Tag Archives: John Gill

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, that same year:

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!

MORE HOT NOTES FROM UNDERGROUND: TERRY WALDO’S GOTHAM CITY BAND at FAT CAT (March 13, 2016)

Fat-CatBilliards, ping pong, and Terry Waldo’s Gotham City Band — on appropriate Sunday afternoons at Fat Cat.  On March 13, 2016, the downstairs revelers were Terry, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, clarinet / soprano; John Gill, banjo; Brian Nalepka, string bass; Daniel Glass, drums, with a guest appearance by Eldar Tsalikov on the final three performances.  I posted the first half of this delightful session here.

Here are some highlights from the latter half of this hot session.

A song I associate with that hilly city: setting the cordial barroom atmosphere firmly in place, SAN FRANCISCO BAY BLUES.  Terry’s vocal is confidential, but that’s part of the theatre — one doesn’t shout one’s heartbreak across the room:

Something for Bix, RHYTHM KING, with an appearance by Doctor Kellso and his patented glass medical appliance (it saves lives):

EVERYBODY LOVES MY BABY (vocal by Terry):

Hot from the oven, I AIN’T  GONNA GIVE NOBODY NONE OF MY JELLY ROLL, sung with serious charm by Evan (and hear the delightful alto sax of sitter-in Eldar Tsalikov).  Magnificent playing on this one — the power of sugar and white flour, no doubt:

BEALE STREET BLUES, with Jim telling the story, vocally and instrumentally:

RUNNIN’ WILD (with choreography, too!):

For more of the same, be sure to check the schedule at Fat Cat — where there’s interesting jazz seven afternoons and evenings a week (and admission is unbelievably inexpensive): that’s 75 Christopher Street, right off Seventh Avenue South, and very close to the subway.

May your happiness increase!

HOT NOTES FROM UNDERGROUND: TERRY WALDO’S GOTHAM CITY BAND at FAT CAT (March 13, 2016)

FAT CAT NYCPerhaps two Sundays of every month, Terry Waldo’s Gotham City Band descends the wide stairway to the expansive basement that is Fat Cat (75 Christopher Street, New York City) for a hot session from about 5:45 to 7:45. Ragtime, blues, W.C. Handy, Morton, Louis, vintage pop tunes, and more are the delightful offerings.  I took my camera down there on Sunday, March 13, and captured a dozen highlights — music created by Terry, piano / vocal; John Gill, banjo / vocal; Brian Nalepka, string bass / vocal; Daniel Glass, drums / no vocal yet; Jim Fryer, trombone / vocal; Evan Arntzen, clarinet / soprano saxophone / vocal; Jon-Erik Kellso, trumpet / no vocal yet.

Here are the first six delights.

MANDY, MAKE UP YOUR MIND, which begins as a duet for Jim Fryer and John Gill and then takes on passengers:

AT THE JAZZ BAND BALL:

HESITATING BLUES, at a faster-than-usual tempo, with a soulful vocal by John Gill:

CAKE WALKING BABIES FROM HOME, delivered enthusiastically by Evan Arntzen:

THE SONG IS ENDED, happily not true, sung earnestly by Jim Fryer:

MAHOGANY HALL STOMP, Jon-Erik Kellso’s majestic evocation of Mister Strong:

Another half-dozen to come.  Look for Brian Nalepka’s up-to-the-minute announcements on Facebook for which roving masters will be with Terry on Sundays to come.  And remember — you CAN keep a good band down.  At least for two hours in the Fat Cat basement and rec room.

May your happiness increase!

DANIEL GLASS, MASTERFUL CHAMELEON: “THE CENTURY PROJECT,” “TRAPS,” AND MORE

I know that the magnificent drummer Daniel Glass is capable of fully engaged conversation; he eats and drinks (pistachios and more), and has a full life away from his drum kits.  But he continues to be so generous in his wise offerings that I don’t quite see how he carries on a life in addition to what he gives us.  I’ll have to ask him whether he actually sleeps . . . when I see him next.  Daniel is so often in motion that a still picture hardly does him justice, but it is a start.

Daniel Glass at 2105 Chicago Drum Show

The wisecrack (so beloved by those who have never been in front of a classroom) is “Those who can’t do, teach.”  Daniel Glass is that rare creature who both does and teaches, and he accomplishes both of those ends with a light yet memorable touch.  When I call him a chameleon, I don’t of course mean it in the zoological way, but I mean it as highest praise: someone who easily and without fuss shows us generously his deep and varied talents, all of which come from a center of knowledge, the desire to inform us with gentleness and accuracy, and a splendid basis of experience — living experience, never dusty.

I should explain that I am not a drummer; my drum career was if not nasty and brutish, certainly short — because I am mentally but not physically coordinated. The high points of my percussion career have been as an observer (watching Krupa, Jo Jones, Gus Johnson, Leeman, and their modern forbears), an autograph-seeker (Jo again) and purchaser (one set of 5B parade sticks bought from Jo at Ippolito’s drum shop.

But I am someone who finds information — beautifully and clearly presented — thrilling.  And if Daniel Glass never put a stick to a drumhead, I would salute him as a splendid guide through matters percussive.  But more about that below.

I first met Daniel in the darkness of Fat Cat one Sunday when Terry Waldo’s Gotham City Band was the most admired attraction.  I’d never heard him and was properly suspicious — after all, how good could he be if I didn’t know him? — but within two choruses I realized I was in the presence of a Master, someone who played for the comfort of the band, was in the idiom but not imprisoned by it, a musician with history and innovation balanced neatly within him.

Here’s WOLVERINE BLUES (with Jon-Erik Kellso, Evan Arntzen, Jim Fryer, John Gill, Brian Nalepka in addition to Terry and Daniel):

And here are all the videos from that frolicsome late-December 2015 session.

When I had my Daniel Glass Experience (the first of several) I had no knowledge of this gloriously head-spinning performance from 2009 created by Daniel — with the smallest amount of percussive equipment one can imagine) — the blessed John Reynolds, and the superb Rusty Frank:

Sidney and Jo are grinning, I am sure.

Here is a wonderful interview where Daniel explains where he came from and where he is taking us.  It’s from 2012, so some of the references to “now” are perhaps slightly out of date, but it gives a wonderful sense of who he is as a musician and scholar:

Part One:

Part Two:

I couldn’t keep up with the articles, books, and videos that Daniel has created, but I can say a few words about his two 2-CD sets, THE CENTURY PROJECT and TRAPS.  The first would have pleased Isiah Berlin because Daniel is both hedgehog and fox: his knowledge and love and enthusiasm is both intensely focused and broad.  THE CENTURY PROJECT, on the face of it, is a history of jazz drumming from 1865 to 1965 — and it accomplishes that purpose beautifully — but it is also a quietly subversive, never didactic, history both of American music and of the contributions from other cultures.  We think of the trap set as an American creation, but Daniel opens up that perhaps narrow idea to ask where the Turkish tom-toms came from, the Chinese cymbals, temple blocks, and so on.  Never dull but splendidly researched.

Here’s Daniel explaining and beautifully demonstrating “double drumming,” which was a revelation to me — both the history and the performance:

Here’s the splendidly musical solo with which Daniel concludes THE CENTURY PROJECT — on a cousin of SING SING SING:

Oh, and did I mention there is music?  Daniel and friends (including our own Dan Barrett and Dan Levinson) move from New Orleans parade music to ragtime to early jazz onwards to swing, bebop, and beyond.  Even if you’ve never come closer to drumming than tapping impatiently on the arm of the couch in the doctor’s waiting room, these musical interludes are priceless as jazz and as history.

And here is a very brief introduction to TRAPS, the companion 2-DVD set which beautifully displays and anatomizes a century of the most gorgeous vintage drum sets:

Even I, who know little about vintage drums aside from the sound of Zutty Singleton’s cymbals in 1928 or Sidney Catlett’s hi-hat in 1944, or the way those drum sets looked in still photographs and films, found this riveting up-close history.

Daniel’s website — found here — offers a fascinating blog, podcasts (philosophical and percussive) opportunities for lessons in person and via Skype, the aforementioned books, DVDs, and more.  Clinics and gigs of all kinds — from Terry Waldo to Eydie Gorme and Marilyn Maye, from private parties to Christmas celebrations and swinging big bands.  He has much to share with us, and he offers it generously.

May your happiness increase!

BLOSSOMING UNDERGROUND: TERRY WALDO’S GOTHAM CITY BAND at FAT CAT (Dec. 27, 2015): JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, TERRY WALDO, JOHN GILL, BRIAN NALEPKA, DANIEL GLASS

violets

A good deal of inspiring music blossoms underground — I think of Mezzrow, and Smalls, and Fat Cat, that paradise of unusual pleasures: hot jazz, creative swing, a variety of games, soft couches from which one might never rise, and youngbloods having fun, playing games, coming in, out, and around.

Pianist / singer / composer / scholar Terry Waldo leads his Gotham City Band there most Sundays from about 5:45 to 7-something, two sets.  On Sunday, December 27, 2015, he had a particularly illustrious crew: aside from Terry on piano, there was John Gill, banjo / vocal; Brian Nalepka, bass / vocal; Daniel Glass, drums; Evan Arntzen, clarinet / soprano saxophone / vocal; Jon-Erik Kellso, trumpet; Jim Fryer, trombone . . . thus the music was loose, expert, and  gratifying.  Here are several highlights of that late-afternoon session:

RHYTHM KING:

APRIL SHOWERS (where Brian reminds us that Spring is always on the way):

HAPPY FEET (vocal Evan):

WOLVERINE BLUES:

ACE IN THE HOLE (vocal John):

WILLIE  THE WEEPER:

All of the musicians in this edition of the Gotham City Band were well-known to me, many of them for over a decade, but the new fellow, Daniel Glass, is a stunning ensemble and solo drummer: he listens, he swings, and he has a whole peaceful arsenal of appropriate sounds.  JAZZ LIVES readers may know him better than I did, but he is someone special, and I will write more about his various enterprises in future.

Right now, I am going to think of violets descending from the sky, a lovely image.

May your happiness increase!

SIX TO STOMP BY: THE YERBA BUENA STOMPERS at the STEAMBOAT STOMP: JOHN GILL, CLINT BAKER, CONAL FOWKES, KEVIN DORN, TOM BARTLETT, ORANGE KELLIN, DUKE HEITGER, LEON OAKLEY (Sept. 18, 2015)

640_steamboat-natchez-new-orleans-reviews

As Heidegger used to ask himself, “What would a Stomp be without Stompers?” (I’ve translated from the original.)  And when the query becomes even more specific, “What would a Steamboat Stomp be without the Yerba Buena Stompers?” the answer is even clearer.  And so it was, on September 18, 2015, the Stompers took to the stage for the first night’s concert.  And they did indeed Stomp.  They are John Gill, banjo / vocal; Conal Fowkes, piano; Clint Baker, tuba; Kevin Dorn, drums; Orange Kellin, clarinet; Tom Bartlett, trombone; Leon Oakley, cornet; Duke Heitger, trumpet, playing a program of New Orleans-associated hot jazz.

CAKE WALKING BABIES FROM HOME:

WABASH BLUES:

WILLIE THE WEEPER:

MILENBERG JOYS:

OLD STACK O’LEE BLUES:

THE GIRLS GO CRAZY:

It’s not just the Girls.  I look forward to future YBS encounters.

A serious word about those six performances.  I think the test of any band of this sort is the measure of energy — I don’t mean volume or velocity — they can bring to familiar material.  Everyone in that room had heard or perhaps played MILENBERG JOYS many times.  But the Stompers approached the material with the curiosity and love that made the familiar into something vibrant.  And that is both precious and rare, the very opposite of rote performance.

When I know more about the 2016 Steamboat Stomp, you can be sure I will let you know.

May your happiness increase!

ROCKING THE COSMOS: IDA BLUE SINGS THE BLUES AT JOE’S PUB, PART TWO (with JOHN GILL, KEVIN DORN, EVAN ARNTZEN, DAN BLOCK, JAY RATTMAN: August 29, 2015)

IDA BLUE. Photograph by Philip Schnell

IDA BLUE. Photograph by Philip Schnell

A little poem: She / and they / just blew me away.

I’m speaking of Ida Blue’s recent appearance at Joe’s Pub, which was a phenomenon rather like the Aurora Borealis as redesigned by Robert Johnson, Sister Rosetta Tharpe, and a dozen others.  With Ida at the helm: she is not simply someone who is producing microwave renditions of old records.

And then there was the band: Kevin Dorn, driving it all with subtlety and ferocity mixed, drums; John Gill, National steel resonator guitar, played as only he can; three reed virtuosi: Dan Block, baritone sax, bass clarinet; Evan Arntzen, clarinet, tenor sax; Jay Rattman, bass sax.  Dan Block said of this band, after the fact, “We were like three 747’s!” — no collisions, but much delightful polyphony and energy.  Here’s what I wrote about the evening when it happened.

And here are the first six songs Ida and the band performed that rocking evening, in case you missed the earlier posting.

Now, for those who have been patiently or eagerly waiting (or both), more. Seven more, making lucky thirteen.

Pigmeat Terry’s BLACK SHEEP BLUES:

Robert Johnson’s COME ON INTO MY KITCHEN:

Sister Rosetta Tharpe’s STRANGE THINGS HAPPENING EVERY DAY:

Victoria Spivey’s IT’S EVIL HEARTED ME:

MR. FREDDIE’S BLUES:

Sister Wynona Carr’s touching I’M A PILGRIM TRAVELER (for me, one of the evening’s most memorable performances — very tender and candid.  We are all pilgrim travelers):

Robert Johnson’s 32-20 BLUES:

Now, let’s assume you’ve enjoyed this dazzling show — albeit through my video camera — for free.  How could you repay and support these musicians?  One way would be to actually attend some live music in your neighborhood, which doesn’t have to be New York.  You could also keep track of Ida Blue and friends here or here or show your love here.  I know I provide music free for those miles away from it . . . but a group of people sitting in front of their computers and doing nothing else in the way of active support will mean that this art form has a harder time.  End of sermon.

May your happiness increase!