Tag Archives: Matty Malneck

GROOVIN’ WITH DAVE STUCKEY and the HOT HOUSE GANG at FRESNO (Part One): DAVE STUCKEY, MARC CAPARONE, NATE KETNER, DAVID AUS, SAM ROCHA, GARETH PRICE, and RILEY BAKER (January 9, 2019)

You’ve heard of people dowsing for water — using a forked stick or a pendulum to discern where there’s water under the surface of apparently barren land.  I think of Dave Stuckey as the modern swing equivalent.  His skill is just as rewarding, for he finds the groove where other musicians or bands might not.  Audiences, dancers, and players hear it and respond beautifully.  I’d heard Dave and the Hot House Gang only once before in person, at a Saturday-night dance at the 2016 San Diego Jazz Fest (results here) and on the group’s debut CD (read my review here) but these pleasurable interludes made me incredibly eager to hear Dave and Co. at the 2019 “Sounds of Mardi Gras” in Fresno, California — a weekend I’ve just come back from.  More about Fresno below.

Here’s one sweet convincing sample.  Dave has a deep affinity for the music Henry “Red” Allen recorded in the Thirties, and PARDON MY SOUTHERN ACCENT by Matty Malneck and Johnny Mercer is one of those memorable tunes.  Dave is joined by Marc Caparone, cornet; Nate Ketner, reeds; David Aus (a newcomer, subbing this once for Carl Sonny Leyland) piano; Sam Rocha, string bass; Gareth Price, drums, and guest Riley Baker, trombone.

I video-ed everything Dave and the Gang created, and it was rather like a wonderfully unusual yet compelling blend of Fats, Wingy, Red Allen, Tempo King, Bob Howard, Putney Dandridge, Joe and Marty Marsala, Stuff Smith, Eddie Condon, and Django — with great riffing both afternoon and evening.  They can play ballads as well as stomps, and the groove was something to behold: you could ask the dancers.

Mercer came by his Southern accent authentically, being a Savannah native.

A few words about Fresno.  It was my first visit to that jazz festival and I’ll be back next year — not only because of the fine music and the convenience (everything was under one comfortable roof) but the pervasive geniality: much friendliness from everyone, from the waitstaff to the musicians and volunteers. Thanks to Linda Shipp, Alberto, and friends for making everyone so comfortable.  And you can bet there will be more video evidence from the Hot House Gang and Bob Schulz and his Frisco Jazz Band (featuring Ray Skjelbred and Kim Cusack).

 

May your happiness increase!

ON THE CREST OF A THRILL: GABRIELLE STRAVELLI and MICHAEL KANAN CREATE BEAUTY (February 8, 2015)

What follows is so much more than a formulaic visit to the Great American Songbook by a singer and a pianist.  What Gabrielle Stravelli and Michael Kanan offer us here is nothing short of miraculous.

I think of the eloquent reedman, now gone, Leroy “Sam” Parkins, who — when confronted by music that was deeply heartfelt and expert without artifice — would hit himself in mid-chest and say, “Gets you right in the gizzard, doesn’t it?” And he spoke with great conviction about musicians who knew the sacred wisdom of “taking their time,” of letting beauty unfold at its own pace.

Sam never got to hear Gabrielle and Michael, but I sense his approving spirit.

The music here is so emotionally deep without play-acting (“Look how much drama we can wring out of this old song!”) and it is both intense and leisurely, because they know that the slow growth of real feeling cannot be hurried.

They offer a rich quiet mixture of delicacy and intensity; they create a wondrous synergy, inspiring one another.

The song is STAIRWAY TO THE STARS, music by Matty Malneck and Frank Signorelli (both jazz improvisers who you’ll find on many recordings from the Twenties to the Sixties), lyrics by Mitchell Parish.  It’s a sweet ballad, but Gabrielle and Michael keep the tempo moving, even though it feels like a thoughtful rubato throughout.

Please note the absolutely reverent attention given to the nuances of melody that Michael brings to his somberly hopeful exposition of the theme — a completely satisfying musical offering in itself.  Then Gabrielle’s quietly hopeful song — with Michael playing the most sensitive intuitive accompaniment (and I see “accompaniment” here as a lovely friendship, with the two of them sweetly climbing those stairs as the lyrics suggest).

Gabrielle’s voice in itself is a rare thing, but what she does with and within it is simply incomparable:

This performance took place on Sunday, February 8, 2015 — at The Drawing Room, 56 Willoughby Street, Brooklyn (easily reached by a half-dozen subway lines).  When I have brought myself and my camera to a place where such music is created in front of my eyes, I do not simply feel rewarded; I feel uplifted.  And grateful beyond my power to express here.

I also think this performance should remind people who dearly love music that it is being created right now, all around us.  It exists in human form: people with voices and instruments, inventing beauty on the spot. The music is large, vividly alive, and energized — in ways that earbuds cannot contain.  Even this video is a shadow on the cave wall — encapsulating the experience but not a complete equivalent for it.

My words are more than “Go and hear some live music,” although that is also my intent.  To be in a place where actual people are creating something like this in public is an experience more inspiring than clicking the icon to download the track . . . but many people seem to have forgotten this.  Honor the music by joining the creators, while it and they still thrive.

May your happiness increase!

A STARRY FANTASY: DAN BLOCK, HARRY ALLEN, ROSSANO SPORTIELLO, NICKI PARROTT, RICKY MALICHI (Allegheny Jazz Party, September 18, 2014)

The sweet STAIRWAY TO THE STARS was composed by violinist / arranger Matty Malneck and pianist Frank Signorelli, and first presented as PARK AVENUE FANTASY by Paul Whiteman in 1934.  Later, Mitchell Parish added lyrics.

Dan Block knows and plays songs that might have been forgotten — adding his own deep romanticism to already lovely melodies.  Here he leads an impromptu group at the Thursday night session before the official start of the Allegheny Jazz Party.  Along with Dan, another deep romantic of a tenor player, Harry Allen; the illustrious Rossano Sportiello, piano; Nicki Parrott, string bass; Ricky Malichi, drums.

Climb with them and experience beauty:

Here is another view of the AJP with Duke Heitger and Bob Havens, and here is yet another with Dan Block, Harry Allen, and Dan Barrett.

May your happiness increase!

CYNTHIA SAYER TAKES A “JOYRIDE” — or FOUR STRINGS, NO WAITING

Cynthia Sayer, ebullient banjoist, singer, composer, has a new CD out — called JOYRIDE.  In my childhood parlance, a joyride was when you stole someone’s car, drove it like mad, and left it somewhere else.  But I think Cynthia’s criminal record is clean, so listeners need not fear.

JOYRIDEJOYRIDE is another stop on the journey Cynthia has been on for years — bringing her beloved instrument into the musical mainstream and rescuing it from jokes about its limitations.

For the CD, she offers ancient pop tunes, show music, Thirties swing classics, Hank Williams, Walt Disney, tangos, and a few originals.  (Warning, though: two of the songs here — one an original and one a Malneck-Mercer classic — are aimed at people who have just had a relationship explode.  Starry-eyed romantics may find them a little vinegary.)

Cynthia is aided and abetted by Charlie Giordano, accordion; Mauro Battisti, string bass; Larry Eagle, percussion; Sara Caswell, violin; Adrian Cunningham, clarinet; Jon Herington, electric guitar; Randy Sandke, trumpet; Scott Robinson, tenor saxophone / taragoto [hear him light up the sky on HONEY, playing Joe Muranyi’s beloved horn]; Marcus Rojas, tuba; Mike Weatherly, string bass / backup vocals.  JOYRIDE is part of Cynthia’s efforts to introduce to a wider audience the 4-string jazz banjo and the music associated with it.  Her CD will be issued on January 22, and the celebration of its release will take place at Joe’s Pub in New York City a week later (425 Lafayette Street NY, NY 10003: phone (212) 539-8778) at 7:30.  Tickets can be purchased  hereHer show will focus on “hot swing,” but also original compositions, tangos, and other surprises.  Hear I LOVE PARIS — a track from the new CD here.  And to learn more about Cynthia and her continuing musical adventures, click here.

May your happiness increase.

JAMES DAPOGNY AND FRIENDS at JAZZ AT CHAUTAUQUA (Sept. 16, 2011)

This hot chamber jazz session took place at Jazz at Chautauqua on September 16, 2011, and the estimable participants are James Dapogny, piano; Dan Levinson, clarinet and tenor sax; Andy Stein, violin; Frank Tate, string bass; John Von Ohlen, drums. 

DOIN’ THE RACCOON dates from the late Twenties, and is one of those spirited songs chronicling the floor-length raccoon coats that were the height of college fashion.  I would ordinarily hear in my mind’s ear (or mental jukebox) the Eddie South version . . . but this happy twenty-first century effusion now stands alongside it:

Frank Signorelli and Matty Malneck’s pretty LITTLE BUTTERCUP (later titled I’LL NEVER BE THE SAME) was first recorded by Eddie Lang and Joe Venuti, then by Billie Holida, Buck Clayton, and Lester Young — a beautiful rhythm ballad with a sweet yearning at its center:

And the theme song for all discussions, I MAY BE WRONG, which was also the song chosen for the Apollo Theatre productions:

Thanks to the gentlemen of the ensemble for creating and evoking music that will outlive the discourse that swirls around it.

WE GO FOR STEVE JORDAN (and VAN PERRY), 1980

Rhythm guitar — with its bouncing pulse, its swinging elasticity, and the ripe-fruit sound of those strings — isn’t a dying art, as I’ve seen happily on both coasts and overseas.  But the late Steve Jordan was one of the art’s finest creators — hired by Benny Goodman, Vic Dickenson, Ruby Braff, Buck Clayton, and others (the thread here is the enthusiastic advocacy of John Hammond).  Later in his career, Jordan got more opportunities to show off his soloing in support of his dry, witty singing. 

Here he is, captured by my YouTube friend Sfair (I know his real name but keep it to myself) at a National Press Club function in Washington, D.C., on December 4, 1980, with bassist Van Perry, a Virginia stalwart who played so often and so well on Johnson McRee’s Manassas Jazz Festival recordings:

Jordan’s  feature is a 1938 song — music by Matty Malneck, lyrics by Frank Loesser, I GO FOR THAT, a slangy, snappy version of what I call The Insulting Love Song (the earlier MY FUNNY VALENTINE is a much more gentle example) where the lover rues the inadequacies of the loved one and finds him/herself smitten nevertheless.  The version I hear in my head is Mildred Bailey’s, but Steve Jordan is doing a good job, two decades later, of displacing it.

SOMETHING TORCHY

The Beloved and I made our way uptown on a very cold Friday night (January 29, 2010) to Roth’s Westside Steakhouse to hear the chamber jazz duet of trumpeter Jon-Erik Kellso and pianist Ehud Asherie, both well known to readers of this blog.  Perhaps everyone there had read in the papers that the economy had grown, because the air was loudly festive, although no one’s birthday was being celebrated. 

Our waiter, a dramatic fellow with a dramatic upsweep of hair (“Pomade,” he told the Beloved) went around being cheerful.  One memorable exchange was: “Having a good time?” he inquired of a table of diners.  “Yeah, fine,” one of them said.  “Well, keep having a good time!” he countered.  David Mamet has nothing to fear.

In the midst of this, Jon-Erik and Ehud went about their work: medium-tempo James P. Johnson, a little Fats Waller, some Edgar Sampson. 

The enthusiastic woman to our left (who occasionally applauded in the middle of a four-bar exchange) leaned forward in the middle of the set and asked the duo, “Can you play something torchy?” a request that caused some discussion and thought.  Jon-Erik and Ehud settled on this Frank Signorelli-Matty Malneck composition, I’LL NEVER BE THE SAME (originally called LITTLE BUTTERCUP when it was an instrumental).  That song, not incidentally, was first associated with Eddie Lang and Joe Venuti; later, Billie Holiday and Lester Young.

I am sure that the management at Ruth’s has informed the busboys (they look grown-up to me) that an uncleared table will be dealt with severely, so the staff makes frequent — if not incessant — visits to diners, taking a bread plate away here, a knife there.  Perhaps it’s an unspoken law in the restaurant trade that a table almost devoid of utensils makes diners go home or makes them order dessert and coffee and then go home.  I don’t know.  But in the middle of this seriously lovely performance, a gentleman came to remove some plates and assorted debris and lingered in front of my camera long enough for it to lose its grip on reality.  Hence a brief out-of-focus interlude, but the microphone continued to work.

These capers aside, I’LL NEVER BE THE SAME is a wonderful, serious lesson in deep-down melodic playing and subtle, touching embellishment — much more difficult than ripping off harmonically-adventurous scalar lines over shifting polyrhythms.  And this kind of playing is second nature to Jon-Erik and Ehud.