Tag Archives: Lennie Tristano

TWO BOUQUETS OF NOTES, TONES, ELEGANT SILENCES, MELODY, ARCHITECTURE, SWING, AND EMOTION: TED BROWN, BRAD LINDE, AARON QUINN, DAN PAPPALARDO, DERIC DICKENS

Ted Brown, Japan, 2009

I shall be simple.  There are two new CDs out, both recorded November 2018, with Ted Brown, tenor saxophone; Brad Linde, tenor saxophone; Aaron Quinn, guitar; Don Pappalardo, string bass; Deric Dickens, drums.  One is called JAZZ OF NEW CITIES; the other, ALL ABOUT LENNIE (wordplay on venerable jazz classics).  Both CDs are greatly rewarding and people who love this particular music will want to acquire them.

Brad Linde

You can listen to JAZZ OF NEW CITIES here and purchase a digital copy for $15; you can do the same for ALL ABOUT LENNIE here, same price tag.  Downloads or discs are available at CD Baby here and here.  And, as Brad writes here, “some streaming services.”  I also know that both Brad and Ted will have a few physical copies at gigs, about which more below*.

Or, simply, immerse yourself in STAR DUST:

Hearing that performance, I must say again that those who call the music made by Lennie Tristano, colleagues, and acolytes “cold” are listening with some other part of their anatomy than their ears.  I hear a direct line to Lester or Pee Wee Russell and of course Louis at their most soulful.

These CDs are immediately memorable to me in their deep intricate simplicities — like watching a master Japanese brush painter do with five strokes what a lesser painter would take weeks of canvas-covering to attempt and then not convince us at all.  I hear quiet tenderness in STAR DUST, and the meeting of souls — not only the five players on this disc, but this music reaches out of the speaker and hugs us.

As gentle a creator and person as Ted is, it will surprise no one that these CDs are egalitarian affairs: he might solo first for a few choruses, then the beautifully nimble Aaron Quinn might follow, then an eloquent solo by Brad, then some wonderfully twining counterpoint for two tenors.  That rhythm section, not incidentally, is propulsive but kind: Dickens, Pappalardo, and Quinn deserve their own CD, which I would buy: they make beautiful sounds and propel the band without being aggressive about it.

And for something more assertive, here’s LOVER, COME BACK TO ME:

I won’t offer a track-by-track summary, for this music doesn’t need such a thing if hearts and ears are open to it: it is based on aural breezes, uplifting without being self-conscious.  I haven’t listened to all the tracks because it seemed both urgent and hopeful for me to inform you about these discs now.

*Moving from “now” to “soon,” Ted Brown — born December 1, 1927 — please do the calculations — has a New York City gig in a few weeks: Wednesday, October 16 at Jazz at Kitano from 8 to 11 PM.  Ted will be joined by Michael Kanan, piano; Murray Wall, string bass; Taro Okamoto, drums.  Details and tickets here.  I’m sure Ted would autograph copies of the discs for you.

Right now, I am going to return to the pleasure of discovering this music, one track at a time, lovingly, the spirit in which it was created.  To quote Robert Frost, “You come, too.”  It would make all of us — the band and me — happy to see many people at the Kitano gig, either bearing CDs or the money to purchase them.

May your happiness increase!

THE SECOND PART: “AT 91, TED BROWN CONTINUES TO BREATHE MUSIC: TARDO HAMMER, PAUL GILL, RAY MACCHIAROLA, JEFF BROWN (75 Club, March 23, 2019)”

Ted at the 75 Club: photograph by Seth Kaplan.

You can find the first part of this rare and delicious performance here — eight songs created by the esteemed tenor saxophonist Ted Brown, with Tardo Hammer, piano; Ray Macchiarola, guitar; Paul Gill, string bass; Jeff Brown, drums — at the 75 Club (75 Murray Street, New York), on March 23.  Here’s the rest of the evening’s music, six selections.

But before you immerse yourself in the floating inquiring sounds created that night, just a word — perhaps tactless but necessary.  Ted is having some financial trouble and would welcome your assistance.  Click here to see what it’s all about.  “Every nickel helps a lot,” reminds the Shoe Shine Boy.

Now to music.  Ted’s repertoire his broad, his approach melodic, lyrical, quietly surprising.  But you knew that.  Or you will learn it now.

A classic Forties pop, famous even before Bird took to it, SLOW BOAT TO CHINA:

For Lester and Basie, BROADWAY:

and more Lester and Basie, LESTER LEAPS IN:

The gorgeous Irving Berlin ballad, HOW DEEP IS THE OCEAN?:

Perhaps in honor of Ginger Rogers, her hair a crown of shampoo turned white, THE WAY YOU LOOK TONIGHT:

and Ted’s own JAZZ OF TWO CITIES, with no apologies to Dickens:

I bow to Mr. Brown, who creates such lasting beauties.

May your happiness increase!

AT 91, TED BROWN CONTINUES TO BREATHE MUSIC: TARDO HAMMER, PAUL GILL, RAY MACCHIAROLA, JEFF BROWN (75 Club, March 23, 2019)

One of the many pleasures of my jazz endeavor is that I have been able to shake hands with the Masters: Joe Wilder, Jim Dapogny, Bob Wilber, Marty Grosz, among others: people who have given us beauty and musical wisdom for decades.

Starting in January 2011, I have had the honor of hearing, meeting, and recording the lyrical and intense tenor saxophonist Ted Brown.  Here he is with Ethan Iverson, Putter Smith, and Hyland Harris, performing THESE FOOLISH THINGS in December 2012, when Ted was a mere 85, at the much-missed Drawing Room.

March 23, 2019: photograph by Seth Kaplan.

On March 23 of this year, I was able to be awestruck by Ted — at 91 — playing among friends at the 75 Club: Jeff Brown, drums, Paul Gill, string bass, Ray Macchiarola, guitar; Tardo Hammer, piano.  What music he and they make!  I could write about Ted’s connections to Lennie Tristano, Warne Marsh, and Lester Young, but I’d prefer — as does Ted — to let the music sing, muse, and soar for itself.  Here is a substantial helping of searching beauty with a swinging pulse . . . and more to come.

Bird’s blues, RELAXIN’ AT CAMARILLO,

I think Sigmund Romberg would approve of this LOVER, COME BACK TO ME.  Or if he didn’t, I certainly do:

Lennie Tristano’s musing line on OUT OF NOWHERE, 317 EAST 32nd STREET:

An energized THE SONG IS YOU:

A pensive STAR DUST, which Ted starts all by himself, gorgeously:

Sweet and tart, TANGERINE:

Ted’s own SMOG EYES, celebrating his first time in Los Angeles:

Asking the eternal question, with or without comma, WHAT IS THIS THING CALLED LOVE?:

Remarkable news: Ted is offering lessons via Skype.  Even those who don’t play tenor could all take a lesson from him.  You can find him here on Facebook.

This is also seriously relevant here.

And thanks to George Aprile and Gabriele Donati of the 75 Club, which is becoming one of my new homes: even R1 dropped in for cake and music, so you know it’s a place to visit.

May your happiness increase!

JON DE LUCIA OCTET and TED BROWN: “LIVE AT THE DRAWING ROOM” (October 22, 2016)

Although this CD is rather unobtrusive, no fuss or ornamentation, it captures a truly uplifting musical event, and I do not write those words lightly: music from tenor saxophonist Ted Brown, a mere 88 at the time of this gig, and a splendidly unified, inventive ensemble.

I’ve only known Jon De Lucia for a few years, but I trust his taste completely, and his performances always reward me.  Now, if I know that one of Jon’s groups is going to perform, I head to the gig with determination (and my camera). He asked me to write a few lines about this disc, and I was delighted to:

Some jazz listeners disdain “West Coast jazz,” “cool jazz,” or any music in the neighborhood of Lennie Tristano (not just East 32nd Street) as so cerebral that it’s barely defrosted. Jon De Lucia’s Octet shows how wrong that perception is: this music is warm, witty, embracing, not Rubik’s Cube scored for saxophones. Rather, the playful, tender spirit of Lester Young dances through everyone’s heart. This impassioned group swings, even when the players are intently looking at the score. For this gig, the Octet had a great spiritual asset in the gently fervent playing of Ted Brown, a Sage of melodic invention. Also, this session was recorded at one of New York City’s now-lost shrines, Michael Kanan and Stephanie Greig’s “The Drawing Room,” a sacred home for all kinds of music. I am grateful that Jon De Lucia has created this group: so delightful in whatever they play. You’ll hear it too.

Here’s what Jon had to say:

Saxophonist Jon De Lucia met the great tenorist Ted Brown in 2014, and got to play with him soon after. He was and is struck by the pure lyricism and honesty in his improvising. One of the original students of forward thinking pianist Lennie Tristano in the 1940s, Brown, along with Lee Konitz, is among the last of this great school of players. Later, when De Lucia discovered some of Jimmy Giuffre’s original scores from the Lee Konitz meets Jimmy Giuffre session of 1959, which Brown and Konitz both participated in, he knew he wanted to put a band together to play this music with Ted.

Thus the Jon De Lucia Octet was formed. A five saxophone and rhythm lineup with unique arrangements by the great clarinetist/saxophonist Jimmy Giuffre. The original charts featured Lee Konitz on every track, and the first step in 2016 was to put a session together reuniting Brown and Konitz on these tunes. An open rehearsal was held at the City College of New York, Lee took the lead and played beautifully while Ted took over the late Warne Marsh’s part. This then led to the concert you have here before you.

De Lucia steps into Lee’s shoes, while the features have been reworked to focus on Brown, including new arrangements of his tunes by De Lucia and daughter Anita Brown. The rest of the band includes a formidable set of young saxophonists, including John Ludlow, who incidentally was a protege of the late Hal McCusick, who also played on the original recording session of Lee Konitz meets Jimmy Giuffre, and plays the alto saxophone, now inherited, used in the session. Jay Rattman and Marc Schwartz round out the tenors, and Andrew Hadro, who can be heard to great effect on “Venus De Milo,” plays the baritone. In the rhythm section, Ray Gallon, one of NYC’s most swinging veterans on the piano, Aidan O’Donnell on the bass and the other legend in the room, the great Steve Little on the drums. Little was in Duke Ellington’s band in 1968, recording on the now classic Strayhorn tribute …and His Mother Called Him Bill, before going on to record all of the original Sesame Street music and much more as a studio musician.

The show was sold out at Brooklyn’s now defunct Drawing Room, operated by Michael Kanan and Stephanie Greig. Along with the music previously mentioned, De Lucia had recently acquired some of the original parts from Gerry Mulligan’s Songbook session, which featured Konitz, Al Cohn, Zoot Sims, and Allen Eager in another great sax section recording, this time arranged by Bill Holman. Here the band plays “Sextet,” and “Venus De Milo” from that session. Brown, here making the band a Nonet, plays beautifully and takes part in every tune, reading parts even when not soloing. Not included in this CD is an extended take of Konitz’s “Cork n’ Bib” and Giuffre’s piece for three clarinets, “Sheepherders.” Possible bonus releases down the line!

Since this concert, the Octet has taken on a life of its own, covering the repertoire of the original Dave Brubeck Octet, more of the Mulligan material, Alec Wilder, and increasingly De Lucia’s own material. De Lucia continues searching for rare and underperformed material, rehearsing regularly in NYC and performing less regularly. 

Earlier in this post, I wrote about my nearly-obsessive desire to bring my camera to gigs, and this session was no exception.  However, I must preface the video below with a caveat: imperfect sight lines and even more imperfect sound.  The CD was recorded by the superb pianist Tony Melone — someone I didn’t know as a wonderful live-recording engineer, and the sound he obtained makes me embarrassed to post this . . . but I hope it acts as an inducement for people to hear more, in delightfully clear sound:

If you gravitate towards expert warm ensemble playing, soloing in the spirit of Lester, a mixture of romping swing and tender introspection, you will applaud this CD as I do.

You can buy it here, with digital downloads available in the usual places.

May your happiness increase!

SAM BRAYSHER – MICHAEL KANAN: “GOLDEN EARRINGS”

First, please watch this.  And since it’s less than two minutes, give it your complete attention.  I assure you that you will feel well-repaid:

I first began listening to GOLDEN EARRINGS, a series of duets between alto saxophonist Sam and pianist Michael, a few months ago.  I was entranced, yet I found it difficult to write about this delicately profound music, perhaps because I was trying to use the ordinary language of music criticism to describe phenomena that would be better analogized as moments in nature: the red-gold maple leaf I saw on the sidewalk, the blackbird eating a bit of fruit in the branches of the tree outside my window.

There’s nothing strange about GOLDEN EARRINGS: it’s just that the music these two create is air-borne, resonant, full of feeling and quiet splendors. Think of quietly heartfelt conversations without words between two great artists.

And this:

Coming down to earth, perhaps, here are Sam’s own words — excerpted from an article by Phil Hewitt:

I grew up in Dereham, Norfolk and played the saxophone in school and also in the Norwich Students’ Jazz Orchestra. I gradually became more interested in jazz through my teenage years and went to study jazz saxophone at the Guildhall School of Music and Drama when I was 18 in 2007. Since graduating I’ve been freelancing in London and doing a fairly wide range of jazz gigs. I met Michael on my first trip to New York in 2014 although I already knew his playing from a few records. I’m a big fan of his playing: he’s incredibly tasteful and has a beautiful touch. He is melodic, swinging and really plays what he hears. I think we like a lot of the same musicians: Lester Young, Charlie Parker, musicians from the Tristano school, Hank Jones, Ahmed Jamal, Thelonious Monk. Michael is also incredibly nice, generous and encouraging. We kept in touch and we played a bit informally when he was in London a few times in 2015 on tour with Jane Monheit. I then took part in a summer school run by Jorge Rossy near Barcelona, which Michael teaches on every year alongside people like Albert ‘Tootie’ Heath, Ben Street, Chris Cheek and Peter Bernstein. So after all that I felt like I knew him quite well, and decided to ask him to do a duo recording with me. I really like playing in small combos like duos and trios, and I know Michael does too: you can have a more focused, conversational musical interaction, and I enjoy the challenge of keeping the texture varied despite the limited instrumentation. The recording process itself was fairly old school: just a few microphones in a room with a nice acoustic and a nice piano (Michael’s own The Drawing Room in Brooklyn, New York), one quick rehearsal and no edits. The repertoire is mostly slightly lesser-known tunes from the Great American Songbook and jazz canon – including compositions by Duke Ellington, Jerome Kern, Victor Young, Nat King Cole and Irving Berlin – plus there’s one original composition by me. I really enjoy digging a bit deeper and trying to find tunes to interpret which are slightly off the beaten track, and Michael is a real expert on the American Songbook in particular, so it was great to utilise his knowledge in that respect. It was fantastic to play with someone of Michael’s calibre. He’s played with people like Jane Monheit, Jimmy Scott, Peter Bernstein, Kurt Rosenwinkel and Ted Brown . . . .

The music was both recorded and photographed by the eminently gifted Neal Miner — whom most of us knew as a superlative string bassist.  When I received a copy of the CD (released on Jordi Pujol’s FRESH SOUND NEW TALENT label) and wanted to let you all know about it, I asked Sam if he would share his notes on the music, because they were like the music: gentle, focused, and intuitive.

Like most jazz musicians of my generation, I have been introduced to this type of repertoire through listening to and playing jazz, rather than by growing up with it as pop music in the way that, say, Sonny Rollins would have done. However, I have become increasingly interested in the songs themselves. Rollins playing “If Ever I Would Leave You” is amazing, but it is also fascinating to hear the Lerner and Loewe song in its (very different) original form. (I am referring more to American Songbook songs here, rather than compositions by the likes of Charlie Parker and Duke Ellington, which have obviously always existed as jazz performances).

By listening to original recordings, learning lyrics and consulting published sheet music, I have tried to access the ‘composer’s intention’ – something that Michael Kanan, an expert in this area, talks about. We tried to use this as our starting point for interpretation and improvisation, rather than existing jazz versions.

I feel very fortunate to have recorded with Michael. His wonderful playing is plain to hear, but he was also incredibly generous and encouraging throughout the entire process of making this album.

Our approach to recording was fairly old fashioned: just three microphones in a room with a nice piano; no headphones and no edits. Neal Miner took care of all this, and his kind and positive presence in the studio made the whole thing a lot easier.

Thank you for listening to this music. I hope you enjoy it.

Dancing In The Dark: Michael takes the melody while I play a countermelody partly derived from the sheet music and the dramatic orchestral arrangement that Fred Astaire and Cyd Charisse dance to in the film The Band Wagon.

Cardboard: the melodies that Bird writes are incredible; he is perhaps undervalued as a composer. Michael and I solo together. Some of his lines here are so hip!

Irving Berlin Waltz Medley: three beautifully simple songs. Michael plays a moving solo rendition of “Always”, which Berlin wrote as a wedding present for his wife. Hank Mobley’s Soul Station contains the classic version of “Remember”. I love that recording but the song in its original form is almost an entirely different composition.

BSP: the one original composition here, this is a contrafact (a new melody written over an existing chord sequence) based on Cole Porter’s “Love For Sale”. It was written a few years ago when I was particularly interested in the music of Lennie Tristano, Lee Konitz and Warne Marsh. The melody is heard at the end.

All Too Soon: originally recorded as an instrumental by the classic Blanton-Webster edition of the Ellington band, this ballad was later given lyrics by Carl Sigman.

In Love In Vain: I love the original version from the film Centennial Summer. We begin with Kern’s verse and end with a coda that is sung in the film but does not appear in the sheet music I have for this. Perhaps it was added by the film’s orchestrators? So much for getting to the composer’s original intention!

The Scene Is Clean: there are a few mysterious corners in this tune from the pen of Tadd Dameron, the great bebop composer, and this is probably the most harmonically dense composition to feature here. The version on Clifford Brown & Max Roach at Basin Street is fantastic.

Beautiful Moons Ago: I don’t know many other Nat ‘King’ Cole originals, but this is a lovely, sad song by one of my favourite pianists and singers (co-written by Oscar Moore, the guitarist in his trio). I don’t think it is very well known.

Golden Earrings: another selection from a film, this mystical, haunting song was a hit for Peggy Lee. Victor Young’s harmony is quite classical at certain points.

Way Down Yonder In New Orleans: if this tune is played nowadays it tends to be by traditional jazz or Dixieland bands, but I’m a fan of it. The form is an unusual length and it contains a harmonic surprise towards the end. This take features more joint soloing and we finish by playing Lester Young’s masterful 1938 solo in unison.

Thanks:
Michael Kanan, Neal Miner, Jordi Pujol, Walter Fischbacher, John Rogers and Mariano Gil for their invaluable help and expertise. London friends who helped by playing through the material with me before the recording, lending their ears afterwards and by offering general advice: Helena Kay, Will Arnold-Forster, Gabriel Latchin, Matt Robinson, Nick Costley-White and Rob Barron. All my teachers over the years. Special thanks to Mum and Dad, Lois and Nana.

Sam Braysher, September 2016.

And here’s another aural delicacy:

I think the listeners’ temptation is to find a box into which the vibrations can conveniently fit.  Does the box say TRISTANO, KONITZ-MARSH, PRES, ROWLES-COHN?  But I think we should put such boxes out for the recycling people to pick up.

This music is a wonderful series of wise tender explorations by two artists so much in tune with each other and with the songs.  So plain, so elegantly simple, so deeply felt, it resists categorizations.  And that’s how it should be — but so rarely is.

My only objection — and I am only in part facetious — is that the format of the CD encourages us to continue at a medium tempo from performance to performance. I would have been happier if this disc had been issued on five 12″ 78 discs, so that at the close of a song I or any other listener would have to get up, turn the disc over, or put the needle back to the beginning.  The sounds are nearly translucent; they shimmer with feeling and intelligence.

Sam’s website is here; his Facebook page here.  New Yorkers have the immense privilege of seeing Michael on a fairly regular basis, and that’s one of the pleasures of living here.

May your happiness increase!

OVER THE ROUGH ROAD TO THE STARS: ROBERTA PIKET and LENA BLOCH at THE DRAWING ROOM (May 20, 2017)

Here are two of my favorite explorers, captured in a marvelous series of duets.   My title may seem a touch fanciful: the only climb a session at The Drawing Room, Michael Kanan and Stephanie Greig’s serene studio, necessitates, is a few flights of stairs. But the music created the night of May 20, 2017, by Lena Bloch, tenor saxophone, and Roberta Piket, piano, makes me think of limitless vistas full of stars.  Listen and I think you will agree.

LENNIE’S PENNIES (Tristano’s minor-key improvisation on PENNIES FROM HEAVEN, first recorded with Konitz and Warne in 1952):

Lena’s ruminative composition, SHORTER NIGHTS:

Tristano’s line on the classic song — theoretically requested by drunks, but the drunks no longer know it.  You do, even when you are sober:

Improvsations on a lovely Fifties ballad, NEVER LET ME GO:

and, to close the recital, an explosively energized HOT HOUSE:

What beauty and what quiet courage.

May your happiness increase!

TED BROWN’S BIRTHDAY, TWICE (December 1 and 6, 2015)

Photograph by Hiroi

Photograph by Hiroi

The lyrical — understated but eloquent — tenor saxophonist Ted Brown turns 88 today.  This Sunday, December 6, 2015, there will be a musical birthday party at The Drawing Room — 56 Willoughby Street in Brooklyn, New York, beginning at 7 PM, organized by Ted’s friend and colleague, tenorist Brad Linde. Details  — including a map — here.

The rhythm section, happily, will be Michael Kanan, piano; Murray Wall, string bass; Jeff Brown, drums.  If this weren’t enough, I am told there will also be cake.

Here are Ted and Michael in 2011 — singing sweetly and sadly on PRISONER OF LOVE:

Here are Ted, Brad, Michael, Murray, and Taro Okamoto in 2012, celebrating Ted’s eighty-fifth birthday with a romping BROADWAY:

An occasion you shouldn’t miss.

May your happiness increase!