Tag Archives: Marc Schwartz

DREAM AND REVELATION: MORE FROM THE JON DE LUCIA OCTET at THE TEA LOUNGE (May 29, 2017)

Photograph by Richard Daniel Bergeron

More fun and expertly played music — wonderful in ensemble and solo — from the Jon De Lucia Octet, performing on May 29, 2017, at the Tea Lounge on Union Street in Brooklyn, New York. For this performance, they were Jon, alto, clarinet, flute; John Ludlow, alto; Jay Rattman, tenor, bass clarinet; Marc Schwartz, tenor, clarinet; Brad Mulholland, baritone, clarinet; Reuben Allen, keyboard; Aidan O’Donnell, string bass; Steve Little, borrowed drums.  On SELDOM THE SUN, a piece by Alec Wilder for his Octet, special guest Alison Mari on oboe/English horn joined in.

Here is THE SONG IS YOU from the same performance.

And more.

PICK YOURSELF UP (always good advice):

Jon’s composition and arrangement, PRELUDE TO PART FIRST:

Jimmy Giuffre’s arrangement of the Van Heusen beauty, DARN THAT DREAM, for saxophones only:

Alec Wilder’s SELDOM THE SUN:

REVELATION (incomplete through the failure of the incautious videographer, who is contrite even now):

Jon’s thoughtful, emotionally deep, and deeply swinging music pleases me more than I can say here . . . but you know it, he knows it, and I do, too.

May your happiness increase!

“THE SONG IS YOU”: JON DE LUCIA’S OCTET at the TEA LOUNGE (May 29, 2017)

Photograph by Richard Daniel Bergeron

Jon De Lucia’s little orchestras delight me, so I follow them whenever I can.  No matter how many players are gathered, there’s always shifting timbres, beautiful ensemble textures, a range of energies from serene to soaring. Here’s one gorgeous romp from his Octet’s most recent appearance: Jimmy Giuffre’s arrangement of THE SONG IS YOU. Properly speaking, I think the title should be corrected to THE SONG IS US, but the composer had never heard this octet in action.

Incidentally, should any more “traditionally-minded” readers be tempted to turn away from this dangerous venture into mid-century Modernism, I urge you to courageously listen: there’s an irresistible momentum, and even a passage of collective improvisation (let’s call it a little jam session) sure to delight even the most seriously loyal archaeologist.

For this occasion, the Octet was Jon De Lucia, alto, clarinet, flute; John Ludlow, alto; Jay Rattman, tenor, bass clarinet; Marc Schwartz, tenor, clarinet; Brad Mulholland, baritone, clarinet; Reuben Allen, keyboard; Aidan O’Donnell, string bass; Steve Little, borrowed drums.  Later in the evening, this Octet played two pieces from the Alec Wilder Octet with special guest Alison Mari on oboe/English horn.

The occasion was also to celebrate the release of Jon’s book, Bach Shapes (Bach Shapes), certainly worth a look, even for those of us whose saxophone careers are not yet fully in motion.

And speaking of “in motion”:

I promise to share more music from this delightful evening.  The Octet does my heart good, and I hope yours as well.

May your happiness increase!

FOUR DELIGHTS BY JON DE LUCIA’S OCTET (GREENWICH HOUSE MUSIC SCHOOL, MARCH 29, 2017)

It continues to be a great pleasure to follow the Jon De Lucia Octet around — a saxophone orchestra with a satisfying repertoire of songs and arrangements not over-exposed: by Gerry Mulligan, Dave Brubeck (the early Octet, not the more famous Quartet), Bill Smith, and our hero Ted Brown.  Some of the charts are transcriptions from recorded performances (with space for improvisations); others draw on the original arrangements.  In the photograph, you can see pages from Mulligan’s charts for TURNSTILE.  (Jon is a thorough researcher.)

The Octet is also that marvel of Nature, a band with a steady personnel: Jon on alto saxophone and clarinet; Andrew Hadro on baritone, clarinet, and (for this performance) announcing the songs; Jay Rattman on tenor; John Ludlow on tenor, Adam Schneit, tenor, subbing for Marc Schwartz; Ray Gallon, piano; Aidan O’Donnell, string bass; Steve Little, drums (again playing on a drumset not his own).

Here are the four performances they offered a delighted audience on the evening of March 29, 2017, at the Greenwich House Music School in New York City. First, Mulligan’s D.J. JUMP (originally created for the Gene Krupa band — as DISC JOCKEY JUMP):

VENUS DE MILO (familiar from the “Birth of the Cool” sessions, but in a different arrangement):

JAZZ OF TWO CITIES (Ted Brown’s line on PLAY, FIDDLE, PLAY — in 4/4 — arranged by his daughter Anita Brown):

WHAT IS  THIS THING CALLED LOVE? (from the Brubeck Octet book):

Jon and the Octet will be performing again at Sir D’s Lounge in Brooklyn on May 29: find out about his other shows (and recordings, and see other videos) here.

May your happiness increase!

AND SEVEN TO GROOVE ON: JON DE LUCIA OCTET PLAYS GIUFFRE, MULLIGAN, BRUBECK at SIR D’S LOUNGE (Part Two), FEBRUARY 6, 2017.

jon-de-lucia-2-6-17-flyerThis is the second half of a wonderful evening of intricate swinging melodic music played expertly by people I admire.  Here‘s the first half.

And now (drumroll from Steve Little on a borrowed drumset) . . . .

Here’s PREZ-ERVATION, a tribute wrapped in another tribute: Ted Brown’s variations on TICKLE-TOE, arranged for this band by Jon himself:

Some pretty Gershwin, SOMEONE TO WATCH OVER ME, arranged by Jimmy Giuffre, a performance I would share with anyone disdainful of “modern jazz” or “cool jazz”:

Gerry Mulligan’s FOUR AND ONE MORE:

The Brubeck Octet’s LOVE ME OR LEAVE ME:

Bill Smith’s IPCA, variations on INDIANA:

The Encore Edition of THE SONG IS YOU, a happy reprise:

Mulligan’s SEXTET, an exhilarating romp to close off the evening:

What lovely music: propelled, sentimental, intricate yet lyrical.  Bless these players.

May your happiness increase!

EIGHT OF A MIND: JON DE LUCIA OCTET PLAYS GIUFFRE, MULLIGAN, BRUBECK at SIR D’S LOUNGE (Part One), FEBRUARY 6, 2017.

jon-de-lucia-2-6-17-flyer

It happened; I was there; it was superb.

Jon De Lucia, saxophonist, composer, arranger, archivist, brought together five saxophonists (including himself) and rhythm to play arrangements by Bill Holman, Gerry Mulligan, members of the early Dave Brubeck Octet, Jimmy Giuffre, and others. The reed players — from left — are Jay Rattman, John Ludlow, Jon, Marc Schwartz, Andrew Hadro; the rhythm is Ray Gallon, Fender Rhodes, Aidan O’Donnell, string bass; Steve Little, drums (playing on a borrowed set). All this took place on February 6, 2017, at Sir D’s Lounge in Brooklyn, New York — on the surface of it, an odd place for a jazz recital, but a comfortable room with very gracious staff.

Here is the first half of the evening, a generous helping of delicious sounds.

I know that some listeners still stereotype this music as “cool” or “cerebral,” but these performances definitely swing and the temperature is warm.  Remember that the inspiration for so much of this music came from Lester Young: how chill could it be?  And Jon’s leadership is very comfortable — see how happy the players are — and that pleasure conveys itself right away to the audience, with no hint of the classroom or the museum.  I told someone at the end of the evening that I felt I’d been at a birthday party.

To begin, DISC JOCKEY JUMP (or DJ JUMP), composed by Gerry Mulligan for the Gene Krupa Orchestra, arranged in this version by Bill Holman:

The beautifully gauzy PALO ALTO, composed by Lee Konitz and arranged by Jimmy Giuffre:

VENUS DI MILO, which is most familiar from the Birth of the Cool sessions, although in a different arrangement:

The classic THE SONG IS YOU:

The Gershwins’ LOVE WALKED IN, via Dave Brubeck:

The eternal question, WHAT IS THIS THING CALLED LOVE?

Gerry Mulligan’s REVELATION, which concluded the first half:

May your happiness increase!

“I RESEMBLE YOU”: The JON DE LUCIA OCTET FEATURING TED BROWN (October 22, 2016)

jon-de-luciated-brown-giuffre-concert-flyer

Thanks for the memory!  This delightful original by Jon De Lucia is based on the harmonies of a familiar song (hunt: the two titles are similar).  The Octet for this performance is Jon, alto saxophone, alto clarinet; John Ludlow, alto; Marc Schwartz, tenor; Jay Rattman, tenor, clarinet; Andrew Hadro, baritone, bass clarinet; Ted Brown, tenor saxophone; Ray Gallon, piano; Aidan O’Donnell, string bass; Steve Little, drums.

Yes, the Ted Brown!  And the Steve Little!

This is from Jon’s presentation of arrangements by Jimmy Giuffre, Ted, and himself, performed at The Drawing Room (56 Willoughby Street in Brooklyn, New York) on October 22, 2016.

The view on my video is something one can (or must?) adjust to; the sound is decent.  BUT Jon and Co. will be releasing some of the music performed on this glorious evening on an actual compact disc — and I suppose downloads.  I’ll let you know more as I find out the details.

For the moment, don’t forget to resemble.

May your happiness increase!

GENTLY BUT FIRMLY: HOT CLUB PACIFIC: “JIVE AT FIVE”

HCP front

Looking at the sleeve, one could underrate this sweet session from a group of West Coast players as just another “Hot Club” effort.  But the listener who goes within the cardboard has pleasant surprises in store.

For one thing, the HCP is not bowing low to the Quintette of the Hot Club of France in its most famous — and most imitated — Thirties incarnation, with one solo guitar, two rhythm, one violin, one string bass.

Rather, it emulates in its instrumentation the later Reinhardt – Rostaing efforts, clarinet instead of violin. And the group eschews some of the more limiting aspects of “Gypsy jazz,” especially the note-laden guitar solos at searing tempos.

No, this Hot Club leans more towards a Basie / Charlie Christian aesthetic, which is fine with me. The prime movers here are Marc Schwartz (lead guitar), Jack Fields (rhythm guitar), Dale Mills (clarinet), Nat Johnson, Bill Bosch, or Matt Bohn (bass), Olaf Schipiacasse (drums).  And you’ll see from the tune list below that they have neatly sidestepped some of the most overplayed numbers in the G.S. repertoire, for which relief much thanks.

HCP back

I know what follows next might seem like faint praise, but as I was listening to JIVE AT FIVE, I kept noting those corners and musical niches where lesser players might have stuffed in familiar quotes, phrases taken from famous records — in short, cliches.  And each time the band went its own happy swinging way, which is always reassuring.

Here is the HCP Facebook page, and here is what I wrote about them a few years back — with convincing videos.

The HCF has regular gigs in the Santa Cruz / Monterey area, best checked on the Facebook page.  But for pictures of the band and booking information, there’s no better place than here.

The CD is a limited edition, so don’t wait too long to snap up a copy — or else you will be fishing around on eBay.  And if you don’t feel that my endorsement is sufficient proof, how about this: guitar maestri Paul Mehling, Howard Alden, and Larry Coryell have visited and sat in during the band’s ten-year run.  That’s good enough for me.

 May your happiness increase!