Tag Archives: Cupping Room Cafe

UNDERCOVER SWING SESSION: THE GRAND STREET STOMPERS (TRIO) at THE CUPPING ROOM CAFE (Oct. 3, 2012): GORDON AU, MOLLY RYAN, NICK RUSSO, ROB ADKINS, DAN LEVINSON

I don’t mean that my title should be taken entirely seriously, but the music that Gordon Au’s Grand Street Stompers made at the Cupping Room Cafe (359 West Boardway) on the first Wednesday in September and October gives me pause.  I really feel like a restaurant critic who has discovered a new place where the food is tasty, fresh, inexpensive, surprising — and then has a moral dilemma.  Does (s)he share this knowledge with the world, knowing that it will then be impossible to get a table?  Or should I keep this information quiet?  The CRC is a lovely place to hear music, reasonably quiet, with a very attentive staff and a good menu . . . so perhaps you can tell a few people, but only those who are truly worthy.  You’ll have to decide.

This was the Grand Street Stompers Trio — Gordon, cornet, compositions, arrangements; Nick Russo, guitar, banjo; Rob Adkins, string bass (hear his intonation! so splendid!); Molly Ryan, vocals; Dan Levinson, guest star / reedman.

For now, here are some wondrous highlights of the October 3 evening

MY LITTLE BIMBO is a song I’ve only heard a few bands do — John Gill sings it memorably.  Gordon’s lovely, loping reinvention is MY LITTLE BIMBO GOES CALYPSO:

PAVONIS is connected to the beautiful bird, the peacock — one of Gordon’s haunting compositions:

Molly joined in for a typically lilting GOODNIGHT, MY LOVE:

She then backtracked through the musical romance with LOVE IS JUST AROUND THE CORNER:

And she then offered Berlin’s very wistful series of love-questions, HOW DEEP IS THE OCEAN?:

Gordon’s BROOKLYNBERG RAG is one of his new / old tunes — consistently surprising, twisting and free from cliche:

And here’s his ONCE, DEAR (which I assume is a swinging love ballad rather than a warning to a potentially erring Dear?):

For Fats!  BLUE TURNING GRAY OVER YOU:

Years ago, a test pressing of a Dick McDonough group playing BROADWAY ROSE surfaced, with some hopeful listeners opining that the trumpet soloist was Bix Beiderbecke.  That theory deflated quickly (in favor of Mickey Bloom or Bob Mayhew) , but the song is a real treat — a side-glance at NOBODY’S SWEETHEART and GLAD RAG DOLL, perhaps:

For Fred and Ginger: LET YOURSELF GO, with help from husband Dan:

And a rocking instrumental version of YOU DO SOMETHING TO ME:

And by the way, a new GSS CD is on the way . . . called CHRISTMAS STOMP.  Even I’m awaiting it anxiously!

May your happiness increase.

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The GRAND STREET STOMPERS and FRIENDS at The Cupping Room Cafe (Sept. 5, 2012)

I had a delightful evening last Wednesday, September 5, 2012 at the Cupping Room Cafe (359 West Broadway, New York City).  I’d never been to the CRC before, but it’s a very amiable place with great food — and great music, in this case provided by the Grand Street Stompers, Gordon Au’s splendidly flexible little band.

That night, the Stompers were a quartet: Gordon, trumpet, compositions / arrangements, vocals; Oran Etkin, clarinet, tenor; Davy Mooney, guitar; Rob Adkins, string bass — and Friends, two engaging singers, Molly Ryan and Jessie Rogowsky.  The large-screen television to my left provided an amusing surrealistic backdrop for the singers, but the music was triumphant.

Gordon began with a pop tune from 1927 — notable for the recordings that showcase a young Jack Teagarden — but it remains an irresistible melody:

SHE’S A GREAT, GREAT GIRL:

Gordon’s compositions mix comfortable phrases with surprising turns of harmony in delightful ways.  Here’s SOIGNEE (which means “sophisticated, elegant” — appropriately:

Wisdom, it’s said, is embracing one’s Not Knowing.  In that spirit, here’s I NEVER KNEW:

Molly joined the Stompers for a pretty WHAT A DIFFERENCE A DAY MADE:

And she found new ways to imbue I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME with sweet delight:

The Stompers took their time, gratifyingly, with AUNT HAGAR’S BLUES:

Not only did Gordon write music and lyric for a sweetly off-center love song, SOMEHOW THE WORLD HAS TURNED UPSIDE DOWN, he delivers it most winningly:

Back to 1917 for FIDGETY FEET:

And another, more obscure song of that time — with patented Stompers choreography, CLEOPATRA HAD A JAZZ BAND:

Doctor Ryan prescribes a new level of curative relaxation, LET YOURSELF GO:

Something for Louis (and Mildred), SLEEPY TIME DOWN SOUTH — Molly stretches out luxuriantly on the final bridge:

Jessie Rogowski, posed against a background of Giant football, pays it no mind, and offers a sweet DREAM A LITTLE DREAM OF ME:

And we close off with Gordon’s own SUN TIME:

You can tell how fine the music was, but what you’ll have to take on faith for the moment is that the CRC is such a pleasing place — great attentive service and huge platefuls of food, and an overall quiet ambiance, so different from other places we know where music is played.  This night was also my first introduction to reedman Oran Etkin — with his delightfully bright clarinet and floating tenor sax lines.  And the Grand Street Stompers brought a wonderful floating intensity to their performances — a modern version of an imagined Kansas City Four.

May your happiness increase.