Tag Archives: Irving Berlin

“UNDER THAT AWNING THEY CALL THE SKY”: TAMAR KORN’S WILDWOOD RAMBLERS (Part One): June 17, 2018

Photograph c/o JAZZ LIVES

This was a joyous afternoon, full of delicious lights and shadows not found elsewhere.  It was the gift of Hot Jazz benefactor Brice Moss, who — once a year — turns the backyard of his mother’s house into a lawn party for those who feel the music deeply.  It’s a privilege to be there, and to be allowed to bring my camera.  So, although you must provide your own drinks and snacks, Brice invites you to join in the joys through JAZZ LIVES — more than generous of him.

In 2017, The New Wonders had a fine time playing and singing there: you can attend that party here.

This June, it was a wondrous gathering — I’ve named the band TAMAR KORN’S WILDWOOD RAMBLERS, which is a nod to the lovely greenery and several of their song choices.  The Ramblers were Evan Arntzen, reeds, vocal; Dennis Lichtman, clarinet, mandolin, vocal; Sean Eugene Zbigniew Cronin, string bass, vocal; Adam Brisbin, guitar, vocal.  They made the most glorious pastoral noises.  Here are several beauties from early in the afternoon, starting with a song that has the hilarious force of Chaplin’s MODERN TIMES for me:

and Irving Berlin’s homeopathic prescription for bliss, SUNSHINE:

James P. Johnson’s celebration of traditions, OLD-FASHIONED LOVE:

An instrumental romp on BLUES MY NAUGHTY SWEETIE GIVES TO ME:

and another Berlin gem, LAZY (rhyming “valise-full” / “peaceful” — don’t underestimate Mr. Berlin’s comic audacities):

There are more joys to come.

May your happiness increase!

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IT’S SO GOOD: THE RHYTHM ACES (ROY RUBINSTEIN, KIM CUSACK, ANDY SCHUMM, JIM BARRETT, JOHN WIDDICOMBE) March 26, 2018: PART THREE

What follows is, of course, organic, locally sourced, cage-free, and pasture-raised.  Hot jazz that’s naturally sweet . . . no additives.  This is the third part of a two-hour performance by the Rhythm Aces, led by trombonist Roy Rubinstein, and featuring Kim Cusack on clarinet, alto, and vocal; Andy Schumm on cornet and clarinet; Jim Barrett, banjo; John Widdicombe, string bass — as they won the crowd at the Breakwater in Monona, Wisconsin, on March 26, 2018.  Here is what I recorded for parts one and two.

ARKANSAS BLUES (with Andy doing some very touching Hackett curves and wiggles):

DIPPERMOUTH BLUES, for Louis and Papa Joe:

POSTMAN’S LAMENT (which I associate with Johnny Wiggs and Dr. Souchon, as well as my own contemporary reaction to carrying a heavily loaded knapsack):

and what was seasonal music then, a little tardy now, Berlin’s EASTER PARADE:

More to come — and some surprises — from my Wisconsin sojourn.

May your happiness increase!

CLASSICS MADE NEW: DAWN LAMBETH, KRIS TOKARSKI, JONATHAN DOYLE, LARRY SCALA, MARC CAPARONE, NOBU OZAKI, HAL SMITH (San Diego Jazz Fest, November 26, 2017)

Dawn Lambeth, Kris Tokarski, Larry Scala, Nobu Ozaki, Hal Smith, Jonathan Doyle, Marc Caparone at the San Diego Jazz Fest

What Phil Schaap calls “the swing-song tradition” — a nimble swinging singer accompanied by an equally swinging group — is epitomized for most people by the 1933-42 recordings Billie Holiday made with Teddy Wilson, Lester Young, and other luminaries.  However, it was going on before Billie entered the studio (Connie Boswell, Lee Wiley, Mildred Bailey) and it continues to this day (Rebecca Kilgore, Daryl Sherman, Barbara Rosene, Petra van Nuis, and others).  Dawn Lambeth shines in this setting, and the three performances captured here at the San Diego Jazz Fest both reflect the great tradition and show what joy and art these musicians bring to it.  (I was reminded often, as well, of the late-life recordings Maxine Sullivan made in Sweden, which are very dear to me.)

I know that the tradition wasn’t exclusively female — think of Henry “Red” Allen among others — but I am holding back from making a list of all the swingers.  You’ll understand.

If you more evidence of Dawn’s magic — and the band’s — before proceeding, I invite you to visit here and here.  She sounds wonderful, and there’s fine riffin’ that evening.

Here are three beauties from that same set.  First, Irving Berlin’s ALL BY MYSELF (which is really quite a lament — but not when swung this way):

Then, the tender ONE HOUR — someone is sure to write in and say that it is really called IF I COULD BE WITH YOU ONE HOUR TONIGHT.  Yes, Sir (there are no Female Corrections Officers in jazz-blog-land!) — by James P. Johnson and Henry Creamer:

And finally, Mr. Berlin’s I’M PUTTING ALL MY EGGS IN ONE BASKET, with thanks to Fred Astaire, as always:

To quote Chubby Jackson, but without a touch of irony, “Wasn’t that swell?”  I certainly think so.

May your happiness increase!

HILARY GARDNER and EHUD ASHERIE: “THE LATE SET”

This new CD doesn’t have a false note in it, just tremendously satisfying music.

I don’t recall the first time I heard Hilary Gardner sing, with or without Ehud Asherie’s accompaniment, but I was smitten — in a nice legal Platonic way — by the blending of her tender, expressive voice and his elegant, sometimes raucous piano.  Singular individualists, they combine in wonderful synergy, and this CD expertly reproduces what it’s like to hear marvelous improvisations in a small club full of attentive, sympathetic listeners, leaning forward to catch every nuance.  The sound is spectacularly fine — by which I mean natural, and you don’t have to leave your house to “be there.”  (Although seeing them at Mezzrow on West Tenth Street has been one of my great pleasures for a few years.)

Both Hilary and Ehud are splendid connoisseurs of the best songs, and this recital shows off their sensitivity to fine melodies and telling lyrics: SHADOW WALTZ by Al Dubin and Harry Warren; SWEET AND SLOW by the same two masters in a completely different mood; the very sad Rodgers and Hart A SHIP WITHOUT A SAIL; the ancient but still lively AFTER YOU’VE GONE with the never-heard second chorus; I NEVER HAS SEEN SNOW, by Harold Arlen and Truman Capote; Irving Berlin’s immensely touching I USED TO BE COLOR BLIND; the wicked EVERYTHING I’VE GOT, again by Hart and Rodgers; the sweet command to MAKE SOMEONE HAPPY, by Adolph Green, Betty Comden, and Jule Styne; the wistful SEEMS LIKE OLD TIMES, by John Jacob Loeb and Carmen Lombardo.

Song-scholars will find connections to Fred Astaire, Diane Keaton, Arthur Godfrey, Sophie Tucker, Lee Wiley, Fats Waller, Busby Berkeley, and two dozen others, but this is not a CD of homages to the Ancestors nor to their recordings.  Although the majority of the songs are enshrined in “the Great American Songbook,” this CD isn’t an exercise in reverential mummification.  No, the magic that Hilary and Ehud bring to these possibly venerable pages is to sing and play the songs for real — asking the questions, “What meaning might be found here?  What feelings can we share with you?”  And, ultimately, “Why are these songs so affecting in themselves?”

I’ve celebrated Ehud a great deal on this blog: his ability to create a Frolick all by himself, evoking both Bud Powell and Francois Rilhac, his touch precise but warm, his marvelous ability to think of anything and then to play it, his eye for the perfect swinging epigram a master archer’s.

Hilary was a wonderfully complete singer when I first heard her.  She has outdone herself here.  I find myself reaching for adjectives: is her voice “warm,” “creamy,” “light,” “rich”?  Then I give up, because it sounds as if I am a blindfolded contestant on a cooking show assessing a pound cake.

In plain English: she swings, she understands the lyrics, she improvises splendidly but without theatricality, and when she descends into a song, even if it’s one she’s sung a hundred times before, she comes to the surface, immensely naturally, showing us something we’ve never thought of before.  She’s witty but not clever; emotive but not melodramatic, tender but not maudlin.  Her approach is warm, delicate, unhurried.

When Hilary and Ehud did a brief tour of the Pacific Northwest not long ago, they visited KNKX, did an interview about the CD, and performed three songs in the studio — SWEET AND SLOW, I NEVER HAS SEEN SNOW, and AFTER YOU’VE GONE.  Here‘s the link to watch the videos and hear the interview.

You can find THE LATE SET at iTunes, Amazon, Spotify, and the Anzic Records site.  I urge you to find and purchase a physical disc, because one of the great pleasures — hidden inside — is Hilary’s own pitch-perfect evocation of “the late set” in what I presume is a New York City jazz club.

This is extraordinary music.  How delightful that it exists in this century.

May your happiness increase!

BOTH “FINE” AND “DANDY”: PETRA VAN NUIS, JOHN DI MARTINO, NICKI PARROTT, HAL SMITH at the Cleveland Classic Jazz Party (September 17, 2017)

Photograph by Bill Klewitz

One of the many pleasures of the recent Cleveland Classic Jazz Party was the opportunity to hear the wonderful singer Petra van Nuis, someone who has been pleasing Chicago audiences for the past decade and more.  She can sing is the simplest way to put it.  Although she has a fine sense of humor — catch her introductions to songs in this set — it bubbles out of her rather than being a rehearsed routine.  She has her own sound and phrasing — conversational, occasionally surprising, but it always honors the lyrics and comes out of her deep respect for words as well as melodies.  She improvises but does not obliterate the composers’ intent, and I came away from this quietly glowing set feeling that I had heard the songs in emotionally satisfying ways.  This delicious interlude is the result of Petra’s sensibility: her nice mix of delicate yet intense feeling and buoyant swing.  I could delineate the pleasures of each chorus she sings, but I’d rather leave those sweet surprises to you as you watch and listen.

Petra’s instrumental colleagues have the same spirit: a sweet focused attentiveness that delights in small details without losing sight of the songs themselves.  Nicki and Hal are long-time friends, people I admire for many reasons: their generous spirits, their melodic inventiveness.  John Di Martino was new to me, and he’s a wonder: his beautiful touch, his wise harmonies, and his willingness to put himself in the service of the music: he is secure enough in his self to do just those things that make his colleagues shine so brightly.  It’s only after you get accustomed to his selfless creativity that you realize just how wonderful his playing is.

If it seems as if I admire this group and the music they make, that impression would be correct.  Here, “without further ado,” is a glorious Sunday-afternoon interlude.  And, as Hal said to me afterwards, “You could see a lot of smiles and laughs, and none of them were forced!”  I’m still grinning.

DAY IN, DAY OUT:

On MY OLD FLAME, hear how Petra delicately yet meaningfully offers the first two phrases — the mark of very great exposition of lyrics and melody:

MY HEART BELONGS TO DADDY has lent itself (in lesser hands) to caricature, but not here:

Let us honor Irving Berlin once again.  How beautiful I GOT LOST IN HIS ARMS is — its apparently plain melody allied to simple words, the whole being so moving when Petra explores it:

Both FINE AND DANDY here!  And blessings on the rhythm team for a fine 1944 Johnny Guarnieri groove to start:

I’M JUST A LUCKY SO-AND-SO:

After this set, we all felt just as fortunate.  And grateful.

May your happiness increase!

“SO THEY TELL ME”: JON-ERIK KELLSO and EHUD ASHERIE at ROTH’S STEAKHOUSE (June 24, 2008)

A decade ago, I became an intermittent denizen of the Upper West Side of Manhattan for the best reasons.  Although that period of my life has ended, for all things change and shift, I remember those days and nights with fondness.

One of the pleasures for an even more brief period was hearing music at Roth’s Steakhouse on Columbus Avenue in the Nineties.  It closed sometime after 2010, so I can now say that the food was indifferent.  But the music was sublime.  Here is a tender musical souvenir of days gone by — but not days beyond recall.  It is a leisurely yet rhythmic exploration of Irving Berlin’s ballad from ANNIE GET YOUR GUN, a sentiment few would deny, THEY SAY IT’S WONDERFUL — performed by two musical romantics who also like their romance to move along at the right tempo, Jon-Erik Kellso and Ehud Asherie, brass and piano, respectively.

In his very admiring chapter on Mr. Berlin in AMERICAN POPULAR SONG, Alec Wilder says nothing about THEY SAY IT’S WONDERFUL, but I will fill in for him for one sentence.  Originally, the music for ANNIE GET YOUR GUN was to be composed by Jerome Kern, who died suddenly before he could create the score; I hear faint tracings of Kern in Berlin’s arching melody line, especially evident if one plays or sings the song as a very slow ballad.

Here, Jon-Erik and Ehud create their own world in praise of love not yet realized or never forgotten:

I’ve left the end of the video intact — with the waitperson pushing the specials on hopeful diners — to add to the Rothian ambiance.  Another place where one could dine on extraordinary music, gone, but the sounds remain.

May your happiness increase!

APPLY HEAT: “HOT CLASSICISM” (KRIS TOKARSKI, ANDY SCHUMM, HAL SMITH) IN NEW ORLEANS, SEPTEMBER 25, 2016

I’ve posted a good deal by this very satisfying band: Kris Tokarski, piano; Andy Schumm, cornet and clarinet; Hal Smith, drums, hereherehere — and a few other posts.  You could search them out without too much fuss.

Their first CD!

Because to me this music is very lively, spicy, and energizing, here are a few more gratifying performances from their evening gig in New Orleans’ Snug Harbor (during the last Steamboat Stomp) on September 25, 2016.

Very mellow, very groovy, SHE’S FUNNY THAT WAY:

Is there a causal link — that she was once FUNNY THAT WAY and now she’s NOBODY’S SWEETHEART?  Calling all psychotherapists and cultural critics:

Even though it’s a warm August, chiles are good for you, so HERE COMES THE HOT TAMALE MAN:

The title of this Irving Berlin classic causes great merriment in the balcony, A PRETTY GIRL IS LIKE A MELODY:

Albert Wynn’s 1928 ecstasy, PARKWAY STOMP:

FORTY AND TIGHT (“Use your imagination,” says Kris.):

And the rallying call for this magnificent trio, STOMP OFF, LET’S GO:

Restorative, curative, no prescription needed: “Apply Hot Classicism to the inflamed area and the afflicted soul. Repeat as desired.”

May your happiness increase!