Tag Archives: Jay Lepley

“UNDERNEATH THE GROUND, WHERE ALL THE FUN IS FOUND”: TERRY WALDO’S GOTHAM JAZZ BAND (January 29, 2017): JON-ERIK KELLSO, EVAN ARNTZEN, JIM FRYER, TERRY WALDO, BRIAN NALEPKA, JOHN GILL, JAY LEPLEY

Even in January, it’s hot down below — when “down below” refers to Fat Cat, 75 Christopher Street in Greenwich Village, New York, and when Terry Waldo and the Gotham City Band are in session.  As they were last January 29 — one of their Sunday early-evening delights.  (I’d advise not looking at the club’s graphic too strenuously; it raises certain questions.)

Our text for today, Brothers and Sisters, is the 1916 hit DOWN IN HONKY TONKY TOWN, by Charles McCarron and Chris Smith.  I would never have added the Y to the penultimate word, but that was because I’d never seen the cover of the sheet music.  I have changed my ways.

This site, the source of the sheet music above, also has a wonderfully erudite discussion about the origin of “honky tonk,” which I found fascinating.

Here is the start of the chorus:

Come honey, let’s go down,
to honky-tonky town.
It’s underneath the ground,
where all the fun is found.
There’ll be singing waiters,
singing syncopaters,
dancing to piano played by Mister Brown.
He plays piano queer,
he always plays by ear.
The music that you hear,
just makes you stay a year.

(At this point the variant versions became too deep for me to delve into without a paid sabbatical, but you get the idea — an inducement to good times.)

Here’s the quite hot instrumental version created belowstairs by Terry Waldo, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, clarinet; Brian Nalepka, string bass; John Gill, banjo; Jay Lepley, drums:

The temperature is in the nineties today, so we don’t need anyone to get us hotter, but this will be homeopathically salutary, and you can also watch it next winter to keep heating costs down.

May your happiness increase!

Advertisements

NEW YORK CAKE: TERRY WALDO, EVAN ARNTZEN, JON-ERIK KELLSO, BRIAN NALEPKA, JIM FRYER, JOHN GILL, JAY LEPLEY at FAT CAT (January 29, 2017)

Not this (announced as “the best New York style cheesecake):

but a hot version of the song immortalized in 1924 and 1925 by Louis Armstrong and Sidney Bechet, Bessie Smith and others, CAKE WALKIN’ BABIES FROM HOME.  This is my second CAKE post: the first, presenting two hot performances by Dave Kosymna, Christopher Smith, Ray Heitger, Nicole Heitger, James Dapogny, and Pete Siers (all deftly captured by Laura Wyman) may be visited here.

But my experience of New York and New  Yorkers — even from the suburbs, what Flaubert would call the provinces — is that we don’t like to take second place to anyone or anything.  And in a cake walking contest, second place is noplace.

So here’s the New York version, created a month earlier at Fat Cat (75 Christopher Street in Greenwich Village) by Terry Waldo and the Gotham City Band, who were on that Sunday Evan Arntzen, Jon-Erik Kellso, Jim Fryer, Jay Lepley, Brian Nalepka, John Gill.  Consider for yourselves:

I won’t ask viewers to set up mock combat between Ohio and New York: all those cakes and contests are beautiful and hot.

May your happiness increase!

REBUKING THE DEACON: TERRY WALDO’S GOTHAM CITY BAND: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT (January 29, 2017)

Some might know W.C. Handy’s AUNT HAGAR’S BLUES as one of the ancient classics — a multi-strain composition, hallowed through decades of performance. But the lyrics tell a deep story: here is an approximate transcription of what Louis sang on the 1954 Columbia session honoring Handy (that recording the precious gift of the far-seeing George Avakian):

Old Deacon Splivin his flock was givin’ the way of livin’ right, yes
Said he, “No wingin’, no ragtime singin’, tonight,” yes
Up jumped Aunt Hagar and shouted out with all her might
All her might.

She said, “Oh, ain’t no use to preachin’
Oh, ain’t no use to teachin’.

Each modulation of syncopation
Just tells my feet to dance and I can’t refuse
When I hear the melody they call the blues, those ever lovin’ blues.”

Just hear Aunt Hagar’s children harmonizin’ to that old mournful tune.
It’s like a choir from on high broke loose, amen
If the Devil brought it, the good Lord sent it right down to me
Let the congregation join while I sing those lovin’ Aunt Hagar’s blues.

Even in 2017, the Deacon is still waggling his bony finger at us, and even when the lyrics to AUNT HAGAR’S BLUES aren’t sung, you can hear Aunt’s triumph.  A convincing example took place downstairs at Fat Cat (75 Christopher Street, Greenwich Village, New York) on Sunday, January 29, 2017, when Terry Waldo’s Gotham City Band played the song.  The hot philosophers sending the message are Terry, Jon-Erik Kellso, John Gill, Brian Nalepka, Jay Lepley, Jim Fryer, Evan Arntzen:

The message is clear.  When faced with those who would preach denial of life, always choose joy, no matter who tries to direct your course.  I’m with Aunt Hagar.

May your happiness increase!

PIPING HOT, EXPERTLY PREPARED: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT (January 29, 2017)

WEARY BLUES was written in 1915 by Artie Matthews as a ragtime piece, and the earliest recording we have (I believe) is this quite warm and well-seasoned  1919 rendition by the Louisiana Five:

Then it was recorded by many people — it’s terribly catchy with many breaks and it has a natural momentum.  I will only offer this piece of history, because my feeling everyone should know this hot record by heart:

But this blog isn’t about archaeology; rather, it’s about gratifying music performed NOW.  Down in the basement of Fat Cat (75 Christopher Street, Greenwich Village, New York City) on Sunday, January 29, 2017, Terry Waldo and his Gotham City Band created something beautiful and blazing hot out of WEARY BLUES.  The cooks were Terry, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, reeds; John Gill, banjo; Brian Nalepka, string bass; Jay Lepley, drums.

The savory dish, herewith:

Why do I live in New York?  Many reasons, but the possibility of wandering down the stairs on a late Sunday afternoon, making my way through young people focused on beer, ping pong, billiards, conversation, and hearing THAT is one of the chief reasons to be here and stay here.

For my readers: may the most heavy WEARY BLUES you ever feel be just this light upon your heart.

May your happiness increase!

“FOX TROT, VOCAL CHORUS”: JIM FRYER, EVAN ARNTZEN, BRIAN NALEPKA with TERRY WALDO, JAY LEPLEY, JOHN GILL, JON-ERIK KELLSO at FAT CAT (Jan. 29, 2017)

Even if they don’t have trained voices, the instrumental soloists I know tend to be really convincing singers, often with a loose, sleeves-rolled up approach to the song, which, by its casualness, conceals a real understanding of melody, rhythm, and how to “sell a song.”  (And sometimes the most under-documented singers are the most affecting: Basie, muttering his way through HARVARD BLUES, Hawkins emoting on LOVE CRIES, Carter wooing us with SYNTHETIC LOVE.)

Musicians know that bursting into song delights an audience (if it’s not offered on every performance) and it rests tired lips and hands. Here are three wonderful examples from a Sunday afternoon session by Terry Waldo, Jon-Erik Kellso, Jim Fryer, Evan Arntzen, Brian Nalepka, John Gill, and Jay Lepley — January 29, 2017).  I will point out that everyone in this band has been known to warble a chorus, but today I am concentrating on Messrs. Fryer, Arntzen, and Nalepka — all of whom have sung in performance and the recording studio.

And since so much of American pop music of the last century and more takes romance as its subject, here are three very different love songs: the first a chronicle of deprivation (“I’d love to join the fun but they bar me.”) the second a narrative of how serendipity made for great love (“I kept buying china / Until the crowd got wise.”) and the last a happy description of mutual adoration (“My baby don’t care who knows it.”)

Jim Fryer chronicles romantic woes, Lombardo / Louis style on SWEETHEARTS ON PARADE:

Evan Arntzen reminds us of Bing, 1931, incidentally, with I FOUND A MILLION DOLLAR BABY (IN A FIVE-AND-TEN CENT STORE):

and Brian Nalepka tells the truth (ask Mary Shaughnessy), MY BABY JUST CARES FOR ME:

These frolics happen most Sunday afternoons at Fat Cat, 75 Christopher Street, Greenwich Village, New York City (take the #1 train to Christopher Street / Sheridan Square).

May your happiness increase!

THANKS FOR THE SWING! (TERRY WALDO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT, January 29, 2017)

you-took-advantage-of-me

When it’s good, you can tell right off. And this — recorded at Fat Cat, at 75 Christopher Street, New York City, is good.

While Terry and Company were waiting for everyone to arrive on Sunday, January 29, 2017, they gently launched in to this 1927 Rodgers and Hart classic — once only a new pop song — and created some very fine and spiritually moving vibrations. The creators? Terry Waldo, piano; Jim Fryer, trombone; Evan Arntzen, clarinet; John Gill, banjo; Brian Nalepka, string bass; Jay Lepley, drums.

Music like this improves the world.  Blessings on you, gentlemen.

And a rather sour postscript, which has nothing to do with the glorious music presented here.  This video ends up on YouTube, my cosmic megaphone to broadcast the joy that others create.  But many people who post comments on YouTube do so to complain.  “The video is too dark.  The crowd is too noisy.  One of the musicians is not up to my high standards.”

My imagined response is, at its most polite, “Dear Sir (it’s always a male writer!), such complaining is rather like pointing to the wonderful free dinner, made for you by a world-renowned chef, and refusing to eat it because it is on what you think is the wrong china. Since the internet has made most people think that everything is free, and that their often tactless expressions of taste are true criticism, I simply sigh.”

Insert loud sigh here.  Now I will enjoy the video again, to be uplifted by the generous mastery of these musicians.

May your happiness increase! 

“IRISH BLACK BOTTOM”: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY (Fat Cat, January 29, 2017)

okeh-irish-black-bottom

No, this isn’t an early celebration of Saint Patrick, nor is it a lesson in North American vernacular dance.  A week ago today, I had the delightful good fortune of being in the basement known as Fat Cat (75 Christopher Street) to hear Terry Waldo’s Gotham City Band — Terry, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, clarinet; John Gill, banjo; Brian Nalepka, string bass; Jay Lepley, drums.  And one of the lively excursions into hot archaeology that they offered was Percy Venable’s novelty number, IRISH BLACK BOTTOM, premiered by Louis Armstrong and his Hot Five in Chicago in 1926.  For the full history of this song and that performance, read on in Ricky Riccardi’s quite magnificent Louis blog.

And now, from 1926 to 2017, with a performance calculated to warm you more efficiently than heated seats in a new car:

The genial joyousness of that performance could win anyone over, even without the history.  But I also post this musical episode to reiterate a point.  Many “jazz critics” see the chronological advance of the music as one improvement succeeding another: Roy Eldridge was more “sophisticated” than Louis, Charlie Parker more than Roy, Miles and Trane and Ornette even more so. “Sophisticated” is a weighted word, especially when the appearance of complexity is taken as the highest good.  But for those who look at “Dixieland” as simple, I’d suggest that even a tune as lightweight as IRISH BLACK BOTTOM has its own sophistication, its own complicated routine, and it is not something one could pick up at one hearing, the Real Book notwithstanding.  Court adjourned.

May your happiness increase!