Tag Archives: Duke Heitger

BORN ON THE 28th of FEBRUARY

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

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

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

 

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

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

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

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

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

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

May your happiness increase!

FLIP LEAVES US WITH A SHOUT: MARTY GROSZ, JAMES DAPOGNY, DUKE HEITGER, DAN BLOCK, CHUCK WILSON, DAN BARRETT, VINCE GIORDANO, PETE SIERS (Jazz at Chautauqua, September 2008)

A math problem or perhaps a logic one.  When you add this

and this

what is the result?  From my perspective, pure joy and a delightful surprise.

The Hawk.

Here and here I’ve shared the story of Flip as well as two otherwise undocumented live performances by Randy Reinhart, Jon-Erik Kellso, Duke Heitger, James Dapogny, John Sheridan, Marty Grosz, Vince Giordano, John Von Ohlen at the September 2008 Jazz at Chautauqua weekend.

Horace Henderson.

And here is Flip’s final gift to us — a performance of the Horace Henderson composition (recorded in 1933 by a small group led by Coleman Hawkins) JAMAICA SHOUT by Marty Grosz, guitar; James Dapogny, piano; Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet and tenor sax; Chuck Wilson, alto saxophone; Vince Giordano, string bass; Pete Siers, drums:

There are many things I do not know about this song and this performance.  I suspect that the JAMAICA in the title refers to the Long Island, New York suburb — “the country” in 1933 — rather than the Caribbean island, but neither Walter C. Allen nor John Chilton has anything to say on the subject.  I don’t know if the chart is Marty’s or Jim’s, but it certainly honors the original while giving the players ample room to be themselves.

I do know why I only recorded three performances — fear of the Roman-emperor-of-Hot Joe Boughton, who could be fierce — but I wish I had been more daring.  You’ll note that my video-capture has all the earmarks of illicit, sub rosa work — there is a splendid Parade of Torsos by men entirely oblivious of my presence and camera, but Louis forgive them, they knew not what they did.  And they may have been returning to their seats with slices of cake, a phenomenon which tends to blot out all cognition.  (On that note, Corrections Officials here or on YouTube who write in to criticize the video will be politely berated.)  However, the music is audible; the performance survives; and we can celebrate the living while mourning the departed, James Dapogny and Chuck Wilson, who are very much alive here.

There are many more newly-unearthed and never-shared performances from the 2011-17 Jazz at Chautauqua and Cleveland Classic Jazz Party to come: one of the benefits of archaeological apartment-tidying.  For now, I thank Flip, who enabled this music to live on.  And the musicians, of course — some of whom can still raise a SHOUT when the time is right.

May your happiness increase!

“IN THAT FREE-AND-EASY MANNER”: MENNO DAAMS’ INTERNATIONAL SERENADERS BRING ALEX HILL TO LIFE (Whitley Bay, November 4, 2016)

Early on November 4, 2016, an august group of informally-attired gentlemen assembled within the Village Hotel in Newcastle, England, at what is now called Mike Durham’s Whitley bay Classic Jazz Party to rehearse their set of songs and arrangements by the most-talented and most short-lived Alex Hill.  Their aims: to have a jubilee and also do some needed functionizin’.

The truly all-star band was led by trumpeter / scholar / arranger Menno Daams,  and was comprised of David Boeddinghaus, piano; Spats Langham, guitar and vocal; Henry Lemaire, string bass; Richard Pite, drums;  Rico Tomasso, Duke Heitger, trumpets; Jean-Francois Bonnel, Richard Exall, Robert Fowler, Lars Frank, reeds; Jim Fryer, Alistair Allan, trombones.

This was a rehearsal: thus, not everything had already been polished through focused playing and replaying, but the absence of an audience occasionally lets musicians cut loose and experiment.  I’ve intentionally left in the pre-and-post comments to give listeners the experience of being there.

And although they knew I was there, they happily managed to ignore me, which was fine then and turned into a great boon for all of us.  I had a wonderful view of the chairs, but one must sit far enough back in the room to capture everyone in the band. My focus wasn’t perfect, but at least you can blame the camera rather than its operator.  The sound is clear, and the absence of an audience, bringing pint mugs back and forth and chatting, is a great boon, although sharp-eared video observers will hear some commentary which usually stops when the band begins.

About the band name: I don’t think Menno and Co. had an official collective sobriquet in the program, and many of the original Hill sessions were issued as “his Hollywood Sepians,” and no amount of linguistic immolation on my part could convert that to a group title both appropriate and inoffensive.  I will leave the possible variations on that theme to you, and comments offering such names will, alas, never see the light of cyber-day.

On to the blessed music.  LET’S HAVE A JUBILEE:

SONG OF THE PLOW:

AIN’T IT NICE?:

DISSONANCE (Mezz Mezzrow took credit, but it is a Hill composition and arrangement):

DELTA BOUND (with wonderful singing by Mr. Langham, typically):

FUNCTIONIZIN’, a close cousin of SQUEEZE ME:

KEEP A SONG IN YOUR SOUL, wise advice:

One of the unannounced pleasures of this Party, held this November in the same space [the “v.snuggly” Village Hotel] is that well-behaved listeners are welcome to sit in on rehearsals — a rare pleasure.  Blessings on Alex, Menno, and the wonderful musicians for their splendid work in keeping the good sounds alive.

And just so you know my enthusiasm is global, not local, this comment, relayed through my good friend Sir Robert Cox: “Tom [that’s Spats] said how brilliant Menno’s arrangements were and how much, to their astonishment, rehearsal had taken only 45 minutes. He said that, never in the history of the party, had a rehearsal lasted less than an hour.”

May your happiness increase!

THE FURTHER GLORIOUS ADVENTURES OF OUR FRIEND FLIP: MARTY GROSZ, JAMES DAPOGNY, JON-ERIK KELLSO, DUKE HEITGER, VINCE GIORDANO, JOHN VON OHLEN (Jazz at Chautauqua 2008)

We could begin here:

But I’d rather begin with Flip and come back to that song.  I would urge those unaware of the glory of Flip to visit here, with otherwise unknown and unrecorded hot jazz.  And here’s Flip, in case you’ve never met the little friend:

But this post is really about two heroes.  One is this deity:

another is this dear down-to-earth majestic presence (who would surely make a joke out of that appellation), James Dapogny:

And they come together in September 2008, at that wonderful weekend of music we were fortunate enough to call Jazz at Chautauqua.  Absolute joy, brought to us by the Flip video camera. Marty Grosz, guitar, vocal, dangerous badinage, offers one section of his HORACE GERLACH TRIBUTE MELODY MEMORIAL with Jon-Erik Kellso, Duke Heitger, trumpet; Professor James Dapogny, piano; Vince Giordano, string bass; John Von Ohlen, drums. In the video, slow-moving cheerfully oblivious couples swim by. They know not what they do. But we do.

Thus:

To me, this song and this performance are extremely touching because of their heartfelt Louisness — please understand that when I hear Louis singing and playing (let us say LA VIE EN ROSE over a restaurant’s sound system) my eyes fill up and I have to prevent myself from standing up with my hand over my heart.  Because Joe Boughton would not — in 2008 — have allowed me to record this performance openly from a front-row seat, I chose to be near the piano and thus hear more of the Professor than I would have otherwise.  What a blessing!

Writing this post and hearing this song, I think of Jim, of Louis, and all the people I love who have moved on.  We can not meet again in the usual ways, and that is sorrowful.  But through music, we are instantly able to meet in the most inspiring ways; we are in touch with each other as soon as I hear a note or think of some moments we shared.  Perhaps you might, as I have done, watch and absorb this performance once for our own pleasure, then again in honor of those beloved individuals.

May your happiness increase!

“LET MIRTH BE KING”: MARTY GROSZ, FRANK TATE, SCOTT ROBINSON, DUKE HEITGER at JAZZ AT CHAUTAUQUA (September 20, 2013)

Unless you were at the Hotel Athenaeum on September 20, 2013, this music will be new to you, and if you were in the audience that day, it might simply be a wistful memory.  But here — thanks to the magic of the video camera, the forbearance of the musicians, and the grace of Nancy Hancock Griffith and Kathy Hancock — I can present to you a short set by a Marty Grosz band featuring the leader on guitar, vocal, banter, Frank Tate on string bass, Scott Robinson on reeds, and Duke Heitger, trumpet.  I think this was the last year the weekend festival was held in upstate New York before moving to Cleveland, where it resided happily for another few years.  I miss it terribly and know that others share my feelings.

But now, some vibrant music from a quartet of revelers — all four still happily with us.  Intricate jammed counterpoint; irresistible rhythmic bounce; repertoire worth rediscovering . . . it could only be a Grosz small group, with echoes of Condon, Red McKenzie, Fats and others.

A small technological note: the first half of IT’S A SIN TO TELL A LIE wasn’t recorded: it’s possible I had to change the camera’s battery.  But the second half is too good to ignore.

Marty and the Spots, thanks to Eddie Durham and others:

and a song I learned from a 1937 Dick Robertson record featuring Bobby Hackett:

and Sidney Bechet’s composition:

and, the second half:

Sharing these performances with you, I think this is why, since 1970, I brought audio recording equipment (cassette recorder, reel-to-reel tape deck, digital recorder) and now pounds of video equipment (Flip, Sony, Panasonic, Rode) wherever I could, to concerts and clubs and gigs.  My goal?  To make the evanescent become permanent, the players and the sounds immortal.

May your happiness increase!

WHEN BEING “MAD” IS PLEASURE (1924, 1938, and 2017)

Our subjects today are the overlap of “madness” and “pleasure.”  Please be prepared to take notes.

“But first, this,” as they used to say on public radio.

PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren’t issued, except for this one.  Did the record company find it too direct to be acceptable?  Here’s Ethel Waters’ version, clear as a bell:

Perhaps the song continued to be performed with those lyrics, but I don’t have any evidence.  However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O’Neil Spencer:

There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?

While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks!  12 pounds!) to share with you.  A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham’s International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.

Here are three samples, videoed by me, songs and personnels named:

and

and

I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience.  The Party continues to do its special magic splendidly, a magic that videos only partially convey.  This year it’s November 1-3, and details can be found here.  And if you search JAZZ LIVES for “Whitley Bay” or “Durham,” you will find a deluge of posts and videos.

But this post isn’t exactly about the Party as such, nor is it about my videos.  Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling.  It’s called PLEASURE MAD: ‘LIVE RECORDINGS FROM MIKE DURHAM’S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007).  As I wrote above, 36 live performances in beautiful sound.

And the sound is worth noting, with delight.  At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could.  But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years.  Torstein is a phenomenal player, so I may be permitted this digression:

He’s got it, for sure.  And his recordings are wonderful.

Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie “the Lion” Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:

And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle.  If I’ve left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.

I think it’s taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay.  A few highlights, deeply subjective: Martin Litton’s sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham’s NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis’ WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN’ BLUES with layers and textures as rich as great architecture.  You will find your own favorites; those are mine of the moment.

My advice?  If you can, get thee to the Party, where seats are going fast.  Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades.  If you can’t get to the UK, you can still purchase the set, which I urge you to do.

The CD is obtainable from website: https://whitleybayjazzfest.com
email:wbjazzfest@btinternet.comFor more information, contact patti_durham1@btinternet.com.

And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, “Well, Officers, I’m PLEASURE MAD!  Would you like to come in?” And all will be well.

May your happiness increase!

HOT, SWEET, HOTTER: ROSSANO SPORTIELLO and FRIENDS at CLEVELAND (Sept. 15, 2017), PART TWO: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, FRANK TATE, HAL SMITH

I posted the first part of a frankly incendiary set from the now-lamented Cleveland Classic Jazz Party here, and it seems just the right time to offer the three performances from the second half.

ROSSANO.

Rossano and his majestice friends — Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet; Scott Robinson, tenor saxophone; Frank Tate, string bass; Hal Smith, drums — really know how to do it, to play the venerable repertoire with loving care so that it doesn’t seem stale or by-the-numbers, with heartfelt solos, intelligent ensemble work, and lovely tempos.

Here’s Kid Ory’s SAVOY BLUES:

Eddie Condon always mixed in beautiful ballads with the hot numbers, so Rossano features Dan Barrett in GHOST OF A CHANCE:

Since time was running out, the final number was compact — AFTER YOU’VE GONE.  But Rossano brilliantly said, “Four choruses, ensemble,” and offered us this memorable evocation of easy teamwork in the land of Hot:

Unforgettable.  And another reason to be grateful — to the musicians, to the traditions they embody, and to Nancy Hancock Griffith and Kathy Hancock.  We who were there know why.

May your happiness increase!