Tag Archives: Dan Block

FLIP LEAVES US WITH A SHOUT: MARTY GROSZ, JAMES DAPOGNY, DUKE HEITGER, DAN BLOCK, CHUCK WILSON, DAN BARRETT, VINCE GIORDANO, PETE SIERS (Jazz at Chautauqua, September 2008)

A math problem or perhaps a logic one.  When you add this

and this

what is the result?  From my perspective, pure joy and a delightful surprise.

The Hawk.

Here and here I’ve shared the story of Flip as well as two otherwise undocumented live performances by Randy Reinhart, Jon-Erik Kellso, Duke Heitger, James Dapogny, John Sheridan, Marty Grosz, Vince Giordano, John Von Ohlen at the September 2008 Jazz at Chautauqua weekend.

Horace Henderson.

And here is Flip’s final gift to us — a performance of the Horace Henderson composition (recorded in 1933 by a small group led by Coleman Hawkins) JAMAICA SHOUT by Marty Grosz, guitar; James Dapogny, piano; Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet and tenor sax; Chuck Wilson, alto saxophone; Vince Giordano, string bass; Pete Siers, drums:

There are many things I do not know about this song and this performance.  I suspect that the JAMAICA in the title refers to the Long Island, New York suburb — “the country” in 1933 — rather than the Caribbean island, but neither Walter C. Allen nor John Chilton has anything to say on the subject.  I don’t know if the chart is Marty’s or Jim’s, but it certainly honors the original while giving the players ample room to be themselves.

I do know why I only recorded three performances — fear of the Roman-emperor-of-Hot Joe Boughton, who could be fierce — but I wish I had been more daring.  You’ll note that my video-capture has all the earmarks of illicit, sub rosa work — there is a splendid Parade of Torsos by men entirely oblivious of my presence and camera, but Louis forgive them, they knew not what they did.  And they may have been returning to their seats with slices of cake, a phenomenon which tends to blot out all cognition.  (On that note, Corrections Officials here or on YouTube who write in to criticize the video will be politely berated.)  However, the music is audible; the performance survives; and we can celebrate the living while mourning the departed, James Dapogny and Chuck Wilson, who are very much alive here.

There are many more newly-unearthed and never-shared performances from the 2011-17 Jazz at Chautauqua and Cleveland Classic Jazz Party to come: one of the benefits of archaeological apartment-tidying.  For now, I thank Flip, who enabled this music to live on.  And the musicians, of course — some of whom can still raise a SHOUT when the time is right.

May your happiness increase!

MUSIC FOR THE MORNING COMMUTE, REVISITED

This post is devoted to one of my favorite songs — even though I stopped setting my alarm clock almost two months ago.  But I send it out for all of you who still have to obey the summons.  And if you are newly freed from such tyrannies, the song continues to be charming.

I saw in my online research into this song — music and lyrics by Herman Hupfeld (best known now for AS TIME GOES BY, less so for LET’S PUT OUT THE LIGHTS AND GO TO SLEEP, NIGHT OWL, or SING SOMETHING SIMPLE) — that I’d written about it in 2015, but there are now new versions on YouTube, so I propose this blogpost as an improvement rather than plagiarizing from myself.  Here’s my favorite Thirties version, led by Adrian Rollini, with  possibly Bunny Berigan, Al Philburn, Pee Wee Russell, Arthur Rollini, Fulton McGrath, Dick McDonough, Art Miller, Herb Weil, Red McKenzie:

I don’t have any personnel for this version.  Possibly a Gene Kardos group?

and a British version that includes the verse:

We move out of the Thirties for a 2008 version featuring Marty Grosz, Dan Block, Scott Robinson, Vince Giordano, Rob Garcia:

And to return to the song’s inception, it comes from a film delightfully titled MOONLIGHT AND PRETZELS.  Evidence herewith.

 

 

 

 

 

 

 

 

 

and the relevant film clip — homage to Mister Berkeley:

Whatever your circumstances, may that other sock not elude you, and I hope your colleagues treat you kindly and with respect where you make your living.

May your happiness increase!

LOVE LETTERS IN SOUND: JON DE LUCIA OCTET at THE SLOPE LOUNGE (November 5, 2018)

Here is delightful evidence of a heartfelt creative evening of music by the Jon De Lucia Octet, with arrangements and compositions by Jon, Jimmy Giuffre, Lee Konitz, and Dick Hyman,  Recorded on November 8, 2018, at the Slope Lounge (formerly the Tea Lounge) in Broooklyn, New York.  The saxophones in addition to Jon are John Ludlow, Dan Block, Adam Schneit, Andrew Hadro; Roberta Piket, keyboard; Kevin Thomas, string bass; Steve Little, drums (not his own, as always).

If you’d asked me two decades ago whether I liked “cool jazz” or “West Coast jazz,” from a position of relative ignorance I would have said no immediately, dismissing it as pale and cerebral where the music I loved was passionate.  But time after time, Jon De Lucia has (gently and sweetly) shown me the error of my ways.  The music he brings forth and composes is rooted deeply, and that word is central, in the sweet ardor of Lester Young: melodically, harmonically, and rhythmically rich and multi-layered even when it might initially seem spare.  Jon and his varied ensembles are now wonderfully rewarding . . . . music to my ears. I hope they are to yours also.

Jon’s own PRELUDE TO PART FIRST:

DREAMILEE, Jon’s arrangement of a Lee Konitz solo on I’LL SEE YOU IN MY DREAMS:

VALSE VIVIENNE, scored for four clarinets by Jon, in honor of his goddaughter:

Jimmy Giuffre’s arrangement of Jerome Kern’s THE SONG IS  YOU:

Jon’s transcription of Giuffre’s arrangement of LOVE LETTERS — an extraordinarily beautiful piece of music and performance:

Dick Hyman’s arrangement of the Gershwin TREAT ME ROUGH from a Trigger Alpert recording:

Cole Porter’s LOOKING AT YOU:

Jon’s own I RESEMBLE YOU:

Jon and friends make wonderful music, multi-layered and translucent.  For his new CD, visit here.  And to keep track of where he is playing next, here.  Take it from me: he’s someone worth following around for glorious surprising music.

May your happiness increase!

CELEBRATING BILLY STRAYHORN: JOHN Di MARTINO, DAN BLOCK, ANDY BROWN, NICKI PARROTT, PETE SIERS (Cleveland Classic Jazz Party, September 16, 2017)

Let us again praise Billy Strayhorn.  He hasn’t been tangibly on the planet since 1967, but does a day go past without a Strayhorn melody being offered up, reverently, somewhere — even if it is in the jukebox of the imagination?


Here are some of Swee’ Pea’s lovely melodies played in real life by a quintet of sensitive creators: John DiMartino, piano; Dan Block, reeds; Andy Brown, guitar; Nicki Parrott, string bass; Pete Siers, drums, at the Cleveland Classic Jazz Party last September.

U.M.M.G. (for “Upper Manhattan Medical Group”):

RAIN CHECK (which starts late: we in the trade call this “videographer error,” or battery death and resurrection.  My apologies.):

CHELSEA BRIDGE, gorgeously:

and of course, that TRAIN, which still will take you to Harlem, even though the price has substantially increased since 1941, when it was (pre-token) five cents:

These musicians know the common language so deeply and beautifully: bless Nancy Hancock Griffith for her work with the Cleveland Classic Jazz Party, now, alas, only a lovely memory.

May your happiness increase!

HOT, SWEET, HOTTER: ROSSANO SPORTIELLO and FRIENDS at CLEVELAND (Sept. 15, 2017), PART TWO: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, FRANK TATE, HAL SMITH

I posted the first part of a frankly incendiary set from the now-lamented Cleveland Classic Jazz Party here, and it seems just the right time to offer the three performances from the second half.

ROSSANO.

Rossano and his majestice friends — Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet; Scott Robinson, tenor saxophone; Frank Tate, string bass; Hal Smith, drums — really know how to do it, to play the venerable repertoire with loving care so that it doesn’t seem stale or by-the-numbers, with heartfelt solos, intelligent ensemble work, and lovely tempos.

Here’s Kid Ory’s SAVOY BLUES:

Eddie Condon always mixed in beautiful ballads with the hot numbers, so Rossano features Dan Barrett in GHOST OF A CHANCE:

Since time was running out, the final number was compact — AFTER YOU’VE GONE.  But Rossano brilliantly said, “Four choruses, ensemble,” and offered us this memorable evocation of easy teamwork in the land of Hot:

Unforgettable.  And another reason to be grateful — to the musicians, to the traditions they embody, and to Nancy Hancock Griffith and Kathy Hancock.  We who were there know why.

May your happiness increase!

FOR BIX, FOR RUBY, FOR EVERMORE (Part Two): The EarRegulars at The Ear Inn: JON-ERIK KELLSO, SCOTT ROBINSON, JAMES CHIRILLO, GREG COHEN, and FRIENDS (March 11, 2018)

Here is my first post about the glorious fun at The Ear Inn on March 11, 2018, featuring SUGAR and SOMEBODY STOLE MY GAL, as played by Messrs. Cohen, Chirillo, Robinson, and Kellso.

And I present two more performances from the same happy evening, with the affectionate spotlight on Mister Braff.

Walter Donalsdon’s IT’S BEEN SO LONG:

and my favorite anthem of hope, WRAP YOUR TROUBLES IN DREAMS — Dan Block, clarinet, and Will Reardon Anderson, alto (left and right) sitting in:

The moral of the story?  As the Sages say, “Get thee to The Ear Inn on Sunday nights.”

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!