Tag Archives: Howard Alden

STILL SPARKLING: JOE BUSHKIN AT 100

joe-bushkin-on-piano

I suspect that everyone who reads JAZZ LIVES has heard the magical sounds of Joe Bushkin‘s piano, songs, voice, and trumpet.  My birthday celebration for him is a bit early — he was born on November 7, 1916, but I didn’t want to miss the occasion.  (There will also be birthday cake in this post — at least a photograph of one.)

He moved on in late 2004, but as the evidence proves, it was merely a transformation, not an exit.

I marvel not only at the spare, poignant introduction but Bushkin’s sensitive support and countermelodies throughout.

“Oh, he was a Dixieland player?” Then there’s this:

and this, Joe’s great melody:

A list of the people who called Joe a friend and colleague would include Billie Holiday, Benny Goodman, Bunny Berigan, Sidney Bechet, Eddie Condon, Lee Wiley, Joe Marsala, Bing Crosby, Fred Astaire, Louis Armstrong, Jack Teagarden, Bobby Hackett,Tommy Dorsey, Frank Sinatra, Bunny Berigan, Fats Waller, Buck Clayton, Milt Hinton, Zoot Sims, Bill Harris, Buddy Rich, Hot Lips Page, Sidney Catlett, Judy Garland, Jimmy Rushing, Rosemary Clooney, Tony Spargo, Red McKenzie, Ella Fitzgerald, Dave Tough, Brad Gowans, Benny Goodman, Joe Rushton, Roy Eldridge, Willie “the Lion” Smith, Ruth Brown, June Christy, Barney Kessel, Pearl Bailey, Gene Krupa, Stuff Smith, Chuck Wayne, Jake Hanna . . .

Here’s a sweet swinging tribute to Irving Berlin in 1951 that segues into Joe’s own homage to Miss Bankhead, PORTRAIT OF TALLULAH:

He’s on Billie’s SUMMERTIME and Bunny’s first I CAN’T GET STARTED; he’s glistening in the big bands of Bunny, Tommy, and Benny.  He records with Frank Newton in 1936 and plays with Kenny Davern, Phil Flanigan, Howard Alden, and Jake Hanna here, sixty-one years later:

But I’m not speaking about Joe simply because of longevity and versatility.  He had an individual voice — full of energy and wit — and he made everyone else sound better.

A short, perhaps dark interlude.  Watching and listening to these performances, a reader might ask, “Why don’t we hear more about this wonderful pianist who is so alive?”  It’s a splendid question.  In the Thirties, when Joe achieved his first fame, it was as a sideman on Fifty-Second Street and as a big band pianist.

Parallel to Joe, for instance, is Jess Stacy — another irreplaceable talent who is not well celebrated today.  The erudite Swing fans knew Bushkin, and record producers — think of John Hammond and Milt Gabler — wanted him on as many record dates as he could make.  He was a professional who knew how the music should sound and offered it without melodrama.  But I suspect his professionalism made him less dramatic to the people who chronicle jazz.  He kept active; his life wasn’t tragic or brief; from all I can tell, he didn’t suffer in public.  So he never became mythic or a martyr.  Too, the jazz critics then and now tend to celebrate a few stars at a time — so Joe, brilliant and versatile, was standing behind Teddy Wilson and Art Tatum, then and now.  He was also entertaining — someone who could act, who could do a television skit with Bing and Fred, someone who could fill a club by making music, even for people who wouldn’t have bought a Commodore 78.  Popularity is suspect to some people who write about art.

But if you do as I did, some months back, and play a Bushkin record for a jazz musician who hasn’t heard him before, you might get the following reactions or their cousins: “WHO is that?  He can cover the keyboard.  And he swings.  His time is beautiful, and you wouldn’t mistake him for anyone else.”

One of the memorable moments of my twentieth century is the ten-minute YOU’RE DRIVING ME CRAZY /  MOTEN SWING that Joe, Ruby Braff, Milt Hinton, Wayne Wright, and Jo Jones improvised — about four feet in front of me — at the last Eddie Condon’s in 1976.  “Memorable” doesn’t even begin to describe it.

Consider this: Joe and his marvelous quartet (Buck Clayton, Milt Hinton or Sid Weiss, and Jo Jones) that held down a long-running gig at the Embers in 1951-2:

Something pretty and ruminative — Joe’s version of BLUE AND SENTIMENTAL:

And for me, and I suspect everyone else, the piece de resistance:

For the future: Joe’s son-in-law, the trumpeter / singer / composer Bob Merrill — whom we have to thank for the wire recording (!) of SOMEDAY YOU’LL BE SORRY —  has organized what will be a stellar concert to celebrate his father-in-law’s centennial.  Mark your calendars: May 4, 2017.  Jack Kleinsinger’s “Highlights in Jazz” at the Tribeca Performing Arts Center. Ted Rosenthal, John Colianni, Eric Comstock, Spike Wilner, piano; Nicki Parrott, string bass; Steve Johns, drums; Harry Allen, tenor saxophone; Adrian Cunningham, clarinet; Bob Merrill, trumpet; Warren Vache, cornet; Wycliffe Gordon, trombone; and of course a surprise guest.

Here’s the promised photograph of a birthday cake.  Perculate on THIS:

louis-birthday-cake

Thank you, Joseephus.  We haven’t forgotten you.

May your happiness increase!

THE WORLDS OF JIMMY MAZZY (SARAH’S WINE BAR, August 28, 2016)

I had heard a great deal about the lyric troubadour Jimmy Mazzy (also a wonderful banjo player, raconteur, songhound, and more) but had never encountered him in person until late August.  It was a phenomenal experience. No, it was two phenomenal experiences.

Photograph thanks to New England Traditional Jazz Plus, http://www.nejazz.com

Photograph thanks to New England Traditional Jazz Plus, http://www.nejazz.com

Jimmy was part of the Sarah Spencer Quartet: Sarah, tenor saxophone and vocals; Bill Sinclair, piano; Art Hovey, string bass and tuba — playing a gig at the wonderful Sarah’s Wine Bar in Ridgefield, Connecticut.  (Facebook calls Sarah’s a “pizza place,” which is like calling the Mona Lisa a smiling lady.)  More about Sarah’s below.

And more about the saxophone-playing / singing Sarah Spencer  in a future blogpost, with appropriate audio-visuals.

Sometimes the finest music is created when it appears no one is paying attention: the live recordings, the music that’s captured while the engineers are setting up or in between takes (WAITIN’ FOR BENNY and LOTUS BLOSSOM are two sterling examples that come to mind).  In a few instances, I’ve brought my camera to the soundcheck or to the rehearsal because the “We’re just running this through” ambiance is a loose friendly one — shirtsleeves and microphone-adjusting rather than the musicians’ awareness of tables of expectant listeners. In that spirit, I offer Jimmy’s seriously passionate version of Lonnie Johnson’s TOMORROW NIGHT.

I think you see and feel what I mean about Jimmy as a passionate singer / actor / troubadour.  If a maiden had Jimmy beneath her balcony, serenading like this, she would know that he was offering his whole heart to her with no restraint and no artifice yet great subtle powerful art.  Those of us in the audience who aren’t maidens and perhaps lack a balcony can hear it too.

But Jimmy is a sly jester as well — totally in control of his audience (even though there’s a long, drawn-out “Ooooooh, no!” from Carrie Mazzy, Jimmy’s wife, at the start of this anthropological exegesis):

Jimmy Mazzy, two of a kind.  And more.  Irreplaceable.

And there will be more from this session.  Now, some words about the delightful locale: Sarah’s Wine Bar in Ridgefield, Connecticut, features world-class jazz music on the last Sunday of every month.  But that’s not the whole story: Ken and Marcia Needleman are deeply devoted to the art form, and they’ve been presenting it in style since 2009.  Ken is a guitar student of Howard Alden’s, and he decided that he wanted to bring top jazz musicians to perform in an intimate setting (with excellent food and fine acoustics).  They found kindred spirits in Sarah and Bernard Bouissou, restaurateur and chef of Bernard’s, one floor below the wine bar.

Thus the Jazz Masters Series began in February 2009, and I’ll mention only a double handful of the musicians who have played and sung to enthusiastic audiences: Howard Alden, Bucky Pizzarelli, Gene Bertoncini, Dick Hyman, Rossano Sportiello, Mark Shane, Frank Wess, Scott Robinson, Harry Allen, Warren Vache, Ken Peplowski, Dan Levinson, Jon-Erik Kellso, Rufus Reid, Jay Leonhart, Cameron Brown, Matt Wilson, Akira Tana, Joe LaBarbera, Mike Mainieri, Cyrille Aimee, Karrin Allyson.

The food critic who writes JAZZ LIVES wants to point out that the food was wonderful and the presentation delightful.  Sarah’s Wine Bar would be a destination spot if the only music was the humming heard in the kitchen.

But right now I want to hear Jimmy sing TOMORROW NIGHT again.

May your happiness increase!

“JUST FRIENDS”: EHUD ASHERIE, HOWARD ALDEN, FRANK TATE, PETE SIERS, BILL ALLRED, RANDY REINHART, DAN BLOCK (ALLEGHENY JAZZ PARTY, September 10, 2015)

JUST FRIENDS

JUST FRIENDS — when it was originally performed in 1931 — was a sad love ballad, appropriate to the beautifully mournful tones of Red McKenzie — and notice how hip and expansive his second chorus is.  He had known and heard the Chicagoans, Jimmie Noone, and of course Louis:

If you prefer the 1932 Russ Columbo version, it’s beautiful also.

At some point, JUST FRIENDS was treated less as a lament and more as a song to play on.  (One could point to the Charlie Parker with Strings recording in 1949, and subsequent performances, but Bird often treated it as a medium-tempo ballad.)  And that tradition — swing rather than sobbing — prevails today.

I present an extended swing meditation on this song, performed on Thursday, September 10, 2015.  The participants, the creators, are Ehud Asherie, piano; Frank Tate, string bass; Pete Siers, drums; Howard Alden, guitar; Bill Allred, trombone; Randy Reinhart, cornet; Dan Block, tenor saxophone.

That is the sort of wonderful music that happens every year at this party, whether it’s at the informal jam sessions of Thursday night or the sets on Friday, Saturday, and Sunday.  This year, the Party takes place from September 15 to the 18th.

A word about names.  When I started attending this party, it was held in Chautauqua, New York, and was called Jazz at Chautauqua; then it moved to Cleveland and temporarily was called the Allegheny Jazz Party; now it has become mature and changed its name to the Cleveland Classic Jazz Party.  You can find out more details here, on Facebook, or at the Party’s www.alleghenyjazz.org, or even by calling 216.956.0866.

The Party takes place at the InterContinental Hotel and Conference Center, 9801 Carnegie Avenue, Cleveland, OH 44106.  You can call 216.707.4100 or 855.765.8709 to make reservations, but be sure to use the Group Code YOO when you call or reserve online.

Musicians who will be there . . . are the Faux Frenchmen, Rebecca Kilgore, Wesla Whitfield, Andy Stein, Hal Smith, Pete Siers, Ricky Malichi, Frank tate, Kerry Lewis, Jon Burr, Rossano Sportiello, Mike Greensill, James Dapogny, Ehud Asherie, Marty Grosz, Howard Alden, Bill Allred, Dan Barrett. Scott Robinson, Dan Levinson, Dan Block, Harry Allen, Jon-Erik Kellso, Andy Schumm, Randy Reinhart, Duke Heitger.

Come by, hear some wonderful music, eat and drink, and make friends.

May your happiness increase!

 

IN THE MAIN STREAM: HOWARD ALDEN, EHUD ASHERIE, FRANK TATE, PETE SIERS, RANDY REINHART, DAN BLOCK, BILL ALLRED at CLEVELAND (September 10, 2015)

Long-playing high fidelity turned into song by Harold Arlen and Ted Koehler:

as-long-as-i-live-cotton-club-parade-24th-ed-1

and performed here at the Cleveland Classic Jazz Party (formerly known as the Allegheny Jazz Party) on September 10, 2015, by Howard Alden, guitar; Frank Tate, string bass; Ehud Asherie, piano; Pete Siers, drums; Dan Block, tenor saxophone; Bill Allred, trombone; Randy Reinhart, cornet.

“Mainstream” was the term invented by jazz critic Stanley Dance to describe this easy, uncluttered, floating kind of improvisation — a music that had carefully dismantled all the boundaries created by sectarian listeners and journalists to take a wide-ranging approach to jazz without ruling anything out if it drank deeply of melody, swing, and harmony.  Hank Mobley and Buster Bailey could talk about reeds; Tommy Benford and Art Blakey could discuss calfskin versus plastic.  You get the idea: a sweet world that no longer saw “Dixieland” and “bebop” as hostile antitheses.

Music of this free-breathing variety happens all the time in the places I frequent, but one of the most comfortable places for it is the Cleveland Classic Jazz Party, which will happen again this September 15-18, 2016.  Get in the Main Stream.

May your happiness increase!

SLEEP, FROM FRED WARING ON (HOWARD ALDEN, DAN BARRETT, HARRY ALLEN, FRANK TATE, RICKY MALICHI at CLEVELAND: September 11, 2015)

sleeping-woman

Shhhh, don’t wake the Beauty.

Waring’s Pennsylvanians in 1928, in 3 /4 time:

a 1937 version by Tommy Dorsey, with Bud Freeman and Dave Tough in an arrangement that “borrows” from STOMPIN’ AT THE SAVOY and CHRISTOPHER COLUMBUS

Benny Carter and his Orchestra in 1940, with guest star Coleman Hawkins, as well as Eddie Heywood, Keg Purnell, and Joe Thomas:

I saw Carter and the Swing Masters perform this arrangement at a Newport in New York concert at Carnegie Hall, with Joe Thomas (slightly overwhelmed by the rapid pace), Teddy Wilson, Milt Hinton, and Jo Jones — the latter turning the brief drum solo into a longer exhibition.  Memorably.

Sidney Catlett, Ben Webster, Marlowe Morris, John Simmons in 1944.  A monument to Swing:

and the present — September 11, 2015, at the Allegheny Jazz Party (d/b/a the Cleveland Classic Jazz Party) by Howard Alden, guitar; Dan Barrett, trombone; Harry Allen, tenor saxophone; Frank Tate, string bass; Ricky Malichi, drums:

May your happiness increase!

IMPRESSIONISMS BY TURNER AND STRAYHORN: HOWARD ALDEN, HARRY ALLEN, DAN BARRETT, FRANK TATE, RICKY MALICHI (Cleveland, Sept. 11, 2015)

Here’s one kind of inspiration: the J.M.W. Turner painting of Old Battersea Bridge, which Billy Strayhorn saw on an early trip to Europe — presumably in 1939 when the Ellington band went overseas:

Battersea Church and Bridge, with Chelsea Beyond 1797 Joseph Mallord William Turner 1775-1851

Battersea Church and Bridge, with Chelsea Beyond 1797 J.M.W. Turner 1775-1851

Strayhorn wrote CHELSEA BRIDGE with this painting (or one by Whistler) in his consciousness.  That composition became a splendid evocation in sound for the Ellington orchestra, featuring Ben Webster.  Seventy-five years later, I and others in the audience were privileged to see and hear Howard Alden, guitar; Harry Allen, tenor saxophone; Dan Barrett, trombone; Frank Tate, string bass; Ricky Malichi, drums, create their own sensitive evocation of all the inspirations that had come before them, sweetly and memorably adding their own:

Strayhorn when young:

STRAYHORN young

And two delicious additions.  First, Billy at the piano:

Second, in the video of CHELSEA BRIDGE from Cleveland, Dan mentions that the preceding song was their performance of Ray Noble’s THE TOUCH OF YOUR LIPS.  It would be a shame to deprive listeners of this.

I’ll see you at the 2016 Cleveland Classic Jazz Party this September.

May your happiness increase!

BOB AND RUTH BYLER + CAMERA = HOURS OF GOOD MUSIC

Bob and Ruth Byler

Bob and Ruth Byler

I first became aware of Bob Byler — writer, photographer, videographer — when we both wrote for THE MISSISSIPPI RAG, but with the demise of that wonderful journalistic effusion (we still miss Leslie Johnson, I assure you) I had not kept track of him.  But he hasn’t gone away, and he is now providing jazz viewers with hours of pleasure.

“Spill, Brother Michael!” shouts a hoarse voice from the back of the room.

As you can see in the photograph above, Bob has always loved capturing the music — and, in this case, in still photographs.  But in 1984, he bought a video camera.  In fact, he bought several in varying media: eight-millimeter tape, VHS, and even mini-DVDs, and he took them to jazz concerts wherever he could. Now, when he shares the videos, edits them, revisits them, he says, “I’m so visual-oriented, it’s like being at a jazz festival again without the crowd.  It’s a lot of fun.”  Bob told me that he shot over two thousand hours of video and now has uploaded about four hundred hours to YouTube.

Here is his flickr.com site, full of memorable closeups of players and singers. AND the site begins with a neatly organized list of videos . . .

Bob and his late wife Ruth had gone to jazz festivals all over the world — and a few cruises — and he had taken a video camera with him long before I ever had the notion.  AND he has put some four hundred hours of jazz video on YouTube on the aptly named Bob and Ruth Byler Archival Jazz Videos channel. His filming perspective was sometimes far back from the stage (appropriate for large groups) so a video that’s thirty years old might take a moment to get used to. But Bob has provided us with one time capsule after another.  And unlike the ladies and gents of 2016, who record one-minute videos on their smartphones, Bob captured whole sets, entire concerts.  Most of his videos are nearly two hours long, and there are more than seventy of them now up — for our dining and dancing pleasure.  Many of the players are recognizable, but I haven’t yet sat down and gone through forty or a hundred hours of video, so that is part of the fun — recognizing old friends and heroes.  Because (and I say this sadly) many of the musicians on Bob’s videos have made the transition, which makes this video archive, generously offered, so precious.

Here is Bob’s own introduction to the collection, which tells more than I could:

Here are the “West Coast Stars,” performing at the Elkhart Jazz Party, July 1990:

an Art Hodes quartet, also from Elkhart, from 1988:

What might have been one of Zoot Sims’ last performances, in Toledo, in 1985:

a compilation of performances featuring Spiegle Willcox (with five different bands) from 1991-1997, a tribute  Bob is particularly proud of:

from the 1988 Elkhart, a video combining a Count Basie tribute (I recognize Bucky Pizzarelli, Milt Hinton, Joe Ascione, and Doc Cheatham!) and a set by the West End Jazz Band:

a Des Moines performance by Jim Beebe’s Chicago Jazz Band featuring Judi K, Connie Jones, and Spiegle:

and a particular favorite, two sets also from Elkhart, July 1988, a Condon memorial tribute featuring (collectively) Wild Bill Davison, Tommy Saunders, Chuck Hedges, George Masso, Dave McKenna, Marty Grosz, Milt Hinton, Rusty Jones, John Bany, Wayne Jones, in two sets:

Here are some other musicians you’ll see and hear: Bent Persson, Bob Barnard, Bob Havens, the Mighty Aphrodite group, the Cakewalkin’ Jazz Band, the Mills Brothers, Pete Fountain, Dick Hyman, Peter Appleyard, Don Goldie, Tomas Ornberg, Jim Cullum, Jim Galloway, Chuck Hedges, Dave McKenna, Max Collie, the Salty Dogs, Ken Peplowski, Randy Sandke, Howard Alden, Butch Thompson, Hal Smith, the Climax Jazz Band, Ernie Carson, Dan Barrett, Banu Gibson, Tommy Saunders, Jean Kittrell, Danny Barker, Duke Heitger, John Gill, Chris Tyle, Bob Wilber, Gene Mayl, Ed Polcer, Jacques Gauthe, Brooks Tegler, Rex Allen, Bill Dunham and the Grove Street Stompers, Jim Dapogny’s Chicago Jazz Band, the Harlem Jazz Camels, and so much more, more than I can type.

Many musicians look out into the audience and see people (like myself) with video cameras and sigh: their work is being recorded without reimbursement or without their ability to control what becomes public forever.  I understand this and it has made me a more polite videographer.  However, when such treasures like this collection surface, I am glad that people as devoted as Bob and Ruth Byler were there.  These videos — and more to come — testify to the music and to the love and generosity of two of its ardent supporters.

May your happiness increase!