- “IT’S NOT EVERY DAY”: KENNY DAVERN, LARRY EANET, DAVID JERNIGAN, DICK PROCTOR (Manassas Jazz Festival, November 25, 1988)
- EXTREMELY NICE: HOMAGE TO COUNT BASIE, with SWEETS EDISON, JOE NEWMAN, CLARK TERRY, VIC DICKENSON, EARLE WARREN, ZOOT SIMS, BUDDY TATE, LOCKJAW DAVIS, ILLINOIS JACQUET, JOHNNY GUARNIERI, MARTY GROSZ, GEORGE DUVIVIER, RAY MOSCA, HELEN HUMES (Grande Parade du Jazz, July 22, 1975)
- TWO HOT DANCES and AN IMPROVISED MEDITATION: the HOLLAND-COOTS JAZZ QUINTET at the EVERGREEN JAZZ FESTIVAL: BRIAN HOLLAND, DANNY COOTS, STEVE PIKAL, JOHN OTTO, MARC CAPARONE (July 28-29, 2019)
- LEGENDS REVISITED: THE SONS OF BIX (Manassas Jazz Festival, December 1, 1978: Tom Pletcher, Don Ingle, John Harker, Don Gibson, Russ Whitman, Dave Miller, Glenn Koch) with an APPRECIATION by DAVID JELLEMA
- A FEW WORDS FOR “CLEVELAND JAZZ LEGEND,” PIANIST HANK KOHOUT (1923-2006)
- THE GERANIUMS UPON THE WINDOW SILLS (April 6, 1933)
- “HAPPY MEMORIES”: JON-ERIK KELLSO, BOB HAVENS, DAN BLOCK, JOHN SHERIDAN, TOM BOGARDUS, KERRY LEWIS, PETE SIERS (Jazz at Chautauqua, September 21, 2013)
- “I’M AS HAPPY AS A PUP”: A SONG AND PHOTOGRAPHS TO SUSTAIN US
- 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)
- SUNDAY NIGHTS AT 326 SPRING STREET (Part Four) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)
- WAKING UP WITH LIZA, or THREE MEN ON A TOBOGGAN: CARL SONNY LEYLAND, LAKSHMI RAMIREZ, JEFF HAMILTON (Jazz Bash by the Bay, March 6, 2020)
- “A POST-GRADUATE SEMINAR IN NEW ORLEANS CLARINET,” featuring RYAN CALLOWAY with CLINT BAKER’S NEW ORLEANS JAZZ BAND: RYAN CALLOWAY, CLINT BAKER, RILEY BAKER, JEFF HAMILTON, KATIE CAVERA, BILL REINHART, JESS KING, HAL SMITH (Jazz Bash by the Bay, Monterey, California, March 7, 2020)
- TRANSLUCENT SERENADES: “DUETS FOR NO REASON AT ALL IN C”– MICHAEL McQUAID and CURTIS VOLP (Bandcamp, 2020)
- “THE RICH PAGEANT OF HUMANITY,” or A FEW TUNES FROM THE JAZZ BASH BY THE BAY (Holland-Coots Jazz Quintet, Brian Holland, Danny Coots, Steve Pikal, Marc Caparone, Jacob Zimmerman, March 6, 2020)
- BENNY CARTER and FRIENDS // TEDDY WILSON — with KAI WINDING, VIC DICKENSON, RAY BRYANT, HANK JONES, SLAM STEWART, MILT HINTON, MEL LEWIS, J.C. HEARD (La Grande Parade du Jazz, July 7, 9, 10, 1977)
- “AT BREAK OF DAWN, THERE IS NO SUNRISE,” or THE JOY OF SORROW: ALBANIE FALLETTA, JOSH DUNN, SEAN CRONIN, KEVIN DORN, JON-ERIK KELLSO, EVAN ARNTZEN (Cafe Bohemia, New York City, March 12, 2020)
- GORDON AU PAYS TRIBUTE TO LOUIS ARMSTRONG and his ALL-STARS at LINDY FOCUS
- 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)
- JAZZ MIGHT NEED PROTECTION FROM THOSE WHO ANALYZE IT AND THOSE WHO SQUEEZE IT TOO TIGHTLY
- A MAGICAL SESSION IN JAM: JUNE 27, 1945
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Tag Archives: Danton Boller
OUT OF THE CRADLE, ENDLESSLY ROCKING: MATT MUNISTERI at CORNELIA STREET CAFE (MATT RAY, DANTON BOLLER, Oct. 3, 2013)
More evidence of what everyone should know: that guitarist / singer / composer / arranger Matt Munisteri is blazingly yet subtly inventive in many kinds of music, transforming everything he touches into something sharp and new yet always full of the deepest human spirit.
Here he is with bassist Danton Boller and pianist Matt Ray at the Cornelia Street Cafe in New York City on October 3, 2013.
Much of the music performed that night was composed by Willard Robison — someone who, like Matt, turns a satiric eye on our rush to delude ourselves while offering us comfort in his melodies and hope that happiness and enlightenment are possible.
But the show wasn’t an archivist’s self-indulgence immersion in “the old stuff,” reproduced exactly from aged discs and crumbling pages.
Matt is far too imaginative for that, so each of the Robison songs was like a jewel in a new setting: I knew the melodies, but thought, “Wow! I have really never heard that song before.”
The same was true for Nick Lucas’ PICKIN’ THE GUITAR, reminding us how brilliantly Matt plays that much-abused instrument. The Sammy Cahn-Saul Chaplin GET ACQUAINTED WITH YOURSELF (which we usually associate with Willie “the Lion” Smith and O’Neil Spencer) receives a sharp modernist edge thanks to the new lyrics from Rachelle Garniez and Matt.
Matt was beautifully and wittily accompanied by pianist Matt and bassist Danton. They swung and provided just-right commentaries and eloquent solos: this wasn’t three musicians together for the night behind their music stands, but a true band, a conversation among equals, rocking us towards deeper insights.
(WE’LL HAVE A NEW HOME) IN THE MORNING:
COUNTRY BOY BLUES:
GET ACQUAINTED WITH YOURSELF:
PICKIN’ THE GUITAR:
STILL RUNNIN’ ROUND IN THE WILDERNESS:
I HEARD A MOCKING BIRD SINGING IN CALIFORNIA:
‘T’AIN’T SO, HONEY, ‘T’AIN’T SO:
Walt Whitman would have approved: Matt’s spirit is expansive, fluid, encompassing us all.
May your happiness increase!
Very few artists are awarded the recognition they deserve. It isn’t a matter of dying penniless and tubercular in a garret, or freezing to death on the street. No, it’s usually more subtle: publicity, gigs, opportunities to create the art somewhere where people are listening.
I think one of the most worthy creators of music I know is guitarist / singer / arranger / composer / visionary Matt Munisteri. I have been following him with admiration and sometimes awe for the last seven years, and he always offers beautiful surprises. Sometimes it is a piece of obscure material (his range is both broad and deep); sometimes it’s familiar music brought back from the grave of familiarity. His guitar (and banjo) playing makes wise musicians nod their heads in delight; his singing is a wry but heartfelt joy. He reminds us just how much music there still is — in a time and place where we are used to hearing simply a dull thrumming coming from the next fellow’s earbuds.
I write all this to urge people in New York and environs to come to a rare and special gig — Matt’s first New York City show of 2013. It’s happening thus Thursday, October 3, at the Cornelia Street Cafe, 29 Cornelia Street, Manhattan, New York, from 8:30 to 10:30.
Matt will be appearing there with Danton Boller and Matt Ray — good fellows, loyal, faithful, and true. And I know that this trio will make memorable music. You can make reservations (the CSC is not a huge place, so expect it will sell out) only by phone: 212-989-9319. Here you can find out more information.
May your happiness increase!
I know that I am not the only person who has been waiting for the first CD to document Matt Munisteri’s heartfelt study of composer Willard Robison’s music. The disc is finally here — STILL RUNNIN’ ROUND IN THE WILDERNESS: THE LOST MUSIC OF WILLARD ROBISON, VOLUME ONE. To listen to tracks from this disc, please click here. But we now have an occasion where all the pieces come into delightful alignment: a CD release show at Joe’s Pub in New York City on July 10, 2012, beginning at 7:30 PM. Matt will be joined by Matt Ray, piano; Jon-Erik Kellso, trumpet; Danton Boller, bass; Mark McLean, drums.
I’ll have more to say about the CD itself — one of the most rewarding efforts I have on my shelves — but here’s Matt on Robison:
During the mid 1920′s Willard Robison was working as a pianist and arranger with many of the stars of the new jazz vanguard when he went into the studio and recorded a string of startling recordings which almost certainly made him the prototype for the American 20th century’s most abundant and everlasting artistic archetype: The singer/songwriter. Before the deluge – before there was Hoagy, or Johnny Mercer, or Randy Newman, or Mose Allison, or Brian Wilson, or Van Dyke Parks – Willard Robison wrote, orchestrated, conducted, and sang his own utterly unclassifiable music and lyrics in a series of pioneering and timeless recordings between 1924 and 1930. His songs told of odd rural loners, wild open landscapes, revival camp meetings, preachers, and the devil (always the devil) and employed a complex and surprising harmonic and melodic language which, while referencing the new jazz – along with classical, ragtime, blues, and even old time country music – emerged at once as a fully realized and completely original American voice.
Yet, in the years since 1930, and in the 42 years since Robison’s death, not one of these ground-breaking recordings has ever been re-issued after its initial release as a 78 record. Robison is virtually alone among seminal and much-recorded American musical innovators: the LP era passed him by; the CD era passed him by; the digital download era has thus-far passed him by. As Robison slipped deeper into alcoholism and an increasingly itinerant life the big companies who owned his music subsequently shelved these strange “unmarketable” works to the vaults, where they remain to this day. But this could soon change, and Matt Munisteri’s new CD “Still Runnin’ ‘Round in The Wilderness” may prove a catalyst for a long overdue interest in this timeless body of work.
Lauded for his fiery guitar chops, literate humor, and “pre-war heart” (The New Yorker), the likewise unclassifiable ace guitarist, singer, and songwriter, Matt Munisteri has spent over a decade hunting down, transcribing, and performing these lost masterworks, refracting them through his own individual prism of 20th century American music. In the process he has not only finally brought these tunes to light, but has imbued them with an organic and riveting beauty in which jazz improvisation, folk traditions, and popular song co-mingle.
Matt Munisteri has worked with many notables across the jazz and roots-music spectrum, including Mark O’Connor, Steven Bernstein, Loudon Wainwright, Jenny Scheinman, “Little” Jimmy Scott, Catherine Russell, and Geoff Muldaur. His 2003 release “Love Story” won the number two slot in Amazon’s Best Jazz CDs of The Year. Recognizing a rare kindred spirit, Munisteri became obsessed with Robison’s music around 2000, and the hunt for old 78s, worn tapes, acetates, and sheet music over the past decade has produced as many remarkable stories as the songs themselves tell. With a crew of top NYC musicians he has re-imagined Robison’s songs, culled from their original recordings, as a body of work rightfully freed from the trappings of era or idiom.
The music was recorded live over two days, with all the musicians in a 15X18 foot room, with no isolation by John Kilgore – this is truly “Live” live, with nowhere to hide, and the resultant interplay among these master improvisers is the listener’s gain. The musicians include: Matt Munisteri – guitar, vocals, banjo; Ben Perowsky – drums; Danton Boller – bass; Matt Ray – piano; Scott Robinson – C melody sax, clarinet; Jon-Erik Kellso – trumpet; Will Holshouser – accordion; Rachelle Garniez – guest vocals.
What Matt has done with and for Robison’s music is startlingly rewarding. It would have been one thing for him to consider his role as musical archivist only: find the obscure sheet music and 78s, and present them, either as cleaned-up copies of the original discs OR as reverent recreations in 2012 by musicians interpreting Robison as if he were Dvorak.
That in itself would have been a splendid project, because listeners like myself would have been able to hear Robison songs they didn’t know (in addition to the “famous” ones: A COTTAGE FOR SALE; T’AIN’T SO, HONEY, T’AIN’T SO; LITTLE HIGH CHAIRMAN). But Matt knows that archival reverence has its limitations, so both the CD and his live performances have successfully gotten at the heart of Robison’s music creatively. Another artist’s deference to “the material” might have made it seem distant — museum pieces behind glass. Munisteri’s Robison, imbued with the force of two strong personalities, comes into the room and demands our attention. Now.
I know that “re-imagining” makes some listeners nervous: will the original music that they know be stretched out of shape by artists eager to impose their own personalities on it? Will SUNSET CAFE STOMP reappear to a samba beat with sampling?
Matt’s imagination is deep but nothing of the sort has happened here. What he has done is to present Robison’s music through his own lens — wry, soulful, amused, sad — presenting it by singing and playing, alone and with congenial musicians. The result is a new window into a series of intriguing worlds, where ethical truths are offered with sly wit, where deep feelings have sharp edges. The CD is masterful and repeated playings have only shown me its expanding vistas. And I’ve learned so much about Robison from Matt’s incisive writing in the notes.
I propose that anyone who can go to the show and buy the CD: both will be rewarding experiences. And if we send out the right sympathetic vibrations, perhaps Volume Two will follow soon.
May your happiness increase.
“WE ALL NEED GOOD MUSIC / TO STRAIGHTEN UP THE SOUL”: MATT MUNISTERI – WILLARD ROBISON (Barbes, Dec. 15, 2011)
Those lines come from Willard Robison’s THE DEVIL IS AFRAID OF MUSIC, and the sum up the experience I — and a receptive audience — had last night at Barbes in Brooklyn, New York. Matt Munisteri sang and played both electric and acoustic guitars, aided by Danton Boller on string bass and Ben Perowsky on drums — with a late cameo appearance (two songs) by guitarist Julian Lage.
It was a lovely evening, and Matt both performed and reimagined a dozen of Robison’s songs perfectly — his singing a mix of tenderness and amusement, his playing a marvelous offering of textures: twangy notes and assertive dissonances, a rhythmic rocking whether the trio was in 2/4 or 4/4 — ranging from thunderous opening chords to lullabies. Danton Boller was a swinging foundation, every note a pleasure in itself, whether he was creating chiming harmonies or walking the pulse. And Perowsky was a perfect sound-receptor in the manner of Sonny Greer: what he heard, he echoed, he anticipated, he commented on — never losing the thread of the music.
I can’t wait for the Munisteri CD of Robisonia!
Last night, Matt began with one of Robison’s “syncopated sermons,” STILL RUNNIN’ ROUND IN THE WILDERNESS, which opened with minor-key vamping over Ben’s brushwork, then segued into a sweet but emphatic lesson about finding one’s life purpose by being aware of other people (always a pertinent message).
I’LL HAVE THE BLUES UNTIL I GET TO CALIFORNIA was a delicious mixture of optimism about the Golden State and a lover’s hope to be reunited.
Robison loved to quietly suggest to his listeners that they could find joy in being kinder human beings, but he had a satiric streak — one of his sly, naughty folktales is REVOLVING JONES (where one must listen very carefully to the verse to understand the chorus): Jones, before he dies, instructs his wife not to take a lover after he’s gone, or else he’ll turn over in his grave . . . and you can see where the song is headed. With a wink, Matt delivered the tale of infidelities to his Brooklyn hearers.
Another piece of sweet Nature-worship was I HEARD A MOCKINGBIRD SINGING IN CALIFORNIA . . . which (not for the first time) led me to wonder just how much of the folk-poetry Hoagy Carmichael and Johnny Mercer are justly celebrated for comes straight from Robison. MOONLIGHT, MISSISSIPPI had a couplet that Mercer would have been proud to write — describing the languorous cadences of speech in this “whistle-stop town,” the lyrics point out, “Like corn on the cob, it’s mighty sweet on the ear.”
Appeals for building funds never charmed me, but WE’LL HAVE A NEW HOME IN THE MORNING (anticipating Habitat for Humanity) was a rocking exhortation: we were ready to pick up hammer and nails and begin constructing something!
TRUTHFUL PARSON BROWN, the tale of a syncopating man of the cloth who swings the organ while telling his congregation what they need to know, “You’ll never get ahead if you try to keep your brother down,” was uplifting — and also reminiscent of music I’d never heard: Fats Waller said that his dream was to go out with a big band behind him and preach sermons. He would have grinned so happily at the music I heard last night.
Many evenings of improvised music hit a peak and then trail off: this one climbed and soared. Matt picked up his acoustic guitar for a solo trilogy (and I noted that Danton and Ben stayed there and listened admiringly) of three sweet songs I associate with Mildred Bailey: an instrumental chorus of OLD FOLKS, a deeply tender GUESS I’LL GO BACK HOME THIS SUMMER, and (what I think of as the evening’s masterpiece) a reading of LITTLE HIGH CHAIRMAN that was loving without being mawkish, amused without being in the least emotionally distant.
COUNTRY BOY BLUES was one of Robison’s satires — where the singer has been taken advantage of by an urban vamp, having let “a shoemaker’s daughter make a heel of me.”
Matt and Julian Lage had a good time with the closing songs — echoes of a Mississippi revival meeting in THE DEVIL IS AFRAID OF MUSIC and a reinvented T’AIN’T SO, HONEY, ‘T’AIN’T SO which began in funk territory before moving into the light.
It was a wonderful evening, with so much to admire in Robison: his earnestness and goodness of heart mixed with a Frishbergian sharpness and awareness of life’s little hypocrisies. And then there was Mr. Munisteri, humming along with his solos, rocking the blues, creating sweet music throughout. And he is a peerless singer, sincere or sly or both at the same time.
As I said, I can’t wait for the CD. You might want to investigate Matt’s recorded output while you’re waiting, though . . . !
May I recommend something to the tristate JAZZ LIVES audience? It’s an evening of music coming this Thursday, Dec. 15, 2011, beginning at 8 PM. Guitarist / singer / songwirter / thinker Matt Munisteri will be presenting THE LOST MUSIC OF WILLARD ROBISON along with friends Matt Ray on piano and Danton Boller on bass. Barbes is an intriguing spot in Brooklyn, New York: their site is Barbes — and they are located at 376 Ninth Street (corner of Sixth Avenue) in Park Slope; their phone is 347.422.0248. Barbes is — for the geographically anxious — reachable by the F train, which should calm us all.
Matt Munisteri is well-known as a fine guitarist to JAZZ LIVES — creating looping down-home solos and playing rocking rhythms — and as co-founder of The EarRegulars. But Matt rarely sings at The Ear Inn, so the evening at Barbes will allow us to hear him: a mixture of earnest and sly, heartfelt and ironic. Matt Ray creates note clusters that seem like small stars; Danton Boller is a great swing melodist. This trio would be worth the trip to Park Slope on their own collective / individual merits and voices, but since the subject (and the musical text) is Willard Robison, it will be an extra-special evening.
If people know of Robison at all, it is for his jazz connections — with Bix, Jack Teagarden, Eddie Lang, and other luminaries in the Twenties. Later on, his songs were sung in the most touching way by Mildred Bailey. A few became unforgettable pieces of the musical landscape: OLD FOLKS, A COTTAGE FOR SALE, and DON’T SMOKE IN BED. Robison was so popular that he made many recordings as a vocalist, pianist, bandleader, and composer; he had his own radio show.
But I fear that he has been misunderstood as a folksy poet of rural pieties — go to church, keep your hand on the plow, tell the truth. He did have strong moral beliefs and he did weave them into his songs, but I never find a bar of Robison’s music didactic or preachy.
And there is a sharp wit under the surface; his melodic lines often go in unexpected directions, and his “folksiness” is very expertly crafted. And he is very deep: listen to ‘ROUND MY OLD DESERTED FARM for one example.
Although Robison died in 1968, he has found someone who not only loves but understands him in Matt Munisteri — a romantic with a sharp eye for the absurdities of the world, a city boy who knows what it is to burn wood in a stove for heat. And even better: this appearance at Barbes is a preview, a coming-to-a-theatre-near-you for Matt’s CD devoted to Robison that will be released next year.
Skip the office party; don’t go to the department store. I’ll see you at Barbes!
A JOURNEY THROUGH “HINDUSTAN”: JON-ERIK KELLSO, DAN BLOCK, BOB HAVENS, JAMES DAPOGNY, FRANK TATE, PETE SIERS (JAZZ AT CHAUTAUQUA 2011)
In the name of geographers everywhere, here’s an 1835 map showing Hindustan:
But enough of that. What we’re concerned with today is an amazing extended hot performance of this song at Jazz at Chautauqua (Sept. 16, 2011) by a group led by trumpeter Jon-Erik Kellso, with Bob Havens (trombone); Dan Block (clarinet); James Dapogny (piano); Frank Tate (string bass); Pete Siers (drums).
Because the song has very simple harmonies — “chord changes” — and perhaps for the sake of variety, Jon-Erik had made HINDUSTAN into a key-changing exercise in swing on the superb CD, BLUE ROOF BLUES, that he created in 2006 with Matt Munisteri, Evan Christopher, and Danton Boller. There’s something about key changes that’s inherently dramatic: the audience might not know that the band was in C for the first chorus and Eb for the second, but we feel it — even when (as is the case here) the band and the soloists keep shifting from one key to another . . . it seems exciting rather than mechanical.
This band is special to me because of its wonderfully paradoxical nature: they make it look easy, but you know their playing is the result of decades of study; it looks like great fun, but it’s very hard work (let the critics pick up a trumpet and try it sometime); they get hot but stay cool. My heroes!
Now, if you’ll excuse me, I’ve got to go check on my desert caravan. The last time I unwittingly left it in a NO PARKING zone on the Upper West Side, I got a $65 ticket.
I’ve been playing the music of Willard Robison often these past few weeks: the songs as performed by Mildred Bailey, Jack Teagarden, Ben Webster, and Ruby Braff. He was an extraordinary American composer, creating melodies that sound so simple but aren’t (they lodge in your memory on one hearing) and lyric poems that celebrate goodness, steadfast vision, love of the country — without ever being preachy. If Robison’s name isn’t familiar, OLD FOLKS is, as is A COTTAGE FOR SALE, DON’T SMOKE IN BED, ‘ROUND MY OLD DESERTED FARM, and GUESS I’LL GO BACK HOME THIS SUMMER.
Robison’s greatest exponent today is the most admirable singer, guitarist, and scholar Matt Munisteri. And if you know Matt only as a rocking player — co-founder of The EarRegulars — you have wonderful surprises in store, for he is also a fine composer himself who understands the depth of other people’s music.
Here he is performing a Robison song that deserves to be better known — TRUTHFUL PARSON BROWN:
Deep feeling but never heavy-handed or didactic.
Matt has put together a Robison program and will be performing it this month: it’s something special! Here are the details:
I know Matt as someone who doesn’t approach music casually or half-heartedly, and the combination of Munisteri and Robison is going to be special — and there will be guest appearances by Scott Robinson and others.
Not to be missed!
WHAT WOULD TRUTHFUL PARSON BROWN DO? HE’D CLICK HERE FOR THE MUSICIANS!
It was in the eighties outside last Sunday — but the unsually high temperature isn’t the subject of this post. I’m sure that the warmth in the West Village was emanating from inside The Ear Inn (326 Spring Street) where fervent jazz was once again being played.
This edition of The Ear Regulars had co-founders Jon-Erik Kellso and Matt Munisteri, joined by tenor saxophonist Andy Farber and bassist Danton Boller. Jon-Erik was stuck in traffic (coming straight from gigging in his home state, Michigan) so the trio began the festivities with a medium-tempo exploration of THE MAN I LOVE. Andy’s sound is big, reminiscent of Ben Webster and Coleman Hawkins, but he is an individualist, approaching his horn with a mix of seriousness and delicacy. Danton is a serious storyteller: his swinging pulse was steady and buoyant; his solos rang and climbed. And Matt, as always, is a whole orchestra in himself:
Late in the first set, Jon-Erik proposed a favorite Ear Regulars gambit — take a “Dixieland” tune and see what would result. In this, he has heroic antecedents. SOMEBODY STOLE MY GAL was memorably done by Fats Waller and Count Basie (to say nothing of Bix Beiderbecke) and it lends itself to this band’s relaxed yet energetic approach:
To close the set, Jon-Erik suggested BEALE STREET BLUES, which lends itself to an easy, rocking motion. He delights in a variety of mutes (often using the rubber plunger) but took a new tack — using his empty beer glass to create hallooing sounds worthy of Joe Oliver. In his honor, I have retitled W.C. Handy’s composition BEER STREET BLUES, in two parts:
The final delectable swallow:
Warm enough for you?
Although occasionally jazz clubs are uncomfortable — hard seats, noisy patrons, people jammed in — they provide an immediacy of experience that is unmatched by even the finest compact disc or video clip. But you would need to live in or near an urban center (in my case New York City), have an independent income, be able to be in two or three places at once, and have a strong immune system to experience even one-fourth of what is happening any evening (and some afternoons). And you’d have to be nocturnal — with the opportunity to sleep during the day, as many musicians do.
In the belief, perhaps, that if you offer something for free, people who love it will then follow it to its source, the people who run Smalls Jazz Club (on West Tenth Street) have been offering live video and “archived” audio of jazz performances at http://www.smallsjazzclub.com/index.cfm?itemCategory=32321&siteid=272&priorId=0&banner=a.
What does that mean? As far as I can tell, you could sit in front of your computer, click on the address above, and get to see and hear — in real time — what the musicians are playing at Smalls. True, the video is somewhat limited in its visual range; the image is small. And it can’t be recorded for playing at a later date.
But it’s vividly there, and for free.
And the other half of the birthday-present-you-didn’t-know-about is that the site is also offering audio of past performances (by those musicians who don’t object to having their work distributed in this fashion). I didn’t check everyone’s name, but I saw dates were available featuring Dan Block, Ehud Asherie, Jon-Erik Kellso, Randy Sandke, Terry Waldo, Orange Kellin, Joel Frahm, Ari Roland, Stepko Gut, Matt Musselman, Will Anderson, Dmitry Baevsky, Lee Konitz, Teddy Charles, Jesse Gelber, Charlie Caranicas, Kate Manning, Kevin Dorn, Danton Boller, Joel Forbes, Lee Hudson, Rob Garcia, Howard Alden, Neal Miner, James Chirillo, Chris Flory, Eddy Davis, Conal Fowkes, Scott Robinson, Steve Ash, John Bunch, Jay Leonhart, Dick Hyman, Ethan Iverson, Olivier Lancelot, Sacha Perry, Rossano Sportiello, Mark Lopeman, Michael Blake, Harry Allen, Andy Farber, Tad Shull, Grant Stewart . . . and these are only some of the names on the list I know. So many pleasant hours of listening await you! And everyone hopes that you will someday go to West Tenth Street and climb down the narrow stairway to Smalls.
I spent a few glorious hours last night (Sunday, May 24) at the Ear Inn — absorbing the sounds in two long sets by New Orleanian Evan Christopher (clarinet), Scott Robinson (trumpet, C-melody saxophone, and tenora), Matt Munisteri (guitar), and Danton Boller (bass) — the EarRegulars minus co-leader Jon-Erik Kellso, who was working his plunger mute at the Breda Jazz Festival in the Netherlands.
Candor compels me to say when I walked into the Ear, I found it noisy and crowded — as expected on the Sunday of a four-day weekend. Finding no place to sit at first, I even entertained the cowardly thought of turning tail and heading back uptown. But when I saw friendly faces — Jim and Grace Balantic, whose amiable presence I’ve missed for some time, Doug Pomeroy, jazz acupuncturist Marcia Salter, Conal and Vlatka Fowkes — I calmed myself and prepared to stay.
However, throughout the evening I kept noting the newest weird phenomena: photographers who have not yet figured out how to shoot without flash, thus exploding bursts of light a foot from the musicians. Even more odd, I counted many young male faux-hipsters who now sport hats with tiny brims, rendering their skulls unnaturally huge. Will no one tell them? In my day, being Cool didn’t automatically mean looking Goofy. But I digress.
The Ear Inn, incidentally, never turns into a monastic sanctuary — commerce, food, and drink are part of the cheerful drama of the evening . . . so one of the two hard-working waitresses was forever imploring the bartender (not Victor, alas for us), I need two Boddingtons, one Stella, two vodkas, one grapefruit tequila with salt!” In earnest near-shouts.
A word about the musicians. Evan is one of the finest clarinet players I will ever hear: his command of that recalcitrant instrument from chalumeau to Davern-like high notes is astonishing, and he has a fat woody New Orleans tone, rapturous in the lower register, moving to an Ed Hall ferocity when he presses the octave key. He is a fierce player in intensity and sometimes in volume, but he can murmur tenderly when he cares to. And, although he is fluent — ripping through many-noted phrases — he doesn’t doodle or noodle aimlessly, as so many clarinetists do, filling up every space with superfluous rococco whimsies.
Scott Robinson, wearing his OUTER SPACE shirt, made by his multi-talented wife, Sharon, was in fine form: doubling trumpet and C-melody saxophone in the space of a performance, playing three choruses on the trumpet and then — without pause — going straight to the saxophone, magically. Few payers (Benny Carter, Tom Baker, Smon Stribling) have managed to double brass and reeds; none of them have made it seem as effortless as Scott does. And the tenora . . . a truly obscure Catalonian double-reed instrument that he had brought to the Ear on May 10 — which has an oboe’s insistent tone and timbre — is gradually becoming a Robinson friend.
Matt Munisteri was in fine form, even though the Ear gig was the second or third of the day (a concert for the Sidney Bechet Society in the early afternoon, then a 1:30 jam session with Evan in honor of Frankie Manning); he burned throughout the performance, with his humming-along-to-his-solos particularly endearing.
Young Danton Boller, quiet and unassuming, seemed to play his string bass without amplification, but swung heroically, reminding me at points of Milt Hinton or George Duvivier — his melodies ringing, his time flawless, his spaces just right. One could transcribe a Boller solo for horns and it would be mightily compelling. He is someone to watch, if you haven’t caught him yet — on CD, he is a delightful presence on the Kellso-Christopher-Munisteri CD, BLUE ROOF BLUES (Arbors).
The band began with a nearly slow AT SUNDOWN (perhaps in honor of the still light-blue evening sky?) which did that pretty tune honor, and then, perhaps in honor of togetherness to come, romped — and I don’t use that word lightly — through TOGETHER (“We strolled the lane to-geth-er,” etc.) in suggesting a modern version of Jimmie Noone’s Apex Club Orchestra, with Scott riffing behind Evan, the two horns creating a rocking counterpoint. A blistering THEM THERE EYES followed, with Evan and Scott swapping the lead in their opening choruses (this quartet showed it knew the value of old-time ensemble playing, something that some musicians have unwisely jettisoned in favor of long solo passages). Evan, who has a comedic touch, then discussed the business of making requests of the band. He laid out three conditions: the band had to know the song; the band had to be interested in playing the song; the band would be most knowledgeable and willing to play the request if some financial support was forthcoming. A man sitting at the bar asked for the very unusual Bing Crosby JUNE IN JANUARY (1934) which Evan taught the band in a matter of moments, and the band learned it in performance, with its final choruses recalling the glories of Soprano Summit in years gone by.
At the end, Evan said, “That was a SPECIAL request!” — and some member of the quartet, primed to do so, asked, “Why was it SPECIAL, Evan?” to which he said, full-throttle, “Because it was PAID FOR!” Making himself clear, you understand.
SUNNY SIDE OF THE STREET followed, beginning with hints of Johnny Hodges, then moving into Louis-territory, with Evan and Scott using the Master’s passionate phrasing and high notes in their solos. And something unexpected had taken place: perhaps because this jazz oasis is called the Ear, the noisy audience had gradually changed into a room (mostly) full of listeners, who had caught the group’s drift. Of course, there were still people who talked through each song and then clapped enthusiastically at the end because everyone around them was doing so — but I could sense more people were paying attention, always a reassuring spectacle. And the set ended with a joyous JUNE NIGHT — with laugh-out-loud trades between the two horns, and a jovial unbuttoned vocal by Evan (a little Fats, a little Louis Prima) which surprised everyone. Then the musicians retired to the back room to eat some well-deserved food.
Emboldened by the idea of JUNE IN JANUARY, before the second set started, I approached Evan with an appropriate portion of currency unsubtly displayed, and asked him, “Excuse me, Evan, would that buy me some SWEETHEARTS ON PARADE?” Evan took in the bill, said, “SWEAT-HOGS ON PARADE? OK?!” And that’s how the set began, the band rounding the corners in wonderful style, Scott even beginning his trumpet solo with a nod to LOVE IN BLOOM, Matt playing a chorus of ringing chords, the band inventing one riff after another to close. Scott, brave fellow that he is, took up the tenora for a feature on THE NEARNESS OF YOU — which had plaintive urgency as you could hear him getting more comfortable with his new horn. (At the end of the night, when I talked with him about the tenora, he said, “I know it has a pretty sound, but I haven’t quite found it yet.” He will, I know.)
HINDUSTAN was a highlight of the BLUE ROOF BLUES CD, with the nifty idea of shifting from the key of C to the key of Eb for alternating choruses, something I’ve never heard another band do, raising the temperature considerably; this performance ended with a serious of ecstatic, hilarious, and knowing phrase-tradings, with quotes from I’M BEGINNING TO SEE THE LIGHT, PAGILACCI, leading up to an urgent, pushing counterpoint, mixing long melodic lines with fervent improvisations, savoring the many textures of the quartet. A waltz-time NEW ORLEANS cooled things down, beginning with a duet for clarinet and guitar that sounded like back-porch music for a warm night. A riotous THERE’LL BE SOME CHANGES MADE took us back to Noone, to Soprano Summit, with Scott’s rocking solo pleasing Evan so much that he was clapping along with it. Finally, a down-home MAKE ME A PALLET ON THE FLOOR mixed operatic fervor and hymnlike unison playing, ending with the band getting softer and softer, as if they were walking slowly into the distance.
It was lovely music, fulfilling and fulfilled, and it has filled my thoughts a day later. You should have been there!
The wizard guitarist (plectrist, rather) Matt Munisteri has a ferocious beat, is a cornucopia of new melodies, and is a demonic wit — in addition. Here’s his latest gig-posting, worth reading even if you are going to be miles away on the dates he indicates here. And if you can come to one or all of these gigs, so much the better . . . .
Peoples. There are musical rewards aplenty for folks who hang in town this coming Memorial Day weekend.
Thursday May 21st 10pm Barbes
For my first “Third Thursday” gig in two months, I’ll joined by Jon Dryden on piano and Tim Luntzel on bass. One very small part of Jon’s load of genius involves his rather incendiary (to me, to me at least) Floyd Cramer touch on 3-chord chestnuts, so I’m busy scheming.
Friday May 22nd 9pm Jalopy $12
SMECK! A Celebration of String Wizardry
Roy Smeck, “The Wizard of The Strings”, was a 1920’s and 30’s multi-string virtuoso and a vaudeville star, and I’ve recruited two of the most powerful string wizards I know, Doug Wamble and Charlie Burnham, to join me in conjuring the spirits of wizards past and future. All three have us have played with Steven Bernstein’s Millennial Territory Orchestra, but I believe this will mark the first time we’ve ever trio-ed. The evening will begin with Alan Edelstein’s great ’86 Academy Award nominated film “Wizard of the Strings” – with an in person introduction by the auteur – followed by a selection of ultra-rare short films of various by-gone string virtuosi, curated by the mad archivist Russell Scholl. Then we’ll all take a deep breath (of something) and see just how much voodoo Doug, Charlie, and myself can summon with a heap of guitars, banjos and mandolins. And the blood of one dead chicken.
Sunday May 24th 8-11 The Ear Inn – Spring St, off Washington
Our leader and savior Jon Kellso will be absent this Sunday, but we’ll be blessed with a visitation of two of the baddest sorcerers-of-the-reeds, Evan Christopher, of New Orleans LA, and Scott Robinson, of Teaneck NJ. Also on hand will be Danton Boller, of Malcolm X Blvd., on bass. Be afraid. And get there early, to plant your booty firmly in a seat – there exists the distinct likelihood that such a lineup will, ahem, “turn this mother out”.
Later that same night, at 1am, (!), Evan, Danton, and I will be playing for a grand celebration in honor of what, up until April 27th 2009, would have been Frankie Manning’s 95th birthday. Actually, earlier that same day we’re playing a private event for the Sidney Bechet Society, but don’t worry; we’ll Man Up. Monday, I rest.
And, of course there’s always a “Law and Order” re-run on somewhere if you’d rather stay home. Yes, I’ve seen to that too. I seek only to keep you entertained.