Tag Archives: Evening Star Records

AMONG FRIENDS: MUSIC and WORDS for JOE WILDER (Sept. 8, 2014)

Joe Among Friends

Last night I spent a very touching and uplifting three hours in the company of people — many of whom I didn’t know and vice versa — united in one thing: we all loved the magnificent trumpeter and dear man Joe Wilder.

I don’t know the source of the saying, “The only thing wrong with funerals is that the one person you want to see is not present,” and that was certainly true in the filled-to-capacity St. Peter’s Church, but you could feel Joe’s gracious, easy spirit in every word and every note played.  The service was organized by Joe’s daughter Elin, Joe’s great friend and biographer Ed Berger, and the music was directed by Warren Vache.  Praise to all of them.

I couldn’t bring my video camera, so my notes will have to suffice.

I came to St. Peter’s early (I have been trained to this behavior by anxious parents, but often it pays off) and could see Russell Malone playing ballads for his own pleasure, including a soulful, precise DEEP IN A DREAM, then greeting Gene Bertoncini, who took up his own guitar.

Then the music changed to purest Wilder — MAD ABOUT THE BOY, CHEROKEE, and more.

It was clear that this was a roomful of dear friends.  Much hugging, much laughter, everyone being made welcome.  Although many people wore black or dark clothing, the mood was anything but maudlin.

Warren Vache quietly and sweetly introduced the first band: Harry Allen, Bill Allred, John Allred, Bill Crow, Steve Johns, Michael Weiss — and they launched into IT’S YOU OR NO ONE and then a medium-tempo CHEROKEE, full of energy and smiles passed around from player to player and to us.

We then saw a series of clips of an interview done with Joe (the source I copied down was http://www.robertwagnerfilms.com) — where he spoke of his experiences, both hilarious (sitting next to Dizzy in Les Hite’s band) and more meaningful (his perceptions of race).  What struck me was the simple conviction with which he said — and clearly believed — “I couldn’t have had a better life.”

Joe’s trumpet colleague from the Symphony of the New World, Wilmer Wise, told a few tales of the man he called “my big brother.”

Jimmy Owens stood in front of us and spoke lovingly of Joe, then took his fluegelhorn and played a very touching THERE WILL NEVER BE ANOTHER YOU (has Harry Warren’s song ever sounded so true?) ending with subterranean low notes, and an excerpt from NOBODY KNOWS THE TROUBLE I’VE SEEN.

Hank Nowak, another trumpet colleague (who met Joe at the Manhattan School of Music in the Fifties) spoke endearingly and then played a beautiful selection from Bach’s second cello suite — as if he were sending messages of love to us, with exquisite tone and phrasing.

Ed Berger told stories of Joe — whom he knew as well as anyone — and ended with some of Joe’s beloved and dangerously elaborate puns.

More music, all sharply etched and full of feeling: Bucky Pizzarelli and Ed Laub duetted all-too briefly on TANGERINE; Dick Hyman and Loren Schoenberg played STARDUST, and were then joined by Steve LaSpina and Kenny Washington for PERDIDO.

Jim Czak told his own story, then read a letter from Artie Baker (swooping down gracefully at the end to give the letter to Joe’s daughter Elin);.

Jimmy Heath (who spoke of Joe as “Joe Milder”), Barry Harris, Rufus Reid, Gene Bertoncini, and Leroy Williams took wonderful lyrical paths through I REMEMBER YOU and BODY AND SOUL.

Jim Merod, who knew Joe for decades, was eloquent and dramatic in his — let us be candid and call it a lovely sermon — about his dear friend.

Wynton Marsalis spoke softly but with feeling about Joe, and then played a solo trumpet feature on JUST A CLOSER WALK WITH THEE that (no cliche here) had the church in a joyous rhythmic uproar.

Russell Malone and Houston Person played ANNIE LAURIE with great sensitivity, just honoring the melody, and Russell created a delicate IT MIGHT AS WELL BE SPRING; Rufus Reid and Kenny Washington joined them for IN A MELLOTONE. Ken Kimery of the Smithsonian Jazz Orchestra spoke of Joe’s mastery and generosities. Warren Vache brought his horn in a wonderful duet with Bill Charlap on what he called “Joe’s song,” COME ON HOME, and then with Steve LaSpina and Leroy Williams, offered a quick MY ROMANCE.

Bill Kirchner took the stage with Bill Charlap to present a searching SHE WAS TOO GOOD TO ME.

It was nearing nine-thirty, and I knew my demanding clock radio (it shakes me awake at five-forty-five most mornings) had to be obeyed, so I stood up to go, as Warren was encouraging any musician in the house who hadn’t yet played to “jam for Joe” on SUNNY SIDE OF THE STREET.  Among the musicians he announced were Bria Skonberg and Claudio Roditi, and cheerful music enwrapped me as I walked out into the night air.

I am sorry I couldn’t have stayed until everyone went home, but I felt Joe’s presence all around me — in Warren’s words, a man so large that each of us could take a little of Joe with us always.

A pause for music. Something cheerful and playful — from 2010:

Now a pause for thought, whether or not you were able to attend the memorial service.

How can we honor Joe Wilder now that his earthly form is no longer with us?

We could purchase and read and be inspired by Ed Berger’s wonderful book about Joe, which I’ve chronicled here — SOFTLY, WITH FEELING: JOE WILDER AND THE BREAKING OF BARRIERS IN AMERICAN MUSIC (Temple University Press).

We could buy one of Joe’s lovely Evening Star CDs and fill our ears and houses with his uplifting music.

Or, we could act in Wilderian fashion — as a kind of subtle, unassuming spiritual practice.

Here are a few suggestions, drawn from my own observations of Joe in action.

Give more than you get.  Make strangers into friends. Never pretend to majesties that aren’t yours.  Fill the world with beauty — whether it’s your own personal sound or a (properly room-temperature) cheesecake.  Act lovingly in all things.  Never be too rushed to speak to people.  Make sure you’ve made people laugh whenever you can. Express gratitude in abundance.

You should create your own list.

But “Be like Joe Wilder in your own way” isn’t a bad place to start.

 May your happiness increase!

RAY BRYANT IS THRIVING

I can’t recall the first time I heard a recording of pianist Ray Bryant — perhaps because he was captured so often and so well during the Fifties and onward.  Was it with Miles or Sonny Rollins?  No, more probably it was as a member (along with brother Tommy) of the Jo Jones Trio.  Or as a sideman on any number of Prestige swing-to-bop sessions.  I even recall finding a used copy of his Columbia record THE MADISON TIME, which featured Buddy Tate and Benny Morton, among others.  Then he made some records for Norman Granz (a solo album, one with Zoot Sims, among others) but he didn’t have as high a profile as other pianists.  That struck me as odd, because Bryant’s approach to the piano was expertly orchestral, without any narrow definitions.  He struck me as a musician, a pianist rather than someone limited to a single approach. 

ray-bryant1Thus it is a great pleasure to report that there is a new solo piano CD by Bryant and that it is even better than I thought it would be.  It’s called IN THE BACK ROOM and appears on the Evening Star label — a label known for its beautifully done CDs featuring Benny Carter, Joe Wilder, Phil Woods, Randy Sandke, among others.  Prodcer Ed Berger has a long association with the Institute of Jazz Studies at Rutgers University– he is one of the finest jazz scholars we have — and all of the twelve performances on this CD were recorded at the university in 2004 and 2008, some during a Fats Waller Centennial celebration.  Five tracks are Waller compositions, and one is IF I COULD BE WITH YOU, by his teacher James P. Johnson.  The other tracks include EASY TO LOVE and ST. LOUIS BLUES — and, most importantly, four Bryant compositions.   

Most pianists have the same difficulty considering Fats Waller’s music that trumpet players asked to pay tribute to Louis do, I assume: the musical personalities are so strong, their effect so definite, that the musician paying homage might be tempted to imitate the model.  This isn’t terrible in itself: if I knew someone who could play POTATO HEAD BLUES or AFRICAN RIPPLES at will, I would have them come to my apartment often.  But the wiser course might be to honor the durable melodies as improvisatory material and go from there.  With Waller, however, the risks are immense: what can a player bring to HONEYSUCKLE ROSE that is reasonably authentic and still new? 

No one need worry.  Bryant is a mature artist, wholly comfortable with his own identity so that he relaxes into his own style — which, one notes immediately, is not built on well-worn figures and pianistic cliches.  Rather, he seems to love the way the piano can be made to sound, full and rich, without straining for effect.  He is happy to play the melody, to ornament its harmony subtly.  His solos sing; his rhythm is relaxed yet consistent.  And he is a master of the small variations possible within medium tempo. 

Although Bryant is known for his deep immersion in the blues and his originals such as “Little Susie,” the most moving music on this CD comes when he plays his own compositions.  One of them, “The Impossible Rag,” is a tour-de-force that pianists might find it hard to reproduce, but Bryant’s virtuosity is more a matter of deep feeling.  It comes out most strongly in “Lullaby and” “Little Girl” (the latter dedicated to his wife Claude).  “Little Girl,” an almost grieving meditation, sounds cantorial in its minor harmonies: in it, we hear someone considering the possibilities of simple melodic motifs — eloquently and sorrowfully.  I didn’t think of jazz when I heard it; rather, of Dvorak.  “Lullaby” also takes an apparently simple idea and explores it, gently and sweetly — with contrasting brief sections balancing against each other.  Both pieces stayed in my memory for a long time, which says a good deal about Bryant’s powers to evoke emotions.  Even if you think you know Bryant’s work, this CD is worth searching out.  And if the Evening Star label is new to you, delights await.  Visit http://www.bennycarter.com/common/eveningstar/

RANDY SANDKE, DOWNTOWN

This notice should be all anyone needs, but if you don’t know about Randy’s many deep talents, here’s a quick primer.  He’s one of those rare musicians who moves easily from Bix Beiderbecke to free-thinking modern classical composing and playing without strain or artificiality.  His CDs on the Evening Star label, including THE SUBWAY BALLET, THE MYSTIC TRUMPETER, and one pairing him with an ensemble of ancient viols and Bill Charlap (!) testify to his boundless creativity and ability to create beauty that always surprises.


Friday, April 25, 2008

HARLEM IN THE HIMALAYAS
Performer: Randy Sandke, Trumpet
7:00 pm | Rubin Museum of Art
150 West 17th Street
Box Office: 212.620.5000 ext. 344
$18 in advance | $20 at door