DICK AND DAVE DUET (September 1982)

“How many angels can dance on the head of a pin?” is too difficult a question and even for celestial beings, perhaps a little cramped. “How much joy can two superb improvisers pack into ten minutes?” is an easier question since we have the tangible evidence.

This delightful interlude — THE CRAVE / GRANDPA’S SPELLS / IF DREAMS COME TRUE — two by Jelly Roll Morton, and a classic stride test piece by Edgar Sampson that works beautifully on its own (think of Billie’s version) were performed in concert (thanks to Dick Gibson) at the Paramount Theatre in Colorado, sometime between September 4-6, 1982. Dick Hyman, Dave Frishberg, pianos, if you were guessing:

Everyone who’s immersed in this music bows to Dick Hyman, part Eminence, part Keyboard Gazelle. For spirited inventiveness, only Art Tatum has surpassed him. But because Dave Frishberg was rarely in the foreground as a solo pianist, especially after his success as a sardonic-whimsical singer-songwriter, he’s been underestimated for too long. But he was a peerless soloist and accompanist, with this own mixture of Duke-Rowles-Basie, which once heard is unforgettable.

Here, he is shoulder-to-shoulder with Hyman, musically and fraternally. These ten minutes are expert and exact, but they are also joyous play — a too-brief interlude. But now you can share the grinning as well, and return at leisure.

May your happiness increase!

“JAZZ IN THE GARDEN”: PEE WEE RUSSELL, BOBBY HACKETT, DAVE FRISHBERG, GEORGE TUCKER, OLIVER JACKSON (Museum of Modern Art, July 22, 1965)

Many words follow, which one could skip in favor of the music, but this was and is an event of some significance. Here’s the press release.

The Museum of Modern Art
Saturday, July 17, 1965
Pee Wee Russell will lead an all-star quintet Including cornetist Bobby Hackett in the Garden at The Museum of Modern Art on Thursday, July 22, at 8:30 p.m. The legendary clarinetist will also be joined by Dave Frlshberg, piano, George Tucker, bass, and Oliver Jackson, drums. The group plays the sixth In a series of ten Thursday evening promenade concerts sponsored jointly by the Museum and Down Beat Magazine.
The regular Museum admission, $1.00, admits visitors to galleries, open Thursdays until 10 p.m. Tickets for Jazz in the Garden are an additional 50 cents.
A few chairs are available on the garden terraces, but most of the audience stands or sits on the ground. Cushions may be rented for 25 cents. Sandwiches and soft drinks are available to concert-goers in the Garden Restaurant. Dinner Is served to the public in the Penthouse Restaurant from 6 to 8. In case of rain, the concert will be canceled; tickets will be honored at the concert following.
Once dubbed “the Gertrude Stein of jazz” because of his highly individualistic approach to his instrument, Russell, with a style ranging from poetic to satiric, has never become dated. Though frequently associated with jazz of a Dixieland flavor, in 1963 he surprised the jazz world by recording with a pianoless quartet, playing a modern repertoire with pieces by Thelonious Monk and John Coltrane. In 1965 he was teamed with Monk and his quartet at the Newport Festival.
Born in 1906 in St. Louis, Russell was a close associate of such pioneer jazzmen of the 20s as Bix Beiderbecke, Leon Rappolo and Frank Trumbauer. He played in Chicago with the founders of Chicago Style Jazz. In 1927 he came to New York where he worked and recorded with Red Nichols, Benny Goodman, Ben Pollack, Jack Teagarden and other leading players of the day. He was among the first to bring jazz to New York’s famed 52nd Street, working at the Onyx Club with trumpeter Louis Prima, whose big band he later joined. After working briefly with Bobby Hackett’s big band in 1938, he began a long association with guitarist Eddie Condon, sparkplug of small-group traditional jazz, and was for years a fixture at Nick’s and Eddie Condon’s in Greenwich Village. Russell won first place on clarinet in the Down Beat International Critic’s Poll in I964 and I965.
Russell’s Museum concert will be videotaped by NBC-TV for broadcast later this summer as part of the Kaleidoscope series.
For Jazz in the Garden. Dan Morgenstern, New York editor of Down Beat, is Chairman of a Program Committee consisting of David Himmelsteln, editor of FM Magazine, Charles Graham, a sound systems specialist, and Herbert Bronstein, Series Director.
The series will continue July 29 with the Roy Eldridge Quintet featuring Richie Kamuca.

My friend and benefactor John L. Fell sent me, as part of an early cassette, the music from the NBC “Kaleidoscope” broadcast of September 4, 1965, hosted by Nat Hentoff: ‘DEED I DO, featuring Russell and Hackett; THE MAN WITH THE HORN, an unusual Hackett feature (the only recording of it by him that has been documented), and I’M IN THE MARKET FOR YOU, a Russell feature with Hackett joining in.

The remarkable bio-discography by Bert Whyatt and George Hulme, BOBBY HACKETT: HIS LIFE IN MUSIC, notes that eleven songs were played at this concert. Whitney Balliett reviewed it in THE NEW YORKER as well. It is too late to wonder, “Where is the rest of the video-recording?” because networks erased videotape for economy, but I would love to know if anyone ever had a complete recording of the concert. (And, while the researchers are at it, the Eldridge-Kamuca quintet and another concert, the front line Buster Bailey, Joe Thomas, and Vic Dickenson. Do I dream in vain? And I think: I was alive and reasonably sentient in 1965, and my parents had a television set. Was KALEIDOSCOPE under-advertised so that it escaped my notice, I, who read TV GUIDE avidly?)

Here’s what I have, noble and lively: the interplay between Bobby and Pee Wee, friends for almost thirty years in 1965; the wonderful terse support of Frishberg . . . and, as a side-note, the way Pee Wee says, wordlessly, “That tempo is much too fast for what I have in mind,” at the start of MARKET, and how Frishberg listens — some would have simply kept on obliviously.

Dan Morgenstern, intimately involved in this series, recalled asking Pee Wee to lead a group, Pee Wee said yes instantly and when I asked who he wanted he said, in less than two seconds, ‘Bobby,’ and we instantly agreed on Dave whom he had encountered, while the great, alas short-lived Tucker and Ollie were our choices, Pee Wee wanted Black musicians in there. He also said he did not want Condonites—not for strictly musical reasons but for a much desired environmental change.

And from Dan’s column in JERSEY JAZZ . . . . beginning with praise of the wonderful pianist Dave Frishberg . . .

Sometimes things happen in a strangely appropriate but unexpected way. When we lost Dave Frishberg recently I didn’t have to read the obits to learn that his well earned success as a songwriter sadly overshadowed, maybe even hid from view, his great gifts as a pianist. When I caught him live he’d give us a wee taste of his keyboard skills, almost like a teaser. I wanted to complain to his attorney Bernie and ask Dear Bix to pull his coat for some keyboard Quality Time but had to settle for some peeled grapes. Then I was gassed when I got a CD of a concert featuring Al and Zoot, with Dave at the piano, but the asinine producer had edited out all of his solos—something my colleague in the Crow’s Nest told me Dave was angry about, so he still did care about the keyboard….
A bit later, Dave called to tell me about a local tenor player he thought highly of and said he’d send me a sample. I was of course interested but primarily happy that I’d get to hear some of that piano! Well, guess what? There was plenty of a nice enough sax man but far too little piano, alas….
Then, just a few days ago as I write, my good friend Michael Steinman, who
is a great finder of buried treasure, sent me something that not only was of
special musical but also special personal value: an excerpt from a concert in
the “Jazz in the Garden” series at New York’s Museum of Modern Art,
co-produced by yours truly, in this instance from July 22, 1965. (The summer series ran for several years, successfully, until MOMA, modern to the core, decided that jazz was no longer in the moment and suggested we blend it with what was then considered hip, if not quite hop, to which we (Ira Gitler, David Himmelstein, Don Schlitten and I) said no thanks. (They hired a musician whose name escapes me; after a few performances, the concerts ceased due to noise complaints from neighboring tenants—who during the jazz regime had invited guests to join them in enjoyment, for free, of the sounds emanating from the Garden. Sic transit non gloria mundi, needless to say to our considerable schadenfreude!)
But I digress, the concert in question featured the inimitable Pee Wee Russell in the too rare role as leader of a band of his own choice—Bobby Hackett, bassist George Tucker, drummer Oliver Jackson and—you guessed it—Dave Frishberg. It was, uniquely, televised by NBC in an arts series, but when we asked for a copy we were told it had been wiped. However, audio fragments survived—one tune eventually appeared on a Xanadu LP, but that, we thought, was all. However, two more had been captured, and all three have now been heard by me more than half a century later. The band was great, Pee Wee was happy which made me happy, and there is great work by Dave. As I said—things happen. Ah, sweet mystery of life!

Some lament the loss of the Library of Alexandria; I lament that we cannot hear (and see!) the other eight selections this lovely band performed. What wonders they created.

May your happiness increase!

AT THE CORNER OF SPRING AND HUDSON, MAGIC TOOK PLACE (AL COHN, ZOOT SIMS, DAVE FRISHBERG, MAJOR HOLLEY, MOUSEY ALEXANDER, JIMMY RUSHING at The Half Note, July 23, 1965)

This music is especially poignant — joyous and sad in equal measure — because we lost Dave Frishberg yesterday, November 17, at 88. His last years were not easy, but he had given us so much — memorable compositions both sardonic and tender, sung in his distinctively whimsical voice. But while the obituaries remember him for I’M HIP and MY ATTORNEY BERNIE, I remember him as a peerless jazz improviser, a wonderful soloist and inspiring ensemble player. Jimmie Rowles was his model (a summit he would be the first to tell you he’d never reached) but he clearly loved Ellington and Basie and their delightful waywardnesses. I encountered him in person twice, and our one brief conversation showed him to be very modest to the point of shyness, a very endearing personality written in lower-case cursive. There won’t be another like him, and it will take a long time before we stop missing him.

Al Cohn and Zoot Sims in the UK: photograph by David Redfern.

I didn’t get to The Half Note until some six years after this recording, so I missed a great deal, but I remember it as a welcoming place. The friendly Canterino family, the Italian food, the splendid music. Here’s a brief sample — a radio broadcast, no less, with the master of ceremonies Alan Grant, featuring Zoot and Al, tenor saxophones; Dave Frishberg, piano; Major Holley, string bass; Mousey Alexander, drums; Jimmy Rushing, vocal.

It’s a slightly dim copy, but the music bursts right through the tape hiss: HALEY’S COMET / EXPENSE ACCOUNT / [Art Farmer announced] I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME (vocal JR):

Cities never stay the same, so in the sorrowful name of SIC TRANSIT GLORIA MUNDI, when I’ve walked to The Ear Inn at 326 Spring Street, I pass by the corner where The Half Note once flourished: it’s a deli now. But they can’t take our memories away from us.

And a postscript: my friend Mal Sharpe, also no longer tangibly with us, told me he wanted to have a bumper sticker that read HONK IF YOU MISS JIMMY RUSHING. I loved the idea, but told him I would be wary, because I’d never know the clear intent of someone honking at me. But we miss them all so deeply.

May your happiness increase!

REMEMBERING KENNY (Part Two): Words BY MIKE KAROUB, HOWARD KADISON, JAMES CHIRILLO, KEVIN DORN, DAN BLOCK. Music by KENNY DAVERN, JOHNNY WINDHURST, CUTTY CUTSHALL, DAVE FRISHBERG, JACK SIX, CLIFF LEEMAN (1961)

 

HOWARD KADISON:  Sunday nights, I’d sometimes go with Davern to Ratner’s Dairy Restaurant on Second
Avenue. The waiters were noted for their abrasiveness and truculence. Kenny would
bait them: “How are the blintzes?” “They’re always good.” “I didn’t ask about always, I
asked about NOW!” And so it would go, ending in a generous tip.

DAN BLOCK:  Kenny had a mind like an encyclopedia. His knowledge not only of jazz, but archival classical recordings was amazing. My last memory was hanging out with him in New Orleans after he played in a bookstore with Bob Wilber. He held court with three or four of us for about an hour and a half. It was unforgettable.

KEVIN DORN: Something he said to me, sitting at the bar of the Cornerstone: “It’s one thing to come up with your own sound in a style that’s brand new. But to come up with your own sound in a style that’s older, that was there already, is a different and difficult challenge.” I always thought that was a deep observation and something he certainly achieved.

JAMES CHIRILLO: Every note he played had a sound as big as a house, no matter the register, and every note had an intensity that said: “This is how it’s supposed to go.” I still miss him.

MIKE KAROUB: I was playing bass in Jim Dapogny’s Chicago Jazz Band and we played opposite Davern at a show at the University of Chicago, some time between 1990-92. He might have been there with Butch Thompson or his own group. (Butch had Franz Jackson also.)

I checked into the Blackstone Hotel. Never having met Davern, I saw him outside. I walked up to him in my trench coat – Kenny looking tough in a leather coat — and said, “Uncle Ken, I need a Lucky Strike.” (Or I may have said, “Kenny, give me a Lucky Strike,” but you get the idea.) He said, “OK, man,” and handed me one. He instinctively knew I wasn’t a real hood. We chatted for a second, then later, probably at the intermission. Strangely, I don’t recall if there was a closing number with massed bands, “all hands on deck,” so I have no recollection of playing with him!

I know that when we were teenagers, I told my dear friend Jon-Erik Kellso, “If I ever meet Davern, I’m going to wear a trench coat like the Detroit mafia and demand a Lucky Strike.” I think he was bemused by our. 25 year old impetuous behavior.

Ten years later, at the Atlanta Jazz Party, after my set with Banu Gibson, I went to catch Kenny’s set and sat in front. He waved, and after the show he came down to me. I said, “Uncle Ken, I brought us some Luckies.” He had exhausted his supply (he was very dedicated) so I was in like Flynn.

“Michael, my nephew, I am so glad you could make it.” He sat down, ordered us coffee, and told stories about being on the road with Jack Teagarden.

I have no idea how he knew who I was unless Jon-Erik tipped him off (although I barely saw Jon, who was a floating “all star”) or saw the program or remembered me from Chicago. I believe he smoked unfiltered Lucky Strikes (unfiltered Camels his second choice). In any case, he acted like it was the biggest deal that I came to his show. And I was really some long lost relative. I was kept too busy for the rest of the festival to see Uncle Ken. Again or ever again, as it turned out. Ordinarily, I’m not that forward but. something told me this was a once in lifetime deal and to seize the day.

MICHAEL STEINMAN: I saw him a few times when I was still in college and shy (complicated by my attempts to record every note on some variety of tape). One Sunday, I’d seen him in the late afternoon at a Your Father’s Mustache Balaban and Cats session, and then my friend and I went down to the Half Note to hear Ruby Braff. Kenny walked in, I saw him, and exuberantly said, “Kenny!” and seeing his amused expression — part “Who the hell are you?” and part suppressed hilarity, I remembered my place in the cosmos and said, “Mister Davern . . . ” and he looked at me and said, in mock-hauteur, “Oh, pardonnez-moi,” gave me a satiric look and walked away.  When I saw him for the last time, in Denver, October 2006, I thought it prudent to leave that incident in the past.

And now for some delightful rare music.

The tape that follows (audio only) isn’t from my collection, but the dropouts vanish after three minutes.  Recorded by Dave Frishberg, It’s the only evidence I know of Kenny Davern’s Washington Squares, a band he loved, performing at Nick’s in 1961.  The repertoire is ancient; the inventiveness and energy are startling.  It’s Kenny, clarinet; Johnny Windhurst, cornet; Cutty Cutshall, trombone; Dave, piano; Jack Six, string bass; Cliff Leeman, drums.  I read in Edward N. Meyer’s biography of Kenny, JUST FOUR BARS, that Buzzy Drootin was the chosen drummer (imagine a world where your sub on the job is Cliff?), that Buzzy recommended Frishberg, and that Frishberg brought along Jack Six.  Unusual and uplifting partners for such a band, but everyone is in exceptional form.

Did I say we miss Kenny Davern?  We certainly do.

May your happiness increase!

ELEGANT GREASE AND FUNK: GRAMOPHONIACS: “UNDERGROUND SWINGTAPES”

To quote Dave Frishberg, listen here:

and here:

Very groovy.  Very mellow.  And they do the neat trick of paying homage to all sorts of performances — film noir soundtracks as well as late Forties small-group swing — while sounding like themselves.   This CD is such a nice odd mix of big band groove boiled down for your smaller band: you hear those imagined films and television themes from Fifties detective dramas, some funky Illinois Jacquet touches: an unusual blend.  And completely danceable.

From the outside, the Gramophoniacs (who hail from Germany) have a witty name and a great logo.  But there’s so much more to this package than the clever wrappings: they can and do swing, and not only for dancers but also for listeners.

You can read the very amusing biographies of the band members here and visit their Facebook page here.  And here’s more relevant information, with the dashes of humor that characterize this band’s slightly whimsical approach to the music — their noir has a wink in it, which adds to the overall pleasure:

You can delve deeper here — and purchase the CD or (for people who go all the way) clever stylish t-shirts, so that you can be the hippest person in your neighborhood.  I applaud their groovy nature, and hope they prosper.  There’s nothing artificial about their elegant blend of grease and funk.

May your happiness increase!

ORIGINALITY, WITH FEELING: ANGELA VERBRUGGE’S SPLENDID IMAGINATIONS

Welcome Angela Verbrugge, whose talents are not narrow, nor are they limited to her lovely voice.  Listen, and be delighted.

Much of the contemporary music criticism I read praises the “innovative,” “cutting-edge,” “and “adventurous,” sounds that may fall abruptly on my ears.  Angela’s music doesn’t assault; rather, it brings joy.

You can hear that Angela is certainly imaginative, but her singing rests securely on deep emotional understanding.  She understands the song, not only as notes and syllables on paper, but also the heart-messages it sends us.  She conveys tenderness, thoughtfulness, wit, and ardor: emotions and perceptions aimed right at us through her very human voice, its phrase-ending vibrato signifying a sweet earnestness.

When I received a copy of Angela’s debut CD — she’d been recommended to me by a Vancouver musical friend — I turned first to ALL TOO SOON, and was delighted and — in the best way — mildly startled.  Nothing abrupt that would have violated the Ellington – Carl Sigman creation, but it was as if someone had gently shifted the furniture by a matter of inches while I slept.  I had the same feeling I did when listening to Jimmie Rowles thoughtfully prowl his way through a song known for decades, making it new by building new surprises in from beneath.  And in a world of studio-modernism and thudding bass lines, to hear her walk serenely through the musical world of Ray Gallon, piano; Cameron Brown, string bass; Anthony PInciotti, drums, is reassuring as well as elating.

But back to ALL TOO SOON for a moment.  I sent Angela a note of admiration and asked her how she had gently tinkered with that song to shift its center of gravity so tellingly.  She told me, “I created a ‘verse’ using the bridge/ B section lyrics and elements of the A section melody, and it is sung out of time and then we go into 3/4 waltz time until near the end I bookend it with a more heartbroken take on the ‘verse.’ I brought it Miles Black to arrange in 3/4 and Ray Gallon helped me to tweak and finalize it to fall in a way that felt great; when you move a piece from 4/4 to 3/4 here are some options and massaging to get it to sit comfortably.”  Her explanation, as well as her performance,  show her remarkable musical intelligence.

She performs some of the same magic on familiar standards on this disc — LOVE WALKED IN, THIS COULD BE THE START OF SOMETHING BIG, THE MOON WAS YELLOW, SPEAK SOFTLY, LOVE — but the disc is much more than “Here’s my original take on songs everyone sings.”

Angela visited New York City, but I missed the opportunity to ride the subway with her.

Here is another affecting realization, another interlude — her version of A NIGHT IN TUNISIA with lyrics by Raymond Levey, thus INTERLUDE.  Fervent yet spare:

But that’s not all.  Not that I wouldn’t welcome a whole disc of Angela, rueful thrush singing her lonely song from a fragile branch.  She is a witty songwriter, drawing on Cole Porter, Gilbert and Sullivan, and Johnny Mercer for inspiration and rapid-fire rhymes, occasionally resembling a less vinegary Dave Frishberg.  And before more words fill the page, here‘s Angela’s website, and here you can buy or download the CD.

Here’s Angela’s I’M RUNNING LATE, her lyrics to Ray Gallon’s THAT’S THE QUESTION — a hilarious downhill slalom she negotiates with style:

The disc features three more originals by Angela.  I will feel much better about this decade when I hear new singers take up her songs . . . as well as modeling themselves on her warm, lively approach.  Those aspiring artists will take their own paths to passion and control, how to convey deep meanings without resorting to capital letters and bright primarily colors.  But those wise enough to take inspiration from Angela will find her art won’t outwear its welcome.  I am not the first to celebrate Angela Verbrugge, nor will I be the last.  But her art is her own, and she offers rare pleasures.

May your happiness increase!

REBECCA KILGORE and ECHOES OF SWING: “WINTER DAYS at SCHLOSS ELMAU”

Before writing this post, I was thinking about Rebecca (or Becky or Roo — she has many names, as appropriate to a multi-faceted personality) someone I have been listening to with awe and pleasure since 1994, perhaps beginning with I SAW STARS (Arbors).  As for Echoes of Swing, I got to hear them in person in Germany (in 2007, thanks to Manfred Selchow) and could tell them how I admired them.  It’s one of my dreams to have musicians and groups of musicians I revere play together, and the new CD is just such a dream. . . . one that you and I can hear and re-hear.

The disc also affords us a chance to adjust our perspectives, to shake off some preconceptions.  Some listeners have perched Rebecca on a sunny windowsill in the country of Light, Bright, and Sparkling. Yes, she may prefer PICK YOURSELF UP to GLOOMY SUNDAY, but for me a little darkness will suffice.  Hear her on this disc as she sails through I’VE GOT MY LOVE TO KEEP ME WARM and her reputation as an antidote to darkness is intact.  But only shallow listeners will mistake optimism for shallowness: she has depths of feeling.

Echoes of Swing plus Two: Chris Hopkins, Bernd Lhotzky, Rolf Marx, Oliver Mewes, Henning Gailing, Colin T. Dawson. Photo by Katrin Horn.

Echoes of Swing has also been slightly mis-characterized, praised for their large orchestral sound (the core unit is four players, count them, four — even though on this CD they add a string bass and guitar as well as Rebecca) — as if they were somehow marvelous simply for this magic trick, and critics have heard them as successors to the John Kirby Sextet, which is both plausible and confining.  But on this CD, the players — whom I should name now: Bernd Lhotzky, piano and musical director; Colin T. Dawson, trumpet and flugelhorn; Chris Hopkins, alto saxophone; Oliver Mewes, drums, with Henning Gailing, string bass, and (on four tracks) Rolf Marx, guitar — create such rich varied sounds inside and outside of the arrangements by Bernd and Chris that I felt as if I’d wandered into a universe scored by, let us say, Gil Evans, spacious and resonant.

Other artists have created records and CDs devoted to Winter.  And many of those jolly efforts are avalanches of fake snow from the arts-and-crafts store.  Christmas music looms, no matter how many chairs might be wedged against the studio door, or there’s LET IT SNOW, the now-troublesome BABY, IT’S COLD OUTSIDE, or WINTER WEATHER.  Sweet, certainly, but not always true to the reality of the season, for Winter is a time for introspection as the world becomes colder and darker.  This disc, I assure you, is not a descent into Seasonal Affective Disorder, and there are a few familiar cheery songs on it, but it is not the usual forgettable fluff.

Here’s a wonderful example, the text being the 1931 WINTER WONDERLAND, where the focused purity of Rebecca’s voice balances against a complex, shifting orchestral background:

Bernd’s quirkily cheerful setting of the most famous Robert Frost poem:

Rebecca’s own witty and sweet song:

You’ll have to explore the other surprises for yourself — songs I’d never heard by Frishberg, Berlin, and Jobim, and a few poems set to music by Bernd — performances that are remarkable on the first hearing and grow more so.

The disc is dense — which is not to say difficult or off-putting — but it has levels and levels of musical and emotional pleasure.  Some discs make wonderful background music — the soundtrack for rearranging one’s spice rack — but this one has the delicious resonance of one short story after another.  It’s available in all the old familiar places.  Details here. WINTER DAYS is ambitious, heartfelt, completely rewarding.  You won’t regret it, no matter what the temperature.

May your happiness increase!

ONE TREAT AFTER ANOTHER: DARYL SHERMAN, “LOST IN A CROWDED PLACE”

Daryl Sherman‘s new CD, LOST IN A CROWDED PLACE (Audiophile), is just splendid, and I don’t exaggerate.  I’d thought that with her most recent disc, MY BLUE HEAVEN, she’d reached a real peak of intimacy and swinging expressiveness.  But this newest recording offers even more expansive delights.  And, by the way, don’t let the title put you off: the music is not morose.

Daryl, once again, presents very heartfelt dramatic vignettes — a dozen.  It’s a tasting menu for the ears, the brain, and the heart, and one can dine at this particular restaurant over and over again.  No shock at the multi-digit bill, no caloric woes.

Daryl’s colleagues — in various permutations — are our hero Jon-Erik Kellso on trumpet; Don Vappie on guitar, banjo, and vocal; Jesse Boyd, string bass; Boots Maleson, string bass on RAINBOW HILL only.

They are a splendid crew, but I want to say something about the pianist, who also happens to be Ms. Sherman.  Daryl’s playing here is so fine that I occasionally found myself distracted from what she was singing or one of the instrumentalists was playing to admire its restrained elegance that never lost the beat.  Think, perhaps, of Hank Jones or of Dick Katz.  And when Daryl accompanies herself, she is — without multiple-personality disorder — a pianist who is kind to the singer and a singer who doesn’t overwhelm the pianist.  Her opening instrumental duet with Jon-Erik on the title song is wonderful — the way it should be done.

Then there’s Daryl the composer / lyricist: both selves in evidence on the opening song, THE LAND OF JUST WE TWO, a song that could easily pass as a kinder, gentler Frishbergian romance.  Her lyrics to Turk Mauro’s improvisation over TANGERINE that he called TURKQUOISE are nimble and witty.

There’s Daryl the song-scholar: offering not only the rarely heard verse to STARS FELL ON ALABAMA but the never-heard verse to IF WE NEVER MEET AGAIN, bringing forth Barbara Carroll’s LOST IN A CROWDED PLACE — with sweetly anachronistic lyrics (from 1956) by Irving Caesar that speak of finding a dime for the pay phone — and Billy VerPlanck’s RAINBOW HILL, here offered as a fond tribute to Daryl’s friend, Billy’s wife, singer Marlene.

There’s Daryl the comedienne, never resorting to “humor,” which quickly wears thin, but underpinning her vocal delivery with an unexpressed giggle.  I don’t know that it’s possible to sing and grin simultaneously, but there are places on AT SUNDOWN where I’d swear it was happening, and even more so as Daryl negotiates her way with great style through THE LORELEI.  It’s not comedy, exactly, that uplifts many of the songs on this disc, but it is Daryl’s pleasure at being able to be the vehicle through which the music passes to us. EVERYTHING BUT YOU is not just an Ellington song to her, but a witty, rueful commentary on romance.

Going back to my start: when I first heard MY BLUE HEAVEN, I thought, “This is the way Daryl really sounds in the most welcoming circumstances — no debatable amplification system, no patrons with glasses full of ice, no waitstaff asking, “Who has the parmigiana?”   Her singing on CROWDED PLACE is even more subtly compelling, if that’s possible.  I won’t compare her to other singers: she is herself, and that’s reassuring.  The recording by David Stocker is faithful without being clinical or chilly, so that her remarkable sound — “sounds,” I should say — come through whole.

I would have singers study her phrasing on this disc — that wonderful science of balancing song and conversation, adherence to the melody and improvisation.  How she does it from song to song, from chorus to chorus, is something quite remarkable.

And Daryl presents herself as not “just a singer,” which is to say, someone trained in singing and performance practice who has brought a dozen lead sheets to the studio, but someone with great (quietly dramatic) skill at making each song its own complete emotional and intellectual statement.  Each of the twelve performances is like a fully-realized skit or an aural short story, and no one sounds like the other in some monotonous way.  Consider the sweet — and I mean that word seriously — duet (a duet of many colors, shifting like a long sunset) between Daryl and Don on YOU GO TO MY HEAD, a song that I would have thought done to a crisp, or the HELLO, DOLLY! world Daryl and Co. create on NEW SUN IN THE SKY.  These are memorable performances, each one with its own shadings.  And the mood is often a wise tenderness, something rare and needed in our world.

Daryl’s colleagues are inspiring on their own, but at times rise to new and surprising creative heights.  Boots Maleson is her long-time colleague, and his one offering, RAINBOW HILL, reminds me of  how beautifully he plays, both pizzicato and arco.  More to the forefront is bassist Jesse Boyd, eloquent and swinging.  I have the privilege of seeing and hearing Jon-Erik Kellso often in New York City, and I know him best as the heroic leader of the EarRegulars, but here he is a superb accompanist as well as delivering some melodic choruses that startled me with their beauty, or providing the perfect echoes in THE LORELEI.  I’d only known Don Vappie at a distance, but his rhythm guitar is more than welcome, his solos remind me of a down-home Charlie Byrd, his banjo is splendid, and his vocal duet on YOU GO TO MY HEAD is touching, loose, and inspiring.  Fine incisive notes by Carol Sloane, who knows, also.

But this is Daryl’s masterful offering.  I only apologize for writing at such length that some readers might have been delayed from purchasing several copies.  LOST IN A CROWDED PLACE is that rewarding, and you can purchase it here.  Thank you, Daryl.

May your happiness increase!

IF THERE’S A GLEAM IN HER EYE, SHE’S LISTENING TO THIS BAND: JON-ERIK KELLSO, EVAN ARNTZEN, ROSSANO SPORTIELLO, FRANK TATE at LUCA’S JAZZ CORNER (Dec. 22, 2016)

The song, THE LADY’S IN LOVE WITH YOU, music by Burton Lane (a bubbling rhythmic line) and witty incisive lyrics by Frank Loesser, first emerged in 1939 and was a big-band hit immediately for Krupa, Miller, and Goodman.  Then, in 1944, it emerged again as a Condon favorite.  I give full credit to Eddie for making it popular, with everyone from Jimmy Rowles to Annie Ross to Mel Torme to Susannah McCorkle recording it — with special notice for Marty Grosz and Rebecca Kilgore in my decades.

It’s a great premise — that these are all the litmus tests one can use to determine if, in fact, the lady is infatuated — a nice change from the usual “I wish she loved me again” plaint.  Here are Rebecca and Dave Frishberg — verse and two choruses, beautifully:

But the punchy repeated phrases lend themselves to vigorous instrumental strutting, as evident in this version, created at Luca’s Jazz Corner on December 22, 2016, by Jon-Erik Kellso, Evan Arntzen, Rossano Sportiello, and Frank Tate. Building inspectors stopped in near the end of the performance because of calls that the whole block was swaying dangerously in 4/4:

Lovely music happens regularly at Luca’s Jazz Corner (1712 First Avenue in Manhattan): a Kellso quartet will be back on March 23 . . . a clear day for hot jazz indeed.  Incidentally, if you haven’t been following the intensive JAZZ LIVES coverage of this band, this evening, here you can enjoy dazzling renditions of JUBILEE, RUNNIN’ WILD, and FINE AND DANDY.  All three song titles appropriately describe the music, too.

May your happiness increase!

A PRIVATE RECITAL: DARYL SHERMAN’S BLUE HEAVEN

Singers who perform in public — as they must — have singular obstacles to face in performance.  Even though the ringing cash register is now a museum piece, there are so many extraneous sounds to surmount even when the audience is properly quiet and (imagine this!) everyone’s smartphone is shut off.  Dishes and glasses clink; the waitstaff murmurs details of the specials, offers a dessert menu, presents the bill.  The presumed answer to this is amplification, which can make a quiet sound audible at the back of the room, but in the process coarsens every nuance.

A CD session recorded in a studio has its own set of obstacles: the creative artist may be restricted to one small space, may be burdened with headphones and be banished into a booth . . . but we don’t see these travails, and the sound we hear through our speakers is a kinder representation of the human voice.

Hence, this delightful surprise (recorded by Malcolm Addey, so you can imagine the clear, accurate sound) in 2015:

In case you can’t read the back cover, the songs are I Walk a Little Faster / Wouldn’t It Be Loverly / Feel Like Makin’ Love / Lets Go Live In a Lighthouse / Cycling Along With You / Inside a Silent Tear / My Blue Heaven / A O Zora / You Turned the Tables On Me / Fly Me To The Moon / You Wanna Bet / The Brooklyn Bridge / The Moon Is a Harsh Mistress.

And the Orchestra with Vocal Refrain is Daryl, piano and vocals, with Harvie S, string bass, on tracks 2 and 10.  It’s a delightfully old-fashioned CD: twelve tracks, fifty minutes, but no need to turn it over.

From the start, it’s a wonderful chance to hear Daryl — “her ownself” — as we might say in the Middle West a century ago.  She is of course her own splendid accompanist, and her two selves never get in each other’s way.  And I would direct some pianists who revere Tatum as their model to her spare, pointed accompaniment.

Her voice is the true delight here.  Daryl sounds so much like herself, and is I think instantly recognizable, although one may call to mind Mildred Bailey, Blossom Dearie, and Dave Frishberg as musical colleagues and inspirations.  I think she’s been undervalued because of what sounds (to the casual listener) like girlish charm, a high sweet voice with a conversational, sometimes wry delivery. But once the listener is into this CD for more than a chorus, the absence of other instrumentalists allows us to hear emotional depth beneath the apparent light-heartedness.  This isn’t to say that the disc veers towards the dark or maudlin, but there is a true adult sensibility that makes even the most familiar material shine as if beautifully polished and lit.  And even if you think you know how Daryl sings and plays, I submit that this CD is her masterpiece to date, sending us gentle immediacy of the most rare kind.

It’s a wonderful one-woman show, with nothing to excess, and a CD I’d like to send to many singers to show ’em how it can be done.

Matters of finance!  If you send Daryl an email here, and say the magic words, “I’d like to buy MY BLUE HEAVEN,” her staff will help you do just that.  You can also ask for an autographed copy.  For now, checks only: $20 plus $ for shipping.  You can also browse around her site to learn about upcoming gigs, to read her biography, see pictures, and more.  I’m amused and pleased that four of the five videos are mine.

 May your happiness increase!

“MOONSHADOW DANCE”: REBECCA KILGORE, ELLEN VANDERSLICE, and MIKE HORSFALL

I’m delighted to tell you about a new Rebecca Kilgore CD, delicious and new. I’ve repeated NEW in the first sentence for a reason: MOONSHADOW DANCE is not only a new plastic artifact in a new cardboard sleeve, but it contains new music — songs by Ellen Vanderslice, Mike Horsfall, and Rebecca herself.

The idea of the singer-songwriter is such a familiar one in the last half-century that I won’t make a fuss about it.  However, our Rebecca has made her wondrous reputation by singing “the Great American Songbook,” which in most cases has meant songs from the late  Twenties to the late Fifties, with some exceptions. And for most CD-buyers and audience members, that has meant a certain amount of comfort.  Rebecca is a happily curious Songhound — she searches out deserving songs whether they are rare or familiar, and they glisten when she sings them.  But at a concert, for instance, I can almost feel the audience sigh with pleasure when Rebecca finishes the verse of a Rodgers and Hart song and tenderly makes her way into the chorus.  “A beloved friend,” is our unspoken response, our happiness at hearing something we have the most tender feelings for.

It is of course possible and even delightful to devote one’s career to singing or playing the familiar.  Louis never got tired of WHEN IT’S SLEEPY TIME DOWN SOUTH, and Hot Lips Page is reputed to have said, “The material is immaterial.” But the great pleasure of this new CD, MOONSHADOW DANCE, is that almost every song is a new creation by Vanderslice, Horsfall, and Kilgore.

But before any reader panics and snorts, “New songs?  Why doesn’t anyone sing any of the great old songs anymore?” and reaches for a familiar sheaf of 78s . . . here’s some pleasing evidence that “new” doesn’t have to mean “loud,” “coarse,” or “postmodern,”when the songs are written by the masterful Ellen Vanderslice, Mike Horsfall, and our Rebecca:

Not only do you hear Rebecca’s silken voice, but the melody and lyrics are beautifully crafted — no cliches, either musical or lyrical — but with a certain fresh flair, so that a listener doesn’t think for a moment, “Wow, that turn of phrase must have been the cat’s meow or the cat’s pajamas in 1929.”  Rather, this song and the fifteen others on this disc are musically substantial but not imitations of older songs, and the lyrics sound the way an elegant, witty speaker of this century might talk.

A digression about the video: words and music by Ellen Vanderslice, music by Mike Horsfall.  Musicians are Rebecca Kilgore, vocal; Randy Porter, piano; Tom Wakeling, string bass; Todd Strait, drums; Dan Balmer, guitar; Mike Horsfall, vibraphone / arrangement.  The wonderful dancers are Rachel Lidskog-Lim and Jack Lim.  (I am a literal-minded type, so I was relieved that the pasta did not get overcooked and gummy and that Rachel and Jack — unlike me — can cook so neatly that they don’t mess up their formal clothes.)

Back to the CD.  On it, you’ll hear wry portraits of contemporary life (a blues about the civilization and its discontents) that are mildly reminiscent of Portland’s master viewer-at-a-slant, Dave Frishberg, but there are plenty of songs about songwriters’ favorite subject: love.  There’s ONE LITTLE KISS, AEOLIAN SHADE, I’M NOT SUSCEPTIBLE TO LOVE, UM MINUTO A MAIS (ONE MINUTE MORE), TO HAVE, TO HOLD, TO LOVE, ONE MORE TIME TO SAY GOODBYE, and the even more emphatic THAT’S IT!  There’s also what I believe is the first recorded performance of Rebecca’s multilingual fantasy, THE DAY I LEARNED FRENCH.  And I already have found myself humming BIRTHDAY SONG, GENERIC, which has a hilarious punchline.

The instrumental accompaniment from Randy Porter, Tom Wakeling, Todd Strait, Dan Balmer, Israel Annoh, Steve Christofferson, Marco DeCarvalho, David Evans, Mike Horsfall, Tim Jensen, Mike Horsfall, John Moak, and Dick Titterington is first-rate: singer Susanna Mars joins in on YOU MAKE IT LOOK SO EASY.

It’s a very rewarding CD, full of small sweet / tangy surprises.  I predict that some of the “new” songs” will become memorable friends in one or two listening.

Now — if you live in Portland, Oregon, and are reading this early on Sunday, January 31, 2016, you have a special opportunity to enjoy this music in an experience larger than your earbuds: a concert from 2-4 PM, with Rebecca, Randy Porter, Todd Strait, Tom Wakeling, Mike Horsfall and other musicians, as well as dancers Rachel and Tim from the video above.  Details here at the bottom of the page.  Also on that same page you will find links to help you purchase the CD as a disc or download.

Now, if you’ll excuse me, I’m going to get dressed up and cook some pasta.  And MOONSHADOW DANCE will be the entirely fitting soundtrack.

May your happiness increase!

“TWO SONGBIRDS OF A FEATHER”: BECKY KILGORE / NICKI PARROTT

I’ve known both of these gloriously talented musicians for more than a decade, and have delighted in their live performances at festivals for that time.  So I am delighted to report that their first full-length duo CD, TWO SONGBIRDS OF A FEATHER (Arbors ARCD 19447) is even better than I expected.

The facts?  The CD was recorded in March 2015 (lively sound thanks to the ever-professional Jim Czak) with beautiful photographs and design by Brian Wittman.  The band is Mike Renzi, piano; Harry Allen, tenor saxophone; Chuck Redd, drums; Nicki, bass; Becky, guitar on several tracks; Becky and Nicki, vocals and patter.  The songs: TWO LITTLE GIRLS FROM LITTLE ROCK / TWO SONGBIRDS OF A FEATHER / RAY NOBLE MEDLEY / LIFE IS SO PECULIAR / WHEN LOVE GOES WRONG / S’WONDERFUL / Theme From VALLEY OF THE DOLLS / THEY SAY IT’S SPRING / BLUE MOON – MOONGLOW / THEM THERE EYES / A WOMAN’S PREROGATIVE / EL CAJON / WHEN I GROW TOO OLD TO DREAM.

First off.  There isn’t a moment on this CD, whatever the mood or tempo, that doesn’t swing.  And it’s a deep intuitive swing: take, for example, the a cappella chorus that begins WHEN I GROW TOO OLD TO DREAM.  With all due respect to the instrumental accompaniment — a fine band — Becky and Nicki are swinging in the best understated but authentic Basie manner when they utter the first syllable.  And their voices — alternatively lighter, darker, flying, trading places in mid-air — go together perfectly, whether they are alternating phrases within a song, singing in unison or harmonizing.  Each performance is full of small sweet surprises (including some witty banter) which makes the CD an old-fashioned experience, a “show” rather than simply two people standing at microphones and singing one song after another.  One can hear that the routines have been carefully planned, but nothing is stiff or formal.  They sound as if they are having a good time, fully enjoying the pleasures of music-making.  The effect is never cute or artificial, but there is a good deal of cheerful play.  And singers could learn so much from studying this disc.

Some highlights.  Nicki and Becky essay some of their proven crowd-pleasers, with roots in Louis Jordan (PECULIAR) and the Marilyn Monroe songbook (LITTLE ROCK, WRONG) — but much of the material here is new to Kilgore-Parrott fanciers.  There’s a clever arrangement of S’WONDERFUL, a racing romp on THEM THERE EYES, and several blissfully tender performances — the Ray Noble medley couldn’t be more sweet; VALLEY OF THE DOLLS is rueful and yearning; the BLUE MOON – MOONGLOW collation enables us to hear those familiar songs anew.  And the title track, SONGBIRDS, has a lively chorus by Brian Wittman — living up to his name — a verse by Becky, music by Nicki. True group work!  If there were still a network of hip radio stations, the performance of the Johnny Mandel – Dave Frishberg EL CAHON would be an instant classic.

The thirteen selections are wonderfully varied and paced, so the CD seems far too short.  And the band rocks gorgeously around and with the singers.

I am being unsubtle when I say BUY THIS ONE, but occasionally subtlety is a burden.  I received my copy yesterday and it is now playing for the fourth time. On the surface, it is an hour of joy: I think it is hours of that rare substance.

P.S.  You’ll note — rare for me — that no videos accompany this posting.  On camera, Nicki and Becky come across as the most hilariously swinging and endearing pair of vocal pals, sisters even.  But even in the most expertly-done jazz party situations, they sing into a microphone, the sound goes through an engineering board, comes out of two large speakers, crosses the room, and is picked up by my camera’s trustworthy but small microphone.  All this is to say, gently, that the videos often do not do singers’ voices justice — and the sound on this CD is so much more intimate and rich that I would do the disc a disservice by posting a video as evidence.

May your happiness increase!

GOOD FEELINGS: DANNY TOBIAS, KENNY DAVERN, TOM ARTIN, JOHN BUNCH, JOHN BEAL, TONY DeNICOLA at the 2004 MARCH OF JAZZ

Hot jazz can be both leisurely and intense.  It doesn’t have to be too loud or too fast. And the best musicians do the neat trick of honoring their ancestors while sounding exactly like themselves.

New evidence of this — a swing session by masters, recorded in 2004 — has recently surfaced.  It comes from Mat and Rachel Domber’s (the team responsible for so much joy on Arbors Records) MARCH OF JAZZ in celebration of Kenny Davern’s birthday, and the noble, gently convincing participants are Kenny, clarinet; Danny Tobias, cornet; Tom Artin, trombone; John Bunch, piano; John Beal, string bass; Tony DeNicola, drums.

Kenny Davern is justly the most famous and perhaps the most missed person on stage, but I would like to draw your attention also to the cornet player.

Young Mister Tobias plays with easy lyrical grace.  When I first heard him a decade ago (as the trumpet with Kevin Dorn’s Traditional Jazz Collective at the Cajun) I was instantly a convert and fan.  At the end of the first set, I went over, introduced myself, and said, “You sound beautifully.  I guess you also like Buck Clayton and Ruby Braff, don’t you?”  He grinned, and we became friends.

Please enjoy, observe, and commit to memory:

JAZZ ME BLUES:

SUGAR:

and a most remarkable ALL OF ME, in a romantic tempo (the romance isn’t diminished by Kenny’s silent-film comedy gestures at the start):

I asked Danny what he remembered about this session:

I was delighted that Kenny got me on the event.  I remember being very nervous playing because in the hospitality room, on the top floor of the Sheraton Hotel the other musicians watched the stage via closed circuit TV.  I was, and am, in awe of the musicians who were in attendance that weekend. I remember talking to Bucky, Joe Wilder, Dave Frishberg, Bob Dorough, and many more. I had no idea what Kenny would call, and was relieved when he asked the audience if anyone had played “All of Me” yet that weekend?  He then turned to the band and said, “Nobody played it like this!” and counted off the slowest tempo I’ve ever heard for that tune.  It could have been painful but with Bunch, and Tony DeNicola it was pure bliss. Watching the video reminds me of how lucky I was to be able to make music with these masters. Kenny was so generous with me.  He would make me tapes of PeeWee, Joe Sullivan, Irving Fazola, Johnny Dodds, etc. When I heard the recording of “Who Stole the Lock?” I flipped out!  It was clear after listening to these records that Kenny incorporated these players into his playing. For example when he would soar into the final chorus on a gliss, I knew that he was channeling Fazola.  He would, after a gig, invite me to hear something in his car. Sometimes it was a rare recording of Benny Goodman playing tenor, or William Furtwangler conducting movement of a Beethoven symphony.

I miss Tony, and John Bunch, and Kenny.  But I feel good that I knew how good it was when it was happening and let them know I felt.

Danny Tobias is a modest fellow with a true subtle talent, and in these videos you can experience what many already know, that he is a master among masters.

And — as a postscript — it reminds me how much I and everyone who knew him miss Mat Domber. (Rachel, bless her, is still with us.)  I believe these videos were done by the faithful and diligent Don Wolff: bless and thank him, too.

May your happiness increase!

WELCOME, HETTY KATE!

Hetty Kate and Gordon Webster

I am delighted to introduce the fine singer Hetty Kate. To those who already know her, let this be a repeat embrace and celebration.  Hetty does all the right things, without straining or undue drama.  Her voice is clear and penetrating; her diction beautiful without being “learned” (she has a conversational ease); she swings; she subtly but affectingly improvises; she understand the lyrics; she embellishes and ornaments but never obliterates the melody. She respects the great singers of the past and present but never climbs in to the tomb and closes the door.

I delight in the two new CDs she has presented to us, in her sweet light-hearted approach.  When she decides to snap out a lyric, the results are explosively good (hear her FROST ON THE MOON).  She sounds as if she is merely singing the song, but we know that such casualness is true art.

Hetty is international in the best way: based in Melbourne, Australia, she recorded one CD on a New York City trip — enjoying the company of fine local musicians including Gordon Webster, piano; Dan Levinson, reeds; Mike Davis, trumpet, Cassidy Holden, guitar (now of New Orleans, but I knew him first as a string bassist with the Cangelosi Cards), Kevin Congleton, drums; Rob Adkins, string bass; Joseph Wiggan, tap dancing (wonderfully on Shoo Fly Pie); Adrien Chevalier, violin (Besame Mucho); Adam Brisbin, guitar; Evan Arntzen, clarinet; and a quartet of additional horns on the final track to make a rocking big band, Nadje Noordhuis, Jay Rattman, Michael Webster, Mike Fahie.  The truly international trombonist Shannon Barnett (Australia / New York / Germany) also pays a call.  The result is irresistible, one of those CDs I wanted to play again right away as soon as it ended.

The CD is called GORDON WEBSTER MEETS HETTY KATE, and the equality of the title is mirrored in the music, with a nice balance between singer and band.  The soloists tell us stories; Gordon’s wonderfully off-center piano is always a deep pleasure, and the sound — thanks to Michael Perez-Cisneros — is rich, exquisite.

Hetty told me, “I really let my imagination go a little with the song list, and love digging out tunes that aren’t played too much,” thus, Button Up Your Overcoat / Blitzkrieg Baby / Peek-a-boo / Shoo Fly Pie & Apple Pan Dowdy / How D’ya Like To Love Me? / Eight, Nine & Ten / There’s Frost On The Moon / Busy Line /  Sweet Lover No More / I Wanna Be Around / Hard Hearted Hannah / Bésame Mucho / I Lost My Sugar In Salt Lake City.

Two songs were unfamiliar charmers, so I asked her about their origins.  Here’s what Hetty wrote:

I first heard Peek-A-Boo on a .. wait for it.. Dove advertisement (probably on You Tube), where they’d used the song as the soundtrack to a story about how women are always so self conscious about their looks, and don’t like being photographed – but when they are children they have no shame about this and just dance and ham for the camera.. a little message about trying to be confident and see the beauty in us all! So the song was a cute one.. I fell immediately in love with it and with some research found the vocalist, Rose Murphy, the “chee chee girl” and also added her other famous song ‘Busy Line’ to the album. She was quite an extraordinary performer and pianist, and now I’m a big fan. 

There are so many wonderful singers who don’t get much of a ‘look in’ because of Ella / Billie / Peggy / Anita and so forth – I feel that not only am I getting a benefit from discovering these other singers, but their memory can be kept alive a little too! Audrey Morris sang ‘How D’Ya Like To Love Me’ and she was an extraordinary talent as well (Bob Hope also famously sang that song) Sweet Lover and I Wanna Be Around were given to me on a mix tape by a good friend with a Blossom Dearie obsession and her approach to two rather evil songs was of course cute as a button – at the time I was going through some romantic challenges of my own, and I love to sing about the darker side of love as well as its light and sparkling hopefulness!

There’s Frost On The Moon was also given to me — Chick Webb’s band with Ella Fitzgerald (very young) and I believe Louis Jordan – and again, the lyrics were an immediate drawcard as well as the melody. The band in the studio had a great time with this one! I think it’s our favourite!

A lot of my family are writers, and as well as being drawn to the melody of a tune, I am always entranced by a clever turn of phrase, and with this album being able to match clever songs with some great dance tempos and arrangements by Gordon I was in heaven!! 

Had Hetty recorded only this CD, I would be heralding her as a reassuringly professional new talent. But there’s more. DIM ALL THE LIGHTS is an entrancing collection of “vintage love songs” associated with Peggy Lee, June Christy, and Julie London: The Thrill Is Gone / In the Still of the Night / Bewitched, Bothered, and Bewildered / Answer Me, My Love / Why Don’t You Do Right? / Cry Me A River / Something Cool / Wives and Lovers / I Get Along Without You Very Well.  Hetty is accompanied by a spare but beautiful quartet of Sam Keevers, piano; James Sherlock, guitar; Ben Robertson, string bass; Danny Farugia, drums.

The temptation for a singer, choosing these songs so strongly associated with these majestic artists, would be either to copy or to go in the other direction — vary the tempo, add odd rhythmic backgrounds, and the like. Hetty does neither: I am sure that the voices of the Great Foremothers are echoing in her head, but she treats each song as its own new script, and takes her time, inventing a new, lifelike way to sing it.  No maudlin swooning, no pounding drums, no melodramatic rubato.  Just effective singing: I’d put her version of BEWITCHED, BOTHERED, and BEWILDERED up against anyone’s. Understated, apparently cool, but with real passion coming through.

I believe Hetty has been singing professionally only since 2006, but she is a real treasure.  No fakery — no little-girl cute, no look-at-me-I’m-so-hip / punk / sexy here at all.  Just good music, intelligently interpreted and always swinging. And don’t let the gorgeous cover shot prejudice you against the elegant Ms. Kate: her CDs are about her voice, not her hair or her beautiful dress.

Here is Hetty’s Facebook page, and here is the website for the CD with Gordon.  Both discs are on iTunes.  Visit here and enjoy one-minute sound bites; visit the ABC site to purchase DIM ALL THE LIGHTS, and here to purchase the CD with Gordon — which is also available at CDBaby. (I know — life is complicated, especially for those of us used to dropping in at our local record stores and coming home with some new or old treasure.  But Hetty’s CDs are worth the digging.)

It’s a critical commonplace to welcome the new artist at the start of “a brilliant career” to come.  In Hetty Kate’s case, she is already singing brilliantly — a young artist with a mature, engaging sensibility.

May your happiness increase!

TODD LONDAGIN’S EXTRAORDINARY RANGE: “LOOK OUT FOR LOVE”

I met and admired the trombonist and singer Todd Londagin several times in 2005 and onwards; he was one of the crew of cheerful individualists who played gleeful or dark music with the drummer Kevin Dorn.  A fine trombonist (with a seamless reach from New Orleans to this century) and an engaging singer, Todd is someone I have faith in musically.  But when I received his second CD, LOOK OUT FOR LOVE, I hardly expected it to be as remarkable as it is.

On it, Todd sings and plays (occasionally doing both simultaneously, through an Avakian-like graceful use of multi-tracking . . . even sounding like Jay and Kai here and there), with a splendid small band: Pete Smith, guitar; Matt Ray, piano, Jennifer Vincent, string bass; David Berger, drums.  Singer Toby Williams joins in on BRAZIL.  The presentation is neither self-consciously sparse or overproduced. With all due respect to Todd, the foursome of Pete, Matt, Jennifer, and David could easily sustain their own CD or gig. I had only met Matt (unpredictable) and Jennifer (a swing heartbeat) in person, but this “rhythm section” is a wonderful — and quirky — democratic conversation of singular voices, each one of them a powerful yet gracious rhythm orchestra.

But I keep returning to Todd.  And his “extraordinary range” doesn’t refer to the notes he can hit on trombone or sing.  It’s really a matter of a deep emotional intelligence, and I can’t think of anyone who can equal him here. (That’s no stage joke.)

Consider these songs: LOOK OUT FOR LOVE / BYE BYE BABY / SOME OF THESE DAYS / BRAZIL / I CONCENTRATE ON YOU / LONG AGO AND FAR AWAY / PENNIES FROM HEAVEN / YOU GO TO MY HEAD / I CAN’T HELP IT / BUST YOUR WINDOWS.  The first two songs show off Todd’s sly, ingratiating self — witty and wily on the first (with a neo-Basie rock) and endearing on the second. Those who have to think of Echoes might hear Chet Baker, Harry Connick, Jr., a young Bob Dorough, or Dave Frishberg. I thought on the first playing and continue to think that if there were aesthetic justice in the world, the first two songs would be coming out of every car radio for miles.  (Todd would also be starring on every enlightened late-night television show, or do I dream?)

The pop classics that follow are always served with a twist — a slightly different tempo, a different rhythmic angle, a beautiful seriousness (I’ve never heard CONCENTRATE interpreted so well).

Maybe Todd is understandably afraid of being pigeonholed as Another Interpreter of The Great American Songbook — with all the attendant reverence and dismissal that comes with that assessment — so the closing songs are “more modern.”  I think he does Stevie Wonder’s I CAN’T HELP IT justice in his own light-hearted, sincere, swinging way.

I am not attuned to contemporary pop culture, except to cringe when I hear loud music coming from the car next to mine, so I had no historical awareness with which to approach BUST YOUR WINDOWS.

In fact, I thought the title would herald some exuberant love song, “My love for you is so strong, it’s going to bust your windows,” or something equally cheerful.

Thus I was horrified to hear Todd sing, “I had to bust the windows out your car,” and all my literate-snobbish-overeducated revulsion came to the surface, as I called upon the shades of Leo Robin and Yip Harburg to watch over me.

But then I calmed down and reminded myself just how much fun the preceding nine tracks had been, and that I would be very surprised if Todd — bowing to whatever notion of modernity — had gone entirely off the rails. And I listened to BUST YOUR WINDOWS again. And again. For those who don’t know the song, it was an immense hit for one Jazmine Sullivan in 2008, and there’s a YouTube video of her doing it. The premise is that the singer finds her lover has been untrue with another (not a new idea) but (s)he then takes a crowbar to her lover’s car so that her lover will know what faithlessness does to others. Tough love, indeed.  I researched Sullivan’s music video — where she is threatening to unzip herself to a tango / rhythm and blues beat — and disliked it.

But I had no patience for her rendition of her own song because I had been struck so powerfully by Todd’s — almost a stifled scream of brokenhearted passion worthy of a great opera’s finish before the grieving one, betrayed, commits suicide. Todd’s performance has no tango beat, no intrusive orchestration: he merely presents the lyrics and melody as if he is showing us his bleeding heart . . . as if he has used the crowbar on himself.  It is a performance both bone-dry and powerful, understated and unforgettable. I can’t forget it, just as I keep on wanting to replay LOOK OUT FOR LOVE.

You can find out more about Todd here, and after you’ve heard the three samples, I hope you will chase down a copy of this CD. It is wildly rewarding and beautifully-textured music, and it will stay with you when other CDs by more “famous” players and singers have grown tedious. I don’t like “best” or “favorite,” but this CD is magnificently musical in so many ways that it will astonish.

May your happiness increase!

“I HEAR THE MUSIC NOW”: REBECCA KILGORE and RANDY PORTER at the PIEDMONT PIANO COMPANY (Oakland, California: Jan. 31, 2014)

A few nights ago, Rebecca Kilgore and pianist Randy Porter gave a delightful duo-concert at the Piedmont Piano Company in Oakland, California.  Randy was performing on a brand-new Yamaha CPX piano, and Rebecca brought her own beautiful instruments: her creamy voice, her wise, light-hearted interpretations.  And although Becky is always heralded as “an interpreter of the Great American Songbook,” she has a very expansive repertoire, going back seventy-five years and forward to contemporary music by Nellie McKay.

Here are some highlights of that evening.

Sammy Fain’s I HEAR THE MUSIC NOW:

Nellie McKay’s I WANNA GET MARRIED:

The Rodgers and Hammerstein edgy declaration of thwarted love, THE GENTLEMAN IS A DOPE:

Dave Frishberg’s ZANZIBAR:

Johnny Mercer’s JAMBOREE JONES, with its roller-coaster tongue-twisting lyrics:

and the lovely hip lullaby, thanks to Mercer and Harold Arlen, HIT THE ROAD TO DREAMLAND:

My ears, as always, were focused on the Kilgore magic — gently gliding through the lyrics, making them even more meaningful, gently improvising, making the melodies shine . . . but our Mr. Porter is astonishing: his command of the piano, his touch, his harmonic depths and always-surprising but beautiful inventions.  And what a beautiful place Piedmont is . . . wonderful-sounding instruments everywhere.  And they have regular concert performances from a wide variety of artists: click here.

Don’t you wish your local piano emporium had a Kilgore recital on the calendar?

May your happiness increase!

BRYAN SHAW’S BLUEBIRD BRINGS HAPPINESS

I first wrote a few lines about Bryan Shaw’s most recent CD, THE BLUEBIRD OF HAPPINESS (Arbors Records) here, last year, because its music made a small sweet story possible.  For those who have been listening to jazz recordings, I will say only that this CD has the savor of an early-Fifties Vanguard session, and that I have returned to it often with increased pleasure.

I first heard Bryan on CD more than a decade ago, on his first Arbors release, NIGHT OWL.  At the time, he was only a name to me — but the CD found him among others whose work I knew and valued: Dan Barrett, the late Brian Ogilvie, Scott Robinson, Chuck Wilson, Dave Frishberg, Jeff Hamilton, Bucky Pizzarelli, Joel Forbes, Rebecca Kilgore, David Stone, Eddie Erickson.  I was impressed with the playing and singing of those people, but Bryan struck me as a true find — a trumpet player with a singing lyricism, deep swing, real imagination . . . and although you could play the game that Barbara Lea called “Sounding Like,” that favorite pastime of critics and liner-note writers, Bryan sounded most like himself.

I had the opportunity to meet and hear Bryan in March 2010, and found all the virtues he had displayed on NIGHT OWL just as vivid in person.  And, at one of our meetings, I said, “When are you going to make another CD?”  Eventually, he told me about THE BLUEBIRD OF HAPPINESS . . . and now I can share it with you.

This CD features Bryan, trumpet; Dan Barrett, trombone; Evan Arntzen, reeds; Ehud Asherie, piano; John Dominguez, string bass; Brad Roth, guitar / banjo; Jeff Hamilton, drums.  And the songs are in themselves a telling guide to the breadth of Bryan’s musical imagination — reaching back to Clarence Williams and forward into the future with equal ease: LOVE ME OR LEAVE ME / ALL MY LIFE / WANG WANG BLUES / VIGNETTE / PAPA DE DA DA / SONG OF DREAMS / I’M JUST A LUCKY SO-AND-SO / OLD MAN BOWERS / BLOOMIN’ BLUES / I LOST MY GAL FROM MEMPHIS / ELLIE / BLUE ROOM / CHLOE / STRANGE BLUES / THE BLUEBIRD OF HAPPINESS.  Four of these songs — ELLIE, SONG OF DREAMS, OLD MAN BOWERS, and BLOOMIN’ BLUES — are flavorful originals by Brad Roth: each of them with a distinctive character, so much more than lines superimposed on familiar chord changes.  And the tidy, ingenious arrangements are by Dan Barrett, master of written charts and impromptu riffs and backgrounds.

If you wanted a compact living definition of what Stanley Dance called “Mainstream” in the twenty-first century, this CD would be a vivid multi-dimensional example.

The instrumental performances themselves are marvelous: Bryan’s trumpet, glowing or growling, seems to move from one beautiful phrase to the next without strain — no cliches here — and his solos have their own architectural sense, which translates into performances with shape, starting simply and rising to emotional peaks.  To me, Dan Barrett has been a model of the way to play trombone since I first heard him about a quarter-century ago. Evan Arntzen shines on clarinet and saxophone, finding just the right lines to enhance an ensemble and creating soaring solos.  And the rhythm section is all anyone could want: our splendid friend Ehud Asherie, who can merge Fats or the Lion, sauntering down the street (from one hot-dog stand to the next) with his own version of witty “modernist” swing.  Brad Roth — whether on banjo, sweet rhythm guitar, or single-string electric, adds so much to the ensemble, as do John Dominguez (supple and solid) and the ever-surprising Jeff Hamilton.

The overall effect varies from selection to selection, but I heard evocations of a Johnny Hodges small group, a live Basie performance circa 1940; a Buck Clayton Jam Session; the 1940 Ellington band, and more — and the performances benefit so much from what Ruby Braff used to do on the stand: to avoid monotony, he would subdivide a quartet into even smaller bands, playing duets and trios within it. BLUE ROOM offers us a trumpet-banjo verse; I’M JUST A LUCKY SO-AND-SO does the same but with trumpet and piano.

Even though there are a few mood pieces, this is a reassuringly optimistic CD, from the absolutely delicious swing of LOVE ME OR LEAVE ME, ALL MY LIFE, BLUE ROOM . . . to the soaring (nearly operatic) assertion of the title song. Bryan believes in that BLUEBIRD, and the CD will bring happiness to anyone able to listen — and listen — to it in the right spirit. You can hear brief excerpts (each slightly less than thirty seconds) here and here, but I predict those tiny tastes will serve only to whet your appetite for the whole experience.

Some words from Bryan about the whole delicious enterprise:

This album was recorded by me, Bryan Shaw, at my studio in Costa Mesa, California, over 2 days in early November 2010. No overdubs. I met with Brad and John several time to brainstorm tunes, but no rehearsals. Dan had told me that he didn’t have time for any arrangements, then he showed up at the session with a key drive full of new charts, having stayed up all night for several days. We would record the charts as they came out of the printer.

I picked the songs with my heart, not my head.

The odd cover, initially a pencil sketch drawn by my daughter, shows a cozy old fashioned cottage with a garden and an old car. But when you open it up, you realize that there is a futuristic hovering BLUE spacecar in front. In the background is a big city of the future — and it may not even be earth.

Why?

I enjoy old jazz, gardening, old values, and more.  But I have my hovering space car to be able to function in the modern world. In my real life, I have fruit trees, extensive gardens, chickens, I raise fish in aquaponics. My roof is covered in solar panels and I generate all my own electricity. My hovering space car is my minivan that will drop me off at the airport for the next festival or cruise.

My concept on this album was a response to the world as I see it today. I believe that people need to turn off the TV and follow their hearts. I decided to follow mine long ago. I wanted to make music, even though playing a musical instrument is impossible. If you give any adult a musical instrument for the first time, they can’t play it. To become a musician you have to do the impossible — every day, over and over, till some day you can do it in public.

This CD is my attempt to put some basic principles of mine into music.  TIME: “When” is more important than “What.”  TONE: Be true to the voice you have. I don’t have a singing voice so I sing through the trumpet.  ENSEMBLE: A good jazz ensemble is a spontaneous conversation of seven players, each with an story to tell. You can tell that we actually were listening to each other and responding to the conversation. DYNAMICS: A jazz band with dynamics! We did bring it down to simmer at times. HARMONY: I’m tired of jazz players making everything sound ugly. I’m tired of chord changes, I wanted chord progressions. MELODY: Another forgotten concept. I lose interest in jazz when the melody becomes “the head” and the ensemble becomes “playing the head” (in a bad unison). RHYTHM: I’ve been fortunate to play a fair amount of swing dances and I wanted this CD to be something people could dance to. Rhythm is really the foundation of jazz and it provides the when to the what. BLEND: Fit in, support, harmonize, another lost concept in jazz.

Bryan’s THE BLUEBIRD OF HAPPINESS exemplifies his beliefs in the most melodic, swinging ways possible.

I’ve learned that wishes have power. What I wish for is that people buy this Hot Shots CD and find it as life-enhancing as I have. And then these same people make it known that they want to see this band in action.  It could happen, you know.

May your happiness increase!

THROUGH MANY LANDS, BECKY AND RANDY JOURNEY, BRINGING MELODY

From Portland (Oregon) to Oakland (California) to be precise.

Rebecca Kilgore and the fine pianist Randy Porter are coming south for a duet concert on Friday, January 31, 2014, at 8 PM.  They will present “a wide variety of songs from the Thirties to the present, celebrating the musicians they love, including Billie Holiday, Marilyn Monroe, Judy Garland, Dave Frishberg, Lyle Ritz, honoring composers famous or obscure. Tender or exuberant, Rebecca and Randy team up for a memorable program.”  The place? Piedmont Piano Company, 1728 San Pablo Ave. (at 18th), Oakland, California. To reserve tickets, please call (510) 547-8188.  Their website is www.piedmontpiano.com.  Tickets are $20.

I’ve only heard our Becky for the last fifteen years or so — which is enough to form an opinion of her as a peerless singer and interpreter of songs. I just met Randy in his home town, heard him play, and admire him immensely.  These two have been working together and their concert promises to be a treat for Californians — or denizens of other states as well.

And, by the way, a concert in a piano company will feature a spectacular instrument, good sound, a small, quiet audience . . . so don’t wait, because these events sell out, as I can testify.

May your happiness increase!

HILARY GARDNER’S QUIET TRIUMPHS (Jazz at Kitano, September 25, 2013)

The Beloved and I went to see and hear the fine singer Hilary Gardner and her band last night at Jazz at Kitano: a wonderful seventy-minute performance.  Her musicians were impressive: Jason Marshall on tenor and soprano saxophone; Ehud Asherie on piano; Elias Bailey on string bass; Kevin Kanner on drums.

That instrumental quartet began the set with a leisurely but pushing I’VE NEVER BEEN IN LOVE BEFORE.  Quickly, we noticed Kanner’s boyish exuberance at the drums; Bailey’s steadiness; Asherie’s inventive ebullience, and Marshall — someone new to me but a splendid mix of Rollins and Southwestern passion (think of Buddy Tate).  I couldn’t predict where his phrases would land, but his lines had a speaking grace.

Hilary has been offering songs that celebrate (or delineate) life in New York, relating to her CD, THE GREAT CITY.  Often those songs have been dryly witty, salty glances at life-as-it-is-lived in Manhattan.  (There are very few songs about the boroughs, one notices.  Apologies to Staten Island and the Bronx, especially.)

She began with THE GREAT CITY, whose message isn’t the optimistic fraudulence of “If you can make it here . . . ”  Rather, the song suggests that one wants to keep a clear path to the exit at the same time one enters the Manhattan cosmos.  WHEELERS AND DEALERS had much of the same balsamic-vinegar flavor.

But there were love songs — Ronnell Bright’s cheerful SWEET PUMPKIN, the more subdued THIS LITTLE TOWN IS PARIS (associated with Beverly Kenney), the wry tale of an urban love that is transmitted but not received, SWEETHEART — sung by the imagined protagonist, who is moony over a male customer she waits on in the doughnut shop.  Another of Hilary’s creations was the love song to the lost world, WHEN THE WORLD WAS YOUNG.  (For the first time, I thought that this song — in its possibly melodramatic verse and more familiar chorus — has a sideways kinship with JUST A GIGOLO.)

The performances I have briefly listed would act as convincing evidence that Hilary is a superb singer: her multi-colored voice, her unerring time, her fine but subtle dramatic sense, her wit, her swinging ability to let the song pour through her rather than insisting that the song sit behind her.

But the show had three triumphs where she outdid herself.  And the remarkable connection among those three performances was that they were all of “familiar” songs, which could in other hands have been formulaic, predictable, unsurprising.  Hilary didn’t “do” anything to these three songs to change them — the songs didn’t need it — but she embodied them with deep feeling, freshness, and ardor.  The first was, in honor of the season, ‘T’IS AUTUMN.  I love the song for its melody and its sentimental associations, but think the lyrics alternate between the touching, the almost too-cute, and the inept: “La-di-da, di-da-di-da,” to me, is a lyricist being sweetly unambitious.  But I love “the birds got together / to chirp about the weather,” with unshakable affection.  Hilary took the song at a slightly slower tempo, letting us hear its sweet whimsicality without a trace of contemporary irony. When she sang, “My holding you close really is no crime,” I thought I could see several men in the row in front of us lean forward hopefully, expectantly. They had fallen under her spell and the song’s.

Then, she essayed Dave Frishberg’s DO YOU MISS NEW YORK?  Frishberg’s songs are so remarkable in themselves, and many of us remember their composer singing them at the piano, so it is an act of courage for other singers to attempt them in his shadow.  Hilary’s version was only a shade slower than I might have expected (the better to let us savor Frishberg’s brilliant witty, wry poetry) but I have never heard a more poignant version.  The song came alive in all its rueful splendor, and it was as if I could hear both Frishberg (as composer) and Hilary (as enactor) discovering just how much they did miss New York, and that the loss was irreparable.

And the sly apex of this trio was Hilary’s sly take on YOU CAME A LONG WAY FROM ST. LOUIS — with its satiric, punchy verse.  I’ve heard some singers deliver that song with the emphatic dismissiveness of someone slamming the door on an ex-lover or an unmasked pretender.  Hilary gave the song a bluesy, groovy slither — as if to say, “Look, pal.  Other people may not have noticed that you are really tofu masquerading as something else — but I know.”  Not angry or mocking, but amused.

I felt as if I had heard these three songs for the first time.  The audience didn’t stand and cheer (they only do that in the movies or for drum solos, I think) but they should have.

You will note that no videos accompany this posting.  I’d decided I wanted to enjoy the show, pretending to be more like my peers than someone peering through the viewfinder.  So you will have to find Hilary at one of her gigs for yourself!  Or you can purchase her CD.  Or you can find her at the next concert of the Sidney Bechet Society — Monday, October 14 — with Evan Christopher, Randy Reinhart, and other notables.

But don’t ignore the exceedingly talented Hilary Gardner.  If you catch on to her subtle beauties, then you can say, in Frishberg’s words, “Me, too.”

May your happiness increase!

WISHING WILL MAKE IT SO, PERHAPS?

I always remember how Wild Bill Davison responded to an audience member’s request that the band play a particular tune, “Get your own band!”  So I write what follows with some amusement and some hope.

I have been able to post some extraordinary videos from the 2011 San Diego Thanksgiving Dixieland Festival thanks to Rae Ann Berry, and she hasn’t completely gotten down to the bottom of her hoard by any means.  But there is one set that has eluded both of us, and since the air seemed to be thick with video cameras at that festival, I am asking my readers to think of JAZZ LIVES kindly.

The set I am trying to find (and post) took place on Saturday night — around 9 PM.  It was originally scheduled as a Reynolds Brothers set, but word must have gotten around, as it does, and by the end of the whole glorious riotous enterprise, the quartet of John, Ralf, Marc, and Katie, had become an All-Star Orchestra, with visitors Brian Casserly, Jeff Hamilton, Tim Laughlin, Dawn Lambeth, Chloe Feoranzo, Peter Meijers, Howard Miyata, Bryan Shaw, Justin Au, Brandon Au, and Nik Snyder* — all on a tiny rectangular bandstand.

They played THREE LITTLE WORDS, FAT AND GREASY, I CRIED FOR YOU, an astonishing MY LITTLE BIMBO, and closed with ‘DEED I DO.

Did anyone capture this set, and (more importantly) are you willing to upload it to YouTube so that it can be posted here?  I would be eternally grateful — and if the music surfaces, other readers of JAZZ LIVES will truly understand why.

Imagine Bing and Eddie Lang working their way through PLEASE, and you’ll get the general idea of my current state of mind.

*Had Dave Frishberg been there, he could have created a wonderful song lyric from just those names alone.

“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 . . . !

“PORTRAIT OF A SONG OBSESSIVE”: REBECCA KILGORE by CHRISTOPHER LOUDON

Published in JAZZ TIMES, May 2011:

Rebecca Kilgore: Portrait of a Song Obsessive

Christopher Loudon gives an Overdue Ovation for Portland-based singer

By Christopher Loudon

Portland is renowned for a lot of things: curbside gourmet delicacies, concerted environmental concern, spectacular roses, great microbreweries. But it is only recently, since the advent of the superbly programmed Portland Jazz Festival in 2004, that the hipster mecca north of San Francisco has earned a wider reputation as a jazz hub. Actually, Portland’s jazz roots are quite deep, and among the strongest of those roots is vocalist and (occasional) guitarist Rebecca Kilgore.

 Confer with her collaborators and the compliments quickly begin flowing. “Becky is my favorite singer to play for,” says pianist Dave Frishberg, who first partnered with Kilgore on 1994’s Looking at You and has since become her most frequent musical confidant. “She is technically a marvelous singer,” he continues, “[and] always in shape. Her voice sounds great, and her delivery is flawless.” John Pizzarelli, a longtime fan and recent recording mate on several albums, including the new Lovefest at the PIZZArelli Party (Arbors), adds, “She just sings perfectly. She’s a dream of a studio singer. You just feel great when you’re in the room with her. You’re happy to be there, and you know it’s going to work.”

High praise, particularly for a performer so inherently shy she waited until age 30 before making her professional debut. Raised in the Boston suburb of Waltham, Kilgore’s first love was folk music. “When I was in high school,” she says, “I was into Joan Baez and Judy Collins and people like that. I got a guitar and strummed along. Then I discovered a disc jockey in the area who played classic jazz. I got acquainted with Billie Holiday and Ella Fitzgerald and Anita O’Day and just flipped. Those singers took me on a complete musical detour. They were my teachers, because I never had any formal training. I consider myself so fortunate to be a torchbearer for that style of singing.”

Toward the end of the 1970s, Kilgore relocated to Portland. Alone in a new town and eager to make friends, she regularly attended local music gigs. One night she caught a jazz act called Wholly Cats. “There was a gal in the group playing rhythm guitar and singing,” she recalls, “and that’s what I did in the privacy of my own home. We became fast friends, and when she decided to quit the group, she suggested I try out. I was aghast. I didn’t think I could sing professionally, but the idea got stuck in my head, and I got the job. It was a major turning point in my life. I loved being with musicians, loved learning new music all the time, and it was like a whole new family for me. There was no turning back after that.”

In 1982, Kilgore made her recording debut with Wholly Cats, then rapidly widened her horizons, working with drummer Hal Smith’s Rhythmakers and his Roadrunners, joining the Bob Wills-style Western swing outfit Ranch Dressing, performing with fiddle player Hollis Taylor and joining pianist John Sheridan’s Dream Band.

Another major turning point came in 1991, when Frishberg, having settled in Portland, began a two-night-per-week gig at the Heathman Hotel. He performed with the late cornet player Jim Goodwin for the first couple of months, and after Goodwin departed, the hotel said they’d prefer a singer in the band. Frishberg reached out to Kilgore, who at the time was holding down a secretarial day job at Reed College. When she got the call from Frishberg, she decided it was finally time to devote her full attention to music. “It was like jumping off a cliff,” she laughs, “but it worked out. I think of my life as ‘before Dave’ and ‘after Dave.’ I am so grateful for everything I have learned from him. He is such a high quality musician and is very inspiring.”

During their five-year run at the Heathman, Kilgore got the chance to dig deep into the Great American Songbook. “Her repertoire is enormous,” says Frishberg. “The entire time we played the Heathman, she kept a log of all the songs we performed. After our final show, she handed me a printout of the entire log. We’d performed over 500 songs, and many of them we only did once. Every time I’d come to the gig, I knew she’d have something new. It was very stimulating.”

“I never like to do the tried and true,” says Kilgore. “My passion is discovering songs. When I uncover a song it is like falling in love, and I want to impart to the audience the fun and the beauty of finding it.” Nearly as ardent a musical archivist as Michael Feinstein, a professed Kilgore fan, she comes across vintage tunes in a variety of ways. “Some people send me CDs and say, ‘Here are some songs you might like.’ There was a gentleman from Savannah who was a Johnny Mercer expert, and he sent me an entire disc of Mercer obscurities. I’d never heard of any of them, and I know a lot of Mercer songs! And sometimes when I’m in a shopping mall, I’ll be listening to the Muzak and a song will pop up that I’d forgotten all about. The music just comes into my life. I seem to be a magnet for good songs.”

Nor is Kilgore opposed to newer material. “I don’t go out of my way to avoid contemporary songs,” she says. “I believe we’re in the middle of a resurgence of good songwriting, so I’m always on the lookout. My fishing lines aren’t always in the contemporary world, but I’m trying!”

As for her guitar work, though both Frishberg and Pizzarelli praise her playing, Kilgore considers herself “a pretty basic guitarist. I look at my guitar as a tool. That’s how I study music and learn songs. In my Western swing days, I used to play rhythm guitar, but these days I sing with such wonderful pianists that my guitar playing would be pretty gratuitous.”

In addition to Frishberg, Kilgore has forged long-term relationships with several artists, including guitarist/banjoist/vocalist Eddie Erickson, pianist Keith Ingham, saxophonist Harry Allen and the man she calls her “musical soulmate,” trombonist Dan Barrett. “Lester Young to Billie Holiday, that’s how I consider Dan and me,” she says. “He and I think alike, we hear the same lines and we love the same recordings, though what I know about old jazz is the tip of the iceberg compared to what he knows. He is a walking encyclopedia.”

It was Barrett, via Frishberg, who first introduced Kilgore to Arbors Records co-founder Mat Domber. “Dave tells the story,” says Kilgore, “that he and Dan were on tour. While traveling in the car together, Dave said, ‘I have this cassette of this singer,’ and Dan rolled his eyes and said, ‘Oh, no, not another vocalist!’”

Kilgore’s association with Arbors has continued apace since 1994, when she recorded I Saw Stars with a band featuring Frishberg and Bucky Pizzarelli. (Barrett wrote most of the arrangements.) “Rebecca is an outstanding talent,” says Domber. “And she is a very easy person to work with. She always comes prepared and knows her business. She has almost perfect pitch and a great sense of a lyric. In my opinion, she’s the best jazz singer around today.”

Also the most prolific. Since 1982, Kilgore has appeared, as leader or featured vocalist, on no fewer than 49 albums spanning 16 labels. “Sometimes I worry,” she confesses, “that the world is going to say, ‘Oh, another Kilgore CD, who cares?’” Still, in addition to Lovefest, she planned two more releases for 2011, both for Arbors. Available now is Live at Feinstein’s at Loews Regency, a document of a program she performed last summer with the Harry Allen Quartet, “Lady Day and Prez: A Musical Tribute to Billie Holiday and Lester Young.” The show allowed Kilgore to further explore the Holiday-Young symbiosis, but in the company of Allen rather than Barrett. As New York Times reviewer Stephen Holden raved, “The show’s avoidance of slavish imitation made for the best kind of tribute: one that captured the streamlined ease of performances in which Holiday and Young carried on a spontaneous, private conversation.” And come fall there will be The Sound of Music, a continuation of the Broadway series that she, Allen and Erickson launched a few years ago with South Pacific and Guys and Dolls.

At 61, she has no intention to slow down. “The problem,” she gleefully insists, “is that there are so many great songs. My desk is an absolute mess because of a huge stack of sheet music. I’ll take one off the top and incorporate it into my repertoire and then add five more to the pile. My tombstone is going to read, ‘I can’t go yet—I haven’t learned all the songs!’”

Recommended Listening:

I Saw Stars (Arbors, 1995)

The Music of Jimmy Van Heusen (Jump, 2005)

Why Fight the Feeling? Songs by Frank Loesser (Arbors, 2008)

Sure Thing: Rebecca Kilgore Sings the Music of Jerome Kern (Audiophile, 2010)

Lovefest at the PIZZArelli Party (Arbors, 2011)