Tag Archives: Horace Gerlach

I FEEL SUCH A THRILL (Jazz at Chautauqua, Sept. 22, 2012)

This one’s for my friend Sarah Boughton Holt and brothers Bill and David — another glorious performance from the memorable Jazz at Chautauqua weekends created and overseen by Joe Boughton.

What would a jazz festival be without a tribute to Horace Gerlach — that is also an evocation of Louis Armstrong? Here are just the people to do it in their own way: Duke Heitger, trumpet, Dan Block, clarinet and vocal, Scott Robinson, tenor saxophone and taragoto; Dan Barrett, trombone; Mike Greensill, piano; Howard Alden, guitar; Kerry Lewis, string bass; Bill Ransom, drums.

I love Dan Block’s crooning (what a fine singer he is!) and the riffs that make this a BAND rather than an all-star collation of soloists waiting for their solo turns:

How fortunate we were to be there.  Share some of that good fortune with people who like it Hot.

May your happiness increase!


THE FURTHER GLORIOUS ADVENTURES OF OUR FRIEND FLIP: MARTY GROSZ, JAMES DAPOGNY, JON-ERIK KELLSO, DUKE HEITGER, VINCE GIORDANO, JOHN VON OHLEN (Jazz at Chautauqua 2008)

We could begin here:

But I’d rather begin with Flip and come back to that song.  I would urge those unaware of the glory of Flip to visit here, with otherwise unknown and unrecorded hot jazz.  And here’s Flip, in case you’ve never met the little friend:

But this post is really about two heroes.  One is this deity:

another is this dear down-to-earth majestic presence (who would surely make a joke out of that appellation), James Dapogny:

And they come together in September 2008, at that wonderful weekend of music we were fortunate enough to call Jazz at Chautauqua.  Absolute joy, brought to us by the Flip video camera. Marty Grosz, guitar, vocal, dangerous badinage, offers one section of his HORACE GERLACH TRIBUTE MELODY MEMORIAL with Jon-Erik Kellso, Duke Heitger, trumpet; Professor James Dapogny, piano; Vince Giordano, string bass; John Von Ohlen, drums. In the video, slow-moving cheerfully oblivious couples swim by. They know not what they do. But we do.

Thus:

To me, this song and this performance are extremely touching because of their heartfelt Louisness — please understand that when I hear Louis singing and playing (let us say LA VIE EN ROSE over a restaurant’s sound system) my eyes fill up and I have to prevent myself from standing up with my hand over my heart.  Because Joe Boughton would not — in 2008 — have allowed me to record this performance openly from a front-row seat, I chose to be near the piano and thus hear more of the Professor than I would have otherwise.  What a blessing!

Writing this post and hearing this song, I think of Jim, of Louis, and all the people I love who have moved on.  We can not meet again in the usual ways, and that is sorrowful.  But through music, we are instantly able to meet in the most inspiring ways; we are in touch with each other as soon as I hear a note or think of some moments we shared.  Perhaps you might, as I have done, watch and absorb this performance once for our own pleasure, then again in honor of those beloved individuals.

May your happiness increase!

THE HORACE GERLACH FAN CLUB, or ANYTHING CAN SWING: THE ORIGINAL DOWNHOME JAZZ BAND (Toledo, Ohio, February 25, 2017)

On Benny Goodman’s “Camel Caravan” radio show — circa 1938 — there was a feature called ANYTHING CAN SWING, and what follows is a fine illustration.

Louis Armstrong followers like myself know the sacred and mysterious name of Horace Gerlach — co-composer with Louis of three masterpieces: SWING THAT MUSIC, I’VE GOT A HEART FULL OF RHYTHM, and IF WE NEVER MEET AGAIN.  I’ve featured them on this blog as performed by Louis, Marty Grosz, Banu Gibson, and others.

But I’ve never had occasion to spotlight the fourth Gerlach opus, which probably made him the most money, DADDY’S LITTLE GIRL.  In some traditional weddings, it is the song the bride and her father have their ceremonial dance to.  (I don’t know how this makes the groom feel, but leave that to you to ponder.)

Thanks to my friend and friend of JAZZ LIVES Laura Wyman — CEO of Wyman Video — we have this hot performance of DADDY’S LITTLE GIRL by the Original Downhome Jazz Band (February 25, 2017, Ye Olde Durty Bird, Toledo, Ohio) captured on video for everyone to enjoy, whether or not there is a daughter in the house.

The ODJB is Dave Kosmyna, leader, cornet, vocal; Chris Smith, trombone; Ray Heitger, clarinet; James Dapogny, piano; Pete Siers, drums, and do they beat it out:

Laura has also shared many fine hot videos on her YouTube channel.  Wyman Video (expert, discreet, and informed) can come and video your event: fee schedule available on request. Weddings, recitals, hot bands, basement jam sessions: you name it.

For now, I will muse upon the invisibility of Horace Gerlach: composer, arranger, friend of Louis.  Anyone have a portrait of the man to share?

May your happiness increase!

HIDDEN TREASURES, CONTINUED: MARTY GROSZ, ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, PETE SIERS: JAZZ at CHAUTAUQUA, SEPTEMBER 21, 2013

Jazz groups often choose well-established formats: the piano trio; the bebop quintet; the trad or swing sextet.  But “unorthodox” bands offer wonderful surprises.

“Tell us a story, Mister Grosz!” Photo by Lynn Redmile

Marty Grosz likes such original assemblages: two  horns, guitar and string bass, for instance, all unamplified.  And in the case of this morning set at Jazz at Chautauqua, not so long ago, Marty assembled two especially nimble horn players, a pianist, himself, and a very sensitive drummer who used snare and wire brushes only.  It happened in this century, but it felt like a dream of the old days, thanks to Andy Schumm, Scott Robinson, John Sheridan, and Pete Siers.  Now, thanks to the glories of teleportation, and thanks to Nancy Hancock Griffith, we can go there also.

Calling Mr. Berlin!

Marty without Fats just wouldn’t be Marty:

and a homage to the esteemed and elusive Horace Gerlach and his co-composer, Mister Strong:

Marty turned 88 — yes, eighty-eight — a few days ago.  He probably won’t see this post, but it is a deeply admiring salute to his delightful selves.  This place wouldn’t be the same without him.  And here’s a 2013 missive from MOG:

May your happiness increase!

CHAPTER TWO of SWEET AND HOT IN CLEVELAND: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, NICKI PARROTT, HOWARD ALDEN, RICKY MALICHI (Allegheny Jazz Party 2014)

THAT DA DA STRAIN

It felt so good that another helping was the only thing.  Two days ago I posted a delicious performance of WHEN YOU AND I WERE YOUNG, MAGGIE, from the 2014 Allegheny Jazz Party — no, the Allegheny Jazz Party September 10-13, at the very comfortable Inter-Continental Hotel on Carnegie Avenue in Cleveland, Ohio, with music from Thursday night to Sunday afternoon by some of the finest in the world.  The AJP website can be found here.  And you can visit MAGGIE here.

Now for the reason for all these words.  I went to my first Allegheny Jazz Party in 2004 — when it was still Jazz at Chautauqua — and it was and continues to be a high point of my year.  Why?  How about Duke Heitger, trumpet; Dan Block, clarinet; Scott Robinson, taragota, C-melody saxophone, cornet; Dan Barrett, trombone; Rossano Sportiello, piano; Howard Alden, guitar; Nicki Parrott, string bass; Ricky Malichi, drums . . . . playing two.  One, a venerable Dixieland classic, THAT DA DA STRAIN:

How that romps!

And something definitely pretty — a sweet ballad by Louis and his lyric-writer, Horace Gerlach, IF WE NEVER MEET AGAIN:

I think that’s glorious music.  Hot and sweet, too.

IF WE NEVER MEET AGAIN

Tickets and  prices and other necessary information here.  I hope to see some of my readers there.  And I will offer more sterling music from 2014 as we get closer to September 10.

A postscript: more than one musician and listener has asked about the source of THAT DA DA STRAIN.  Either the answer has been a shrug or a hopeful association with Marcel Duchamp and Dada.  It was a song with lyrics — a self-referential opus: “That Da Da Strain” was such irresistible music that it could cause a delightful mental instability.  Hear Eva Taylor (in 1923) make it perfectly clear:

May your happiness increase!

SOME FUN! MAL SHARPE and BIG MONEY IN JAZZ at THE NO NAME BAR IN SAUSALITO (August 12, 2012)

I love having one or more steady weekly jazz gig to rely on for pleasure.  In New York, the week leans towards The Ear Inn (326 Spring Street, Soho) where the EarRegulars play every Sunday night from 8-11.

In California, where we are at the moment, it’s the No Name Bar in Sausalito (757 Bridgeway) where Mal Sharpe and the Big Money in Jazz Band play and cavort every Sunday from 3-6 PM.

Last Sunday, August 12, 2012, the Masters of Melody and Mirth were Mal himself, trombone, vocal, and improvisatory wanderings; Andrew Storar, trumpet, vocal; Don Neely, metal clarinet, soprano saxophone, vocal; Si Perkoff, keyboard, vocal; Sam Rocha, string bass; Carmen Cansino, drums.

IN the video highlights, that follow, while you’re admiring the front line: Andrew’s shining, understated leaps and rolls, Mal’s gutty melodic underpinnings, Don’s soaring lines, don’t forget the rhythm section.  Si makes that old keyboard sound better than anyone else with his cheerfully surprising chords and rustles; Sam could support a huge band with his rocking foundation, and Carmen would make Jo Jones break into a large grin because her time is splendid and she gets the punchline of every musical joke.  (You don’t always see Carmen in my shots but you hear her, and the band knows she’s there.)

Here are some highlights from the afternoon’s festivities.

Let’s begin with an intriguing pairing.  JAR is an otherwise unrecorded piece of folk poetry, a collaboration between Horace Gerlach and Lawrence Ferlinghetti; when Andrew sings the Claude Hopkins – Alex Hill song, it has no hesitation, no “WOULD” in the title, because Andrew is a very earnest fellow who WILL do anything for you.

SWING THAT JAR / I WOULD DO ANYTHING FOR YOU:

The Forties Ellington favorite, whose title has been bent into a variety of shapes by witty jazz musicians, DON’T GET AROUND MUCH ANYMORE:

Don Neely is a very candid fellow with a deep affection for Fats Waller, so IT’S A SIN TO TELL A LIE was a natural choice:

A romping TIN ROOF BLUES (with some socio-political commentary from Mal):

Not only does Don want everyone to be totally honest, he also encourages marital fidelity in MAKIN’ WHOOPEE:

Although Irving Berlin’s song is somewhat sad, the atmosphere at the No Name Bar is reassuringly cheerful, as evidenced in THE SONG IS ENDED / CLOSING CEREMONIES:

Our Sunday pleasure!

May your happiness increase.

SMILING WITH GOOD REASON: JON-ERIK KELLSO and EHUD ASHERIE in DUET at SMALLS (April 5, 2012)

Musicians onstage at Smalls jazz club (183 West Tenth Street, Greenwich Village, New York City) perform in front of a large poster of Louis Armstrong, smiling, fashionably decked out in his new London togs, circa 1932.

It wasn’t my imagination — you can see for yourself — Louis was smiling even more blindingly for the first two sets of April 5, 2012, when trumpeter Jon-Erik Kellso and pianist Ehud Asherie — deep musical friends — created one delightful improvisation after another.  (Echoes of Louis and Earl Hines!)  And seated near me was portrait photographer Lorna Sass, who has generously shared two portraits with JAZZ LIVES.

Jon-Erik and Louis. Photograph by Lorna Sass. Copyright 2012

Here’s the first set.

The Rodgers and Hart THOU SWELL — for Bix or just for fun:

Something very sweet and heartfelt, by Sissle and Blake — LOVE WILL FIND A WAY:

Did you see a bunny?  It’s our pal COTTON TAIL:

THANKS A MILLION (for Louis — and only Jon-Erik plays the sweet verse):

More Sissle and Blake!  A romping I’M JUST WILD ABOUT HARRY:

James P. asks one of the few questions really worth asking: AIN’T CHA GOT MUSIC?

Ehud Asherie -- both of him -- at the piano. Photograph by Lorna Sass. Copyright 2012

Second set:

Something for and from Tom Waller: UP JUMPED YOU WITH LOVE:

Did you go shopping?  I FOUND A NEW BABY:

Another delicacy from Louis — IF WE NEVER MEET AGAIN:

Let’s swing a while with SWEET SUE:

You knew CHRISTOPHER COLUMBUS.  But I’ll bet your fourth-grade history teacher never taught that C.C. “used the rhythm as a compass”:

I was smiling broadly, too.  You can see and hear why, can’t you?

May your happiness increase.

HORACE GERLACH and BADINAGE IN SWINGTIME: MARTY GROSZ, JON-ERIK KELLSO, SCOTT ROBINSON, and FRANK TATE (Jazz at Chautauqua, Sept. 19, 2011)

A nifty quartet — and for once without one of Marty’s idiosyncratic names — performing on September 17, 2011, at Jazz at Chautauqua.  That’s Marty on guitar, vocal, and repartee; Jon-Erik Kellso on trumpet; Scott Robinson on tenor saxophone, metal clarinet (he briefly considers his cornet in the final track); Frank Tate on string bass.  As always with Marty’s groups, I think of Fats and his Rhythm, the Kansas City Six, the Bechet-Spanier Big Four, the Delta Four, the 1940 Chocolate Dandies — sweet rhythmic contraptions that scrape the clouds.

Swing it on out there!  ALL MY LIFE:

Did someone say Fats Waller?  Why not SQUEEZE ME:

How about Fred Astaire and Johnny Mercer’s I’M BUILDING UP TO AN AWFUL LET-DOWN:

And — as a jazz dessert of sorts — a tribute to the under-acknowledged Horace Gerlach, two songs immortalized by Louis Armstrong: IF WE NEVER MEET AGAIN (sung sweetly) and SWING THAT MUSIC with Jon-Erik keeping time, which he does so well:

I’m as happy as can be / When they SWING THAT MUSIC — not only for me, but for the larger audience and Posterity, too.

THE REYNOLDS BROTHERS AND FRIENDS: DIXIELAND MONTEREY, March 4, 2011

If you’d never heard the Reynolds Brothers, you might not give them sufficient credit for being Gods of Hot Jazz.

After all — one fellow plays an amplified National steel guitar, sings, and whistles in the best Crosby manner (that’s John); his brother holds a washboard with a cymbal mounted on top, blows a referee’s whistle to signify when a musical foul has been committed, and has a fine walrus mustache (that’s Ralf).

Most times they are joined by the eternally cheerful and swinging Katie Cavera (smart hat, glowing smile, string bass, vocals) and Hot Man Supreme Marc Caparone (cornet, a wide assortment of mutes, the occasional vocal, and manifester-of-Louis).

It sounds like a truly mixed bag, and when they first appeared at the 2011 Dixieland Monterey weekend, they had the extra added attraction of clarinetist, satirist, and uninhibited man-about-town Bob Draga . . . sitting somewhere between Omer Simeon and Groucho Marx.

Here are eight hot tunes from the Golden Era, complete with odd and occasionally semi-illicit stage behavior: you’ll have to watch for it.  But do they swing!

They started with something everyone knows — LADY BE GOOD.  And it swung from the opening phrase and only got hotter:

Then, after some rodomontade, badinage, and commedia dell’arte, Bob called for HELLO, MA BABY — although from a different corner of the jazz universe, it was a success as well:

ROSETTA used to be a song that everyone played — now, it’s a rare treat.  And to hear Marc swing out on it — a la Red Allen (cornet AND vocal) — is precious:

AT SUNDOWN speaks of pastoral pleasures, and it’s so fitting to have sweet unaffected Katie sing it — one of those Walter Donaldson compositions that works beautifully at many tempos.  And the hilarious unscripted interplay is an extra bonus:

I’M CRAZY ‘BOUT MY BABY celebrates Fats Waller and 1931 washboard ecstasy — John brings us in, an utterly convincing singer:

OUT OF NOWHERE was another 1931 hit for a fellow from Spokane named Crosby.  Bob finds his way cautiously through the first chorus and is secure in time for what follows:

I love THE OLD MAN OF THE MOUNTAIN, but have never been able to make up my mind about it.  Is it an exultation of life without materialism, a life lived in Nature in the best Emerson / Thoreau way, or is is another Depression-era attempt to say “You lost your job and your house and your family: isn’t sleeping outdoors with nothing at all such fun?”  Comments appreciated — but it’s a great song:

SWING THAT MUSIC begins with some fascinating dialogue, worth considering closely, and eventually goes into the most unusual clarinet / string bass duet in recorded history.  Was it the “feather-nesting” Katie sang of before, or was it Bob’s locally sourced apple juice?  One never knows.  I think I did a good turn for surrealist drama by recording this for posterity:

Thank you all for helping keep LIVE MUSIC ALIVE!

HOT ISN’T FREE!  CLICK HERE TO GIVE SOMETHING BACK TO THE MUSICIANS YOU SEE IN THESE VIDEOS (ALL MONEY COLLECTED GOES TO THEM):

https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQAS

ARBORS JAZZ PRESENTS MARTY GROSZ and THE HOT WINDS (January 2011)

Thanks to the 3rd Annual Arbors Invitational Jazz Party just held in Florida (through the generous love of the music displayed by Mat and Rachel Domber) and the videography of Don Wolff, we can enjoy some enthusiastic swing by Marty Grosz, Dan Block, Scott Robinson, Vince Giordano, and Arnie Kinsella. 

These clips (and many more) come from the “ArborsJazz” and “MrDonWolff” channels on YouTube . . .  

Here’s JAZZ ME BLUES, which rocks irresistibly from its opening notes.  Catch the delicious interplay among the three reeds, and the smile on Scott’s face when Vince switches to his aluminum string bass.  Savor the variations of timbre and attack the reed players bring on — this whole performance could be a tribute to Kenny Davern, Pee Wee Russell, Frank Teschmacher, and Adrian Rollini — over that galloping, just-right rhythmic pulse.  Marty, of course, has managed to wholly internalize Fats Waller’s stride on his guitar.  And those spontaneous riffs at the end:

IF WE NEVER MEET AGAIN, such a pretty tune, brings on the “Mystery Song” by Horace Gerlach (believe this vaudeville gambit at your peril) and an exposition by Professor Grosz on the music business and the questions of compositional integrity.  What sublime tenderness elevates this performance, from Marty’s sweet ballad tribute to Louis to Scott’s just-right cornet and onwards:

In the bar, for the listening and dancing pleasure of the lucky patrons, here’s “the band within a band,” the informal duet of Block and Grosz.  What is this band called?  The Hot Wind?  The Balmy Zephyr?  One Stiff Breeze?  But I digress.

Marty and Dan offer I BELIEVE IN MIRACLES (complete with a classic Martyian exposition of facts and satire):

Following that, a delightful exposition of Hoagy Carmichael’s JUBILEE:

And an impromptu but swinging ALL MY LIFE:

I initially thought, “This is music to die for,” but then amended it to “music to LIVE FOR (and LIVE BY).”  Better, no?

HORACE GERLACH SAYS: CLICK THE LINK BELOW IN THE NAME OF SWING (ALL PROCEEDS GO TO THE MUSICIANS)! 

https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQAS

CLASSIC BALLADS FROM JAZZ AT CHAUTAUQUA (Sept. 19, 2010)

The late Joe Boughton, commander-in-chief of Jazz at Chautauqua and other jazz parties, had very definite ideas about what should go on in a jazz performance and what was verboten, taboo, unforgivable.  So it would have caused him some astonishment to be told that he and Norman Granz (whose Jazz at the Philharmonic — with its long themeless blues, drum solos, and explorations of I GOT RHYTHM changes — represented everything he deplored) agreed on anything.  But they both understood something crucial about the performance of jazz ballads before a live audience.

Both men knew, through experience, that having all the musicians on the stand play BODY AND SOUL, for instance, each one taking two choruses, could lead to a certain sameness, not only for the audience but for the players.  Granz got there first with the solution: a ballad medley, where each of the horn players told the rhythm section what their chosen song was, the key (the tempo remained fixed throughout) and played a chorus in leisurely fashion.  You can hear this on Granz’s recordings, live and in the studio.

Joe Boughton didn’t release any of his ballad medleys, but the one that closed off the 2010 Jazz at Chautauqua — the most recent party, and not the last — was particularly moving.  Here are three videos that capture most of it (with some editing for a variety of reasons, none of them musical).

We begin with an extraordinary rhythm section of Rossano Sportiello, piano; Marty Grosz, guitar; Jon Burr, bass; Pete Siers, drums, and an unusual combination of songs: Rossano tenderly delineates I GOT IT BAD (AND THAT AIN’T GOOD) then turns it over to Marty, who sings and plays the Louis Armstrong – Horace Gerlach IF WE NEVER MEET AGAIN:

Randy Reinhart climbs the stage to deliver an absolutely velvety APRIL IN PARIS, a performance that seems untoppable until Dan Barrett convincingly explains how THAT OLD FEELING is still in his heart.  (The crowd properly gives it a small ovation, and Dan looks does a comic double-take of surprise, “Me?”  Yes, you!) 

The very gentlemanly and polite Bob Havens asks PLEASE — doing Bing very proud.  Continuing in this most gallant fashion, clarinetist Bob Reitmeier very quietly asks us in for TEA FOR TWO.  Harry Allen sweetly tells us I WISH YOU LOVE, with Dan Block coming up immediately after!  

The Man of Feeling, Dan Block, assures us (the stakes are getting higher with each delicious cameo) that EVERYTHING I HAVE IS YOURS.  Scott Robinson isn’t a combative, competitive player, but his version of SLEEPY TIME GAL — on the bass sax, which he carries — would be a masterpiece anywhere.  Scott Robinson heroically lifts the bass sax for SLEEPY TIME GAL.  Bobby Gordon tenderly whispers his love for the music in SUGAR; Andy Stein devotes himself to LAURA; Jon Burr emotes lyrically with PRELUDE TO A KISS — which is received with the proper hush (how nice to hear a bass solo receive such quiet attention):

Extraordinarily lovely, with not a hackneyed or overdramatized note in the bunch.  I’d like to make these clips required viewing for jazz musicians and singers of all vintages — to say nothing of those of us who can’t live without beauty.  And not incidentally — the 2011 Jazz at Chautauqua will be held from September 15-18.  If you have already purchased your 2011 calendar . . . .