Tag Archives: Gabrielle Stravelli

DORON TIROSH: COMPOSER, IMPROVISER, NEW YORKER: “I WOULDN’T BE ANY OTHER PLACE”

I first met the quietly soulful drummer Doron Tirosh in August 2016 at a gig with guitarist Felix Lemerle and string bassist Murray Wall at a now-closed Greenwich Village restaurant.  I admired him immediately as an inventive, thoughtful musician and congenial person.  I will say more about my first impressions of Doron at the end of this post.

Earlier this year, Doron was ready to release his debut CD, SIMPLY BECAUSE IT’S WINTER (Gut String Records) — featuring pianist Michael Kanan, string bassist Neal Miner, and Doron.  I looked forward to this disc because those three musicians form an ideal trio, but even more because three of the six compositions were Doron’s originals — the title track, WHY WOULD YOU TREAT ME THAT WAY?, and FOR W.B.  The three classics show a deep immersion in the best American songs: IT WAS WRITTEN IN THE STARS, I GOT PLENTY OF NUTTIN’, and THAT OLD BLACK MAGIC.

Here are the links to purchase, download, or listen to the music: AmazonCDBabyitunes, and Spotify.

Doron asked if I would write something for the CD, and this came very easily:

Many listeners eye even the gentlest-spirited drummer with suspicion, and we have reason. Drummers HIT things while the band is playing. But Doron is no musical bully-boy. His melodic lyricism is the equal of heroes Michael and Neal. If you want a gorgeous example of lyrical democracy in action, savor WRITTEN IN THE STARS.

Doron has a light touch — metaphorically as well as sonically. He varies the sounds he gets from his kit with a deep intuitive intelligence, and he swings irresistibly: hear his solo introductions to PLENTY and W.B. Like my percussive deities Jo Jones and Sidney Catlett, Doron dances in our heads. His playing is crisp but never mechanical, delicate but never timid. And his originals come from the same place: they are blossoming interludes, not just chord changes tied up with twine. In 2018, beauty is not always easy to find, but Doron, Michael, and Neal show us what it is, can be, and will continue to be.

The subtleties of Doron’s playing and his gentle approach to the life of a New York jazz musician fascinated me, so we did an informal interview by email, and I find his answers candidly intriguing.   (My questions are in italics.)

Where did Doron Tirosh, musician, come from?

I was born and raised in Israel. I have loved music since I can remember- I used to carry vinyl records to kindergarten (and drop them because they were bigger than I was) – their presence made me feel good. My brother hipped me to music – he played guitar, piano, sang, and had very musical ears, and still does today. He could have been a great musician if he had chosen to do that for a living. My father is very musical as well.

I started studying classical piano at the age of 6, but I didn’t take it seriously. Only when I started playing the drums at 14 I began practicing devoutly, when in high school I joined the jazz department and that was it – I knew I wanted do nothing else but playing music for a living. I met a lot of great musicians during my high school years.

The role of the drums in the jazz ensemble is constantly changing. What do you see as your role when you play?

First and foremost, I want to make the other musicians I play with FEEL good. I try to keep a steady time and groove, but I do not think my role is to “keep” anything, meaning, to play with a stiff beat in order to keep the tempo. I want to bounce and swing together. I am learning how to do that (which is a life-long process) from playing with people who have a good beat. They could be bass players or other kinds of instrumentalists. Let me say that grooving together is the most wonderful feeling in the world. It’s addictive, and that feeling I get when I play with those musicians is the reason I am still staying in New-York.

Nowadays, due to the obvious change the world has been through, although the role of the drums is endless, I still find that playing in 4/4 time with good groove and phrasing is becoming a unique art. Then I ask myself how it could be that not so long ago, playing in 4/4 time with a great feel and musical taste was only entry level for any instrumentalist, a drummer included. Now, I respect any good music no matter of genre. I am aware of how important it is to be a well-rounded musician and open to anything, but I must say it is becoming hard for me to enjoy a lot of the music labeled “jazz” I come across. The jazz musicians I love the most are not stars, although some of them do tour around the world constantly. My heroes are down to earth people who want to play and keep passing on the tradition and knowledge they got.

I try to play what feels good to me, what I hear, and not pay attention to the passing fancies in the so called jazz music. I believe that if I want to be worthy of the title ”jazz drummer” I have a lot of responsibility, so I personally can’t play Balkan music and be a DJ on the side while at the same time I have a gig and I have to play a Thelonious Monk or a Charlie Parker composition. Playing such music demands my full dedication. That is just how I feel; there are a few that can pull that off though.

What does it feel like to lead a group from the drums?

Basically it’s the same, but I would say the main difference is that I have to be very clear about the material and arrangements that are played. The person who helped me realize that small but crucial point was Michael Kanan. Besides being a true friend and always helping me in everything and anything, he let me know from the beginning of the project that I have to be clear in conveying what I want to him and Neal.

As a shy person, I hate to be in the front and I hate telling people what to do. Sometimes I think I should have played piano and not drums because of that reason – but too late now, I guess. Anyway, when Michael asked me “What are we going to play?”, I gave him my typical Doron answer, “Whatever you want – songs that you like to play.” That made me seem hesitant and unclear so I learned I have to actually lead the session. I was still trying to be considerate by choosing material that I believed would fit best, and I must say I am content with the result. It was a wonderful learning experience for me recording with those two giants.

Few drummers are also composers of lyrical melodies: where does your inspiration come from?

Studying classical composition in Tel-Aviv University had a huge impact on me as a musician. I concentrated 4 years, which is far from enough, on playing piano, studying counterpoint, harmony, reading and transposing music, ear-training, and composing music for classical performers. The individual composition lessons helped me the most because I got a chance to investigate a real composer’s world. I was bad at conducting and some other subjects, however. You see, every field is a world of its own, one can devote his or her whole life to it – music has no end to it.  My teachers influenced me a great deal; they are incredible musicians.

The other influence is unfortunately heartbreaks. Most of my tunes or compositions were a way for me to use the energy of those experiences into creating a melody, hopefully a beautiful one.

You told me, “I feel like a New Yorker!” What does that feel like? Have you adopted us or have we adopted you?

Well, both. Although I have no family here, I made some really great friends who I consider as family. When I am ill or when I am desperate, I know I have friends to look after me. I would do the same for them – we take care of each other.
The music and the musicians make me feel at home. There is a strong feeling of a jazz community. I feel as the music that I love the most is in its natural surroundings here, and it is a feeling I will never experience in my home town.

Living the life of a jazz musician seems possible here, more than anywhere else in the world. Where else can I go and hear jazz music every evening until the next morning played by my favorite musicians on the planet? Or even play with them? There is a feeling that anything can happen, that suddenly I could find myself sitting-in with the best musicians in the world, so I always should be on top of my game. I find that I practice more here, play more sessions and more gigs, and in general try to be at my best.

I am not saying living in New York is not hard. The loneliness and the emotional downs here can be frightening, but the music makes living here worthwhile for me, at least for now. I miss my family though, and the food.

Any good stories about being a working New York musician?

The thing in New-York is that anyone can show up at any given show at any given moment. It could be the worst gig with the worst musicians in the world in a dull bar with 2 people in it and then suddenly in walks a great musician and everything becomes exciting instantly. It happened to me numerous times when great musicians sat-in spontaneously, as well as me sitting-in as the band’s drummer for the gig within a few minutes notice. Only last week I came to hear Michael Kanan and Pat O’Leary at the 75 Club, and ended up playing the whole show with them. It was a special night, I will never forget it- playing trio with those gentlemen, not to mention when Gabrielle Stravelli came up to sing… I wouldn’t be any other place.

——————————————————————————————

Here’s what I wrote about Doron when I posted videos from that August 2016 gig, and I believe it even more so now: I had known nothing of Doron except for the few words of praise from [guitarist] Felix [Lemerle]. And I confess that youthful drummers new to me arouse anxiety. I become Worried Elder: “Young man, are you planning to strike that ride cymbal with those wooden sticks? Why, and how, and how often?” But Doron and I bonded over dehydration and exhaustion, and I knew he came in peace. When he began to play, my spirits rose even higher, because he is a melodic drummer in the great tradition of the Masters, of Dodds, Singleton, and Catlett. Before each number, Felix would tell Doron the name of the song, and I could see from their expressions that they knew the melody and the lyrics as well.

Seeing Doron on the street, you would be unaware of the creative talent he has in his young self.  But hear his compositions, see him lead a band from behind the drums, and you will know in four bars that you are in the presence of someone special: a melodic, creative gift to New York from Israel.

May your happiness increase!

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“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!

TO THE STARS WITH GABRIELLE and MICHAEL (Cornelia Street Cafe, July 11, 2016)

On Monday, July 11, at 8:30 PM, Gabrielle Stravelli and Michael Kanan will create one set of glorious music at the Cornelia Street Cafe in Greenwich Village, New York.  Here is the event page with all the necessary information.

GABRIELLE AND MICHAEL CD

This event is truly exciting, both as a celebration of the CD above, and as a pure expression of loving music.  Consider this:

That performance is something I marvel at, over and over.  And at the Cafe, Gabrielle and Michael will be performing songs from the CD as well as some that do not appear on it.

The CD can be purchased through iTunes and CDBaby.  (Of course, the best way to purchase it is directly from the artists, so a connection both personal and financial takes place, but you already knew that.)

I am thrilled that it exists, and perhaps excessively proud of my small part in it: the liner notes that I offer here:

Gabrielle Stravelli and Michael Kanan create rare beauty. Whenever I’ve heard them, singly or in duet, I’ve marveled. I feel as alive as I will ever be, with tears in my eyes and an astonished uncontrollable smile.

Their art is heartfelt and subtle. It takes devotion to be so at one with the music, to create drama without being dramatic. They serve the song, words and music. They make the most familiar song seem fresh, but never distort it in the name of innovation.

These performances were recorded in The Drawing Room, that gratifying yet unassuming Brooklyn shrine to music, on February 8, 2105. It was an honor to experience such music, to witness it being created.

The rapport between Michael and Gabrielle is intuitive. It is trust set to music. They travel the same path as dear friends, serious about their work but light-hearted in play. The results are quiet rather than showy yet always convincing, an love-offering of improvised nuances, not rehearsed gestures. Even when the material they choose is dark, tenderness shines through. They are at once serene and agile, poets who never insist on Being Poetic.

I don’t know what their religious beliefs are, and it would be impudent to inquire. But these performances seem fully realized secular hymns to music, to feeling. Gabrielle and Michael offer us hopeful visions of exalted possibilities.
My praise might make them seem too deeply serious, as if listening to their music was weighty spiritual homework. Not so. Doom is never one of the specials on their menu, and you can hear them smiling when the song calls for it. Their work is characterized by ease and wise patience. They don’t rush. They allow each moment to emerge as it will, to blossom and turn sunward. They delight in a rubato forward motion that never loses the pulse.

Gabrielle’s voice has many rooms, each one painted a different color. It can move from a hushed half-whisper to the insistent meow of a Siamese cat or the wry curl of a New York Italian adolescent, amused by what she’s just seen on the street, to an expressive, rangy open voice, dark and warm in its lower register, bright and soaring above. She has beautiful diction and she never obliterates the lyric; rather, her phrasing makes meaning deeper. Only she can make me accept the “idea” / “Maria” rhyme in SO RARE, which fact I offer as great tribute.

Michael’s touch is sensitive; his harmonies remarkable. He surprises but never shocks. He honors Jimmie Rowles by not imitating him. His phrases breathe in inspiring ways. His playing is spare yet rich, with a singing expressiveness. He knows that the piano has an entire orchestra within it, but his creations always sound translucent rather than insistent. His is an art where every detail matters and resonates long after the struck note has died away. As an accompanist he gives wondrously, wanting only that others sound even better than they thought they could.

With stories full of sweet truths, Gabrielle and Michael invite us to open the secret door in the attic, revealing the stairway to the stars. Through their music, we climb to a rare joy.

So I urge you earnestly to come to the Cornelia Street Cafe on Monday, July 11, 2016, for this blessing in music.  The music begins at 8:30.  The doors open at 8. There is a $10 cover and a $10 food/beverage minimum. Call (212) 989-9319 for reservations or reserve online at www.corneliastreetcafe.com.

A few postscripts.  I will be there, as close to the music as I can get, beaming at these two artists whom I admire so much.  But I will be there as a mere human being, which is to say someone without a camera.  And the Cafe has informed me that due to budgetary restrictions, they will not be able to provide each patron of the arts with a lazy daisy.  You’re on your own.

May your happiness increase!

TWO MORE CHANCES TO BE ENCHANTED

by Gabrielle Stravelli.

Gabrielle

Gabrielle Stravelli is one of the most moving and versatile singers I know, and I’ve been listening to hear for a few years now.

She is nearing the end of a run at Feinstein’s/54Below — with shows on October 13 and 20 — both at 9:30.  By the time I write about these shows on JAZZ LIVES, everyone will have moved into November, so I would simply urge you to come hear Gabrielle.

Here‘s what Stephen Holden wrote about Gabrielle just yesterday in the New York Times, having seen her show at Feinstein’s/54 Below.

I can’t follow that, so I will simply offer some beautiful evidence of how poignant and wise Gabrielle’s music is — two duets with pianist Michael Kanan, performed in February of this year:

SO RARE:

STAIRWAY TO THE STARS:

Glorious touching music — the kind Gabrielle always creates for us.

May your happiness increase!

“A HEAVEN ON EARTH TO SHARE”: GABRIELLE STRAVELLI / MICHAEL KANAN at THE DRAWING ROOM (February 8, 2015)

What follows captures one of those magic times when the song, the title, the performance, and the performers can all be described in the same phrase.

SO RARE

The song, to many of us, is associated forever with Jimmy Dorsey — his last hit –but it was a pop hit in 1937.

SO RARE 45

The simple melody line has made it adaptable to all kinds of improvisers: there is an airshot by the Benny Goodman trio when it was new, and later performances by Ella Fitzgerald, Mose Allison, Anthony Braxton, and the duo of Jimmie Rowles and Joe Pass.

But I submit that the version that is now forever in my mind and heart is this one, created by Gabrielle Stravelli and Michael Kanan on February 8 of this year at The Drawing Room, 56 Willoughby Street, in Brooklyn.

Gabrielle introduces it in a touching, light-hearted way (while Michael plays gorgeously behind her) and then transforms the song.  No longer simply a piece of nostalgia, it becomes the most warm expression of happy praise and exultant joy from one lover to another.  Love never ages:

Isn’t that marvelous?  The dark beauty of Gabrielle’s voice, moving from the casually spoken to the eloquently full-throated, and the moving subtleties Michael always creates.  And that steady sweet patient tempo.

I offer another masterpiece from that evening — and there were many — here.

I propose that music like this — delicate, haunting, elegant, deep — is indeed so rare.

And I send thanks to Gabrielle’s parents.

May your happiness increase!

ON THE CREST OF A THRILL: GABRIELLE STRAVELLI and MICHAEL KANAN CREATE BEAUTY (February 8, 2015)

What follows is so much more than a formulaic visit to the Great American Songbook by a singer and a pianist.  What Gabrielle Stravelli and Michael Kanan offer us here is nothing short of miraculous.

I think of the eloquent reedman, now gone, Leroy “Sam” Parkins, who — when confronted by music that was deeply heartfelt and expert without artifice — would hit himself in mid-chest and say, “Gets you right in the gizzard, doesn’t it?” And he spoke with great conviction about musicians who knew the sacred wisdom of “taking their time,” of letting beauty unfold at its own pace.

Sam never got to hear Gabrielle and Michael, but I sense his approving spirit.

The music here is so emotionally deep without play-acting (“Look how much drama we can wring out of this old song!”) and it is both intense and leisurely, because they know that the slow growth of real feeling cannot be hurried.

They offer a rich quiet mixture of delicacy and intensity; they create a wondrous synergy, inspiring one another.

The song is STAIRWAY TO THE STARS, music by Matty Malneck and Frank Signorelli (both jazz improvisers who you’ll find on many recordings from the Twenties to the Sixties), lyrics by Mitchell Parish.  It’s a sweet ballad, but Gabrielle and Michael keep the tempo moving, even though it feels like a thoughtful rubato throughout.

Please note the absolutely reverent attention given to the nuances of melody that Michael brings to his somberly hopeful exposition of the theme — a completely satisfying musical offering in itself.  Then Gabrielle’s quietly hopeful song — with Michael playing the most sensitive intuitive accompaniment (and I see “accompaniment” here as a lovely friendship, with the two of them sweetly climbing those stairs as the lyrics suggest).

Gabrielle’s voice in itself is a rare thing, but what she does with and within it is simply incomparable:

This performance took place on Sunday, February 8, 2015 — at The Drawing Room, 56 Willoughby Street, Brooklyn (easily reached by a half-dozen subway lines).  When I have brought myself and my camera to a place where such music is created in front of my eyes, I do not simply feel rewarded; I feel uplifted.  And grateful beyond my power to express here.

I also think this performance should remind people who dearly love music that it is being created right now, all around us.  It exists in human form: people with voices and instruments, inventing beauty on the spot. The music is large, vividly alive, and energized — in ways that earbuds cannot contain.  Even this video is a shadow on the cave wall — encapsulating the experience but not a complete equivalent for it.

My words are more than “Go and hear some live music,” although that is also my intent.  To be in a place where actual people are creating something like this in public is an experience more inspiring than clicking the icon to download the track . . . but many people seem to have forgotten this.  Honor the music by joining the creators, while it and they still thrive.

May your happiness increase!

CONSIDER YOURSELF INVITED, or WARMING TRENDS IN BROOKLYN (February 8 and 15, 2015)

If you’re reading this in the tri-state area on February 4, the view from your window might be cheerless, the prime ornament being snow heaped up in unappealing mounds.  As I write this, the thermometer is struggling to rise up out of the twenties.  You can’t hear it, but I am sighing.

But there are two events coming soon to a Brooklyn oasis that will make me and a small group of the faithful forget about winter.  The oasis is THE DRAWING ROOM, a beautiful secular shrine to music created by pianist Michael Kanan and string bassist Stephanie Greig, and you can find it at 56 Willoughby Street, Brooklyn, New York.  It’s accessible from nearly every major subway line, and the price of admission is a mere ten dollars.  This Sunday night, from 7 to 10 PM, the wonderful singer Gabrielle Stravelli and Michael will be making beautiful music.  I know.  I speak from experience:

I watched my video of this 2012 performance again, to make sure I wasn’t simply remembering the experience through a sweet nostalgic haze, and once again I had to brush tears away.  This performance of BILL is the musical equivalent of watching a flower open in slow motion, for Gabrielle and Michael so wisely and sweetly capture the doubleness of the song — a mildly comic undercurrent, the teasing way one can gently list the faults of the person one loves, because both that person and you know the deep accepting love underneath, and the embracing tenderness.  Michael and Gabrielle fully inhabit those emotions and make them come to rich life in front of us, in sounds and words.

I expect some of this magic will happen again this coming Sunday, so I will don appropriate winter garb to make it to Brooklyn.

Here is the Facebook event page for this concert.  Sign on.  Join in.  The music will reward you.

And, one week later, February 15, pianist Roberta Piket and tenor saxophonist Lena Bloch will be making brave beautiful music at the Drawing Room.  I hope to be there, too.

May your happiness increase!