Tag Archives: Fraunces Tavern

THE GREAT AMERICAN JAZZBOOK: ROB ADKINS, EVAN ARNTZEN, DAN BLOCK, CHRIS FLORY at FRAUNCES TAVERN (May 7, 2016)

Fraunces TavernHere is the first part of a delightful Saturday afternoon of music performed at Fraunces Tavern by the Garden Party Quartet: this version being Rob Adkins, string bass; Chris Flory, guitar; Evan Arntzen, clarinet, alto saxophone, vocal; Dan Block, clarinet, tenor saxophone, on May 7, 2016.  Four more delicious performances follow below.

People who fear jazz — it makes them skittish — often say that they can’t recognize the melody.  For them (and for us) here are four standards, played and sung with loving swinging reverence by this melodic quartet.  You’ll hear the work of Hoagy Carmichael, Sidney Arodin; Alex Hill, Bob Williams, Claude Hopkins; Cole Porter; Harold Arlen, Ted Koehler.  And I daresay that the composers and lyricists would be pleased with the results.  You decide.

YOU DO SOMETHING TO ME:

LAZY RIVER:

I WOULD DO ANYTHING FOR YOU:

I’VE GOT THE WORLD ON A STRING:

Yes.  The real thing.  The good stuff.  Out there in public, too.

May your happiness increase!

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A FROLIC AT FRAUNCES (Part One): ROB ADKINS, CHRIS FLORY, DAN BLOCK, EVAN ARNTZEN (May 7, 2016)

A good band is not hard to find in New York City.  One of the places I rely on is Fraunces Tavern at 54 Pearl Street for their Saturday jazz brunch (1-4) usually led by Emily Asher with her delightful small band that is the Garden Party Quartet.  Emily was on the road on May 7, 2016, but the joy continued unabated.

Fraunces Tavern

String bassist and band-wizard Rob Adkins assembled a wonderfully melodic quartet: himself, Chris Flory, guitar; Dan Block, clarinet and tenor saxophone; Evan Arntzen, clarinet and alto.  Oh, did they fill the room with good sounds!

Of course, fault-finding viewers will note that people are talking, eating, drinking, and moving, that the room is busy, but busy-ness keeps the Tavern able to pay for live music.  Without being too acrid, I say quietly that people who choose only to sit in front of their computers when there is live music to be had make it hard for musicians to survive.  To quote Arthur Miller, “Attention must be paid.”

On to happier matters.  This little ad-hoc band is not only composed of four wonderful soloists, but these players know the sacred value of ensemble playing — so lines intertwine, there’s counterpoint, riffs, backgrounds: all the collective joy one could ever hear.

I present these performances in the order they happened, as is my habit. I think they are each small complete masterpieces, to be savored rather than gobbled.  I hope you agree.  There’s more to come.

LINGER AWHILE:

THE BEST THINGS IN LIFE ARE FREE:

SOUTH:

Please find a way to support the music if you want it to continue.  That means going to a place where it is played, purchasing food and drink there, putting money in the tip jar, buying a CD from a musician . . . active rather than passive.  Very little is actually free in this world, the title of the third song notwithstanding.  And as a final irony, the people in this scene who are sitting at the bar, talking and drinking whiskey, are doing more by their presence to support the music they are ignoring than the most devoted “jazz fan” who lives solely off the Hot Internet.

May your happiness increase!

EIGHT BY THREE AND SOMETIMES FOUR (ROB ADKINS, MIKE DAVIS, CRAIG VENTRESCO, and TAMAR KORN, JULY 25, 2015, Fraunces Tavern)

 

FRAUNCES larger

The title should tell it all, but if you’re new to the scene, it’s Rob Adkins, string bass and organizer; Mike Davis, cornet and sometimes trombone — evoking Sandy Williams as well as Rank and Miff — ; Craig Ventresco, guitar; Tamar Korn, vocals and theatre.  Recorded on Saturday, July 25, 2015, at Fraunces Tavern, 54 Pearl Street in downtown New York City.

SHINE:

(And if you believe that SHINE is a racist song, please read this and get enlightened.)

Tamar leaps in for CRAZY RHYTHM, verse and all:

Tamar performs LAZY RIVER, a song she’s been enjoying since I first heard her (and at a perfect tempo):

And some quartet optimism with a side of Higginbotham for SUNNY SIDE OF THE STREET:

One for young Bix, the NORK, and the Brunies brothers, ANGRY:

THAT’S A-PLENTY, dusted off and brought to vibrant life:

The lovely TISHOMINGO BLUES:

and what may not be the eternal question, IS IT TRUE WHAT THEY SAY ABOUT DIXIE?:

Notwithstanding the dim lighting and the talkative patrons, this was a glorious jazz session.  I recorded and shared thirteen other selections, which you can visit or revisit herehereherehere,here, and here (where I paired Mike with Connie Jones and Marc Caparone, and no one minded at all).

Some will wish to nominate the above effusion as Most Hyperlinking in a Jazz Blog for January 2016, but I hope you will click away, for rewards await.

May your happiness increase!

SLIDE AND SLIDE ALIKE // WHISTLE WHILE YOU . . . WORK?: MATT MUSSELMAN, RYAN SNOW, KRIS KAISER, ROB ADKINS at FRAUNCES TAVERN (August 1, 2015)

Trombone

Memorable music blossoms forth without fanfare when the right creative spirits come together.  And such music isn’t always created by Stars — people who win polls, who record CDs for major labels.  Two examples from a Saturday brunch gig in New York City follow.

Matt Musselman, welcoming us in

Matt Musselman, welcoming us in

The very perceptive Rob Adkins, string bassist extraordinaire, arranged this session on August 1, 2015 — Matt Musselman on trombone, Kris Kaiser on guitar. And they made lovely music.  But then someone came in — new to me but very talented: trombonist / jazz whistler Ryan Snow.

There’s a small tradition of two-trombone teams: Cutshall and McGarity, Johnson and Winding, Vic and Eddie Hubble are the first teams that come to mind.  And two trombones lend themselves to trading off: you play eight bars, I’ll play the next, and so on.

Matt and Ryan knew and respected each other, and everyone was eager to hear Ryan play.  So they began to trade phrases — on the one horn, passing it back and forth without missing a beat or smudging a note.  It was a lovely exercise in jazz acrobatics, but it was more — wonderful music.  I thought, at the end, “This is why I carry a knapsack full of video equipment to jazz gigs, because anything can happen and usually does.”

(If you can’t tell who’s who, Matt has a rolled-up long-sleeve white shirt; Ryan is wearing short sleeves.)

OUT OF NOWHERE:

And for the next number, I CAN’T GET STARTED, Ryan proved himself a superb jazz whistler:

Marvels take place amidst the hamburgers and Cobb salads, the gallons of beer and Diet Coke . . .

Since I’d never heard of Ryan, I asked for a brief biography.  You should know that his August 2015 visit to New York was prelude to his attending law school at the UVA School of Law in Charlottesville.  He will do great things . . . but I hope he visits New York again to play and whistle, to lift our spirits.

Here’s Ryan’s self-portrait:

Born and raised in Stanford, CA, child of two professors and avid music lovers, grew up surrounded by music in the home and going to see live music of all kinds. Started playing piano privately at 9 (hated it), trombone at 10 (loved it) playing in the school band. Parents gave me Blue Train, Kind of Blue, and a J.J. Johnson on Columbia album for my 12th birthday and I began listening to jazz obsessively, buying CDs and spinning them till I knew every note, then going to get more. That and being lucky enough to have a good jazz program in middle school and high school really developed my ears. I had fun playing in small combos with friends. I toured Japan four summers with the Monterey Jazz Festival High School All-Star Big Band, through which I connected with some amazing young players (including Ambrose Akinmusire, Jonathan Finlayson, Charles and Tom Altura, Justin Brown, Milton Fletcher, Ryan Scott, Bram Kincheloe to name a few); I learned a lot and caught a glimpse of professional music life on the road.

I went to Oberlin College and Conservatory to study jazz and political science, earning bachelor’s degrees in both. There I connected with a really strong community of improvisers (including Peter Evans, Matt Nelson, Nick Lyons, Kassa Overall, Theo Croker, Nate Brenner, and our friend Rob Adkins among others) and found myself pulled towards the avant-garde and to Brooklyn, where I moved after graduation in 2005. I knew at 22 that if I ever wanted to do serious work in music that I would need to start right away, and I’m very thankful I made that choice. I spent the next six years playing as much as possible and contributing to a vibrant improvised music community in Brooklyn, including curating and hosting a regular music series in my basement for two years. During this time I also helped found and build a soul-rock-funk band called Sister Sparrow & The Dirty Birds that quickly gained a strong following and began touring nationally in 2011. Three years, 200,00 miles and over 500 shows in 45 states later I found that my underlying passions had shifted, that I was spending my down time on the road reading about politics and public policy rather than working on my own music and setting up playing opportunities. I was making music that mattered to people, and having fun doing it, but part of me wasn’t fulfilled; however meaningful my music was to the audience and to my peers it wasn’t making a significant impact on their lives and opportunities, let alone those of the millions (billions) beyond earshot. I felt called, I felt at 30 about political action as had at 22 about music, that I needed to immediately begin working in service of my values and towards a government and a society that I believe in.

About whistling:

My dad used to whistle a lot when I was really young. I don’t remember learning it at any particular point, but when I began listening to jazz obsessively in middle through high school I got in the habit of whistling along just walking around with my Discman all day. So it just became natural to whistle bebop. I kind of had a running stream of quarter note swing going through my head in those days (still notice it at times now but it’s further in the background) and I would often start whistling lines out loud, just externalizing what I was hearing in my head. Plenty of complaints from mom and friends. Did this daily through college and while I never really whistled with other people I was whistling a lot. After moving to NYC I had some opportunities to whistle professionally, laying down a few studio tracks as a guest and busting it out every few shows with Sister Sparrow & The Dirty Birds, and have also done a few jam sessions where I’ve been just whistling. I think the best thing about it actually is being able to sit in credibly and comfortably in a jazz setting even if I don’t have my horn with me, it’s just really fun and freeing, and I’m always thankful for the opportunity to share it with people.

There are a lot of similarities with the trombone in that they’re both fretless instruments and so essentially require some kind of attack (air or tongue) to delineate individual notes, which can get tricky at fast tempos. But they’re also so different it’s fun to have both. I hope to continue to develop my whistling and ultimately make some recordings that I can share.

Thank you, Rob, Matt, Ryan, and Chris, for transforming a Saturday afternoon most memorably.

May your happiness increase!

TWO BY THREE FOR BIX (July 25, 2015): ROB ADKINS, MIKE DAVIS, CRAIG VENTRESCO

I’ve been parceling out the musical delicacies from this Saturday-afternoon jazz festival (advertised as a brunch, but we know better) because they’re so good.  It was July 25, 2015, and the beautiful creators were Rob Adkins, string bass; Mike Davis, cornet and occasionally trombone; Craig Ventresco, guitar.  The site was Fraunces Tavern on Pearl Street in New York.

the-bix-beiderbecke-story

And the approving shade is one Bix Beiderbecke.

BALTIMORE:

BLUE RIVER:

Thank you so much, Rob, Mike, and Craig, for this  gorgeous hot lyricism. Beauty triumphs over chatter any day.

May your happiness increase!

WISTFUL, THEN HOT: ROB ADKINS, MIKE DAVIS, CRAIG VENTRESCO at FRAUNCES TAVERN (July 25, 2015)

String bassist Rob Adkins doesn’t hang out a sign that says BANDLEADER in large letters, but it’s one of his great talents.  Aside from being an uplifting musician, he assembles groups that work together splendidly.

Rob Adkins

Here’s another sample from one of his triumphant afternoons: the Saturday gig of July 25, 2015, that put together the guitar wizard Craig Ventresco and trumpeter / aspiring trombonist Mike Davis for a good time at Fraunces Tavern on Pearl Street.

I’ve posted good music from this gig before, hereherehere, and [in part] hereand I’m not through yet.  (That’s how much fun it was.)

Here are four more, harking back to Bix, Red Nichols, Miff, and other stars of the late Twenties.

SHE’S FUNNY THAT WAY:

ALICE BLUE GOWN:

LOUISIANA:

MY MELANCHOLY BABY:

Thank you, Rob, Mike, and Craig.  Age cannot wither nor custom stale this music.

May your happiness increase!

 

“MR. AND MRS. IS THE NAME” (FOR ANA and MIKE)

Photograph by Rosibell Adolfo

That’s Ana. L. Quintana and Mike Davis, who are getting married in Puerto Rico this weekend.  Lovely people, they are — I speak from experience.

So, even though it’s too fast to use for a trot up or down the aisle, I offer the appropriate music — created on the spot at Fraunces Tavern (July 25 of this year) by Mike, Craig Ventresco (guitar), Rob Adkins (string bass) — a 1931 love song, LITTLE GIRL, by Francis Henry and Madeline Hyde:

Here’s the contemporary sheet music:

LITTLE GIRL cover

And here, since Mike was too occupied to sing, is a recording from the same year by “Whispering” Jack Smith, where he offers two verses as well as the chorus:

In case you don’t know the other song I reference in this post, enjoy this, sung by Dick Powell, from FLIRTATION WALK (1934), where the love interest is Ruby Keeler.  The music and lyrics are by Mort Dixon and Allie Wrubel.  This recording features some surprising Calloway-influenced scat from Powell, who had begun his career as a hot banjo player with Charlie Davis:

To Ana and Mike, and to everyone:

May your happiness increase!