Tag Archives: Frank Tate

DAN MORGENSTERN ON VIC DICKENSON, BOBBY HACKETT, DILL JONES (March 3, 2017)

Dan Morgenstern and Vic Dickenson are heroes of mine, and I am not alone. That’s Dan, below.

I first heard Vic on records in adolescence and tried to see him as often as possible in New York City, 1970-1981.  Always surprising, always rewarding.

This is the closing segment from a long and glorious afternoon of video interviews — here are the preceding ones:

Since it would pain me that someone had never heard BOTTOM BLUES — Vic, Hot Lips Page, Don Byas, Albert Ammons, Israel Crosby, Sidney Catlett — here’s spiritual uplift for the week:

For those who like my explications (and it’s fine if you don’t) here is the post I wrote in 2008 about BOTTOM BLUES.  No saucy video, but another sound source.  And another opportunity to hear that music.

News flash: yesterday, April 20, Dan and I completed another round of interviews — recollections more than interviews, really — around two hours of video in thematic segments, which will appear on JAZZ LIVES in due time. Because I was spoken to in terms from gentle to harsh about the previous videos being hard to hear, I bought a different microphone and we made sure more light came into the room.  Thus, the April 20 sessions will be loud and clear, which is as it should be.

Blessings on Dan and the men and women he keeps alive for us all.

May your happiness increase!

AUTUMN SERENADE: CLEVELAND CLASSIC JAZZ PARTY (Sept. 14-17, 2017)

I attended my first version of this party (it was then held in upstate New York and called JAZZ AT CHAUTAUQUA) in September 2004, and I wandered around in a dream-state, astonished by the music and the musicians, many of whom I’d heard for years but hadn’t been able to speak to in person.  And as a journalistic aside, the very first blogpost I wrote here — in early 2008 — was called GOIN’ TO CHAUTAUQUA — so this party and this blog have had a long cozy relationship.

A few years ago the party moved itself to Cleveland, Ohio, and reinvented itself — thanks to Nancy Griffith and Kathy Hancock — as the CLEVELAND CLASSIC JAZZ PARTY. Here is the event’s Facebook page.

In a world where jazz festivals get bigger and bigger and then sink without a trace, the CCJP is going strong.  From Thursday, September 14, to Sunday, September 17, 2017, music will be joyous and triumphant in comfortable surroundings among friends.  And the music is solid Mainstream, with no gimmicks — which you could expect, given the roster of performers.  The flyer I am looking at has, in small type, “Roster and Schedule subject to change,” but I think the players are fairly certain, barring attack by androids or arachnids.

On cornet / trumpet, Duke Heitger, Randy Reinhart, Andy Schumm; on trombone, Dan Barrett; on reeds, Dan Block, Ken Peplowski, Scott Robinson; on guitar / banjo, Howard Alden, Andy Brown; on piano, Ehud Asherie, James Dapogny, John Di Martino, Rossano Sportiello; on string bass, Joel Forbes, Nicki Parrott, Frank Tate; on drums, Ricky Malichi, Pete Siers, Hal Smith; on vocal, Petra van Nuis; gyosy swing quartet, the Faux Frenchmen; historian (giving a presentation on Ella’s centennial) Phil Atteberry.

On Thursday night, there’s an informal session (for donors and weekend patrons only) that begins at 7:30.  Friday begins with Phil Atteberry’s presentation on Ella (10:30-11:30) and then there are piano solos from 2-4 and an evening set from 5:30-11 and an hour’s set — anything goes — in the “Jazz Club.”  Saturday, music from 10-2 and again from 5:30-11 and 11-12.  Sunday, 9-1:30.  My math won’t stand the strain, but that is a great deal of music.  And as someone who feels morally committed to seeing and often recording everything, I appreciate the breaks, which give me and others time to sit and talk in tranquility.

For details — the name of the hotel, prices for individual sessions or the whole weekend, student scholarships, meals, and more, check here.

Should you go?  I think you should, if you can:

If that swinging jazz (from left, Hal Smith, Frank Tate, Rossano Sportiello) doesn’t in some ways motivate you, I don’t know what to suggest.

May your happiness increase!

TWO FOR LOUIS, WITH MR. MARSALIS IN THE HOUSE: JON-ERIK KELLSO, EVAN ARNTZEN, ROSSANO SPORTIELLO, FRANK TATE (Luca’s Jazz Corner, Dec. 22, 2016)

luca-jazz-cornerPast, present, future.  Louis Armstrong recorded one of these songs in 1928, one in 1947, but they are immensely alive in 2016 and 2017 and will keep on being alive.  On December 22, 2016, Jon-Erik Kellso brought what he correctly called “a swinging quartet” to Luca’s Jazz Corner (1712 First Avenue in New York City) — it’s part of the nice Italian restaurant called Cavatappo, so there are good things to eat as well as drink and hear.  The room is quiet, the audience more than usually attentive.  And that audience: Luca’s is like Rick’s in CASABLANCA in that everyone comes there.  One of the approving listeners in the room was Wynton Marsalis, who loves this music deeply, as we know.

So, here, for all the musicians in the house, and you as well, is the Earl Hines – Louis 1928 classic, OUR MONDAY DATE:

and something more ruminative but still moving forward nicely, Louis’ own SOMEDAY YOU’LL BE SORRY:

Everyone plays beautifully, in ensemble and solo.  But (meaning no disrespect to Messrs. Kellso, Arntzen, Sportiello) this time I would single out the wonderful (and sometimes underacknowledged) Frank Tate — splendidly audible here and offering so much: his intuitive grasp of the right notes in the right places.

And here you can enjoy this quartet performing four other beauties from that night.  I mentioned the future: Jon-Erik will be bringing another group to Luca’s on March 23, 2017.  I plan to be there, and I hope you can make it to the Upper East Side too.

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!

“MISTER GLOOM WON’T BE ABOUT”: JON-ERIK KELLSO, EVAN ARNTZEN, ROSSANO SPORTIELLO, FRANK TATE at LUCA’S JAZZ CORNER (Dec. 22, 2016)

luca-jazz-corner

Feeling lower than a snake’s belly?  Or perhaps is “fump” the objective correlative for now?  (Milt Hinton would be happy to explain.) Is the inside of your skull terribly dark these days?

This might help.  The elixir of life mixes the inspiring shades of Louis Armstrong and Hoagy Carmichael with the real-life inspirations offered us by Jon-Erik Kellso, Evan Arntzen, Rossano Sportiello, Frank Tate and someone holding a video camera — on December 22, 2016, at Luca’s Jazz Corner (1712 First Avenue, New York City).  There are no artistic or audible flaws in this video, but there are a few seconds where the focus blurs.  I wasn’t trying out new special effects, but the bright light from above confused the camera’s little brain.  However, blessedly, the sound is unaltered.  Hear for yourself:

Here is more evidence of the cosmic happiness that took place that night: RUNNIN’ WILD and FINE AND DANDY.  Incidentally, a young musician (I believe he plays trumpet) named Wynton Marsalis came in for the second set.  I am sure that he inspired the band, but I am even more sure that this delicious quartet inspired him as well.  As they did me.

Jon-Erik will be bringing a quartet back to Luca’s on March 23, 2017.  I plan and hope to be there.  You should come too.  (Other heroes — Gabrielle Stravelli, Michael Kanan, Pat O’Leary, and Ken Peplowski — have gigs coming up.)

May your happiness increase!

TWELVE STRINGS, THREE IMPROVISERS: JON BURR, FRANK TATE, KERRY LEWIS (Cleveland Classic Jazz Party, September 2016)

Jon Burr. Photo by Koko Burr.

Jon Burr. Photo by Koko Burr.

I know the joke about keeping bass solos at bay by any means possible, but surely this ensemble — three very eloquent players joining together for two classics of the jazz repertoire — is remarkable in its delicacy, power, and swing.  I prefer what Milt Hinton told audiences, that the bass is the foundation, that it is basic to all music.  Milt would have loved this little gathering of like-minded creators, and he would have admired how quickly they make beautiful music with no fuss.  Yes, there’s another joke about how people talk during bass solos, but after thirty seconds and two righteous hisses of “Shush!” this music got the rapt attention it deserves.

Simple math: twelve strings, three basses, three eloquent players, four-four time, two compositions.  The results: lasting pleasure.  The musicians (left to right): Jon Burr, Frank Tate, Kerry Lewis.  The place: the Thursday-night informal session at the 2016 Cleveland Classic Jazz Party, September 15, 2016.

WHAT IS THIS THING CALLED LOVE? (without the whimsical comma):

and Charlie Parker’s 1945 blues line, BILLIE’S BOUNCE, named for manager Shaw, not luminary Holiday:

This year’s Cleveland Classic Jazz Party will take place September 14-17, 2017, at the Wyndham Hotel in Playhouse Square in Cleveland, Ohio.  Mark your calendars now, and visit here for more information.

May your happiness increase!

A COZY LITTLE CORNER FOR JAZZ: JON-ERIK KELLSO, EVAN ARNTZEN, ROSSANO SPORTIELLO, FRANK TATE (Luca’s Jazz Corner: December 22, 2016)

We have a whole repertoire of negative associations with the idea of the corner. One paints oneself into a corner; one has to go stand in it when one has misbehaved; one is cornered, and so on.

But jazz, like prosperity and love, can be just around the corner.  Especially when the Corner is an actual place on New York’s East Side, run by the enthusiastic Luca Marcato: hence Luca’s Jazz Corner, 1712 First Avenue, between 88th and 89th Street, inside Cavatappo, a welcoming wine bar:

luca-jazz-corner

I made my first journey to Luca’s last Thursday night, December 22, 2016, to hear and record the Jon-Erik Kellso Quartet: Mister Kellso, trumpet; Evan Arntzen, clarinet and tenor saxophone; Rossano Sportiello, piano; Frank Tate, string bass.

A few words before the video gift to you.  Luca’s is a cozy rectangular room, with most of the space properly given over to tables (where delicious — and that’s no stage joke — delicious food and drink are served) so the area near the piano is rather compact.  I’d arrived early, no surprise, and asked the very gracious Elena for “a table near the music,” and chose one as close to the open space as I could get.  (Later, I was treated very kindly by Daniele.)

The musicians, when they came in and set up, properly aimed themselves at the audience rather than at me, so the video perspective is rather like being in the trombone section of a big band.  However, it works well for sound and it is not the usual angle at all.  I was so happy with what I was hearing that if I had only been able to get the quartet’s shoes in my viewfinder I would have taken that as a generosity.

Without further ado — the quartet plays RUNNIN’ WILD, deliciously:

More details: call (212) 987-9260 for reservations or visit their website here to see the menu or find out who’s playing there when and make plans.

May your happiness increase!