Tag Archives: Jon-Erik Kellso

WHY BE Regular WHEN YOU CAN BE EarRegular? (JON-ERIK KELLSO, DAVID SAGER, JOHN GILL, BRIAN NALEPKA at THE EAR INN, August 13, 2017)

Some decades ago, when there were “public” and “private” subjects, people did not speak boldly of bodily functions.  But money was there to be made from people’s distress, so we had IRREGULARITY as a euphemism:

If your child was irregular:


The same problem for the grown-ups:

You understand.  As did Louis.  I’m a big fan of peristalsis.

But being EarRegular is a higher state of being, one we should all aspire to, and it has nothing to do with what has to be performed in private.  In fact, true EarRegularity is performed in public, generously, by the wonderful people who make music at The Ear Inn (326 Spring Street, Soho, New York) every Sunday night from 8-11 PM.

Here are three beautiful examples from the evening of August 13, 2017 — Jon-Erik Kellso, trumpet; David Sager (visiting from D.C.), trombone; John Gill, banjo; Brian Nalepka, string bass.  (If you hear howling from somewhere in these videos, don’t be afeared: that’s only our friend Barry Foley getting ready for Halloween, several months early.)

Handy’s BEALE STREET BLUES — with gorgeous mutations from Jon and the sound you don’t always hear trombonists utilize, harking back to Jimmy Harrison and Benny Morton, from David.  And I can’t ignore the candid eloquence of Messrs. Gill and Nalepka, reminding us of what acoustic playing sounds like:

Another good old good one, AT THE JAZZ BAND BALL:

And finally, a rousing SAN:

I’m afraid you cannot go to your friendly pharmacist and say, “What do you have to make me EarRegular?” because she may not know of the goal you aspire to.  But you can go to The Ear Inn on Sunday nights and get fixed right up — no co-pay, no need to show your insurance card.  Just put some good paper in the tip pumpkin (“Phillup deBucket”) and you’ll feel better.  Fast.

May your happiness increase!

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HOT JAZZ IN THE GARDEN OF EDEN (Part One): THE NEW WONDERS (MIKE DAVIS, JOE McDONOUGH, RICKY ALEXANDER, JARED ENGEL, JAY RATTMAN, JAY LEPLEY): AUGUST 20, 2017

Some people make great art happen without ever picking up an instrument, and Brice Moss is one of them.  I first met him at a concert of Mike Davis’ band, The New Wonders, in downtown Manhattan, about eighteen months ago.

Brice is very friendly and articulate, tall and beautifully dressed, but what’s more important is that he is a card-carrying Enthusiast for Twenties hot jazz.  And although he loves the recordings and lives to go see and hear the best hot bands, he does more than that.  Evidence below.

A Brice Moss lawn party, a few years back, with Vince Giordano, Andy Stein, Evan Arntzen, Jon-Erik Kellso, Harvey Tibbs, and Ken Salvo.

Brice gives yearly lawn parties where his favorite bands play.  I asked him to say something about his generosity-in-action, and he wrote, “I work in social service, in the not-for profit sector, so even with saving up, I can only do these every year or so.  I can think of no more joy-inducing way to spend my meager dough than by hiring the world class musicians we are lucky to have in our vicinity.  As does everyone else, I love the Nighthawks, whom my parents saw weekly since the seventies.

I am smitten by Mike Davis and his guys too.  Mike always sings the lyrics, often including introductory verses I had never heard before.  They do wonderful vocal harmonies.  They are intimate, understated, true to the period and despite differences of instrumentation, very true to the original recordings of the tunes. Pure delight!  This is the fourth time I’ve been lucky enough to be able to bring a band up.  Last year was Mike and The New Wonders as well. The summer before that was a subset of the Nighthawks.  I have also, a couple of years back, had a New Year’s Eve party where I was fortunate to have Vince, Peter Mintun, Mark Lopeman, Bill Crow, and Andy Stein.”

So this summer, when Brice invited me to come up to his lawn party (at a location alternatively identified as Croton-on-Hudson, Yorktown Heights, or Ossining — depending on the whims of your GPS) I was eager, especially when he said the band would not object if I brought my camera.  I thus had the odd and splendid experience of being able to hear and see hot jazz out-of-doors in the most gorgeous pastoral setting.  I also got to meet Brice’s quite delightful family: his mother Anne; son Odysseus; his daughter Aubrey; his sister Liana.  In addition, I got to chat again with Ana Quintana, and petted the New Wonders’ mascot, Chester.

And there was glorious music by Mike Davis, cornet and vocal; Jay Lepley, drums; Jared Engel, banjo; Jay Rattman, bass sax and miscellaneous instrument; Ricky Alexander, reeds; Joe McDonough, trombone.  (Mike also sings splendidly — earnestly but loosely — on many tracks, and there’s also band vocals and band banter.)

The band takes its name from a particular line of instruments manufactured by the Conn people in the Twenties, and Mike plays a Conn New Wonder cornet.  The New Wonders stay pretty seriously in the Twenties, offering pop songs of the day, jazz classics — both transcribed and improvised on — and homages to Bix and Tram, Paul Whiteman, Cliff Edwards, the California Ramblers, Red Nichols and Miff Mole, and more.

A great deal of beautifully-played hot jazz was offered to us that August afternoon.  Here are the first seven tunes, one for each day of the week.

I GET THE BLUES WHEN IT RAINS (fortunately, this song title did not come true at Brice’s party):

THAT’S MY WEAKNESS NOW (with the verse and a second chorus and a third — how much music the New Wonders can, like their ancestors, pack into three minutes):

MY GAL SAL (thinking of the pride of Ogden, Utah):

CHICAGO:

ONE LITTLE KISS (their homage to Cliff Edwards and the Eton Boys, nobly done):

TAKE YOUR TOMORROW (thinking of Bix and Tram):

POOR PAPA:

There are two more lavishly Edenic segments to come.  Not blasphemous, just paradisical.

May your happiness increase!

IN MEMORY OF TOM BAKER, WHO DID ALL THINGS WELL

I now have an opportunity to share with you some wonderful videos of the amazing musician Tom Baker (1952-2001) who lives on.

Below is a picture of our benefactor and generous friend, Enrico Borsetti, who took a video camera to the 2000 Ascona Jazz Festival and recorded treasures — some of which I have already posted, featuring Dan Barrett, Jeff Hamilton, Ray Sherman, Jon-Erik Kellso, Brian Oglivie, John Smith, Eddie Erickson, Joel Forbes, and Rebecca Kilgore.

Another magnificent band, led by pianist / singer Keith Nichols, was called The Blue Rhythm Makers — and here on YouTube you can see two incarnations with different personnel.  The one I share today features the immensely talented and much-missed Tom Baker (trumpet, trombone, reeds, vocal, and more I am probably leaving out), my friend-heroes Matthias Seuffert, Martin Wheatley, Frans Sjostrom.

Here you can learn more / see more about Tom, who made the transition at 49.

Here’s Tom’s very touching reading of ANNIE LAURIE, which I think unforgettable, especially thinking of such a brilliant man who is no longer with us:

and a searing I KNOW THAT YOU KNOW:

and a radiant version of Benny Carter’s ONCE UPON A TIME:

Since I believe that “the dead” KNOW, I send tears and reverent admiration to Tom Baker.  And let us not forget the living, to whom I send gratitude.

May your happiness increase!

A SUMMER NIGHT, EIGHT YEARS AGO (June 7, 2009)

Good times, fine sounds.  the calendar says they’re gone; we know they aren’t.

The Ear Inn has been host to gatherings of joyous insight on Sunday nights since July 2007, and I think I was there for the second gathering of The EarRegulars — who may not have been named just yet (Jon-Erik Kellso, Howard Alden, Frank Tate): I was converted rapidly, although going to work with an early teaching schedule has made me at times a lax postulant.

Here’s a delightful interlude from the summer of 2009: SOME OF THESE DAYS, played so buoyantly by Matt Munisteri, guitar; Duke Heitger, trumpet; Harvey Tibbs, trombone; Dan Block, clarinet; Neal Miner, string bass.  And the final minutes of this — with Duke evoking another New Orleans boy who made good — give me chills of the best sort:

You don’t need to climb the Himalayas for spiritual uplift: visit the Ear Inn on Sunday nights; your pilgrimage requires only the C or the 1 train or perhaps an automobile . . . see you there sometime soon!  In the interim, watch, hear, and marvel.

May your happiness increase

MARA KAYE SINGS LADY DAY with JON-ERIK KELLSO, DAVID SAGER, JOHN GILL, BRIAN NALEPKA, SCOTT RICKETTS, EYAL VINER at THE EAR INN (August 13, 2017)

Mara Kaye is one of New York’s great gifts to the world. Two years ago, she did a concert performance at Joe’s Pub, an evening of songs associated with Billie Holiday.  Here is some of what I wrote, that still rings true.

She is a substantial stage personality.  One way this is expressed is in her nearly constant yet genuine motion, as if her energy is too strong for her to stand still.  It’s not just hair-tossing, but a continual series of dance moves that also look like yoga poses and warm-up stretches, even a jubilant marching-in-place. Often she held her arms over her head, her hands open.  I think it was always exuberant emotion, but it was also her own expression of an ancient and honorable theatrical style . . . so that even the people in the most distant balcony of the Apollo Theatre could see you and join in with the person onstage. And her voice matched her larger-than-life physical presence.  On a Twenties record label, she might have been billed as COMEDIENNE WITH ORCHESTRA, and that odd designation rang true. The comedy bubbled up here and there in speech: she hails from Brooklyn, so that her sailboat in the moonlight was idling along in Sheepshead Bay. But it also emerged delightfully in her voice: I heard echoes of Fanny Brice, of comic Eastern European melodies . . . it never sounded as if she was taking Billie or the music lightly, but as if she was having such a good time that she couldn’t help playing. . . . SHOW in the best tradition — not caricature, but something Louis would have admired immensely.

I’m always glad to see Mara, and when she showed up at The Ear Inn (326 Spring Street, Soho) on Sunday, August 13, I had hopes she would be invited to sit in with the EarRegulars.  Leader and brass deity Jon-Erik Kellso has the same feelings about this young woman, so he invited her to join the band . . . and these two performances are the result. The EarRegulars, that night, were Jon-Erik; David Sager, trombone (making a guest appearance from his home in a southern town), John Gill, banjo; Brian Nalepka, string bass, with sitters-in Scott Ricketts, cornet and Eyal Viner, to my left, alto saxophone.  The ghosts of Buck Clayton, Lester Young, and Benny Morton were there, and they approved.

Two gorgeous performances: FOOLIN’ MYSELF:

and I CAN’T GIVE YOU ANYTHING BUT LOVE (during the instrumental portion you’ll see Mara, ever the good jazz citizen, walking around with the tip jar — the tip pumpkin — to help the band:

Music like this, peerless and delicate, improves our world, for these musicians give us love and more.

May your happiness increase!

GIVE US A SHOUT: DAN BARRETT’S “BLUE SWING” at ASCONA (July 2, 2000)

My dear friend Michael Burgevin was the first person I knew who used the expression “Give me a shout,” when he meant “Call me when you can,” or “Be in touch,” and it’s almost archaic these days.  But I know MB would enjoy what I am about to post.

It’s only a few minutes long, but it is both Prime and Choice — and the result of the kind energetic generosity of our friend Enrico Borsetti, who took his video camera to the JazzAscona, Switzerland, and captured a set by Dan Barrett’s Blue Swing — a noble band that had, alongside Dan, Jon-Erik Kellso, Brian Ogilvie, John “Butch” Smith, Ray Sherman, Eddie Erickson, Joel Forbes, and Jeff Hamilton.

Here’s a wonderful blues with flourishes, composed by Luis Russell and Charlie Holmes for the splendid band (featuring also Henry “Red” Allen, J. C. Higginbotham, Albert Nicholas, Paul Barbarin, and Pops Foster) the former led from 1926-34, named for the Saratoga Club, where they romped:

I’ll let Jon-Erik have the last word: “Can’t believe this was 17 years ago already. Fond memories of playing with Dan Barrett’s Blue Swing at the JazzAscona fest in Switzerland. “Saratoga Shout” by Luis Russell. I miss our friend Brian Ogilvie, the tenor player here, very much, he left us much too young. I also miss this band, one of the finest I’ve been a part of.”

And Enrico, our Benefactor, promises to share the rest of the set with us. Grazie, amico!

As we know, sometimes The Past comes out of the darkness and raps us sharply across the bridge of the nose.  In this case, it’s given us a very warm hug.

May your happiness increase!

“SO THEY TELL ME”: JON-ERIK KELLSO and EHUD ASHERIE at ROTH’S STEAKHOUSE (June 24, 2008)

A decade ago, I became an intermittent denizen of the Upper West Side of Manhattan for the best reasons.  Although that period of my life has ended, for all things change and shift, I remember those days and nights with fondness.

One of the pleasures for an even more brief period was hearing music at Roth’s Steakhouse on Columbus Avenue in the Nineties.  It closed sometime after 2010, so I can now say that the food was indifferent.  But the music was sublime.  Here is a tender musical souvenir of days gone by — but not days beyond recall.  It is a leisurely yet rhythmic exploration of Irving Berlin’s ballad from ANNIE GET YOUR GUN, a sentiment few would deny, THEY SAY IT’S WONDERFUL — performed by two musical romantics who also like their romance to move along at the right tempo, Jon-Erik Kellso and Ehud Asherie, brass and piano, respectively.

In his very admiring chapter on Mr. Berlin in AMERICAN POPULAR SONG, Alec Wilder says nothing about THEY SAY IT’S WONDERFUL, but I will fill in for him for one sentence.  Originally, the music for ANNIE GET YOUR GUN was to be composed by Jerome Kern, who died suddenly before he could create the score; I hear faint tracings of Kern in Berlin’s arching melody line, especially evident if one plays or sings the song as a very slow ballad.

Here, Jon-Erik and Ehud create their own world in praise of love not yet realized or never forgotten:

I’ve left the end of the video intact — with the waitperson pushing the specials on hopeful diners — to add to the Rothian ambiance.  Another place where one could dine on extraordinary music, gone, but the sounds remain.

May your happiness increase!