Tag Archives: Jon Burr

MARTY GROSZ’S “BIXIANA”: “I’M LOOKING OVER A FOUR-LEAF CLOVER” (Jazz at Chautauqua, September 2011)

Days gone by, but not days beyond recall — afternoons and evenings in September 2011 at the Athenaeum Hotel in Chautauqua, New York — for the late Joe Boughton’s annual jazz weekend.  Because I am feeling more than a little melancholy at the news of the end of the Cleveland Classic Jazz Party, I thought I’d share some music from the glory days — to ease the feelings.

Here is one stomping example of the goodness that I was privileged to witness from 2004 to 2017.  It comes from a Marty Grosz set devoted to songs associated with Bix Beiderbecke, performed in styles he wouldn’t necessarily have known.  (Marty’s opening interlude reminds me pleasantly of Alex Hill’s MADAM DYNAMITE, recorded two years after Bix’s death.)

The band includes Marty, guitar and inventive arrangements; Andy Schumm, cornet; Dan Block and Scott Robinson, reeds; Dan Barrett, trombone; Jim Dapogny, piano; Jon Burr, bass; Pete Siers, drums, performing a song I know from the Goldkette Victor — a song of romantic optimism that is perhaps now best known in the banjo-and-let’s-all-sing genre, but it gets up and moves around nicely, not only because of the hot solos, but because of the truly varied and rich arrangement:

“We’ll always have Chautauqua.  And Cleveland,” says some famous film actor.

May your happiness increase!

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“YOU’VE GOT ME IN YOUR CLUTCHES”: REBECCA KILGORE, JOHN SHERIDAN, JON BURR, JOHN VON OHLEN (JAZZ AT CHAUTAUQUA, September 17, 2011)

Medical literature warns us about any kind of addiction — from potato chips to more dangerous seductions.  But what about romance?  Doctors Rebecca Kilgore, John Sheridan, Jon Burr, and John Von Ohlen let us know, gently, that being addicted to someone isn’t such a problem (decades before “stalking” entered the list of criminal offenses) using the words of Al Dubin and the music of Harry Warren to explain it all:

Sadly, LULLABY OF BROADWAY, the biography of Al Dubin written by his daughter Patricia, candidly depicts him as addicted to food, drink, gambling, and eventually morphine, dead at 53.  But this light-hearted love song was written when Dubin’s pleasures still allowed him (with Harry Warren) to create one memorable song after another.

This performance is from a set at the 2011 jazz party, Jazz at Chautauqua, which has delightfully morphed, and moved west to Cleveland, to become the current Cleveland Classic Jazz Party — with some of the same performers, this year from September 14-17, 2017.  I’ve been there every year since 2004, and if that counts as an obsession, it’s one I love.

And the medical news is that Rebecca Kilgore’s singing has been proven addictive, but with only salutary effects on the hearer.

May your happiness increase!

TWELVE STRINGS, THREE IMPROVISERS: JON BURR, FRANK TATE, KERRY LEWIS (Cleveland Classic Jazz Party, September 2016)

Jon Burr. Photo by Koko Burr.

Jon Burr. Photo by Koko Burr.

I know the joke about keeping bass solos at bay by any means possible, but surely this ensemble — three very eloquent players joining together for two classics of the jazz repertoire — is remarkable in its delicacy, power, and swing.  I prefer what Milt Hinton told audiences, that the bass is the foundation, that it is basic to all music.  Milt would have loved this little gathering of like-minded creators, and he would have admired how quickly they make beautiful music with no fuss.  Yes, there’s another joke about how people talk during bass solos, but after thirty seconds and two righteous hisses of “Shush!” this music got the rapt attention it deserves.

Simple math: twelve strings, three basses, three eloquent players, four-four time, two compositions.  The results: lasting pleasure.  The musicians (left to right): Jon Burr, Frank Tate, Kerry Lewis.  The place: the Thursday-night informal session at the 2016 Cleveland Classic Jazz Party, September 15, 2016.

WHAT IS THIS THING CALLED LOVE? (without the whimsical comma):

and Charlie Parker’s 1945 blues line, BILLIE’S BOUNCE, named for manager Shaw, not luminary Holiday:

This year’s Cleveland Classic Jazz Party will take place September 14-17, 2017, at the Wyndham Hotel in Playhouse Square in Cleveland, Ohio.  Mark your calendars now, and visit here for more information.

May your happiness increase!

IN THE RIVER THAT IS TIME: DAN BLOCK’S TRANSFORMATIONALISTS (Cleveland Classic Jazz Party, September 17, 2016)

I think of Dan Block as the main character in a Ray Bradbury story.  Friendly but mysterious, he comes to a small town in the Midwest and puts up a banner advertising his TRANSFORMATIONALISTS: “Time Is But The Stream We Go Fishing In / Come With Us!”  A middle-school trombonist hesitantly approaches the Magical Transormationalist, falls under the spell of the music, and when the band leaves town, she goes with them, entranced, on to glories yet undiscovered.

finshing-thoreau

When Dan has led his “Harlem in the Thirties Updated” group at Fat Cat and other venues, I’ve not counted the audience members to see if anyone went missing.  But we were certainly entranced and remain so.

A version of Dan’s magic troupe performed a brief set at the Cleveland Classic Jazz Party in September 2016: Dan, alto saxophone / arrangements; Scott Robinson, tenor saxophone; Ehud Asherie, piano; Jon Burr, string bass; Ricky Malichi, drums.  The repertoire came from famous bands (Andy Kirk, Fletcher Henderson, Benny Carter) and was written by Mary Lou Williams, Carter, and others — but it sounded fresh, rather than being a distillation of famous records.

The opener, associated with Chick Webb, HARLEM CONGO:

Mary Lou Williams’ composition (I believe Puddin’ Head was trumpeter Edgar Battle):

another Mary Lou creation:

Something for and from Benny Carter:

And, finally, an early version of climate change from the 1934 Henderson band:

Inventive and wholly satisfying.  Another version of the Block Transformationalists will be playing at Smalls on West Tenth Street on February 3, 2017, with the group that performed this music at Dizzy’s Club Coca-Cola. Mark your perpetual calendars, please.

May your happiness increase!

GUILTY, WITH AN EXPLANATION (September 2016)

judges-gavel

I confess that I’ve let some days go by without blogging.  Unthinkable, I know, but I (gently) throw myself on the mercy of the JAZZ LIVES court of readers.

Permit me to explain.  From Thursday, September 15, to Sunday, the 18th, I was entranced by and at the Cleveland Classic Jazz Party.  Consider these — randomly chosen — delights.  Jim Dapogny playing IF I WERE YOU (twice) and some of his winsome original compositions.  Rossano Sportiello, Frank Tate, and Hal Smith swinging like no one’s business.  Rebecca Kilgore singing KEEP A SONG IN YOUR SOUL in the Andy Schumm-Hal Smith tribute to Alex Hill. Andy, on piano, with Paul Patterson and Marty Grosz — once on banjo! — in a hot chamber trio (a highlight being LOUISE).  Wesla Whitfield in wonderfully strong voice.  Dan Block and Scott Robinson romping through HOTTER THAN ‘ELL.  A Basie-styled small band led by Jon Burr, offering (among other pleasures) IN THE WEE SMALL HOURS OF THE MORNING.  A string bass trio — Burr, Tate, and Kerry Lewis — showing that no other instruments need apply.  Harry Allen and Jon-Erik Kellso playing ballads, and Dan Barrett, too.  Tributes to Nat Cole, Harry Warren, Isham Jones, and Bill Evans.  Many videos, too — although they take some time to emerge in public.

I came home late Sunday night and on Monday and Tuesday returned to normal (employed) life as Professor Steinman: John Updike, Tillie Olsen, William Faulkner.

Tomorrow, which is Wednesday, September 21, I get on a plane to New Orleans for Duke Heitger’s Steamboat Stomp.  Obviously I can’t report on delights experienced, but I can say I am looking forward to hearing, talking with, and cheering for the Yerba Buena Stompers, Miss Ida Blue, Banu Gibson, Tim Laughlin, Hal Smith, Kris Tokarski, Andy Schumm, Alex Belhaj, David Boeddinghaus, Ed Wise, Charlie Halloran, James Evans, Steve Pistorius, Orange Kellin, Tom Saunders, Debbie Fagnano, and many others.

So there you have it.  I could sit at home blogging, or I could be on the road, collecting gems, some of which I will be able to share.

My counsel in all this has been the most eminent solicitor, Thomas Langham, who will now offer his closing argument to the jury:

May your happiness increase!

REVENGE SET TO MUSIC, 1934, 2015

The text for today is the early Frank Loesser – Joseph Meyer threat in 4 / 4, JUNK MAN.  Here is the memorable vocal version by Mildred Bailey, so we can hear Loesser’s lyrics:

It is an updating of FRANKIE AND JOHNNIE, but with a shift.  The older song is told by someone narrating the sad tale, where Johnnie has been making love to Nellie Bly, and is shot dead by his betrayed lover Frankie.  “He was her man / But he done her wrong.” We see the hearse go to the graveyard and Frankie will either be hanged or in jail forever.  Sophocles or Shakespeare, depending on the director of this murder ballad, all corpses, misery, retribution.  Betrayal does not pay, but crime pays even more poorly.  (There are many variant versions of this song for American vernacular musicologists to investigate.)

JUNK MAN has a much different edge.  The singer is a sophisticated woman who is aware of the betraying lover, plans to get her revenge, and apparently goes unpunished and unremorseful to the conclusion.  And that conclusion?  The unfaithful man is rubbish for the junkman to sweep up and take away.  Its only ambivalence is that I find it difficult to tell whether the betrayal(s) have already taken place or if this is an elaborate scenario: “If you betray me / continue to betray me, this is what I guarantee will happen.”

But the woman telling the story is in control, with no hesitation: empowered, as we say now.  I see Barbara Stanwyck, calmly lighting a cigarette in her narrative. Imagine any pre-Code young woman taking her revenge and not spending a minute in jail and you have the tenor of this tough song.  (“Be faithful or beware!”)

Oh, the sound of Mildred’s voice — sweet, salty, every syllable ringing clear — and that band:  Mannie Klein, Charlie Margulis, trumpet; Sonny Lee, trombone; Benny Goodman, clarinet; Coleman Hawkins, tenor saxophone; Arthur Schutt, piano, arranger; Dick McDonough, guitar; Artie Bernstein, bass; Gene Krupa, drums; Mildred Bailey, vocal.  New York, February 2, 1934.  It’s a recording chock-full of delights: the way Mannie Klein slides in and out of the synagogue on the first chorus; the gorgeous sound of Dick McDonough and Artie Bernstein. Note that Bernstein switches between arco and pizzicato throughout, which I don’t think was usual in 1934, at least not in bands edging towards “hot.”

Yes, and that is Coleman Hawkins, thanks to John Hammond  — the hidden “Negro” on the date who was also the pre-eminent tenor saxophonist — intense in his obbligati behind Mildred.  (I wonder how many hip listeners of any color there were in 1934 who said, “Damn.  That sounds like that fellow on those Henderson recordings.  But it can’t be, can it?”  He plays the introduction, which is remarkable but one doesn’t take notice of it on the first listening.)

This YouTube video is an odd pleasure: recordings did not run for 4:08 at that time.  This song was recorded in two takes, and the first half of this recording is one of the two takes and Mildred’s vocal chorus is heard twice — the two takes joined together fairly seamlessly.  I don’t mind the extended play.  Who would?

Forward into the recent present.  Here is the gorgeous instrumental version by James Dapogny (piano / arranger) and friends at last year’s Allegheny Jazz Party:

The band is, as well as Professor Dapogny, Pete Siers, drums; Jon Burr, string bass; Marty Grosz, guitar; Bill Allred, trombone; Randy Reinhart, cornet; Scott Robinson, tenor saxophone; Dan Block, clarinet.  This Dapogny arrangement allows us to hear Meyer’s melody as if presented for chamber ensemble of piano and horns, where the soloists ebb and flow, but the song takes the center stage. Dapogny’s piano is a barrelhouse lyrical dream, but his arrangement is a multilayered lovely edifice, and it’s worth listening to this track with a notepad to catch the scenery gloriously moving by.  And this sort of thing will happen soon, again, at the Cleveland Classic Jazz Party.  Trust me on this.

Or, “Don’t forget our Cleveland date!”

May your happiness increase!

BACK TO SCHOOL, WITH TIME TO SWING (CLEVELAND CLASSIC JAZZ PARTY, September 15-18, 2016)

BACK TO SCHOOL

For those who work fifty or more weeks a year, September is just the month that precedes October.  For those of us whose lives have been governed by the academic calendar — I’ve been on one side of the desk or the other since age four — September means something else.  For me, it means the clock radio has to be set, I have to re-attach my office keys to my key ring, and I will soon be saying, “Good morning!  Please put your phones away where you can’t get to them. There are human beings in the room, and they take precedence over texting.” Or words to that effect.  (That’s the modulated polite version . . . )

You can tell I might have been teaching for a few years, or perhaps a few years too many.

But September also means music.  And I mean MUSIC.  One glorious friendly event is the Cleveland Classic Jazz Party.  Since I’ve been part of that event for a dozen years, I could even throw an avuncular arm around the Party’s shoulders, and say, “Kid, I remember you when you were Jazz at Chautauqua, and then the Allegheny Jazz Party,” but I guess I won’t.

Here’s a quietly groovy sample of the wonderful music that happens at this Party: as it was captured last year, on September 13, 2015 — created by Randy Reinhart, cornet; Dan Barrett, trombone; Ehud Asherie, piano; Jon Burr, string bass; Pete Siers, drums.

The song is MOTEN SWING — with links to Basie, Walter Donaldson, and Bennie Moten — proving once again that great improvised music need not be Fast and Loud to make us very happy:

I hope to see many friends, off and on the bandstand, at the 2016 Party!

Here’s the Party’s  Facebook page, and their website.

And something nice: “Free Student Tickets.  Thanks to our generous supporters, we’re able to open up the Cleveland Classic Jazz Party to student musicians interested in jazz. Listening is the best education, and your kids or grandkids will certainly be inspired by our musicians.  One free student ticket is available with each paid ticket to any session. Call us at 216-956-0886 for details.”

May your happiness increase!