Tag Archives: Jesse Gelber

“OH, MEMORY! OH, MEMORY!” (Part Two): The MANHATTAN RAGTIME ORCHESTRA at THE CAJUN: JOHN GILL, MATTHEW SZEMELA, JON-ERIK KELLSO, CONAL FOWKES, BRAD SHIGETA, PETE MARTINEZ, JESSE GELBER, ROB GARCIA (July 13, 2006)

Once, the Manhattan Ragtime Orchestra had a steady gig in New York City where they made wonderful music.  The club is gone; the gig is gone.  But the music remains.

Here is the first part of this glorious archaeological dig, with almost an hour of new / old 2006 music, and the stories underneath the surface.

Here’s the first video segment:

and the second:

That night the MRO — usually led by clarinetist Orange Kellin — was Jon-Erik Kellso, trumpet; Brad Shigeta, trombone; Pete Martinez, clarinet; Matt Szemela, violin; Jesse Gelber, piano; John Gill, banjo, vocals; Conal Fowkes, string bass; Rob Garcia, drums, and the songs played are WHEN MY BABY SMILES AT ME (Gill does Ted Lewis) / RED PEPPER RAG / UNDER THE BAMBOO TREE (Gill) / RUBBER PLANT RAG arr. Pete / EGYPTIA / “OUR GANG” theme out:

And Part Four, THE RAGTIME DANCE / KROOKED BLUES / NEW ORLEANS WIGGLE / HIGH SOCIETY / SONG OF THE ISLANDS (out theme) //

Those were great times.  And not simply because of any historical-nostalgic longings, but because of the wonderful music, played with inspiration rather than ironies.  I am grateful to have been there, and even more grateful that I could bring a video camera and a tiny tripod . . . gifts from the past that gleam today.

After this post was published, a friend reminded me that the CD,
“MANHATTAN RAGTIME ORCHESTRA: AT THE JAZZ BAND BALL” (with its
wonderful 1898 photograph of Broadway at 28th Street in Manhattan!),
is still available from Stomp Off Records: PO Box 342, York, PA 17405.

May your happiness increase!

“OH, MEMORY! OH, MEMORY!”: The MANHATTAN RAGTIME ORCHESTRA at THE CAJUN, PART ONE: JOHN GILL, MATTHEW SZEMELA, JON-ERIK KELLSO, CONAL FOWKES, BRAD SHIGETA, PETE MARTINEZ, JESSE GELBER, ROB GARCIA (July 13, 2006)

The power of memory:

That girl, and the story of that girl, are both imperishable.  Not only does Mr. Bernstein recall her, but everyone who has ever seen CITIZEN KANE recalls him recalling her.  Or so I hope.

Music, so powerful and so multi-layered, is more slippery in the memory, giving us a mixture of sensations and emotions.  Of course people remember Louis playing 250 high C’s, but how many people can recall with clarity a performance full of lights and shadings that happened once, on the spot, and then was over?

Fortunately we have recording equipment of all kinds, and to think of what would have happened to jazz without it is impossible.  But here’s a New York story with gratifications attached, not simply narratives of what happened.

Exhibit A, “The Big Easy”:

Exhibit B, courtesy of eBay:

Exhibit C, self-explanatory:

In 2005, when I was once again free to explore, I discovered The Cajun, a traditional-jazz club in New York City’s Chelsea neighborhood.  It closed in late summer 2006, and it was obliterated to become luxury housing, alas.

The owners were Herb Maslin and Arlene Lichterman (Arlene is still with us) and at our first encounter I offered to help publicize the club, even though I had not yet imagined having a jazz blog.  I was writing for The Mississippi Rag and other jazz periodicals, and offered help with press releases.  She was eager to have what festival promoters call Asses in Seats, so I could come anytime and make notes on performances and the general ambiance.  I was free to modestly of generic food.  (I worked my way through the menu, an explorer looking for edible land.)

I have said elsewhere that I’d seen people of my vintage shooting videos of their grandchildren and the ducks on the pond, and it dawned on me that I could buy one to document the music I and others loved.  Exhibit B was, after Flip, my first real video camera.  It recorded on 30-minute mini-DVDs, difficult to transfer, but it worked in the odd lighting and the built-in microphone was acceptable, especially when I sat close to the band.  At the time, I did not know what I might do with the discs — YouTube was only allowing postings of no more than ten minutes and my editing skills were not even rudimentary — but the thought of capturing what would otherwise be evanescent was entrancing.

Thirteen years later, I uncovered a number of videos from 2006: a small stack of mini-DVDs in plastic cases still sits in a bookcase as I write this.  Some videos, when I shared them with the participants (I ask permission first, the videographer’s “informed consent”) created hot-jazz-PTSD, and will remain unseen.  But the four sets of the Manhattan Ragtime Orchestra pleased my hero John Gill, and the trumpeter Jon-Erik Kellso, who encouraged me to  post them so that this splendid band would not be just a memory or a record.  I canvassed the musicians, some of whom are friends, and those who responded agreed that these performances should be enjoyed now.

John continues to believe in the music: he told an interviewer long ago, “It’s music of the people. It’s open and honest and straightforward and comes to you with open arms,” and he continues to live that truth in New Orleans.

Here is the first hour of music (a set-and-a-half of four) from the Manhattan Ragtime Orchestra, playing their own warm, spirited “radical pop music”: John is on banjo and vocals, with Jon-Erik Kellso, trumpet; Matthew Szemela, violin; Brad Shigeta, trombone; Pete Martinez, clarinet (subbing for leader Orange Kellin); Jesse Gelber, piano; Conal Fowkes, string bass; Rob Garcia, drums.

No tricks, no funny hats, no gimmicks: just real music.  A woman fanning herself: it was July.

Part One, including PORTO RICO / NEW ORLEANS JOYS / TEE NAH NAH (Gill vocal) with Arlene Lichterman cameos / BUDDY’S HABITS / HOME IN PASADENA (Gill) / HIAWATHA (Lizard On A Rail) / DEAR HEART – I’M FOREVER BLOWING BUBBLES //

Part Two, including a Buddy Bolden Medley: DON’T GO WAY, NOBODY – MAKIN’ RUNS / CONGO LOVE CALL / BOUNCING AROUND / SONG OF THE ISLANDS (closing theme) / CREOLE BELLES (Gill) / A BUNCH OF BLUES //

To me, much more gratifying that a fleeting glimpse of a girl and her parasol.  And there is another forty-five minutes of music to come.

May your happiness increase!

“GET HOT, CAMPERS!”: NEW YORK HOT JAZZ CAMP (May 15-21, 2017)

I’m writing this on March 14, 2017, which on the East Coast of the United States was supposed to be “the blizzard of the century,” and although the forecast was more than a little hyperbolic, when I look out of my window, I can see my car covered with snow below me.  It might lead anyone to dream of warmer weather and appropriate musical pleasures.

Imagine a Cozy Cole drum roll here, as I present to you . . .

Now, if the words “ADULT CAMP” summon up visions of skinny-dipping in the woods, I think you might have the wrong venue.  I’m sorry.  My guess is that the campers might be too busy working through the strains of WOLVERINE BLUES for such aerobics, but I could be wrong.  At least I can promise you that no one will get carsick on the bus.

Some details:

ADULTS –18 and up. All Skill levels. “A great participatory learning experience with some of New York’s most respected trad-jazz musicians, recording artists, and mentors.  Related guest lectures, master classes, and exclusive music & history field excursions.  Evening jams at notable historic jazz venues.
Informal, non-intimidating active small ensemble and improvisation work with a select, encouraging network of like-minded musicians.  Space and sectional openings limited: of course, first come, first served.  Visit here to sign up or to learn more.”

That’s from the press release.  This is from Michael: everyone on that list really knows how to play and sing; you can find them on this blog and in my videos. They are good-hearted people, so if you mess up the introduction to WEST END BLUES you won’t get snapped at.  I’m told that fifty percent of last year’s campers are returning this year, which is a good indication that people enjoyed themselves, learned a good deal, and thought it was worth the price.  Check it out while space remains.

May your happiness increase!

“TO BE SWEETLY RECLINING”

Urged on by a historical impulse I don’t quite understand, I put on the proper clothing and ventured deep into the archives of YouTube to see one or two of my earliest videos of fine jazz I had created.

A place where one could sweetly recline, alone or in duo.

A place where one could sweetly recline, alone or in duo.

I came up with this: recorded at Banjo Jim’s (defunct) with a lesser camera (defunct) on November 10, 2008.  The band is Kevin Dorn’s Traditional Jazz Collective, whose musicians are not at all defunct: Kevin Dorn, drums; J. Walter Hawkes, trombone and vocal; Michael Hashim, reeds; Charlie Caranicas, cornet; Jesse Gelber, piano. And led by Walter, they remind us that ROSE ROOM was once a swoony lullaby rather than a Forties romp:

Now I have a better camera and a wide-angle lens.  No doubt the gentleman sitting right in the middle of my viewfinder will come around on my next video gig, but you get used to him.  And Kevin and friends continue to enrich our lives. The video has its cinematic limitations, but its soul is huge.  Blessings on all the fellows herein.  And Art Hickman too.

May your happiness increase!

BIG BAND MONDAY WITH THE GLENN CRYTZER ORCHESTRA at the FILLMORE ROOM (Monday, February 29, 2016)

Glenn Crytzer Orchestra flyer

It’s lovely to see an enterprising musician take the risk of leading a big band — and Glenn Crytzer (compositions / arrangements / guitar / banjo / vocals) is just that enterprising.  Although most New Yorkers know him for his work with quartets and septets, his new Orchestra (four reeds, four rhythm, five brass) is creating a splash at the Fillmore Room — 146 Tenth Avenue at 19th Street — from 7-10 PM every Monday.  I was there last Monday, February 29.  You can’t see the brilliant dancers off to my left, but you’ll have to imagine them on a substantial wooden dance floor.

Ordinarily I wouldn’t post a dozen videos at one time, but I wanted JAZZ LIVES viewers to get a sense of the band’s sustained energy — the way it barrels through three sets.  And just maybe some viewers in the metropolitan area will be sufficiently inspired to make the pilgrimage to Big Band Mondays.

The band itself was Glenn, guitar / banjo / vocal / arrangements / compositions; Ian Hutchinson, string bass; Jesse Gelber, piano; Andrew Millar, drums; Jason Prover, Sam Hoyt, Mike Davis, trumpets; Joe McDonough, Matt Musselman, trombone; Ricky Alexander, Linus Wyrsch, Evan Arntzen, Dan Block, reeds. And the Orchestra’s book is substantial: originals, homages to Goodman, Shaw, Lunceford, Waller, Louis, Lionel, Duke, Webb, Kirk, and more.

WALLINGFORD WIGGLES:

I GET IDEAS:

A MELLOW BIT OF RHYTHM:

HEY BA-BA RE-BOP!:

THE ROAD TO TALLAHASSEE:

TRAFFIC JAM:

APOLLO BLUES:

ME, MYSELF AND I:

BLUES FOR NORMA:

SQUEEZE ME:

BLACK AND TAN FANTASY:

IF DREAMS COME TRUE:

Book tickets / make reservations here

May your happiness increase!

“AT THE BALL, THAT’S ALL!”: THE ARMISTICE BALL (Nov. 14, 2015)

at the ball, that's all

thus —Armistice Ball

The Armistice Ball is a wonderful new / old tradition, and I’m planning on being there this year. May I invite you to join me at the eighth annual Ball? This is their website with much information.  It takes place on a Saturday, in Morristown, New Jersey, from 8-11 PM.

As you can see by the photograph above, it is a truly vintage affair — music, attire, dance steps.  No hip-hop; no blue jeans; no shorts.  (A relief!) The Ball is focused on the world that once was, the world of 1910-20 — specifically time-travel to 1918, when the Great War ended.  There won’t be any influenza epidemic at the Ball, fortunately.

But there will be music, sweet and hot, provided and created by Dan Levinson, Mike Davis, Matt Musselman, John Landry, Jesse Gelber, Mike Kuehn, Joanna Sternberg, Sue Fischer — celebrating the music and dance of the World War One era.

Here is the Ball’s Facebook page (where lovely antiquity and current cyberspace meet and shake hands).

I’ve never been to the Ball, but I’ve always wanted to go . . . and so I encourage you to give yourself the pleasure of attending. And here is some music that will encourage you — and if you live too far from New Jersey, at least you can raise the volume (to a decorous level) and one-step around the kitchen with your Beau or your Belle.

Here are atmospheric videos from 2013 and 2014:

and

and

But don’t wait too long.  You’ll be humming this song instead of more joyous ones.

After the Ball

May your happiness increase!

“IF LOVE IS A TRANSACTION, CAN IT BE GIVEN FREELY?”: WHERE ALL THE RIVERS GO TO SLEEP (NYMF, July 18-19, 2015)

I first met jazz pianist / composer / singer Jesse Gelber in the early part of 2005, when he was playing a Sunday brunch gig deep in Park Slope, Brooklyn, and was impressed by his music, his wit, and his imagination.  Soon after I met his wife, Kate Manning, and heard her beautiful focused singing.  We’ve crossed paths infrequently in the last decade, but I am pleased to be able to tell you about their musical — set in the early part of the last century, in New Orleans, in Storyville. Kate has written the book and lyrics; Jesse, the music and story.  I didn’t know when I first met Jesse that he was a “serious” composer, but since then he has won an ASCAP Foundation’s Morton Gould Young Composer Award for his opera, and has arranged music for Itzhak Perelman and PBS.  And here I thought he was simply an inventive musician — praised by Kevin Dorn, Craig Ventresco, and Tamar Korn.

RIVERS Gelber Manning

You can learn more about this project here — and, if you are so inclined, support it.  To quote Sammy Cahn and Saul Chaplin, every nickel helps a lot. And this is the production’s website, where you can hear such enticing songs as MID-COITAL MUSINGS (MONEY ON THE TABLE); WE HAD TODAY; IF IT FEELS GOOD, IT’S GOOD.  You see a general trend, I hope: this is an officially hedonistic musical, and we could use more of those.

The story — in brief — is this: the musical follows Cora Covington, a young prostitute in Storyville, the fabled New Orleans red-light district, who falls in love with Apolline Albert, a beautiful Creole woman. Cora draws Apolline into a life of prostitution at one of the district’s most extravagant brothels, servicing the city’s wealthiest and most powerful men, and run by the notoriously cold Madame and voodoo priestess Marie Snow. When Apolline’s husband Joe returns from up North and wants her back, a desperate Cora will do anything to keep her from leaving. She commits a terrible crime, for which she then seeks redemption.  In a world where love is a transaction, can it ever be given freely?

Ordinarily I have to be lassoed to a musical newer than 1936, but I trust Gelber and Manning’s artistic instincts, so I will be at the July 18 performance of WHERE ALL THE RIVERS GO TO SLEEP at the New York Musical Theatre Festival.  It’s a concert performance, with a twelve-person cast and twelve-person orchestra.

Since this is JAZZ LIVES, let’s start with the orchestra: Peter Yarin, piano; Andrew Hall, string bass; David Langlois, washboard; Nick Russo, guitar and  banjo; Benjamin Ickies, accordion; Charlie Caranicas, trumpet; Matthew Koza, clarinet; Jake Handelman, trombone; Josh Henderson, Eddie Fin, violin; Sarah Haines, viola; Emily Hope Price, cello.

And the cast, under the direction of Tony nominee Randal Myler and the musical direction of Dan Lipton (The Last Ship): Carole J. Bufford (Broadway By The Year, speak easy, Body and Soul) as Cora, and Ann McCormack (West Side Story 50th Anniversary World Tour) as Apolline, with Jacqueline Antaramian (Dr. Zhivago, Coram Boy, Julius Caesar), Kenny Brawner (Kenny Brawner is Ray Charles), Damian Norfleet (Show Boat, Ragtime), Brynn Williams (In My Life, 13), Amanda Castaños (Spring Awakening), Mariah MacFarlane (Nice Work If You Can Get It, American Idiot), Ryan Clardy, David Lajoie, Michael Lanning, and Erika Peterson.

Here is the link to buy tickets for the Saturday, July 18 performance at 8 PM and the Sunday, July 19 one at noon. Performances will take place at PTC Performance Space, 555 West 42nd Street, New York City.  I’m told that tickets are going quickly, and since this is not a huge space, I know it’s true.

See you there.

May your happiness increase!