Tag Archives: Michael Feinstein

SUNDAY, MONDAY, and ALWAYS: THE HARRY ALLEN QUARTET at FEINSTEIN’S: The First Set (June 10, 2012)

Harry Allen is one of those rare musicians who needs only his horn to get something started — but when he’s joined by Chuck Riggs (drums), Joel Forbes (string bass), and Rossano Sportiello, a delicious combination of excitement and relaxation fills the room.  This happened once again on Sunday, June 10, 2012, at Feinstein’s (the comfortable club nestled within Loews Regency, 540 Park Avenue, New York City).  Harry and his friends were there — thanks to Mat and Rachel Domber, the generous spirits responsible for so much good music through Arbors Records and live concerts.

It was a privilege to be there, and the Beloved and I basked in the warm, friendly atmosphere of that room — and the warm creativity of the players.  And for the first time, I was allowed to video-record the evening, so consider yourself invited to the extraordinary musical scene created magically by Harry and friends — with surprises to come.

Harry began the evening with a loping performance of CHEEK TO CHEEK that would have pleased Fred, Ginger, and Mr. Berlin as well:

Then, something really pretty — a pensive reading of Kern’s SMOKE GETS IN YOUR EYES that, surprising us all, segued into a rollicking I WANT TO BE HAPPY with the first of several extraordinary outings from our hero Rossano at the piano:

The familiar anthem of hipness, SATIN DOLL:

And A BEAUTIFUL FRIENDSHIP (with such beautiful support from Joel and Chuck):

A tender MY FOOLISH HEART (did the SATIN DOLL prove fickle?):

Harry closed off the first set — a satisfying offering of jazz — with the always-delicious  (Basie-flavored) BLUES, this time in Ab:

Harry and friends have been a regular attraction on the first Monday of every month — for over a year now.  (The Sunday, June 10, date was an exception.)  They will return on the first Monday of September with more good sounds and special guests.  Here’s the schedule:

September 10th: (Harry and the young saxophone masters!)  Luigi Grasso, Jesse Davis, Harry Allen, Rossano Sportiello, Joel Forbes, Chuck Riggs.

October 8th: (Harry and splendid singers!)  Lynn Roberts, Rebecca Kilgore, Nicki Parrott, Mike Renzi, Harry Allen, Joel Forbes, Chuck Riggs.

November 5th: (Harry and the jazz masters!)  Bucky Pizzarelli, Ken Peplowski, John Allred, Bill Allred, Rossano Sportiello, Joel Forbes, Chuck Riggs.

December 2nd: (Harry and the jazz masters, continued!)  George Wein and the Newport All Stars

You can find out more about the musical bill of fare offered at Feinstein’s by visiting http://www.fesinsteinsattheregency.com.

And I’ll be back shortly with more music from this glorious evening.  May your happiness increase.

“PORTRAIT OF A SONG OBSESSIVE”: REBECCA KILGORE by CHRISTOPHER LOUDON

Published in JAZZ TIMES, May 2011:

Rebecca Kilgore: Portrait of a Song Obsessive

Christopher Loudon gives an Overdue Ovation for Portland-based singer

By Christopher Loudon

Portland is renowned for a lot of things: curbside gourmet delicacies, concerted environmental concern, spectacular roses, great microbreweries. But it is only recently, since the advent of the superbly programmed Portland Jazz Festival in 2004, that the hipster mecca north of San Francisco has earned a wider reputation as a jazz hub. Actually, Portland’s jazz roots are quite deep, and among the strongest of those roots is vocalist and (occasional) guitarist Rebecca Kilgore.

 Confer with her collaborators and the compliments quickly begin flowing. “Becky is my favorite singer to play for,” says pianist Dave Frishberg, who first partnered with Kilgore on 1994’s Looking at You and has since become her most frequent musical confidant. “She is technically a marvelous singer,” he continues, “[and] always in shape. Her voice sounds great, and her delivery is flawless.” John Pizzarelli, a longtime fan and recent recording mate on several albums, including the new Lovefest at the PIZZArelli Party (Arbors), adds, “She just sings perfectly. She’s a dream of a studio singer. You just feel great when you’re in the room with her. You’re happy to be there, and you know it’s going to work.”

High praise, particularly for a performer so inherently shy she waited until age 30 before making her professional debut. Raised in the Boston suburb of Waltham, Kilgore’s first love was folk music. “When I was in high school,” she says, “I was into Joan Baez and Judy Collins and people like that. I got a guitar and strummed along. Then I discovered a disc jockey in the area who played classic jazz. I got acquainted with Billie Holiday and Ella Fitzgerald and Anita O’Day and just flipped. Those singers took me on a complete musical detour. They were my teachers, because I never had any formal training. I consider myself so fortunate to be a torchbearer for that style of singing.”

Toward the end of the 1970s, Kilgore relocated to Portland. Alone in a new town and eager to make friends, she regularly attended local music gigs. One night she caught a jazz act called Wholly Cats. “There was a gal in the group playing rhythm guitar and singing,” she recalls, “and that’s what I did in the privacy of my own home. We became fast friends, and when she decided to quit the group, she suggested I try out. I was aghast. I didn’t think I could sing professionally, but the idea got stuck in my head, and I got the job. It was a major turning point in my life. I loved being with musicians, loved learning new music all the time, and it was like a whole new family for me. There was no turning back after that.”

In 1982, Kilgore made her recording debut with Wholly Cats, then rapidly widened her horizons, working with drummer Hal Smith’s Rhythmakers and his Roadrunners, joining the Bob Wills-style Western swing outfit Ranch Dressing, performing with fiddle player Hollis Taylor and joining pianist John Sheridan’s Dream Band.

Another major turning point came in 1991, when Frishberg, having settled in Portland, began a two-night-per-week gig at the Heathman Hotel. He performed with the late cornet player Jim Goodwin for the first couple of months, and after Goodwin departed, the hotel said they’d prefer a singer in the band. Frishberg reached out to Kilgore, who at the time was holding down a secretarial day job at Reed College. When she got the call from Frishberg, she decided it was finally time to devote her full attention to music. “It was like jumping off a cliff,” she laughs, “but it worked out. I think of my life as ‘before Dave’ and ‘after Dave.’ I am so grateful for everything I have learned from him. He is such a high quality musician and is very inspiring.”

During their five-year run at the Heathman, Kilgore got the chance to dig deep into the Great American Songbook. “Her repertoire is enormous,” says Frishberg. “The entire time we played the Heathman, she kept a log of all the songs we performed. After our final show, she handed me a printout of the entire log. We’d performed over 500 songs, and many of them we only did once. Every time I’d come to the gig, I knew she’d have something new. It was very stimulating.”

“I never like to do the tried and true,” says Kilgore. “My passion is discovering songs. When I uncover a song it is like falling in love, and I want to impart to the audience the fun and the beauty of finding it.” Nearly as ardent a musical archivist as Michael Feinstein, a professed Kilgore fan, she comes across vintage tunes in a variety of ways. “Some people send me CDs and say, ‘Here are some songs you might like.’ There was a gentleman from Savannah who was a Johnny Mercer expert, and he sent me an entire disc of Mercer obscurities. I’d never heard of any of them, and I know a lot of Mercer songs! And sometimes when I’m in a shopping mall, I’ll be listening to the Muzak and a song will pop up that I’d forgotten all about. The music just comes into my life. I seem to be a magnet for good songs.”

Nor is Kilgore opposed to newer material. “I don’t go out of my way to avoid contemporary songs,” she says. “I believe we’re in the middle of a resurgence of good songwriting, so I’m always on the lookout. My fishing lines aren’t always in the contemporary world, but I’m trying!”

As for her guitar work, though both Frishberg and Pizzarelli praise her playing, Kilgore considers herself “a pretty basic guitarist. I look at my guitar as a tool. That’s how I study music and learn songs. In my Western swing days, I used to play rhythm guitar, but these days I sing with such wonderful pianists that my guitar playing would be pretty gratuitous.”

In addition to Frishberg, Kilgore has forged long-term relationships with several artists, including guitarist/banjoist/vocalist Eddie Erickson, pianist Keith Ingham, saxophonist Harry Allen and the man she calls her “musical soulmate,” trombonist Dan Barrett. “Lester Young to Billie Holiday, that’s how I consider Dan and me,” she says. “He and I think alike, we hear the same lines and we love the same recordings, though what I know about old jazz is the tip of the iceberg compared to what he knows. He is a walking encyclopedia.”

It was Barrett, via Frishberg, who first introduced Kilgore to Arbors Records co-founder Mat Domber. “Dave tells the story,” says Kilgore, “that he and Dan were on tour. While traveling in the car together, Dave said, ‘I have this cassette of this singer,’ and Dan rolled his eyes and said, ‘Oh, no, not another vocalist!’”

Kilgore’s association with Arbors has continued apace since 1994, when she recorded I Saw Stars with a band featuring Frishberg and Bucky Pizzarelli. (Barrett wrote most of the arrangements.) “Rebecca is an outstanding talent,” says Domber. “And she is a very easy person to work with. She always comes prepared and knows her business. She has almost perfect pitch and a great sense of a lyric. In my opinion, she’s the best jazz singer around today.”

Also the most prolific. Since 1982, Kilgore has appeared, as leader or featured vocalist, on no fewer than 49 albums spanning 16 labels. “Sometimes I worry,” she confesses, “that the world is going to say, ‘Oh, another Kilgore CD, who cares?’” Still, in addition to Lovefest, she planned two more releases for 2011, both for Arbors. Available now is Live at Feinstein’s at Loews Regency, a document of a program she performed last summer with the Harry Allen Quartet, “Lady Day and Prez: A Musical Tribute to Billie Holiday and Lester Young.” The show allowed Kilgore to further explore the Holiday-Young symbiosis, but in the company of Allen rather than Barrett. As New York Times reviewer Stephen Holden raved, “The show’s avoidance of slavish imitation made for the best kind of tribute: one that captured the streamlined ease of performances in which Holiday and Young carried on a spontaneous, private conversation.” And come fall there will be The Sound of Music, a continuation of the Broadway series that she, Allen and Erickson launched a few years ago with South Pacific and Guys and Dolls.

At 61, she has no intention to slow down. “The problem,” she gleefully insists, “is that there are so many great songs. My desk is an absolute mess because of a huge stack of sheet music. I’ll take one off the top and incorporate it into my repertoire and then add five more to the pile. My tombstone is going to read, ‘I can’t go yet—I haven’t learned all the songs!’”

Recommended Listening:

I Saw Stars (Arbors, 1995)

The Music of Jimmy Van Heusen (Jump, 2005)

Why Fight the Feeling? Songs by Frank Loesser (Arbors, 2008)

Sure Thing: Rebecca Kilgore Sings the Music of Jerome Kern (Audiophile, 2010)

Lovefest at the PIZZArelli Party (Arbors, 2011)

AUGUST IN NEW YORK: FOUR DAYS WITH JIM FRYER

Photograph by Lorna Sass, 2008

(This is trombonist / euphonist / vocalist Jim Fryer’s essay on life-as-a-hard-working-jazz-musician . . . as printed in the November 2010 edition of The American Rag and reprinted here with everyone’s permission)

ME & NYC

6 gigs in 4 days: a life of slice

August 15–18, 2010

This is a somewhat random “Report From NYC,” based on a few days of “feet on the sidewalk” activity. It’s certainly not an exhaustive accounting of the activity around here, although it was a bit exhausting. There is so much great music, great jazz, and great trad jazz around here. This is just a slice, my little slice, of the scene. I think it was Hemingway who said you should write about what you know, and what you know best is your own life. It is also true, in my experience, that narcissism is one of the few skills that can improve with age, and I’m definitely on that bandwagon. So here goes. I hope someone else may find this interesting. I know I do.

* * *

Following a big chunk of time and energy expended (along with Jeff & Anne Barnhart) in helping our 5 “International All Stars” from the UK have a swell time in Connecticut, New York, and California (including doing double duty at the Orange County Classic Jazz Festival with the Titan Hot 7, the band that most readers of this journal will know me from), I enjoyed a respite visiting my parents at their house in the Maine woods. A short time after my return to New York, I found myself back on the busy streets & subway trains: the Asphalt Jungle. A small flurry of local gigs helped reorient me to this place where I am trying to live the good – or at least, the interesting – life.

Sunday August 15: From our domicile in West Harlem, I drove south on the Henry Hudson Parkway and West Side Highway, down to the Fat Cat Café, just off Sheridan Square in the West Village. This is one of my favorite joints ever: down the stairs to a very large room that contains games such as ping pong, pool, scrabble, chess, and beer and wine drinking. And oh yes, a small music area off to the side, easy chairs and sofas, a grand piano and a sound system (with a sound engineer!). When I die, if I’m lucky enough to choose my personal heaven, it will look a lot like the Fat Cat. (Our younger daughter once came along to a gig there, and decided that was where she wanted to get married.)

The band at the Fat Cat was a classic: Terry Waldo leading his Gotham City Jazz Band from the piano, singing & striding along; Peter Ecklund (tpt), Chuck Wilson (clr/as), Brian Nelepka (sb), John Gill (dms),and me (with my euphonium along for the ride). Nice, relaxed, easy. Good IPA on tap. 2 sets, no muss, no fuss, just plain fun. Girls boogie to our music while playing foozball. I’m very thankful that there are bandleaders who hire me for such good times. John Gill sang a lovely rendition of Irving Berlin’s When The Midnight Choo-Choo Leaves For Alabam’. John continues vocalizing (accompanying himself on guitar) later on Sunday nights over at the National Underground, where he, Brian, & drummer Kevin Dorn play good old rock and roll & country/western.

Normally, after the Fat Cat, I have the option to sit in with the Dixie Creole Cooking Jazz Band (led by cornetist Lee Lorenz) at Arthur’s Tavern, right around the corner from the Fat Cat, on their weekly Sunday gig; and then travel a few blocks down to The Ear, New York’s oldest saloon, for another fantastic session with the Ear-Regulars (led by Jon-Erik Kellso and Matt Munisteri). But today, it’s back into the car and a scramble against heavy crosstown traffic and over the Williamsburg Bridge, to the Rose Café in Brooklyn. The gig thankfully started late anyhow! I played a duo set with Bliss Blood, the talented singer/songwriter/ukelele-ist from Texas via Brooklyn. We followed a young violinist/singer/synthesizer player who managed to sound like a rock band and symphony orchestra, all by herself. Playing old blues and Bliss’s original songs, our music sounded simple in comparison (one of my goals, actually), but the ‘elite’ (small) audience seemed to enjoy it.

Monday August 16: Every Monday brings me a steady musical diet. I play with a rehearsal big band in the afternoon. Working jazz musos the world over know what that means: get together for a few hours every week and ‘read’ (play) big band ‘charts’ (arrangements) for no commercial purpose whatsoever. The opportunity to sight read new material (often written by someone in the band) and schmooze with friends is sufficient compensation. If you hang out at the American Federation of Musicians Local 802 building on West 48th Street for a week, you’ll hear dozens of these bands, taking advantage of the very low room rental rates.

Next comes one of the musical highlights of my life for the last several years: Vince Giordano and The Nighthawks making their weekly Monday appearance at Club Cache, downstairs from Sofia’s Restaurant in the famed Edison Hotel on West 46th Street, just a few feet west of Times Square. I’m not enough of a wordsmith to adequately bring to life the excitement and dynamism that Vince Giordano brings to each & every gig he plays. He is a one man tornado, playing hot string bass, tuba, and bass sax, singing, performing mc duties, meeting & greeting each customer who comes down the stairs into our subterranean cabaret, and setting up & breaking down equipment for hours each week. A characteristic touch is added by our technician & ‘introducer,’ John Landry (aka Sir Scratchy), and we couldn’t do without our various ‘Mikes’ (Mike being the generic term to describe anyone who helps out on the gig, from moving equipment to playing music). Our steadiest Mike is Carol, Vince’s partner, who [wo]mans the door and seats patrons; we also are lucky to have Earl, who in addition to schlepping equipment, spends his ‘down’ time translating Vince’s antique arrangements into modern notation via Sibelius software – at an incredible clip (he will complete a full 13 piece arrangement during the course of the 3 hour gig, something that would take me weeks).

Vince’s Monday night gig has become enormously popular since its debut in May of 2008. A great dance floor brings in the rugcutters (including many athletic young lindy hoppers), and the room is typically full of customers from the world over. The legendary 88 year old clarinetist Sol Yaged is featured on a tune each set. Vince is the Toscanini of the evening, conducting our journey through the sublime world of Fletcher Henderson, Paul Whiteman, Louis Armstrong, Bix Beiderbecke, Jelly Roll Morton, and a plethora of songwriters & arrangers: Bill Challis, Raymond Scott, Fats Waller, Irving Berlin. From the downbeat at precisely 8pm to the closing at 11pm, it is truly a world of amazing music & delight. We often have quite well known folks ‘sitting in:’ singers like Michael Feinstein, Nellie McKay, and Daryl Sherman; instrumentalists from around the world; the comedian Micky Freeman; and famous audience members such as cartoonist R. Crumb, a big classic jazz fan.

This particular Monday included all members of what I call the “A Team;” that is, all the first call musicians. (The band hardly suffers when subs come in: John Allred in the trombone chair could not be described as bringing the level down!). Many of these players are quite well known in a variety of genres. Here they are:

Reeds: Dan Block, Dan Levinson, Mark Lopeman

Trumpets: Mike Ponella, Jon-Erik Kellso

Trombone: your humble (ahem!) reporter

Violin/Sax: Andy Stein

Piano: Peter Yarin

Banjo/Guitar: Ken Salvo

Percussion: Arnie Kinsella

Basses/Everything: Vince Giordano

Tuesday August 17: Tuesday daytime may bring a few trombone students to me (in the summer, a handful; during the school year, a full day – if I’m lucky); or an occasional concert in a Connecticut school, with a band called the Cool Cats; then comes a reprise of Monday night. Vince has been working hard since this past June to get a second night established. It’s still the quieter night, and I bet Vince is counting audience members as he’s counting off tunes; but it also can work more as a rehearsal, Vince handing out charts on stage from his vast collection (60,000 in the archives).

At 11:40pm, I’m back on the train from Grand Central Station (busy place, that) to Rye, 25 miles NE of the city, where my wife (sometimes described as “long suffering”) works at a private school, which offers on-campus housing as a benefit for her very hard work. I love the view walking east on 43rd Street, with the Chrysler Building looming over the majestic train terminal. By 12:30am I’m strolling down our very quiet and pretty suburban street, where Peter Cottontail may sometimes be seen munching lettuce in the garden. This particular night a local cop car slows to a stop as I’m walking up to our place. The cop looks me over (trombone, wheelie bag for mutes etc, garment bag with tux), and says, “Ya got everything?” Funny guy. It’s good to know they’re out on the beat. Sometimes I stay “in town,” at the apartment we have in West Harlem (currently also the abode of our eldest daughter, a fervent New Yorker).

Wednesday August 18: Wednesday brings another doubleheader (paydirt for us musos; even better, the rare tripleheader; many years ago I played 4 gigs on the Fourth of July). First the late afternoon session at Birdland, the world famous club on West 44th: David Ostwald’s Louis Armstrong Centennial Band. This long running (10+ years) weekly gig features a rotating roster of the finest trad players in town. Today, in addition to tuba player & leader Osti, I had the pleasure of being on stage with Jon-Erik Kellso (tpt), Anat Cohen (clr), Ehud Asherie (pn), & Marion Felder (dms). Yours truly was the old guy on stage. (I’m trying to get used to that.) David’s bands are some of the most ‘diverse’ in the biz, in terms of not only age but also gender and race. The general lack of diversity can be a slightly touchy issue in the trad jazz arena, so it’s nice to see Osti put together bands that ‘look like America’ – and also swing like crazy! This Wednesday session was a very special one: Dave Bennett, the young clarinet virtuoso from Michigan, sat in, along with a young also sax player (from Russia, I believe; I didn’t catch his name); and in the audience, 91 year old George Avakian, one of the most esteemed figures in jazz history (George has produced hundreds of classic jazz albums).

Then to Brooklyn (by subway), to play again with Bliss Blood, this time with the Moonlighters (20s/30s swing, with a Hawaiian flavor). Bliss’s vocals & uke are joined by Cindy Ball (guitar & impeccable vocal harmonies), Raphael McGregor (lap steel), Rus Wimbish (string bass), & the horn section: me! I love being the only horn player, it’s nice & quiet, with no temptation to engage in technical battles: who can play faster, higher, or more cleverly. As I get older, I feel pleasure in knowing how to add a bit of value to the music, no pyrotechnics, please. I’m trying to play better by playing less. It’s a thrill to learn brand new songs that Bliss and Cindy write. The art form continues to evolve. I also love this venue. The Radegast Beer Hall, a big open space, with fine beer (of course) and hearty German food, is in the heart of Williamsburg, a neighborhood that feels young and vibrant. It restores my faith in humanity when the band is fed so well on the gig! All kinds of bands play here, including several youthful units, such as Gordon Au’s Grand Street Stompers, and the Baby Soda band (which includes trombonist Emily Asher of Mighty Aphrodite Jazz Band fame). Several times folks got up and danced around the bar area, in most cases to our music. Finishing after midnight means arriving back in Harlem close to 2am – fortunately, not driving, which reduces the danger and risk (seriously, everyone who’s been in the music business knows musos who have fallen asleep at the wheel late at night); as long as I don’t sleep through my subway stop and end up in Riverdale (a nice neighborhood, but miles north of my pad).

* * *

It was a great little run of gigs. I feel quite lucky to be able to work with so many interesting people. And if sometimes being the oldest on stage is a bit of a bittersweet experience (I guess I ought to get used to it as “As Time Goes By”), it is certainly encouraging for the future of the music. From long time residents (like drummer Kevin Dorn, born in Manhattan about 30 years ago – his band, the Traditional Jazz Collective, gigs all over town) to those newly arrived, NYC is still, as ever, a magnet for young, ambitious, and hardworking people. A few of the young “immigrants:” trombonist Emily Asher, transplanted from Washington state for a couple of years to get her Masters degree; trumpeter Gordon Au, from California (I should mention Gordon’s very musical family: brothers Justin and Brandon are fine players who have blown with the Titans in Pismo Beach CA, and Uncle Howard Miyata plays a mean tailgate trombone with High Sierra Jazz Band); young trombonist Matt Musselman from Maryland, a recent graduate of Manhattan School of Music, and one of my subs in the Nighthawks (his band is called Grandpa Musselman and His Syncopators); and trumpeter/vocalist Bria Skonberg, due to arrive any second now. There is most definitely a youth movement going on! I wouldn’t know how to advise these young people about putting together an actual living in NYC: this is one tough town to pay your bills in – but somehow they are doing it. Perhaps I should ask them for advice! The total take from my 6 gigs (minus the expenses) will buy a few bags of groceries, pay back the loan for a couple of textbooks for my younger daughter’s college degree, with about $1.13 left for my pension contribution. Guess I can’t retire yet. I’ll get up tomorrow and go off in search of more students and gigs. I know one musician who was heard to say: “Retire! How can I retire? I’ve never had a job!”

I would be remiss if I didn’t also tip my cap to the folks around here who have been promoting the classic jazz scene for many years, such as: Bruce McNichols, musician, impresario, and radio OKOM producer; Jack Kleinsinger, whose “Highlghts In Jazz” series has run for 37 years; the Sidney Bechet Society, which puts on fine concerts in Manhattan; New Jersey folks like Bruce Gast & the New Jersey Jazz Society; Connecticut jazzers who put together the Hot Steamed Festival and the Great Connecticut Traditional Jazz Festival; & radio hosts such as Rich Conaty on WFUV-FM and Phil Schaap on WKCR-FM. Youth combined with Experience will carry the day for the music we love!

Jim Fryer

August 2010

For more info:  www.jfryer.com, www.terrywaldo.com, www.blissblood.com, www.myspace.com/vincegiordanothenighthawks, http://www.ostwaldjazz.com/., www.coolcatjazz.info,