Tag Archives: Clarence Williams

EV’RY STAR ABOVE / KNOWS THE SOUNDS WE LOVE: DANNY TOBIAS, SCOTT ROBINSON, CHRIS FLORY, PAT O’LEARY at THE EAR INN (May 13, 2018)

I’ve been told that I sound like a New Yorker, which doesn’t surprise me, although I think there are many strains of New Yorkishness, all subtly different. But to think I carry the inflections of my native land even when I’m in Sedalia, Missouri, for the Scott Joplin International Ragtime Festival, is pleasing.  So before I walk two blocks to hear more delightful music, I will offer some genuine sounds of New York for you, wherever you may read this.

I made another trip — a pilgrimage, rather, to the shrine for delicate and forthright creative improvisation (call it what you will), The Ear Inn, 326 Spring Street, Soho, New York City, on Sunday, May 13.  And the spiritual guides for that evening convocation were Danny Tobias, various brass instruments; Scott Robinson, taragoto, tenor saxophone, and other instruments; Chris Flory, guitar; Pat O’Leary, string bass.  Here are three splendid songs and improvisations created for us by four splendid players.

Hoagy Carmichael’s ROCKIN’ CHAIR, at a very Bixian tempo:

Victor Young’s SWEET SUE, now ninety years old:

KANSAS CITY MAN BLUES, associated with Sidney Bechet, but theoretically written by Clarence Williams:

I couldn’t stay for the second set — my semester was still hobbling to a close — but I hope to make it to The Ear Inn more often this summer.  You should, too.

May your happiness increase!

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THEY DO THE THING, AND SPLENDIDLY: ETHAN LEINWAND / VALERIE KIRCHHOFF

If you don’t get to St. Louis often, these two people may be unfamiliar to you.  But they make excellent music.

You say you’d like to hear some?  Consider this — a short film by Bill Streeter:

and this, which pairs Ethan with Valerie Kirschhoff:

A friend told me about Ethan and Valerie, and I’ve been listening to their CDs with great pleasure.  I know that comparisons are not only odious, but they cause one to lose friends, but Ethan and Valerie, together or singly, have got it.  By “it” I mean a certain easy authority and authenticity: when they perform their special music — the low-down St. Louis blues, rags, and pop of the time — I don’t feel as if they are children playing at being adults, nor do I feel that I am listening to copies of 78s.  (However, if they’d been born a century ago, you would, I am sure, know them from their recordings on Paramount, Bluebird, and Decca.  They’re that much in the groove.)

Ethan and Valerie have a certain brash tenderness that is very much appealing, and although I hear echoes of certain performers (famous and obscure) I hear the personalities of these two — in this century — coming right at me.  This is rare and delicious, and even when they perform songs that are by today’s standards “ancient,” they seem full of emotion and fun.

And they are not shallow: by that I mean that certain young “stride” pianists have taught themselves AIN’T MISBEHAVIN’ and four other tunes; certain young singers know GOD BLESS THE CHILD and FINE AND MELLOW . . . and then it’s time for a break.  One of the pleasures of the three CDs I have on hand: THE ST. LOUIS STEADY GRINDERS, MISS JUBILEE: “THROW ME IN THE ALLEY,” and Ethan’s solo piano offering, THE LOW-DOWN PIANO, is the scholarly breadth of their chosen repertoire.  It’s not simply a non-stop parade of twelve-bar blues (incidentally, the closing video of this blog shows Valerie, with ukulele and friends, including Marty Eggers, making a meal of MURDER IN THE MOONLIGHT, which belongs to Mound City hero Red McKenzie, although Marty Grosz has brought it back in recent times).

In his solo recital, Ethan plays compositions by Romeo Nelson, Little Brother Montgomery, Jabo Williams, Montana Taylor, and others in addition to the expected heroes; I was familiar with two of the sixteen compositions on the GRINDERS CD, and MISS JUBILEE dips happily into Thirties ephemera, including THE DUCK’S YAS YAS YAS and JERRY THE JUNKER.  (In fact, on that CD — with friends — the overall effect is somewhere between Clarence Williams and the Lil Hardin Armstrong small groups, with a dash of the Washboard Rhythm Kings, and completely refreshing — a kind of hot elegant rawness, a wild oxymoron that will make sense with the first listening.)

I am not writing as much as I might, because I’d rather listeners go to the videos and sound samples to enjoy for themselves.  Ethan and Valerie have put up many videos on YouTube, and they have an expansive online presence, as one must these days.

Here is Ethan’s website. And here is the site for MISS JUBILEE — the aptly-named group Valerie and Ethan co-lead.  And the Facebook page for the ST. LOUIS STEADY GRINDERS — who also live up to their proud title, never faltering or hesitating.

You can listen to excerpts from and buy MISS JUBILEE’s CDs here and the same is true for Ethan’s solo piano CD  here.

They are very welcome: they make the best noises, and they spread joy in all directions.

May your happiness increase!

“THE MAIN THING, OF COURSE, WAS THE MUSIC”: DAN MORGENSTERN on SANDY WILLIAMS, BENNY MORTON, and THE SCENE (April 21, 2017)

Once again, our friend, hero, and down-home Eminence, Dan Morgenstern, shares his stories with us. . . . stories that you can’t get on Spotify.

But first, some musical evidence — both for people who have never heard Sandy Williams play the trombone, and those, like me, were happy to be reminded of this “barrelhouse solo”:

Here’s Dan in a wide-ranging memory-journey that encompasses not only Sandy and Benny Morton, the Stuyvesant Casino and Central Plaza, but an astounding cast of characters, including Chick Webb, Fletcher Henderson, Bob Maltz, Conrad Janis, Ed Allen, Cecil Scott, Floyd Casey, Clarence Williams, Bob Dylan, Carl Kendziora, Annette Hanshaw, Bernie Privin, Leadbelly, Josh White, Horace Henderson, Lips Page, Coleman Hawkins, Roy Eldridge,Willie “the Lion” Smith, James P. Johnson, and more.

and just so no one forgets Mr. Williams or his associates:

Or the very sweet-natured Benny Morton (heard here with Billie Holiday, Buck Clayton, Lester Young, Teddy Wilson, Walter Page, Freddie Green, Jo Jones) — it would be a sin to forget Benny!

I emphasize that Dan’s stories — squatting next to the piano to hear James P. Johnson more clearly, the kindness of Benny Morton, and other bits of first-hand narrative — have a larger resonance, one not limited to hot jazz devotees.

When the music is gone, when the band has packed up, when the chairs have been upended on the tables, the memories and stories remain.  I urge my readers to tell theirs — and to record the stories of older generations.  These stories are priceless now; as the participants leave us, the stories are even more precious.

The people in them don’t have to be famous, and the tales don’t have to be dramatic: asking Grandma what she ate when Grandpa took her out for their first date is irreplaceable.  (I nag at my students to do this — aim your iPhone at someone! — and I am fairly sure they won’t.  Forty years from now, their loss will be irreparable.)

That is also why Dan Morgenstern’s generosity of spirit — taking time to share his memories with us — is a great gift, one that won’t wear out or fade.

May your happiness increase!

NEW YORK CAKE: TERRY WALDO, EVAN ARNTZEN, JON-ERIK KELLSO, BRIAN NALEPKA, JIM FRYER, JOHN GILL, JAY LEPLEY at FAT CAT (January 29, 2017)

Not this (announced as “the best New York style cheesecake):

but a hot version of the song immortalized in 1924 and 1925 by Louis Armstrong and Sidney Bechet, Bessie Smith and others, CAKE WALKIN’ BABIES FROM HOME.  This is my second CAKE post: the first, presenting two hot performances by Dave Kosymna, Christopher Smith, Ray Heitger, Nicole Heitger, James Dapogny, and Pete Siers (all deftly captured by Laura Wyman) may be visited here.

But my experience of New York and New  Yorkers — even from the suburbs, what Flaubert would call the provinces — is that we don’t like to take second place to anyone or anything.  And in a cake walking contest, second place is noplace.

So here’s the New York version, created a month earlier at Fat Cat (75 Christopher Street in Greenwich Village) by Terry Waldo and the Gotham City Band, who were on that Sunday Evan Arntzen, Jon-Erik Kellso, Jim Fryer, Jay Lepley, Brian Nalepka, John Gill.  Consider for yourselves:

I won’t ask viewers to set up mock combat between Ohio and New York: all those cakes and contests are beautiful and hot.

May your happiness increase!

THEY TAKE THE CAKE (ON SATURDAY AND SUNDAY, TOO): DAVE KOSMYNA, CHRISTOPHER SMITH, RAY HEITGER, JAMES DAPOGNY, PETE SIERS, NICOLE HEITGER, LAURA WYMAN (February 25 and 26, 2017)

My dear friend Laura Beth Wyman, Sole Proprietor of Wyman Video and head of the Michigan branch of JAZZ LIVES, has been busy capturing Hot for us these days.  In Ohio, no less.  Here are two versions of the same jazz classic for your perusal and pleasure.

CAKEWALKIN’ BABIES FROM HOME is an invitation to rumble when most jazz bands play it, because of the early pugilism of young Louis Armstrong and Sidney Bechet on the two Clarence Williams recordings of the song.

On Saturday, February 25, 2017, Laura captured the Original Downhome Jass Band at “Ye Olde Durty Bird” in Toledo, Ohio.  For this performance, the ODJB (yes, you noticed!) was Dave Kosmyna, cornet and leader; Christopher Smith, trombone; Ray Heitger, clarinet and vocal; James Dapogny, piano; Pete Siers, drums; Nicole Heitger, vocal.  Hot and exuberant:

A day later, without Nicole, alas, the band had donned tuxedos (and an altered band name) to celebrate the hundredth anniversary of the first jazz recordings in concert at Freed Auditorium, Ohio Northern University. Ada, Ohio.  In this version, the band rocks through many more ensemble interludes.  Better?  No, just different:

Unlike cake, hot music never gets stale.  Thanks to the players and to Laura for making these otherwise evanescent beauties permanent and accessible, even for those of us who have never visited Ada, Ohio.

May your happiness increase!

GOOD ADVICE / GOOD MUSIC

Thank you, George Carlin.  Now, musical variations on this most crucial theme — whether local or global.

Clarence Williams’s performance of a composition by Cecil Scott and Don Frye, with an interesting personnel as notated by Tom Lord: unknown (cnt), Cecil Scott (cl,ts) unknown (as) unknown (ts) or 2nd (as), prob. Don Frye (p) Cyrus St. Clair (tu) prob. Floyd Casey (d) Little Buddy Farrior (vcl), New York, June 28, 1934.  (This is the session, famous or not in the annals of jazz discography, where Brian Rust suggested, on some fragment of hopeful hearsay, that Lester Young was in the band.  If he was, he’s not soloing.)

All I can add to the commentary is that the cornetist seems to be playing into a metal derby, and that the whole record is a wonderful example of jazz genres subtly in transition: solos and vocal over riffing ensembles.

Take One:

Take Two.  The message is so important we need to hear it twice:

That’s positive and romantic.  Tampa Red’s version from May 10, 1940 (which I learned about thanks to the very candid Carl Sonny Leyland) is much more direct.  Tell the truth OR ELSE:

Now, go out and live the message, please.  Thanks to AJS for encouragement.

May your happiness increase!

SARAH AT SARAH’S: AUGUST 28, 2016 (Part One)

sarah-spencer

My friend Sarah Spencer (tenor and soprano saxophone, clarinet, vocal) is an impeccable hybrid.  London-born, New Orleans-sourced.  Although her speaking voice and cadences are purest UK, her musical soul is situated somewhere on the Rue Conti.  And, yes, she encountered Raymond Burke and Percy Humphrey and several dozen Masters, now-Ancestors in her musical and spiritual development.

On August 28, 2016, I had the very pleasant opportunity to hear and record Sarah and her Quartet (Jimmy Mazzy, banjo and vocal; Art Hovey, string bass and tuba; Bill Sinclair, piano and vocal) at the Jazz Masters Series at Sarah’s Wine Bar (an outgrowth of Bernard’s, a wonderful restaurant) in Ridgefield, Connecticut.  (The Jazz Masters Series is held on the last Sunday of each month.)

Before we begin, here are two performances featuring Jimmy Mazzy from that evening.  One is eloquently tender; the other ribald.  You’ll be able to tell them apart.

And several emotionally energized highlights from the first set.  (I’ve left the beginnings unedited, for the most part, so that you can see the endearing friendly exchanges among the quartet)

ANYTIME:


MY MEMPHIS BABY:


BOGALUSA STRUT:


THE LAUGHING SAMBA:

WE’LL MEET AGAIN:

Part Two will be along anon.

May your happiness increase!