Tag Archives: Mark Lopeman

SUNDAY NIGHTS AT 326 SPRING STREET (Part Forty-Six) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring The EarRegulars (2007 – the Future)

Listen up, as someone used to say. And I’m not reminding you to watch the Oscars. On Sunday, May 2, Jon-Erik Kellso and the EarRegulars will be performing outside the Ear Inn, 326 Spring Street, New York City, from 1-3:30.

That will soon be NOW. Until that moment, here’s some beauty from THEN — January 16, 2011, created by Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Mark Lopeman, tenor saxophone and clarinet; Neal Miner, string bass.

‘WAY DOWN YONDER IN NEW ORLEANS:

BALLIN’ THE JACK:

OLD FOLKS:

TIGER RAG:

OLD-FASHIONED LOVE:

with Chris Flory sitting in for Matt, Miner, HAPPY FEET:

The pot is a-bubble, slowly. Maybe there will be EarRegularity in our collective futures: what a dream come true!

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Forty-Five) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring The EarRegulars (2007 – the Future)

Speaking of “something to look forward to,” did you know that Jon-Erik Kellso and the EarRegulars will be playing outside The Ear Inn on Sunday, May 2, 2021, from 1 to 3:30? Of course you knew.

It’s premature to play this, but I don’t care. And any excuse to feature Bobby Hackett, Ernie Caceres, Joe Bushkin, Eddie Condon, and Sidney Catlett has to be seized:

And here are some “old times” that are forever new, from January 16, 2011. provided generously by Jon-Erik Kellso, Matt Munisteri, Mark Lopeman, Neal Miner, and friends Pete Martinez, Chris Flory, Tamar Korn, and Jerron Paxton.

Chris sits in for Matt on that most durable of philosophical statements, I WANT TO BE HAPPY:

Tamar sings of love — surrender and power — in BODY AND SOUL:

Jerron Paxton tells us what will happen SOME OF THESE DAYS:

Tamar sings a faster-than-usual WRAP YOUR TROUBLES IN DREAMS:

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Forty) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

Overheard . . . an order at the bar at The Ear Inn on Sunday night, January 16, 2011: “I need one TIGER, two of HAPPY, an order of LOVE.”  The EarRegulars, Jon-Erik Kellso, trumpet; Mark Lopeman, tenor saxophone and clarinet; Pete Martinez, clarinet; Matt Munisteri or Chris Flory, guitar; Neal Miner, string bass, were eager to comply.

The videos are extraordinarily dark.  It is, after all, a New York bar in January with no light coming in from outside.  Close your eyes and enjoy.

TIGER RAG:

OLD-FASHIONED LOVE:

Chris Flory, always welcome, takes over the guitar chair for HAPPY FEET:

I WANT TO BE HAPPY, with Pete Martinez, paying his own visit:

A Shrine for Swing, which the EarRegulars create when / wherever they play.

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Thirty-Nine) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

This, my children,  is The Way.  But until we can get to 326 Spring Street, follow here . . .

Without a four-bar introduction or even needed foreplay, let’s jump in to the delights of January 16, 2011, provided by Jon-Erik Kellso, Matt Munisteri, Mark Lopeman, and Neal Miner, trumpet, guitar, tenor saxophone, and string bass.  Respectively and respectably . . .

‘WAY DOWN YONDER IN NEW ORLEANS:

BALLIN’ THE JACK, and with the verse:

OLD FOLKS, scored for a trio of Matt, Mark, and Neal:

And, speaking of worlds within worlds, the EarRegulars did a livestream concert today that was the cat’s meow, the bee’s knees, and whatever other metaphors for glorious irreproducible experience you can imagine.  Here it is again if you missed it.

If, having watched this, you’d like to show the EarRegulars some love, and who with a heart and ears wouldn’t? — you can find out from Jon-Erik himself how to do so here.

See you in real life, I hope, soon, intact, and grinning.

May your happiness increase! 

SUNDAY NIGHTS AT 326 SPRING STREET (Part Thirty-Eight) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

In the glory days, which are waiting in the wings for their cue to return, joy reigned supreme at The Ear Inn (326 Spring Street, Soho, New York City) on Sunday nights.

January 16, 2011 was no exception.

I witnessed it myself — uplifting music provided generously by the EarRegulars and friends: Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Mark Lopeman, tenor saxophone; Neal Miner, string bass, and friends Pete Martinez, clarinet; Bob Curtis, clarinet; Tamar Korn, vocal, and Jerron Paxton, vocal.

Tamar’s incredibly passionate BODY AND SOUL, featuring Jon-Erik, Mark, Matt, Pete, and Neal:

SOME OF THESE DAYS featuring Jerron and Bob with the core quartet:

Harry Barris’s classic uplifting melody becomes even more airborne here, thanks to Tamar, Jon-Erik, Mark, Pete, Matt, and Neal:

I was there.  Perhaps you were also?  We look forward to reunions — an idea we can safely embrace.  Until then, do as I do and hug the music and its creators to your heart.

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Twenty-Seven) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

Look!  We’ve made it through another week, and I hope without damage to our hearts, our relationships, the furniture.  And as a reward, may I invite you to join me, metaphysically, for some teleportation to 326 Spring Street, The Ear Inn?

Never mind that it’s September 5, 2010.  If that makes you slightly queasy, just have your seat belt low and tight across your hips.  Or hold on to what (whom) ever you can.  The noble participants, continued from Part Twenty-Six, are Jon-Erik Kellso, trumpet; Dmitry Baevsky, alto saxophone; Ray Macchiarola, guitar, and Neal Miner, string bass — with Mark Lopeman, alto saxophone, joining in. (I think Danny Tobias had an early teaching gig on Monday, so he is here only in spirit.)

A groovy I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME:

Saxophones only, please, for SLOW BOAT TO CHINA:

AFTER YOU’VE GONE (Part the First):

AFTER YOU’VE GONE (so brief, too good to ignore, to document Kellso-joy):

May

SUNDAY NIGHTS AT 326 SPRING STREET (Part Twenty-Six) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

It’s never too early to get ready.

Is everyone here?  Has everyone got their psychic Metrocards?  Follow me down to 326 Spring Street, although there’s no rush.  In cyberspace there is no worry about getting a good seat at The Ear Inn.

This Sunday night, we are journeying to September 5, 2010.  I won’t say “journeying back,” because it’s all timeless.  As is the music, in this case created by Jon-Erik Kellso, trumpet; Dmitry Baevsky, alto saxophone; Ray Macchiarola, guitar; Neal Miner, string bass — with guest appearances by Mark Lopeman, tenor saxophone; Danny Tobias, trumpet.

WHEN I GROW TOO OLD TO DREAM:

WHEN I GROW TOO OLD TO DREAM (concluded):

LADY BE GOOD (adding Danny to the quartet):

BLUES (with Mark making it a sextet):

BLUES (concluded):

A return to the quartet for a hot beverage in swing, TEA FOR TWO:

I hope you heard all that!  It is worth hearing over and over.

This post marks six months of our celebration of The Ear Inn and The EarRegulars.  My hope, expressed often, is that sometime in the next six months we can all visit this life-affirming scene in tangible reality.  Until that time, I will keep the celebration going: the musicians and the Ear Inn deserve no less.

May your happiness increase!

 

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

The days are getting shorter, darker, and cooler.  There’s little that I can do to combat this, but I offer this third part of a glorious August afternoon as a palliative for the descent into winter.

Thanks to the energetic Brice Moss, I was able to attend and record a lovely outdoor session featuring The New Wonders — Mike Davis, cornet, vocal, arrangements; Jay Lepley, drums; Jay Rattman, bass saxophone and miscellaneous instrument; Joe McDonough, trombone, Ricky Alexander, reeds; Jared Engel, plectrum banjo.  There’s group singing here and there, which is its own idiomatic delight.  This is the third of three posts: here is part one, and here is part two — both segments full of wondrous hot music.

And now . . . . a Hot one in Hot slow-motion, no less steamy — NOBODY’S SWEETHEART:

Did someone say “The Chicago Loopers”?  Here’s CLORINDA, with vocal quartet:

A serious question for sure, ARE YOU SORRY?

Another paean to the South from songwriters who may have gone no deeper than Battery Park, THAT’S THE GOOD OLD SUNNY SOUTH:

We’d like it to be a valid economic policy — THE BEST THINGS IN LIFE ARE FREE:

DEEP BLUE SEA BLUES, with a surprising double for Jay Rattman:

Who needs an umbrella?  I’M WALKING BETWEEN THE RAINDROPS:

and an emotional choice, I’D RATHER CRY OVER YOU:

Deep thanks, as before, to Brice, family, friends, and to these splendid musicians, for making an Edenic idea come to life.

And I don’t have the delicious artifact yet, but The New Wonders did and have finished their debut CD.  I am willing to wager that it will live up to the band name.  Details as I know them.

May your happiness increase!

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!

“VINCE GIORDANO: THERE’S A FUTURE IN THE PAST”

vincegirodano_poster

About seventy-five minutes into this gratifying portrait of Vince Giordano and the Nighthawks, trombonist and keen observer Jim Fryer describes its subject as “an intense man . . . a driven man . . . consumed” by the ideals he’s devoted the last forty years to.  And his goal?  As Vince says in the film, it is “to get the great music out there for the people.”

From his early introduction to the music — the hot jazz 78s on his grandmother’s Victrola — to the present moment, where he is the inspired creator of a ten-piece Jazz Age big band possibly without equal, Vince’s ideal has been complex. Reproduce live the sound, accuracy, and vitality of the music he heard on the records, and add to that repertoire by playing, vividly and authentically, music that never got recorded. His quest has been to have a working band, the contemporary equivalent of the great working bands, sweet and hot, of the Twenties and Thirties, visiting the Forties on occasion. Add to this the constant schlepping (you could look it up) of the equipment for that band; finding a new home after Sofia’s could no longer stay open; finding gigs; keeping this organization running against the odds.  The film wholly captures how difficult Vince’s consuming obsession is to accomplish, and to keep afloat day after day.

Many readers of JAZZ LIVES are fervent Giordanians or perhaps Vinceites, and we crossed paths for years in the darkness of Sofia’s, at the Christmas teas.  I have a long history with this band, going back to a Nighthawks gig in the preceding century, in the eastern part of Long Island, New York, where the night sky darkened, the thunder rumbled louder than Arnie Kinsella’s drum set, lightning flashed, but the band kept playing until the last possible minute before the deluge.  So I’ve experienced Vince’s dedication firsthand.

Here’s the film’s trailer — a delightful encapsulation that doesn’t give away all the surprises:

The narrative follows Vince and the band over two years and more, from Sofia’s to Wolf Trap for PRAIRIE HOME COMPANION with Garrison Keillor, to Aeolian Hall with Maurice Peress for a recreation of Paul Whiteman’s presentation RHAPSODY IN BLUE — the opening clarinet solo brilliantly played by Dan Block — to the Nighthawks’ search for a new home, which they found at Iguana.  The film brings us up in to the present with the New York Hot Jazz Festival and a band led by Nighthawk Dan Levinson (his “Gotham Sophisticats”) as well as a new generation of musicians inspired by Vince, who has shown that it is possible to play hot music at the highest level with accuracy and spirit.

So much credit for this beautifully-realized film, must, of course, go to its intensely-charged subject, the Nighthawks, and their music. But filmmakers Dave Davidson and Amber Edwards are expert visionaries.

Even given this vibrant multi-sensory material, formulaic filmmakers could have created something dull.  They might have been satisfied to simply document performance: aim cameras at the Nighthawks and record what they play, as videographers like myself have done, which would have been accurate but limiting as cinema. Or, given the many people willing to talk about Vince and the Nighthawks, Edwards and Davidson could have given us a pageant of New York’s most erudite talking heads, some of whom would have been happy to lecture us.

Instead, by beautifully combining both elements and adding some surprises, they have created a wholly engaging, fast-moving portrait of Vince, the Nighthawks, and their world.  THERE’S A FUTURE IN THE PAST never seems to stand still, and the cameras take us places that even the most devoted fans have never gone.  We get to peek in at Terry Gross’s interview of Vince, to travel downtown for a Nighthawk-flavored session of the EarRegulars at The Ear Inn and a recording session for BOARDWALK EMPIRE.

One of the film’s most pleasing aspects is candid, often witty commentary from people who know — the musicians themselves. Edwards and Davidson have fine instincts for the telling anecdote, the revealing insight.  We see and hear Jon-Erik Kellso, Dan Levinson, Mike Ponella, Mark Lopeman, Peter Yarin, Andy Stein, Cynthia Sayer, Jim Fryer, and others, people who have worked with Vince for twenty-five years and more, and their stories are as essential to the film as is the music.

Edwards and Davidson quietly capture telling details, visual and otherwise: the box of doughnuts brought on the bus; the rivets on Vince’s aluminum double bass; Jon-Erik Kellso’s hand gestures — contrapuntal choreography — during SHAKE THAT THING; the voices of the Nighthawks joking about being fired as they head into a band meeting.  The film is admiring without being obsequious, so we also see a short, revealing episode of Vince losing his temper. But the details ever seem excessive.  In this era of fidgety multi-camera over-editing, the film’s charged rhythm — appropriately, a peppy dance tempo — is energetic but never overdone, never cleverly calling attention to itself.

There’s vivid photographic evidence of the spectacle at Sofia’s and the Iguana: the tuxedo-clad Nighthawks not only playing hot but enacting it; the dancers jubilantly embodying what they hear in ecstatic motion.  A documentary about Vince would be empty without the music.  I noted SUGAR FOOT STOMP, THE MOON AND YOU, PUBLIC MELODY NUMBER ONE featuring Catherine Russell, WHITE HEAT, SWEET MAN, Kellso burning up the cosmos on SINGING PRETTY SONGS, THE STAMPEDE, ONE MORE TIME, YOU’VE BEEN A GOOD OLD WAGON, even BESAME MUCHO at a rainy Midsummer Night Swing at Lincoln Center.  And the sound recording is just splendid.

One of the secret pleasures of this film, for the true believers, is in spotting friends and colleagues: Matt Musselman, Will Friedwald, Tina Micic, Jim Balantic, John Landry, Molly Ryan, Sam Huang, Chuck Wilson, and a dozen others.  (I know I’ve missed someone, so I apologize in advance.)

In every way, this film is delightful, a deep yet light-hearted portrait of a man and an evocation of a time and place, a casual yet compelling documentary that invites us in.  First Run Features is presenting its New York theatrical premiere at Cinema Village on January 13, 2017, and I believe that Vince and the filmmakers will be present at a number of showings.

May your happiness increase!

“IT WAS THE SWEETEST MELODY”: TAL RONEN, MARK LOPEMAN, JAMES CHIRILLO at CASA MEZCAL (March 29, 2015)

Here are six lovely performances from a Sunday afternoon session at Casa Mezcal, March 29, 2015.  The three glorious understated melodists are Tal Ronen, string bass; Mark Lopeman, tenor saxophone; James Chirillo, guitar.  To describe or anatomize this music, either by tracing the historical paths that got everyone to this point, or to analyze it as a musicologist would (someone’s surprising use of pedal ninths in bars 11-14) would be both silly and blasphemous. What we have here is beauty, and beauty needs no explanation for those ready to receive it.

One caveat: the room was rather crowded with happy people, so at the start of a few of the videos there is an apparent roar of conversation.  It quiets down as this exalted trio begins to work its magic.

IT MIGHT AS WELL BE SPRING (appropriately):

WHO CARES?:

THESE FOOLISH THINGS:

WARM VALLEY:

I LET A SONG GO OUT OF MY HEART:

SOME OF THESE DAYS:


May your happiness increase!

SAD SONGS SWUNG: TAMAR KORN, MARK LOPEMAN, JON WEBER at CASA MEZCAL (January 25, 2015)

When asked why his writing was so melancholy, Philip Larkin quoted the French dramatist Montherlant — “Happiness writes white” — which I take to mean that bliss is not an enthralling subject for fiction or drama.

Montherlant’s aphorism has been embodied in what we call the Great American Songbook, where (on a rough guess) songs of desolation outnumber those of elation by 2 or 3 to 1.  But from the early Thirties onwards, jazz improvisers — vocal and instrumental — figured out that what a musician friend calls “draggy ballads” were not always restorative . . . so they kept the sad words and lifted the tempo.

Here are three examples of this wonderful melding — as enacted on the spot in this century by the brave explorer Tamar Korn, with the assistance of the multi-talented reedman Mark Lopeman (one of the secret heroes of the New York jazz scene) and the adventurous pianist Jon Weber.  All of this happened last Sunday, January 25, 2015, at my Sunday oasis on 86 Orchard Street, Casa Mezcal.

If you studied the words deeply for themselves, could you keep from weeping? But these musical dramas blend sorrow and swing.

A homage to Bing, the lovely JUST ONE MORE CHANCE:

Desolation indeed, in WHEN YOUR LOVER HAS GONE:

That yearning, returning, in WHEN DAY IS DONE:

I especially admire Tamar’s elasticity of phrasing — how she stretches the lyric and melodic line into new shapes without ever obliterating their sense or emotional impact.

I hope you have only short bursts of sadness, if at all, and that they can be made to swing. And if you haven’t seen it, here is the sweetly brave Korn-Lopeman improvisation on MOOD INDIGO that concluded this January 25 session.

May your happiness increase!

IMPROMPTU FOR VOICE AND CLARINET: “MOOD INDIGO,” TAMAR KORN / MARK LOPEMAN at CASA MEZCAL (January 25, 2015)

At the conclusion of last Sunday’s brunch at my new musical oasis Casa Mezcal (86 Orchard Street, New York) pianist Jon Weber had to rush off to another gig.  But the other members of the ad lib trio, Tamar Korn and Mark Lopeman, still had music bubbling up inside of them, so they launched into this lovely impromptu duet:

Creating such beauty is a brave and wonderful act.

I imagine an intimate concert, perhaps in someone’s house, devoted to Tamar and friends — an evening of duets with a changing cast of characters.

Until that day, we have MOOD INDIGO.  Magic.

May your happiness increase!

CATHERINE RUSSELL BRINGS IT BACK, INDEED

We’re glad that there is a Catherine Russell, and she’s generously offered us another delicious helping of the heartfelt swing she and her colleagues create — in a new CD, called BRING IT BACK:

CATHERINE RUSSELL: BRING IT BACK (Jazz Village JVS 97001) Bring it Back; I’m Shooting High; I Let A Song Go out of My Heart; You Got To Swing and Sway; Aged and Mellow; the Darktown Strutters’ Ball; Lucille; You’ve Got Me Under Your Thumb; After the Lights Go Down Low; I’m Sticking With You Baby; Strange As It Seems; Public Melody Number One; I Cover The Waterfront.

Catherine Russell is a marvel: a great star and entertainer who gives herself utterly to the music, the rhythm, the words, and the emotions. She could have been a true rival for any of the great singers of the past, but she sounds utterly like herself.

She doesn’t have a gravelly voice or carry a handkerchief, but she embodies the warm, vibrant spirit of Louis Armstrong. That isn’t surprising, because her parents were Armstrong’s long-time pianist and musical director Luis Russell and singer / bassist Carline Ray.

BRING IT BACK continues her series of energized yet subtle CDs that draw on little-known tunes from an earlier era (composers from her father to Fats Waller, Harold Arlen, Jimmy McHugh, and Ida Cox) and blues-based material associated with Esther Phillips, Al Hibbler, Wynonie Harris and Little Willie John. The disc is emotionally satisfying, because Russell proves herself an adult who brings a consistent understanding to the emotions of each song. When the CD is over, it seems as if it’s just begun — and that’s not a matter of timing but of our pleasure: we want to hear more!

Russell’s voice is a pleasure in itself, with a high clear cornet-like attack when she chooses to croon an optimistic love song or romp through a swing fiesta such as SWING AND SWAY or PUBLIC MELODY. (At times she sounds like Ray Nance. Is there a higher compliment?) She takes on the dark rasp of a tenor saxophone when she sings the blues: Ben Webster, feeling low-down and grouchy, awakened too early.

Whatever the material or tempo, her intonation and time are splendid; no faux-Holiday lingering behind the beat for her. Russell’s energy comes through whole on BRING IT BACK, just as audiences worldwide have seen her dancing around the stage, a woman giving herself to rhythm.

On this disc, she is surrounded by a limber medium-sized band of New York swing stars: Mark Shane, piano; Matt Munisteri, guitar; Jon-Erik Kellso, trumpet; John Allred, trombone; Andy Farber, Dan Block, Mark Lopeman, reeds; Lee Hudson, string bass; Mark McLean, drums; Brian Pareschi, trumpet; Nicki Parrott, string bass; Glenn Patscha, Hammond B-3 organ. The band evokes but doesn’t copy swing and rhythm and blues from the last century, encouraging Russell to be inspired, never derivative. The CD moves from jitterbug extravaganzas to dark midnight blues without a letup. I found myself playing my favorite tracks over and over.

Louis would be proud.

May your happiness increase!

WHEN SPRING STREET IS SWING STREET: JON-ERIK KELLSO, MARK LOPEMAN, JOE COHN, TAL RONEN, BJÖRN INGELSTAM (SEPT. 1, 2013)

The block between Fifth and Sixth Avenues on Fifty-Second Street is “Swing Street” in name only: it’s been many decades since it was lined with small clubs featuring hot jazz.

But Spring Street can claim the name on Sunday nights — at least in one reassuring spot, The Ear Inn, 326 Spring Street, where the EarRegulars play between 8-11 PM: inspiring music in memorable surroundings.

The EarRegulars, as assembled on Sunday, September 1, 2013, were a noble crew: Jon-Erik Kellso, trumpet; Mark Lopeman, tenor, soprano sax, clarinet; Joe Cohn, guitar; Tal Ronen, string bass.  And the first appearance by Scandinavian trumpeter — now a New York resident —   Björn Ingelstam on the closing song of this series.

Romberg in swing! LOVER, COME BACK TO ME:

MAKIN’ WHOOPEE, fine material for a groovy improvisation:

For Hawkins, perhaps? THE MAN I LOVE:

For Louis, Roy, Mildred, and of course Hoagy, ROCKIN’ CHAIR:

WASHINGTON AND LEE SWING (the fight song of Jon-Erik’s high school):

PLEASE DON’T TALK ABOUT ME WHEN I’M GONE:

May your happiness increase!

CHERISH THE LADIES*: SPEND MOTHER’S DAY 2013 with The EarRegulars!

On Sunday May 12th, The EarRegulars move north for a few hours for a Mother’s Day Brunch at The Stage at Rockwells American Restaurant, 105 Wolfs Lane, Pelham, New York 10803.  There are three seatings, 11:30am-2:30pm. Reservations (914) 738-5881.

If you’ve been following JAZZ LIVES for more than thirty-two bars, you know how valuable The EarRegulars are to Western Civilization.  They hold regular EarRegular seances at The Ear Inn, 326 Spring Street, Soho, New York — but for those north of the border, those with a Monday-morning 6 AM alarm clock, those who want to make sure that Mother is feted in the best style . . . hie yourself northward for swing!

And if you don’t know them, or you need a Serious Jazz Authority, how’s this:

“There’s nothing regular or ordinary about this group of dazzling, swinging, world class New Orleans traditional jazz phenoms who we’ve coaxed up to ‘burbs from Spring Street’s beloved watering hole to complete our Mother’s Day / Brunch / Jazz triple play celebration on May 12th. Maybe whatever short-circuited parts of the Ear Inn’s neon sign out front also sent a charge through the place, catapulting the musicians, wedged in a corner, back half a century, then down to the Spotted Cat on Frenchman Street in New Orleans, and on this occasion, to your neighborhood, at the Stage at Rockwells. Discover one of the City’s best kept musical secret, “Old time jazz swing with a modern metabolism.” – Nate Chinen, NY Times.

This splendid quartet will be Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Mark Lopeman (clarinet and tenor saxophone), and Pat O’Leary (bass).

About the asterisk in my title.  CHERISH THE L ADIES is, I hope, appropriate to Mother’s Day — but I know that male accompanists are encouraged.  It had been suggested to me by a colleague that I title this post I HEAR YOUR MOTHER LOVES TO SWING, but the JAZZ LIVES Legal Department said that such a statement could lead to legal action of a prolonged and costly sort.

So — eschew the usual box of candy or bouquet of f lowers this year, and make your Mother a true EarRegular!

May your happiness increase.

THEY’LL BRING BACK THE POWER TO NEW YORK: MARK LOPEMAN, JON-ERIK KELLSO, MATT MUNISTERI, ROB ADKINS AT THE EAR INN (326 Spring Street, Soho, New York)

I originally wrote this blog before Hurricane Sandy . . . and called it WHERE BEAUTY GOES ON SUNDAY.  This is still appropriate — but in view of New York being rainy and windy and with many of my friends being without electrical power, I thought I should change the title.  The EarRegulars can reset the cosmic balance — making the world EarRegular, as it were.

And (on a personal note) I write this from London, where my dear jazz friend JSA has offered shelter, good music, and solicitude — nothing new!

Last Sunday, October 21, 2012,  was dark, gray, and rainy.  The beautiful October we have been having — INDIAN SUMMER with or without Coleman Hawkins — isn’t permanent.

But the music inside The Ear Inn, created by The EarRegulars, was warming in every way.  The original co-leaders were there, beaming: Matt Munisteri, guitar; Jon-Erik Kellso, trumpet . . . and they were joined by Rob Adkins, string bass; Mark Lopeman, reeds.

Pay attention! — to quote the late Jake Hanna.

Here are two beauties from that evening.

A sinuous IF I HAD YOU:

A romping MILENBERG JOYS:

Thank you, dear Gentlemen, for making the warm weather stay around for a few hours more.

May your happiness increase.

OUR IDEAL: THE EARREGULARS at THE EAR INN (January 29, 2012)

Very simple, no flourishes, nothing fancy: just four of the best musicians you’ll ever hear honoring the melodies, improvising at lightning speed, making a wonderfully cohesive little band right there in the corner at The Ear Inn (326 Spring Street, Soho, New York City) last Sunday night from 8-11 PM.  By the summer of 2012 the EarRegulars will have pulled off such secular miracles for five years, which stands as an amazing record for creative consistency.

Last Sunday’s Peerless Quartet was Matt Munisteri, guitar; Jon-Erik Kellso, trumpet; Alex Hoffman, tenor saxophone; Neal Miner, string bass.  Here are five varied and luminous performances from that evening:

The Claude Hopkins-Alex Hill declaration of gracious acquiescence, I WOULD DO [MOST] ANYTHING FOR YOU, which also became the Hopkins theme song.  I always wonder whether it reflects the leader’s mood if the MOST is included or left out.  Scholarly research, anyone?

Then a leisurely exposition of the 1922 Youmans SOMETIMES I’M HAPPY, at a tempo that recalls Lester Young and his gorgeous Keynote session:

So many “traditional” and “Dixieland” bands have claimed THE SHEIK OF ARABY for their own that one is in danger of forgetting what an effective swing tune it is.  Here, Matt and Jon-Erik launch into the appropriately Middle-Eastern verse in a manner that recalls the eternally memorable Hot Lips Page session for V-Disc:

A lovely tune, not often played by jazz improvisers, is the Irving Berlin CHANGE PARTNERS — of course associated with Fred Astaire and Ginger Rogers:

And a sweet, musing version of Walter Donaldson’s MY IDEAL, recalling both Coleman Hawkins and Billie Holiday:

I was thrilled to be there . . . and I had very good company — new young friends, Travis and Jillian, who were digging the music in the most heartfelt way.  Shazam, you cats!

The EarRegulars will be taking Sunday, February 5, 2012, off, because of the Super Bowl — but they will be back on the 12th with Matt, Jon-Erik, Mark Lopeman, and Nicki Parrott — prepare to swing!

JAZZ WORTH READING: AN INTERVIEW WITH MARK LOPEMAN

Although the fine saxophonist and musician Mark Lopeman is articulate in person, I don’t think he has been interviewed much if at all.  Now there’s a particularly good reason: his first CD as a leader, NICE WORK IF YOU CAN GET IT, which I have written about in JAZZ LIVES here.

This brief interview of Mark in ALL ABOUT JAZZ does what the best ones do: provides a tangible sense of its subject, his voice, and his ideas in a compact uncluttered way.

http://www.allaboutjazz.com/php/news.php?id=92300

So, if you’ve already purchased the CD, the interview will add more to your understanding of this gifted, modest man and musician.  If all of this is new to you, I propose a visit to Mark’s site (http://www.marklopeman.com) to hear some of the music from the CD, then to the interview, and back to get your own copy of the CD. Trust me on this.

QUIETLY SPECTACULAR: “NICE WORK IF YOU CAN GET IT”: MARK LOPEMAN’S DEBUT CD

If you’ve been following the New York City jazz scene, you’ll know Mark Lopeman — a master saxophonist who’s been an invaluable addition to many bands for the past few decades.  Mark has just released his first CD under his own name, and it’s wonderful.

You can skip the prose and go right to the heart of things here

But if you’ve never heard or heard of Mark Lopeman (which I could understand) a few words might be in order.  Mark is another one of those people who proved F. Scott Fitzgerald wrong — not only are there second acts in American lives, but the plays we write and act in go seamlessly on without intermissions or other arbitrary divisions.  Mark is now in his early fifties, but this is no middle-aged man’s self-indulgent effort.  Rather it is beautiful music throughout — no pretenses, nothing antiquarian or postmodernist.  It is lively and fresh (locally sourced and organic, too), yet not a familiar running-through-an-hour-of-tried-and-true.  Readers of a certain age will know what I mean when I say it reminds me very happily of an imagined session for the Prestige-Swingville label, in better sound.  Mark and his colleagues know how to hit a variety of grooves, but the music never pokes a listener in the ribs and says, “Gee, look at how funky we are!”

Rather than retell Mark’s biography, I would direct you to his site — where the tale, involving the circus, a traffic ticket, Gerry Mulligan, and other notables, can be found here

I would offer my own narrow version of the Mark Lopeman saga.  When I first began to haunt New York jazz clubs, I heard Mark as a member of Vince Giordano’s Nighthawks, someone who could work his way through the reeds without fear.  He swung hard, never missed a turn, and when it came to his feature number — a transcription of the 1939 Hawkins BODY AND SOUL — he played it with accuracy and fervor, but I could hear his personality peeking out through the transcribed notes.  Then I had the good fortune to hear him as a guest EarRegular at The Ear Inn with Jon-Erik Kellso and Matt Munisteri.  To use the ancient locution, I flipped.  He swung, he soared; he was lyrical, witty, and to the point.  Ruby Braff had originally wanted to play the tenor saxophone; had he gotten his wish, he would have sounded like Mark Lopeman: wearing his heart on his sleeve but never getting in anyone’s way.

Mark is also one of those players who has thoroughly absorbed the tradition but has managed to bob along on the waves, remaining true to himself.  So a tenor aficionado will hear affectionate side-glances of Charlie Rouse and Al Cohn, Lucky Thompson and Stan Getz, but Mark is not one of those Real Book / play-along creations who coast from one learned phrase to another.  He is himself, and what a good thing that is!

Back to our story.  When I meet an artist I admire, I am not subtle or restrained in saying so.  After the first EarRegulars experience, I think I buttonholed Mark and said, “Wow, you play beautifully!  Have you got a CD of your own?”  And he looked a bit shy and said he hadn’t.  Later on, either at Sofia’s or The Ear Inn, I met his wife, the artist Susan Manley, and said (once again subtly), “Damnit, he plays so well.  When the hell is he going to make a CD of his own?”  And she agreed with me.  I can’t take any credit for helping NICE WORK IF YOU CAN GET IT see the light of day, but I would like to think that my nagging had a point: if there were enough annoying people hanging around the Lopemans making this pesky request, perhaps the CD emerged in some small part to get us to be quiet.  Maybe?

Would you like to hear some of the music?  I thought so.  Here are a whole raft of thirty-second snippets, enough to give you a sense of the CD’s candor and variety.  Click here

You can read all about the genesis of the music in Bill Kirschner’s perceptive, concise liner notes, but I would add a few things.  Mark is joined in his lyrical efforts by a splendid rhythm section of Ted Rosenthal, piano; Nicki Parrott, string bass; Tim Horner, drums.  He plays not only tenor saxophone but soprano and clarinet, and about half of the CD is illuminated by the presence of Brandon Lee on trumpet and fluegelhorn and Noah Bless on trombone — both players who know their stuff without cliche.  The repertoire is deliciously varied — from a trotting I’M ALWAYS CHASING RAINBOWS that begins and ends with a hilariously swinging Rosenthal-plays-Chopin, to the title tune, with hints of Charlie Rouse and Monk, a hip-swinging MY KIND OF GIRL (several selections have their roots in Mr. Sinatra’s repertoire), and two very intriguing Lopeman originals, WORLD ECONOMY BLUES (a collaboration with saxophonist Chris Byars) and INTENTIONS — which also feature fascinating scoring by their composer.  My absolute favorites on this disc are two Lopeman – Rosenthal duets, EVERYTHING HAPPENS TO ME (which keeps its yearning quality without any of the self-conscious pathos this song often encourages) and the heartbreaking I’M A FOOL TO WANT YOU.  (Jonathan Schwartz would love them: I hope he gets his own copy.)

I worry that JAZZ LIVES readers will think I am always tugging at their collective sleeves (and credit cards) saying “Buy this!  Buy this!”  But this CD is quietly spectacular.  Nice work indeed, Mark — and how lucky we are that we can indeed get it.

P.S.  The cover portrait is a family affair — a watercolor done with wit and affection by Rosie Lopeman . . . another artist in the house!

THE NIGHTHAWKS, ELI GOODHOE, AND “THE MOOCHE”

Here (as promised) is the debut performance of sixteen-year old Eli Goodhoe, on banjo, with Vince Giordano and the Nighthawks — playing Ellington’s THE MOOCHE on February 15, 2011 at Club Cache in the Hotel Edison (211 West 46th Street).

Vince is enthusiastic, and with good reason, about the jazz orchestra that trumpeter Kevin Blancq shepherds at LaGuardia High School — an orchestra that is full of budding talent like Eli’s.  In future, I hope to bring you more from Kevin, his young musicians, and the LaGuardia jazz orchestra.

Right now, listen to THE MOOCHE — a piece reaching back to 1927 — and consider that it is also the seedbed for a new generation of inventive hot jazz players who will, with luck, carry on the grand tradition for decades to come.

The other members of the Nighthawks are Mike Ponella, Jon-Erik Kellso, Harvey Tibbs, Dan Levinson, Peter Anderson, Mark Lopeman, Alan Grubner, Peter Yarin, Ken Salvo (stepping aside for Eli on this number), Vince, and Arnie Kinsella.  

Where the past and the present meet and make room for the future!

HONOR THE LIVING MUSICIANS: CLICK HERE! 

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WHERE THE PAST AND THE FUTURE MEET

“Heaven on Earth, they call it 211 West 46th Street.”

Last Tuesday, Feb. 15, 2011,  at Club Cache in the Hotel Edison, Vince Giordano and the Nighthawks did what they’ve been doing every Monday and Tuesday night for many weeks: they made the past come alive.  But last night they also peeked around the corner of the present into the future. 

The future didn’t announce itself melodramatically: it wasn’t a larger-than-life baby wearing nothing but a sash.  It was a young man, sixteen years old, who plays the banjo in the jazz band led by trumpeter Kevin Blancq at New York’s LaGuardia High School.  The young man’s name is ELI GREENHOE, and he sat in with the Nighthawks to play one of the tunes he loves and has learned from his time in the LaGuardia Jazz Orchestra — Duke Ellington’s growly THE MOOCHE.  I’ll have that performance for all of you to see and hear in a future posting. 

To hear about Kevin’s band — rehearsing in a room with pictures of Benny, Hawkins, and Carter on the walls — is exciting.  JAZZ LIVES hopes to pay them a visit, so stay tuned.

And the Nighthawks always excite!  Here’s some of the hot music the boys offered last night — that’s Vince on vocals, bass sax, tuba, and string bass; Ken Salvo on banjo; Peter Yarin on piano; Arnie Kinsella on drums; Mike Ponella and Jon-Erik Kellso on trumpets; Harvey Tibbs on tronbone; Alan Grubner on violin; Dan Levinson, Mark Lopeman, and Peter Anderson on reeds.

You can’t go wrong with Benny Carter, who remains the King.  Here’s his 1934 EVERYBODY SHUFFLE (which bears some relationship to KING PORTER STOMP, I believe): the original recording drew on Fletcher Henderson’s men and I recall a typically slippery Benny Morton trombone solo:

The nightly jam session — always a rouser — was BLUES MY NAUGHTY SWEETIE GIVES (or GAVE, if you’re lucky) TO ME:

Something for Bix and Jean Goldkette and Joe Venuti and a very young Jule Styne, SUNDAY:

Who knew that Ellington had written two compositions called COTTON CLUB STOMP?  This is the later one, from 1930:

In honor of the Bennie Moten band (with Hot Lips Page, Eddie Durham, Count Basie, and Jimmy Rushing), OH, EDDIE!:

And since Vince and JAZZ LIVES always try to bring you something old, new, and futuristic all at once, here’s a Nighthawks premiere of arranger / composer / reedman Fud Livingston’s IMAGINATION (from 1927).  Readers with excellent memories will recall that I posted the piano sheet music for this advanced composition on this site some time back at https://jazzlives.wordpress.com/2009/08/21/imagine-this/.  If you can open two windows at once on your computer, why not play along on your piano!

More to come!

DROP A NICKEL IN THE SLOT TO HEAR THE MUSIC PLAY! ALL MONEY GOES TO THE MUSICIANS:

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