at points summoning up the happiness that was the Benny Goodman Trio.  Or Mildred Bailey’s recording with Teddy Wilson.  (Mark knew the verse and played it splendidly.)

Finally, a delightful surprise: the Wednesday manager of Birdland, Brian Villegas, is also a fine singer: he joined the band on IT’S ALL RIGHT WITH ME — and it was more than all right with us.  Wishing you fame and happiness, Brian!

If you couldn’t make it to Birdland last night to join in the festivities, you missed something dee-licious, as Louis would say.  But some of the same hot jazz and good energy will be there next Wednesday from 5:30 – 7:15, and the Wednesdays into the future.  I’m sure David will accept belated felicitations with his usual graciousness.

SYMPHONY SPACE REGRETS

miss-otis-regretsThose of you who follow this blog closely (earning my gratitude) will recall my January 20 posting about Symphony Space.  The Space is hosting a monthlong program on the art and culture of a pivotal year in American culture, 1939.  I found it inexplicable that there seemed to be no live jazz on the program, and called my post NO JAM TODAY (AT SYMPHONY SPACE).

Some time passed and I found it slightly odd that no one from the Space had responded to this post, but explained this silence by reminding myself that there are still some people beyond the reach of this blog.  Astonishing but true.  Last Friday, Stephen Holden wrote an admiring news piece about “1939” in the Arts section of the New York Times, naming the co-ordinator of the project, Laura Kaminsky.

After reading Holden’s piece, I sent Ms. Kaminsky a brief, well-behaved email, inviting her to read the post, and offering to post her response here if she wished.  Here’s her reply:

“Thank you for writing.  We would have liked to have included a big band segment, but, alas, were unable to secure the funding necessary.  We are having an evening of community swing/jitterbug dance hosted by Mercedes Ellington, and while it won’t be live, it will be the best of the big band music on recordings.

There is, however, a live jazz component – 12 nights of jazz vocalists in unWINEd wine bar and lounge – all the wed-thur-fri evenings at 9 pm throughout the month, as well as an evening with Miles Griffith and Kirk Nurock in the Thalia.  I hope to see you there.

All best, Laura Kaminsky”

I appreciate Ms. Kaminsky’s candor and promptness.  Of course it is rather too late to revise the program and to depose some guests in favor of what I might think of as more appropriate choices.  However, I still don’t think that having a “platter party” makes up for the absence of real live 1939-related jazz.  An evening devoted to the Kansas City Seven and Benny Goodman’s Sextet would have required seven musicians, but perhaps that idea was too arcane for acceptance.  The artists she mentioned (named and unnamed) are no doubt commendable, and I mean them no slight, but I would be surprised if any of them delved deeply into the music that so epitomized 1939.

In future, I hope that Ms. Kaminsky or anyone else planning such a program might take some suggestions from someone knowledgeable about the intersections between jazz and other art forms: I would have been more than happy to provide them for free.