Tag Archives: George and Ira Gershwin

MORE BEAUTY, PLEASE: DANNY TOBIAS, PAT MERCURI, CHRIS BUZZELLI at the 1867 Sanctuary (Ewing, New Jersey: January 4, 2020)

When we left our heroes — Danny Tobias, trumpet and various brass instruments, Pat Mercuri and Chris Buzzelli, guitars — they were lifting our spirits by creating beautiful sounds at the 1867 Sanctuary in Ewing, New Jersey.  The evidence, easily accessed, is here in six lovely performances.

Now, I want JAZZ LIVES participants (you are more than simply “readers,” I hope) to chew slowly, to digest, to savor — even if I am not the waitperson who comes to your table, places the entree in front of you, and barks, “ENJOY!” — so I waited a short time before offering you the second half of this delightful concert. But here it is.

Berlin’s memorably sad WHAT’LL I DO?

  The most cheerful admonition, LADY BE GOOD (or OH, LADY BE GOOD):

Rodgers and Hart’s vision of sweet togetherness, BLUE ROOM:

And another from Dick and Larry, DANCING ON THE CEILING:

Finally, a threatening Rodgers and Hart opus (for t hose who know the lyrics) EV’RYTHING I’VE GOT:

Danny will be back at the 1867 Sanctuary on April 19 (at 2 PM) with the brilliant pianist Conal Fowkes and string bassist Doug Drewes: details here.  Thanks to these musicians and to Bob and Helen Kull — guardians of this wonderful space — for making this event possible.

May your happiness increase!

LOVE SONGS ARE JUST AROUND THE CORNER — VALENTINE’S DAY 2020 with YAALA BALLIN and MICHAEL KANAN

You can figure out from the banner above what I’m suggesting as a way to spend a Friday evening with someone you’re fond of.  To borrow from James Chirillo, music will be made: Yaala and Michael have a wonderful playful sensibility; they are a special musical pair. 

Their most recent engagement was at Mezzrow last December, and here is some delicious evidence.  I present the remainder of their Mezzrow performance for your delectation, amorous or simply aesthetic.

MORE THAN YOU KNOW:

YESTERDAYS:

After the JEOPARDY theme, an Alec Wilder classic:

I LOVE PARIS:

I WAS DOING ALL RIGHT:

The closing medley: AUTUMN IN NEW YORK, I COULD WRITE A BOOK, and FALLING IN LOVE WITH LOVE:

I hope your February 14th plans include this emotionally lively music by Yaala and Michael.

May your happiness increase!

MUSIC FOR FEBRUARY FOURTEENTH! –YAALA BALLIN and MICHAEL KANAN PERFORM LOVE SONGS FOR US

This post, Janus-like, looks forward and backward.

Forward?  I want to alert you to a Valentine’s Day love-offering that’s special, a way to be bathed in the sounds of love.  Yaala Ballin, voice, and Michael Kanan, piano, will present songs of love on February 14, 7-9 PM, at St. John’s in the Village (Eleventh Street) with tickets a very loving $10.

It’s a gently interactive event as well.  No, not a sing-along.  But when ticket-buyers enter, they will be handed a list of perhaps fifty songs, classic ones, given a slip of paper and asked to mark down the titles or numbers of two songs they would like to hear.  And these little papers, selected at random, will be the music performed that evening.  I’ve seen this in action (more about that below) and it’s fun.  Details — if you need more — are here, and you can buy tickets through Eventbrite or take your chances that this won’t be sold out (which would be unromantic for you and your Ideal, wouldn’t it?).

Backward?  Yaala and Michael have already performed “the Great American Songbook, Requested,” at St. John’s in the Village last October, and I captured their performances here.  In December, they took their little show — sweet and impish — to Mezzrow, and here  are some delights from that evening.  I have left in Yaala’s inspired introductions because they are so very charming.

Yaala Ballin and Michael Kanan at Mezzrow, Dec.11, 2019, by Naama Gheber.

IT’S ALL RIGHT WITH ME:

MANHATTAN:

BUT NOT FOR ME:

SO IN LOVE:

CAN’T HELP LOVIN’ THAT MAN:

ALL THE THINGS YOU ARE:

IN A SENTIMENTAL MOOD:

LOOK FOR THE SILVER LINING (one of my requests that night):

BLUE SKIES:

I should point out that although both Yaala and Michael treat their material tenderly, they are improvisers, so I could not get tired of their explorations of these deep songs.  I will follow them “while breath lasts,” as a friend used to say.

Here are more auditory blossoms from Mezzrow.  Listen and be glad, and make plans for Valentine’s Day . . . in the name of love.  And if you don’t have a partner for that evening, buy a ticket as an act of self-love, an activity that many people scant themselves in.  And when I was at St. John’s for the October concert, I noticed some elegantly-dressed people by themselves . . . so who knows what could happen?  Be brave and join us.

May your happiness increase!

“SPIRITUAL REFRESHMENT = LIVE MUSIC” (Part Two): YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)

Yes, these two magicians: Yaala Ballin, singing; Michael Kanan, playing.

About four weeks ago, they did their subtle transformations here:

They made music blossom.  The sign is perfectly apt.

Never let it be said that JAZZ LIVES omits any relevant detail:

And here‘s the first part, the songs being I COULD WRITE A BOOK; SO IN LOVE; EASY TO LOVE; THE WAY YOU LOOK TONIGHT; BEWITCHED, BOTHERED, AND BEWILDERED; HOW DEEP IS THE OCEAN?

And if that weren’t enough, here is the second part.

S’WONDERFUL:

IN A SENTIMENTAL MOOD:

I LOVE PARIS:

IT’S ALL RIGHT WITH ME:

MANHATTAN:

I’LL BE AROUND:

CHEEK TO CHEEK:

It was delightful to be there, which my videos may not convey wholly.  But if you missed it, and I am sure some New York readers did, be glad: Michael and Yaala will be doing another box-of-surprises program at Mezzrow on December 11 of this year.  Details here.

Yaala told us, during the concert, that she, Michael, Ari Roland, and Chris Flory are recording a CD devoted to her near-namesake, Israel Baline, whom we know as Irving Berlin.  That will be a treat — but do come out for the music as it is performed in real time, in front of people who appreciate it.

May your happiness increase!

“SPIRITUAL REFRESHMENT = LIVE MUSIC”: YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)

Last Saturday, I was on my way along West 11th Street in Greenwich Village to the church above for a musical event that turned out to be more memorable than I could have imagined.  Ambling along, I had my video equipment; the musicians are friends of mine as well as heroes, and I was imagining the blogpost that might come of it.  Then I saw this banner from another church and the top two phrases struck me as completely apropos to the event to come — and they are, in the ideal world, the same thing:

Back to St. John’s for the event poster, which depicts Yaala Ballin:

“The Great American Songbook, Requested” presented Yaala Ballin, vocal, and Michael Kanan, piano, in a duo-recital drawing on Rodgers and Hart, Irving Berlin, Cole Porter, Jerome Kern and Dorothy Fields, George and Ira Gershwin, Duke Ellington, and Alec Wilder.

The songs were treated lovingly, but as old friends — which is to say that both Yaala and Michael have a reverence for their melodies and harmonies as printed on the contemporaneous sheet music, and a depth of knowledge about the best performances, but that they felt free to improvise, to express their own personalities without obscuring the music.

“Requested” was a sly and endearingly playful idea.  When we entered the church, we were given a list of songs, more than forty, organized by composer, and asked to write down two on a small slip of paper — a favorite first, another second — that we wanted to hear.  It gave the afternoon the slight flavor of a children’s party (or the office grab bag, without the terrors that can inspire).  The thirteen selections Yaala and Michael performed were drawn at random from a basket that Yaala — for that brief time, the Red Riding Hood of the West Village — had brought with her.  Of course, they knew the songs on the list, but it was a small adventure, the very opposite of a tightly-planned program.  And it worked sweetly, as you will see and hear.

I COULD WRITE A BOOK (Richard Rodgers, Lorenz Hart, Pal Joey):

SO IN LOVE (Cole Porter, Kiss Me Kate):

EASY TO LOVE (Porter, Born to Dance):

THE WAY YOU LOOK TONIGHT (Jerome Kern, Dorothy Fields, Swing Time):

BEWITCHED, BOTHERED, AND BEWILDERED (Rodgers and Hart, Pal Joey):

HOW DEEP IS THE OCEAN? (Irving Berlin):

I don’t think this playful, light-hearted but emotional musical partnership displayed this afternoon, could have been better.  I could go on about Michael’s deeply musical approach to the piano, and the chances Yaala takes and how they pay off, but the evidence is all here.  And seven more performances will be shared soon.

Yaala and Michael will be performing another version of this concert at Mezzrow on December 11.  And (as if that would not be enough), Yaala, Michael, Ari Roland, and Chris Flory are going in to the studio to record a CD of Israel Baline’s music (he wrote the preceding song and a few others).

May your happiness increase!

MUSIC THAT FALLS KINDLY ON THE EAR: DANNY TOBIAS, JACK SAINT CLAIR, SILAS IRVINE, SAM HARRIS at the 1867 SANCTUARY (Ewing, New Jersey: April 6, 2019)

Some of the most memorable sessions — improvising without arrangements — are marked by a delightful ensemble tension coming out of competitiveness.  Think of almost any date Roy Eldridge played on, for an example close to hand.  Others are marked by an equally pleasing calm friendliness: we’re all here for the same purpose, and let’s have a good time.  A collective hug rather than head-cutting.

The quietly impressive group that Danny Tobias — master of various brass instruments — brought to the 1867 Sanctuary in Ewing, New Jersey, on Saturday, April 6, really exemplified the affectionate community of the second example.  Danny assembled very gifted young men from Philadelphia: reedman Jack Saint Clair, here solely on tenor; pianist Silas Irvine, and string bassist Sam Harris.  Here’s their sweet version of CHEROKEE — not at a racetrack tempo, but as a waltz:

And the Rodgers and Hart SPRING IS HERE, wistful, pensive, still swinging:

Danny’s secret indulgence (one that makes me particularly glad) is the Eb alto horn — beloved of Dick Cary and very few others.  This particular specimen, Danny notes, was a gift from his friend, the very fine trombonist Gil Toth, who was in the audience.  (Also in the audience were dance luminaries Lynn Redmile and Renee Toplansky.)

What better way to say “Thank you” to Gil and all of us than with this heartfelt rendition of SOMEONE TO WATCH OVER ME?

Every jazz concert needs a song with disputed authorship, so here’s DIG, a line on SWEET GEORGIA BROWN, that Miles Davis took credit for:

Even if your idea of paradise is King Oliver 1923, I hope you can hear the sweet floating beauties on display here.  And let’s not forget Jack Saint Clair’s melancholy-uplifting solo feature, posted earlier.

It was a wonderful afternoon at the 1867 Sanctuary — where art flourishes — and Danny, Jack, Silas, and Sam gave us great gifts.

May your happiness increase!

“MARGARET, CAN YOU RECALL THE DAYS OF OUR YOUTH?” “YES, DARLING, THEY WERE WONDERFUL”: MARC CAPARONE and CONAL FOWKES (San Diego, Nov. 24, 2018)

Conal Fowkes, piano; Marc Caparone, cornet, at the 2017 San Diego Jazz Fest.

This venerable song — WHEN YOU AND I WERE YOUNG, MAGGIE — is a sweet reminiscence of love that lasts.  It has become an ineradicable part of our popular culture: Exhibit A is a Big Top peanut butter glass (first a jar full of BTPB) devoted to the song:

and

I learned it first, decades ago, when I was young, from Vic Dickenson’s Vanguard version, which I can still play in the mental-emotional jukebox of the mind. But I am grateful that Marc Caparone and Conal Fowkes keep it fresh and green in this century, as they did at the 2018 San Diego Jazz Fest:

Here’s another treasure, created on the spot.  There are thousands of versions of George and Ira Gershwin’s vernacular yelp of delight, ‘S’WONDERFUL, but the one this reminds me of is an early-Fifties session for Vanguard, led by Mel Powell, supervised by John Hammond, featuring Mel, Buck Clayton, Henderson Chambers, Ed Hall, Steve Jordan, Walter Page, and Jimmy Crawford.  (That’s me applauding: if you have to ask why, you need to go back to Remedial Swing.)

Marc and Conal — what a pair of glorious musical artists, creating worlds of sound, rollicking and tender, for our pleasure.

May your happiness increase!

WONDERFULNESS, ENACTED

No, not the Gershwins’ S’WONDERFUL, but the Stuff Smith – Mitchell Parish IT’S WONDERFUL, a sweet ballad rather than a witty romp.  I stumbled on to the first version below by Alice Babs, whom I’d known for her work before and after Ellington, but this performance just embodies the title: the quality of something being so delightful that one trembles with awe.  And wonder.

Here she is — a mature singer, with understated tenderness that comes right through.  She’s accompanied by Charlie Norman, piano; Jan Adefelt, string bass; Lasse Persson, drums: recorded in Stockholm, autumn 1998:

Here’s the composer, with Carl Perkins, Curtis Counce, Frank Butler, in January 1957:

Martha Tilton with Benny Goodman in a live broadcast from the Madhattan Room of the Hotel Pennsylvania, December 22, 1937:

and one of my favorite recordings ever, JAZZ ULTIMATE, pairing Bobby Hackett and Jack Teagarden . . . with Peanuts Hucko, Ernie Caceres, Gene Schroeder, Billy Bauer, Jack Lesberg, Buzzy Drootin, from September 1957:

And Mister Strong, May 18, 1938, whom no one dares follow.  Talk about WONDERFUL:

May your happiness increase!

ANDY BROWN’S PASTORAL ORCHESTRA

If you haven’t heard Andy Brown play guitar, you’ve been deprived of deep subtle pleasures.  First off, Andy loves melody: he doesn’t see George Gershwin’s composition as a series of chord changes.  And he understands the song emotionally: no howling double-time arsonist passages on a love ballad.  His tone is beautiful; his rhythm is steady but flexible.  And he’s mastered the very difficult art of turning his guitar into the most delicate orchestra, playing what George Van Eps called “lap piano,” deftly offering the listener a melodic line that even the most jazz-phobic could follow, while offering melodic-harmonic figures that also keep the rhythm going.  In some ways, he is more reminiscent of Hank Jones than of any guitarist I know.  Listen and see that I do not overpraise him.

Here, Andy plays a solo guitar feature as a member of the Ben Paterson Trio  at the “Live at Studio5 Jazz Series” in Evanston, IL on April 9, 2017.  You can follow him here.  And he’s going to be one of the two guitarists at the September Allegheny Jazz Party: the other, a newcomer named Howard Alden.

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.

DEEP HARMONY: JOEL PRESS and MICHAEL KANAN at SMALLS (October 20, 2011)

Here is the introduction I wrote for my first posting about a wonderful evening of intimate, powerful improvisation created by these two great players.  (You can hear the music at https://jazzlives.wordpress.com/2011/10/24/soul-searching-joel-press-and-michael-kanan-at-smalls-oct-20-2011/).

I told both Michael Kanan (piano) and Joel Press (tenor and soprano saxophones) that I had been waiting a few years to hear them perform as a duo. I knew that they had done this informally for twenty-five years in their respective studios and even appeared in public (probably in the Boston area) but I had always heard them in less intimate settings. Last Thursday, October 20, 2011, I had my chance, and the music was memorable.

Michael is younger than Joel, whom he met when he was only seventeen or eighteen, and he looks up to the saxophonist with love and reverence — as a great melodic improviser, someone full of surprises, able to create new things on the most familiar standard. But Joel, for his part, says he keeps learning from Michael — and hearing the depths and subtleties of Michael’s playing, it’s no hyperbole.

It would be very easy to skate over the surface of these familiar songs, but these two players know what it is to listen, to respond, to improvise. It’s lovely to witness the deep, playful interchanges of artists so attuned to one another yet so able to take off on small experimental impulses. Their friendship and telepathy imbue every note, every phrase.

Here’s the second, magical set.

Monk, cryptic and irresistible as ever — WELL, YOU NEEDN’T:

Michael offered the verse of YOU’D BE SO NICE TO COME HOME TO — with great tenderness:

SCRAPPLE FROM THE APPLE — fattening but delicious:

ALMOST LIKE BEING IN LOVE, with a sweet Lestorian bounce:

It was dark inside and outside, perhaps leading Joel to think of the Bud Powell – Sonny Still variations on THESE FOOLISH THINGS called SUNSET:

GET OUT OF TOWN — swinging, rather than abruptly dismissive:

A searching improvisation based on OUT OF NOWHERE:

Something funky and delightful — RED TOP.  Smalls doesn’t sell food, but I thought I could smell spareribs:

They ended the evening — reluctant to stop playing — while waiting for the next band to arrive — with an impromptu yet heartfelt BODY AND SOUL:

I have it on good authority that Joel will be back in New York this coming month (November 2011) and for more news about Michael, check this out:

https://jazzlives.wordpress.com/2011/11/01/michael-kanan-and-friends-are-throwing-a-party-nov-6-2011/

SOUL / SEARCHING: JOEL PRESS and MICHAEL KANAN at SMALLS (Oct. 20, 2011)

I told both Michael Kanan (piano) and Joel Press (tenor and soprano saxophones) that I had been waiting a few years to hear them perform as a duo.  I knew that they had done this informally for twenty-five years in their respective studios and even appeared in public (probably in the Boston area) but I had always heard them in less intimate settings.  Last Thursday, October 20, 2011, I had my chance, and the music was memorable.

Michael is younger than Joel, whom he met when he was only seventeen or eighteen, and he looks up to the saxophonist with love and reverence — as a great melodic improviser, someone full of surprises, able to create new things on the most familiar standard.  But Joel, for his part, says he keeps learning from Michael — and hearing the depths and subtleties of Michael’s playing, it’s no hyperbole.

It would be very easy to skate over the surface of these familiar songs, but these two players know what it is to listen, to respond, to improvise.  It’s lovely to witness the deep, playful interchanges of artists so attuned to one another yet so able to take off on small experimental impulses.  Their friendship and telepathy imbue every note, every phrase.

Here is the first set of this magical evening at Smalls (138 West 10th Street, Greenwich Village, New York City).

And this posting is especially for RDR, without whom it would have taken me much longer to hear and meet Joel and Michael . . .

GONE WITH THE WIND always makes me think of Ben Webster and Art Tatum, not a bad pair of heroic ancestors:

HOW’S THE HORN TREATING YOU? is both Joel’s whimsical memory of Steve Lacy, who would ask him this question as a greeting (the soprano saxophone is notoriously unforgiving) and an improvisation on I’M GETTING SENTIMENTAL OVER YOU:

A very lovely yet intense DON’T BLAME ME:

Truer words were never spoken: I HEAR A RHAPSODY:

SOMEBODY LOVES ME, the Gershwin standard (now right years old) that Joel begins, solo:

For Lester and Billie, in loving swing memory, FOOLIN’ MYSELF:

And a cheerful LIKE SOMEONE IN LOVE (at such a pretty tempo) to close off the first set:

More to come!