Tag Archives: Dion Tucker

BECKY MAILS IT! (BRYAN SHAW, DAN BARRETT, CARL SONNY LEYLAND, JOEL FORBES, EDDIE ERICKSON, JEFF HAMILTON)

Rebecca Kilgore is coming to New York in April 2019 to sing, uplift, and to teach.  In case you need to be reminded of her magic and the music she engenders in her fellow musicians, here’s a sunny example — with Jeff Hamilton, drums; Joel Forbes, string bass; Eddie Erickson, guitar; Carl Sonny Leyland, piano; Dan Barrett, trombone; Bryan Shaw, trumpet.  This swing miracle took place some years back (March 5, 2011) at Dixieland Monterey:

Communication is essential, even when you’re writing the letter to yourself in lieu of one you’re hoping to get.  And everyone on that stand knows how to send a heartfelt message Express Mail right to our hearts.

The dear Ms. Kilgore is coming east for the best reasons.  Hark!

Here is the link to the Facebook page, and you can see the website listed in the advertisement above.  April seems a long time away, but enterprises such as this fill up early, so don’t wait for the crocuses to burst through the ground.  Rather than sending yourself a letter, make yourself a gift of enrolling.

May your happiness increase!

Advertisements

HONEY IN THE EAR: SCOTT ROBINSON, DION TUCKER, MATT MUNISTERI, NEAL MINER: The EarRegulars at The Ear Inn, March 10, 2013

Two aesthetic quotations come to mind.  The first, from Hot Lips Page.

I presume that someone asked him why he played _______ instead of _______, and he said, “The material is immaterial,” which suggests that one can be just as creative improvising on the simple as the complex, the familiar as well as the innovative.

The second is from another jazz philosopher, Eddie Condon, who said, “The only question about music is this: does it come in the ear like broken glass or like honey?”

Both Lips and Eddie approve, I am sure, of the music played every Sunday (8-11 PM) by the roving adventurers known as The EarRegulars at The Ear Inn (326 Spring Street, Soho, New York).

And here are a half-dozen samples, organic, locally sourced, and especially free-ranging, from the night of March 10, 2013, when the heroic participants were Matt Munisteri, guitar; Neal Miner, string bass; Dion Tucker, trombone; Scott Robinson, tenor saxophone and jazzophone.

If you flinch  because “all the tunes are old,” just remember what Lips said.  And enjoy the honeyed bliss of the sweet and hot music.

ROYAL GARDEN BLUES:

BABY, WON’T YOU PLEASE COME HOME?:

SOMEBODY STOLE MY GAL:

AT THE JAZZ BAND BALL:

A HUNDRED YEARS FROM TODAY:

LOUISIANA:

You can find connections to Bix, Basie and Lester, to Jack Teagarden.  But The EarRegulars are always having a fine time in fresh fields and pastures new.  These players create such casual playful brilliance that they are, singly and collectively, a joy to experience.  In case Dion Tucker is new to you, let this be a proper introduction to another young melodic hero.  And, yes, that is a jazzophone Scott is playing.  Matt Munisteri and Neal Miner lift and anchor us as always, with splendid grace.  Marvel, children!  Tell your friends.

May your happiness increase.

“SEARCH ENGINE TERMS,” 2010

It’s that time again: our irregular compendium of the odd ways that 1) people find this blog, and 2) what they think they are looking for, often the answer to a question or an attempt to locate something vaguely defined.  Here are seven, with some often flippant commentary attached.

fats waller vs billie holiday

I wish I knew what the searcher had in mind: was (s)he considering the repertoire Fats and Billie had in common, or their particular approaches to songs, or their respective popularity or the sales figures of their records?  The image it calls to mind is of Jazz Wrestling or Jazz Boxing.  Fats would have been able to stifle Billie by sheer bulk, but she’d have it over him on mobility, tenacity, and perhaps rage.  And what color trunks would they wear? 

what year did mildred bailey get fat

The mind reels.  What is there to say?  The nature of the question ends all inquiry, I think. 

louis armstrong on cakes

I want to know where this bakery is.  My birthday is in November, and I wouldn’t mind a Louis-cake at all.  Or is “on cakes” rather like “on skates,” modifying the subject in a different way; thus, Louis caught in the act of eating some cake?  Do tell.

song title they called her easy

An actual song, or a mis-hearing of something more familiar? 

youtube carl montana trombone

You know, he worked with the WGJB for a short time — a mountainous player with a wonderful range!

what snare drum did nick fatool play

clyde hurley autograph

These two move me from satire to delight.  To think that someone was asking the first question; to think that someone was sufficiently interested in the  great and little-known trumpeter Hurley . . . these are a pleasure.

A postscript, with amusement.  One day after I posted this, a new entry appeared, its subject the fine trombonist Dion Tucker, whom I’ve seen with David Ostwald’s Louis Armstrong Centennial Band at Birdland on Wednesdays:

dion tucker does he have kids

“Who wants to know?” I say.  Dion, if you read my blog, let me know so that I can put someone’s mind at ease . . .

FOR LOUIS: BIRDLAND, April 14, 2010

It’s very simple.  For just about ten years, David Ostwald (tubaist-raconteur) has organized regular Wednesday jazz sessions at Birdland in midtown Manhattan, getting congenial friends together to honor Louis Armstrong.  Depending on the phase of the moon, the band is called either the GULLY LOW JAZZ BAND or the LOUIS ARMSTRONG CENTENNIAL BAND.  Names don’t matter much — GULLY LOW BLUES was one of Louis’s most stirring recordings of 1927, and the CENTENNIAL BAND plays music associated with The Master.

David could not be there this night — April 14, 2010 — and it took two players to replace him.  One was Vince Giordano, singing, announcing tunes, and playing banjo, keeping the rhythm riding.  Bass chores were handled nimbly by Brian Nalepka, who slapped away in fine style and also sang on SUNNY SIDE OF THE STREET.  That hero of the snare drum, Marion Felder, kept a swinging pulse without raising his volume.  In the front line, a newcomer to Birdland (but not to us), clarinetist Dennis Lichtman wove beautiful curlicues around the melody, making every note count.  Dion Tucker, sometimes gruff, sometimes tender, shone in solo and in ensemble.  And Gordon Au constructed lovely solos whether the band was lamenting or shouting. 

(I only found out something about Gordon’s heroic ancestry — and that’s because the Beloved asked the right question: did you know that his “Uncle Howie” is the extraordinary trumpet / tuba / trombone / vocalist Howard Miyata, with the High Sierra Jazz Band and the New El Dorado Jazz Band?  Gordon didn’t take lessons from his uncle, but Howard did give his young nephew a cornet . . . from which marvels have come.)

The band began, as it usually does, with WHEN IT’S SLEEPY TIME DOWN SOUTH that segues into INDIANA, the way Louis used to begin his concerts with the All-Stars:

Then Vince called the joyous Fats Waller tune, I’M CRAZY ‘BOUT MY BABY (something Louis sang and played so beautifully in the Fifties).  And Vince sang, exuberantly:

ON THE SUNNY SIDE OF THE STREET, a classic at a number of tempos, was Brian Nalepka’s choice for a vocal feature:

(For his feature, Dion Tucker did a sorrowing I SURRENDER, DEAR, but I had technical problems with the video — the sweet-natured waitperson came over in the middle of it to ask us culinary questions.  Sorry, Dion!)

Returning to the Land of Waller, Vince called for a brisk AIN’T MISBEHAVIN’ — at a tempo that reminded him of the 1929 version that Bill Robinson recorded with a small Ellington contingent:

Dennis Lichtman showed his fluid swing on BLUE SKIES (fitting because Louis loved Irving Berlin’s melodies and, I think, recorded this one circa 1943 with his big band):

An audience member (was it Steve?) called out HELLO, DOLLY! when Vince asked for requests:

The second set began with a rocking CHINATOWN, MY CHINATOWN:

Vince reminded us that Louis’s recordings of WHEN YOU’RE SMILING are slow and spacious, frankly operatic:

And — for a closing rouser — the band launched into AFTER YOU’VE GONE:

All for you, Louis!

OUR NEW YORK JAZZ HOLIDAY (June 7-10, 2009)

It wasn’t really a holiday.  I still had to get up and go to work, which I proudly did, even when mildly wobbly.  The Beloved had her deadlines to meet, too. 

But last Sunday – Wednesday were a jazz feast in New York City, and (remembering my loyal readers who don’t always get to the same gigs we do) I brought my trusty video camera.* 

I won’t rhapsodize about the music.  As Charlie Parker told the terminally unhip Earl Wilson, “Music speaks louder than words.” 

The week began on Sunday (that’s The Ear Inn calendar rather than the Julian or the Georgian) at 8 PM, when New Orleanian Duke Heitger joined Jon-Erik Kellso, Matt Munisteri, and Neal Miner for hot, soulful jazz.  Here, from the first set, is a rollicking yet serious WEARY BLUES:

Those who know their Hot History will already be aware that Duke comes from a musical family (his father, Ray, is a splendid clarinetist) but that Duke himself was inspired to dig deeper and soar higher by his exposure to another Michigander, Maestro Kellso.  So this was a playing reunion of two friends, brotherly improvisers. 

The second set at the Ear usually brings surprises.  Trombonist Harvey Tibbs had joined the band at the end of the first set, and he was joined by Dan Block on clarinet and the truly divine Tamar Korn, who sings with the Cangelosi Cards. 

Tamar’s final song (of three) was a genuinely ethereal MOONGLOW — and even the rocking head of the woman in front of me couldn’t distract me from the beauty Tamar and the band created.  Not only did Tamar become one lonely Mills Brother; she became Eddie South; she sang most touchingly.  And, in the middle, Jon-Erik and Duke growled, moaned, and plunged; then Harvey and Dan summoned up the ghosts of Lawrence Brown and Barney Bigard.  When it was all over, Jackie Kellso turned to me and reverently said, “That has to be the most beautiful thing I’ve ever heard,” and I wasn’t about to argue with her. 

Monday found the Beloved and myself dressed up for a visit to the Oak Room of the Algonquin Hotel — where singer / pianist Daryl Sherman was performing a centennial tribute to Johnny Mercer with the help of Wycliffe Gordon, James Chirillo, and Boots Maleson.  Daryl, bless her, gave my favorite unknown Mercer song its “live premiere,” as a sweet duet with Wycliffe.  THE BATHTUB RAN OVER AGAIN, for that’s its name, has never been performed much — but its classic debut was on a 1934 Decca session where Mercer himself sang it (he was a wonderfully wry singer) with the help of Jack Teagarden, Sterling Bose, and Dick McDonough.  The recording’s hard to find but it is a prize, as is this performance, impish and sweet at the same time.  (Matilda, the Algonquin’s resident cat, now thirteen, was snooty as always to us, but beauty is its own burden, even if you’re a Ragdoll.  Perhaps especially so?)

Tuesday found us uptown at Roth’s Westside Steakhouse for a duet session by Duke and pianist Ehud Asherie.  They began with a dreamily romantic YOU TOOK ADVANTAGE OF ME at a slow tempo, which suggested to me that the advantage-taking was something sought after.  Without imitating anyone, Duke evoked Ruby Braff and Bobby Hackett; Ehud’s stroll had the leisurely pace of great slow-motion stride playing. 

Then, the duo performed one of my favorite 1939-40 Basie classics, Lester Young’s dancing TICKLE-TOE, with true gliding style.

Duke and Ehud then decided to explore ALL THE THINGS YOU ARE (thought by some to be the sole property of “modern” jazzmen — how wrong such narrow thinking is!) — complete with its lovely verse.

Trombonist John Allred, who had been waiting for his steak to arrive, decided to jump forward to dessert, so he joined Duke and Ehud for a rousing TEA FOR TWO:

Duke and Ehud then created a sprinting version of James P. Johnson’s RUNNIN’ WILD:

After dinner, John came back for a jubilant THEM THERE EYES:

 On Wednesday, I met the Beloved at Birdland (which could be the title of a good Thirties pop song) for a special assemblage — David Ostwald’s Louis Armstrong Centennial Band (David, Anat Cohen, Dion Tucker, Kevin Dorn) plus guests Duke Heitger and Dick Hyman.  Here they are for a beautiful, hymnlike reading of Ellington’s SOLITUDE.  Duke’s Louis-lyricism and Hyman’s chiming chords are specially moving here:

Clarinetist and prankster Ken Peplowski had been in the club (before the music began) for an informal photo shoot, and he came onstage to join them for a frisky version of Don Redman’s HEAH ME TALKIN’ TO YA (or YOU, for the formal):

 

More to come!  Watch this space! 

*The asterisk is to remind any cinematic auteurs that my cinematography is at best functional: the music’s the thing, no matter how many people walk through my shot or sit in front of my lens.  I haven’t managed to make any dark, cluttered, noisy club into an ideal set, but I keep trying.

LORNA SASS’S JAZZ PORTRAITS (June 2009)

People know Lorna Sass’s brilliant photographs of Sicilian wildflowers, Utah rock formations, blossoms in Central Park, and urban landscapes: gargoyles and animals leering from apartment buildings, fences and benches, the architecture we don’t always see.  But how many people know her as a superb jazz photographer, someone who catches sound and emotion while they’re still fresh?  Here are some portraits taken in the last few days.  They resonate.  And if you don’t know Lorna’s fauna and flora, visit www.lornasassatlarge.wordpress.com

Daryl Sherman and Wycliffe Gordon at the Oak Room

Daryl Sherman and Wycliffe Gordon at the Oak Room

Duke Heitger, John Allred, and Ehud Asherie at Roth's Westside Steakhouse

Duke Heitger, John Allred, and Ehud Asherie at Roth's Westside Steakhouse

David Ostwald, Kevin Dorn, Ken Peplowski, Anat Cohen, Duke Heitger, Dion Tucker at Birdland

David Ostwald, Kevin Dorn, Ken Peplowski, Anat Cohen, Duke Heitger, Dion Tucker at Birdland

Ehud Asherie studies Dick Hyman at Birdland

Ehud Asherie studies Dick Hyman at Birdland

MORE BIRDLAND BLISS (March 4, 2009)

The heroes return: David Ostwald (tuba), Jon-Erik Kellso (trumpet), Dion Tucker (trombone), Anat Cohen (clarinet), Mark Shane (piano), Kevin Dorn (drums) for “one up, one down.”

The “one up” is I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME, one of those Thirties songs that can find its own identity at a variety of tempos, from ballad slow to this cheerful rock.  I like the Kellso-inspired riffs behind Anat’s solo, Mark’s playing behind the soloists, Dion’s modern guttiness, another Braffish riff, Kevin’s brushwork, and Mark’s energetic delicacy — catch what he does in the bridge of his first chorus.  Something for everyone!

A highlight of the evening was David’s calling MAYBE YOU’LL BE THERE (written, I think, by Charles LaVere) — a wistful, lonely ballad immortalized first by Jack Teagarden with the Armstrong All-Stars, later by Frank Sinatra.  It it not only a lovely song, but a wonderful performance — a true example of jazz heroism for Dion, who was not terribly familiar with its contours, but played it beautifully with one eye on the lead sheet.  In fact, Jon-Erik, Dion, and Mark do that most rewarding thing — summoning up the great forefathers Louis, Jack, and Teddy — without copying a note or a gesture.  Three cheers!

And more to come!  We expect to be at Birdland on March 18th to celebrate George Avakian’s ninetieth birthday.  You come, too . . . !