Tag Archives: Kurt Krahnke

SO MUCH MISSING: JAMES DAPOGNY with JON-ERIK KELLSO, KURT KRAHNKE, PETE SIERS at KERRYTOWN (January 6, 2018)

James Dapogny, 2016, photograph by Laura Wyman. The show went on even with Prof’s injured hand.

I have a theory about death that even people who love me cock an eyebrow at its “sentimentality.”  I believe that the spirit continues . . . not a radical idea, but I envision it as those who “die” simply move to another cosmic neighborhood, where they can visit us when they choose to.  It’s a fiction, of course, but it comforts me as much as any fiction can.

The thought that I won’t see the people I love again is too painful otherwise.  That I can’t email James Dapogny, make plans for an ethnic meal with him, discuss piano and music and recordings and gigs with him — or even get corrected for some grammatical error — makes me catch my breath.  In two days, I will be on my way to the Evergreen Jazz Festival, where Jim and his Chicago Jazz Band played so gloriously in July 2014.  The joy of being there and the sadness that he won’t be are simultaneous in my mind.

But he lives . . . not even “lives on” in music, and in our dear thoughts of him and his absence in the temporal realm.

I am proud that I stood next to Jim on more than one occasion. Here, August 2016, captured by that same Laura Wyman.

Some of his finest music of his later years was captured by my and Jim’s dear friend Laura Wyman, sole proprietor of Wyman Video — pictured here at a Dawn Giblin Trio gig — Laura sitting in on flute with Jim and Mike Karoub.

Photograph by Jeff Dunn

And here’s some particularly inspired music from Jim, Jon-Erik Kellso, trumpet; Kurt Krahnke, string bass; Pete Siers, drums., at what was his last great concert.

HINDUSTAN, changing keys as the spirit moves everyone:

WHEN IN DOUBT, PLAY THE BLUES — a Dapogny rumination on deep things:

Some precious Thirties Ellingtonia, KISSIN’ MY BABY GOODNIGHT:

I’M SORRY I MADE YOU CRY:

Except for rare instances, Jim half-hid his sentimentality behind a mask of comedy, but I felt it come through several unforgettable times.  And it might be presumptuous to think of someone who’s departed reading this blogpost, but I believe that Jim knows how deeply we miss him. . . . which makes my customary closing line seem inappropriate.

WYMAN VIDEO SWINGS OUT (Allegheny Jazz Party, September 2015)

Laura Wyman, completely focused on the task at hand

Laura Wyman, completely focused on the task at hand

WYMAN VIDEO is the new brainchild and business venture of Laura Wyman, whom you should know as the CEO and head videographer of JAZZ LIVES’ Michigan Bureau, headquartered in Ann Arbor.  She has taste and a dilligent perfectionism.

Before there was a WYMAN VIDEO, Laura was bringing us video of such wonders as this:

ST. LOUIS BLUES (W.C.Handy; arr James Dapogny) – Erin Morris, Brittany Armstrong Morton, Sarah Campbell, Rachel Bomphray & Hayden Nickel (dancers). Tom Bogardus (cl), Paul Finkbeiner (tpt), Chris Smith (tbn), James Dapogny (pno), Shannon Wade (bass), Rod McDonald (bjo) & Van Hunsberger (drms). Zal Gaz Grotto, Ann Arbor, Mich. 6-21-15.

and this gorgeous interlude:

FIREFLY (James Dapogny) – The James Dapogny Quartet. James Dapogny (pno), Mike Karoub (cello), Rod McDonald (gtr) & Kurt Krahnke (bass). Kerrytown Concert House, Ann Arbor, Mich. 1-10-15.

But WYMAN VIDEO really came in to its own at the 2015 Allegheny Jazz Party, with evidence right here:

CHERRY  (Don Redman) – Dan Block (cl & bass cl), Andy Stein (vln), Scott Robinson (bari sax & tarogato), James Dapogny (pno), Marty Grosz (gtr & leader) & Hal Smith (drms). Allegheny Jazz Party, Cleveland, Ohio. 9-11-15. Filmed by Laura Beth Wyman for Wyman Video.

I AIN’T GOT NOBODY from the same session:

All of this would suggest that WYMAN VIDEO is rather like JAZZ LIVES, and it is true that Laura is deeply involved in hot music and swing dance.  But her range is far broader than mine: Laura has been capturing speakers, readings, weddings, and other occasions.  I don’t think she goes to traffic court or other gloomy events, but I know she’s captured for posterity graduations, parties, swing dances, and other occasions where people gather happily.

So I urge you — if you live in or near Ann Arbor, Michigan, or if you want an expert videographer, contact Laura Wyman for videography that will help you have swinging memories.  And if you are not on Facebook, you can certainly contact her at wymanvideoa2@gmail.com.

May your happiness increase!

FULLY IN POSSESSION

In some states, possession of even a small amount of forbidden substance is a crime.  But — thankfully — few regimes have currently criminalized RHYTHM, so the James Dapogny Quartet is safe to swing out.  It’s delightful to hear a group of improvisers take on I GOT RHYTHM in its natural plumage, since the chord changes have become “adapted” and “adopted” for so many swing originals.  The only problem here is that the Gershwin title is singular.  For this group, it has to be WE’VE GOT RHYTHM, and they are decisive about the ownership of same.

James Dapogny, piano; Mike Karoub, cello; Rod McDonald, guitar; Kurt Krahnke, string bass. Recorded by Laura Beth Wyman  at the Glacier Hills Senior Living Community, Ann Arbor, Michigan, on June 26, 2015.  Two other marvels from this session can be marvelled at here.  

Laura has set up a Facebook page for her video efforts celled simply Wyman Video.  If you admire her generous efforts, why not “like” the page?

It could be the best slightly-under-three-minutes you will spend this year.  And Hank Duncan sends his love.

May your happiness increase!

SOLACE IN SWING (June 26, 2015)

Though it’s a fickle age, beauty can always rescue us if we know where to look. And how to listen.  This spiritual panacea is brought to us by James Dapogny, piano; Mike Karoub, cello; Rod McDonald, guitar; Kurt Krahnke, string bass. Recorded by Laura Beth Wyman on June 26, 2015, at Glacier Hills Senior Living Community, Ann Arbor, Michigan.

Fats Waller’s declaration of high fidelity:

Irving Berlin’s celebration of bliss (here with a little DROP ME OFF IN HARLEM nuance at the start and a little Spanish binge on the bridge):

How lyrical, how sublime.  I feel so much better.

May your happiness increase!

HAPPINESS, PLURAL: JAMES DAPOGNY, MIKE KAROUB, ROD McDONALD, KURT KRAHNKE (Ann Arbor, January 10, 2015)

I wrote elsewhere on this blog recently that so many of the songs in what we call the Great American Songbook are about the desolation of lost love, love unsuccessfully yearned for, love that has been broken past repair.

As a corrective, I offer two chamber-music improvisations on happier themes, created by James Dapogny and Strings at the Kerrytown Concert House in Ann Arbor, Michigan, on January 10, 2015.  This quartet — formal in aspect but lively in spirit — is Dapogny at the piano; Mike Karoub, cello; Rod McDonald, guitar; Kurt Krahnke, string bass.  No amplification requested or applied, and the lovely videos are the work of Laura Beth Wyman.

I am sure it is only a narrative I have created out of my essential romanticism and optimism, but the two songs below describe a brief play of risk-taking that is sure to bring deep rewards, and the delight of fulfillment.  May it be so for those listening as well!

Vernon Duke’s cheerful TAKING A CHANCE ON LOVE (impossible for me to hear this song without hearing Ethel Waters singing it as well):

And the full quartet returns for the Jimmy McHugh – Dorothy Fields EXACTLY LIKE YOU, a song that so epitomizes the most elated feelings of lovers at their most rapturous: “YOU are the only person I have ever wanted to be with, and our connection has been pre-ordained by both the cosmos and my Mother!”:

I have listened to these performances many times, and find them delightfully contradictory: on one hand, there is a priceless translucency, all of the component parts shining and apparently weightless — yet these performances are musically dense, and each time I listen I have the epiphanies, “Did you hear what he did there, how he responded?”  Playful brilliance at every turn, never showy or self-referential.  Thank you so much, James, Rod, Mike, Kurt, and Laura.

I have posted other performances from this gig, and here is an uplifting place to begin.

May your happiness increase!

INCANDESCENCE: JAMES DAPOGNY WITH STRINGS (January 10, 2015)

James Dapogny of Ann Arbor, Michigan, is properly known as a pianist, arranger, bandleader, jazz scholar, culinary explorer, and wit, among other things.

But from the performance you are about to see, it’s clear that he is insufficiently recognized as a composer.  FIREFLY is a haunting melody with harmonies that never seem formulaic.  It seems new yet instantly familiar, going its own ways without being consciously and distractingly innovative.  I think of a three-way conversation between Professor Dapogny, Brahms, and Alec Wilder — sweet lyricism that’s never sentimental and continues to swing in its own gentle fashion:

This performance comes from a magical concert of January 10, 2015, at the Kerrytown Concert House in Ann Arbor, blessedly captured by Laura Beth Wyman.  The superb players are Mike Karoub, cello; Rod McDonald, guitar; Kurt Krahnke, string bass.  For more from this concert, click here for uplifting performances of THAT OLD FEELING, RUSSIAN LULLABY, and MY DADDY ROCKS ME.  And there is more to come.

May your happiness increase! 

DEEP FEELING WITHOUT WORDS: JAMES DAPOGNY WITH STRINGS (Ann Arbor, January 10, 2015)

Here’s another gem — the rueful Thirties novella of love, that although ended, is undying — THAT OLD FEELING.  This performance, which I find so moving, comes from the appearance of the James Dapogny Quartet at the Kerrytown Concert House in Ann Arbor, Michigan, on January 10, 2015 — captured for us by Laura Beth Wyman.

The Quartet is, for this occasion, Professor Dapogny on piano, arrangements, and moral guidance; Mike Karoub, cello; Rod McDonald, guitar; Kurt Krahnke, string bass.

I love this performance for many reasons — not the least of which is the opportunity to hear Mister Karoub, unequalled in swing lyricism, play at length. There’s also the sweet but practical exchange of whispered instructions and commentary at the beginning, as the Professor kindly shows the way.  But what pleases me most is the emotional complexity of the performance.  In other hands, THAT OLD FEELING might be merely sad or wistful.

That emotion isn’t neglected in this rendition, but the Quartet beautifully evokes the Thirties tradition of playing ballads just a bit faster — perhaps to distinguish them from sweetly gelatinous readings by more staid orchestras, or perhaps to give the players an extra chorus for improvising.  I think of Billie’s TRAV’LIN’ ALL ALONE and Mildred’s WHEN DAY IS DONE as two vocal exemplars — but even though no words are uttered, listeners of a certain age will hear the story of the lyrics unfold as the band plays.

Old feelings made new:

Two other delights from this session can be found here.  And there is the promise of more from this concert.

May your happiness increase!