Tag Archives: Chuck Redd

SUNDAY NIGHTS AT 326 SPRING STREET (Part One) — WE NEED TO HAVE SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

I am a relentless optimist — otherwise I wouldn’t be typing now — but there’s not much even I can muster up about the recent past and the continuing present.  My arms get tired.  But “we need to have something to look forward to,” wise words said by a friend.  So even though my hope for the future might be built on something more delicate than empirical evidence, I offer it to you.

This journey into the future starts in the summer of 2007.  It is not a lamentation, an elegy for what was lost.  Rather it is a celebration of joys experienced and joys to come.  With music, of course.

The Ear Inn, 2012 Photograph by Alexandra Marks

My involvement with this place — which looks like a bar but is really a shrine — goes back to the summer of 2007, before JAZZ LIVES existed.  Jon-Erik Kellso (friend-hero) whom I’d first met at Chautauqua in September 2004, and later at The Cajun in 2005-6, told me about a new Sunday-night gig at The Ear Inn, a legendary place I’d never been to.  I think I made the second Sunday, where he, Howard Alden, and Frank Tate played two very satisfying sets.

Incidentally, 326 Spring Street is a minute’s walk from the corner of Spring and Hudson, where the Half Note once stood.  There, in 1972, I saw Ruby Braff, Jimmy Rushing, and Jake Hanna one night.  Finest karma, I would say.

The band at The Ear Inn (not yet named The EarRegulars) — a collection of friends, eventually Jon and another horn, two rhythm, most often Matt Munisteri, guitar, and someone equally noble on string bass, held forth from around 8 to 11 PM.  Because I knew the musicians (or could introduce myself to them as Friend, not Exploiter) I could bring my Sony digital recorder, smaller than a sandwich, place it on a shelf to the rear of the band, record the sets and transfer the music to CDs which I would then give to the musicians when I saw them next.  The food was inexpensive, the waitstaff friendly, and I could find a table near the band.  It was also no small thing that the Ear was a short walk from the C or the 1; if I drove, I could park for free.  These things matter.

I thought it then and still do the closest thing to a modern Fifty-Second Street I had ever encountered.  Musical friends would come in with their instruments and the trio or quartet would grow larger and more wonderful.  Although I was still teaching and went to my Monday-morning classes in exhausted grumpiness (“This job is interfering with The Ear Inn!”) these Sunday-night sessions were more gratifying than any other jazz-club experience.  The emphasis was on lyrical swing, Old Time Modern — a world bounded by Louis, Duke, Basie, Django, and others — where the Fellas (as Nan Irwin calls them) came to trade ideas, where musicians hinted at Bix, the ODJB, Bird, and Motown.

When this blog came to be, I started writing about nights at The Ear — rhapsodical chronicles.  I’m proud that only the second post I wrote, DOWNTOWN UPROAR, was devoted to the seven months of happy Sundays at 326 Spring Street.  Again, I wrote about it EVERY SUNDAY AFTERNOON, WE FORGET ABOUT OUR CARES — a musical reference you’ll figure out.  In late April 2008, I could depict in words the session where a lovely graceful couple danced balboa in between the tables (the Ear, as you will see, got many people into a small space) and was my first chance to hear Tamar Korn, that wonder — FEELING THE SPIRIT.  And in all this, I had the consistent help and encouragement of Lorna Sass, who has not been forgotten.

Those who know me will find it puzzling, perhaps, that there has been no mention of my ubiquitous video camera, which I had been using to capture live jazz as far back as 2006.  For one thing, the Ear’s tables were close together, so there was little or no room to set up a tripod (videographers must know how to blend in with the scenery and not become nuisances: hear me, children!)  Darkness was an even more serious problem.  I had shot video in places that were well-lit, and YouTube allowed people to adjust the color and lighting of videos shot in low light.  The results might be grainy and orange, but they were more visible.  Early on, YouTube would permit nothing longer than ten minutes to be posted, so the lengthy jams at the Ear — some running for thirteen minutes or more — had to be presented in two segments, divided by me, on the spot.  But I am getting ahead of myself.

Rereading my descriptions I am amazed: “I was there?  That happened?” as in the presence of miracle, but something that I didn’t do and can’t take credit for changed my life — a video of the closing ten minutes of an October 2008 YOU’RE DRIVING ME CRAZY posted by Howard Alden, who was playing rather than holding a camera, alongside Jon-Erik Kellso, Danny Tobias, Harvey Tibbs, Evan Christopher, Dan Block, Sebastien Giradot, Chuck Redd:

Obviously The Ear Inn would never double as a Hollywood soundstage, but I posted this video on JAZZ LIVES.  I thought, “Let me see if I can do this also.”  But it took until June 7, 2009, for me to put my Great Plan into action, finding a camera (with the help of Jerome Raim) that would penetrate the darkness.  Here are the first two results, the first, featuring Jon-Erik and Duke Heitger, trumpets; Matt Munisteri, guitar; Neal Miner, string bass:

That is my definition of stirring music, and so is this — MOONGLOW, with Tamar Korn, voice; Dan Block, clarinet, Harvey Tibbs, trombone, sitting in, all creating a galaxy of sounds:

That’s slightly more than a decade ago.  There are currently no Sunday-night sessions at The Ear Inn.  But this post is not to mourn their absence.

I write these words and post these videos in hope for a future that will come again.  I have no date to mark on my kitchen calendar, but, as I wrote at the start, I am an optimist.  And I think regular Sunday-postings of music from the Ear will remind those of us who were there and enlighten those who were not.  Between June 2009 and late 2019, I compiled around 400 videos, and I plan to create regular Sunday experiential parties to which you are all invited.  It is not precisely the same thing as being there, saying hello to Victor or Barry or Eric, hugging and being hugged, ordering dinner and ale, waiting, nearly trembling with anticipation for irreplaceable joyous music . . . but I offer it to you in love, in hope that we will all be ready when the great day comes:

It is nearly three o’clock on a sunny Sunday afternoon.  In the ideal world, which can return, I would be putting my camera, batteries, and notebook into my knapsack, ready — too early, as is my habit — for a night at The Ear Inn.  I’m ready.

May your happiness increase!

YOUR HAPPINESS LIES / RIGHT UNDER YOUR EYES, or POSTPONE THAT TRIP (2020 Edition)

I believe that the first version of this now-neglected classic song I heard was Jolson’s, then Billie’s . . . and it is even more pertinent now, as an antidote to the restless itch to be somewhere else, or to have a “bucket list” of places to visit.  In this time of sheltering-at-home, to me it seems the ideal soundtrack, even if your backyard is only imaginary or remembered.

From 2011:

2012:

Later that year, and closer to my backyard:

2014:

and 2016:

I even have a version of this song recorded in March 2020, but it hasn’t passed the Imperial Board of Censors just yet.  And since I am keenly aware of ironies, I know that for all but one of these performances celebrating the joys of one’s own place, I had to get on a plane to enjoy and record it.  Calling Steven Wright or perhaps Ralph Waldo Emerson — the latter of whom wrote “Traveling is a fool’s paradise. Our first journeys discover to us the indifference of places. At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from.

So today, perhaps, I will put off the thrilling journey to the Post Office and, later, when adventure calls to me, I will take the cardboard boxes to the recycling area. Back in my own backyard for sure.  Possibly constrained, but reasonably safe from harm.

May your happiness increase!

 

NATE NAJAR’S BEAUTIFUL SOUNDS: “UNDER PARIS SKIES”

Love comes in through the ears as well as through any other channel: the voice you hear on your phone (if you are fortunate) or the purring, from any species, that makes you smile.  Louis, Lee Wiley, Bobby Hackett, Ben Webster, Bing, and many others create sounds that assure me that things are going to be all right.

Nate Najar by Jamie Inman

Guitarist Nate Najar has some of that very same magic.  His new CD isn’t “Easy Listening” (for those who remember that archaic category) but it certainly is easy to listen to, and to love.  It’s both beautiful music and a homage to a time when beautiful music was a common language.  The theme is French, and the title is UNDER PARIS SKIES.  It isn’t released yet, so you’ll have to wait until September 7, but you can line up here.  Nate says it will be available in all the old familiar places, including his site.

What distinguishes this CD from the thousands of guitar sessions, and even the thousands of sessions devoted to the music of France, is Nate’s sweet expertise. He loves translucent melodies; he has a light touch; he swings without cliche or strain, and the CD is also elegant dance music.  I’ve heard him swing all by himself — he has his own rhythmic engine — but he’s also aided immeasurably by Tommy Cecil, string bass; Matthew Home, drums; and playing vibraphone on two tracks, the splendid Chuck Redd.  They work together in true gracious harmony, with Nate making sure everyone gets a chance to sing out.  (Hear Tommy’s lead on APRES UN REVE and know how acoustic string bass should be played.)

The songs are nicely chosen, familiar and obscure.  I apologize for the lack of accents, but that may be why Miss Virby gave me a 75 in French III.  LA MORT DOUCE / I WILL WAIT FOR YOU / NUAGES / LA JAVANNAISE / SOUS LE CIEL DE PARIS (Under Paris Skies) / CE PETIT CHEMIN / APRES UN REVE / SA JEUNESSE / QUE RESTE-T-IL DE NOS AMOURS? (I Wish You Love) / CHANSON DU COEUR BRISE (Song of Songs) / LA MARSELLAISE.

Some of the repertoire has, in the past, fallen into sentimentality, but Nate likes to swing just as much as he likes to increase the humidity, so I WISH YOU LOVE starts off as a proper rhapsody and then moves into a modern-Basie-rock, energized and energizing.  There’s also a good deal of understated wit here: these musicians aren’t obsessive quoters (I could name names) but the rare references to other songs often made me laugh out loud.

Nate’s own playing is quietly spectacular: hear his solo exploration of SONG OF SONGS: majestic yet not melodramatic, easily mobile but never trivial.  And the sound he gets out of his unamplified guitar is a gorgeous song in itself, so much like a beautifully modulated human voice.

It would be easy to pass this CD by for one more “innovative,” “cutting-edge,” or “adventurous,” which often means lengthy less-melodic excursions, but I encourage you to seek it out.  We can never have too much light-hearted beauty, and Nate Najar lives right in the center of it, as this CD proves.

Nate doesn’t make it to New York that often, but he will be playing music from UNDER PARIS SKIES on October 14 at the Blue Note in New York City — a Sunday brunch, with details here.  It will be a very good way to feel comfortable in the world, no matter what Monday brings.

Thank you for the beauties, Monsieur Najar.

May your happiness increase!

FOR THREE, BY THREE: ROSSANO SPORTIELLO, NICKI PARROTT, CHUCK REDD (ATLANTA JAZZ PARTY, April 17, 2015)

One of the finest piano trios ever played amazing music at the 2015 Atlanta Jazz Party — Rossano Sportiello, piano; Nicki Parrott, string bass; Chuck Redd, drums.

ROSSANO

This lengthy performance — three moods, three interludes, three tributes — honors Erroll Garner, George Shearing, and Count Basie, with MISTY, SHE, and SHOE SHINE BOY — creating a world of melodic improvisation, moving from sweet slow rumination to Kansas City romp, Harlem stride — with beautiful string bass and drum work along the way.

Magnificent music: the sort of creative effusion that happens when one of these musicians is on the stand, and even more when the three of them get together.

May your happiness increase!

LIVING, BREATHING HISTORY: DUKE HEITGER, TOM FISCHER, ROSSANO SPORTIELLO, PAUL KELLER, CHUCK REDD: ATLANTA JAZZ PARTY, April 18, 2015

rwe_big_portrait

Some wish to honor the past by attempting to reproduce it exactly.  An honorable effort, but I much prefer those bold tightrope walkers who know that the only way to honor the glories of, say, 1929, is to make them alive in this century by adding personal innovative sparks to the outlines of the revered masterpieces.  (I know that this is a controversial position, but I also have enough evidence that the great masters didn’t approve of imitation; they preferred homage through individuality.  Ask Lester; ask Bix.  And I’ve done scholarly work for decades, but I also reverberate to Emerson’s tart words that Shakespeare was not made by the study of Shakespeare.)

So I present to you a too-short set by a vibrant jazz band onstage at the Atlanta Jazz Party (April 18, 2015) led by the eloquent Duke Heitger, trumpet, with Tom Fischer, clarinet / tenor; Rossano Sportiello, piano; Paul Keller, string bass; Chuck Redd, drums.

What they had to tell us was plenty — and it had no connections to the Wax Museum of Hot, although one could see and hear easily that the Ancestors were being honored: Buck Clayton, Lester Young, Count Basie, Benny Carter, Louis Armstrong, Bix Beiderbecke, Jelly Roll Morton, and their worthy colleagues. No academia, no didacticism, no laser pointer or Power Point.  Just wonderful hot music.

I NEVER KNEW:

IF WE NEVER MEET AGAIN:

I’M COMIN’ VIRGINIA:

BLACK BOTTOM STOMP (which begins with the time-honored invocation, “Meet you at the end”):

Five noblemen of jazz, honoring the past by being fully alive in Now.

May your happiness increase!

“TWO SONGBIRDS OF A FEATHER”: BECKY KILGORE / NICKI PARROTT

I’ve known both of these gloriously talented musicians for more than a decade, and have delighted in their live performances at festivals for that time.  So I am delighted to report that their first full-length duo CD, TWO SONGBIRDS OF A FEATHER (Arbors ARCD 19447) is even better than I expected.

SONGBIRDSThe facts?  The CD was recorded in March 2015 (lively sound thanks to the ever-professional Jim Czak) with beautiful photographs and design by Brian Wittman.  The band is Mike Renzi, piano; Harry Allen, tenor saxophone; Chuck Redd, drums; Nicki, bass; Becky, guitar on several tracks; Becky and Nicki, vocals and patter.  The songs: TWO LITTLE GIRLS FROM LITTLE ROCK / TWO SONGBIRDS OF A FEATHER / RAY NOBLE MEDLEY / LIFE IS SO PECULIAR / WHEN LOVE GOES WRONG / S’WONDERFUL / Theme From VALLEY OF THE DOLLS / THEY SAY IT’S SPRING / BLUE MOON – MOONGLOW / THEM THERE EYES / A WOMAN’S PREROGATIVE / EL CAJON / WHEN I GROW TOO OLD TO DREAM.

First off.  There isn’t a moment on this CD, whatever the mood or tempo, that doesn’t swing.  And it’s a deep intuitive swing: take, for example, the a cappella chorus that begins WHEN I GROW TOO OLD TO DREAM.  With all due respect to the instrumental accompaniment — a fine band — Becky and Nicki are swinging in the best understated but authentic Basie manner when they utter the first syllable.  And their voices — alternatively lighter, darker, flying, trading places in mid-air — go together perfectly, whether they are alternating phrases within a song, singing in unison or harmonizing.  Each performance is full of small sweet surprises (including some witty banter) which makes the CD an old-fashioned experience, a “show” rather than simply two people standing at microphones and singing one song after another.  One can hear that the routines have been carefully planned, but nothing is stiff or formal.  They sound as if they are having a good time, fully enjoying the pleasures of music-making.  The effect is never cute or artificial, but there is a good deal of cheerful play.  And singers could learn so much from studying this disc.

Some highlights.  Nicki and Becky essay some of their proven crowd-pleasers, with roots in Louis Jordan (PECULIAR) and the Marilyn Monroe songbook (LITTLE ROCK, WRONG) — but much of the material here is new to Kilgore-Parrott fanciers.  There’s a clever arrangement of S’WONDERFUL, a racing romp on THEM THERE EYES, and several blissfully tender performances — the Ray Noble medley couldn’t be more sweet; VALLEY OF THE DOLLS is rueful and yearning; the BLUE MOON – MOONGLOW collation enables us to hear those familiar songs anew.  And the title track, SONGBIRDS, has a lively chorus by Brian Wittman — living up to his name — a verse by Becky, music by Nicki. True group work!  If there were still a network of hip radio stations, the performance of the Johnny Mandel – Dave Frishberg EL CAHON would be an instant classic.

The thirteen selections are wonderfully varied and paced, so the CD seems far too short.  And the band rocks gorgeously around and with the singers.

I am being unsubtle when I say BUY THIS ONE, but occasionally subtlety is a burden.  I received my copy yesterday and it is now playing for the fourth time. On the surface, it is an hour of joy: I think it is hours of that rare substance.

P.S.  You’ll note — rare for me — that no videos accompany this posting.  On camera, Nicki and Becky come across as the most hilariously swinging and endearing pair of vocal pals, sisters even.  But even in the most expertly-done jazz party situations, they sing into a microphone, the sound goes through an engineering board, comes out of two large speakers, crosses the room, and is picked up by my camera’s trustworthy but small microphone.  All this is to say, gently, that the videos often do not do singers’ voices justice — and the sound on this CD is so much more intimate and rich that I would do the disc a disservice by posting a video as evidence.

May your happiness increase!

IN THE GROOVE AT ATLANTA: ALLAN VACHÉ, RUSS PHILLIPS, ROSSANO SPORTIELLO, CHUCK REDD, WAYNE WILKINSON, NICKI PARROTT, DANNY COOTS (April 17, 2015)

I was tempted to call this post TWO JUSTS AND A JIVE, but my legal staff talked me out of it.

It wasn’t formally billed as a Swingtet, but after sixteen bars you’ll know it couldn’t be called anything else. This romping set took place at the 2015 Atlanta Jazz Party, under the leadership of clarinetist Allan Vaché. The other notables on the stand are Rossano Sportiello, piano; Nicki Parrott, string bass; Danny Coots, drums; Wayne Wilkinson, guitar; Russ Phillips, trombone; Chuck Redd, vibes.

Cole Porter’s JUST ONE OF THOSE THINGS:

Harry “Sweets” Edison’s JIVE AT FIVE:

Jesse Greer’s JUST YOU, JUST ME (which goes all the way back to 1929):

The slightly unusual instrumentation is just delicious — what ensemble work and what solos!  In the groove for sure.

And the good news is that there is grooving planned at the 27th Atlanta Jazz Party April 15, 16, 17, of 2016.  “Good deal,” as one of my heroes was wont to say.

May your happiness increase!

HELP FAST EDDIE GET BACK TO SPEED

Eddie Erickson and Becky Kilgore, striking a pose in 2008

Eddie Erickson and Becky Kilgore, striking a pose in 2008

If you don’t know Eddie Erickson, I humbly suggest that your life has been incomplete.  “Fast Eddie,” as he’s also called, is many things: a swinging solo and rhythm guitarist; a blazing banjoist; an incomparable clown and vaudevillian; a remarkably moving ballad singer.  I first encountered him as one-third or one-fourth (who’s counting?) of B E D, named for Becky Kilgore, Eddie, and Dan Barrett, with essential swing counseling from the “silent J,” Joel Forbes.

Here is Eddie as the captivating balladeer (in 2011, with Sue Kroninger and Chris Calabrese):

Here is Eddie as the wonderful swingster (in 2014, with Becky Kilgore, Dan Barrett, Rossano Sportiello, Nicki Parrott, Ed Metz):

Here is Eddie the irrepressible comedian, making old jokes seem new (in 2014, with Johnny Varro, Bria Skonberg, Antti Sarpila, Nicki Parrott, Chuck Redd):

How could a man so ebullient have medical problems?  Well, if you know Eddie, you know he’s recently recovered from serious heart surgery — a replacement valve — and is slowly, slowly doing all right.  He is recovering at home.

But he has expenses to pay.  You know what those white envelopes that come from the hospital, the medical group, and other people look like?  He’s got a pile of them.  And a free-lance jazz musician, a Swing Troubadour, is not always a bourgeois sort with a regular salary.  So if you can’t gig for some time while recovering . . . you can imagine.

(This is not, I assure you, an empty appeal.  I don’t like to use JAZZ LIVES to sell products or to raise money — but this afternoon I walked to the mailbox and sent a check before writing this blogpost.)

“Here’s the deal,” as Eddie and  Bill Dendle would say.

This little appeal for funds has been vouched for by Sue Kroninger, someone I trust deeply, and I’ve just gotten off the phone with Elinor Hackett, someone who loves Eddie sincerely — another secular saint.

Elinor, a dear friend/fan/supporter of Eddie (indeed a supporter of trad jazz, youth programs, festivals and live music) has opened an account at Chase, which will be used to collect any donations to help Eddie in his efforts to get well and pay his medical bills. Eddie has given so much love to so many people throughout his life, that it seems fitting that this time it’s his turn to receive some love in return.  At the moment, the account is in Elinor’s and Eddie’s sister, Diane’s name — Eddie will be able to access the money when he is a little stronger.

Thanks for giving this your attention. Please pass it along to anyone who you feel might also be interested.  I know that many people who love Eddie don’t always have computers or spend as much time on them as we do.

Please send as ample a check as you can to Elinor Hackett at the address below. Make the check out to Elinor, and write “Gift of Love to Eddie” in the memo space of your check.  Mail it to Elinor Hackett, 9037 Mojave Dr, Sacramento, Ca 95826-4521.

All checks will be logged and deposited in this special “Love Eddie” account.
Questions?  Email elnor2jaz@gmail.comor / phone 916-363-8895

And a few lines for me: it is more blessed to give than to receive, and the joys of doing a kindness last longer than the pleasure one has in being the recipient.  I don’t want to belabor the point, but I shall: if everyone who’d ever laughed hilariously or grown teary at a performance by Eddie Erickson sent him the price of a Starbucks coffee or a two-pound bag of supermarket potato chips, he would never have to worry.

Thank you for reading this.  And thank you even more on Eddie’s behalf.

May your happiness increase!

THE MUSIC SPEAKS FOR ITSELF: THE WEST TEXAS JAZZ PARTY (May 14-17, 2015)

I could write a long piece on the history of the West Texas Jazz Party — in Odessa, Texas — which in 2016 will celebrate its fiftieth year.  This, for those keeping count, makes it the longest-running jazz party in existence.  I could list the names of the luminaries who played, say, in 1980 — Red Norvo, John Best, Lou Stein, Carl Fontana, Kenny Davern, George Masso, Herb Ellis, Buddy Tate, Flip Phillips, Dave McKenna, Milt Hinton, Gus Johnson, PeeWee Erwin, Cliff Leeman, Bobby Rosengarden, John Bunch, Buddy Tate, and the still-vibrant Ed Polcer, Bucky Pizzarelli, Michael Moore, Bob Wilber.

The West Texas Jazz Society site can be found here — quite informative.

But I think it is more important to offer the evidence: the music made at this party, which is superb Mainstream jazz.  Here are several videos from the 2013 WTJP — they will unfold in sequence if you allow them to — featuring Ken Peplowski, Ehud Asherie, Ed Metz, Joel Forbes, Chuck Redd, Randy Sandke, and John Allred:

And the musicians themselves speak sweetly about the pleasure of attending the party and playing there (Ken, Chuck Redd, Dan Barrett, Bucky):

The superb videos — both music and interview — are the work of David Leonnig, who’s also helped inform me about the Party.

This year’s party will take place May 14-17, at the MCM Eleganté Hotel
in Odessa, Texas and the musicians are:

Piano: Johnny Varro, Ehud Asherie, Rossano Sportiello
Bass: Joel Forbes. Frank Tate, Nicki Parrott (vocals)
Drums: Chuck Redd (vibes), Tony Tedesco, Butch Miles
Trumpet: Ed Polcer, Warren Vache, Randy Sandke
Trombone: Dan Barrett, John Allred
Reeds: Ken Peplowski, Scott Robinson, Allan Vache
Guitar: Bucky Pizzarelli, Ed Laub (vocals)
Vocals: Rebecca Kilgore

The West Texas Jazz Party is sponsored in part by:

• The Texas Commission for the Arts
• Odessa Council for the Arts and Humanities
• The Rea Charitable Trust

Patron Tickets: $200: Reserved Seating for all performances and Saturday Brunch.

General Admission: Each performance $50 • Brunch $50

For Hotel Reservations, call 432-368-5885 and ask tor the Jazz Rate of $129.00. For Jazz Party or Brunch Reservations, call 432-552-8962. The WTJP now is accepting credit cards or make a check payable to: West Texas Jazz Society • P.O. Box 10832 • Midland, Texas 79702.

It looks as if a good time will be had by all. For the forty-ninth consecutive year!

May your happiness increase!

A REMINDER: THE ATLANTA JAZZ PARTY IS ALMOST HERE (April 17-19, 2015)

I am excited to be attending the 2015 Atlanta Jazz Party — a week away!  That’s April 17 through 19th in the very comfortable Grand Ballroom of the Westin Atlanta North at Perimeter.  It’s an incredibly lavish buffet of hot music: seven sets on Friday night, seven sets on Saturday afternoon, seven sets on Saturday night, and seven sets on Sunday. All performers are featured in each session. Atlanta Jazz Party Patrons and Guarantors get to attend all four sessions plus the exclusive Saturday morning jazz brunch!

And there’s something new and exciting: the new Jazz Dinner Buffets featuring surprise special guest performers on Friday and Saturday Night, in the newly created “Johnny Mercer Room” right across from the Grand Ballroom. This change is important to the Party’s survival.  And I know — don’t ask me how — that one of the “surprise special guest performers” is someone legendary.

Who’s playing and singing?  Ben Polcer, Duke Heitger, Bria Skonberg, Allan Vaché, Tom Fischer, Eddie Erickson, Darian Douglas, Sean Cronin, Dalton Ridenhour, John Cocuzzi, Johnny Varro, Rossano Sportiello, Dan Barrett, Russ Phillips, Nicki Parrott, Paul Keller, Danny Coots, Chuck Redd, Rebecca Kilgore.

Here’s Danny Coots and Ten at the 2014 AJP:

and since that sounds so good, let’s have another:

and the song that conveys the way I feel about the Party:

See you there, I hope.  It’s one of those enterprises that truly deserves your energetic support.

May your happiness increase!

SPORTIELLO-METZ, UNLIMITED (Atlanta Jazz Party, April 27, 2014)

Rossano Sportiello, piano, and Ed Metz, snare drum with wire brushes, made up a fully satisfying combo / band / orchestra in their morning set at the 2014 Atlanta Jazz Party.  The music they made has resonated happily in my memory, and now I have the pleasure of sharing it with you.

Rossano began the set with a heartfelt BLUE AND SENTIMENTAL — which had a Strayhorn coloration at the start.  In an age of bright colors and high volumes, it is so reassuring to hear a Maestro like Rossano play a ballad — not in any hurry to get through, to speed it up:

From Basie to his teacher, Fats, for HANDFUL OF KEYS, joined by Ed:

Then, a long interlude-concert which allows both players to shine as soloists and as part of a wondrous duo.  The selections are MISTY, IT’S THE TALK OF THE TOWN, CHINATOWN (with a hand-drum solo a la Jo Jones), LUCKY TO BE ME, Liszt’s CONSOLATION #3, SHOE SHINE BOY — a full circle back to Basie:

Throughout this morning serenade, I was reminded of the beautiful sound of Johnny Guarnieri and Sidney Catlett, and I marvel at Rossano’s beautiful precision and the astonishing variety of sounds and textures Ed gets out of this most minimalist drum kit — and the duo’s apparently indefatigable swing. Proof, once again, that you don’t need a lot of volume to swing.

All this happened at the April 2014 Atlanta Jazz Party, and I have every expectation that equally beautiful music will be created there again this April. Details and registration information here.  And since — as is the custom in most parties — the earlier you register, the better your seating . . . carpe diem in a big way.

The players this year will be Ben Polcer, Duke Heitger, Bria Skonberg, Allan Vache, Tom Fischer, Dan Barrett, Russ Phillips, John Cocuzzi, Rossano Sportiello, Johnny Varro, Dalton Ridenhour, Eddie Erickson, Nicki Parrott, Paul Keller, Sean Cronin, Danny Coots, Chuck Redd, Darrian Douglas, Rebecca Kilgore.  Quite a varied and energetic crew.

May your happiness increase!

SWEET AND SALTY: EDDIE ERICKSON’S AMERICANA at the 2014 SAN DIEGO JAZZ PARTY

This version of SIDE BY SIDE, performed by Mr. Erickson at the  February 2014 San Diego Jazz Party, has some surprises.

Eddie’s co-conspirators (some of them who may not know the script) are Johnny Varro, piano; Nicki Parrott, string bass; Chuck Redd, drums; Bria Skonberg, trumpet; Antti Sarpila, clarinet.  But the spotlight is justifiably on Mr. Erickson, great guitarist, seductive vocalist, splendid improvisatory-theatre director and comedian, creating a sweet collective experience that turns comic at the end:

I read what I could about the closing verse and one source says that of course the author is Anonymous, but this set of lyrics is said to have originated during the Second World War.  Seems right to me: the sort of thing that soldiers could sing to amuse themselves, that children could learn and horrify their parents, and that we could all remember — a sort of guilty pleasure.

May your happiness increase!

A BRAZILIAN WATERCOLOR: NATE NAJAR TRIO

More than half a century ago, Bossa Nova and Brazilian pop music became part of our common musical language; I recall how delightfully we were surrounded by the sounds of Charlie Byrd, Stan Getz, Jobim and Gilberto.

NATE NAJAR TRIO

The music is still vividly alive, as demonstrated by guitarist Nate Najar’s new CD, AQUARELA DO BRASIL (Candid Records CCD79988), where he is joined by Tommy Cecil, string bass; Chuck Redd, drums (all except 5, 7) and vibes (5, 7); Harry Allen, tenor saxophone (3, 8); Duduka Da Fonseca, drums (5, 7).  The songs are Canto De Ossanha / Carinhoso / Ligia / Aquarela do Brasil (Brazil) / Amparo (Olha Maria) / Chovendo No Roseira (Double Rainbow) / Fotografia / Samba For Felix / Charlotte’s Fancy / Canto De Ossanha (in an extended version).

Nate, in the fashion of his mentor Charlie Byrd, makes beautiful pools of sound on his unamplified guitar — reminding us that this sometimes-abused instrument was meant for amorous serenades — but he never loses his uplifting pulse.  Indeed, many of the performances on this disc have rollicking vamps as their heartbeat, but they are never merely rhythmic exercises, for Nate, Tommy, Chuck, and Harry are too deeply committed to melody for that. And although the swinging evocations of dancing in Rio are irresistible, I was drawn to the more meditative moments on this disc: Nate’s ruminative playing on CHARLOTTE’S FANCY and CARINHOSO, and his opening statement on AMPARO. The music, although all “Brazilian,” comes from different composers and eras — four by Jobim, but also compositions by Barrosa, De Moraes, and two more recent originals by Byrd and Cecil — spanning a range of music from the late Thirties to the present. The result is evocation rather than a copy — this is not a “famous album reproduced fifty years later” but a soulful exploration of the many possibilities of the genre.

Here is more information about the disc (including Nate’s gently perceptive notes — minus the final two paragraphs) on the Candid Records site, and you can learn more about Nate here.  For an engaging sample of the music Nate’s trio creates live, here is a 2012 recording of SAMBA FOR FELIX (named for jazz enthusiast and disc jockey Felix Grant) recorded in 2012:

May your happiness increase! 

KILGORE SWINGS EMERSON

In SELF-RELIANCE, Ralph Waldo Emerson writes, “The soul is no traveller; the wise man stays at home.” BACK IN YOUR OWN BACKYARD, written by Dave Dreyer, Billy Rose, and Al Jolson in 1928 (I would give almost all of the credit to Mr. Dreyer) makes the same claim in a different way. It proposes that home is so lovely that it makes travel unnecessary, and that those who roam find their greatest happiness when they return — nostalgia more than transcendentalism, perhaps, but the effect is the same.

Rebecca Kilgore doesn’t present herself as a philosopher, although she does hail from Massachusetts, home of Emerson, Thoreau, and the Alcotts, but she makes this philosophical statement exultant in its hopefulness and its swing.

This performance was recorded at the 26th San Diego Jazz Party, on February 22, 2014.  The other philosophers on the stand are Chuck Redd, drums; Nicki Parrott, string bass; Eddie Erickson, guitar; Johnny Varro, piano; Bria Skonberg, trumpet; Antti Sarpila, clarinet.

Home is where such music is.

May your happiness increase!

THE WORLD ON A STRING: CHUCK REDD, HOUSTON PERSON, ROSSANO SPORTIELLO, NICKI PARROTT, ED METZ at the SAN DIEGO JAZZ PARTY (February 22, 2014)

Chuck Redd is a natural, no matter how much hard work it took for him to get to that place.  Creating ringing sweet melodies on the vibes, or swinging subtly on his drum kit, he adds so much to any band.  He did it many times during the 26th San Diego Jazz Party, and the three performances that follow are evidence of his understated mastery.  Chuck (on vibes) was joined by Houston Person, tenor saxophone; Rossano Sportiello, piano; Nicki Parrott, string bass; Ed Metz, drums, for an all-too-brief set of music dedicated to Barney Kessel:

I’VE GOT THE WORLD ON A STRING:

SO DANCO SAMBA:

BLUES:

Thank you, Chuck, for shining your light on us.

May your happiness increase!

MORE FROM FABULOUS FRIDAY at the SAN DIEGO JAZZ PARTY (February 21, 2014)

Here is the first installment of my delighted reportage from the San Diego Jazz Party, complete with music.  I had a wonderful time there, and I wasn’t alone: the audience was happy and the musicians likewise. The collective pleasure is reflected in the music.

I present three more living examples.

SOLITUDE (John Allred, trombone; Harry Allen, tenor saxophone; Chuck Redd, vibraphone; Jason Wanner, piano; Dave Stone, string bass; Butch Miles, drums):

CHEROKEE (as above):

IN A LITTLE GYPSY TEAROOM (Eddie Erickson, vocal / guitar; Dan Barrett, trombone / vocal; Becky Kilgore, vocal; Rossano Sportiello, piano; Nicki Parrott, string bass; Ed Metz, drums):

A moody evocation of a classic Ellington ballad, a swinging version of a timeless jazz standard (thanks to Ray Noble), and a Thirties romantic romp, complete with impromptu group harmony, lots of fun, and a nice cup of tea.  Who would ask for more?

And, for those keeping track — Fabulous Friday had more than these six performances to offer, to enthrall . . . it was succeeded by Super Saturday and Sublime Sunday.  If you had any doubts.

May your happiness increase!

FABULOUS FRIDAY at the SAN DIEGO JAZZ PARTY (Part One): FEBRUARY 21, 2014

A week ago (that would be February 21) I was ready to have fun at my first-ever San Diego Jazz Party.  And I certainly did.  The music below will speak — and play and sing — for itself, but the SDJP was a real pleasure . . . comfort all around, the details managed gently and wisely, the musicians smiling.  As were we.

Here are a few shining examples of how fine the music was, how comfortable the musicians were . . . couldn’t ask for more!

If you need more words — data, information, facts —   here is what I wrote about the party as it was in progress.  But I think you’ll want to hear and see some of the joyousness first.

WABASH BLUES (Ed Polcer, cornet; Dan Barrett, trombone; Antti Sarpila, soprano saxophone; Bucky Pizzarelli, guitar; John Cocuzzi, piano; Richard Simon, string bass; Ed Metz, drums):

ROBBINS’ NEST (John Allred, trombone; Harry Allen, tenor saxophone; Chuck Redd, vibes; Jason Wanner, piano; Dave Stone, string bass; Butch Miles, drums):

THE FIVE O’CLOCK WHISTLE (Rebecca Kilgore, vocal; Eddie Erickson, guitar; Dan Barrett, trombone; Rossano Sportiello, piano; Nicki Parrott, string bass; Ed Metz, percussion and miscellaneous instruments):

That, dear friends, is just a sample of how delicious the whole weekend was.  And my videos — which I am proud of — can’t convey the whole experience.  You’ll just have to be there in 2014.

May your happiness increase!

GOOD, BETTER, BEST: SWEET NOTES FROM THE 26th SAN DIEGO JAZZ PARTY

The musicians are taking a break; it’s too early for another meal; what should I do?  I can share my joy at being at the San Diego Jazz Party, that’s what.

It’s only about twenty percent through (there’s still a full day-and-a-half of music to come) but it has been splendid.  Nicely organized, humanely planned — all the things that make a jazz weekend comfortable as well as gratifying — and the music last night was often spectacular.  You can find out the complete list of players here but I just want to speak of a few delicious moments that happened last night so you, too, can get a taste . . .

Even before the official festivities began, there was wonderful music during the cocktail hour: Harry Allen, Dan Barrett, Eddie Erickson, Jason Wanner, and Dave Stone started slow and easy and then romped through a closing IDAHO; Antti Sarpila, Chuck Redd, Bria Skonberg, Rossano Sportiello, and Nicki Parrott followed with a passionate NEW ORLEANS and an old-school SOMEBODY STOLE MY GAL.

(During the soundcheck that followed, Sarpilla sat down at the piano and quietly — as if no one had been listening — played a sweet, streamlined DROP ME OFF IN HARLEM, which was a private treat.)

A ten-minute swaggering WABASH BLUES was offered to us by Ed Polcer, Bria, Antti, Bucky Pizzarelli, John Cocuzzi, Richard Simon, Ed Metz.  A smaller group — John Allred, Harry Allen, Chuck Redd, Jason Wanner, Dave Stone, and Butch Miles — showed us what Groovy and Sweet meant in less than half an hour, with a coasting ROBBINS’ NEST, a from-the-heart SOLITUDE, and an exuberant CHEROKEE.  Becky Kilgore, looking mighty glamorous, took the stage with old pals Barrett and Erickson, Rossano Sportiello, Nicki Parrott, and Ed Metz for a set that culminated in the best FIVE O’CLOCK WHISTLE since Ivie Anderson, and a Romany duo: Becky’s own THE GYPSY (which began with a tender Sportiello-Barrett duet) followed by Eddie’s narrative of finding love and caffeine, IN A LITLE GYPSY TEAROOM.

And four more sets followed!  How about a duo of Venerables Bucky Pizzarelli and Mundell Lowe (the latter now 91) for — among other beauties — I REMEMBER YOU and an Oscar Pettiford blues?  Bria Skonberg told us all about Ruth Etting and then sang and played — with real ardor — LOVE ME OR LEAVE ME.  Houston Person wooed the crowd with medium-tempo ballads and Ellington; Anti Sarpilla took out his curved soprano for SUMMERTIME and his clarinet for RUNNIN’ WILD, and a band of Harry Allen, Bria, and Dan Barrett, Rossano, Richard Simon, and Butch Miles created a hot THEM THERE EYES, which made many pairs shine and gleam.

If you were in the audience, you know I am understating what we all saw and heard.  More to come.  Save your quarters, make your plans for 2105.

May your happiness increase! 

FEBRUARY COULD BE THE WARMEST MONTH, IF YOU’RE PROPERLY SITUATED: THE SAN DIEGO JAZZ PARTY (February 21-23, 2014)

Although it is the shortest month, February has a well-deserved reputation for unpleasantness.  But this February could change all the bad press, if you can make it to the San Diego Jazz Party.

The Party begins Friday, February 21 and continues at a leisurely pace to Sunday, February 24, 2014, at the Hilton San Diego / Del Mar (15575 Jimmy Durante Blvd., Del Mar, CA 92014-1901 — (800) 833-7904 (toll-free) / (858) 792-5200 (local) / (858) 792-9538 (fax).

Here is the Party’s site.

They’ve been doing a fine job of presenting classic mainstream jazz since 1988, when these musicians who appeared at the first Party, a list that makes me very nostalgic:

John Clayton, Jr. (b); Bob Haggart (b); Milt Hinton (b); Kenny Davern (cl); Peanuts Hucko (cl); Bob Wilber (cl); Jake Hanna (d); Gus Johnson, Jr. (d); Butch Miles (d); Herb Ellis (g); Bucky Pizzarelli (g); Dick Hyman (p); Paul Smith (p); Ralph Sutton (p); Scott Hamilton (ts); Flip Phillips (ts); Marshal Royal (as); Buddy Tate (ts); Al Grey (tb); George Masso (tb); Bill Watrous (tb); Ed Polcer (co); Warren Vaché (co); Snooky Young (t).

The 2014 list of players and singers is just as inspiring: Harry Allen, John Allred, Dan Barrett, John Cocuzzi, John Eaton, Eddie Erickson, Rebecca Kilgore, Mundell Lowe, Ed Metz Jr., Butch Miles, Nicki Parrott, Houston Person Jr., Bucky Pizzarelli, Ed Polcer, Chuck Redd, Antti Sarpilla, Richard Simon, Bria Skonberg, Rossano Sportiello, Dave Stone, Johnny Varro, Jason Wanner.

On that list, players born in 1922 and 1926: will we have decades to see their like again? And — to balance it all out — there are Youngbloods born in 1978 and only a little earlier. Men and women, American and European, a lovely diversified mix — but with one common goal, to swing memorably and melodically.

And when you look here, at how the sets have been planned — you can see how intelligently this Party has been laid out. All the music is in one ballroom of a comfortable hotel (so no rushing from room to room); the music runs from late afternoon Friday to late afternoon Sunday with breaks for meals, and the layout of who-plays-when is wise and sensible. There’s a comforting awareness of an audience’s need for dynamics, for variety, so solo piano sets and duos for piano, for guitar, alternate with quartets and quintets.  There is one eleven-person blowout and that is appropriately on Saturday night.

As to those important questions, “Can I / we get there?” “Can I / we afford it?” you’re on your own and only by visiting the site will you find answers to these questions. I do think that a weekend like this is worth its weight in YouTube videos and CDs, but that’s me.

Worth repeating, I think: many jazz fans spend much energy lamenting What Was. “Were you there at the sessions when Kitty Katz and the Persian Hairballs would play MY LITTLE BIMBO or C JAM BLUES for weeks at a time? That club / festival / party is now gone and I miss it so.”  I miss it too. But I know why it’s no longer here, and so do you.

As Eleanor Roosevelt or perhaps Scatman Crothers said, “It is better to Do Something than to Lament in your den.  The things you love will evaporate if you aren’t participating in them.”

See you at San Diego on February 21st! Details here. And if you want to tell them, “I only did it to stop that pesky JAZZ LIVES from tugging at my cyber-clothes and hissing “Carpe diem!” in my ear, I will accept the stigma and the guilt.

May your happiness increase!

GOIN’ TO SAN DIEGO (and YOU CAN COME, TOO)

I’ve been listening to a bootleg Jimmy Rushing lp where he sings GOIN’ TO CHICAGO, with the famous lines, “Goin’ to Chicago / Sorry, but I can’t take you.”

Thus my title: the Beloved and I are thrilled to be making our debut voyage to the 2014 San Diego Jazz Party, and we can — in a manner of speaking — take you. And even if you don’t want to be Our New Pals, you owe it to yourself to check out what the SDJP is offering from Friday, February 21 to Sunday, February 24, 2014, at the Hilton San Diego / Del Mar (15575 Jimmy Durante Blvd., Del Mar, CA 92014-1901 — (800) 833-7904 (toll-free) / (858) 792-5200 (local) / (858) 792-9538 (fax).

Here is the Party’s site.

They’ve been doing a wonderful job of presenting classic mainstream jazz since their first party in 1988: I looked at their archives and found these musicians who appeared at the first Party, a list that makes me very nostalgic.  It’s also proof of fine taste:

John Clayton, Jr. (b); Bob Haggart (b); Milt Hinton (b); Kenny Davern (cl); Peanuts Hucko (cl); Bob Wilber (cl); Jake Hanna (d); Gus Johnson, Jr. (d); Butch Miles (d); Herb Ellis (g); Bucky Pizzarelli (g); Dick Hyman (p); Paul Smith (p); Ralph Sutton (p); Scott Hamilton (ts); Flip Phillips (ts); Marshal Royal (as); Buddy Tate (ts); Al Grey (tb); George Masso (tb); Bill Watrous (tb); Ed Polcer (co); Warren Vaché (co); Snooky Young (t).

Some of those heroes are gone, but the 2014 list of players and singers is just as inspiring: Harry Allen, John Allred, Dan Barrett, John Cocuzzi, John Eaton, Eddie Erickson, Rebecca Kilgore, Mundell Lowe, Ed Metz Jr., Butch Miles, Nicki Parrott, Houston Person Jr., Bucky Pizzarelli, Ed Polcer, Chuck Redd, Antti Sarpilla, Richard Simon, Bria Skonberg, Rossano Sportiello, Dave Stone, Johnny Varro, Jason Wanner.

On that list, players born in 1922 and 1926: will we have decades to see their like again?  And — to balance it all out — there are Youngbloods born in 1978 and only a little earlier.  Men and women, American and European, a lovely diversified mix — but with one common goal, to swing memorably and melodically.

And when you look here, at the lineup — how the sets have been planned — you can see how intelligently this Party has been laid out. All the music is in one ballroom of what I see is a comfortable hotel (so no rushing from room to room); the music runs from late afternoon Friday to late afternoon Sunday with breaks for meals, and the layout of who-plays-when is wise and sensible. Some parties put one seven-piece band (three or four horns with rhythm) on after another and the results can seem similar.

At this Party, there’s a very comforting awareness of an audience’s need for dynamics, for variety, so solo piano sets and duos for piano, for guitar, alternate with quartets and quintets; there’s only one eleven-person blowout and that is appropriately on Saturday night.

As to those important questions, “Can I / we get there?” “Can I / we afford it?” you’re on your own and only by visiting the site can you find answers to the second question. I do think that a weekend like this is worth its weight in YouTube videos and CDs, but that’s me.

What follows might seem overly gloomy, but it’s no less true.  Many fanciers of the music who have long memories spend much energy lamenting What Was.  “Were you there at the sessions when Big Barko and his Leash-Pullers used to play IN A MELLOTONE (or UNDER THE BAMBOO TREE) for forty-seven minutes?  That club / festival / party is now gone and I miss it so.”

I miss it too.  But I know why it’s no longer here, and so do you.

As Eleanor Roosevelt or perhaps Eddie South used to say, “It is better to write a check, make a hotel reservation, and be there now than to sit in your living room lamenting that The Great Things are here no more.  The Great Things need you to preserve them.”

See you at San Diego on February 21st! Details here.  And if you want to tell them, “I only did it to stop that nagging JAZZ LIVES from plucking at my sleeve and whispering “Carpe diem!” in my ear, I will bear the emotional burden.

May your happiness increase!

UNDER WESTERN SKIES, JAZZ HORIZONS

Long-Beach-California-Sunrise

With great pleasure, I have transplanted myself from one coast to the other, from suburban New York to Marin County in California, where I will be for the next eight months.  So what follows is a brief and selective listing of musical events the Beloved and I might show up at . . . feel free to join us!

Clint Baker and his New Orleans Jazz Band will be playing for the Wednesday Night Hop in San Mateo on January 8: details and directions here.

Emily Asher’s Garden Party will be touring this side of the continent in mid-January, with Emily’s Hoagy Carmichael program.  On January 16, she, friends, and sitters-in will make merry at a San Francisco house concert: details here.  On the 17th, the Garden Party will reappear, bright and perky, at the Red Poppy Art House, to offer another helping of subtle, lyrical, hot music: details to come here.

Clint and Friends (I don’t know the official band title, so am inventing the simplest) will be playing for the Central Coast Hot Jazz Society in Pismo Beach on January 26.  Details are not yet available on the website, but I have it on good authority that the band will include Marc Caparone, Dawn Lambeth, Mike Baird, Carl Sonny Leyland, and Katie Cavera.

A moment of self-advertisement: I will be giving a Sunday afternoon workshop at Berkeley’s The Jazz School  — on February 9, called LOUIS ARMSTRONG SPEAKS TO US.  Details here.’

And, from February 21-23, the Beloved and I will be happily in attendance at the San Diego Jazz Party — details here — to be held at the Del Mar Hilton, honoring guitar legend Mundell Lowe and featuring Harry Allen, John Allred, Dan Barrett, John Cocuzzi, John Eaton, Eddie Erickson, Rebecca Kilgore, Ed Metz, Butch Miles, Nicki Parrott, Houston Person, Bucky Pizzarelli, Ed Polcer, Chuck Redd, Antti Sarpila, Richard Simon, Bria Skonberg, Rossano Sportiello, Dave Stone, Johnny Varro, Jason Wanner.  The sessions will offer solo piano all the way up to nonets, with amiable cross-generational jazz at every turn.  In a triumph of organization, you can even see here who’s playing with whom and when, from Friday afternoon to Sunday farewell.

In March, the Jazz Bash by the Bay in Monterey . . . make your plans here!

And — a little closer to the here and now — if you don’t have plans for a New Year’s Eve gala, check out ZUT! in Berkeley.  Good food — and Mal Sharpe and the Big Money in Jazz (with singer Kallye Gray) will be giving 2013 a gentle push at the stroke of midnight.  Details here.

We hope to see our friends at these events!

May your happiness increase!

DELICACY AND STRENGTH: NATE NAJAR’S “BLUES FOR NIGHT PEOPLE”

Guitarist Nate Najar knows what that wooden box with strings is for — to fill the void with lovely, surprising sounds.  And he continues to do so on his new CD, a tribute to Charlie Byrd, BLUES FOR NIGHT PEOPLE.

Nate Najar cover

I write “continues,” because I was immediately impressed with Nate and his music when he came and sat in at The Ear Inn some time ago.  Ear-people know that 326 Spring Street is a hot place for guitarists: Matt Munisteri, Howard Alden, Chris Flory, James Chirillo, Julian Lage, and some other notables.

But Nate stands out as he did that Sunday night: a sweetly melodic player who didn’t let sweetness get in the way of swinging.  “Delicacy” and “strength” may seem an odd combination — a writer’s contradiction designed primarily to catch the eye — but they live happily in Nate’s playing.  His sound is beautiful, subtle, full of shadings — but he never is content to provide pretty aural wallpaper, the guitarist’s version of Laura Ashley for the ears.

No, his notes ring and chime; his phrases have meaning and depth on their own, and they fit into the larger compositions he creates.  And “strength” is evident in several ways on this disc.  In its most obvious manifestation, it comes across powerfully in the opening blues — not harsh, but not music for people who “play at” the blues.  But strength, we know, is also a kind of wisdom: knowing where to take a breath, where to be still, so that the music created resonates powerfully even after the performances have ended.

Come on and hear.  Here.

The CD, as you can see, is Nate’s respectful but lively tribute to another down-home poet of the guitar — where he remembers but does not imitate.  It offers a variety of moods, tempos, and sounds — from lovely ballad playing to rocking Latin expressiveness to barbecue-flavored blues.  Nate is accompanied by the wonderful bassist Tommy Cecil and the indispensable Chuck Redd — on vibes as well as drums.  Beautifully recorded.   And the CD has very plain-spoken yet elegant notes written by Nate and by Charlie’s widow, Becky.  The songs are MUSIC FOR NIGHT PEOPLE (the last movement, called 4 AM FUNK) / DJANGO / DESAFINADO /SWING 59 / O PATO / A SINGLE PETAL OF A ROSE / CONCIERTO DE ARANJUEZ / HAVE YOU MET MISS JONES? / WHO CARES? / SOMEONE TO LIGHT UP MY LIFE / SI TU VOIS MA MERE / REMEMBERING CHARLIE BYRD.

It’s wise, subtle, and genuine music.

May your happiness increase.