Tag Archives: Grove Street Stompers

DAN BARRETT HAS PLANS FOR THE EVENING OF MONDAY, SEPT. 24, 2012

Dan Barrett thinks ahead . . . and he is coming to New York City for an all-too-brief sojourn, with stops at The Ear Inn, Birdland, Little Branch, and other places.  But after his work on the First Traditional Jazz Workshop at Chautauqua, New York and the party — Jazz at Chautauqua — that follows, he will be putting his horn together the following Monday night to join the Grove Street Stompers at Arthur’s Tavern at 57 Grove Street (that’s Greenwich Village, New York) for a 7-10 PM musicale.  Dan will be joined by pianist Bill Dunham for the first set, Ehud Asherie for the two following sets; Giampaolo Biagi, drums; Jack Stuckey, clarinet; Barry Bryson, trumpet; Kelly Friesen, string bass.

I am sure that others will drop by . . . get there early, as Arthur’s has been known to fill up with the faithful!

May your happiness increase.

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BILL DUNHAM REMEMBERS BARBARA LEA

The good friend of JAZZ LIVES, pianist and bandleader Bill Dunham, sent his recollections of Barbara Lea for us:

I guess I’m Barbara’s oldest friend – both in terms of age and friendship.  She was at Wellesley (where she was Barbara Leacock out of Detroit) when I was Harvard in the late 40’s.  We met on a blind date and dated briefly (I was pretty inept and Larry Eanet took over in that department).  It was there that I introduced Barbara to the Harvard Crimson Stompers a Dixieland band that was really a hot item among the college jock fraternities (Dartmouth, etc.) Her singing career started!  I was a member of the Stompers at the time and can remember how we were all knocked out by this Wellesley girl’s singing!

During her senior year at Wellesley and after graduation she sang at local Boston clubs – some not too upscale including a Mafia-run club where she called me one night and asked me to please come down the next night because she had been threatened by a gang thug.  I was to call a police lieutenant should there be a confrontation.  I was not too enthusiastic about this assignment but fortunately it went OK with me sitting nervously clutching the policeman’s phone number.

As you know, Barbara made scores of LPs, CDs, etc.  One of my favorites is the one she made with Johnny Windhurst, a marvelous young trumpet player.  He incidentally sat in with the Grove Street Stompers a number of times.

Barbara has often been labeled as a young Lee Wiley. Yes, one can pick up traces of Wiley in her singing but Barbara was her own person and had her own approach to singing the great standards with a beautiful, pure, ungimmicky voice!

I have been a close friend of hers since college and will really miss her!

Another pianist with young Barbara Lea

DAN BARRETT COMES EAST (September – October 2011)

To quote Henry Nemo, “‘Tis autumn,” and one of the more rewarding manifestations of that season is the annual Dan Barrett Comes East tour.  The inimitable Costa Mesa, California trombonist, cornetist, arranger, composer, pianist, singer, comes to this coast for a series of what have proven memorable gigs.

Thursday – Sunday, Sept. 15-18: Dan at Chautauqua Jazz Party, Chautauqua, New York (http://athenaeum-hotel.com/Jazz-at-Chautauqua/)

Monday, Sept. 19: Dan at Arthur’s Tavern, with Bill Dunham’s Grove Street Stompers (Grove Street & 7th Ave South; 7-10 pm)

Tuesday, Sept. 20: Dan in Cape Cod, Massachusetts, with Howard Alden & Frank Tate (details to follow)

Wednesday, Sept. 21: Dan at Birdland with David Ostwald’s Louis Armstrong Centennial Band (5:30-7:15 pm): see http://www.ostwaldjazz.com/live/ for details.  Dan will be joined by Bria Skonberg (trumpet), Vinny Raniolo (banjo and guitar), Marion Felder (drums) and others.

Sunday, Sept. 25: a double-header!  Dan will join Terry Waldo’s band at Fat Cat (77 Christopher Street), from 5:45 to 8 pm).  Then, Dan will go south and west for an evening at the Ear Inn, with Evan Christopher, Matt Munisteri, and New York’s finest, immediately after that (8-11 pm)

Monday, Sept. 26: Dan will again appear alongside Evan Christopher at a concert sponsored by the Sidney Bechet Society, beginning at 7:15 pm.  Evan’s “Clarinet Road” will pay tribute to the Master in “Blues for Bechet.”  Featured guests will include vocalist Catherine Russell, guitar virtuosi Doug Wamble and Matt Munisteri, and LaFrae Sci on drums.  The concert will take place at Symphony Space (95th Street and Broadway), and tickets are available here:

http://www.sidneybechet.org/purchase-tickets/

Tuesday, Sept. 27: Dan will join the brass section — on cornet — of Vince Giordano’s Nighthawks at “Club Cache'” — the lower floor of Sofia’s restaurant in the Edison Hotel, 211 West 46th Street.

Wednesday, September 28: Dan will again be part of David Ostwald’s Louis Armstrong Centennial Band at Birdland, from 5:45-7:15 pm, alongside Bria Skonberg, Pete Martinez, Howard Alden, Marion Felder, and others.

Sunday, October 2: Another double-header: Dan at Fat Cat again with Terry Waldo’s band; then on to the Ear Inn, 326 Spring Street, Soho, New York (8-11 pm)

Monday, October 3: Dan will be part of another Arbors Records event at Feinstein’s at the Regency with singers Rebecca Kilgore, Nicki Parrott, Lynn Roberts, and Harry Allen’s Quartet (Harry, Rossano Sportiello, Joel Forbes, and Chuck Riggs).

Alas and woe for New Yorkers, Dan flies home the next day.  Don’t miss out on the Barrett Comes East tour.  There are, as yet, no plans for souvenir sweatshirts, buttons, or pennants — merely fine jazz and many musical surprises.

And in case you are just discovering Mr. Barrett, here’s some musical evidence — his cornet lights up this August 2011 performance of MY BUDDY, recorded at the JAZZ LIVES party (with John Smith, alto; Vinnie Armstrong, piano; Marc Caparone, bass; Mike Swan, guitar):

GIGS TO GET TO!

I’ve written at length about the luxury of Regular Gigs in New York City: the EarRegulars (The Ear Inn) on Sunday; Terry Waldo’s regular sessions at Fat Cat; Vince Giordano and the Nighthawks at Club Cache (Hotel Edison) on Monday and Tuesday; the Grove Street Stompers (Arthur’s Tavern) on Monday; David Ostwald’s Louis Armstrong Centennial Band (Birdland) on Wednesdays.  All those bands and venues have much to offer and I hope JAZZ LIVES readers in the vicinity.

But in the middle of this coming week there is a trio of gigs that aren’t everyday (or night) events.  And they all begin reasonably early — important to someone like me whose alarm goes off before 6 AM.  I hope to go to all three!

The first is on Tuesday, March 29, 2011 from 7:30 to 9:15.  It features the engaging singer MARTY ELKINS with the reliably surprising pianist EHUD ASHERIE at Smalls, 183 West 10th Street, New York, NY  10014.  $20 gets you in and you can stay.  And perhaps Minnow will leap in, again. 

On Wednesday, the 30th, the GRAND STREET STOMPERS will be appearing at the Radegast Bierhall in Williamsburg, Brooklyn — beginning at 9 and probably going until midnight.  Wonderful food, fizzy blond(e) beer, no cover charge — a tip basket circulates — and lots of informal dancing.  It’s at 113 North 3rd Street (I believe the intersection is Berry Street).

Did I mention the music?  Trumpeter / composer / arranger GORDON AU will be there — and usually his colleagues are ROB ADKINS on bass, NICK RUSSO on banjo / guitar, EMILY ASHER on trombone, DENNIS LICHTMAN on clarinet — a lovely swinging compact inventive group.  And for the Brooklyn-timid, Radegast isn’t more than a few minutes walk from the Bedford Ave. stop on the L, although Doug Pomeroy says there are other ways to arrive at Jazz Paradise.

On Thursday, the inspiring pianist MICHAEL KANAN will be joined by the emotionally deep guitarist PETER BERNSTEIN for a series of duets at Smalls — again 7:30 to 9:15.  Come early but leave two seats in the front for the Beloved and her beau, please!

As Ralf Reynolds says, “Thank you for keeping LIVE JAZZ . . . . ALIVE!”

PETER ECKLUND’S MUSICAL WORLDS: “BLUE SUITCASE”

I was first captivated by Peter Ecklund’s music before there were compact discs.  In 1987, his bright cornet sounds came leaping out of the speaker as soon as I began to play KEEPERS OF THE FLAME, a Marty Grosz record (Stomp Off).  Then I bought and treasured PETER ECKLUND AND HIS MELODY MAKERS — now happily reissued on CD as HORN OF PLENTY (Classic Jazz).   

But wait!  There’s more.  Let me break into this discography / memoir and add a soundtrack: click on  http://www.peterecklundmusic.com/ for a charming musical background — Peter and friends playing his compositions and a few standard tunes. 

That’s better, isn’t it?

Here’s something even more encouraging: a new Peter Ecklund CD, called BLUE SUITCASE.  It’s available at CDBaby as a download or disc: (http://www.cdbaby.com/Artist/PeterEcklund2) — for the ultimate musical experience, you can buy a copy from him at a gig.

Marianne Mangan, formerly a roving correspondent for JAZZ LIVES, wrote the pitch-perfect notes for BLUE SUITCASE:

Peter Ecklund is a conjurer, a creator of musical moods that span time, place and idioms. In this collection of jazz/pop eclectica, a combination of Ecklund originals and reinterpreted/rearranged standards, he evokes eras and emotions with a startling clairvoyance: you never heard it before, you never heard it THAT way before, but it feels exactly right.

And he does it with a unique methodology: the careful construct of skilled instrumentalists engineered to play as one with MIDI (Musical Instrument Digital Interface) files, all filtered through the operating system of an Apple computer. The result is BLUE SUITCASEa technologically-assisted artistic vision, in every instance as musically astute as a dozen bands specific to their bookings.

Take these revamped staples of early jazz: the once-rollicking romp San is a moody retro-tech visit to the dark continent, returned to sunny refrain by way of ukulele and clarinet. Dinah is hot as ever in a cooler sort of way, and technically brilliant in the hands of Ecklund and Block. The Broadway stalwart This Can’t Be Love here becomes an accordion-accented fugue for engaging trumpet and flugelhorn choruses, a succession of muted and open-horn improvs.

On the lead-off non-original (but hardly un-original) in this set, secrets are exchanged between triangle, trumpet, accordion and ukulele. Old Madeira Waltz lulls with its laconic delivery and intrigues with its mysterious tone.

Now witness Ecklund the composer as time-traveler in Tail Fins—top-down breezy, at once sweet and bittersweet—and so perfectly 1950s that the millennial stress starts to seep from your pores. Watching the World Go By takes you to the ’60s as surely as these boots are made for walking (and those doomsday disco riffs preceding a cheerful trumpet lead and plaintive vocal are precisely the mixmaster magic so prevalent throughout).

Or timeless as a silver screen legend, when a well-played saw (yes, saw) evokes the angel-voiced end of a Warner Brothers’ melodrama with the propulsive melody of an Italian cinema score. Add a jazz-baby chorus, a vaguely yokel vocal incanting film star infatuation, and finish with a brassy Hollywood fanfare: a Love Sawng for the ages.

Finally, the ‘meter-medley’, a quartet of varied pleasures in celebrated
time signatures.  For swingers…From gruff fiddle licks through jaunty conversational exchanges, the aptly named
Texas Shuffle never loses its
irrepressible rhythmic bounce.  For classicists…As the horns and accordion elaborate on
Lazy Ragtime’s filigreed rhythms they are underpinned not by alternating bass notes and chords but arpeggiating strings. Of course.
For sweethearts…A lovely, questioning melody and orchestral
changes of venue turn the classic slow-slow-quick-quick into a folk
sonatina with every variation of strain and instrument: a courtyard in
England, a forest in Eastern Europe, a ballroom in New York.
Horn, accordion,
Foxtrot. Romance.  For everybody…The gentle thesis of Waltz for a Song is stated in muted brass, spun out open-voiced against a circular undercurrent, then returning home—as all good waltzes do—with straightforward yet intense exposition. BLUE SUITCASE meets the most iconic dance of all, and the benefits are mutual.

What more could anyone want?  Peter Ecklund — on cornet, trumpet, fluegelhorn, ukulele, whistling (he’s a master), composing and creating just-right musical backgrounds. (And where many CDs labor under the weight of their creator’s narrowly intense artistic vision — where the result is seventy-five minutes of the same thing — this one is a tasting menu of surprises.)

And a word about that suitcase.  If you’d asked me in other circumstances for my feelings about having a splendid jazz soloist accompanied by something technological, I would have become anxious.  I’ve heard too many CDs where (perhaps for budgetary reasons) the “strings” come out of a box, and they bear the same relation to actual strings as dehydrated soup mix does to soup. 

But Peter Ecklund’s imaginative efforts here aren’t an attempt to offer imitations at reduced prices.  Rather, Peter’s backgrounds and melodies that come out of the Blue Suitcase are evocative additions, swirling around the human players and singers: this CD is a ticket inside his imaginations, and that’s a wonderful gift.  Besides, it makes me think of a famous Louis Armstrong anecdote.  Someone had asked him (off the record), “Louis, how do you stand playing with bands where the musicians are well below your level?” And he’s supposed to have replied, “You start relying on other musicians and it’s too bad for you!”  Peter’s surrounded himself with first-rate players on this CD: among them Dan Block, Will Holshouser, Andrew Guterman, Joel Eckhaus, Melody Federer, Christine Balfa, Murray Wall, Gary Burke, Marty Laster, and Matt Munisteri.  And the BLUE SUITCASE, a most magical piece of luggage, by Peter’s side for these wonderful journeys.   

And — not incidentally — New Yorkers and intrepid travelers can now see Peter in person in a variety of settings: visit his site to see his current gigs, which include stints with the Grove Street Stompers at Arthur’s Tavern, with Terry Waldo’s Gotham Jazz Band at Fat Cat, with the Stan Rubin trio featuring Herb Gardner at Charley O’s, with the Stan Rubin band at Swing 46, with the Gotham Jazzmen at the Greenwich Village Bistro.  Peter, incidentally, is memorably inventive in person, even when his luggage is in his apartment. 

To paraphrase Linus, “Happiness is a full gig calendar!”  Details here: http://www.peterecklundmusic.com/?section=calendar — and you can join Peter’s email list to be kept up to date on these happenings.

DAN BARRETT, THE GROVE STREET STOMPERS, and FRIENDS (Oct. 18, 2010)

Bill Dunham, the pianist-leader of the Grove Street Stompers, will proudly tell you that the band’s unbroken run of Monday nights at Arthur’s Tavern, the “West Side’s smartest supper club,” began in 1959 — a record indeed! 

Monday, October 18, 2010, was a special night because Dan Barrett brought his own jubilant energy and a borrowed cornet.  Dan’s cornet playing is a great joy, both clipped and lyrical.  On this horn, he comes from the great tradition, echoing Louis, Bobby, Ruby, Sweets, Buck, and more, but the result always sounds like Barrett, which is the way it’s supposed to be.

Dan inspired the GSS: Bill on piano, Peter Ballance on trombone and announcements, Joe Licari on clarinet, Skip Muller on bass, and Giampaolo Biagi on drums.

Here are three selections from that evening.  JUST A CLOSER WAlK WITH THEE is one of those “Dixieland chestnuts” that usually descends into cliche, but not with the preaching trombone of guest J. Walter Hawkes, welcome at any gig:

A rousing THERE’LL BE SOME CHANGES MADE called to mind the ecstatic Condon recording for Columbia in the early Fifties:

And at the end of the evening, Bill gracefully gave up his seat at the piano to the Maestro, Rossano Sportiello, and they swung out on OH, BABY!: 

At the Tavern, the Creole Cooking Jazz Band (featuring Lee Lorenz, Dick Dreiwitz, Barbara Dreiwitz, and others) plays on Sundays, Eve Silber (often with Michael Hashim) holds down Wednesdays, and the Monday-night ensemble includes Peter Ecklund or Barry Bryson on trumpet / cornet.  Other guests have included Bria Skonberg, Emily Asher, and Bob Curtis.  Arthur’s Tavern (some spell it Arthurs) is located at 57 Grove Street in Greenwich Village, New York City, and the Sunday sessions run from 7-10 PM.

DAN BARRETT and THE EarRegulars (Oct. 17, 2010)

Sadly, Dan Barrett is flying back to California as I write this.  I know he’ll be happy to be reunited with Laura and Andy, but we’ll miss him here terribly.

In the past ten days, he’s done a number of club gigs, a concert, a private party, and maybe some other playing I missed.  I couldn’t follow him around as much as I would have liked, but I did catch him on video on three occasions — twice at The Ear Inn and once at Arthur’s Tavern with Bill Dunham’s Grove Street Stompers. 

Highlights of those three glorious nights are a-coming! 

I don’t know when Dan touched down in New York City, but after a triumphant jazz afternoon playing alongside Dan Levinson, Dan Tobias, Keith Ingham, and Kevin Dorn in celebration of Ray Cerino’s ninety-first birthday party, a joyous event, Dan (after a nap) made his way downtown to that Soho salon of swing, The Ear Inn (326 Spring Street) for another Sunday extravaganza with The EarRegulars. 

Here are several performances, featuring the charter co-leaders Jon-Erik Kellso (trumpet) and Matt Munisteri (guitar), with Joel Forbes (bass) and several esteemed joiners-in.

How about a paean to the power of love to keep superstition at bay that isn’t YOU’RE LUCKY TO ME?  Rather, I’VE GOT MY FINGERS CROSSED, memorably done by Louis and Fats in their respective recording studios in 1935:

Someone requested DONNA LEE, perhaps knowing what a delicious meal the EarRegulars could make of this variation on INDIANA:

Jon-Erik gave the trumpet chair to his friend and ours Danny Tobias, and the two Dans lingered deliciously in a wistful IF I HAD YOU:

Jon-Erik came back to make a three-man brass frontline.  They did a beautiful job on that old favorite, LET ME CALL YOU SWEETHEART, with the innocently tender lyrics.  And the instrumental trades near the end are worth their weight in Vocalion test pressings:

And the second-set jam session called in Dan Block (clarinet) and Simon Wettenhall (on Eb alto horn rather than trumpet) for a lively ROYAL GARDEN BLUES:

When I dream about the moonlight on the Wabash, I hope it’s Sunday night at The Ear Inn!  (Incidentally, many more marvelous things happened . . . but you’d have to be there to share the experience.  There’s nothing like seeing this music live!)