Tag Archives: Erroll Garner

A SPLENDID FOURSOME: JAMES P. JOHNSON, STEPHANIE TRICK, ERROLL GARNER, PAOLO ALDERIGHI

Stephanie and Paolo, by Nicola Stranieri.

Some listeners who know the glowing pianistics of Stephanie Trick and Paolo Alderighi will look at their new double-CD release, one disc celebrating Stephanie playing James P. Johnson, the other doing the same with Paolo playing Erroll Garner and think, “Those crazy kids.  How long can a mixed marriage last?  Is there couples’ counselling for duo-pianists?”

 

But it’s all piano jazz, rollicking, soulful, pensive.  And history is on the side of expansiveness, not contraction.  If you lived in New York in 1944-5, you could go to hear the Erroll Garner Trio (with John Simmons and Doc West) playing on “Swing Street,” that block of Fifty-Second Street between Sixth and Seventh Avenues, then you could walk to the nearest IRT Broadway line, drop a nickel in the turnstile, and ride down to Greenwich Village, the Pied Piper or the Riviera, to hear James P. Johnson (and Willie “the Lion” Smith and a young Dick Hyman) play.  It was all the same beautiful world.  And that musical expansiveness continues on this CD set.

If you like metaphor, and I do, the more fanciful the better, I imagine Paolo and Stephanie painting the practice room in their house.  Paolo has already methodically painted the walls and ceiling blue — sky-blue for the walls, dark blue for the ceiling, and Stephanie is on a ladder, painting silver luminous stars on the ceiling.  Then they switch, and Paolo paints a door pink while Stephanie finishes the trim.  And they fold the dropcloths and clean the brushes together, before collapsing in the next room while the paint dries. 

They both believe in swing; they both play the piano with orchestral sweep; they both love melodies and their embellishments.  And when the two-CD set is over, all a listener can do is marvel at the way dissimilar approaches reach the same gorgeous objectives.

But enough words.  Perhaps a few sounds?

James P. Johnson’s aptly named JINGLES, by Stephanie:

Erroll Garner’s MISTY, by Paolo:

Having heard these beautiful forays into jazz, you don’t need a lot of explanation. And certainly one of the nicest things about this CD set is that it is a musical metaphor for our best and rarest behavior: that we are all different, that Stephanie isn’t Paolo, that James P. isn’t Erroll, but that we come together in harmony. And harmonies. We could all learn that life isn’t Harlem uptown, that cutting-contests have their place but they aren’t a way to live. Peaceable swingdom, rather.

The set is a beautiful package — wonderful recorded sound, pleasing design, and annotations by Paolo, Stephanie, Scott Brown, and Mark Borowsky. You can see the tune listing here. And I emphasize that this set isn’t an exercise in imitation. Evocation, yes, but Stephanie and Paolo bring their own personalities to the music at every turn. Paolo joins Stephanie for a few James P. compositions; Stephanie returns the favor on the second disc, and since Erroll played most of his life in the trio format, Paolo is accompanied by Roberto Piccolo, string bass; Nicola Stranieri, drums. It can be purchased as a two-disc set or as a digital download. Either way, it will bring joy.

As the deep-voiced announcers used to say, “Now, HERE’S how to order!”: http://stephanietrick.com/CD_Order_Form2020_JPEG.pdf.

May your happiness increase!

HAPPY 95th BIRTHDAY, GEORGE WEIN!

In front, Bobby Hackett, Louis Armstrong, George Wein; behind them, Joe Newman, Dizzy Gillespie — at the July 1970 celebration of Louis at the Newport Jazz Festival.

I saw the pleasing news on Facebook — and in an online source called CELEBRITY ACCESS, which summed it all up with a video and these words (if the New York Times had a front-page story, it eluded me, alas):

NEWPORT, RI (CelebrityAccess) — George Wein, the legendary pianist, jazz and festival promoter, turned 95 on Saturday.

Wein, who founded the Newport Jazz Festival and co-founded the Newport Folk Festival, also played a key role in the creation of the New Orleans Jazz & Heritage Festival.

Wein’s birthday was marked by tributes from the likes of James Taylor, Senator Jack Reed, Dianne Reeves, Jason Moran, Nate Smith, and Ben Jaffe.

George deserves a little more fuss.

The Newport Jazz Festival, which he founded in 1954 — and is still a going concern — featured everyone.  The Preservation Hall Jazz Band to Archie Shepp. Duke, Louis, Miles, Trane, Dizzy, Monk, Hamp, Benny, Billie, Roy, Hawk, Pres, Ben.  What other festival featured both Donald Lambert and Sonny Rollins?  If you didn’t appear at Newport — in its now sixty-six year span — you had died before it began [Bessie Smith, Charlie Parker, Frank Newton, Hot Lips Page] or you had missed your set.  George’s reach was extensive and his tastes heroically inclusive.  Those who never got to Rhode Island were nourished by recordings and performance film footage; George created tours — Europe and Japan — that brought the music to eager audiences who would otherwise not have partaken of it first-hand.

Before Newport, George had clubs in Boston: Storyville and Mahogany Hall, where you could enjoy Sidney Catlett, Stan Getz, Sidney Bechet, Lee Konitz, Erroll Garner, and other deities.  When the Newport Jazz Festival took a brief trip to New York, as the Kool Jazz Festival or the JVC Jazz Festival, I was able to see Benny Carter, Allen Eager, Charles Mingus, Lee Wiley, Gene Krupa and others who gladden my heart.  In the early Fifties, George also had a record label — Storyville — where you could hear Milli Vernon and Beryl Booker, Ruby Braff, Teddi King, Ellis Larkins, Johnny Windhurst and Jo Jones.  I’m also reasonably sure that George’s generosity — not publicized, but apparent — kept some musicians in gigs and dinner for long periods.

Incidentally, I am doing all of this delighted salute from memory: George’s 2004 autobiography, MYSELF AMONG OTHERS, is a much more detailed view at almost six hundred pages, so I know I have left out a great deal for which George deserves praise.

George also loves to play the piano and to sing, and although I think those activities have slowed down or ceased in recent years, his pleasure in these activities emerged most fully in the Newport All-Stars, a group that at various times featured Tal Farlow, Pee Wee Russell, Buzzy Drootin, Stephane Grappelli, Joe Venuti, Red Norvo, Norris Turney, Scott Hamilton, Warren Vache, Bud Freeman, Slam Stewart, and others: George’s discography begins in 1951 and its most recent entry is 2012.

I’d like to offer some swinging evidence of George as pianist: not at his own festival in Newport, but at the Grande Parade du Jazz in Nice, in July 1977: a nearly nineteen-minute jam on TAKE THE “A” TRAIN, nominally under the leadership of clarinet legend Barney Bigard — featuring Jimmy Maxwell, Joe Newman, trumpet; Clark Terry, trumpet and flugelhorn; Eddie Daniels, tenor saxophone; Slam Stewart, string bass; Bobby Rosengarden, drums.  Notice the atypically expansive piano solo that George creates at the start: percussive, surprising, mobile . . . and watch Barney Bigard’s delighted face at the end.

Happy birthday, George!  Our lives would be much poorer had you chosen another career.

May your happiness increase!

“STRICTLY FROM PISCES AND NEW YORK”: The FRAN KELLEY MYSTERIES (Part Three)

New information, no answers.

I’ve written about the wonderful and elusive Fran Kelley here and hereI had hoped that her connections to Charlie Parker and Duke Ellington would have stirred up more research, but little has come to light.  (I thank Brian Kane, Nick Rossi, Paolo Alderighi, and CB Datasearch for invaluable finds.)

Let me reintroduce this remarkable person.

You would think that the producer of this concert [advertised in the Los Angeles Times, June 23, 1946] would be as famous as Norman Granz or George Wein:

For those who have forgotten, this was her first concert at UCLA:

These are the beautiful sounds she made possible.

The other side:

The Fran-Tone “waxery” was mentioned in the March 25, 1946 BILLBOARD:

I know that at least four copies of 2004 exist.  But I have no evidence that 2005 has ever been issued.  It’s clear that Fran-Tone did not thrive as a money-making proposition because Fran sold the eight masters she had recorded to Capitol, and Capitol did nothing with them, as far as I know, which amazes me.  Do any readers have access to a comprehensive Capitol discography, and do the Fran-Tone sides appear there?

You would want to hear more about and more from this writer, writing her own condensed autobiography for the liner notes of Jimmy Rowles’ first session as a leader, RARE — BUT WELL DONE, on Liberty Records:

Fran Kelley is strictly from Pisces and New York.  Her love and understanding of music just comes naturally, stemming from her father, whose distinguished voice was heard in leading concert centers both here and abroad.  Fran’s musical background is varied: as an arranger-composer [one score was accepted by Duke Ellington], as a producer [she worked with Lester Horton and Duke Ellington to stage jazz-ballet], as an impresario [Fran presented the first jazz concert ever held at the University of California at Los Angeles which presented Charlie Parker, Lester Young, Nat “King” Cole and Benny Carter], and as an expert in the field of musical therapy.  Fran is currently West Coast Editor and Representative for Metronome Magazine.   

Here is evidence (from BILLBOARD, February 24, 1958) of what might have been the start of a new brilliant collaboration:

and

The end of the story is told by Ellington himself, in a few lines in MUSIC IS MY MISTRESS: “And there is one more person–Fran Kelley, musician, poet, songwriter, singer, orchestrator, manager, executive. This great woman with all these talents gave up running a radio station and record company in Los Angeles to pursue her spiritual quests in San Francisco.”

When I first bought Fran-Tone 2004, I was captivated by the music and intrigued by its guiding genius.  Surely, I thought, she would have merited an essay if not a biography — multi-talented, one of very few women operating at this high level in the boys’ club of jazz at the time.  But no.  Because I have friends who graciously do research, the twenty or so clippings that are the basis of this research were offered to me.  But Fran seems absent from any book on Bird or Duke.  Why?

Thanks to Brian Kane, a lead opened up — an audible one — because four sides recorded by Fran for her label, with arrangements by Tom Talbert, were preserved and issued on Hep 22, “Memphis in June: Boyd Raeburn and his Orchestra.”  That’s a vinyl issue; the CD (Hep 95) contains only the two Allyn vocals:

Vince DeRosa, French horn; Lenny Hartman, English horn; Harry Klee, alto saxophone, flute; Sam Sachelle, bass clarinet; Hy Mandel, baritone saxophone; Ray Still, oboe; Erroll Garner, piano; Leonard “Lucky” Enois, Allan Reuss, guitar; Harry Babasin, Red Callender, string bass; Jackie Mills, drums; David Allyn, vocal; Tom Talbert, arranger.  AFRS Downbeat, Los Angeles, early 1946

BLACK NIGHT AND FOG (David Allyn vocal) / C JAM BLUES / PLEASE LET ME FORGET (David Allyn vocal) – [also known as PASTEL] / CARAVAN //

Note: Following from “The Most Happy Piano – Errol Garner Discography” by James M. Doran : “According to Jack McKinney, the following personnel are definitely not Raeburn’s, even though these performances were released under his name on Hep (E)22. This studio session was produced by Fran Kelley, probably in conjunction with her Swingposium concert of June 24, 1946, which was to be released on her Fran-tone label. This never happened.”

I’ve obtained a copy of Hep 22, and those four sides are gorgeous.  Guess whose name is absent in the detailed notes by Jack McKinney?  And, for a chance to compete in the bonus round, guess whose name . . . in the biography of Talbert?

And two nearly irrelevant postscripts.  Fran Kelley was married to the trumpeter Clyde Reasinger, who lived until 2018.  Reasinger turns up twice in a data-search in the Sixites, two gossip-column entries.  In a 1962 entry, “Stripper Titian Dal is will shelve her career in favor of marriage to trumpeter Clyde Reasinger,” and a year later Reasinger is playing trumpet for the show NO STRINGS and is married to Karen, who is not identified as a stripper.  I don’t know what that says about the Reasinger-Kelley marriage, but twenty years later, the two parties were apparently living in very different worlds.

As I wrote at the start, no answers.  Speculations, yes.  I could understand that the secular world has taken little notice of someone who chose to leave it, decisively, perhaps in 1958.  And I hope that moving into the spiritual realm gave Fran Kelley the satisfaction that “the music business” did not.  Our choices are mysterious to others, and often they are mysterious to us as well.  So I cannot offer more evidence about why Fran Kelley seemed to disappear.  I can wonder if there was a connection between music therapy and spiritual work, but it is only a speculation.  Did she go underground to write poetry in an ashram?  Did she become a nun ministering to the wounded in a Catholic hospital?

I was ready to publish this post and end on a somewhat despairing note: “I am baffled by the lack of reportage devoted to her, and even now — can I and my little band of research-friends be the only ones on the planet fascinated by who she was, what she did, and where she went?”

But before ending my quest for information, I posted inquiries on an online jazz-research group I belong to, not expecting much, and then Patricia Willard, long-time jazz scholar and writer, emerged like a blessed apparition, and wrote this, which I reprint with her permission and with gratitude:

Re: Fran Kelley, Duke considered her a genius, in 1958 signed her to a contract specifying that anything she produced–music, poetry, spoken ideas et al would be owned by him in exchange for continuing financial support. They both told me this but I never saw the actual contract or knew the precise terms. Among her talents that Duke found most intriguing was that she always knew what time it was–to the second–but never wore a watch (nor did he). Their collaborations were largely on the West Coast during a time when Strayhorn was East. The last times I heard from her (several years hence) were letters, always written on music ms. paper with a San Francisco hotel return address. She had a daughter whose name I unfortunately cannot recall. I met her in the mid-1980s at the invitation of my L.A. neighbor Benny Carter. The daughter was searching for Fran or any of her work and trying to find out if she were still alive. The daughter remembered that Fran had spoken often about her friend Benny. Benny had no recent knowledge of her activities or whereabouts. Two years ago I asked Hilma Carter, Benny’s widow, if she remembered the daughter’s name, and she didn’t. I only recall that it wasn’t Kelley.

Fran Kelley is a novel, although I am no novelist.  But fascinating books are on the horizon.  Patricia Willard is completing three of them — one on Ellington, one on Sinatra, and one a memoir.  I can’t wait to have them on my coffee table, at this desk, and on my nightstand.  I will let you know when they appear.

May your happiness increase!

“I’LL PUT YOUR PICTURE IN THE PAPERS”

Several eBay rambles turned up a hoard of beautiful unseen portraits — from the archives of the photographic giant Brown Brothers (who, I believe, divested themselves of the print archives a number of years ago).  They remind me of a time when musicians, now obscure, were known to a large audience and had their remarkable faces in print.

Here are some of the treasures: the bidding was intense, so I did not acquire any of these, but the images are here for  you to admire for free.  The seller, evansarchive, has only one jazz photograph for sale as I write this, but the other photographs — film and stage actors — are equally fascinating.

Let us start with a particularly rare image — an unusual shot of the John Kirby Sextet on a very small bandstand, with glimpses of Kirby, Charlie Shavers, and Russell Procope (alas, no Buster Bailey) but a remarkable photograph of the short-lived drummer / vocalist O’Neil Spencer:

And here’s another under-celebrated hero, baritone saxophonist Jack Washington, definitely in action in the Count Basie band, with Vic Dickenson and another trombonist, possibly Bennie Morton, to his right.  Vic is ignoring the photographer, but Jack — I think — is a little suspicious of the flash camera so near to his face:

and the real prize (which eluded me), a portrait of Frank Newton on a job:

I suspect this is a spring or summertime gig, given the lightweight suits — at some point Newton put his hand in his right jacket pocket and the flap is half-undone. I can’t identify the pianist, and the club is not familiar to me (which makes me think of Boston rather than New York City) but Ernie Caceres is immediately identifiable — with clarinet rather than baritone saxophone — and the skeptical-looking trombonist (gig fatigue or suspicion of a flashbulb explosion) might be Wilbur DeParis.  But I’d love to know where and when: perhaps this is a hall rather than a jazz club?

Here’s composer, arranger, alto saxophonist Edgar Sampson in a photograph by Otto Hess:

Another Otto Hess photograph: Albert Nicholas and Zutty Singleton.  Does the wall covering suggest Jimmy Ryan’s?

Stuff Smith in action (the photographer crouched behind the drum kit and the flashbulb rendered the underside of the cymbal bright white:

Bobby Hackett at Carnegie Hall, Eddie Condon behind him:

and just in case anyone needed confirmation:

Erroll Garner:

Now, a few masterful percussionists.  Jimmie Crawford:

Ray Bauduc:

and someone identified as Bauduc, but clearly not.  Who’s it?

and some well-dressed luminaries who can certainly be identified, as well as the occasion — World Transcription session, 1944 — Wilbur DeParis, Bob Casey, and Pee Wee Russell:

From another source, Sidney Catlett in full flight.  I can hear this photograph:

As I said, once upon a time these people were stars in larger orbits.  Rather than mourn the shrinking of interest and knowledge, I celebrate the glorious circumstances that made these photographs “news.”

May your happiness increase!

 

THE TREASURE CHEST REOPENS, or HOLY RELICS, CONTINUED

Less than a week ago, I published a post here, marveling at the riches made available in an eBay auction by “jgautographs” which have been all bought up now, including this glorious relic. 

and this:

I don’t know how much Lester’s signature fetched at the end of the bidding, but Mr. Page’s (with the telltale apostrophe, another mark of authenticity) sold for $147.50, which says there is an enlightened and eager audience out there.  That auction offered more than 200 items, and I would have thought the coffers were empty.

Now, the gracious folks as “jgautographs” have offered another seventy items for bid.  I can say “gracious with certainty,” because I’ve had a conversation with the head benefactor.

This is the eBay link, for those who want to get in line early.  The new listing has only one item held over from the past sale, and it is full of riches (including blues luminaries).  I’ll mention only a portion: Ellington, Brubeck, Armstrong, Cootie Williams, Paul Gonsalves, Johnny Hodges, Horace Silver, Stan Getz, Cannonball Adderley, Paul Desmond, Don Byas, Dizzy Gillespie, Cat Anderson, Alberta Hunter, Little Brother Montgomery, Coleman Hawkins, Sippie Wallace, Rex Stewart, Ruby Braff, Lee Konitz, Zoot Sims, Jay McShann, Flip Phillips, Billy Butterfield, Phil Woods, Buck Clayton, Buddy Tate, Benny Carter, Bud Freeman, Thad Jones, Charlie Ventura, Teddy Wilson, Eubie Blake, Roy Eldridge, Sweets Edison, Erroll Garner, Tommy Flanagan, Kenny Dorham, Sonny Rollins — you can explore these delights for yourself, and if you have disposable income and wall space, some treasure might be yours.  Those whose aesthetic scope is larger than mine will also see signatures of Chick Corea, Archie Shepp, and Keith Jarrett among others . . .

For now, I will offer only five Ellingtonians.  And as David Weiner pointed out to me years ago, a sloppy signature is more likely to be authentic, since musicians don’t have desks to sit at after gigs.

Cootie:

Rex:

Cat:

Paul:

Johnny:

Incidentally, “jgautographs” has an astounding website — not just jazz and not just their eBay store: spend a few hours at www.jgautographs.com.

May your happiness increase!

SYCHRONIZED SWINGING: PAOLO ALDERIGHI / STEPHANIE TRICK, “BROADWAY AND MORE”

Listen, first, to Paolo and Stephanie on two pianos, playing Irving Berlin:

I’ve been at many of their live performances and I think this is the first CD to full capture the scope of what they offer so generously.  Perhaps some of it has to do with their being able to record on two pianos: they are a devoted couple for sure, but the freedom, never verbalized on stage, to have the whole bench and keyboard to oneself, could be liberating.  I won’t ask.  Even in 2018, some facts should stay private.

When I’ve seen them perform, audiences are on their feet at the end of the concert — and it’s not because they want to be the first out to their cars.  Rather, Paolo and Stephanie are not only wonderful pianists and great players, but they are old-fashioned performers, dazzling us every time.

The notion of “performers” may get under the skin of some fans, who insist that their beloved artists are akin to Plato’s mad creators, letting the made-up-right-this-moment transformative energy flow through them like electricity.  What those severe elders don’t understand is that everyone who plays or sings rehearses — so the “jam session” “impromptu” glories we revel in are, in fact, the results of years of practice.  So what Paolo and Stephanie create is polished: let’s say their spiritual model is Dick Hyman, not George Zack (you could look him up).  And what they have to play is plenty.

If you know Paolo and Stephanie, you know that initially they had very different ways of approaching the piano: Paolo’s hero is Erroll Garner; Stephanie comes straight from James P. Johnson and his not-brother Pete.  And as they’ve grown and played together, their influences have melded in the nicest ways, but each of them has retained a deep individuality.  Thus it’s not two artists trying to sound like each other, but working lovingly to complement each other.

The result is delightfully varied: each performance is, without artifice, a whole history of jazz piano, from Joplin to the present moment, seamless and convincing.  Since Paolo and Stephanie are world-travelers and multi-lingual, this ease of movement makes each performance a small yet deeply felt travelogue.  We’re invited to come along, and the cabin is first-class.

The repertoire on this new disc is wide-ranging, but always deeply melodic, and the melodic thread is never lost or abandoned even in the most elaborately glittering improvisations.  An analytical jazz fan will find much to marvel at; your relative who protests that (s)he “hates jazz” will also.  Here’s the tune list:

1. Call Me Madam Medley (Berlin) – 6:30
2. Marie (Berlin) – 4:55
3. Make Believe (Kern, Hammerstein II) – 5:01
4. The Lambeth Walk (Gay, Furber) – 3:49
5. Torna a Surriento / Anema e Core (Curtis, Curtis / D’Esposito, Manlio) – 6:44
6. If I Had a Million Dollars (Malneck, Mercer) – 4:04
7. Heartaches (Hoffman, Klenner) – 3:29
8. The Music Man Medley (Willson) – 7:07
9. An Affair to Remember (Warren, Adamson, McCarey) – 4:50
10. West Side Story Medley (Bernstein, Sondheim) – 7:28
11. Penny Lane (McCartney, Lennon) – 4:57
12. Mr. Sandman (Ballard) – 3:59

If you’re not humming one melody or another, reading those words, you need this CD even more.  And for those who know and love these songs, BROADWAY AND MORE is a treat.

Another helping:

Here you can hear other samples from BROADWAY AND MORE, purchase a disc or download the music.

May your happiness increase!

DAN MORGENSTERN RECALLS GENE AMMONS, DEXTER GORDON, ERROLL GARNER, DON BYAS, AND CHICAGO DAYS (September 29, 2017)

On this wintry day — the blizzard outside my New York window looked like bits of ripped-up tissues falling from the skies — what could be more warming than thirty-five minutes with Dan Morgenstern telling tales of his Chicago days, including the story of Gene Ammons’ release from jail?  And Dan reminds us that jazz “is a communal music,” and tells tales of King Kolax and jazz on television as well:

and here’s the second part where Dan talks about jazz on television — the wonderful show “JUST JAZZ,” produced by Robert Kaiser and featuring Erroll Garner, Don Byas, Dexter Gordon, Bobby Hackett and Vic Dickenson:

Thank you, Dan, for warming not only this day but any other day you’re on the scene.

May your happiness increase!

“ONE OF THE GREAT WAYS TO LEARN IS TO DO SOMETHING WRONG”: JERRY DODGION SPEAKS

This interview of the splendid and splendidly durable reed master Jerry Dodgion (born in 1932) created by Ed Joffe, is quite wonderful — not only in his stories of Gerald Wilson, Charlie Mariano, Shorty Rogers, Red Norvo, Frank Sinatra, Erroll Garner, Bill Evans, Jerome Richardson, Thad Jones, Mel Lewis, Joe Newman, Frank Wess, Cannonball Adderley, Coleman Hawkins, Godwin Louis, the importance of the acoustic string bass, playing in a section, and more — but the insight Jerry offers us into the music.

What comes through here is a gentle portrait of a man thoroughly imbued with gratitude, humility, kindness.  That Jerry Dodgion is a saxophone master is beyond dispute: that he exudes the calm sweet intelligence of a fully-realized human being is also evident throughout.  “Life is a learning experience.”  “Get your pen out!”

Even if Jerry Dodgion is not familiar to you, you’ve heard his beautiful sound on many recordings, and the interview is wonderfully rewarding.  Don’t miss the final minutes of this video — his unaccompanied chorus of THAT’S ALL, which is memorable and more.

Here is the source — Joffe Woodwinds — to which we owe a debt of gratitude.

May your happiness increase!

“I THOUGHT I HEARD”: November 1945

No blues lyrics that I know begin with “The mail carrier came today, and (s)he brought me good news,” but it happens to be the case.  Evidence herewith:

Once again, prowling eBay about ten days ago, I saw ten issues of Art Hodes’ THE JAZZ RECORD — a short-lived and wonderful magazine on sale — and I took money out of the  grandchildren’s retirement fund and splurged.  The issues were the prized possession of someone whose name I can’t quite read, and their original owner not only read them avidly, but had a cigarette in his hand . . . typical of the times.

I will in future offer selections — a concert review, or a letter to the editor complaining about varying prices for King Oliver Gennetts — but this is what caught my eye immediately, and the neighbors called to complain that my whimpering was upsetting the dogs in this apartment building.  You will understand why.

On the inside front cover, there is a print column titled I Thought I Heard . . . Buddy Bolden wasn’t audible in 1945, but his heirs and friends were certainly active in New York City.

Stuyvesant Casino, 2nd Ave. at 9th St. — Bunk Johnson’s New Orleans Band

Nick’s, 7th Ave. and 10th St. — Miff Mole and orchestra with [Bujie] Centobie, [Muggsy] Spanier, [Gene] Schroeder, George Hartman, bass, Joe Grauso.

Down Beat, 52nd St. — Art Tatum.

Onyx, 52nd St. — Roy Eldridge.

Three Deuces, 52nd St. — Slam Stewart, Erroll Garner, Hal West. 

Ryan’s, 52nd St. — Sol Yaged, clarinet; Danny Alvin, drums; Hank Duncan, piano.

Cafe Society Downtown, Sheridan Sq. — Benny Morton band, Cliff Jackson, piano.

Cafe Society Uptown, 58th St. — Ed Hall and band.

Spotlight, 52nd St. — Ben Webster.

Yes, Sol Yaged is still with us — the only survivor of those glorious days.

To keep the mellow mood going, here is twenty-nine minutes of Art Hodes and friends from those years.  Spot the typo, win a prize:

May your happiness increase!

TO L.G.

Leonard Gaskin, Eddie South, Allen Tinney, 1947.

Leonard Gaskin, Eddie South, Allen Tinney, 1947.

The string bassist Leonard Gaskin (1920-2009) could and did play with anyone: from Forties bop small groups (including Bird, Miles, Max, Cecil Payne, J.J., and more), to Billie and Connee, to Louis Armstrong to Eddie Condon to pickup groups of all shapes and sizes.  Like Milt Hinton, he was steady, reliable, with a beautiful big sound that fit any ensemble: backing Odetta, Solomon Burke, Earl Hines, Butterbeans and Susie, as well as LaVern Baker, Cecil Scott, Ruby Braff, Kenny Burrell, young Bob Dylan, and Big Maybelle too.

Here is Peter Vacher’s characteristically fine obituary for Leonard.  (I’d like Peter to write mine, but we have yet to work out the details.)

And if you type in “Leonard Gaskin” on YouTube, you can hear more than two hundred performances.

Leonard was the nominal leader of a few “Dixieland” sessions for the Prestige label in 1961.  Another, led by trumpeter Sidney DeParis, was called DIXIELAND HITS COUNTRY AND WESTERN (draw the imagined cover for yourself) with Kenny Davern, Benny Morton, Charlie Queener, Lee Blair, Herbie Lovelle. . . . from whence this sly gem comes:

Here is a loving tribute to Leonard from the singer Seina — it will explain itself:

And since anything even remotely connected with Miles Davis is judged important by a large percentage of jazz listeners, I offer the very Lestorian FOR ADULTS ONLY from February 1953, with Al Cohn (tenor, arranger) Zoot Sims (tenor) John Lewis (piano) Leonard (bass) Kenny Clarke (drums):

and from another musical world, the 1950 poem in praise of awareness, from a Hot Lips Page date, where Lips and Leonard are joined by Jimmy Buxton (tb) Vincent Bair-Bey (as) Ray Abrams (ts) Earl Knight (p) Herbie Lovelle (d) Janie Mickens (vcl):

Now, why am I writing about Mr. Gaskin at this moment?

Sometimes I feel that the cosmos tells me, gently, what or whom to write about — people or artistic creations to celebrate.  I don’t say this as a great puff of ego, that the cosmos has JAZZ LIVES uppermost in its consciousness, but there is a reason for this post.

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Recently, I was in one of my favorite thrift stores, Savers, and of course I wandered to the records.  Great quantities — wearying numbers — of the usual, and then I spotted the 1958 record above.  I’d owned it at one time: a Condon session with Rex Stewart, Herb Hall, Bud Freeman, Cutty Cutshall, Gene Schroeder, Eddie, Leonard, and George Wettling, distinguished by a number of songs associated with the ODJB. (A completely uncredited Dick Cary is audible, and I am fairly sure he would have sketched out lead sheets and spare charts for the unfamiliar songs.) An interesting band, but not the apex of Fifties Condonia.

I debated: did I need this hot artifact.  Then I turned it over, and decided that I did, indeed.

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I suspect that signature is later than 1958, but the real autographs are usually not in the most perfect calligraphy.  And, as always, when a record turns up at a thrift store, I wonder, “Did Grandpa have to move?  Did the folks’ turntable give out?  What’s the story?”

I won’t know, but it gently pushed me to celebrate Leonard Gaskin.

And for those who dote on detail, I’d donated some items to this Savers, and so the record was discounted: I think I paid seventy-two cents.  Too good to ignore.

May your happiness increase!

“I GIVE UP!” TIMES TEN

surrender1

Is surrender capitulating to an enemy, saying “I give up.  You are stronger.” or is it an enlightened act, a realization that there are powers we can’t conquer and that the idea of conquering anything is futile?

I SURRENDER DEAR

I’ve always found I SURRENDER, DEAR — so powerfully connected to Bing Crosby — both touching and mysterious.  As Gordon Clifford’s lyrics tell us, the singer is saying, in effect, “Take me back. Here is my heart.  I give up all pretense of being distant.  I need you,” which is deeply moving, a surrender of all ego-barriers and pretense.  But I’ve never been able to figure out whether “Here, take my heart,” is  greeted with “I’d love to welcome you back,” or “No thanks, I’m full.”  Other songs hold out the possibility of reconciliation (consider IN A LITTLE SECOND-HAND STORE or WE JUST COULDN’T SAY GOODBYE) but this one ends unresolved.  It’s also one of those songs that lends itself to a variety of interpretations: both Bing and Louis in the same year, then a proliferation of tenor saxophonists, and pianists from Monk to Garner to Teddy. And (before the music starts) probably thanks to Roy Eldridge, there’s also an honored tradition of slipping into double-time.

I_Surrender_Dear_(1931_film)_advert

Here, however, are ten versions that move me.

January 1931: Bing Crosby with the Gus Arnheim Orchestra.  Note the orchestral flourishes:

Later that same year: Victor Young and the Brunswick Concert Orchestra, featuring Frank Munn, not enough of the Boswell Sisters (acting as their own concert orchestra) and a few seconds of Tommy Dorsey.  I think this was an effort to show that Paul Whiteman didn’t have a monopoly on musical extravagance, and I’ve never seen a label credit “Paraphrased by . . . “.  I also note the vocal bridge turns to 3/4, and Munn sings “are doing” rather than “were doing,” but we wait patiently for the Sisters to appear, and they do:

Imagine anyone better than Ben Webster?  Here, in 1944, with our hero Hot Lips Page:

Forward several decades: Joe Venuti, Zoot Sims, John Bunch, Milt Hinton, Bobby Rosengarden 1975:

1978 — a duet of Earl Hines and Harry Edison:

Raymond Burke, Butch Thompson, Cie Frazier in New Orleans, 1979:

and something I was privileged to witness and record, flapping fan blades and all, from February 2010 (Tamar Korn, Gordon Au, Dennis Lichtman, Marcus Milius, Debbie Kennedy):

Ray Skjelbred, Marc Caparone, Jim Buchmann, Katie Cavera, Beau Sample, Hal Smith, at the San Diego Jazz Fest in November 2014:

Nobody follows Louis.  1931:

and the majestic version from 1956:

A little tale of the powers of Surrender.  In years past, I would drive into Manhattan, my car full of perishables, and search for a parking spot.  Of course there were none.  I could feel the gelato melting; I could feel my blood pressure rising contrapuntally.  Frustrated beyond belief, I would roll down my window and ask the Parking Goddess for her help.  “I do not ask for your assistance that often, and I admit that I cannot do this on my own.  I am powerless without your help.  Will you be merciful to me?”  And I would then circle the block again and a spot would have opened up.  My theory is that such supplication works only if one is willing to surrender the ego, the facade of one’s own power.  Of course it has also been known to work for other goals, but that is an essay beyond the scope of JAZZ LIVES.

For now, surrender whole-heartedly and see what happens.

May your happiness increase!

FOR THREE, BY THREE: ROSSANO SPORTIELLO, NICKI PARROTT, CHUCK REDD (ATLANTA JAZZ PARTY, April 17, 2015)

One of the finest piano trios ever played amazing music at the 2015 Atlanta Jazz Party — Rossano Sportiello, piano; Nicki Parrott, string bass; Chuck Redd, drums.

ROSSANO

This lengthy performance — three moods, three interludes, three tributes — honors Erroll Garner, George Shearing, and Count Basie, with MISTY, SHE, and SHOE SHINE BOY — creating a world of melodic improvisation, moving from sweet slow rumination to Kansas City romp, Harlem stride — with beautiful string bass and drum work along the way.

Magnificent music: the sort of creative effusion that happens when one of these musicians is on the stand, and even more when the three of them get together.

May your happiness increase!

“TIMME’S TREASURES,” PART TWO

TIMME'S TREASURES

 

 

 

I’d written about this exciting new CD — of material that is both “old,” recorded in 1944-45, and “new,” as in previously unheard — here.  But now I’ve had a chance to hear the disc, and I can recommend it enthusiastically.

It may be difficult for some readers to envision a time and place where everything cannot be instantly recorded on one’s iPhone or Android – through the magic of Instagram and other such phenomena. But these inventions are very recent, and those individuals who actually recorded live jazz performance from the Thirties onwards are my idea of secular saints: Jerry Newman, Jerry Newhouse, the many anonymous home recordists who had their microphones pressed to the radio speaker (no doubt shooing other people out of the room while their Heroes played and sang) and the Baron, Timme Rosenkrantz.

Timme took it especially seriously, apparently inviting musicians to his apartment to play and sing at leisure, in peace and quiet.  He had taste, and an ear for those musicians who were not always in the public eye.  This CD is but a brief sampling, but what it has to offer us is rich and rewarding, music that has not grown old.

Timme loved pianists and tenor saxophonists, so we have precious glimpses of the most subtle Jimmy Jones — one of the music’s forgotten individualists — fifteen minutes of Thelonious Monk, eleven minutes of Garner.  That would be enough for anyone — but add in some new Sidney Catlett, some Stuff Smith (only issued before on Anthony Barnett’s AB Fable label), and gorgeous tenor work from Don Byas and Lucky Thompson — and this disc is one to cherish and revisit.

Through the kindness of Mark Cantor, jazz film scholar extraordinaire, we now know that the singer on EMBRACEABLE YOU, sweetly crooning in the best Eckstine manner, is Kenneth Jackman, who is still with us.  I hope to have an opportunity to speak with Mr. Jackman about these sessions: coming soon to a blogpost near you if all goes well.

Sharp-eyed readers noticed some printing errors both inside and out (they will be corrected in the next batch) and some gaps in the personnel listings, so I offer below a complete, corrected personnel: thanks to, among others, Anthony Barnett, Dan Morgenstern, Mark Cantor, and Fradley Garner:

TIMME ROSENKRANTZ

That Old Black Magic (Harold Arlen) 4:43
Johnny Come Lately (Billy Strayhorn) 3:32 
Tea For Two (Vincent Youmans – Irving Caesar) 2:56

Personnel: Jimmy Jones (p), John Levy (b) on 2, 3, Slam Stewart (b) on 1, 2.

Recorded September 25, 1944 at Timme Rosenkrantz’s apartment, 7 West 46th St., NYC.

Embraceable You (George & Ira Gershwin) 9:25

Personnel: Don Byas (ts), Sammy Benskin (p), Harold McFadden (g) Kenneth Jackman (vo).

Recorded November 20, 1944 at 7 West 46th St., NYC.

Lady Be Good (George & Ira Gershwin) 4:30

Personnel: Don Byas (ts), unidentified (p), unknown (brushes).

Recorded at 7 West 46th St., NYC, probably late 1944.

These Foolish Things (Holt Marvell-Jack Strachey-Harry Link) 6:02
‘Round Midnight (Thelonious Monk) 3:37

Personnel: Thelonious Monk (p).

Recorded November 11, 1944 at 7 West 46th St., NYC.

Swing Test 2149 (Stuff Smith) 3:38

Personnel: Stuff Smith with Frank Froeba and His Back Room Boys.
Stuff Smith (vln), Frank Froeba (p), Dick Kissinger (b)?, Terry Snyder (dr)?.

Radio broadcast, WNEW Sunday Afternoon Swing Session, January 21 or February 11, 1945, Art Ford (mc).

Variation on Rockin’ In Rhythm (Duke Ellington) 5:50

Personnel: Don Byas (ts), unidentified (as) Thelonious Monk (p), Al Hall (b), unidentified (dm)

Recorded at 7 West 46th St., NYC, probably late 1944.

I Got Rhythm (George & Ira Gershwin) 4:10

Personnel:; Stuff Smith with Frank Froeba and His Back Room boys.
Stuff Smith (vln), unknown (tp), Nat Brown (cl), Frank Froeba (p)?, Al Caiola (g), Dick Kissinger (b)?, Terry Snyder (dr), Art Ford (mc).

Radio broadcast, WNEW Sunday Afternoon Swing Session, January 21 or February 11, 1945, Art Ford (mc).
Note: Art Ford introduces the number as “I Got Rhythm”, but Stuff Smith begins playing “Bugle Call Rag”, that afterwards develops into “I Got Rhythm”.

Swing Test Sarah Bell Cuckoo (Don Byas) 2:45

Personnel: Don Byas (ts), Frank Froeba (p)?, Dick Kissinger (b), Sidney Catlett (dm).

Radio broadcast, Art Ford Sunday Afternoon Swing Session, July 15, 1945, Art Ford (mc).

All The Things You Are (Jerome Kern-Oscar Hammerstein II) 11:42

Personnel: Lucky Thompson (ts), Erroll Garner (p), Inez Cavanaugh (vo).

Recorded December 1944 at 7 West 47th St., NYC.

TIMME’S TREASURES lives up to its name.  And the holidays are coming.

May your happiness increase!

TIMME’S TREASURES, or THE BARON’S BOUNTY

Timme Rosenkrantz was born a Danish Baron, but he preferred to identify himself as “a little layman with an ear for music and a heart that beats for jazz.” Duke Ellington, no stranger to the nobility, called him “a very unselfish man who dedicated himself to the great musicians he loved and the music they played.”

A jazz fan on a lifelong pilgrimage, Timme arrived in New York City in 1934 and made dear friends of many musicians, writers, and critics.  His cheerfully light-hearted chronicle of those journeys has been published (translated and edited by Fradley Garner) as HARLEM JAZZ ADVENTURES: A EUROPEAN BARON’S MEMOIR, 1934-1969 (Scarecrow Press).

One of the most tantalizing sections of that book — full of lively anecdotes — is its discography of private recordings that Timme made between 1944 and 1946: a trove, including pianists Erroll Garner, Herman Chittison, Jimmy Jones, Billy Taylor, Ellington, a young Monk, Eddie Heywood, Willie “the Lion” Smith, hornmen Bill Coleman, Gene Sedric, Don Byas, Lucky Thompson, Charlie Shavers, Barney Bigard, Bobby Pratt, Jack Butler, Benny Harris, Vic Dickenson, bassists Slam Stewart and Oscar Pettiford, violinists Stuff Smith and Ray Perry, guitarists Bernard Addison and Zeb Julian, drummers George Wettling and Cliff Leeman . . .

A few of these recordings have been issued commercially (the best example being the Smith and Perry sides on Anthony Barnett’s ABFable label) and others less properly or in edited form.  I first heard some of the music Timme recorded through the collectors’ grapevine, on cassette, in the Eighties, and it still sounds magical, with musicians stretching out, free from the tension of the recording studio or the imposition of the producer’s “taste.”

You can hear more — although there’s only one private recording — of the music Timme cherished from sessions he produced at THE JAZZ BARON, a site devoted to him, his musical adventures, and the book.

But we are going to be able to peek behind the curtain that has kept those privately recorded sessions private . . . soon, because Storyville Records is issuing what I hope will be the first in a series, TIMME’S TREASURES.

TIMME'S TREASURES

I haven’t heard a copy yet, but I am eagerly looking forward to it. How about ten minutes of solo Monk from 1944 — a six-minute THESE FOOLISH THINGS and a four-minute ‘ROUND MIDNIGHT?  Or a quartet of Don Byas, Monk, Al Hall, and an unidentified drummer playing something called LET’S GO for another six?  Broadcast material featuring Stuff Smith, Frank Froeba, Byas, and Sidney Catlett?  More from Lucky Thompson, and a trio session for Jimmy Jones, bassists John Levy and Slam Stewart?

The liner notes are by Timme’s friends Dan Morgenstern and Fradley Garner. And the Storyville Records site will soon have more information about this exciting release.

Here’s a wonderful example — imperishable — of Timme’s taste: a duet for tenor saxophone (Don Byas) and string bass (Slam Stewart) recorded in concert in 1945:

May your happiness increase!

FIVE BEAUTIES FROM AN AFTERNOON AT CASA MEZCAL: ROB ADKINS, DAN BLOCK, EHUD ASHERIE (October 5, 2014)

I’ve written before about my new jazz oasis, Casa Mezcal, 88 Orchard Street, which has a Sunday jazz brunch from 1-4 PM with some of my friends (who also happen to be the finest players and singers in New York).  So far I’ve been there exactly twice, but it is now my Sunday-afternoon port of call.  It is a rare pleasure to see and hear music in daylight, to have interestingly non-formulaic Mexican food, and to encounter a gracious staff.  And then there’s good lighting for the videographer who eats my food.

Two Sundays ago, the trio led by string bassist Rob Adkins (a modest, endearing fellow who plays beautifully) was pianist Ehud Asherie and reedman Dan Block, two of my heroes. Ordinarily, the ethereal and always surprising Tamar Korn is in charge (as she was on October 19 — more about that in a future posting) but this afternoon was strictly instrumental, and beautifully so.

Here are five delicacies from that afternoon:

JUST ONE OF THOSE THINGS, an early-afternoon romp:

HOW ABOUT YOU? — a song I associate with Judy Garland’s sweet early version.  And New York in October has been as warm as it might be in June:

MISTY, which requires a little explanation.  Most musicians I know loathe this song or play it with much reluctance.  Their reaction has nothing to do with Erroll Garner or with Johnny Mathis, but the song has been pulped by overexposure.  Listen, however, to the tender beauty Dan brings to this (after Ehud’s comic interlude ends):

DREAM, that Johnny Mercer classic, is usually taken as a sweet lullaby, but Dan reimagines it (with great flair) at a walking Basie tempo:

SHOE SHINE BOY was my request, since I’d heard Ehud playing the Lester solo as a swing exercise before the first set began:

I may be weary from trying to find parking, and I may get turned around on Delancey Street and have to ask for directions, but I plan to spend my Sunday afternoons at Casa Mezcal until further notice.  The music is fresh and lively (and so is the guacamole).  See you there!

May your happiness increase!

“WHO’S SORRY NOW?” “NOT ME.” PAOLO ALDERIGHI, PHIL FLANIGAN, JEFF HAMILTON at MONTEREY (March 8, 2014)

May I humbly suggest that you put everything down (yes, leave the pretense of multi-tasking alone) and enjoy yourself for six minutes’ plus.

I present three modern swing masters exploring WHO’S SORRY NOW? at the 2014 Jazz Bash by the Bay: Paolo Alderighi, piano; Phil Flanigan, string bass; Jeff Hamilton, drums.

You’ll find your own delights in this performance: there’s the heartbeat sound of Phil’s bass, his time so “right” and his solo voice so sweetly deep; Jeff’s variety of sounds, his dancing wire-brush playing on the cymbals and drumheads; his witty conversation with Paolo — who here reminds me a little of his hero Erroll Garner, but much more of a pianist who’s rarely celebrated, Sir Charles Thompson (still active in his early nineties!) — with a beautiful blend of light-hearted swing and subtle harmonic explorations, offering us the sacred past and his own 2014 variations on theme, sound, voicing, melodic embellishment, dynamics.

I’d offer this performance to any rhythm-section players as a model of communal gracefulness: in it, the soloists speak for themselves but build lovely creations that are far more than three players proceeding down familiar roads together.  Thanks to Rebecca Kilgore for getting these three fellows together, and for creating an atmosphere where such things happen naturally.

This performance is a lesson in beautiful PLAY.

May your happiness increase!

STEPHANIE TRICK, PAOLO ALDERIGHI, MARTY EGGERS, DANNY COOTS: A NIGHT AT THE ROSSMOOR JAZZ CLUB, MARCH 11, 2014 (Part Two)

We had such a good time!  Fine music and warm feelings filled the room when Stephanie Trick and Paolo Alderighi, piano; Marty Eggers, string bass; Danny Coots, drums, played to a full house at the Rossmoor Jazz Club in Walnut Creek, California, on March 11, 2014. For those of you who couldn’t make it, here is the first half of this glorious concert.

“Effervescent” and “versatile” are the two words that come to mind when I think of Stephanie and Paolo.

While you are admiring the beaming pair, please don’t neglect Marty and Danny — rocking and flexible, rhythm men of great renown.

And here’s the rest, with a chocolate-covered surprise at the end.

GRANDPA’S SPELLS (with Paolo’s dangerous but perfectly controlled elbow):

CLOTHESLINE BALLET:

MINOR DRAG:

BOOGIE WOOGIE:

RUNNIN’ WILD:

‘DEED I DO:

IT HAD TO BE YOU:

EXACTLY LIKE YOU:

I WISH I WERE TWINS (as a samba):

TEA FOR TWO CHA CHA CHA:

BALLAD MEDLEY:

ST. LOUIS BLUES:

A Surprise:

(The Rossmoor Jazz Club offers concerts monthly in a beautiful hall for reasonable prices: see here for their schedule and details. Additional concerts are November 19: the Crown Syncopators — Frederick Hodges, Marty Eggers, and Virginia Tichenor; December 10, the Devil Mountain Jazz Band. The Beloved and I will for certain be there when Ray Skjelbred and his Cubs play, and when Clint Baker’s New Orleans Jazz Band romps. Check the schedule for these marvels in the offing.)

May your happiness increase!

STEPHANIE TRICK, PAOLO ALDERIGHI, MARTY EGGERS, DANNY COOTS: A NIGHT AT THE ROSSMOOR JAZZ CLUB, MARCH 11, 2014 (Part One)

Good music and good feelings filled the room when Stephanie Trick and Paolo Alderighi, piano; Marty Eggers, string bass; Danny Coots, drums, played to a full house at the Rossmoor Jazz Club in Walnut Creek, California, on March 11, 2014.  (The RJC offers concerts monthly in a beautiful hall for reasonable prices: see here for their schedule and details.  Additional concerts are November 19: the Crown Syncopators — Frederick Hodges, Marty Eggers, and Virginia Tichenor; December 10, the Devil Mountain Jazz Band.)

I don’t have to introduce Stephanie, Paolo, Marty, or Danny to JAZZ LIVES, or the reverse, so here is the first portion of the concert, for your enjoyment.

I NEVER KNEW:

JUST A CLOSER WALK WITH THEE:

THE WORLD IS WAITING FOR THE SUNRISE:

AFTER YOU’VE GONE:

HANDFUL OF KEYS:

SENTIMENTAL JOURNEY:

Two more segments — and an after-concert surprise — to come.

May your happiness increase!

SPORTIELLO HONORS SHEARING. WE SMILE.

George Shearing autograph

First, some free verse:

We smile when he plays the piano,

The Maestro who comes from Milano,

He thinks it endearing 

To honor George Shearing,

Go hear him as soon as you can.  Oh!

— Author unknown, 2013

Rossano Sportiello, one of the most brilliant pianists (and one of the most genial of men) has put together a tribute to one of his idols, the late George Shearing.  “The Smiling Piano” will take place at the Cafe Carlyle, 35 East 76th Street, New York City — for a two-week run, June 11-15 and 18-24, 2013.  The trio features Frank Tate (bass, 11th-15th), Joel Forbes (bass, 18th-22nd) and Dennis Mackrel (drums), and the music begins at 8:45pm. For reservations: Tel. 212-744-1600.

If you’ve never been fortunate enough to hear the young Maestro play, let me remedy this immediately.  Here he is, recorded in 2012 at a concert at Dominican University in San Rafael, California, playing O SOLE MIO / A TIME FOR LOVE / CHOPIN IN JAZZ:

That would convince anyone.

Here’s what Rossano has to say about Maestro Shearing:

A Smiling Piano is what I think of as soon as I listen to any George Shearing recordings, when I hear the most beautiful piano playing that makes everybody smile.  His music is in tune with the way I felt since I became a professional performer at only 16. I felt I wanted to play music that could always be enjoyable and make people feel good.

When the possibility of performing at the Café Carlyle became real, I was asked to find a theme for the show, which would run for two weeks. Without any hesitation I came up with this idea.  A tribute to George Shearing means a tribute to jazz piano in general. Early in his career his style was first inspired by Fats Waller, Teddy Wilson, and Art Tatum. But Shearing soon became one the masters of that revolutionary music, be-bop. When he moved to New York City in 1946, Hank Jones and Errol Garner became his mentors and good friends and he absorbed their styles as well. Later he formed the George Shearing Quintet and the “Shearing Sound” became one of the inspirational elements for generations of musicians, and it still is.

A Shearing tribute is also naturally a tribute to “The Great American Song Book,” because he was one of its greatest interpreters and one of the most remarkable improvisers of all time — as well as a very prolific composer. Once he chose a song, he could improvise endless variations in any style: he could play a popular song and make it sound like Bach or Rachmaninoff or many others. He might start playing the second movement of the Ravel Piano Concerto and use it as an introduction to a ballad or the reverse! In the sixties he used to tour the USA playing classical concertos with local symphony orchestras in the first set of the show and bringing on his jazz quintet for the second half.

So stride piano, swing, be-bop, the Great American Song Book and classical music are the leading ingredients that will shape my tribute to George Shearing, pianist, composer, interpreter, and improviser.

I’ll be appearing with Dennis Mackrel on drums, Frank Tate on bass (the first week), and Joel Forbes on bass (the second week).  In 1983, Count Basie personally selected Dennis Mackrel to join his band, known for having the finest rhythm section in jazz. Dennis has been a sideman of choice for scores of jazz greats. George Shearing himself said, “If I ever have a record date coming up that calls for a drummer and Dennis is not available, I’ll postpone the session. He’s that good.” Dennis is currently one of the greatest jazz drummers and arrangers as well as the Musical Director of The Count Basie Orchestra.  Since the late 60’s, Frank Tate has been the sought-after accompanist for legendary musicians. Marian McPartland, Benny Goodman, Hank Jones, Dave McKenna, Wild Bill Davison, Teddy Wilson, Joe Venuti, Milt Jackson, Zoot Sims, and dozens of other jazz greats all have turned to Frank for his brilliant bass lines. Frank worked at the Cafè Carlyle every night with Bobby Short for the last 9 years of Bobby’s career until 2004.  Joel Forbes, currently a member of the Harry Allen Quartet and the Rebecca Kilgore Quartet, is one of New York best bass players, well known for is incredibly rich acoustic sound.

JAZZ LIVES suggests, quietly but fervently, “Go!”

May your happiness increase!

THANK YOU, BARRELHOUSE BARON! (“Timme Rosenkrantz” to You)

How about some free, accessible, wonderful music featuring Don Byas, Rex Stewart, Billy Kyle, Walter Page, Jo Jones, Teddy Wilson, Flip Phillips, Slam Stewart, Tyree Glenn, Charlie Shavers, Erroll Garner, Eddie Bert, Shorty Rogers, Red Norvo, Specs Powell, Harry Carney, Jimmy Jones . . . some in the studio, some live, between 1938 and 1945?

The connecting thread is that all the music was produced — in various ways, by the Danish jazz enthusiast Timme Rosenkrantz.  he’s the fellow on the right in the picture.

And the music is on the delightful and informative website — created by Mike Matloff — devoted to his book HARLEM JAZZ ADVENTURES, edited by Fradley Garner.  The book is a fascinating gossipy treasure, full of stories none of us would ever read anywhere else.  I devoured it.

But first, how about the music?  Listen here.

My favorite moment — among many — is the closing chorus of A WEE BIT OF SWING where the music seems to be going faster and faster, although you can hear that the Gods, Page and Jo, are holding tempo brilliantly.  Also that record allows us to hear Tyree Glenn on both trombone and vibes and that indefatigable jammer, Rudy Williams, on alto, before Don Byas leaps in and Rex comes on.  What master musicians they were!  Eternal pleasures, I think.  Thank you, Baron!  You had such good taste.

May your happiness increase.

THE JAZZ ADVENTURES OF TIMME ROSENKRANTZ

Imagine if Huckleberry Finn in all his naivete, enthusiasm, and observation had landed in Harlem in 1934 and sought out the best jazz and its players . . .

If an adult Huck with a Danish accent had written his memoirs — with space for everyone from Erroll Garner to Billie Holiday, from Chick Webb to Art Tatum — that book would be the late Timme Rosenkrantz’s HARLEM JAZZ ADVENTURES: A EUROPEAN BARON’S MEMOIR 1934-1969 (adapted and edited by Fradley Hamilton Garner, published this year by Scarecrow Press).

You can find out more and order the book  here, and watch a brief video-introduction by Fradley Garner.

Born in 1911, Timme (a Baron from a noble Danish family) lost his heart to hot jazz early on and came to New York City in 1934.  Disregarding those who said he would be murdered in Harlem, he took the A train uptown — years before taking that train became a Swing commonplace.

His eager good nature and enthusiasm endeared him to the jazz masters immediately, and they insisted on showing him where the best music was to be found at 5 or 6 in the morning, accompanied by large quantities of dubious liquor and fine fried chicken.  Perhaps it was also the novelty of a “white boy” so delighted and so knowledgeable about hot jazz, years before the jitterbugs swarmed, that caused Benny Carter and John Hammond, among many others, to take him as one of their own.

Timme was very good-hearted but a terrible businessman, and all of his doomed or precarious ventures had to do with jazz — jazz magazines that ran for an issue, a Harlem record shop, jam sessions in clubs and concert halls, recording sessions — were for the betterment of the art rather than for his own needs.

He may be best known for his 1945 Town Hall concert and two official recording sessions (one in 1938 for Victor, as “Timme Rosenkrantz and his Barrelhouse Barons,” with Rex Stewart, Billy Hicks, Tyree Glenn, Don Byas, Russell Procope, Rudy Williams, Billy Kyle, Brick Fleagle, Walter Page, Jo Jones, and Timme’s life partner, singer Inez Cavanagh), the other in 1945 for Continental, with Red Norvo, Charlie Ventura, Johnny Bothwick, Otto Hardwick, Harry Carney, Jimmy Jones, John Levy, Specs Powell.

Some will know him for his short essays on Chick Webb (which ran as the liner notes for the Columbia vinyl collection of Webb recordings) and Coleman Hawkins, or for the recently published collection of his photographs, IS THIS TO BE MY SOUVENIR?

And there is a wonderful — still untapped — treasure chest of private recordings Timme made at his apartment.  Anthony Barnett has arranged for the Stuff Smith material to be released on his AB Fable label, and some of the Erroll Garner material has made its way to issue . . . but hours of rare 1944-5 jazz have yet to be heard by the public.

Timme’s memoirs give an accurate picture of what was endearing in the man: his enthusiasm for the music, his love of eccentrics (he was one himself), his amused comic view of the world.  This is not a book of grievances and grudges; reading it is like spending time with a jovial elder who fixes you a drink and launches into yet another hilarious tale of men and women long gone — all first-hand, told with a fan’s ardor.

Some of the stories are of the famous — Coleman Hawkins’ prowess and pride, his one Danish phrase; Timme’s attempt to defend Art Tatum from an audience of jazz-deaf gangsters; the generosities of Louis Armstrong, Gene Krupa, and Duke Ellington, the beauty of Billie Holiday; the power of Mezz Mezzrow’s marijuana; the appeal of the new duo of Slim and Slam.

But since Timme didn’t just meet his heroes in clubs, there are more intimate glimpses: Fats Waller in an overflowing bathtub, trombonist / arranger Harry “Father” White, in alcoholic delirium, arranging for a rehearsal of his new band — its members all dead, including Chick Webb, Jimmy Harrison, and Bix, Timme’s being measured for a shirt by Lil Armstrong, and more.

Billie Holiday invites Timme to a party; Louis explains to him that his favorite record is Berigan’s I CAN’T GET STARTED; Bud Powell tells Timme what time it is; Duke Ellington warns about “fresh-air poisoning.”

Even better than the previously unseen photographs and the careful documentation by Donald Clarke and Timme’s friend, jazz scholar Dan Morgenstern, even more enticing than the lengthy discography of issued and unissued recordings, are the stories of people we know little of.

Michigan cornetist Jake Vandermeulen, the forever-thirsty Fud Livingston, little-known guitarist Zeb Julian, the inexplicable demi-deity Leo Watson, the lovely Sally Gooding, suitcase-percussionist Josh Billings, urbane Adrian Rollini.  And they come in clusters: at Rollini’s own club, we encounter Eddie Condon, Red McKenzie, and Charlie Barnet . . .

Timme gives us an insider’s view of Harlem night life and early morning revels, of the numbers racket, of running a record store uptown — the characters and details.  The book is the very opposite of analytic “jazz literature” in its warm embrace of the scene, the musicians, and the reader.

It is irresistible reading for jazz fans who wish, like Timme, to have been behind the scenes.  He was there, and his stories sparkle with life.  I know that jazz fans have been waiting a long time to read these pages, and I would have expected nothing less from the man Fats Waller dubbed “Honeysuckle Rosenkrantz.”

INSPIRED DIALOGUES: LENA BLOCH and EVGENY SIVTSOV (CAFFE VIVALDI, May 8, 2011)

I have thought tenor saxophonist Lena Bloch a remarkable player in the too-few times I have seen and heard her.

Last Sunday (Mother’s Day 2011) I finally had an opportunity to experience her in a most intriguing duo with pianist Evgeny Sivtsov, appearing at Caffe Vivaldi (32 Jones Street in West Greenwich Village, New York City).

Duet playing is a fascinating balancing act.  As in any other relationship where two people have strong personalities and solidly established selves, the paradox emerges immediately that each one must be ready, at a moment’s notice, to switch roles.

And it’s much more subtle than Leader and Follower — in this case, Lena and Evgeny didn’t always follow the typical patterns, but they engage in playful, often dramatic dialogues.  At times I thought of Steve Lacy, other moments reminded me of Al Cohn and Jimmy Rowles, of Ted Brown and Michael Kanan — all fine echoes and resonances.

At first, Evgeny impressed me as a powerful, imposing player (although he is tall and thin), making great clusters of sound — more THE GREAT GATES OF KIEV than FIFTY-SECOND STREET THEME, but beneath his apparent ferocity was a playful self that emerged later in the set, where I heard prancing echoes of Erroll Garner, or Johnny Guarneri.

Lena has her own sound and conceptions.  She has a beautiful tone (even when she chooses to make it dry for a moment) and she understands melodic playing.  She is no rhapsodist, but an explorer, not afraid of venturing outside the contours of the expected melody.  But she never uses her tenor saxophone to make sounds that might assault us.

This session found Lena and Evgeny inventing inspired dialogues — a set of improvisations on standard songs that made the familiar fresh, with Lena’s tenor lines often riding the currents of Evgeny’s piano — a little boat in powerful currents, able to ride them without ever going under.  Exultant music — serious, playful, unpredictable.

And from behind my video camera, I found the faces and bodies of the two players visually fascinating, their artless movements and expressions compelling proof of how music moves us.  Watch Evgeny as he bravely makes his way through the thickets — unknown territory! — bobbing and weaving like the truly impassioned man he is.  And observe the wonderful way Lena’s face, while she was listening and leaning, reflects every note and nuance she heard on the piano.

Great, playful art.

Cole Porter’s I LOVE YOU:

I’LL REMEMBER APRIL.  (And I’ll smile):

I HEAR A RHAPSODY (an accurate title):

EVERYTHING HAPPENS TO ME (with its serious, grieving air):

YOU STEPPED OUT OF A DREAM:

Frank Loesser’s jaunty IVE NEVER BEEN IN LOVE BEFORE:

LONG AGO AND FAR AWAY: