Tag Archives: Harvey Tibbs

GEORGE WETTLING’S MANY SELVES

Some artists are too big to fit into one designated category or title: drummer George Wettling is one of them, even though his name is left out of many histories of the music, and when he is mentioned, it is as a “Dixieland” musician or one of “Eddie Condon’s barefoot mob,” both designations either condescending or arcane at this remove.  He was one of those players whose energies went to the band, so I think he was often taken for granted — but replace Wettling in any situation with a lesser drummer, and the change is immediately not only heard but felt.  I proudly say that I was listening to Wettling on records in my childhood, and continue to do so with pleasure. Consider this one.  I know it’s difficult to put Jack Teagarden, Coleman Hawkins, and Joe Thomas to one side, but listen to Wettling’s drumming: intuitive, thoughtful, joyous, propulsive without being narcissistic:

Here is a post I created ten years ago, with more evidence of Wettling’s flexible, uplifting playing.  And here‘s another — with more video and audio. Wettling was quite the painter — a student and disciple of Stuart Davis — as explained  here, beautifully, by Hank O’Neal, in 2017.

But the occasion for this post is something new and wonderful — a living lesson in what Wettling DID, offered to us by the wonderful musician (and dear friend) Kevin Dorn, whose bright light is always visible in the night sky:

I had the immense good fortune of hearing Kevin swing out last night with a stellar band led by Evan Arntzen at Dizzy’s Club Coca-Cola (Evan, Kevin, Jon-Erik Kellso, Mara Kaye, Harvey Tibbs, Rossano Sportiello, Adam Brisbin, Tal Ronen) and in the best Wettling tradition, he sounded like himself without having to try hard to do so.

May your happiness increase!

MORE HOT JAZZ IN THE GARDEN OF EDEN (Part Three): THE NEW WONDERS (MIKE DAVIS, JOE McDONOUGH, RICKY ALEXANDER, JARED ENGEL, JAY RATTMAN, JAY LEPLEY): AUGUST 20, 2017

The days are getting shorter, darker, and cooler.  There’s little that I can do to combat this, but I offer this third part of a glorious August afternoon as a palliative for the descent into winter.

Thanks to the energetic Brice Moss, I was able to attend and record a lovely outdoor session featuring The New Wonders — Mike Davis, cornet, vocal, arrangements; Jay Lepley, drums; Jay Rattman, bass saxophone and miscellaneous instrument; Joe McDonough, trombone, Ricky Alexander, reeds; Jared Engel, plectrum banjo.  There’s group singing here and there, which is its own idiomatic delight.  This is the third of three posts: here is part one, and here is part two — both segments full of wondrous hot music.

And now . . . . a Hot one in Hot slow-motion, no less steamy — NOBODY’S SWEETHEART:

Did someone say “The Chicago Loopers”?  Here’s CLORINDA, with vocal quartet:

A serious question for sure, ARE YOU SORRY?

Another paean to the South from songwriters who may have gone no deeper than Battery Park, THAT’S THE GOOD OLD SUNNY SOUTH:

We’d like it to be a valid economic policy — THE BEST THINGS IN LIFE ARE FREE:

DEEP BLUE SEA BLUES, with a surprising double for Jay Rattman:

Who needs an umbrella?  I’M WALKING BETWEEN THE RAINDROPS:

and an emotional choice, I’D RATHER CRY OVER YOU:

Deep thanks, as before, to Brice, family, friends, and to these splendid musicians, for making an Edenic idea come to life.

And I don’t have the delicious artifact yet, but The New Wonders did and have finished their debut CD.  I am willing to wager that it will live up to the band name.  Details as I know them.

May your happiness increase!

HOT JAZZ IN THE GARDEN OF EDEN (Part One): THE NEW WONDERS (MIKE DAVIS, JOE McDONOUGH, RICKY ALEXANDER, JARED ENGEL, JAY RATTMAN, JAY LEPLEY): AUGUST 20, 2017

Some people make great art happen without ever picking up an instrument, and Brice Moss is one of them.  I first met him at a concert of Mike Davis’ band, The New Wonders, in downtown Manhattan, about eighteen months ago.

Brice is very friendly and articulate, tall and beautifully dressed, but what’s more important is that he is a card-carrying Enthusiast for Twenties hot jazz.  And although he loves the recordings and lives to go see and hear the best hot bands, he does more than that.  Evidence below.

A Brice Moss lawn party, a few years back, with Vince Giordano, Andy Stein, Evan Arntzen, Jon-Erik Kellso, Harvey Tibbs, and Ken Salvo.

Brice gives yearly lawn parties where his favorite bands play.  I asked him to say something about his generosity-in-action, and he wrote, “I work in social service, in the not-for profit sector, so even with saving up, I can only do these every year or so.  I can think of no more joy-inducing way to spend my meager dough than by hiring the world class musicians we are lucky to have in our vicinity.  As does everyone else, I love the Nighthawks, whom my parents saw weekly since the seventies.

I am smitten by Mike Davis and his guys too.  Mike always sings the lyrics, often including introductory verses I had never heard before.  They do wonderful vocal harmonies.  They are intimate, understated, true to the period and despite differences of instrumentation, very true to the original recordings of the tunes. Pure delight!  This is the fourth time I’ve been lucky enough to be able to bring a band up.  Last year was Mike and The New Wonders as well. The summer before that was a subset of the Nighthawks.  I have also, a couple of years back, had a New Year’s Eve party where I was fortunate to have Vince, Peter Mintun, Mark Lopeman, Bill Crow, and Andy Stein.”

So this summer, when Brice invited me to come up to his lawn party (at a location alternatively identified as Croton-on-Hudson, Yorktown Heights, or Ossining — depending on the whims of your GPS) I was eager, especially when he said the band would not object if I brought my camera.  I thus had the odd and splendid experience of being able to hear and see hot jazz out-of-doors in the most gorgeous pastoral setting.  I also got to meet Brice’s quite delightful family: his mother Anne; son Odysseus; his daughter Aubrey; his sister Liana.  In addition, I got to chat again with Ana Quintana, and petted the New Wonders’ mascot, Chester.

And there was glorious music by Mike Davis, cornet and vocal; Jay Lepley, drums; Jared Engel, banjo; Jay Rattman, bass sax and miscellaneous instrument; Ricky Alexander, reeds; Joe McDonough, trombone.  (Mike also sings splendidly — earnestly but loosely — on many tracks, and there’s also band vocals and band banter.)

The band takes its name from a particular line of instruments manufactured by the Conn people in the Twenties, and Mike plays a Conn New Wonder cornet.  The New Wonders stay pretty seriously in the Twenties, offering pop songs of the day, jazz classics — both transcribed and improvised on — and homages to Bix and Tram, Paul Whiteman, Cliff Edwards, the California Ramblers, Red Nichols and Miff Mole, and more.

A great deal of beautifully-played hot jazz was offered to us that August afternoon.  Here are the first seven tunes, one for each day of the week.

I GET THE BLUES WHEN IT RAINS (fortunately, this song title did not come true at Brice’s party):

THAT’S MY WEAKNESS NOW (with the verse and a second chorus and a third — how much music the New Wonders can, like their ancestors, pack into three minutes):

MY GAL SAL (thinking of the pride of Ogden, Utah):

CHICAGO:

ONE LITTLE KISS (their homage to Cliff Edwards and the Eton Boys, nobly done):

TAKE YOUR TOMORROW (thinking of Bix and Tram):

POOR PAPA:

There are two more lavishly Edenic segments to come.  Not blasphemous, just paradisical.

May your happiness increase!

A SUMMER NIGHT, EIGHT YEARS AGO (June 7, 2009)

Good times, fine sounds.  the calendar says they’re gone; we know they aren’t.

The Ear Inn has been host to gatherings of joyous insight on Sunday nights since July 2007, and I think I was there for the second gathering of The EarRegulars — who may not have been named just yet (Jon-Erik Kellso, Howard Alden, Frank Tate): I was converted rapidly, although going to work with an early teaching schedule has made me at times a lax postulant.

Here’s a delightful interlude from the summer of 2009: SOME OF THESE DAYS, played so buoyantly by Matt Munisteri, guitar; Duke Heitger, trumpet; Harvey Tibbs, trombone; Dan Block, clarinet; Neal Miner, string bass.  And the final minutes of this — with Duke evoking another New Orleans boy who made good — give me chills of the best sort:

You don’t need to climb the Himalayas for spiritual uplift: visit the Ear Inn on Sunday nights; your pilgrimage requires only the C or the 1 train or perhaps an automobile . . . see you there sometime soon!  In the interim, watch, hear, and marvel.

May your happiness increase

THE SUPERMOON IS GONE. THE GLOW REMAINS.

In the middle of November 2016, we were closer to the moon than we had been since 1948 . . . and we won’t be this close again for a long time, making that huge orb in the sky something to remember.  I hope my readers were able to glance up, whether through their windows or, better, being out in the mystical moist night air, to see this wonder for themselves.  Here is a shot of a Supermoon over Rio de Janeiro.

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The Supermoon made me think of all the music and poetry associated with lunar ecstasies, all the love songs: GET OUT AND GET UNDER THE MOON, MOON SONG, WHEN THE MOON COMES OVER THE MOUNTAIN, MOONLIGHT BECOMES YOU — a very long list.  We love the moon because she is mutable, that is, ever changing, and she reminds us to cling to what brings us joy, because we know that it’s all rapidly moving towards us and away and towards us again. And a phenomenon like the Supermoon reminds us, I hope, of the possibility of joy in our lives.

Of course this post is based in a memorable performance of a memorable song. But first, a four-bar prelude.

Video fetishists, with long lenses and wide-open apertures, will find what follows visually inferior to my best work. I bought my first video camera (a treacherous Sony with many whims) in 2008, and started bringing it to gigs soon after. That camera was not the most sophisticated, so both image and sound are slightly dull.

But not the music, which has an on-the-spot compositional beauty.

Sunday night at The Ear Inn — where the great lunar worshippers gather — with The EarRegulars: Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Neal Miner, string bass; Duke Heitger, trumpet; guests Tamar Korn, vocal; Dan Block, clarinet; Harvey Tibbs, trombone.

“I’ll always remember / That Moonglow gave me you.”  What could be nicer?

May your happiness increase!

SO GOOD IN SOHO, or THE EARREGULARS PLAY RICHARD RODGERS: JON-ERIK KELLSO, HARVEY TIBBS, JOE COHN, PAT O’LEARY at THE EAR INN (May 29, 2016)

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It’s delightful to know that great yet understated expressions of musical creativity are happening all around us, if we know where to look.  One place I keep returning to is The Ear Inn (326 Spring Street, Soho, New York City) around eight o’clock on a Sunday night.  There, the EarRegulars create beautiful playful on-the-spot architectural conversations in sound.  At the end of May, they were Jon-Erik Kellso, trumpet; Harvey Tibbs, trombone; Joe Cohn, guitar; Pat O’Leary, string bass.

The theme chosen for that interlude was Richard Rodgers’ THIS CAN’T BE LOVE ) also notable for the tenderly acidic lyrics by Lorenz Hart, which won’t be heard here:

Rodgers hated when improvisers abandoned his melody, when they “buried the tune,” but I think there’s more than enough melodic sweetness to keep even a notoriously irritable composer happy.  Or if he was complaining, no one I know heard him.)

Come to The Ear Inn on a Sunday evening . . . where magic happens.

May your happiness increase!

“WHAT’S NOT TO LOVE?” (JON-ERIK KELLSO, WARREN VACHÉ, MENNO DAAMS, MATT MUNISTERI, JOHN ALLRED, HARVEY TIBBS, PAT O’LEARY at THE EAR INN, October 6, 2013)

Just the facts.

Sunday night, October 6, 2013.  Apprximately 9:15 PM.

The Ear Inn, 326 Spring Street, Soho, New York City.

The EarRegulars: Jon-Erik Kellso, trumpet; John Allred, trombone; Matt Munisteri, guitar; Pat O’Leary, string bass, with guests Warren Vaché, Menno Daams, cornet; Harvey Tibbs, trombone.

Text for the occasion:  THE LADY’S IN LOVE WITH YOU by Frank Loesser and Burton Lane, 1939.*

Cinema verite by Ineke Rienks.

We love it!

*Here’s the original soundtrack from the film SOME LIKE IT HOT, featuring Bob Hope, Shirley Ross, and Gene Krupa:

May your happiness increase!