Tag Archives: Danny Tobias

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

Are you ready to join me on our Sunday pilgrimage to the Shrine of Sounds, where the EarRegulars and friends gambol and inspire?  I hope so.

Let us begin with music from the second set at The Ear Inn, 326 Spring Street, on Sunday, April 25, 2010: Ben Webster’s line on IN A MELLOTONE, which was based on ROSE ROOM — Jon-Erik Kellso, trumpet; Harry Allen, tenor saxophone; Matt Munisteri, guitar; Neal Miner, string bass — asking the musical question, DID YOU CALL HER TODAY?

and the second part, the length of a 10″ 78 rpm record:

Then, another hint of Ellingtonia — Johnny Hodges’ line on I GOT RHYTHM, called THE JEEP IS JUMPIN’ — which adds Danny Tobias, trumpet, and Andy Farber, tenor saxophone to the mix . . . for ten minutes:

because it would be cruel to leave out the final forty-five seconds, here they are:

Mr. Tobias calls his favorite tune, THIS CAN’T BE LOVE, where he’s joined by Andy Farber, Harry Allen, Matt Munisteri, and Jim Whitney, string bass:

A new constellation of brilliant friends plays COMES LOVE: Jon-Erik Kellso, Danny Tobias, Harry Allen, Andy Farber, Chris Flory, guitar, and Jim Whitney:

and we know LOVE takes its own time to . . . . arrive:

Finally, the song that always amuses me by its paradoxical nature when it’s the last tune of the night, LINGER AWHILE, a gift from Messrs. Kellso, Tobias, Allen, Farber, Flory, and Miner:

Joy.  And while we contemplate the joys of a decade ago, let us keep our eyes comfortably fixed on a future not yet realized, but one we hope for.

May your happiness increase!

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

Here you can find five posts devoted to the truth that beauty never gets dusty.  And just below you can find the newest-historical-unaging samples from my (and perhaps your) Sunday-night worship services at 326 Spring Street, Soho, New York City.

From December 6, 2009, naughtiness from Jon-Erik Kellso, trumpet; Harvey Tibbs, trombone; Matt Munisteri, guitar; Nicki Parrott, string bass:

Also from that night, a deep-blue version of Benny Carter’s BLUES IN MY HEART:

And, from November 29, 2009, with Danny Tobias, sitting in for Jon-Erik Kellso, along with Dan Block, reeds; Chris Flory, guitar; Jon Burr, string bass, saying hello to Dick and Larry:

And some spiritually-enhanced jam from that session of November 29, 2009: Jon-Erik Kellso, Gordon Au, trumpet; Dan Block, Attilio Troiano, reeds; Chris Flory, guitar; Jon Burr, string bass:

Appropriately, something for Lil and Louis: Jon-Erik Kellso, Danny Tobias, Gordon Au, Dan Block, Attilio Troiano, Chris Flory, Jon Burr:

Imagine the experience we will all have when — to quote Jabbo Smith — “times get better.”  Balance between unrealistic optimism and depthless gloom; wear your mask; keep the mental-spiritual jukebox going.  We’ll get there.

And keep listening!

May your happiness increase!

ALMOST LIKE BEING IN PHILADELPHIA, or ANOTHER ETUDE FROM THE MARTY PARTY: MARTY GROSZ, JOE PLOWMAN, BRENNEN ERNST, RANDY REINHART, JACK SAINT CLAIR, JIM LAWLOR, DANNY TOBIAS, VINCE GIORDANO, DAN BLOCK, SCOTT ROBINSON (World Cafe Live, March 4, 2020)

When someone you admire celebrates his ninetieth birthday (and the publication of his autobiography — published by Golden Valley Press) at a public gathering with music, it would be foolish to miss the festivities.  That’s why I took the train to Philadelphia in March to help celebrate (and document) Marty Grosz and his friends rather than spend my remaining years kicking myself that I didn’t.  Here are three posts, each with a performance from the Marty Party.  WABASH BLUES, JAZZ ME BLUES, and  IT DON’T MEAN A THING, for the curious.

But wait!  There’s more!  Marty essays the famous Alex Hill-Claude Hopkins song of complete romantic cooperation. The creators of mirth and hot music are Marty Grosz, guitar and vocal; Joe Plowman, string bass; Randy Reinhart, trombone; Brennen Ernst, piano; Jack Saint Clair, tenor saxophone; Dan Block, clarinet; Danny Tobias, trumpet and Eb alto horn; Vince Giordano, bass saxophone; Scott Robinson, tenor saxophone and bass taragoto, Jim Lawlor, drums. Incidentally, the song has two titles: either I WOULD DO ANYTHING FOR YOU or the more-tempered I WOULD DO MOST ANYTHING FOR YOU.  Your call.  My truncated title is because YouTube has a 100-character limit.

May your happiness increase!

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

I hope I will be forgiven repeating this moody strain: early in 2020, I would be getting ready to get ready (I arrive too early) to be at this Shrine.  If you don’t know it, please read and listen; if you do, the same suggestions apply.

Here you can find parts one and two of this Sunday-night series celebrating good times at The Ear Inn, 326 Spring Street, New York, thanks to the EarRegulars.

And more from the night of September 6, 2009 — the video is appallingly dark and fuzzy [I did buy a more light-sensitive camera, so have patience], but the sounds made by Danny Tobias, cornet; Michael Hashim, alto saxophone; James Chirillo, guitar; Frank Tate, string bass, are bright.

A serious criminal offense — SOMEBODY STOLE MY GAL:

She came back and will only answer to MY GAL SAL:

But now she’s NAUGHTY:

We add the splendid violinist Valerie Levy to the band for EMBRACEABLE YOU.  Remember when that title didn’t bring up stifled tears and muffled snarls of frustration?

That 1930 celebration of new romance, I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME:

I WANT TO BE HAPPY:

And finally, for this post, POOR BUTTERFLY:

We live in hope that this joyous coming-together can and will happen again.

May your happiness increase!

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

For the moment, it’s not possible to go down to the The Ear Inn and indulge in our Sunday-night joys — musical and otherwise — so I will do my part in bringing the experience to you.  My first offering of performance videos and loving personal history can be found here:

Here is another video from the earliest documentation of communal joy at 326 Spring Street (June 7, 2009) that I did, featuring Duke Heitger, trumpet; Harvey Tibbs, trombone; Dan Block, clarinet; Matt Munisteri, guitar; Neal Miner, string bass — Jon-Erik Kellso may have been collecting tips for the band — summoning Louis on SOME OF THESE DAYS, most evocatively in Duke’s final chorus:

and from two weeks later (the 21st), SUNDAY, featuring Jon-Erik, Harvey, Dan, Matt, and Jon Burr, string bass:

and from September 6, IF DREAMS COME TRUE, created by Danny Tobias, cornet; Michael Hashim, alto; James Chirillo, guitar; Frank Tate, string bass:

and a lovely Ellington medley by the same heroes:

and as this week’s sign-off, Irving Berlin’s isolation aria (although in a cheery Keynote Records mode) ALL BY MYSELF:

I have many more video performances to share with you, so I invite you to make JAZZ LIVES your regular Sunday-night companion (any other time will do, also).

May your happiness increase!

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!

MARTY GROSZ, NOW AND THEN (March 4, 2020; June 6, 1951), and a POSTSCRIPT

Marty Grosz and Joe Plowman, Philadelphia, June 2020.

Before the world we knew or thought we knew morphed terribly into the appalling shapes it is now in* — and you can add details as you like — Marty Grosz had a ninetieth-birthday party in his hometown of some years, Philadelphia, Pennsylvania.  I had the good fortune to be there, and documented the joyous proceedings here and here.

In my borough or perhaps burrow, it is only polite to inquire, “Will you have another?” so I offer just that.

At his party, where he gave us presents, Marty picks up “the riverboat violin” for the venerable WABASH BLUES — alongside Vince Giordano, tuba; Jack Saint Clair, Dan Block, Scott Robinson, reeds; Randy Reinhart, trombone; Jim Lawlor, drums; Danny Tobias, trumpet. The impatient among you — and you, along with the Corrections Officers and the Disapprovers, seem to proliferate — should be warned that Marty, as he is wont to do, tells a tale before the music starts at 7:50. Myself, I think Marty-narratives are valuable (have you read his autobiography, IT’S A SIN TO TELL A LIE: MY LIFE IN JAZZ, published by Golden Valley Press?) and the music that follows is of course also. This burst  of joy took place at the World Cafe Live in Philadelphia on March 4, 2020.

The official JAZZ LIVES copy of one of the two discs. Peruse and admire.

Marty would call his first official recordings — two 78 discs recorded for the Jolly Roger label (2003 and 2004) “prentice work” at best . . . but they are jubilant explosions of youthful ardor, by Hugh McKay, trumpet; Ephie Resnick, trombone; Frank Chace, clarinet; Dick Wellstood, piano; Pops Foster, string bass; Tommy Benford, drums.

And here are the four performances, thanks to archive.org.

I WOULD DO ANYTHING FOR YOU

SHIM-ME-SHA-WABBLE (here, “WOBBLE”)

DIXIELAND JASS BAND ONE-STEP

OH, BABY

And a note about the asterisk above — for those who read what I write, and thank you for doing so.  I have not felt much like blogging in the past few days: it seems trivial and even disrespectful to the people who suffer, who die and have died, to people who would like to breathe but find they are not permitted to, my peaceful friends who find themselves facing violence while bringing none, to post uplifting jazz music.

I won’t make any pompous claims about jazz being a bringer of peaceful relations.  It hasn’t always been so, either for musicians or listeners.  But I feel an obligation to spread joy in deep darkness, perhaps to remind ourselves that the human spirit is capable of acts that are generous and kind.  I hope you feel this too.

And if my “politics” offend you, if you applaud what is happening in your neighborhood, if you think the current regime is the best there ever was, if you praise a deceased musician of color but recoil from an actual person of the same hue taking a walk, please feel encouraged to cancel your subscription to JAZZ LIVES and find another source for music.  Kindly hold the door so it doesn’t slam, here and on Facebook. I will live through your defection.  And so will the music.

May your happiness increase!

JUST GIVE THAT RHYTHM EVERYTHING YOU’VE GOT: ANOTHER TUNE FROM THE MARTY PARTY (March 4, 2020)

More from the Marty Party! — music from Marty Grosz’s ninetieth birthday party, held at the World Cafe Live in Philadelphia. The WCL was sold out, the audience was happy and attentive, and Marty enjoyed himself — he even picked up the banjo on several numbers. 

Beginning with a classically elongated MOG introduction, here’s a song I’ve never heard him play, although he always embodies it, IT DON’T MEAN A THING (IF IT AIN’T GOT THAT SWING). His colleagues are Joe Plowman, string bass and superpowers; Vince Giordano, bass saxophone; Jack Saint Clair, tenor saxophone; Scott Robinson, taragoto; Dan Block, clarinet; Jim Lawlor, drums; Randy Reinhart, trombone; Danny Tobias, trumpet.

and before we get to the music, I will remind you that this party was not only a birthday jam but a celebration of Marty’s autobiography, IT’S A SIN TO TELL A LIE: MY LIFE IN JAZZ, published by the Golden Alley Press.  It’s a wonderful book — read more about it here.  And here‘s JAZZ ME BLUES — with Marty on banjo — from the party.

And straight from the World Cafe Live, the manifesto we live by: 

May your happiness increase!

AN HOUR OF JOY WITH EDDIE ERICKSON and FRIENDS at the JAZZ BASH BY THE BAY: DANNY TOBIAS, KATIE CAVERA, GARY RYAN, JERRY KRAHN (March 6, 2020)

In one of those curious episodes of dislocation we all take for granted (read Philip K. Dick’s “The Eyes Have It”) my ears met Eddie Erickson long before the rest of me caught up.  Perhaps I first heard him on recordings with Dan Barrett, Rebecca Kilgore, Melissa Collard?  I know we met in Germany in 2007 for one of Manfred Selchow’s concert weekends, and a few years later, in California.  More to the point: I saw him, to my great delight, at the Jazz Bash by the Bay in March of this year.

Those who know Eddie only superficially categorize him as a dazzling vaudevillian — someone who, had he been born earlier, would have starred in Vitaphone short films and on Broadway — a natural comedian, a banjo virtuoso, a walking compendium of lovable entertainment.  I think of his performances of MY CANARY HAS CIRCLES UNDER HIE EYES and the dreadful honeymoon night of SIDE BY SIDE.  But he goes much deeper.  I celebrate the other Eddie: the swinging guitarist whose solos make sense, and, perhaps most of all, the very touching ballad singer.  And were you to visit my YouTube channel,  “swingyoucats”, you would find that I’ve been documenting Eddie’s multi-faceted self for nearly a decade now.

But that’s history of a very delightful kind, which I plan to add to right now.  What follows is a set of music performed on March 6, 2020, at the Jazz Bash by the Bay in Monterey, California, under the title “Eddie Erickson and Friends.”  Strictly speaking, that was inaccurate, because if all of Eddie’s friends had assembled at 7:39 in the Colton Room, all the other rooms would have been empty and the fire marshals would have been called.  So it was “and Friends who are Expert Musicians,” which meant Jerry Krahn, guitar; Katie Cavera, string bass and vocal; Danny Tobias, trumpet and Eb alto horn; Gary Ryan, banjo and vocal; Kathy Becker, attendant to the Emperor.

Two details to point out before you dive in.  Ordinarily, I would edit the pre-song conversation and getting-ready more seriously, but in Eddie’s case, his asides are precious, so what you have here is as close to the full hour as my camera would allow.  (I lost a few notes of ALWAYS, but you can imagine what was left out.)  And ordinarily I would not post ten performances at one time, but I envision people — needing more joy and uplift right now — setting aside an hour to visit with Eddie, to savor the joy they might not have been able to have when it was happening.  So . . . stop multi-tasking and enjoy, please.

After an introduction that hints at ZONKY, Eddie heads into BLUE SKIES:

What would a jazz festival be without a belated coronation?

Gary Ryan keeps working at it, in honor of the National Pastime:

When skies are cloudy and gray . . . we can always think of Eddie:

Katie Cavera’s saucy feature, I BET YOU TELL THAT TO ALL THE GIRLS:

Louis, 1947 — SOMEDAY YOU’LL BE SORRY:

Jerry Krahn’s pretty IF I HAD YOU:

A banjo Ecstasy for Messrs. Erickson and Ryan, THE WORLD IS WAITING FOR THE SUNRISE, with a little Prokofiev at the start and some NOLA:

Something to change the mood, Danny Tobias’ ST. JAMES INFIRMARY:

Eddie’s heartfelt version of Berlin’s ALWAYS:

And a closing romp on Hoagy’s JUBILEE:

What a treasure Eddie is!

May your happiness increase!

SPREADING JOY IN PHILADELPHIA with MARTY GROSZ, DANNY TOBIAS, RANDY REINHART, SCOTT ROBINSON, DAN BLOCK, JACK SAINT CLAIR, VINCE GIORDANO, JIM LAWLOR, BRENNAN ERNST (March 4, 2020)

On April 1, Bucky Pizzarelli left us, and he is much in my and other people’s thoughts: see here.  But as Gabriel Conroy says in Joyce’s The Dead,” referring to people we mourn, “Our path through life is strewn with many such sad memories: and were we to brood upon them always we could not find the heart to go on bravely with our work among the living.

So let us also celebrate the living who continue to uplift our spirits.

and

and

Looks like fun.  It was.

On February 28, Marty turned ninety, and on March 4, there was a party held in his honor (organized by Joe Plowman and Jim Gicking) at the World Cafe Live — in conjunction with the publication of Marty’s autobiography, IT’S A SIN TO TELL A LIE (Golden Alley Press, thanks to Nancy J. Sayre) — which I’ve described here.  Excellent reading material for those rediscovering books these days!

Marty’s glowering expression on the cover says, “You can listen to music for free, but buy the book, for Chrissake!”

But back to the music.  The World Cafe Live was sold out, the audience was happy and attentive, and Marty enjoyed himself — he even picked up the banjo on several numbers, and here’s one (the last tune of the first set) JAZZ ME BLUES at a nice easy lope.  His colleagues for this number are Vince Giordano, bass saxophone; Jack Saint Clair, tenor saxophone; Scott Robinson, sarrusophone; Dan Block, clarinet; Brennan Ernst, piano; Jim Lawlor, drums; Randy Reinhart, trombone; Danny Tobias, trumpet:

May your happiness increase!

FIVE BY FIVE (Part Two): JOE PLOWMAN and his PHILADELPHIANS at the 1867 SANCTUARY: JOE PLOWMAN, DANNY TOBIAS, JOE McDONOUGH, SILAS IRVINE, DAVE SANDERS (February 8, 2020)

This is the second half of a wonderful afternoon concert that took place at the 1867 Sanctuary in Ewing, New Jersey — Joe Plowman and his Philadelphians, featuring Joe on string bass; Danny Tobias on trumpet, flugelhorn, and Eb alto horn; Joe McDonough on trombone; Silas Irvine on piano; Dave Sanders on guitar.

You can enjoy the first half here — the songs performed are COTTON TAIL, WHO CARES?, JUST ONE OF THOSE THINGS, SUNNY SIDE OF THE STREET, and THE SONG IS ENDED.

And below you can hear and see performances of MY FUNNY VALENTINE, WHY DO I LOVE YOU?, THE FRUIT, WHAT’LL I DO?, and I NEVER KNEW.

When everything is once again calm, you might make a trip to the Sanctuary (101 Scotch Road in Ewing) for their multi-musical concert series: it is a lovely place.  But the vibrations in that room were particularly lovely on February 8, 2020.

Since it was less than a week before Valentine’s Day, Richard Rodgers’ MY FUNNY VALENTINE was not only appropriate but imperative: Danny offered it (with the seldom-played verse) on flugelhorn:

Jerome Kern’s WHY DO I LOVE YOU? — following the amorous thread — was another feature for the melodic Joe McDonough  — with beautiful support from Messrs. Sanders and Irvine in addition to the leader:

Joe (Plowman, that is) explored Bud Powell’s twisting THE FRUIT with Silas right alongside him at every turn:

Irving Berlin’s mournful elegy, WHAT’LL I DO? reassembled the quintet:

And a final jam on I NEVER KNEW — a song musicians have loved to play since the early Thirties — closed the program:

Beautiful, inspiring music: thanks to this quintet and Bob and Helen Kull of the     1867 Sanctuary.

May your happiness increase!

TRANSIT TIME: March 4-9, 2020

This post is more or less to amuse myself before the Jazz Bash by the Bay begins tomorrow, but you can come along as well.  I have just completed, or perhaps begun, the most intense loop of jazz travel I can recall.  It began with my happy viewing of Nancy Harrow and Will Pomerantz’s play, ABOUT LOVE, which is the subject of yesterday’s blogpost.  (“Don’t miss it” is the edited version).

Yesterday, I went to Philadelphia (the World Cafe Live) to hear, witness, and record Marty Grosz’s ninetieth birthday party, and after that I flew to Monterey, California, to the Portola Hotel and Conference Center, where I write these words.

I am sorry that Dan Barrett isn’t attending the Bash this year — for many reasons, but were he to see me with that button and ribbon pinned to my shirt, he would walk over and put his palm on the ribbon and push.  “It says PRESS.” But I shall go on.

On Thursday, at about 2 PM, I asked a favor of a neighbor who gave me — and my knapsack of video gear — a lift to the train station.  Once there, I found Amtrak (twenty minutes late) and eventually got to Philadelphia, where (once again) I imposed on a friend — this time Joe Plowman, a stellar fellow whether playing the string bass or not — to take me to the World Cafe Live.

The Marty Party was a delight, and, yes, if the Tech Goddess favors me, there will be video evidence.  I asked Danny Tobias and Lynn Redmile for a lift back to the 30th Street Station, and Dan Block and I rode back to New York City — arriving around 1:20 AM on Friday.  Dan went off to his home, about four subway stops away, but the next train to my suburban Long Island town was two hours later, so I asked the first cabbie in a line of cabs what he would charge; we settled on a price, and we were off.  (He had been a lawyer in Egypt, by the way).  Around 2:15 I was home and went to sleep for what I knew would only be a brief interlude.  My alarm went off, as planned, at 7; I did what was needed and got in my car to drive to parking for Kennedy Airport.  At 11:30 we were airborne; I arrived in Monterey close to 6 PM.  (I have adjusted none of this for New York and California time zones, but you can imagine that my eyelids are heavy.)

I really have no idea what time it actually is in my body clock, but will find out.  I can tell you that this travel rhapsody will have cost me about fifteen hundred dollars when it is all through.  I am blessedly fortunate to have that money, but the pleasure of seeing Marty Grosz, Vince Giordano, Dan Block, Scott Robinson, Danny Tobias, Randy Reinhart, Brennan Ernst, Joe Plowman, Jack Saint Clair, Jim Lawlor, meeting people in the flesh whom I’d only known in cyberspace — one night! — as well as receiving an autographed copy of Marty’s autobiography, IT’S A SIN TO TELL A LIE: MY LIFE IN JAZZ (Golden Valley Press) . . . .and from tomorrow on, seeing Marc Caparone, Dawn Lambeth, the Holland-Coots Jazz Quintet, Carl Sonny Leyland, Clint Baker, Jeff Hamilton, Hal Smith, Le Jazz Hot, and more — that pleasure is and will be uncountable in mere currency.  And unless you knew my past life well, the immense freedom to do what I want is bliss, a bliss I hadn’t always been able to have.

And I can sleep next week.

May your happiness increase!

BORN ON THE 28th of FEBRUARY

We know many people born on February 28th.  However, we know a much smaller number born on that date in 1930.  And there is only ONE Martin Oliver Grosz, who will thus turn ninety in a few days.

Marty won’t read this post, so I will spare him and all of us a lengthy explication of his particular virtues.  But let me inform you about a few events related to his birthday . . . and then there will be a reward for those with high reading comprehension skills.  “Three ways,” not chili . . . but a book and two parties.  And patient readers will find another reward, of a particularly freakish nature, at the end of this post.

Marty has talked about writing his autobiography for years now (I was almost a collaborator, although not in the wartime sense) — he has stories!  And the book has finally happened, thanks to the Golden Alley Press, with the really splendid editorship of Joe Plowman, whom we know more as a superb musician.  Great photos, and it’s a pleasure to look at as well as read.

 

The book is entertaining, readable, funny, and revealing — with stories about people you wouldn’t expect (Chet Baker!).  It sounds like Marty, because the first half is a tidied-up version of his own story, written in longhand — with elegant calligraphy — on yellow legal paper.  I’m guessing that a few of the more libelous bits have been edited out, but we know there are severe laws about such things and paper is flammable.

The second part of the book, even more vividly, is a stylishly done series of interviews with Marty — a real and sometimes startlingly candid pleasure.  I’ve followed Marty musically for more than twenty-five years and have had conversations with him for two decades . . . this, as he would say, is the real breadstick, and I learned a great deal I hadn’t already known.  More information here and here.  The official publication date is March 4, but you can pre-order the book from several of the usual sites — as noted above.

And two musical events — Marty encompasses multitudes, so he gets two parties.

One will take place at the Hopewell Valley Bistro, tomorrow at 6 PM, where Marty will be joined by Danny Tobias, Scott Robinson, and Gary Cattley, for an evening of swing and badinage, sometimes with the two combined.  Details here.  And on March 4, another extravaganza — at the World Cafe Live in Philadelphia, with what used to be called “an all-star cast”: Vince Giordano, Danny Tobias, Scott Robinson, Dan Block, Randy Reinhart, Joe Plowman, Jim Lawlor, Jack Saint Clair, and I would guess some surprise guests.  Details here.  Even though I am getting on a plane the next morning to fly to Monterey for the Jazz Bash by the Bay, I am going to this one.  You should too!

Now, the unearthed treasure . . . for all the Freaks in the house, as Louis would say, a congregation in which I happily include myself.  I’ve written elsewhere of taking sub rosa videos at the 2007 and 2008 Jazz at Chautauqua weekend ecstasies, and I recently dug out this spiritual explosion.  The camerawork is shaky and vague (I was shooting into bright light), but the music is life-enhancing.  Even the YouTube Disliker is quietly applauding:

Let us celebrate Marty Grosz.  He continues to be completely Himself, which is a fine thing.  With Dispatch and Vigor, Fats, Al Casey, and Red McKenzie looking on approvingly.

May your happiness increase!

FIVE BY FIVE (Part One): JOE PLOWMAN and his PHILADELPHIANS at the 1867 SANCTUARY: JOE PLOWMAN, DANNY TOBIAS, JOE McDONOUGH, SILAS IRVINE, DAVE SANDERS (February 8, 2020)

Pay no attention to ENGER D OP OFF — they were last week’s band.

Here’s another in the series of intimate, swinging jazz concerts that take place at the 1867 Sanctuary on Scotch Road in Ewing, New Jersey: others have featured Phil Orr, Joe Holt, Danny Tobias, Warren Vache, Larry McKenna.

The most recent one was a showcase for string bass virtuoso Joe Plowman (friend of Larry McKenna and Marty Grosz, so that should tell you something about his authentic credentials — with Danny Tobias on various brass instruments, Joe McDonough, trombone; Silas Irvine, piano; Dave Sanders, guitar.  As you’ll hear immediately, these five friends specialize in lyrical melodic swing — going back to Irving Berlin classics — without a hint of the museum or the archives.  Their pleasure in making song was apparent all afternoon, and we shared it.  And just as a comment on the leader: notice how quiet the crowd is when he solos, maybe because he creates long arching melodic lines with a beautiful sound and wonderful intonation.

At times, I was reminded of a group I saw for half an hour at the old Michael’s Pub — the front line was Bobby Hackett and Urbie Green, and what delightful sounds they made. (The digressive story of that evening I offer below as a postscript.*)

Here are five highlights from the brilliant afternoon’s play.

Everyone’s “got rhythm” so why not Ellington’s COTTON TAIL?:

The Gershwins’ WHO CARES? — with a touch of Tobias-humor to start:

Porter’s JUST ONE OF THOSE THINGS:

ON THE SUNNY SIDE OF THE STREET, featuring expressive Mr. McDonough:

Berlin’s THE SONG IS ENDED, which announcement was premature, since there was another half-concert to follow:

You see why the trip to Ewing, New Jersey, to 100 Scotch Road, is essential to my well-being and that of the larger audience.

*Now for my self-indulgent story, which took place before either Joe was born.  I’ve never told it before and it is true.

Bobby Hackett was and is one of my greatest heroes, and when he appeared in New York City between 1971 and 1976, I tried to go see him.  However, I was a shy college student, working a part-time job that paid $1.85 / hour, so some gigs were beyond me.

Michael’s Pub was a restaurant-bar-with music on the East Side of Manhattan, in the Fifties, that offered excellent jazz in hostile surroundings.  (To be fair, I did not appear as a well-heeled customer to even the most inexperienced waiter.)  They had a bar where one could sit and have a single drink without being chased for perhaps thirty minutes, but the view of the music room was very limited.  When I learned of a Hackett-Urbie Green quintet gig, I gathered up the shreds of my courage, put on my sportsjacket and my Rooster tie, and went.

I think I made a reservation for two: that was my cunning at work.  I was guided to a table, a menu was thrust in my face, and I said, “I’m waiting for my date.  A vodka-tonic, please,” and the waiter went away, returning in seconds with my drink.  The music began and it was of course celestial.  I nursed my drink, ate the rolls in the bread basket one by one, and fended off the waiter, who was more insistent than any date I’d had up to that point.  Finally, somewhere in the first set, when the waiter had become nearly rude, I looked at my watch, and said grimly so that he could hear, “Damn.  She’s not coming.  I’ll take the check, please,” paid and left.

I can now say that I heard Bobby and Urbie, but the sad part is that I can’t remember a note because it was completely blotted out by the sense of being unwanted.  But, in a pinch, vodka-tonic, buttered rolls, and a divine soundtrack are nutritious enough.  And memory is soul food.

May your happiness increase!  

MORE BEAUTY, PLEASE: DANNY TOBIAS, PAT MERCURI, CHRIS BUZZELLI at the 1867 Sanctuary (Ewing, New Jersey: January 4, 2020)

When we left our heroes — Danny Tobias, trumpet and various brass instruments, Pat Mercuri and Chris Buzzelli, guitars — they were lifting our spirits by creating beautiful sounds at the 1867 Sanctuary in Ewing, New Jersey.  The evidence, easily accessed, is here in six lovely performances.

Now, I want JAZZ LIVES participants (you are more than simply “readers,” I hope) to chew slowly, to digest, to savor — even if I am not the waitperson who comes to your table, places the entree in front of you, and barks, “ENJOY!” — so I waited a short time before offering you the second half of this delightful concert. But here it is.

Berlin’s memorably sad WHAT’LL I DO?

  The most cheerful admonition, LADY BE GOOD (or OH, LADY BE GOOD):

Rodgers and Hart’s vision of sweet togetherness, BLUE ROOM:

And another from Dick and Larry, DANCING ON THE CEILING:

Finally, a threatening Rodgers and Hart opus (for t hose who know the lyrics) EV’RYTHING I’VE GOT:

Danny will be back at the 1867 Sanctuary on April 19 (at 2 PM) with the brilliant pianist Conal Fowkes and string bassist Doug Drewes: details here.  Thanks to these musicians and to Bob and Helen Kull — guardians of this wonderful space — for making this event possible.

May your happiness increase!

MELLOW TONES: DANNY TOBIAS, PAT MERCURI, CHRIS BUZZELLI (1867 Sanctuary, January 4, 2020)

On January 4, 2020, Danny Tobias (trumpet, flugelhorn, Eb alto horn), Pat Mercuri, and Chris Buzzelli (guitars) assembled at the 1867 Sanctuary, 1o1 Scotch Road, Ewing, New Jersey, for a wonderfully mellow session of music.  What they created, reminiscent of the Braff-Barnes Quartet, requires no complicated explication: it’s melodic and swinging, a splendidly egalitarian conversation among three masterful improvisers.  Pat’s on the viewer’s right in gray blazer; Chris has a maroon shirt.

Here’s the first half.

Arlen’s AS LONG AS I LIVE, a declaration of devotion:

CHEEK TO CHEEK, Berlin’s description of bliss in motion:

Van Heusen’s POLKA DOTS AND MOONBEAMS (and I still like Johnny Burke’s lyrics, unheard here, although some poke fun at the “pug-nosed dream”):

Ray Noble’s steadfast assertion, THERE IS NO GREATER LOVE:

Sonatina for Two Guitars, Ellington’s IN A MELLOTONE:

Gershwin’s yearning SOMEONE TO WATCH OVER ME, featuring Danny on his third or fourth brass instrument, the Eb alto horn:

If you missed this concert, you have a chance to restore and redeem yourself: on February 8, 2020, Joe Plowman and his Philadelphians will be playing: that’s Joe on string bass and perhaps arrangements / compositions; Danny Tobias; Joe McDonough, trombone; Silas Irvine, piano; Dave Sanders, guitar.  Details here. Why miss out?

May your happiness increase!

CARPE DIEM, YOU CATS: DANNY TOBIAS, DAN BLOCK, JOSH DUNN, TAL RONEN (Cafe Bohemia, 11.21.19)

Many jazz fans are seriously prone to excessive nostalgicizing (see E.A. Robinson’s “Minniver Cheevy”) and I wonder why this music that we love is such a stimulus.  How many classical-music devotees dream, “I wish I were having dinner with the Esterhazys tonight so I could hear Joe Haydn’s new piece”?  I am sure sports aficionados imagine themselves at the Polo Grounds or another fabled place for the moment when ____ hit his home run.

But in my experience, those who love jazz are always saying, wistfully, “I wish I could go back to hear the Goldkette band / Fifty-Second Street / Louis at the Vendome Theatre / the Fargo dance date / Bird and Diz at Billy Berg’s,” or a thousand other part-forlorn wishes.  To be fair, I too would like to have been in the studio when COMES JAZZ was recorded, or the 1932 Bennie Moten session in Camden.

But sometimes such yearning for the past obscures the very much accessible glories of the present.  (I see this in those fans so busy making love to their recordings that they never go to a club to hear live jazz, which is their loss.)  Yes, many of our heroes will play or sing no more.  But THE GOLDEN ERA IS NOW and it always has been NOW.  And NOW turns into THEN right before our eyes, so get with it!

Here’s proof: more music from a life-enhancing evening at Cafe Bohemia, 15 Barrow Street, Greenwich Village, New York — November 21, 2019 — with Danny Tobias, trumpet; Dan Block, clarinet and tenor saxophone; Josh Dunn, guitar; Tal Ronen, string bass.

I’ve already posted several beauties from this gig here and here.

And now . . . .

LINGER AWHILE:

BLUE ROOM (at a wonderful tempo, cool but lively):

MY HONEY’S LOVING ARMS (with the obligatory Irish-American reference):

MY MELANCHOLY BABY:

LULLABY OF THE LEAVES:

I WANT TO BE HAPPY:

I’VE GROWN ACCUSTOMED TO HER FACE, so very tender:

and finally, SOMEBODY STOLE MY GAL:

I want to hear this band again — such peerless soloists and ensemble players — could that happen?  I hope so.

May your happiness increase!

 

GUILTY, AS CHARGED

This morning, Connor Cole, a young Facebook friend, someone with good taste, casually asked me to list the recordings that had impressed me in the past year.  I’ve stopped composing “ten best” lists because I know that I will hurt the feelings of someone I’ve left off.  (I once applied for a job where there were openings for five people, and was told afterwards that I was number six, a memory which still, perhaps absurdly, stings.)  But Connor’s request pleased me, so I began thinking of the recordings of 2019.

Perhaps it was that I wasn’t fully awake, but I came up with almost nothing, which troubled me.  So I began searching through blogposts and came up with these reassuring entities (new issues only) in approximate chronological order, with apologies to those I’ve omitted, those discs which I will write about in 2020:

IN THIS MOMENT, Michael Kanan, Greg Ruggiero, Neal Miner

NEW ORLEANS PEARLS  Benny Amon

UNSTUCK IN TIME  Candy Jacket Jazz Band

NO ONE ELSE BUT YOU  Danny Tobias, Mark Shane

RAGTIME — NEW ORLEANS STYLE, Volume 2  Kris Tokarski, Hal Smith

PICK IT AND PLAY IT  Jonathan Stout

BUSY TIL’ ELEVEN  Chicago Cellar Boys

TENORMORE  Scott Robinson

UPTOWN  The Fat Babies

COMPLETE MORTON PROJECT  Andrew Oliver, David Horniblow

A SUNDAY KIND OF LOVE, Alex Levin

DREAM CITY  David Lukacs

THE MUSIC OF THE BIRD AND THE BEE  Charles Ruggiero, Hilary Gardner

LESTER’S BLUES  Tom Callens

WINTER DAYS  Rebecca Kilgore, Echoes of Swing

The majority of those discs are musician-produced, funded, and released — which is yet another blogpost about “record companies” and their understandable attrition.  Economics, technology, and a changing audience.

But that list made me go back in time, decades of trading money for musical joy.

In late childhood, I would have walked or bicycled the mile to Times Square Stores and bought Louis’ Decca JAZZ CLASSICS for $2.79 plus tax.  A few years later, Monk cutouts on Riverside at Pergament or Mays. E.J. Korvette. Lester Young and Art Tatum Verves at Sam Goody’s.  A British enterprise, Tony’s, for exotic foreign discs.  In New York City, new Chiaroscuro issues at Dayton’s, Queen-Discs at Happy Tunes.

In the CD era, I would have stopped off after work at Borders or the nearby Tower Records for new releases on Arbors, Concord, Pablo, and import labels.  Again in the city, J&R near City Hall for Kenneth, French CBS, and more.  But record stores gave way to purchasing by mail, and eventually online.  Mosaic Records was born, as was Amazon, eventually eBay.

So today the times I actually visit “a record store,” it is to browse, to feel nostalgic, to walk away with a disc that I had once coveted — often with a deceased collector’s address sticker on the back — but I am much more likely to click on BUY IT NOW in front of this computer, or, even better, to give the artist twenty dollars for a copy of her new CD.

What happened?  I offer one simple explanation.  A musician I respect, who’s been recordings since 1991, can be relied upon to write me, politely but urgently and at length, how I and people like me have ruined (or “cut into”) his CD sales by using video cameras and broadcasting the product for free to large audiences.

So it’s my fault.  I killed Decca, Columbia, and Victor — Verve, Prestige, and Riverside, too.  Glad to have that question answered, that matter settled.  Now I’m off to do more damage elsewhere.

May your happiness increase!

IN PERFECT ALIGNMENT (Part Two): DANNY TOBIAS, DAN BLOCK, JOSH DUNN, TAL RONEN at CAFE BOHEMIA (11.21.19)

November 21, 2019 might have been an unremarkable day and night for some of us — leaving aside that it is Coleman Hawkins’ birthday — but at Cafe Bohemia, 15 Barrow Street, Greenwich Village, New York City, the stars were wonderfully in alignment when Danny Tobias, trumpet / Eb alto horn, Dan Block, clarinet / tenor, Josh Dunn, guitar, and Tal Ronen took the stage.

As James Chirillo says, “Music was made,” and we dare not underestimate the importance of that.

Not just formulaic “music,” but eloquent, swinging, lyrical playing in solo and ensemble, as you can hear in their BLUE AND SENTIMENTAL I’ve already posted here.

Those who take improvised music casually don’t realize the combination of skill, emotion, restraint, and individuality that is at its heart, where musicians create a model community for a few hours.

I hear an intelligent graciousness, where no one musician wants to be powerful at the expense of the others, where collective generosity is the goal, playing “for the comfort of the band,” as Baby Dodds described it — but when a solo opportunity comes along, each musician must be ready to speak their piece, share their distinct voice.  Too much ego and the band squabbles; too little ego and you have watery oatmeal for the ears.

That such music as you hear here and elsewhere on JAZZ LIVES exists is, to me, frankly miraculous.  Five glowing memorable examples of this holy art follow.  And if these sounds remind anyone of a small Count Basie group (you can add the sounds of Jo Jones in your head, if you care to) that would be fine also.

WRAP YOUR TROUBLES IN DREAMS:

DIGA DIGA DOO:

LADY BE GOOD:

THESE FOOLISH THINGS:

MY GAL SAL:

May your happiness increase!

DEEP FEELINGS, QUIET SWING: DANNY TOBIAS, DAN BLOCK, JOSH DUNN, TAL RONEN at CAFE BOHEMIA (November 21, 2019)

Beauty doesn’t ever have to raise its voice.

Here is some beauty for us  — by Danny Tobias, trumpet and Eb alto horn; Dan Block, tenor saxophone; Josh Dunn, guitar; Tal Ronen, string bass. They created this quiet marvel and many others on November 21, 2019, at Cafe Bohemia, 15 Barrow Street, Greenwich Village, New York, one flight down, a place where beauty is invited to make itself comfortable on a regular basis.

BLUE AND SENTIMENTAL always makes me think of Herschel Evans, so much a part of the 1938-9 Basie band.  His short life is a model to us — not that we should die so young, but that we should make beauty, make its creation our goal, and thus be remembered decades after we are no longer on the planet.  You could substitute “love” for “beauty” and still be right.

(I also think of Ruby Braff and Sammy Margolis, but they are another story — although branches from the same lyrical tree.)

Thanks to Danny Tobias, Dan Block, Josh Dunn, and Tal Ronen — people who send us love notes of the best kind — and to Christine Santelli and Mike Zieleniewski, who make evenings like this at Cafe Bohemia possible.

May your happiness increase!

MIGHTY PROSPEROUS: MARTY GROSZ and his DIVIDENDS, 2013 and 2016 (ED WISE, DAN BLOCK, DANNY TOBIAS // JON-ERIK KELLSO, BILL ALLRED, DAN LEVINSON, SCOTT ROBINSON, EHUD ASHERIE, JON BURR, HAL SMITH)

I hope this news is true for everyone.

Source material, part one:

Part two:

Who knew that finance, 1933-style, could be such fun in this century? It is, when Marty Grosz, guitar and vocal, is setting policy and interest rates.

First, at the Mermaid Inn, Chestnut Hill, Pennsylvania, with Ed Wise, string bass; Danny Tobias, cornet; Dan Block, clarinet, on May 17, 2013.  Don’t let the apocalyptic color hues scare you: it’s dark in there:

Those three videos have been accessible on YouTube.  But here’s one you ain’t tuned in yet . . . Marty, with Hal Smith, drums; Jon Burr, string bass; Ehud Asherie, piano; Bill Allred, trombone; Scott Robinson, taragoto, Dan Levinson, tenor saxophone; Jon-Erik Kellso, trumpet: performed on September 17, 2016, at the Cleveland Classic Jazz Party:

Let’s hope that everyone has good reason to sing along.  And Marty will celebrate his 90th birthday next year.  Talk about wonderful returns on investment.

May your happiness increase!  

BILLIE AND BLUES at THE CAFE BOHEMIA PREQUEL (Part Two): MARA KAYE, JON-ERIK KELLSO, MATT MUNISTERI, EVAN ARNTZEN, BRIAN NALEPKA (Sept. 26, 2019)

Before there was this — the official opening of Cafe Bohemia, 15 Barrow Street, New York City, one flight down — on October 17, 2019:

there was this, a warm-up for the club, a “soft opening” on September 26:

Glorious music from Mara Kaye, singing with the Cafe Bohemia Jazz Band — totally acoustic — Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet and tenor saxophone; Matt Munisteri, guitar; Brian Nalepka, string bass.  I posted other performances from that evening, here — but here are seven more beauties for your consideration, mixing blues by Memphis Minnie, the Smith ladies, and of course Lady Day.

Mara, of course, is herself, which is a damned good thing.

FOOLIN’ MYSELF:

I GOT TO MAKE A CHANGE:

WANTS CAKE WHEN I’M HUNGRY:

ARKANSAS BLUES:

YOUR MOTHER’S SON-IN-LAW:

TOO LATE:

A SAILBOAT IN THE MOONLIGHT:

Now, even more good news.  Cafe Bohemia is perking along beautifully — on November 21, I was there for a wonderful quartet session by Danny Tobias, Dan Block, Josh Dunn (new to me and a wonder), and Tal Ronen.  “Beyond the beyonds!” as a character in a Sean O’Faolain story says.  And on the 22nd, I heard and admired Ricky Alexander, Adam Moezinia, Daniel Duke, and Chris Gelb, with a glorious appearance by Dan Block for two numbers.  All night, every Monday, my dear young hero Matt “Fat Cat” Rivera, who knows things but is not compelled to flatten people with facts, spins wondrous 78 rpm discs of the real stuff, and he reappears before and after sets on Thursdays.  The HOT CLUB, you know.

And on December 5, our Mara will be celebrating her birthday at Cafe Bohemia, so if you weren’t there for the prequel, you can make up for it in the near future.

It will be a birthday party where Mara and friends give us presents, you know.

Here is the Cafe’s Facebook page, and here is their website.

May your happiness increase!