Tag Archives: John Herr

FOR PRES (Part Three): MICHAEL KANAN, LARRY McKENNA, MURRAY WALL, DORON TIROSH (Sept. 1, 2018, University of Scranton, PA)

Michael Kanan, Larry McKenna, Murray Wall, Doron Tirosh at the University of Scranton, Sept. 1, 2018. Photograph by John Herr.

 

Here are the closing three selections from a wondrous evening of music devoted to the sacred memory of Lester Young.  By “sacred memory” I mean the living presence of that great man, so ebullient, so tender.  And in proper Lester-fashion, everyone in the quartet sang his own song.

Here you will find Parts One and Two of this concert, which delighted me then and uplift me now.

The concert was, to me and others in the enthusiastic audience, a series of highlights, one quietly dazzling gem after another.  I have a special love for the blues in G, POUND CAKE, that appears in Part Two.  And the version of ALL OF ME that follows is tremendously touching.  Billie and Lester recorded it as a sweet ballad — in opposition to the bouncy versions that got faster and faster after its initial appearance a decade earlier.  This performance is like a caress:

LOVE ME OR LEAVE ME, happily inspired by the 1956 quartet session of Lester, Teddy Wilson, Gene Ramey, and Jo Jones (originally issued as PRES AND TEDDY on Verve):

Finally, Lester’s TICKLE-TOE, which is sheer fun, an audible evocation of joy:

You don’t need me to tell you that this concert was a transcendent experience.  Blessings on these four players and on the people who made it possible.

And a few words about Larry McKenna, whose circle of admirers is expanding rapidly.  Larry and fellow Philadelphia tenorist Bootsie Barnes have made a CD, called THE MORE I SEE YOU.  One set of tantalizing little sound samples can be found here, and here’s a brief rewarding video:

And rather my praising this CD, I offer the notes written by Sam Taylor — a deep admirer of Larry’s and also a wonderful tenor player:

What defines the sound of a city? Ask three Philadelphians and get four opinions, as the joke goes. The people, their collective spirit both past and present, is a good place to start. Philadelphia, a city overflowing with history, is home to a proud, passionate, willful, and fiercely loyal people. The city’s jazz legacy is no different and has always been a leading voice. Shirley Scott, McCoy Tyner, Benny Golson, Trudy Pitts, Lee Morgan, the Heath Brothers, Stan Getz, Philly Joe Jones and countless other Philadelphia jazz masters are bound together by the same thread. These giants played in their own way, without concern for style or labels. They had an attitude; an intention to their playing that gave the music a feeling, a rhythm, a deep pocket. In Philadelphia today, there is no question who preserves that tradition, embodies that spirit and who defines the “Philadelphia sound”: Bootsie Barnes and Larry McKenna.

Now elder statesmen of the Philadelphia jazz community, Bootsie Barnes and Larry McKenna were born just a few months apart in 1937. The times in which they lived often dictated their career paths, but no matter where their music took them Philadelphia was always home.

Bootsie Barnes credits his musical family as the spark that began his life in music. His father was an accomplished trumpet player and his cousin, Jimmy Hamilton, was a member of Duke Ellington’s band for nearly three decades. “Palling around with my stablemates, Tootie Heath, Lee Morgan, Lex Humphries” as he tells it, Barnes began on piano and drums. At age nineteen he was given a saxophone by his grandmother and “knew he had found his niche.” Over the course of his decades long career, Barnes has performed and toured with Philly Joe Jones, Jimmy Smith, Trudy Pitts and countless others, with five recordings under his own name and dozens as a sideman.

Mostly self-taught, Larry McKenna was deeply inspired by his older brother’s LP collection. It was a side of Jazz at The Philharmonic 1947 featuring Illinois Jacquet and Flip Phillips that opened his ears to jazz. “When I heard that I immediately said: ‘That’s what I want to play, the saxophone,’” McKenna recalls. Completing high school, McKenna worked around Philadelphia and along the East Coast until the age of twenty-one, when his first big break came with Woody Herman’s Big Band. McKenna has played and recorded with Clark Terry, Frank Sinatra, Rosemary Clooney, Tony Bennett and countless others. He has four recordings under his own name, with extensive credits as a sideman.

Their resumes are only a shadow of who these men are. To really know the true Larry McKenna and Bootsie Barnes, you have to meet them. They are as men just as their music sounds: giving, open, genuine and deeply funny. Working nearly every night, Barnes and McKenna are consistent, positive forces on the scene. Deeply admired by younger generations of musicians, they show us that a life in music should be led with grace, joy and honesty.

The first time I heard Barnes and McKenna together was at Ortlieb’s Jazz Haus in the mid 1990s. As an eager but shy young musician of about fourteen, I somehow found my way to the storied club on Third and Poplar Streets. A sign out front proudly stated “Jazz Seven Days” – the only place in the city boasting such a schedule. The bouncer working that night took one look at me and with what I can only imagine was a mix of pity and amusement, hurriedly waved me in. Eyes down and hugging the wall, I made my way along the long bar, past the mounted bison head’s blank stare, towards the music. My go-to spot was an alcove next to the bathroom: a place just far enough from the bartender’s gaze so as not to be noticed, (did I mention I was fourteen?) but close enough to the stage to watch and listen. The house band was the late Sid Simmons on piano, bassist Mike Boone, and drummer Byron Landham. (Anyone who was there will tell you: this was an unstoppable trio.) Barnes and McKenna were setting the pace, dealing on a level only the true masters can. The whole room magically snapped into focus: the band shifted to high gear, the swing intensified and the crowd had no choice but to be swept up in the music. They had a story too incredible to ignore. I sat there in disbelief at the power and beauty of what they were doing. It is a feeling that has never left me.

How they played that night at Ortlieb’s those many years ago is exactly the way they play today. In fact, they are probably playing better than ever. The track Three Miles Out is a shining example. Barnes solos first, hitting you with that buttery, round tenor tone with a little edge as he gets going. His ideas are steeped in the hard-bop tradition delivered with a clear voice all his own. There is no ambiguity, no hesitation, just pure, joyful, hard-swinging tenor playing. McKenna follows, with his trademark tenor tone, both beautiful and singing, strong and powerful. He swings with natural ease, a wide beat and always makes the music dance. He has what I can only describe as a deep melodic awareness thanks largely to his mastery of the American Songbook. McKenna is unhurried and speaks fluid bebop language. This is classic Barnes and McKenna.

The most challenging thing to describe is the way someone’s music touches your heart. I hope my fellow native Philadelphians will allow me to speak for them when I say we are all forever in the debt of Bootsie and Larry. May we live and create in a way that continues to honor them and their music.

I can’t wait to hear what they play next.

Sam Taylor
New York City, July 2018

May your happiness increase!

Advertisements

FOR PRES (Part Two): MICHAEL KANAN, LARRY McKENNA, MURRAY WALL, DORON TIROSH (Sept. 1, 2018, University of Scranton, PA)

I hope you saw and savored Part One of this magical concert in honor of Lester Young, featuring Michael Kanan, piano; Larry McKenna, tenor saxophone; Murray Wall, string bass; Doron Tirosh, drums — a concert made possible through the good efforts of Loren Schoenberg, the National Jazz Museum in Harlem, and Cheryl Y. Boga of the University of Scranton.  This evening is one of the high points of my live jazz experience.

Michael Kanan, Larry McKenna, Murray Wall, Doron Tirosh at the University of Scranton, Sept. 1, 2018. Photograph by John Herr.

Now, let’s proceed to another trio of delights — whose collective and individual virtues do not need explication: heroically gentle swing.

THESE FOOLISH THINGS:

POUND CAKE, Lester’s blues in G for the Basie band (your “pound cake” was your Squeeze) — both Michael and Larry hark back to Lester’s solo, delightfully, and the wonderful swing everyone generates makes this one of the highlights among highlights:

LESTER LEAPS IN:

Magic.  And there will be a Part Three.

May your happiness increase!

FOR PRES (Part One): MICHAEL KANAN, LARRY McKENNA, MURRAY WALL, DORON TIROSH (Sept. 1, 2018, University of Scranton, PA)

Michael Kanan, Larry McKenna, Murray Wall, Doron Tirosh at the University of Scranton, Sept. 1, 2018. Photograph by John Herr.

I extol the virtues of life in New York, but beautiful things are created when bold explorers like myself cross into other states, too.  On Saturday, September 1, at the University of Scranton, PA, Loren Schoenberg and The National Jazz Museum in Harlem presented “Tribute to Prez: The Life and Music of Lester Young” featuring The Michael Kanan Quartet, with saxophonist Larry McKenna, string bassist Murray Wall, and drummer Doron Tirosh. Loren wasn’t able to make it, but his perception and generosity made a wonderful musical event take place.  Thanks are also due Cheryl Y. Boga, Tom Cipriano, and photographer John Herr.

JUST YOU, JUST ME:

BLUE LESTER:

LADY BE GOOD:

I had the honor of being there, getting to say a few words about Lester alongside Michael and  Larry (to a hip audience) and recording the concert, nine extended beautifully floating performances which captured Lester’s spirit while enabling everyone to “go for himself.”  Here are the first three, which require only open-hearted appreciation . . . no explication needed.  Just sweetness everywhere.

May your happiness increase!

BETWEEN THE SHEETS (in Fayetteville, New York)

Some months back, my friend — jazz photographer John Herr — told me about an invaluable resource for people trying to track down sheet music. 

You remember sheet music, don’t you?

Sheet music (individual publications for specific songs, often with beautiful Art Deco cover illustrations and portraits of the artists — famous or obscure — who performed the songs) was once a predictable part of any even mildly musical household.  Before the iPod, when people relied on records and the radio for the hits of the day, they more than not played those hits on the piano, guitar, ukulele, or sang them together.  When the newest Astaire-Rogers film came out, or Bing Crosby sang something pretty on the radio, the sheet music was right there.

Those of us who love jazz and pop music are fascinated by these sheets, and readers have seen a good number of them here: James P. Johnson, Fud Livingston, Ben Pollack, Louis, and many others.  But sheet music was inexpensive and printed on fragile paper, so the years have often not treated the pages well. 

So if you have a deep need to find the sheet music (words, music for verse and chorus, ukulele chords) for NEVER SWAT A FLY or IT LOOKS LIKE RAIN IN CHERRY BLOSSOM LANE or even I’VE GOT ELGIN MOVEMENTS IN MY HIPS (WITH A TWENTY-YEAR GUARANTEE), you could go on eBay and you might find the sheet music for sale; some is even available at Amazon.  But here’s a better way — intelligent, reliable, and inexpensive. 

It’s the MOTTO COLLECTION at the FAYETTEVILLE FREE PUBLIC LIBRARY in Fayetteville, New York.  But please don’t panic at the unfamiliar name.  You don’t have to find Fayetteville on the map to get ready to make an automobile pilgrimage.  It’s easier than that. 

But first: the collection contains 35,000 sheets of popular American songs from the last 150 years.  It also includes 900 music and reference books which circulate.  The sheet music presents a chronological picture of American life and popular culture from the Civil War through the 1980s.

The Collection was donated to the library by the late Lucy Motto in memory of her husband, Vincent, who died in 1995.  Vincent was an amateur collector who pursued his interest for thirty years (he had sung with bands in Utica and Syracuse).  Rod Hampson, a long-time community volunteer, became the collection’s first curator in 1996.  It is now taken care of by Roberta Hampson (who won’t mind overmuch if you call her “Bobbi”: she is very friendly) who knows a great deal — she is a wonderful resource in herself.

To reach Mrs. Hampson, you may call the library at 315-637-6374 or leave a message for her at extension 328.  Or you may email her at mottomusic@fayettevillefreelibrary.org.

The collection is meticulously indexed with extensive cross-references; if you are searching for a particular song, for a theme, for personal entertainment or scholarship on a larger scale.  It continues to grow through donations and subscriptions.  About those donations: if you can’t sleep at night because you need the music for IF YOU’RE A VIPER, check with Bobbi Hampson to see if the collection has it.  The library requests a donation of at least $3.00 for a song, plus postage if it’s mailed to you — a pittance compared to eBay. 

And soon you can be playing and singing MAKE MY COT WHERE THE COT-COT-COTTON GROWS at home.  Amaze your friends and delight your neighbors!

J.H. by J.H. (JAKE HANNA by JOHN HERR)

Atlanta Jazz Party 2005

A JAKE HANNA STORY

One of millions, sent in by reader / photographer John Herr:

 I didn’t think Jake Hanna was susceptible to death.   He was too large a personality.   I remember at the Atlanta Jazz Party a few years ago, when Bob Wilber was leading a set, the soprano saxophonist turned to Hanna for a solo, and Jake exclaimed, “I just took one.   Pay attention!” and went on with his time-keeping. 

He’ll rock the boat when they row him across to the other side.

AND this just in — for a great story of two JH’s — Jake and Jim Hall — visit Devra Hall Levy’s excellent jazz blog, DEVRADOWRITE: http://www.devradowrite.com/?p=623

AT PLAY, WORKING HARD

Herr

Randy Sandke

Photographer John Herr captured some fascinating portraits at the October 2009 concert of the Dick Hyman Sextet at Hamilton College, featuring Hyman, Bucky Pizzarelli, Nicki Parrott, Jackie Williams, Randy Sandke, and Evan Christopher — playing the music that they’ve practiced all their lives, working hard at it to make it seem marvelous and effortless.  The joy and the risk-taking are shown in their faces:

Herr2

Nicki Parrott

Herr3

Dick Hyman

Herr4

Jackie Williams

Herr5

Bucky Pizzarelli

Herr6

Evan Christopher

I can hear it now!