Tag Archives: Blossom Dearie

MEET MIMI TERRIS, WHO SINGS BEAUTIFULLY

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I first encountered Mimi Terris late in 2008, a sweetly humble young singer who joined Tamar Korn and the Cangelosi Cards at the Lower East Side music spot Banjo Jim’s.  With Naomi Uyama, the three songbirds stood out on the sidewalk on a cold night and serenaded me, Jim and Grace Balantic with an a cappella Boswell Sisters chorus.  It might have been SHOUT, SISTER, SHOUT, and we were thrilled. Tamar, Mimi, and Naomi are immortalized on a few videos on YouTube, and the EP CD of “The Three Diamonds”.

Now, Mimi has released her debut CD: it is just wonderful throughout. It’s not simply the winning purity of her voice; it’s the depth of her emotions and the wide range of her musical affections — from gutty Bessie Smith to floating sweet lyricisms.  She can be as light as Beverly Kenney or Blossom Dearie, but she isn’t limited by any one approach. Mimi is classically trained, but she doesn’t sound like Helen Traubel “trying to swing.”  Swing comes naturally to her, but so does beautiful enunciation, convincing phrasing, a deep love of both the original melody and the lyrics.

Here she is, with friends, deep in the purple dusk of twilight time:

The CD, THEY SAY ITS SPRING, is just as delicious.  On it, Mimi is joined by pianist Gordon Webster and bassist Cassidy Holden with visits from guitarist Jacob Fischer and trumpeter Peter Marrott on THEY SAY IT’S SPRING / WEST END BLUES / EN SADAN NATT SOM DENNA (an instantly memorable Swedish pop song from the Thirties) / IT WON’T BE YOU / LILAC WINE / I GOT IT BAD / ROCKIN’ CHAIR / LOVER, COME BACK TO ME / STAR DUST / ALICE.

Listening to it, a dozen times, I thought of Eddie Condon’s praise of Lee Wiley: “She just sings the melody.  No tricks.”  But Mimi’s delicate, reverberating art — deeply simple — is even better than the absence of melodrama.  Although young, she sounds like a mature artist, offering her love of the songs to us.

Mimi’s Facebook page is here; her website is here; to hear music samples or download the CD, visit here.

May your happiness increase!

GIFTS FROM FRANCE

Like the British, the French embraced American jazz before the Americans did, and jazz players found France welcoming as well as nearly colorblind.  I haven’t visited France, but INA — the French National Audiovisual Institute — sent me some holiday presents that I have been enjoying greatly.  

INA has created a national archives of what has been broadcast over French radio and television, over 1.5 million hours, of which 28,000 hours are available on the site.  You can see what treasures they hold at http://www.ina.fr.  And each day new content is added.  Eighty percent of these video and audio programs are available online for free, and the remaining ones can be purchased for downloading or burning to DVD at boutique.ina.fr.

When I first  heard about the jazz videos available for viewing, I lost myself for a few hours on the site, watching, among other things, a 46-minute video filmed at the 1958 Jazz de Cannes festival, featuring Vic Dickenson, Sidney Bechet, pianist Joe Turner, Ella Fitzgerald, Coleman Hawkins, Dizzy Gillespie, Roy Eldridge, Bill Coleman, and others.   

Two new CD sets show how deeply the French love this music. 

http://boutique.ina.fr/cd/musique/jazz/PDTINA001734/jazz-aux-champs-elysees.fr.html

This disc (76 minutes) draws on the radio program JAZZ AU CHAMPS-ELYSSES, which had a twenty-year run.  Its creative director was pianist Jack Dieval, and some idea of its spirit can be heard at the very start of the disc where — after an introductory theme written by Dieval, you hear JUMPIN’ WITH SYMPHONY SID. 

The programs featured a fine French house band, full of local jazz talent, as well as appearances by American and European jazz luminaries, and occasionally a jam session where the participants would be playing from different European radio studios. 

This disc — I hope the first of a long series — concentrates on the luminaries and the JACE house band.  Those who know their French jazz will recognize the names of Geo Daly, Gerard Badini, Daniel Humair, Michel de Villers, Rene Thomas, Guy Lafitte among others.  But the special delights (for me) of this disc come from Blossom Dearie, Stephane Grappelli, the Delta Rhythm Boys, Donald Byrd, Bobby Jaspar, Chet Baker . . . and a trio of exalted tenor saxophonists. 

First, there are two performances by Stan Getz and a large orchestra with arrangements by Michel Legrand — a melting I REMEMBER CLIFFORD and an energized PERDIDO. 

Then (we are climbing the mountain, in my estimation) Lucky Thompson — with rhythm — explores LOVER MAN (briefly) and DON’T BLAME ME.

Finally (at the apex), two joyous performances by Lester Young in 1956: LESTER LEAPS IN with the SDR big band (Horst Jankowski, piano) and JUMPIN’ WITH SYMPHONY SID (backed by a trio including pianist Rene Urtreger).  Joyous music. 

And the other gift is a two-disc set of live performances from the Cannes Jazz Festival, all recorded between July 8-13, 1958:

What could be better than this picture of Dizzy, testing the waters?

The Cannes set is divided between jazz “classique” and “moderne,” distinctions which have blurred in the past fifty years, although the music has not. 

The “classique” performances include Bechet ferociously bullying his Fernch compatriots on three selections, tenderly playing ONCE IN A WHILE with Vic Dickenson and Teddy Buckner; pianists Sammy Price and Joe Turner, Albert Nicholas playing the blues. 

Then we move into even more exalted realms: a Coleman Hawkins solo on INDIAN SUMMER, four songs by Ella Fitzgerald, and two jam sessions — one featuring Vic, Hawkins, and Roy with French hornmen de Villers and Hubert Rostaing, and a final trumpet joust on JUST YOU, JUST ME — Bill Coleman, Dizzy, Roy, and Buckner.  Hot stuff!  And the rhythm sections are varied and fine: Martial Solal, Lou Levy, Arvell Shaw, J. C. Heard among others. 

The “moderne” disc offers bassist Doug Watkins — always rewarding — as well as Art Taylor, Solal, and lots of Kenny Clarke and the reliable Pierre Michelot.  There are substantial explorations by Donald Byrd and Bobby Jaspar, Zoot Sims, Tete Montoliu, the Modern Jazz Quartet, Barney Wilen, Michel Hausser, Berney Wilen, Sacha Distel, Stan Getz, and Dizzy — I assume having changed his clothes for his appearance onstage.

http://boutique.ina.fr/cd/musique/jazz/PDTINA001684/jazz-sur-la-croisette.fr.html

These sets (and the videos one can watch or buy from INA) are marvelous glimpses of Olympians who won’t come again.

DON’T “BRUSH ASIDE THE ITALIANS”

 From the KANSAS CITY JEWISH CHRONICLE:

The ‘multi-talented musical genius’ of jazzman Dave Frishberg

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Written by Rick Hellman, Editor   
Friday, 12 February 2010 12:00
 

altDave Frishberg

Jazz pianist, singer and songwriter Dave Frishberg, the author of such witty ditties as “I’m Hip,” “Peel Me a Grape” and “My Attorney Bernie,” rejects the notion that Jews are overrepresented among great, white American jazz players — as they are among, say, Nobel Prize winners.  “I don’t know if you can just brush aside the Italians,” Frishberg said dryly last week in a telephone interview from his home in Portland, Ore. “I never thought about Jewish representation in roles; I don’t know why that would be.”

As a former sideman for Zoot Sims and Al Cohn, Ben Webster, Gene Krupa and more, the 76-year-old Frishberg is practically a one-man history of American jazz. He grew up in St. Paul, Minn., and recognized Kansas City’s contribution to the form early on.

He visits Feb. 27 for the first time in 30 years as part of the Folly Jazz Series. (See below for details.)

“My older brother had all these records — Jay McShann and Count Basie, Jimmy Rushing,” Frishberg said. “I knew all that stuff as a kid, and I guess it just stuck with me. …

“I eventually got to play with a lot of people — Ben Webster and Gus Johnson and other people — from Kansas City. And I remember Jo Jones! … I guess mainly it was Lester Young. I loved him so much, and from listening to him, I got familiar with all the music surrounding him.”

Although his own style wound up a bit more cerebral, Frishberg said Basie and McShann “were very influential” on his playing.

“More recently, I have crossed paths with two wonderful Kansas City musicians,” Frishberg said. “One is the guy I consider best drummer in the world, Todd Strait, who lives in Portland now. The other was when I was playing the Regency Hotel’s Feinstein Room, and in walks Marilyn Maye, a name that I used to see around a lot. She was kind of legendary.”

Frishberg respects what a great set of pipes can do with one of his songs. They have been recorded by such jazz greats as Mel Torme, Rosemary Clooney and Blossom Dearie.

Solo act
Today, Frishberg sings and performs his own material as a solo act. It started in the late 1960s or early ’70s, he said, when he was living in New York.

“I had been there 10 or 12 years as a pianist, writing all that time,” Frishberg said, “But I never really thought about singing, except to make demos of my songs. At that time, I made a record album (including vocals), but I had still never faced an audience in the face. I never really intended to sing in front of people. But Carl Jefferson at Concord (Records) made an album of mine, and he invited me to bring the band on the album up to play at the Concord Jazz Festival. It was the first time I ever faced a crowd. … One of the most daunting things was that I was the opening act for Bing Crosby. It was a crushing responsibility and also the thrill of my life to be in that position. I was struck by the fact that I was well received. Then I began to include singing tracks in some of my albums.”

It progressed to the point where Frishberg plays and records almost exclusively as a solo act.

“When I do my own songs, it’s always by myself,” he said. “It’s just easier for me that way. I don’t have to rehearse with a band. It’s all special material. There are no standards in it, so nobody can fake my show. They’ve got to be reading it. And it never sounded good till the gig was over. So I thought, well, I can handle this myself. It leaves me more flexible. I can make instant decisions without having to worry about anyone else.”

Finally, Frishberg said, “The songs are better served that way. None of them depend on beat or groove. They are mostly personal addresses to the people, not rhythm-section music. There is a certain starkness to it that works in my favor.”

Folly Theater Development Director Steve Irwin called the venerable downtown hall “the perfect venue to showcase the multi-faceted musical genius of Dave Frishberg. … He’s done it all in his career … and did I mention he’s one of the best cabaret entertainers in the business?”

Irwin joked that if Frishberg’s career had been as a thespian, “I would describe him as one of those great character actors you love seeing, and who always gives a great performance — but you don’t know his name! On Feb. 27 at the Folly you can have the total Frishberg experience. You won’t be disappointed!”

Humorous songs
Frishberg might even play his best-known song, although it’s not one primarily associated with jazz, but, rather, children’s educational television. Frishberg is the author of “Just a Bill,” perhaps the best-known song from the 1970s ABC animated television series, “Schoohouse Rock!” It was one of a handful of songs he wrote for the series, Frishberg said. It tells how proposals become laws in the American system of government.
And while humor is clearly a tool in Frishberg’s entertainment arsenal, it’s not all he wants to be known for.

“I don’t think of my songs as funny,” he said. “Maybe half of them are. I write in different moods and with different things in mind than getting laughs. My favorite songs are the ones that don’t get the laughs, but seem to touch people. …

“When I was a kid, my ambition was to be a cartoonist; even a political cartoonist. I thought that was great to make these one-panel statements with a drawing, and I find that same kind of thing creeping into my song writing. I think of my songs as cartoons; and maybe not funny, but a three-panel strip. The characters are caricatures, almost … It’s the character that sings the song about his attorney Bernie. So the song is not about Bernie, but the guy who’s singing it. I take that approach. I like to write for characters.”

Frishberg at the Folly

The Folly Jazz Series presents “An Evening with Dave Frishberg” at 8 p.m. Saturday, Feb. 27, at the Folly, 300 W. 12th St. There will be a pre-show talk at 7 p.m. Tickets range from $15 to $30. To charge by phone, call the Folly, (816) 474-4444 or Ticketmaster, (800) 745-3000. Or visit follytheater.com or ticketmaster.com.