Tag Archives: Brian Nalepka

NEXT STOP, HEAVEN: MARA KAYE, JON-ERIK KELLSO, EVAN ARNTZEN, JARED ENGEL (Cafe Bohemia, October 24, 2019)

Mara Kaye, having herself a time.

When I first met Mara Kaye, on the other side of the continent, about six years ago, she was a fervent advocate of “other people’s blues,” often the chansons of Victoria Spivey, Ida Cox, and Memphis Minnie.  Happily she continues to perform these songs, but she’s also added wonderful swing classics to her repertoire, many harking back to the Billie Holiday recordings of the Thirties and early Forties.

Here’s one, quite famous, that she renders with swing, joy, and conviction — accompanied by a splendid group of improvising stars: Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet and tenor saxophone; Arnt Arntzen, guitar; Jared Engel, string bass.

All of this happened at the end of a Cafe Bohemia Jazz Quartet gig — at the downtown home of happy sounds, 15 Barrow Street, Greenwich Village, New York City.  And I felt Irving, Fred, Ginger, Ella, and Louis looking on approvingly.

That music is good news to me.  But the good news continues: tomorrow, Thursday, February 6, Mara will be returning to Cafe Bohemia, starting at 8 PM, joined by Jon-Erik Kellso, Brian Nalepka, string bass, and Tim McNalley, guitar, although so far it seems that the stairs are too narrow to allow Mara to bring that lovely bathtub.

Those who understand pleasure and enlightenment can buy tickets here.

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!

“FROM THEIR HEARTS (Part Three): JON-ERIK KELLSO, CHARLIE HALLORAN, BRIAN NALEPKA, JOHN GILL, and JON DE LUCIA, JORDAN HIRSCH (The EarRegulars at The Ear Inn, July 8, 2018)

The EarRegulars, plus catsup. Photograph by Neal Siegal.

Here is the link to Parts One and Two, containing ten radiant performances from that very gratifying evening at 326 Spring Street, Soho, New York City.

And here are a few of the closing performances.

BEALE STREET BLUES:

IF YOU WERE THE ONLY GIRL IN THE WORLD (Mr. Nalepka sings of romance):

‘WAY DOWN YONDER IN NEW ORLEANS, with guest Jon De Lucia, clarinet:

THE CURSE OF AN ACHING HEART, with Jordan Hirsch, trumpet, and added soundtrack from the Wolf Cubs to my right, or, as Louis says, “Somebody must have been putting alcohol in our liquor”:

A wonderful evening, hugely restorative.  You’ve never been to The Ear Inn?  Get thee hence on a Sunday evening — early to grab a barstool or table — and live life fully.

May your happiness increase!

FROM THEIR HEARTS (Part Two): JON-ERIK KELLSO, CHARLIE HALLORAN, BRIAN NALEPKA, JOHN GILL (The EarRegulars at The Ear Inn, July 8, 2018)

From left, Brian, John, Jon-Erik, Charlie, that very night. Photograph by Neal Siegal.

Another serving of musical splendor: expertise and passion in equal measure.  Visit here for the first four performances (BOGALUSA STRUT, SOMEDAY SWEETHEART, WHO’S SORRY NOW, TISHOMINGO BLUES) and for details.

Music does indeed speak louder than words, so here’s more, the best kind.

WEARY BLUES:

YOU TELL ME YOUR DREAM (swing out, Brian!):

FIDGETY FEET:

PRETTY BABY:

DO YOU EVER THINK OF ME?:

OLD FASHIONED LOVE:

Even in darkness, joy is all around us, and these performances — so generous! — are powerful reminders.

May your happiness increase!

FROM THEIR HEARTS (Part One): JON-ERIK KELLSO, CHARLIE HALLORAN, BRIAN NALEPKA, JOHN GILL (The EarRegulars at The Ear Inn, July 8, 2018)

After the last tune had been played on Sunday, July 8, at The Ear Inn (326 Spring Street, Soho, New York City), Brian Nalepka — string bass, vocals, wit — caught my eye and smiled, “That was a GOOD night, Michael!” and he didn’t have to say anything more.  What the EarRegulars created that night, as they have done for eleven years of Sundays, was magical.  They demonstrated, for a few hours, how music is the best medicine for all kinds of woes.

The genuine heartfelt practitioners that night were Brian; John Gill, banjo, National guitar, vocal; Jon-Erik Kellso, trumpet, leader; New Orleans luminary Charlie Halloran, in New York for a few days, trombone, or as he likes to call it, “trampagne.”  When you play as beautifully as Charlie does, you have wide-open linguistic license.

A few more words about him: I’d heard his recordings and they bring great joy: I’m thinking of his QUALITY SIX and CE BIGUINE, both celebrated on this blog (as well as wonderful work with half-a-dozen other bands) — but the closest we’d ever come to a real conversation was that we waved to each other across a fence at one of the Steamboat Stomps. So I was delighted to hear him in person, doing the thing at close range, and to find out that he is as gracious a person as he is a fine musician.  And I don’t overstate.

The Fellows, that very night. Photograph by Neal Siegal.

Here are some highlights from early in the evening.  The band just glowed, and so did we.

A rocking BOGALUSA STRUT:

A tender but groovy SOMEDAY SWEETHEART — a version that seems to need no comma in the middle:

Asking the musical question, WHO’S SORRY NOW? — here, it’s not fashionable to invoke the name of Miff Mole, but Charlie brings him to life in this century, exuberant and precise.  And we’re so lucky to have this band sharing its love every Sunday:

And to close this segment, a down-home TISHOMINGO BLUES, wonderfully sung by John Gill:

I will have more joyous evidence — inspired and inspiring — to share with you after a brief interval.

May your happiness increase!

WHY BE Regular WHEN YOU CAN BE EarRegular? (JON-ERIK KELLSO, DAVID SAGER, JOHN GILL, BRIAN NALEPKA at THE EAR INN, August 13, 2017)

Some decades ago, when there were “public” and “private” subjects, people did not speak boldly of bodily functions.  But money was there to be made from people’s distress, so we had IRREGULARITY as a euphemism:

If your child was irregular:


The same problem for the grown-ups:

You understand.  As did Louis.  I’m a big fan of peristalsis.

But being EarRegular is a higher state of being, one we should all aspire to, and it has nothing to do with what has to be performed in private.  In fact, true EarRegularity is performed in public, generously, by the wonderful people who make music at The Ear Inn (326 Spring Street, Soho, New York) every Sunday night from 8-11 PM.

Here are three beautiful examples from the evening of August 13, 2017 — Jon-Erik Kellso, trumpet; David Sager (visiting from D.C.), trombone; John Gill, banjo; Brian Nalepka, string bass.  (If you hear howling from somewhere in these videos, don’t be afeared: that’s only our friend Barry Foley getting ready for Halloween, several months early.)

Handy’s BEALE STREET BLUES — with gorgeous mutations from Jon and the sound you don’t always hear trombonists utilize, harking back to Jimmy Harrison and Benny Morton, from David.  And I can’t ignore the candid eloquence of Messrs. Gill and Nalepka, reminding us of what acoustic playing sounds like:

Another good old good one, AT THE JAZZ BAND BALL:

And finally, a rousing SAN:

I’m afraid you cannot go to your friendly pharmacist and say, “What do you have to make me EarRegular?” because she may not know of the goal you aspire to.  But you can go to The Ear Inn on Sunday nights and get fixed right up — no co-pay, no need to show your insurance card.  Just put some good paper in the tip pumpkin (“Phillup deBucket”) and you’ll feel better.  Fast.

May your happiness increase!

MARA KAYE SINGS LADY DAY with JON-ERIK KELLSO, DAVID SAGER, JOHN GILL, BRIAN NALEPKA, SCOTT RICKETTS, EYAL VILNER at THE EAR INN (August 13, 2017)

Mara Kaye is one of New York’s great gifts to the world. Two years ago, she did a concert performance at Joe’s Pub, an evening of songs associated with Billie Holiday.  Here is some of what I wrote, that still rings true.

She is a substantial stage personality.  One way this is expressed is in her nearly constant yet genuine motion, as if her energy is too strong for her to stand still.  It’s not just hair-tossing, but a continual series of dance moves that also look like yoga poses and warm-up stretches, even a jubilant marching-in-place. Often she held her arms over her head, her hands open.  I think it was always exuberant emotion, but it was also her own expression of an ancient and honorable theatrical style . . . so that even the people in the most distant balcony of the Apollo Theatre could see you and join in with the person onstage. And her voice matched her larger-than-life physical presence.  On a Twenties record label, she might have been billed as COMEDIENNE WITH ORCHESTRA, and that odd designation rang true. The comedy bubbled up here and there in speech: she hails from Brooklyn, so that her sailboat in the moonlight was idling along in Sheepshead Bay. But it also emerged delightfully in her voice: I heard echoes of Fanny Brice, of comic Eastern European melodies . . . it never sounded as if she was taking Billie or the music lightly, but as if she was having such a good time that she couldn’t help playing. . . . SHOW in the best tradition — not caricature, but something Louis would have admired immensely.

I’m always glad to see Mara, and when she showed up at The Ear Inn (326 Spring Street, Soho) on Sunday, August 13, I had hopes she would be invited to sit in with the EarRegulars.  Leader and brass deity Jon-Erik Kellso has the same feelings about this young woman, so he invited her to join the band . . . and these two performances are the result. The EarRegulars, that night, were Jon-Erik; David Sager, trombone (making a guest appearance from his home in a southern town), John Gill, banjo; Brian Nalepka, string bass, with sitters-in Scott Ricketts, cornet and Eyal Vilner, to my left, alto saxophone.  The ghosts of Buck Clayton, Lester Young, and Benny Morton were there, and they approved.

Two gorgeous performances: FOOLIN’ MYSELF:

and I CAN’T GIVE YOU ANYTHING BUT LOVE (during the instrumental portion you’ll see Mara, ever the good jazz citizen, walking around with the tip jar — the tip pumpkin — to help the band:

Music like this, peerless and delicate, improves our world, for these musicians give us love and more.

May your happiness increase!