Tag Archives: Frank Loesser

REMIX WELL! (Part Two): GORDON AU’S GRAND STREET STOMPERS at SWING REMIX (April 13, 2019)

Here’s the second part of a glorious evening of music and dance at Swing Remix, music provided and created by Gordon Au’s Grand Street Stompers — who were, for this gig, expanded: Gordon, trumpet, arrangements, compositions; Joe McDonough, trombone; Ricky Alexander, Matt Koza, reeds; Nick Russo, guitar and banjo; Rob Adkins, string bass; Rob Garcia, drums.  (R1 was there, stepping, twirling, and dipping, although my camera did not catch her in flight.)  It added up to great dance music, delightful small-band jazz, splendidly played, with inventive arrangements that make familiar songs seem new.

Here’s Part One.

Bechet’s SI TU VOIS MA MERE, featuring Matt Koza, in honor of Earl McKee:

From an elegy to an original by Gordon, dedicated to a wayward feline:

A classic from the time when people still carried nickels for the pay phone:

The lovely Harry Ruby – Rube Bloom paean to simplicity:

A nocturnal horror in Swing:

Let’s!

and an encore, from GUYS AND DOLLS:

May your happiness increase!

“LET THEM SEND OUT ALARMS”: DAWN LAMBETH, CONAL FOWKES, MARC CAPARONE at the SAN DIEGO JAZZ FEST (November 23, 2018)

Dawn Lambeth, Conal Fowkes, Marc Caparone, at the 2017 San Diego Jazz Fest

We live by Siri, by the GPS.  Wouldn’t it be nice to toss all those useful but restrictive parental stand-ins that want so badly to show us the way and rebuke us if we wander?

Here’s a musical version of that perhaps subversive suggestion: the 1942 song — music by Jimmy McHugh, words by Frank Loesser, which slyly suggests that the way to get to the desired end is by choosing to live by instinct, serendipitously:

 

The musical actors in this play — showing us the way to pleasure, living it rather than instructing us — are Dawn Lambeth, vocal; Conal Fowkes, piano; Marc Caparone, cornet.  And all of this happened on the morning of November 23, 2018, at the 39th San Diego Jazz Fest, a wonderful weekend:

Try it.  Who knows what glories are there to be discovered by accident, what gifts the universe will give if you surrender to it?  Here endeth the sermon for today.

May your happiness increase!

SOME ENCHANTED EVENING (Part One): JON-ERIK KELLSO, EVAN ARNTZEN, EHUD ASHERIE, MARION FELDER at LUCA’S JAZZ CORNER (March 23, 2017)

Something quietly miraculous took place on the Upper East Side of Manhattan (Cavatappo Grill, 1712 First Avenue) the evening of March 23, 2017.  In several decades of listening intently to live creative improvised music, I’ve noticed that performances ebb and flow over the course of an evening.  It’s perfectly natural, and it is one of the ways we know we’re not listening to robots.  The first performance might be the best, or the band might hit its peak in the closing numbers. I can’t predict, and I suspect the musicians can’t either.  

But when Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet and tenor saxophone; Ehud Asherie, piano; Marion Felder, drums, began to play at Luca’s Jazz Corner — an evening’s concert of ten leisurely extended selections — I could not have known that this would be one of those magical nights that started at a high level of creativity, expertise, and joy . . . and stayed there.  Here are the first four performances, in the order that they were created, and the rest will follow.

Burton Lane and Frank Loesser’s 1939 THE LADY’S IN LOVE WITH YOU, much beloved by Eddie Condon, friends, and descendants:

Ellington’s BLACK BEAUTY:

William H. Tyers’ PANAMA:

Lillian Hardin Armstrong’s TWO DEUCES, dedicated to and played by Louis and Earl Hines:

Let the congregation say WOW!  And there’s more to come.

May your happiness increase!

IF THERE’S A GLEAM IN HER EYE, SHE’S LISTENING TO THIS BAND: JON-ERIK KELLSO, EVAN ARNTZEN, ROSSANO SPORTIELLO, FRANK TATE at LUCA’S JAZZ CORNER (Dec. 22, 2016)

The song, THE LADY’S IN LOVE WITH YOU, music by Burton Lane (a bubbling rhythmic line) and witty incisive lyrics by Frank Loesser, first emerged in 1939 and was a big-band hit immediately for Krupa, Miller, and Goodman.  Then, in 1944, it emerged again as a Condon favorite.  I give full credit to Eddie for making it popular, with everyone from Jimmy Rowles to Annie Ross to Mel Torme to Susannah McCorkle recording it — with special notice for Marty Grosz and Rebecca Kilgore in my decades.

ladys-in-love-larger

It’s a great premise — that these are all the litmus tests one can use to determine if, in fact, the lady is infatuated — a nice change from the usual “I wish she loved me again” plaint.  Here are Rebecca and Dave Frishberg — verse and two choruses, beautifully:

But the punchy repeated phrases lend themselves to vigorous instrumental strutting, as evident in this version, created at Luca’s Jazz Corner on December 22, 2016, by Jon-Erik Kellso, Evan Arntzen, Rossano Sportiello, and Frank Tate. Building inspectors stopped in near the end of the performance because of calls that the whole block was swaying dangerously in 4/4:

Lovely music happens regularly at Luca’s Jazz Corner (1712 First Avenue in Manhattan): a Kellso quartet will be back on March 23 . . . a clear day for hot jazz indeed.  Incidentally, if you haven’t been following the intensive JAZZ LIVES coverage of this band, this evening, here you can enjoy dazzling renditions of JUBILEE, RUNNIN’ WILD, and FINE AND DANDY.  All three song titles appropriately describe the music, too.

May your happiness increase!

REVENGE SET TO MUSIC, 1934, 2015

The text for today is the early Frank Loesser – Joseph Meyer threat in 4 / 4, JUNK MAN.  Here is the memorable vocal version by Mildred Bailey, so we can hear Loesser’s lyrics:

It is an updating of FRANKIE AND JOHNNIE, but with a shift.  The older song is told by someone narrating the sad tale, where Johnnie has been making love to Nellie Bly, and is shot dead by his betrayed lover Frankie.  “He was her man / But he done her wrong.” We see the hearse go to the graveyard and Frankie will either be hanged or in jail forever.  Sophocles or Shakespeare, depending on the director of this murder ballad, all corpses, misery, retribution.  Betrayal does not pay, but crime pays even more poorly.  (There are many variant versions of this song for American vernacular musicologists to investigate.)

JUNK MAN has a much different edge.  The singer is a sophisticated woman who is aware of the betraying lover, plans to get her revenge, and apparently goes unpunished and unremorseful to the conclusion.  And that conclusion?  The unfaithful man is rubbish for the junkman to sweep up and take away.  Its only ambivalence is that I find it difficult to tell whether the betrayal(s) have already taken place or if this is an elaborate scenario: “If you betray me / continue to betray me, this is what I guarantee will happen.”

But the woman telling the story is in control, with no hesitation: empowered, as we say now.  I see Barbara Stanwyck, calmly lighting a cigarette in her narrative. Imagine any pre-Code young woman taking her revenge and not spending a minute in jail and you have the tenor of this tough song.  (“Be faithful or beware!”)

Oh, the sound of Mildred’s voice — sweet, salty, every syllable ringing clear — and that band:  Mannie Klein, Charlie Margulis, trumpet; Sonny Lee, trombone; Benny Goodman, clarinet; Coleman Hawkins, tenor saxophone; Arthur Schutt, piano, arranger; Dick McDonough, guitar; Artie Bernstein, bass; Gene Krupa, drums; Mildred Bailey, vocal.  New York, February 2, 1934.  It’s a recording chock-full of delights: the way Mannie Klein slides in and out of the synagogue on the first chorus; the gorgeous sound of Dick McDonough and Artie Bernstein. Note that Bernstein switches between arco and pizzicato throughout, which I don’t think was usual in 1934, at least not in bands edging towards “hot.”

Yes, and that is Coleman Hawkins, thanks to John Hammond  — the hidden “Negro” on the date who was also the pre-eminent tenor saxophonist — intense in his obbligati behind Mildred.  (I wonder how many hip listeners of any color there were in 1934 who said, “Damn.  That sounds like that fellow on those Henderson recordings.  But it can’t be, can it?”  He plays the introduction, which is remarkable but one doesn’t take notice of it on the first listening.)

This YouTube video is an odd pleasure: recordings did not run for 4:08 at that time.  This song was recorded in two takes, and the first half of this recording is one of the two takes and Mildred’s vocal chorus is heard twice — the two takes joined together fairly seamlessly.  I don’t mind the extended play.  Who would?

Forward into the recent present.  Here is the gorgeous instrumental version by James Dapogny (piano / arranger) and friends at last year’s Allegheny Jazz Party:

The band is, as well as Professor Dapogny, Pete Siers, drums; Jon Burr, string bass; Marty Grosz, guitar; Bill Allred, trombone; Randy Reinhart, cornet; Scott Robinson, tenor saxophone; Dan Block, clarinet.  This Dapogny arrangement allows us to hear Meyer’s melody as if presented for chamber ensemble of piano and horns, where the soloists ebb and flow, but the song takes the center stage. Dapogny’s piano is a barrelhouse lyrical dream, but his arrangement is a multilayered lovely edifice, and it’s worth listening to this track with a notepad to catch the scenery gloriously moving by.  And this sort of thing will happen soon, again, at the Cleveland Classic Jazz Party.  Trust me on this.

Or, “Don’t forget our Cleveland date!”

May your happiness increase!

THE TRUE SPARK: MARIANNE SOLIVAN’S NEW CD

MARIANNE SOLIVAN

Thanks to the splendid pianist Michael Kanan, I am very proud that I was captivated by the singer Marianne Solivan as far back as the spring of 2011. Here are Ms. Solivan and Mr. Kanan in performance then:

Notice her delicate intensity, her strength of conviction — authentic rather than put-on-for-effect — her witty tenderness, her elastic yet perfectly respectful phrasing . . . Marianne is a model of joyously inventive improvisatory singing, her sweet candor transforming any song.

Her belief in the lyrics, her immersion in the emotions of the song, her courageous yet friendly bending of the original melodic line — all of these virtues make her singing entrancing.

Here is a later Solivan-Kanan medley about enduring romance:

I followed Marianne to a number of gigs at Smalls and Iridium in those years, and I continue to take pleasure in her first CD, PRISONER OF LOVE.  Here is the title track (a song I love, thanks at first to Lester Young and Russ Columbo):

You might not initially notice that the “new” verse, perfectly appropriate and deeply felt, is Marianne’s own composition — which points to another talent.

Hearing these venerable songs, treated as if they were new, one might be tempted to assign Marianne her own little cubbyhole: “She sings the Great American Songbook with a twist.”  But she is and does more than that.  (Although I have heard her perform Annie Ross’ TWISTED, which may count for something in the imagined taxonomy.)

SPARK

This year, she created and produced her second CD, SPARK (Hipnotic Records) — compelling yet light on its feet.  Here’s a video that will give you a taste of the disc’s riches.  One of the songs is THE HUMDRUM BLUES, but nothing about this effort is in the least monotonous.

Although I’ve heard Marianne favor dark, pensive songs, SPARK is lively and energized.  She has power, but it’s never being wielded against an audience.

SPARK starts off immediately at a high level — with the title song, which Marianne created, words and music.  Unlike many singer-songwriters, she is not attempting to fit words and notes into a conventional box.  Her songs sound much more like conversations with an audience — or the listeners — or someone being wooed.  Her lyrics might use conventional phrases, but they are always arranged in new ways, without formal reliance on end-rhymes.

The song SPARK depicts the heady beginning of a romance; FIRST DESIRE (Marianne’s setting for the Lorca poem) is a rumination, full of images and evocations, music and lyrics evoking exalted states.  IF I WERE TO LOVE YOU is a paean to love’s magic in the natural world, although voiced in the subjunctive.  ON A CLEAR NIGHT meditates on a love affair tenuously balanced between past happiness and present erosion. THE DOVE, a collaboration between Marianne and pianist Xavier Davis, seems a twisting, intense carpe diem — don’t neglect love!  Marianne’s compositions do not reveal themselves immediately, but each re-examination offers new levels of emotion and intelligence.

The other songs on this disc are wonderfully varied. There’s Oscar Brown, Jr.’s sharp-edged HUMDRUM BLUES (which has a touch of hope if one gets through the complaints of the lyrics); Francesca Blumenthal’s darkly ambivalent THE LIES OF HANDSOME MEN.

Marianne also gives her own singular transformation to songs associated with others: the sardonic modern folk song TENDER AS A ROSE (Abbey Lincoln), which sits somewhere between an unwritten PORGY AND BESS song and FRANKIE AND JOHNNY; I WANNA BE AROUND (Tony Bennett) which has a violent swinging energy, suggesting that Marianne could be dangerous if crossed, although she’d never diminish her rhythmic energy in the midst of taking revenge; a very brisk THIS IS NEW, rescued from those singers who have turned it into a moony dirge in opposition to the exultant lyrics.  Ruben Blades’ EL CANTANTE (THE SINGER) is beautifully sung in Spanish — truly evocative — and Marianne explains the lyrics in part in the video.

Singing Loesser’s WHAT ARE YOU DOING NEW YEAR’S EVE? she rescues this song and brings a tender sweetness to the title — making the question vibrant yet fragile.  OOH, WHAT’CHA DOIN’ TO ME, by Timmie Rogers, is a Forties trifle that offers Marianne the opportunity to play — she never copies Billie, early or late, but I think of WHAT A LITTLE MOONLIGHT CAN DO as the only parallel to Marianne’s evident delight.

SPARK is buoyed by Marianne’s joy in the music, but also by the evident joy in the studio, as Marianne and her working band take pleasure in creating together. They are Xavier Davis, piano; Matthew Parrish, string bass; Gregory Hutchinson, drums.  The instrumental settings are fresh: one never thinks of “singer plus rhythm trio,” but rather of four musicians on an equal footing.  The CD is splendidly recorded by Joe Marciano and Max Ross, with excellent liner notes by drummer Lewis Nash.

SPARK is never formulaic, but it is not oddly or whimsically “innovative” in offputting ways.  Marianne’s inventiveness is refreshing throughout, but her music will not scare anyone off.  She always sounds like herself, which is delightfully reassuring.  I am happy to experience her blossoming creativity, and I look forward to more surprises.

SPARK is available in all the old familiar places: CDBaby, Amazon, iTunes, but I suggest you begin your investigation here — you can learn more about Marianne, keep up with her schedule, perhaps take a class with her (she is a most respected and beloved teacher of singers), and more.

Here and here are Facebook pages where you’ll find Marianne . . . but the best way to experience her magic is to buy her CDs and meet her at a gig.  Whichever comes first or is more convenient is the one I recommend to you.  Don’t wait until she is booked into huge concert halls and the security prevents your getting close to the stage . . . catch her now.

May your happiness increase!

I WISH I WERE TWINS: AN OPEN LETTER TO PAUL DASPIT of the SAN DIEGO JAZZ FEST (November 26-30, 2014)

First, these musical introductions.

Coleman Hawkins, 1935, in Holland:

Henry “Red” Allen, Buster Bailey, Hilton Jefferson, 1934:

Art Tatum, 1937:

Dear Paul,

I know you as the witty, beautifully-dressed, generous organizer of that jazz banquet called the San Diego Jazz Fest. I’ve been fortunate enough to attend this Thanksgiving banquet of sounds every year since 2010, and I’ve found it more rewarding than any turkey dinner.  And I like turkey.

This year, as you well know, the Fest will start on Wednesday, November 26, and go rollicking straight on through Sunday afternoon / early evening, November 30.

I gather that you created the schedule — the reason you are receiving this letter.

On any day or night during that the 26th through the 30th, multiple opportunities for pleasure are bursting all around the listener or viewer.

I’m picking examples at random: at 4:00 on Friday, there’s a solo piano concert. At 3:30, three other bands are playing in separate rooms.  At 4:15, the same thing.

Now, a good number of “favorite bands and musicians” are performing at the SDJF.  I’ve been coming back to the schedule since it was created, always with a nearly-queasy feeling.

I can’t speak for anyone else, but I must ask you in all seriousness, “Paul, are you trying to do us in through a surfeit of pleasure?”

I once read about an experiment conducted by researchers trying to analyze how people dealt with making choices. They assembled children around a table, empty cereal bowls in front of each.  The researchers offered the children two boxes of cereal from which they could choose.  They added another, different box of cereal.  And another.  And kept on increasing the number.  When there were a dozen boxes on the table, the children were sobbing.

I don’t need a tissue yet, but I understand this.

It’s not only the problem of choice-making.  (“If I go to see the Wildroot Sliders then I have to miss the Shearling Fleecers as well as not hearing Petite Priscilla and her Clawfoot Tub Band!”).

For me it’s also the added problem of trying to video-record everything I and others pine for so that I can share it on JAZZ LIVES.

True, I do now have two cameras and could bring two tripods, but where is the Second Assistant Cameraperson for this blog?  No fame, no health benefits, perhaps only a free breakfast. References and prior experience a must.

Paul, I thought we were friends.

What have you got to say for yourself?  Look closely here.  Is that fair?

Yours,

Michael

May your happiness increase!

JAMES DAPOGNY’S CHICAGO JAZZ BAND at the EVERGREEN JAZZ FESTIVAL (Part Three)

Rainbow Two

The opportunities to hear James Dapogny’s Chicago Jazz Band at the July 2014 Evergreen Jazz Festival were delightful — a high point of the year for me.

That band neatly balances thoughtful arrangements and solos, and the result is hot, sweet,  eloquent, satisfying.

They are James Dapogny, piano and arrangements; Jon-Erik Kellso, trumpet; Chris Smith, trombone, vocal; Kim Cusack, clarinet, alto saxophone, vocal; Russ Whitman, clarinet, tenor and baritone saxophone; Rod McDonald, guitar; Denver native Dean Ross, string bass; Pete Siers, drums.

For those who might have missed the earlier posts in this happily extended series, here is the first part and here is the second.

And here are five more delights.

A serenade to a beloved Irish lass (with a tempo change, in honor of the 1944 Commodore recording featuring Miff Mole), PEG O’MY HEART:

The very optimistic paean to the Golden State, CALIFORNIA, HERE I COME:

A 1936 romper, SWING MISTER CHARLIE (recorded by, among others, a youthful Judy Garland backed by the Bob Crosby band):

“Another show tune,” this one from a Dick Powell film — more memorable in Fats Waller’s recording — here warbled by Mr. Cusack, LULU’S BACK IN TOWN:

And a mournful revenge song, JUNK MAN (1934, with unheard lyrics by Frank Loesser):

More to come — all equally rewarding.

May your happiness increase!

ANOTHER KIND OF TRIBUTE TO DUNCAN P. SCHIEDT: DUKE HEITGER, BOB HAVENS, DAN LEVINSON, ANDY STEIN, ROSSANO SPORTIELLO, JON BURR, RICKY MALICHI at JAZZ AT CHAUTAUQUA (Sept. 21, 2013)

I’ve spent the last few days grieving for Duncan P. Schiedt.  And my mourning and appreciation is not something I can put away neatly in the closet of emotions and say, “Oh, well, we must move on.” But I wondered if there was a way I could honor Duncan with some joy leavened into the loss . . . and I present my own version of the eternal flame of hot jazz.

What follows is not “just another set of videos I took.”

“Nay nay,” to quote the Master.

Aside from the mail — and then email and telephone — the only place I ever encountered Duncan in person was at Jazz at Chautauqua, nine years in a row (2004-2013).  And I saw him at an adjacent table (with Liz) having a fine time enjoying the music. I know that Duncan was in the room while this set was being created, and it doesn’t take much imagination to add his smiling countenance to the mostly-unseen audience.  I don’t think the musicians will mind.

Incidentally, “Jazz at Chautauqua” has now been reborn as the Allegheny Jazz Party — I’m making plans for my maiden voyage to Cleveland in mid-September.

But back to September 21, 2013.

Those musicians! Duke Heitger, trumpet; Bob Havens, trombone; Dan Levinson, clarinet; Andy Stein, baritone saxophone; Rossano Sportiello, piano; Jon Burr, string bass; Ricky Malichi, drums — in a session of Condonesque good-old-good ones going back to Porter Steele and forward to Frank Loesser, in the best way.

ROYAL GARDEN BLUES:

A SLOW BOAT TO CHINA:

MY GAL SAL:

STARS FELL ON ALABAMA (by Mister H for Mister T):

HIGH SOCIETY (wait for the riotous version of the Alphonse Picou chorus):

Our lives are so finite . . . but what we do in those brief spans is so beautiful.

May your happiness increase!

“WHAT’S NOT TO LOVE?” (JON-ERIK KELLSO, WARREN VACHÉ, MENNO DAAMS, MATT MUNISTERI, JOHN ALLRED, HARVEY TIBBS, PAT O’LEARY at THE EAR INN, October 6, 2013)

Just the facts.

Sunday night, October 6, 2013.  Apprximately 9:15 PM.

The Ear Inn, 326 Spring Street, Soho, New York City.

The EarRegulars: Jon-Erik Kellso, trumpet; John Allred, trombone; Matt Munisteri, guitar; Pat O’Leary, string bass, with guests Warren Vaché, Menno Daams, cornet; Harvey Tibbs, trombone.

Text for the occasion:  THE LADY’S IN LOVE WITH YOU by Frank Loesser and Burton Lane, 1939.*

Cinema verite by Ineke Rienks.

We love it!

*Here’s the original soundtrack from the film SOME LIKE IT HOT, featuring Bob Hope, Shirley Ross, and Gene Krupa:

May your happiness increase!

BECKY AND HARRY BRING WARMTH AND LIGHT: REBECCA KILGORE with HARRY ALLEN, EHUD ASHERIE, JOEL FORBES, KEVIN KANNER at THE METROPOLITAN ROOM (March 7, 2013)

Oh, the weather outside was frightful, but the music was delightful.

True enough for last night, March 7, in New York City.  It was a chilly mix of rain, snow, sleet — not enough to be dramatic, but it soaked into everyone.  But once I made it to The Metropolitan Room, that warm oasis on 34 West 22nd Street, it was summery inside.

Becky_Kilgore

Becky Kilgore doesn’t get to come to New York City as often as I would like (although there are signs that is changing) but this six-show gift (that’s Wednesday through Sunday — 9:30 each night BUT two shows, the early one at 7 on Sunday!)

Becky’s shows have been just that — not just “songs I always sing,” but beautifully-shaped thematic presentations.  Often they’ve paid tribute to specific singers: Judy, Billie, Marilyn, and Becky (a great researcher) has delved into the repertoire to find hidden, unknown gems as well as greatest hits.  Unlike other people’s thematic presentations, these shows are light-hearted, not weighty seminars full of “and then she sang” data.

This new show takes its cue from a Peggy Lee song, I LIKE MEN — and it’s not a formulaic tribute to the furry members of the species, but a varied look (in music and words) at us.  Becky pointed out early that except for two Lee compositions, all the songs she was singing were written by men for women to sing . . . and the variety of viewpoints was quite remarkable.  Becky veered away from the “he beats me but I love him” darkness of romantic masochism to offer twelve delights in seventy-five minutes . . . a compact, fast-paced, and satisfying evening.  I know she has a substantial song list for this run, so the set list is going to change somewhat from night to night.

Last night she and the band offered Sissle and Blake’s I’M JUST WILD ABOUT HARRY (perfectly apt, because all of us are!) complete with the verse . . . then on to two Harold Arlens — one familiar, the other a rarity; a Gershwin; Frank Loesser’s grimly comic MARRY THE MAN TODAY (where the Wise Woman sings that you should offer your fiance the hand today because once he is wed, it can then turn into the fist tomorrow); a Pearl Bailey-inflected MY HANDY MAN AIN’T HANDY ANY MORE (which suggests that old dogs can’t be taught new tricks); a wonderful Ralph Blaine-Hugh Martin wooer with the line, “I can be your passion fruit”; an unusual Hoagy Carmichael song where the overeager lover is treated rather like a poorly-trained puppy, without the rolled-up newspaper making an appearance.  For me, the great moving highlights of the evening — in addition to these bright sparks — were a tender THE BOY NEXT DOOR; a wistful rather than melodramatic THE MAN THAT GOT AWAY, and a sweet WHEN A WOMAN LOVES A MAN.  Miss Kilgore’s delightful genius was once again made evident in the way she sang these three songs, so strongly identified with Judy and Billie, and made them sound like Becky.

And all I will say about “sounding like Becky” is that it is a deep pleasure.  Miss Kilgore is full of feeling without ever resorting to Drama; she swings naturally; she is witty without being jokey, and the simple sound of her voice is a delight in itself.  As well, she is a great improviser in subtle, subversive ways: listening to her very lightly restretch the melody in ways that would have pleased its composers, listening to her handle the language in ways that make us hear the words anew . . . well, I always think I am in the presence of greatness, even though she is one of the more humble mortals I know.  And I have been listening to her, on CD and vinyl, in person and even over the telephone, for two decades.  Every time I am fortunate to hear her in person, I go away, quietly thinking, “How does she do it?  She’s a treasure, and she’s getting better!”

Her instrumental colleagues were simply wonderful, too.  Harry Allen has gotten a reputation, with some people, of being a gentle player, someone who can tenderly caress a ballad in the best Webster manner.  But don’t let that impression turn into a mask; Harry has a deeply raucous side, and he loves to race and holler, too.  Drummer Kevin Kanner was new to me, but he’s a listening fellow; his sticks caught all the nuances and his brushes made a swinging carpet. Ehud Asherie often stole the show — in the manner of Jess Stacy in the Goodman band — offering a witty harmonic variation or a phrase that started in a predictable place and went into other astral realms.  And Joel Forbes, quietly, darkly, reliable, swung from the first note: every note was in the right place at the right time.  The five people onstage were happy as the day is long — you could see it in their grins — and they shared their joys with us.

Even though the weather was indeed frightful (or almost), the room was full — Dan Morgenstern and Daryl Sherman and Michael Moore were there, as were Bill and Sonya Dunham, Beck Lee, Claiborne Ray, Gwen Calvier . . . and the people I hadn’t met yet were just as enthusiastic.  One fellow (Ezra?) sat with his head perhaps three feet from the bell of Harry’s saxophone, and he bobbed and weaved ecstatically with every phrase: the music was reflected in his happiness. I had never been to The Metropolitan Room before, but will come back again: Jean-Pierre made the instruments sound perfectly acoustic, which is the ideal goal of a “sound man”: he is certainly a sound man.  The lighting was perfectly in tune but never obtrusive, and everyone was genuinely friendly.

Becky and Harry, Ehud, Joel, and Kevin will be there for four more shows.  Find your waterproof shoes and make the trek: you won’t regret it.  Details  here.

May your happiness increase.

REBECCA and HARRY ARE COMING TO NEW YORK (March 6-10, 2013)

Becky_Kilgore

This is indeed good news.  Ms. Kilgore is not seen on the East Coast as often as we would prefer, and she will be appearing — and singing — with some favored musical friends: Harry Allen, tenor saxophone; Ehud Asherie, piano; Joel Forbes, string bass; Kevin Kanner, drums . . . in a show at New York City’s Metropolitan Room.  Click I LIKE MEN for details.

I have been sworn to secrecy about the song list — to give it here would be like telling what happens during Season Four of Downton Abbey — but I can offer these hints.  Songs associated with James Bond, Peggy Lee, and Billie Holiday will be part of the bill of fare.  Harold Arlen, Leo Robin, Truman Capote, Eubie Blake, Frank Loesser, Rodgers and Hammerstein, Hoagy Carmichael, and the Gershwin brothers will drop by.

Familiar songs (the ones where the audience goes “Aaaaaaahhhhh,” as Rebecca slides from verse to chorus) and delightfully obscure ones will be treated appropriately.  And those of us wise and fortunate enough to have experienced a Kilgore-Allen evening know that it unfolds beautifully with its own shape — a small fulfilling concert rather than a bunch of songs that everyone likes at the moment.

March 6-7-8-9-10 at 9:30 PM.  The Metropolitan Room is at 34 West 22nd Street, New York 10010 (MetropolitanRoom or 212.206.0440 for reservations.  Tickets $30.)  Don’t miss it: you don’t want to be thinking about THE EVENING THAT GOT AWAY on March 11.

May your happiness increase.

“SHE INHABITS HER SONGS”: MARIANNE SOLIVAN’S ONGOING ART

Midway through Marianne Solivan’s first song, the Beloved turned to me and whispered, “She inhabits her songs,” which I immediately took as a truth so self-evident that it deserved to be the title of this blogpost (copyright 2012 Lorna Sass).

We were celebrating at the second set of a jazz brunch at North Square (in the Washington Square Hotel, at the northeast corner of Washington Square Park in Greenwich Village, New York City) with the constantly-energizing singer Marianne, guitarist Ethan Mann, and her long-time associate, bassist Dmitry Ishenko.  (For the schedule of jazz brunches, click here.)

In the space of an hour, Marianne Solivan showed herself not only a great improvising actress — a brave musical creature making up deeply moving scripts as she goes along. producing and directing them as the rhythm rolls underneath her — but an elaborately gifted musical architect.  Each song felt like a new room in a previously unvisited house, full of surprising angles and turns, bathed in shifting lights.  Her creations felt absolutely authentic: there was no practiced effect, no planned-out “surprises,” but we felt as if we were hearing and watching someone simultaneously inventing and inhabiting expansive spaces.

Some of the magic came from her choice of repertoire — she makes familiar songs new through daring tempo choices (a racing I CAN’T GIVE YOU ANYTHING BUT LOVE that shook some of the familiar affectionate dust from those familiar words and notes; a very slow HEART AND SOUL that showed off Loesser’s lyrics for the first time, rescuing that song from generations of amateur pounding duo-pianists).  Some of her magic is in witty shifts of phrase, where expected clusters of words fall in places we don’t expect, elongated or compressed.  In ALL OF NOTHING AT ALL, she took the “Please” that begins the bridge and stretched it out to dramatic length — making it a true heart-entreaty.

The highlights of her set were her reinvention of HEART AND SOUL at a tempo so slow that in other hands it would have come to a stop — making that song a painfully exultant exploration of love found — and a slow inquiry into Bobby Troup’s YOU’RE LOOKING AT ME, in which the singer takes “I’ve been such a fool — I can’t believe it,” to new heights . . . or new depths.

In all of her songs, Marianne was beautifully accompanied (in the most true sense of that word) by Ethan Mann, spinning out slightly lopsided-on-purpose single-note lines, and by bassist Ishenko, a fluid, flexible foundation of rhythm.  It was an astonishing afternoon, but we expect no less from Marianne Solivan, a brave explorer jumping off into the unknown and spreading carpets out for herself and us to land on.

May your happiness increase.

WARM YET COOL: BOB REITMEIER and KEITH INGHAM at JAZZ AT CHAUTAUQUA (September 21, 2012)

I had never seen these two singular musicians in duet before, but this set at the 2012 Jazz at Chautauqua was a highlight: clarinetist Bob Reitmeier bringing his own cool clear-toned lyricism alongside Keith Ingham’s more impassioned orchestral creations, rocking or pensive.

Berlin’s PUTTIN’ ON THE RITZ, which summons up Fred Astaire:

The Carmichael-Mercer SAY IT WITH A KISS, evoking Maxine, Billie, Teddy, and Bobby Hackett:

Bing and Bob, anyone?  Here’s the Burke-Van Heusen THE ROAD TO MOROCCO:

The Carmichael-Loesser HEART AND SOUL (explored fully this time):

Memories of Louis, Dizzy, and a Benny Goodman Camel Caravan before Charlie Christian burst on the scene — UMBRELLA MAN:

The Gershwins’ STRIKE UP THE BAND:

There’s a good deal of summer’s-not-over frolic here, but with an awareness that the leaves are starting to turn.  And I can look out my window and see the trees weighed down by a November mini-blizzard; I suggest we turn away from the Weather Channel and find our comfort and elation in the beautiful music.

May your happiness increase.

BEAUTY IN THE PARLOR: JOHN SHERIDAN at JAZZ AT CHAUTAUQUA (Sept. 21, 2012)

John Sheridan is a wonderful pianist (also arranger, composer, deep listener and jazz thinker).  He is so dependable that I hope he doesn’t get overlooked in favor of more mercurial, showy improvisers.

But you could wake John in the middle of the night, say, “Get dressed.  Your country needs you to swing right now,” and he would be do it.  Sheridan is apparently tough on the outside (although polite) but a tender-hearted romantic on the inside.  In the black-and-white 1931 crime film unreeling in my head, he is Cagney’s pal, a ferocious cop who gives money to the orphans.

But you don’t have to get distracted by my analogies.  Rather, listen to the man play — as he did on Friday, September 21, 2012, at Jazz at Chautauqua.

Henry Nemo’s very lovely song ‘TIS AUTUMN (always appropriate but chronologically so on Sept. 21, 2012):

A small suite for Bix.  First, his IN THE DARK:

Then, the justly famous IN A MIST:

A romantic interlude from the pre-GPS era, thanks to Frank Loesser, LET’S GET LOST:

From GUYS AND DOLLS, more from Loesser, I’VE NEVER BEEN IN LOVE BEFORE:

And a Bob Zurke romp — all that motion in two minutes flat!  EYE OPENER:

If your eyes are not open by now, go back to the beginning — da capo al fine — and savor what John does so beautifully!

May your happiness increase.

WE GO FOR STEVE JORDAN (and VAN PERRY), 1980

Rhythm guitar — with its bouncing pulse, its swinging elasticity, and the ripe-fruit sound of those strings — isn’t a dying art, as I’ve seen happily on both coasts and overseas.  But the late Steve Jordan was one of the art’s finest creators — hired by Benny Goodman, Vic Dickenson, Ruby Braff, Buck Clayton, and others (the thread here is the enthusiastic advocacy of John Hammond).  Later in his career, Jordan got more opportunities to show off his soloing in support of his dry, witty singing. 

Here he is, captured by my YouTube friend Sfair (I know his real name but keep it to myself) at a National Press Club function in Washington, D.C., on December 4, 1980, with bassist Van Perry, a Virginia stalwart who played so often and so well on Johnson McRee’s Manassas Jazz Festival recordings:

Jordan’s  feature is a 1938 song — music by Matty Malneck, lyrics by Frank Loesser, I GO FOR THAT, a slangy, snappy version of what I call The Insulting Love Song (the earlier MY FUNNY VALENTINE is a much more gentle example) where the lover rues the inadequacies of the loved one and finds him/herself smitten nevertheless.  The version I hear in my head is Mildred Bailey’s, but Steve Jordan is doing a good job, two decades later, of displacing it.

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:

SUE, EDDIE, and CHRIS: “HOW THEY HYPNOTIZE!” (Hidden Valley Music Seminars: March 4, 2011)

I had an extraordinarily good time at Dixieland Monterey 2011 (March 4-6) which took place at the Convention Center and other venues.  For those who might quail at the word “Dixieland,” there wasn’t a sleeve garter in sight — at least not among the musicians.  And there was plenty of soaring hot jazz, as my videos will show.

But the weekend started off in a more lovely pensive fashion: Sue Kroninger (vocals, commentary, washboard); Eddie Erickson (vocals, banjo); Chris Calabrese (hot piano) gave a lighter-than-air presentation on five great American songwriters — Irving Berlin, Walter Donaldson, George Gershwin, Johnny Mercer, and Hoagy Carmichael.

All this took place at the Hidden Valley Music Seminars in Carmel Valley, California — in a beautiful room with wood walls, a lovely piano, a delighted audience.  Click here for more details: http://www.hiddenvalleymusic.org/.

Here is the whole precious program (I couldn’t bear to keep a note of it to myself).  Catch the wonderful interplay, wit, and feeling.  Unlike other programs of the sort I’ve seen, this one is beautifully balanced among the three players, who obviously like each other a great deal.  And Sue knows her stuff without being stuffy!

(A note to the suspicious, something perhaps superfluous.  Some of my readers will see a woman with a washboard and two whisks to keep time, a banjo player, a pianist . . . and they will think, “Oh, no . . . ” and skip these videos.  I understand their terror — their primeval fears.  But this trio makes such beautiful swinging deeply-felt music that nothing they do could scare off anyone.  I promise.  Or your money back.)

Sue began the program with a 1913 Irving Berlin tune, AT THE DEVIL’S BALL — which features both hilarious vaudeville lyrics and a tune that, once heard, is impossible to extract from your cortex.  And Sue is having the time of her life.  And ours:

Then, Eddie took on a wonderful song (I associate it with Louis and the Mills Brothers — can you blame me?) from 1927, THE SONG IS ENDED.  It might seem an odd choice for the second song of a program, but it’s such a good song!  And Eddie, dear Fast Eddie, sings it so beautifully:

Finally (for Berlin), Chris took a wonderful turn at ALWAYS — with hints of the Master, Dave McKenna:

Less well-known than Mr. Berlin was Walter Donaldson (but think of AT SUNDOWN, MY BUDDY, and fifty others).  Sue called for Eddie to perform a hit from the early Twenties — nothing could be sweeter than Eddie singing CAROLINA IN THE MORNING.  Hear the variations he brings to his timbre and delivery — and how Chris rocks:

Then a rollicking rarity (a bit of social commentary) that Sue explains, with the irreplaceable title YOU HAVE TO PUT A NIGHTIE ON APHRODITE TO KEEP THE MARRIED MEN HOME (or words to that effect).  I think hearing that song was worth the airfare from New York.  Hope you agree.  Sue is a born entertainer who grabs any audience as soon as she opens her mouth to sing:

And what might be the best-loved song in America (easier to sing than STARDUST), MY BLUE HEAVEN — with the lovely verse, delightfully played by the quiet man Sue calls “Mr. Excitement”:

Onward to the deservedly famous — and short-lived — George Gershwin, with an old favorite, SOMEBODY LOVES ME, winningly sung by Sue.  She isn’t Lily Pons or Sarah Vaughan when it comes to a four-octave range, but this is all to the good: her casual, understated delivery comes from the heart:

STRIKE UP THE BAND shows off Chris (and friends) without ever being militaristic:

Then, a high point for me — Eddie’s rendition of EMBRACEABLE YOU.  Eddie gets terribly embarrassed when I praise him, so I’ll go easy in print here (but I might just say very quietly that I’ve called him “our Sinatra” and I mean it).  Chris’s subtle traceries make me think of Tommy Flanagan:

Changing the mood, here’s Johnny Mercer’s cheerful life-affirmation, AC-CEN-CHU-ATE THE POSITIVE, always good advice:

From a title that’s nearly impossible to spell to one of the simplest — Chris leads the trio through a jaunty version of DREAM:

And as a special favor to me (I had said that I would like to hear Sue “unplugged”) she indulged me with an acoustic JEEPERS CREEPERS, happy as the day is long:

The trio’s version of RIVERBOAT SHUFFLE calls to mind the young man from Davenport, Hoagy Carmichael’s pal Bix — note the funny little personalizing Sue does with the bouncy lyrics (after Chris makes sure that the joint is entirely jumping):

LAZY RIVER (not UP A) shows off the easy grace of Mr. Erickson, Louis-inspired without a bit of gravel in his hopper:

And — instead of the more hackneyed Fourth of July closing — Sue chose one of the most tender songs in the last century, the Carmichael-Loesser TWO SLEEPY PEOPLE, where the melody, the lyrics, and the loving wit come together exquisitely for Sue, Eddie, and Chris:

My weekend at Dixieland Monterey was off to the most gratifying start: these three dear artists already had me floating with pleasure, and it wasn’t even lunchtime.

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I WISH I WERE TWINS (For Sunday, Dec. 12, 2010)

Only hypothetically.  Think of the grocery bill doubled, the attendant clutter in the apartment if there were two of me . . . and so on.  But this coming Sunday night (December 12, 2010) I have two gigs I badly want to go to — and videorecord — and the only way to hear them both from start to finish is by way of Frank Loesser’s song.

The first gig is (not surprisingly) a special edition of The EarRegulars at The Ear Inn (326 Spring Street, Soho, New York City) which runs from 8-11.  Jon-Erik Kellso will be doing that remarkable thing, sharing the stage with one of his trumpet-playing pals, the esteemed Randy Reinhart.  Matt Munisteri and Joel Forbes will be doing what they do wonderfully on guitar and bass.  I swear on a stack of Adrian Rollini autographs that Huge Fun is in the offing.

But wait!  There’s more!

Dan Block and Friends are playing the lovely (and sometimes little-known) music of Ellington and Strayhorn that night at the Brooklyn Lyceum — 227 Fourth Avenue, Brooklyn, New York.  But the good news is that there are two sets, one at 9 and the other at 10:30.  Dan will be joined by Lee Hudson, bass; James Chirillo, guitar; Michael Kanan, piano; Tom Melito, drums; Mark Sherman, vibes.  Admission is $10. 

So I have a plan: the first set at The Ear, offer a libation to Phillup DeBucket, get in the car, reposition the GPS on the windshield, and drive to Brooklyn.  It gets my blood moving even thinking about it.  No need to be twins here.  I hope to see some of the faithful at either / both gigs: you’ll recognize me by my intent look, my videocamera, my tripod, and my delight at being alive to hear and witness such wonderful events.

P.S.  If you don’t know Fats Waller’s recording of Frank Loesser’s I WISH I WERE TWINS, you haven’t lived.  Then there’s Red Allen’s.  And Marty Grosz’s.  The world is not only wide but delightful . . .