Tag Archives: Cole Porter

“SPIRITUAL REFRESHMENT = LIVE MUSIC” (Part Two): YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)

Yes, these two magicians: Yaala Ballin, singing; Michael Kanan, playing.

About four weeks ago, they did their subtle transformations here:

They made music blossom.  The sign is perfectly apt.

Never let it be said that JAZZ LIVES omits any relevant detail:

And here‘s the first part, the songs being I COULD WRITE A BOOK; SO IN LOVE; EASY TO LOVE; THE WAY YOU LOOK TONIGHT; BEWITCHED, BOTHERED, AND BEWILDERED; HOW DEEP IS THE OCEAN?

And if that weren’t enough, here is the second part.

S’WONDERFUL:

IN A SENTIMENTAL MOOD:

I LOVE PARIS:

IT’S ALL RIGHT WITH ME:

MANHATTAN:

I’LL BE AROUND:

CHEEK TO CHEEK:

It was delightful to be there, which my videos may not convey wholly.  But if you missed it, and I am sure some New York readers did, be glad: Michael and Yaala will be doing another box-of-surprises program at Mezzrow on December 11 of this year.  Details here.

Yaala told us, during the concert, that she, Michael, Ari Roland, and Chris Flory are recording a CD devoted to her near-namesake, Israel Baline, whom we know as Irving Berlin.  That will be a treat — but do come out for the music as it is performed in real time, in front of people who appreciate it.

May your happiness increase!

“SPIRITUAL REFRESHMENT = LIVE MUSIC”: YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)

Last Saturday, I was on my way along West 11th Street in Greenwich Village to the church above for a musical event that turned out to be more memorable than I could have imagined.  Ambling along, I had my video equipment; the musicians are friends of mine as well as heroes, and I was imagining the blogpost that might come of it.  Then I saw this banner from another church and the top two phrases struck me as completely apropos to the event to come — and they are, in the ideal world, the same thing:

Back to St. John’s for the event poster, which depicts Yaala Ballin:

“The Great American Songbook, Requested” presented Yaala Ballin, vocal, and Michael Kanan, piano, in a duo-recital drawing on Rodgers and Hart, Irving Berlin, Cole Porter, Jerome Kern and Dorothy Fields, George and Ira Gershwin, Duke Ellington, and Alec Wilder.

The songs were treated lovingly, but as old friends — which is to say that both Yaala and Michael have a reverence for their melodies and harmonies as printed on the contemporaneous sheet music, and a depth of knowledge about the best performances, but that they felt free to improvise, to express their own personalities without obscuring the music.

“Requested” was a sly and endearingly playful idea.  When we entered the church, we were given a list of songs, more than forty, organized by composer, and asked to write down two on a small slip of paper — a favorite first, another second — that we wanted to hear.  It gave the afternoon the slight flavor of a children’s party (or the office grab bag, without the terrors that can inspire).  The thirteen selections Yaala and Michael performed were drawn at random from a basket that Yaala — for that brief time, the Red Riding Hood of the West Village — had brought with her.  Of course, they knew the songs on the list, but it was a small adventure, the very opposite of a tightly-planned program.  And it worked sweetly, as you will see and hear.

I COULD WRITE A BOOK (Richard Rodgers, Lorenz Hart, Pal Joey):

SO IN LOVE (Cole Porter, Kiss Me Kate):

EASY TO LOVE (Porter, Born to Dance):

THE WAY YOU LOOK TONIGHT (Jerome Kern, Dorothy Fields, Swing Time):

BEWITCHED, BOTHERED, AND BEWILDERED (Rodgers and Hart, Pal Joey):

HOW DEEP IS THE OCEAN? (Irving Berlin):

I don’t think this playful, light-hearted but emotional musical partnership displayed this afternoon, could have been better.  I could go on about Michael’s deeply musical approach to the piano, and the chances Yaala takes and how they pay off, but the evidence is all here.  And seven more performances will be shared soon.

Yaala and Michael will be performing another version of this concert at Mezzrow on December 11.  And (as if that would not be enough), Yaala, Michael, Ari Roland, and Chris Flory are going in to the studio to record a CD of Israel Baline’s music (he wrote the preceding song and a few others).

May your happiness increase!

LIGHT-HEARTED MELODIC DANCES: ALEX LEVIN TRIO, “A SUNDAY KIND OF LOVE” (ALEX LEVIN, PHIL ROWAN, BEN CLINESS)

I gravitate towards music that welcomes me in.  I approve of melodies.  I even love them, and I love those that I remember.  There!  I’ve said it.

And the pianist Alex Levin has the same affectionate relations with song: he’s not a prisoner of the written notes, but he respects what the composer has created, and his own original compositions have the gamboling pleasure of the great songs that some of us still hum in the car or in the grocery-store line.

I first heard (and heard of) Alex almost a decade ago, when he released his first CD, which I liked a great deal: you can read my review here.

And I like Alex’s new CD even more.

Here’s what I wrote, offhandedly, after hearing only two or three tracks through my computer’s speakers.

Some ninety years ago, jazz began to position itself as the delinquent of music.  In opposition to all those sweet bands with violins, playing the melody in harmony, tied to the notes in front of them, jazz took a puff on its Marlboro, abruptly stood up from its seat (frightening the kittens) and made unpredictable sounds.  That was HOT, a spiritual barrage against the apparent dullness of SWEET.  And jazz listeners followed the narrow often unmarked ideological path: think of all those 78s whose grooves remain black, shiny, unplayed except for the eight bars of Bix or Purvis or Jack.  Sweet was for Aunt Martha; hot was for rebellious enlightened  outsiders.  It created a pervasive false dichotomy: if you could hear the melody, was it true improvisation? 

And — to oversimplify (because Bird and Trane could play melodically with great art) jazz aimed at abstraction, sharp edges and magical paths into the labyrinth.  Thus, so many listeners tell themselves and others that they don’t understand jazz, as if  it became a subject one had to study for to pass the final.

But the great players and singers knew and still know that melody is at the heart of any musical expression, and that “sweetness” was, in itself, a goal rather than a trap.  Think of Lester Young, “I don’t like a whole lot of noise — trumpets and trombones…I’m looking for something soft. It’s got to be sweetness, man, you dig?”

It is in this spirit of an apparent conservatism that becomes radical that I commend to you Alex Levin’s new trio CD, A SUNDAY KIND OF LOVE, where the trio does more than glue themselves to the written notes, but they treat melodies with love and respect . . . the result being quietly affecting swing playing of the highest order.  Some might not be able to hear the lights and shadows, preferring instead the sounds of the piano dropped to the street below, but that would be their loss.

Because readers are sometimes hurried, you can hear samples, download the music, or purchase a CD here.  And I caution the unwary listener to not jump to conclusions: “It sounds too easy,” for as that great master of contemporary jazz, Ovid, was fond of saying, ars est celare artem [he recorded it for Clef], which Monk transposed into “Simple ain’t easy.”

Now back to our regularly scheduled basket of prose.

I left off there, because Life (the hussy) interfered, with her racket of parking tickets, laundry, dinner, recycling, and more — make your own list.  But I came back and listened to the CD in a sitting, my enthusiasm just as strong.

Some facts.  Alex, who has a light touch on a well-recorded piano, is accompanied — in the truest sense of the word — by the fine string bassist Phil Rowan and drummer Ben Cliness.  And they have the ease, intuitive comfort, and wit one would expect from a working band: they catch each other’s signals without having to be told to turn the page.  incidentally, I’ve seen a review of this CD calling it “modern” and “clever.”  I can’t argue with those terms, but to me it seems “heartfelt” and “playful,” which qualities are audible.

Alex has divided the repertoire on this disc between standards that, for the most part, got their greatest exposure in the Fifties: the title track (which, for those of us over fifty, has a yearning nostalgia — rather like THE THINGS WE DID LAST SUMMER — even though my adolescence came later), SURREY WITH THE FRINGE ON TOP, THE BEST THING FOR YOU (Would Be Me), WHAT IS THIS THING CALLED LOVE? and I’VE TOLD EV’RY LITTLE STAR — which, for the purists in the audience, is a much older composition, but I would guess most memorably allied with jazz because of Sonny Rollins (although Annie Ross, Marian McPartland, and others returned to it).

And of course one could say, “There are a million piano trio recordings that draw on Rodgers, Berlin, Porter, and Kern,” but the other five tracks — all Levin originals — SWEETS, THE JETSETTERS, BLUES FOR WYNTON K., AT LEAST WE’RE TOGETHER, STROLLING THROUGH YONKERS — are strong jazz compositions on their own, with one foot delicately poised in the past, Alex not trying to hide that his heart belongs to 1956 Prestige, but moving around happily in this century.  His songs ARE songs rather than lines over slightly modified chord progressions; they have the breath of life rather than the aroma of the Xerox machine.

Convinced?  It’s music that befriends the listener, which is sometimes rare.  Hear for yourself here, and then download or purchase, as the spirit moves you.

May your happiness increase!

WELCOMING SOUNDS: “STRIKE UP THE BAND”: RICKY ALEXANDER (with MARTINA DaSILVA, JAMES CHIRILLO, ROB ADKINS, ANDREW MILLAR)

Ricky Alexander, saxophonist and clarinetist, holding up his debut CD, July 2019. Photograph by Nina Galicheva.

This Youngblood can play — but he doesn’t wallop us over our heads with his talent.  To quote Billie Holiday, recommending a young Jimmie Rowles to a skeptical Lester Young, “Boy can blow!”

Ricky Alexander is an impressive and subtle musician, someone I’ve admired at a variety of gigs, fitting in beautifully whatever the band is (Jon DeLucia’s Octet, Gordon Au’s Grand Street Stompers, The New Wonders, at The Ear Inn, and more) — swing dances, big bands, jam sessions.

I particularly cherish his sweetly understated approach: he loves melody and swing, which is rarer than you might think: youthful musicians in this century are sometimes prisoners of their technique, with the need to show off the chord extensions and substitutions they’ve learned in dutiful hours in the woodshed, even if the woodshed is a room in a Brooklyn walk-up.  The analogy for me is the novice cook who loves paprika and then ruins a recipe by adding tablespoons of it.  In jazz terms, Ricky’s opposite is the young saxophonist whose debut self-produced CD is a suite of his own original compositions on the theme of Chernobyl, each a solo of more than ten minutes.  Perhaps noble but certainly a different approach to this art form.

Ricky tenderly embraces a song and its guiding emotions.  He has his own gentle sound and identity.  Hear his version of Porter’s AFTER YOU, WHO?:

If readers turn away from this music as insufficiently “innovative,” or thinks it doesn’t challenge the listener enough, I would ask them to listen again, deeply: the art of making melody sing is deeper and more difficult than playing many notes at a rapid tempo.  And youthful Mr. Alexander has a real imagination (and a sly wit: the lovers in this Porter song are on the edge of finding a small hotel — run by Dick and Larry — to increase their bliss, in case you didn’t notice).

His music is sweet but not trivial or shallow: hear his sensitive reading of I’VE GOT A RIGHT TO SING THE BLUES for one example.  And he quietly shows off a real talent at composition: on first hearing, I thought his I KNEW I LOVED YOU was perhaps an obscure Harry Warren song.

Ricky’s also commendably egalitarian: he shares the space with guitarist James Chirillo, string bassist Rob Adkins, drummer Andrew Millar, and the colorful singer Martina DaSilva, who improvises on several selections to great effect.  As well as those I’ve commented on above, the repertoire is mainly songs with deep melodic cores: WHERE OR WHEN, A KISS TO BUILD A DREAM ON, I CAN’T GET STARTED, SKYLARK (as a light-hearted bossa nova), STRIKE UP THE BAND, with several now fairly-obscure delights: THE LADY’S IN LOVE WITH YOU, AND THE ANGELS SING, and a particular favorite from the 1935 hit parade, YOU HIT THE SPOT by Gordon and Revel.

STRIKE UP THE BAND is a model of how artists might represent themselves on disc.  Like Ricky, this effort is gracious, welcoming, friendly: listeners are encouraged to make themselves at home, given the best seat on the couch.  It’s smooth without being “smooth jazz”; it has no post-modern rough edges on which listeners will lacerate themselves.  And although Ricky often gigs with groups dedicated to older styles, this is no trip to the museum: rather, it’s warm living music.

I’m told that it can be streamed and downloaded in all the usual places, and that an lp record is in the works.  For those who wish to learn more and purchase STRIKE UP THE BAND, visit here.  If you know Ricky, the gently lovely character of this CD will be no surprise; if he’s new to you, you have made a rewarding musical friend, who has songs to sing to us.

May your happiness increase!

PISMO JOYS (Part Five): “LARRY, DAWN, and FRIENDS”: LARRY SCALA, DAWN LAMBETH, DANNY TOBIAS, CARL SONNY LEYLAND, BILL BOSCH // CHLOE FEORANZO, DANNY COOTS (October 26 and 27, 2018, Jazz Jubilee by the Sea)

One of the great highlights of the 2018 Pismo Jazz Jubilee by the Sea was the small flexible swing groups led by guitarist Larry Scala, featuring the wonderful singing of Dawn Lambeth. Without being consciously imitative, they harked back to the great Thirties and Forties recordings and performances of Billie Holiday, Teddy Wilson, Charlie Christian, Count Basie, Mildred Bailey, Benny Goodman, and more.  But they weren’t ancient artifacts behind glass: they swung and were full of joyous expertise.  Here are three more performances, the first two featuring Larry, Dawn, bassist Bill Bosch, trumpeter Danny Tobias, pianist Carl Sonny Leyland; the third, from the next day, featuring clarinetist Chloe Feoranzo instead of Danny, and adding drummer Danny Coots.

Dee-lightful.

Irving Berlin’s ALL BY MYSELF:

Walter Donaldson’s LOVE ME OR LEAVE ME:

And from the next day, Dawn, Larry, and Bill, with Danny Coots, drums; Chloe Feoranzo, clarinet, for Cole Porter’s YOU’D BE SO NICE TO COME HOME TO:

Thanks to all these creative people for bringing their own brand of sweet swing to Pismo.  I hope they’ll be brightening the corners in 2019.

May your happiness increase!

“BIRDS DO IT”: TAMAR KORN’S WILDWOOD RAMBLERS TAKE FLIGHT (Part Two): June 17, 2018

The stereotype of improvising musicians is that they come out at night; like bats, they avoid bright sunlight.  But this crew (Tamar Korn, Evan Arntzen, Dennis Lichtman, Adam Brisbin, Sean Cronin) seems so happy to be out in Nature, with no one calling to the bartender for another Stella.  The greenery and friendship is positively inspiring, and they offer us uplifting music.  You can savor the first part of this restorative afternoon here.  And here’s a second helping of brilliant joyous invention.  Thrilling to be there.

MILENBERG JOYS:

MUSKRAT RAMBLE:

I’VE GOT A FEELING I’M FALLING, vocal harmonies by Sean and Tamar:

LET’S DO IT (yes, let’s!):

I LOST MY GAL FROM MEMPHIS (with a Spanish tinge):

IT WAS ONLY A SUN SHOWER:

ONE LITTLE KISS, verse and chorus by host Brice Moss (a song I associate with Cliff Edwards and the Eton Boys):

Enjoying these videos again, I am reminded of 2009, when I brought Leroy “Sam” Parkins down to Banjo Jim’s to hear Tamar and the Cangelosi Cards, and he said, “You know, she gets me right in the gizzard.  She, Caruso, and Louis,” and that was no stage joke.  I think he would say the same thing of not only Tamar, but this band.  And somewhere, Sam is happily sitting in with them.

There’s more to come, two more posts’ worth.  Yes.

May your happiness increase!

WARM SOUNDS IN MOTION: JON DE LUCIA OCTET in RECITAL: JON DE LUCIA, ANDREW HADRO, DAN BLOCK, RICKY ALEXANDER, JAY RATTMAN, STEFAN VASNIER, AIDAN O’DONNELL, STEVE LITTLE (City College, May 3, 2018)

I abandoned my adult responsibilities last Thursday to hear the Jon De Lucia Octet at City College, and I am so glad: this performance was an oasis.

Jon’s group, in existence for slightly more than two years, is a flexible, swinging chamber group devoted to the music-for-saxophones of Gerry Mulligan, Lee Konitz, Jimmy Giuffre, Ted Brown, Bill Smith, Alec Wilder, the Dave Brubeck Octet, and Jon’s own arrangements and compositions.  I’ve been following Jon and the Octet around New York since their inception, and have always felt rewarded.  Here is a sample from March 2017.

Perhaps it no longer applies, but it used to be fashionable to characterize such music as “cerebral,” to some, a euphemism for chilly aural architecture, jazz drained of untidy emotions, art from the neck up.  Not true for the Octet, which is a warm, mobile band, always with a generous offering of improvised solos.  You’ll hear and see for yourself.

If you have an established prejudice against what is perceived by some as “cool,” please take a visit to PRESERVATION, DREAMILEE, DISC JOCKEY JUMP . . . . and then re-assess.

At this too-brief concert, the players were Jon, alto saxophone and clarinet; Stefan Vasnier, piano; Aidan O’Donnell, string bass; Steve Little, drums; Jay Rattman, tenor saxophone; Dan Block, alto saxophone and clarinet; Ricky Alexander, tenor saxophone; Andrew Hadro, baritone saxophone.

Gerry Mulligan’s DISC JOCKEY JUMP, originally composed by young Mr. Mulligan for the Gene Krupa ensemble, then arranged for saxophones a decade later by Bill Holman:

Jerome Kern’s PICK YOURSELF UP (I think of Fred Astaire pretending to be clumsy) arranged by Jon:

The Gershwins’ TREAT ME ROUGH, from GIRL CRAZY, arranged by Dick Hyman for a Trigger Alpert record date:

PRESERVATION, by Ted Brown, a sinuous improvisation on Lester Young’s TICKLE-TOE, arranged by Jon:

The gorgeous PRELUDE, by Dave Van Kriedt, originally for the Dave Brubeck Octet:

DREAMILEE, Lee Konitz’s solo / variations on I’LL SEE YOU IN MY DREAMS, arranged by Jon:

PRELUDE TO PART FIRST, a Baroque jazz fantasy by Jon, which I associate with his new  Bach Shapes book:

Cole Porter’s very pretty LOOKING AT YOU (I think of Lee Wiley’s 1940 recording with Bushkin and Berigan) arranged by Jon.  Dance music for very hip couples:

and a memory of a vanished New York City subway-system entrance machinery, TURNSTILE, again composed by Mulligan and arranged by Holman:

Jon’s Octet — with the splendid Ted Brown — will be releasing their debut recording, a live performance from their first recital — on Neal Miner’s noble Gut String Records — this summer.  Expect to hear more about it here.

May your happiness increase!