Tag Archives: Donald Lambert

TAKE IT FROM THEM: NEVILLE DICKIE and DANNY COOTS PLAY FATS WALLER (Scott Joplin International Ragtime Festival; Sedalia, Missouri; May 31, 2018)

One of the great pleasures of the 2018 Scott Joplin International Ragtime Festival was their Fats Waller tribute concert — guess who was second row center with camera and tripod as his date?  I will share videos of the Holland-Coots Quintet playing and singing superbly, but first, something rich and rare, the opportunity to hear Neville Dickie in person.  I’ve heard him on recordings for years, but how he plays!  Steady, swinging, inventive, and without cliche.

Some pianists who want to be Wallerizing go from one learned four-bar motif to the next, but not Neville, who has so wonderfully internalized all kinds of piano playing that they long ago became him, as natural as speech.  Eloquent, witty speech, I might add.

Some might think, “What’s a drummer doing up there with that pianist?” but when the drummer is Danny Coots, it’s impudent to ask that question, because Danny adds so much and listens so deeply.  And there is a long tradition of Piano and Traps.  I thought immediately of James P. Johnson and Eddie Dougherty, of Frank Melrose and Tommy Taylor, of Donald Lambert and Howard Kadison, of Willie “the Lion” Smith and Jo Jones, of Sammy Price and Sidney Catlett, of Pete Johnson, Albert Ammons, and Jimmy Hoskins . . . and I am sure that there are other teams I have left out here.

Danny’s tap-dancer’s breaks may catch your ear (how expert!) but his steady color-filled but subtle support is what I admire even more.  He’s always paying attention, which is no small thing no matter what instrument you play.  In life.

Here are the four selections this inspired duo performed at the concert: only one of them a familiar Waller composition, which is also very refreshing.  Need I point out how rewarding these compact performances are — they are all almost the length of a 12″ 78 but they never feel squeezed or rushed.  Medium tempos, too.

A NEW KIND OF A MAN WITH A NEW KIND OF LOVE comes, as Neville says, from a piano roll — but this rendition has none of the familiar rhythmic stiffness that some reverent pianists now think necessary:

TAKE IT FROM ME (I’M TAKIN’ TO YOU) has slightly formulaic lyrics by Stanley Adams, but it’s a very cheerful melody.  I knew it first from the 1931 Leo Reisman version with Lee Wiley and Bubber Miley, which is a wondrous combination.  But Neville and Danny have the same jovial spirit.  And they play the verse!  Catch how they move the rhythms around from a very subtle rolling bass to a light-hearted 4/4 with Danny accenting in 2 now and again:

Then, the one recognized classic, thanks to Louis and a thousand others, I’VE GOT A FEELING I’M FALLING.  Neville, who certainly knows how to talk to audiences, is a very amusing raconteur in addition to everything else.  And the feeling I get when he and Danny go from the rather oratorical reading of the verse into tempo!

Finally (alas!) there’s CONCENTRATIN’ (ON YOU) which I know from recordings by the peerless Mildred Bailey and Connie (not yet Connee) Boswell: I can hear their versions in my mind’s ear.  But Neville and Danny have joined those aural memories for me:

What a pair!  Mr. Waller approves.  As do I.  As did the audience.

May your happiness increase!

Advertisements

DAN MORGENSTERN REMEMBERS FRIENDS AND HEROES (Part Three: March 3, 2017)

Dan Morgenstern is a remarkable person, lively and kind, and would be so if he had been a veterinarian with only a passing interest in music.  But even better for us: he hung out with [and wrote about] some of the greatest artists we know and still revere.  I continue to feel immensely fortunate that I could visit him, and that he so generously shared some candid loving stories of people who many of us know only as a photograph or a sound emerging from a speaker.

For those of you who have been otherwise occupied, and I understand, I have posted videos where Dan speaks of Tommy Benford, Frank Newton, Al Hall, Mary Lou Williams and her friends, Donald Lambert, Eubie Blake, Willie “the Lion” Smith, Nat Lorber, Buddy Tate, Gene Ramey, Lester Young (twice for Pres).

But before you leap in, a small caveat.  Dan is soft-spoken, and my few comments from behind the camera are louder.  Friends have pointed this out, and I have been penitent, citing inexperience rather than ego and I will balance the audio better on our future encounters.  The first five videos are here.

More friends and heroes.  Eddie Condon (and I had to say a few things, given my reverence for Eddie):

Buster Bailey, Stanley Dance, Coleman Hawkins, cameos by Milt Jackson, Roy Eldridge, Joe Thomas, John S. Wilson, Billy Kyle, Louis, and Dan’s thoughts on writing about artists:

More about Coleman Hawkins, Benny Carter, Ben Webster, with comments about Sir Charles Thompson, Thelonious Monk, Dizzy Gillespie, and Charlie Parker as well:

Notice in the second interview that Dan took an unpaid gig because “it will be good for the musicians.”  And I am touched by Coleman Hawkins’ generosities (acceptance in to the tribe) to Dan — which Dan has repaid us ten thousandfold.  More to come.

May your happiness increase!

DAN MORGENSTERN REMEMBERS FRIENDS AND HEROES (Part One: March 3, 2017)

On Friday, March 3, 2017, I had the immense honor of visiting Dan Morgenstern at his home on the Upper West Side of New York City.  I brought my video camera.  Dan and I sat in his living room and he graciously talked about the wonderful people he has encountered.  I am writing this simply, without adjectives, because I truly don’t know how to convey the pleasure of being able to ask this delightful man questions about his friends and heroes.  Our heroes, too.

Dan offered telling portraits of Lester Young, Mary Lou Williams, Tony Fruscella, Brew Moore, Lee Wiley, Donald Lambert, Willie “the Lion” Smith, Dick Wilson,Olivia de Havilland, Andy Kirk, Ben Webster, Curly Howard, Bud Powell, Jack Teagarden, Jimmy Rushing, Teddy Wilson, Stan Getz, Joe Thomas, Jimmy Rowles, Buster Bailey, Eddie Condon, Vic Dickenson, and more.

My premise, which Dan had approved of, was that I would ask him about people, “Talent Deserving Wider Recognition” in the DOWN BEAT phrase, who didn’t get the attention they deserve.  I thought it best to speak of musicians who have moved on, because if the conversation was about the living (who are also deserving of recognition!) someone’s feelings might be hurt by being left out.

We spent more than four hours together, and the cliche that the “time just flew” is appropriate.  I recorded twelve segments, and present the first three here. Look for the others soon.  If you’ve never heard or seen Dan in person, you will soon delight in his enthusiasm, wit, sharp recollection of details — the kind of telling details that a novelist would envy — and graciousness.  And he was seriously pleased to be able to tell true first-hand stories to you — this audience of people who know who Hot Lips Page is.

and!

and!

We have another afternoon session planned, with a list of  people we did not talk about the first time.  As I say, I have kept my language restrained for fear of gushing, but we are blessed to have such a generous wise unaffected fellow in our midst.  Of course he has great material to share with us, but he is a magnificent storyteller.  And for those who savor such details: Dan is 87.  Amazing, no?

May your happiness increase!

“KALEIDOSTRIDE”: PHILIPPE SOUPLET AT THE PIANO

Pianist Philippe Souplet makes lovable music.  Here is what I wrote about the young man — born in 1967! — in 2010, complete with videos, and this is my review, that same year, of his first CD, PIANO STORIES.  Although he and I have never met in person, as they say in the boroughs, “We go WAY back.”

SOUPLET

It took about eight bars of Philippe’s new solo piano CD, KALEIDOSTRIDE, to charm me.  In fact, it had that rare and delightful apparent contradiction of effects: I felt both excited and relaxed.  I prescribe it for all disorders, emotional, nervous, or physical — and especially for those proud readers who say, “Disorders? Not me!”

Now you can stop reading and begin listening: here are extracts from the CD, to soothe the agitated, to elate the low, to educate the wise, to bring joy:

The excerpts are not identified visually, but if you visit the description beneath this video on YouTube, you will find all the necessary details.

What I find particularly delightful is Philippe’s deep understanding of what this kind of orchestral piano is and isn’t.  Yes, it is inherently athletic (try moving your left hand at a Waller tempo for four minutes, never mind about the keyboard or where it might land) but it need not be forceful or loud.  As flashy as virtuosic stride playing might be, its heart is not speed or density.  What Philippe understands and demonstrates is the winning combination of lightness, subtlety, and lyricism: sweet melodies superimposed over a magic carpet, never faltering, of intriguing harmonies and irrepressible rhythms.  Yes, he knows his Waller, his Tatum, his James P. — but he’s also listened hard to Wilson and more “modern” players: I hear Hank Jones as well as Donald Lambert, and that’s high praise.

Of the fourteen performances on this disc, three are “standards”: Strayhorn’s LOTUS BLOSSOM, James P. Johnson’s YOU CAN’T LOSE A BROKEN HEART, and Ellington’s COTTON TAIL.  The remainder — with humorous titles — are Philippe’s own, and rather than being improvisations on familiar chord structures, they are charming evocations of the sound and style of pianists he admires.  Not imitations, mind you — one Waller cliche after another, for instance — but evocations.  I heard some of this music for the first time without access to the notes, and I could say, “Wow, that Tatum-idea is beautifully executed,” or “That young man has been listening hard to Oscar Peterson.” The pianists evoked are monumental: Waller, the Lion, James P., Tatum, Ellington, but also Francois Rilhac, Herman Chittison, and Aaron Bridgers.  It’s a delightful recital, and beautifully recorded as well.

The CD is Philippe’s own project and you can order it by contacting him at psouplet@wanadoo.fr.  Each disc is 18 Euros plus shipping, which 3 Euros in France, 5 in EEC, 7 outside EEC — priority mail).  PayPal is “the easiest way.”

I hope many people are as impressed by M. Souplet: he deserves your attention.

May your happiness increase!

“BEAUTIFUL LOVE, YOU’RE ALL A MYSTERY”: REBECCA KILGORE / KEITH INGHAM (ALLEGHENY JAZZ PARTY, September 19, 2014)

BEAUTIFUL LOVE Bing

The haunting waltz BEAUTIFUL LOVE was composed in 1931, music credited to Wayne King, Victor Young, and Egbert Van Alstyne; lyrics to Haven Gillespie. That is an eminent group of artists.  I don’t know whether King insisted that his name be put on the music (thus, he would receive royalties) before he would perform the song.  On no evidence whatsoever, I think Victor Young might be most responsible for this melody.

I do know that I first became aware of BEAUTIFUL LOVE through one or another 1934 Art Tatum recording.  Here is his early Decca improvisation, characteristically with everything imaginable offered, including a vivid digression into RUSSIAN LULLABY:

There are, of course, many improvisations on it by Bill Evans, by Helen Merrill, Anita O’Day, Benny Carter, Joe Pass, Kenny Dorham, Lee Konitz, Shirley Horn, George Shearing, and a sweet, intent one by Bing Crosby.

What other song can you think of that has been recorded by both Donald Lambert and Chick Corea?

In this century, the song retains its popularity among improvisers, if YouTube videos are a measure of that.  Here is a sheet music cover from 1959 with the UK pop singer Edna Savage posing inexplicably:

BEAUTIFUL LOVE Edna Savage

But my new favorite performance of BEAUTIFUL LOVE is this, which took place at the Allegheny Jazz Party on September 19, 2014  —

That’s our Rebecca, Becky Kilgore, and Keith Ingham — in one of their duets in a Victor Young tribute set.  I so admire the varied textures and shadings Becky brings to individual words and to those words, made into tapestries of sound and feeling.  The most modest of stars, she is a great understated dramatic actress who seems never to act; she is possessed by the song and rides its great arching wings.

Love is of course the great mystery, whether it is gratified or if it remains elusive.  How the great artists touch us so deeply is perhaps mysterious.  But what we feel and perceive is not — whether we experience it in person or on a recording or a video performance.

To experience an unforgettable weekend of music by Becky and friends, one need only visit here to find out all one needs to know about the Allegheny Jazz Party, taking place in Cleveland, Ohio, September 10-13, 2015.

May your happiness increase!

“SWEETIE DEAR”: MIKE LIPSKIN AT THE PIANO (August 15, 2013)

Authenticity is immediately recognizable, no matter where one finds it.

Hearing Mike Lipskin at the piano, it’s immediately evident that he didn’t learn his stride from a DVD or a book of transcriptions.  No, he lived and breathed it as a young man — studying with Willie “the Lion” Smith, learning from Cliff Jackson, Willie Gant, and by playing alongside such modern masters as Dick Hyman (their friendship goes back 45 years and continues to this day).  Experience and improvisation rather than copying gestures and figures.

Although Mike is seriously influenced by the great players who were the Lion’s contemporaries — James P. Johnson, Fats Waller, Don Lambert — and later generations, his style is much more than pastiche: he has his own sound, a steady yet flexible pace, delicious voicings, a nimble tread at the keyboard.

In addition, Mike is a humorist at play: in any performance, there will be playful surprises — modulations up a step or down, key changes for a few bars, and more.  Anything to keep the terrain from becoming too level and too predictable.

The Beloved and I had the great good fortune to hear a mini-recital by Mike, happily at his own piano in his Nicasio home (with the very loving audience including his wife, the swinging Dinah Lee).  Here’s one of the highlights: Mike’s solo rendition of SWEETIE DEAR, composed by Joe Jordan, most well-known for the quick one-step recording from 1932 by Sidney Bechet, Tommy Ladnier, and Hank Duncan (as the New Orleans Feetwarmers) — riffing seriously all the way through:

Mike’s version is calmer, although subtly propulsive.  In the great piano tradition, his sweet improvisation begins in affectionate rubato mode (love can’t be rushed), moves into a strolling tempo, and then to a jaunt before settling down for a conclusion.

On the West Coast, Mike can be found at Bix Restaurant and Pier 23 in San Francisco, and there will be another Stride Summit in Filoli in 2014.  You can keep up with him on his Facebook page or website.

He brings joy, and young players should be coming to study him.  He has much to share with us — not only about music but about joy.

And if you missed the Stride Summits of August 2013, or the resulting videos, you have only to click here to admire Mike amidst his friends Dick Hyman, Stephanie Trick, Clint Baker, and Paul Mehling.  Swing, you cats!

May your happiness increase!

STRIDE PARADISE FOUND: DICK HYMAN, MIKE LIPSKIN, STEPHANIE TRICK, DINAH LEE, CLINT BAKER, PAUL MEHLING, and SURPRISE GUEST PAOLO ALDERIGHI

Last Saturday and Sunday, the Beloved and I were privileged to see and hear three wonderful concerts — Stride Piano Summits — at the Lesher Arts Center in Walnut Creek, California, and the new SFJAZZ Center in San Francisco.  The eminent players and singers are as shown in my title.  If you were there, I think you are still smiling; if you weren’t, you will feel forlorn when reading about the performances you missed.

A very brief summary follows: Dick and Mike began with a duet on Fats’ HANDFUL OF KEYS; Stephanie frolicked through Eubie’s TROUBLESOME IVORIES; Stephanie and Mike paid tribute to James P. with OLD FASHIONED LOVE and KEEP OFF THE GRASS; Dick and Mike offered SNOWY MORNING BLUES and Porter’s IT’S ALL RIGHT WITH ME; Mike created delicious variations on LOVER; Dinah Lee sang her way right into our hearts with Fats’ THERE’S A MAN IN MY LIFE and the pretty (but rarely heard) ZING WENT THE STRINGS OF MY HEART.  Stephanie began to rock the house with Pete Johnson’s DEATH RAY BOOGIE but Dick, Clint, and Paul crept onstage to join in; Dick offered a solo piano interlude that (depending on the concert) covered AIN’T MISBEHAVIN’ – JITTERBUG WALTZ – STEALIN’ APPLES, or James P.’s ECCENTRICITY and Hyman’s own SCRABBLE.  Mike became both Fats and Andy Razaf for one of his own evocative, funny compositions, COULD IT BE YOU’RE FALLING IN LOVE?  Mike and Dick again joined forces for an evocation of the Louisiana Sugar Babes’ THOU SWELL; a seismic I’LL SEE YOU IN MY DREAMS by Dick and Stephanie followed; a wildly creative Hyman solo set — LULLABY (early Gershwin, from his first string quartet), I GOT PLENTY OF NUTTIN’, and HONEYCUKLE ROSE, had us cheering; Dinah returned for a beautifully focused HARLEM BUTTERFLY and SUGAR (with two verses, no less); Mike transformed the Beatles’ YESTERDAY into something worthy of Don Lambert; a trio jam on SWEET GEORGIA BROWN by Clint, Paul, and Dick was followed by a real delight, a duet on RUNNIN’ WILD by Stephanie Trick and a young man very close to her heart, Paolo Alderighi.  This gave way to a more expansive jam session — complete with bench-swapping and musical hijinks from everyone on I NEVER KNEW; the encore, I’M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER, brought Dinah back, tender and witty.

Are you breathless yet?  (And I might have missed a song or two.)

A few words.  The well-paced and remarkably-paced evenings are thanks to Maestro Lipskin, who has a very good idea of what is needed to keep an audience happy.  (Some stride events are all Allegretto — solo, duo, or all-hands-on-deck — and the pace is quickly wearying.) He’s also a wonderfully authentic player on his own: you could close your eyes and feel transported to Fats Waller’s house in St. Albans, Queens, for an afternoon: no rush, no fuss, nothing out of place.

Stephanie Trick has continued to blossom as an artist who not only can duplicate the leaps and entrechats needed for this style, but can invent her own caprices.  Her TROUBLESOME IVORIES was anything but, and she kept Eubie’s spirit alive while swinging out in her own terms.  Her pianistic partner, Paolo Alderighi, has been justly praised in this blog, and he didn’t disappoint in person: his amazing technique is matched by a swooping but right-on-target improvisatory sense, no matter what end of the keyboard he is at.

Dinah Lee was warm, funny, sweet, and salty — all in good time and with a large honeyed voice that honored the songs.  Clint Baker swung out on string bass, clarinet, and cornet (as he always does), and Paul Mehling’s rhythmic swing and single-string solos were a treat.

That leaves the Patriarch, Dick Hyman — who is somewhere in his eighth decade, playing astonishing music: inventive, startling, rangy, energized . . . the art of a great musical thinker, athlete, and instant composer who can imagine other musical worlds and gently transport us there.

Individually, these musicians held us rapt: in combinations, they created new synergies that left us open-mouthed or grinning widely.  I only hope that the Lesher Arts Center and SFJAZZ understood what marvels had taken place, and invite these magicians back in 2014 to amaze us again.

May your happiness increase!