Tag Archives: JULES

TWO ORIGINALS PLAY THREE ORIGINALS: JOEL FORRESTER and DAVID HOFSTRA at JULES (May 13, 2018)

Another Sunday afternoon with pianist-composer Joel Forrester at Jules, 66 St. Marks Place in New York City.

JOEL FORRESTER, photograph by Metin Oner

This afternoon, Joel brought along a dear friend and deep colleague, string bassist David Hofstra, who has been a mainstay of the Microscopic Septet for years.  Joel and David have been playing alongside each other since the Seventies, and their first recording is from 1980.

My readers have already heard or read me being seriously enthusiastic about Joel’s original compositions and his improvisations: they honor many traditions but fit neatly into no shoebox-sized category.  But since I don’t think I’ve ever witnessed Joel and David together as a duo, may I call your attention to the latter’s beautiful choice of notes, his steady unforced time, his gentle lyricism? David is no antiquarian (I’m older than he is, if the online data is right) but he harks back to a time when the string bass was both treated with respect and known as the harmonic and often moral foundation of the music in which it worked.  Just beautiful — and the two players here are in splendid intuitive harmony.

PHILLIP’S BLUES (which I presume is in honor of Microscopic Septet’s co-leader, saxophonist / composer Phillip Johnston):

Gentle meditations on the finite, NOTHING LASTS FOREVER:

A compact Frolick, LOOK TO YOU:

Joel will be at JULES all summer — solo, duo, trio.  He and Mary are off to France for a year in September, so savor this music while he — and friends — are here.

May your happiness increase!

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CINEMA FORRESTER: JOEL FORRESTER at JULES (May 6, 2018)

JOEL FORRESTER, photograph by Metin Oner

Pianist, composer, writer Joel Forrester invents scores for silent films and has done so for decades.  But we don’t associate him with the megaphone and director’s chair, nor does he have credits as a producer or director.  Yet I’ve come to think of some of Joel’s more evocative compositions and performances as the scores for films that have not made it to the screen.  Soundtracks to our own imaginings.

Here are three such cinema-without-cinema creations, invented and re-invented on Sunday, May 6, at the delightful French bistro / jazz club JULES (65 Saint Marks Place, an easy walk from several subways).  Joel is playing at Jules every Sunday this summer from 4-6:30, sometimes solo, sometimes with guests / friends: a day ago, he had a trio of himself, David Hofstra, string bass; Vito Dieterle, tenor saxophone.  JULES is lovely, by the way — good food, interesting wines, and a truly friendly staff.  And the latter means more to people like me than I can say.

From May 6.  Close your eyes and imagine the film — this one is easy, because it is Joel’s idea of music to be played while the credits roll:

This Middle Eastern sound-portrait is named for Joel and Mary’s son, the illustrious Max.  I met him — not in the desert — and he deserves this song:

Finally, one of Forrester’s many selves, among them the swing pianist, the eccentric / novelty / stride pianist, the Powell-and-Monk through a bright prism, and the 1933 Chicago blues pianist, half in the dark, a half-finished beer on top of the piano which is of course a little assertive in the upper octaves:

Did you like Cinema Forrester?  More to come.  And come visit Joel at Jules.

May your happiness increase!