Tag Archives: Michael Steinman

WESTWARD HOT! EVERGREEN JAZZ FESTIVAL (July 27-29) and a BARN DANCE PARTY with the CARL SONNY LEYLAND TRIO (July 26)

I am a failure as a well-trained tourist, because I shun guidebook attractions such as churches and museums in favor of second-hand stores, outdoor markets, and restaurants.  But I am not yet at the stage where I want to stay at home all the time.  What makes me happy is going to a place (ideally, a beautiful one) where good friends play and sing the music that makes me even more glad to be alive.  And I know I am not alone in this desire.

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Such opportunities for musical joy and fulfillment still exist, and one of them is the double boon of the Evergreen Jazz Festival in Colorado, and the barn dance concert that Dorothy Bradford Vernon and friends put on in Longmont, in the same state — they coincide most happily.

For those who want to go directly to the source(s), here you can learn all about the barn dance — featuring the Carl Sonny Leyland Trio — and here is the official site for the Evergreen Jazz Festival, a long weekend of beautiful music.

The EJF rotates its out-of-state attractions, so although I have twenty posts (with video evidence!) from my trips there in 2014 and 2016, I don’t feel it’s right to use videos from bands that won’t be there in 2018 to promote the current festival.  However, by typing EVERGREEN into this blog’s search engine, you can enjoy the evidence for many hours.  More about the 2018 band lineup below.

But since Carl’s Trio is more or less intact with the splendid Jeff Hamilton on drums (I believe Marty Eggers is playing string bass instead of our friend Clint Baker) I have no qualms about sharing this 2016 post with you.  My videos cannot convey the great warm welcome that Dorothy and friends extend to anyone walking through the barn doors.  The music and the dancers were truly memorable.

The Evergreen Jazz Festival offers ten bands, which means that the main problem most guests will have can be expressed by “I can’t decide between seeing X, Y , or Z,” rather than by “There’s nothing to do.”

Here is the schedule: eleven hours on Friday, twelve hours on Saturday, seven hours on Sunday.  You can sleep on Monday, or on the plane.  

A few words about the bands (you can read full descriptions on the EJF site).  Since I am an out-of-towner, I have no problem putting my fellow o-o-t women and men first — a kind of upside-down local pride.

Carl Sonny Leyland will be rocking the house once again (even the elk were doing splendid rhythmic gyrations in the parking lot).

The Holland-Coots Jazz Quintet — a band I succumbed to instantly last year in Nashville, where they recorded their debut CD, a tribute to Fats Waller that brought happiness and swing.  They are Brian Holland, piano; Danny Coots, drums; Marc Caparone, cornet and vocal; Evan Arntzen, reeds and vocal; Steve Pikal, string bass.

World-travelers Ivory&Gold — that’s Jeff Barnhart, piano and vocals; Anne Barnhart, flute and vocals — who offer musical world tours that always surprise.

The frolicsome Rock Island Roustabouts — co-led by Hal Smith, drums, and Jeff Barnhart, with Dave Kosmyna, cornet; Doug Finke, trombone; Jonathan Doyle, reeds; Bob Leary, banjo/guitar; Ryan Gould, string bass.  The names alone will tell you that hot music is assured.

Multi-instrumentalist Dennis Lichtman’s Brain Cloud (yes, the name is strange — from a Bob Wills song — but the music is intoxicating) featuring Dennis on clarinet, fiddle, mandolin, and more, also with the phenomenal vocalist Tamar Korn and our man in swing Kevin Dorn, drums.

Pianists Brian Holland, Carl Sonny Leyland, and Jeff Barnhart will perform three trio sets on two pianos in the wonderful Evergreen church: beware of flying black and white ivories!

There will be a jam session set by the “EJF All-Stars”: Marc Caparone, cornet; Eric Staffeldt, trombone; Roger Campbell, clarinet; Rory Thomas, banjo; Jeff Barnhart, piano; Ryan Gould, string bass; Kevin Dorn, drums.

Two sets by the Sweet and Hot Quartet: Jeff Barnhart, Bob Leary, Anne Barnhart, and Steve Pikal (Friday) and Hal Smith (Sunday).

If that were not enough . . . Denver’s own After Midnight, which fashions itself after the Goodman Sextet with vibraphone; Felonius Smith Trio, which pays tribute to venerable guitar blues; the Gypsy Swing Revue, which lives up to its billing;  Joe Smith and the Spicy Pickles, a young energized swing band; the Queen City Jazz Band, celebrating its 65th anniversary and featuring Wende Harston on vocals; youth bands from the University of Colorado, the Denver Claim Jumpers, and the Denver Jazz Club Youth All-Stars.

The EJF features lovely small venues . . . so you need to consider purchasing tickets sooner rather than later.  I’ll be there, but I only take up one seat.  Hope you can make it also!  It’s been a great deal of fun and with this schedule, I know it’s going to continue.

And just in case you say, “What!  No music?” here is RUSSIAN RAG by the Holland-Coots Jazz Quintet, recorded informally in Nashville in July 2017:

May your happiness increase!

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DORON TIROSH: COMPOSER, IMPROVISER, NEW YORKER: “I WOULDN’T BE ANY OTHER PLACE”

I first met the quietly soulful drummer Doron Tirosh in August 2016 at a gig with guitarist Felix Lemerle and string bassist Murray Wall at a now-closed Greenwich Village restaurant.  I admired him immediately as an inventive, thoughtful musician and congenial person.  I will say more about my first impressions of Doron at the end of this post.

Earlier this year, Doron was ready to release his debut CD, SIMPLY BECAUSE IT’S WINTER (Gut String Records) — featuring pianist Michael Kanan, string bassist Neal Miner, and Doron.  I looked forward to this disc because those three musicians form an ideal trio, but even more because three of the six compositions were Doron’s originals — the title track, WHY WOULD YOU TREAT ME THAT WAY?, and FOR W.B.  The three classics show a deep immersion in the best American songs: IT WAS WRITTEN IN THE STARS, I GOT PLENTY OF NUTTIN’, and THAT OLD BLACK MAGIC.

Here are the links to purchase, download, or listen to the music: AmazonCDBabyitunes, and Spotify.

Doron asked if I would write something for the CD, and this came very easily:

Many listeners eye even the gentlest-spirited drummer with suspicion, and we have reason. Drummers HIT things while the band is playing. But Doron is no musical bully-boy. His melodic lyricism is the equal of heroes Michael and Neal. If you want a gorgeous example of lyrical democracy in action, savor WRITTEN IN THE STARS.

Doron has a light touch — metaphorically as well as sonically. He varies the sounds he gets from his kit with a deep intuitive intelligence, and he swings irresistibly: hear his solo introductions to PLENTY and W.B. Like my percussive deities Jo Jones and Sidney Catlett, Doron dances in our heads. His playing is crisp but never mechanical, delicate but never timid. And his originals come from the same place: they are blossoming interludes, not just chord changes tied up with twine. In 2018, beauty is not always easy to find, but Doron, Michael, and Neal show us what it is, can be, and will continue to be.

The subtleties of Doron’s playing and his gentle approach to the life of a New York jazz musician fascinated me, so we did an informal interview by email, and I find his answers candidly intriguing.   (My questions are in italics.)

Where did Doron Tirosh, musician, come from?

I was born and raised in Israel. I have loved music since I can remember- I used to carry vinyl records to kindergarten (and drop them because they were bigger than I was) – their presence made me feel good. My brother hipped me to music – he played guitar, piano, sang, and had very musical ears, and still does today. He could have been a great musician if he had chosen to do that for a living. My father is very musical as well.

I started studying classical piano at the age of 6, but I didn’t take it seriously. Only when I started playing the drums at 14 I began practicing devoutly, when in high school I joined the jazz department and that was it – I knew I wanted do nothing else but playing music for a living. I met a lot of great musicians during my high school years.

The role of the drums in the jazz ensemble is constantly changing. What do you see as your role when you play?

First and foremost, I want to make the other musicians I play with FEEL good. I try to keep a steady time and groove, but I do not think my role is to “keep” anything, meaning, to play with a stiff beat in order to keep the tempo. I want to bounce and swing together. I am learning how to do that (which is a life-long process) from playing with people who have a good beat. They could be bass players or other kinds of instrumentalists. Let me say that grooving together is the most wonderful feeling in the world. It’s addictive, and that feeling I get when I play with those musicians is the reason I am still staying in New-York.

Nowadays, due to the obvious change the world has been through, although the role of the drums is endless, I still find that playing in 4/4 time with good groove and phrasing is becoming a unique art. Then I ask myself how it could be that not so long ago, playing in 4/4 time with a great feel and musical taste was only entry level for any instrumentalist, a drummer included. Now, I respect any good music no matter of genre. I am aware of how important it is to be a well-rounded musician and open to anything, but I must say it is becoming hard for me to enjoy a lot of the music labeled “jazz” I come across. The jazz musicians I love the most are not stars, although some of them do tour around the world constantly. My heroes are down to earth people who want to play and keep passing on the tradition and knowledge they got.

I try to play what feels good to me, what I hear, and not pay attention to the passing fancies in the so called jazz music. I believe that if I want to be worthy of the title ”jazz drummer” I have a lot of responsibility, so I personally can’t play Balkan music and be a DJ on the side while at the same time I have a gig and I have to play a Thelonious Monk or a Charlie Parker composition. Playing such music demands my full dedication. That is just how I feel; there are a few that can pull that off though.

What does it feel like to lead a group from the drums?

Basically it’s the same, but I would say the main difference is that I have to be very clear about the material and arrangements that are played. The person who helped me realize that small but crucial point was Michael Kanan. Besides being a true friend and always helping me in everything and anything, he let me know from the beginning of the project that I have to be clear in conveying what I want to him and Neal.

As a shy person, I hate to be in the front and I hate telling people what to do. Sometimes I think I should have played piano and not drums because of that reason – but too late now, I guess. Anyway, when Michael asked me “What are we going to play?”, I gave him my typical Doron answer, “Whatever you want – songs that you like to play.” That made me seem hesitant and unclear so I learned I have to actually lead the session. I was still trying to be considerate by choosing material that I believed would fit best, and I must say I am content with the result. It was a wonderful learning experience for me recording with those two giants.

Few drummers are also composers of lyrical melodies: where does your inspiration come from?

Studying classical composition in Tel-Aviv University had a huge impact on me as a musician. I concentrated 4 years, which is far from enough, on playing piano, studying counterpoint, harmony, reading and transposing music, ear-training, and composing music for classical performers. The individual composition lessons helped me the most because I got a chance to investigate a real composer’s world. I was bad at conducting and some other subjects, however. You see, every field is a world of its own, one can devote his or her whole life to it – music has no end to it.  My teachers influenced me a great deal; they are incredible musicians.

The other influence is unfortunately heartbreaks. Most of my tunes or compositions were a way for me to use the energy of those experiences into creating a melody, hopefully a beautiful one.

You told me, “I feel like a New Yorker!” What does that feel like? Have you adopted us or have we adopted you?

Well, both. Although I have no family here, I made some really great friends who I consider as family. When I am ill or when I am desperate, I know I have friends to look after me. I would do the same for them – we take care of each other.
The music and the musicians make me feel at home. There is a strong feeling of a jazz community. I feel as the music that I love the most is in its natural surroundings here, and it is a feeling I will never experience in my home town.

Living the life of a jazz musician seems possible here, more than anywhere else in the world. Where else can I go and hear jazz music every evening until the next morning played by my favorite musicians on the planet? Or even play with them? There is a feeling that anything can happen, that suddenly I could find myself sitting-in with the best musicians in the world, so I always should be on top of my game. I find that I practice more here, play more sessions and more gigs, and in general try to be at my best.

I am not saying living in New York is not hard. The loneliness and the emotional downs here can be frightening, but the music makes living here worthwhile for me, at least for now. I miss my family though, and the food.

Any good stories about being a working New York musician?

The thing in New-York is that anyone can show up at any given show at any given moment. It could be the worst gig with the worst musicians in the world in a dull bar with 2 people in it and then suddenly in walks a great musician and everything becomes exciting instantly. It happened to me numerous times when great musicians sat-in spontaneously, as well as me sitting-in as the band’s drummer for the gig within a few minutes notice. Only last week I came to hear Michael Kanan and Pat O’Leary at the 75 Club, and ended up playing the whole show with them. It was a special night, I will never forget it- playing trio with those gentlemen, not to mention when Gabrielle Stravelli came up to sing… I wouldn’t be any other place.

——————————————————————————————

Here’s what I wrote about Doron when I posted videos from that August 2016 gig, and I believe it even more so now: I had known nothing of Doron except for the few words of praise from [guitarist] Felix [Lemerle]. And I confess that youthful drummers new to me arouse anxiety. I become Worried Elder: “Young man, are you planning to strike that ride cymbal with those wooden sticks? Why, and how, and how often?” But Doron and I bonded over dehydration and exhaustion, and I knew he came in peace. When he began to play, my spirits rose even higher, because he is a melodic drummer in the great tradition of the Masters, of Dodds, Singleton, and Catlett. Before each number, Felix would tell Doron the name of the song, and I could see from their expressions that they knew the melody and the lyrics as well.

Seeing Doron on the street, you would be unaware of the creative talent he has in his young self.  But hear his compositions, see him lead a band from behind the drums, and you will know in four bars that you are in the presence of someone special: a melodic, creative gift to New York from Israel.

May your happiness increase!

BEAUTIFUL RARE SOUNDS: JAKE SANDERS, “ESTRELLAS DE RADIO”

I first encountered Jake Sanders almost a decade ago at Banjo Jim’s, when he was the leader of the Cangelosi Cards, the group that had Tamar Korn as its vocal improvising genius.  Later I followed him to other Cards gigs and an especially wonderful rainy evening in a dance studio where he swung like mad, Charlie Christian style, on electric guitar.  When he moved to Chicago, I saw and heard him with the Fat Babies in person, on record, and on video, and now he is blazing his own paths.  (Most recently for me, in a trio with Dennis Lichtman and Jared Engel which appeared at The Django in New York City — lovely eloquent music.)

His new CD is what we used to call a doozy, precisely because it follows no narrow formula.  Here’s a sample of the music Jake loves and plays with great feeling — captured at the February 2018 CD release party in Mexico City:

And here you can buy an actual disc or download the music (each for the low price of $10 USD) or hear four of the thirteen tracks, in case you need convincing.

and here is the prose (not by me) that accompanies the music:

Estrellas de Radio features the sounds of acoustic and electric guitar, mandolin, violin, piano, and upright bass. The songs and styles range across a broad spectrum of traditions, drawing from or expanding upon the roots of American jazz. The album features beautiful waltzes, rags, blues, and band arrangements of four guitar solos originally published in the 30’s which have never been previously recorded. Three of these rare and unique compositions are credited to guitar legend Nick Lucas.

Recorded over a two year period by Alex Hall at Reliable Records in Chicago, the album features a host of musicians from New York, Chicago and Detroit; these include: Jared Engel, Dalton Ridenhour, Dennis Lichtman, Aaron Jonah Lewis, Beau Sample, Paul Asaro, and Patrick Donley.

Three tracks feature the exceptional sounds of Fraulini Guitars hand-crafted by the esteemed luthier Todd Cambio. (Jake Sanders plays an Annunziata on Serate Primaverili, Speranze Perdute, and Flappers Trot; Patrick Donley plays an Angie on Speranze Perdute).

While the early Italian pioneers of the jazz guitar Nick Lucas and Eddie Lang made their mark on 20th century music, an earlier generation of Italian string virtuoso were also recording in America. Masters such as Giovanni Gioviale and Giovanni Vicari brought old world sounds to the new world. L’Ultimo and Serate Primaverili are adaptations of Giovale’s brilliant compositions originally conceived for mandolin. Speranze Perdute was inspired by a recording by Giovanni Vicari, as was the mazurka Mia Carina, which he recorded with The Continental Trio.

While Nick Lucas is famous amongst jazz aficionados both as a vocalist and for his early recorded guitar solos (Picking the Guitar and Teasing the Frets), he is also credited with composing numerous guitar solos which were never recorded, but appeared in folios and early flat-picking method books. Bootlegger’s Blues, Flappers Trot, and Gold Diggers are all examples of Lucas guitar solos which exist as sheet music, but have not been recorded until now.

The exquisite waltz, Margaret, that appears as a piece in The Nick Lucas Guitar Method Vol. 1, however, was composed by J. Nicomede. Sanders’ unique conception and arrangements of these songs are drawn from his nearly 20 years of playing roots music. (Flappers Trot, guitar and piano) (Bootlegger’s Blues, Gold Diggers, Margaret, guitar, violin, piano, bass).

Let Me Call You Sweetheart and Wang Wang Blues are classically-styled guitar and mandolin duets arranged in studio. Charleston Rag, known as a piano solo, is heard here uniquely arranged for piano, guitar, and upright bass. The Memphis Shakedown, made famous by the Memphis Jug band, is a common tune for old-time and jug bands performing today. However on Estrellas de Radio the tune becomes something altogether different, achieving new sounds in old music. The Sunset Blues is the album’s one original composition. Like any blues it borrows from the past, however its spare style, unusual form, and crafted melody give it a sound all its own.

ABOUT JAKE SANDERS:

Jake Sanders is a guitarist, bandleader, and arranger, whose musical career began in New York City at the end of the last century. After years as a street performer, playing jazz and American traditional music, Sanders formed the popular roots band, The Cangelosi Cards. They performed nightly in the back rooms and bars of the East Village, but soon traveled well beyond Manhattan, playing shows from Shanghai to Stockholm. After years with the Cards, Jake joined The Fat Babies, an acclaimed hot jazz band which continues to perform weekly at Chicago’s world famous Green Mill Cocktail Lounge. His last album with the group, Solid Gassuh (Delmark Records), made DownBeat Magazine’s “Best of 2017” list – a rare feat for a traditional jazz band in modern times.

A long time musical collaborator with vocalist and world-renowned Lindy hop champion, Naomi Uyama, Jake both plays guitar and arranges for her swing outfit, Naomi & Her Handsome Devils. Sanders has recorded with the great stride and ragtime piano player Paul Asaro, and has been featured on record and stage with the Jonathan Doyle Swingtet.

Jake Sanders has performed at The Chicago Jazz Festival, The Detroit Jazz Festival and The Brooklyn Folk Festival as well as countless clubs, dance halls and theaters throughout North America. Jake’s guitar playing has brought him across Europe and Asia and he is a regular performer in-residence at Cracovia 32, home of the emerging swing scene in Mexico City. As a solo performer or with the Handsome Devils, The Dotted Halves trio or with the quintet, The Lovestruck Balladeers, Jake Sanders is a consummate traveling musician who can be heard far and wide.

A few words from me, on behalf of JAZZ LIVES.  I trust Jake’s taste completely, so even though some of the compositions on this disc are not Hot Music in the established sense, I fell in love with the sounds here at first playing.  The only reason this post is written at the end of May rather than a few months earlier is because I wanted actual discs to play in the car.  I’ve amazed a number of unsuspecting passengers with ESTRELLAS DE RADIO, and one even said, “Michael, I didn’t know you liked beautiful music like this!”  I do, and you will.

May your happiness increase!

GORGEOUS, THEN ACROBATIC: DAVID HORNIBLOW and ANDREW OLIVER PLAY MORTON

You won’t believe the goodness in store from the Complete Morton Project — that’s Andrew Oliver, piano, and David Horniblow, reeds.  Reliable and inspired, they have been providing weekly transfusions of what Ruby Braff called “aesthetic vitamins.”

Here’s the latest Offering, and it’s deeply satisfying.  The sensitive yet mobile BLUE BLOOD BLUES, a performance that seems simultaneously “on-the-spot” and the result of decades of study-into-play, and vice versa.  Those sounds!

and this — which requires not only another instrument but a new wardrobe — the astonishing FINGERBUSTER, aptly named:

Words fail me — but David and Andrew do not, not in the slightest.  Visit the Complete Morton Project for more joyous edification, even at slow tempos.  (I know it is futile to rail about such things, but when I see that fewer than a hundred people have subscribed to the CMP — a pittance in the cyber-world — while other “music” phenomena have nearly ten thousand subscribers, I wonder . . . . )

May your happiness increase!

TENDERLY SWINGING: GUILLEM ARNEDO, MICHAEL KANAN, CELESTE ALIAS, JAUME LLOMBART, JORGE ROSSY, DEE JAY FOSTER: “LET’S SING O. HAMMERSTEIN II”

Eighty years ago, jazz fans — that small ferocious bunch — were often parochial in the extreme: “How good could X could be if we’ve never heard of them before?” “How good could they be if they were born someplace that wasn’t New Orleans, New York, Chicago?”

But that attitude vanished, I hope, long before the internet made swinging international relations not only plausible but a fact of life.  (I admit that parochialism exists in 2018 in subtler forms: “How good could she be?  She doesn’t have any YouTube videos or a Facebook page!” but let us close our eyes and wait for that spasm to pass.)

I had not heard of drummer / bandleader Guillem Arnedo before 2017 — but since he came with the recommendation of pianist-hero Michael Kanan, I knew he would be more than OK.  Michael has splendid taste.

And when I heard the CD, LET’S SING OSCAR HAMMERSTEIN II, I was delighted.  But first, let me offer some of the delicate, sweetly energized music that Guillem and friends create.  And credit the musicians: Guillem, drums; Celeste Alias, vocals; Michael Kanan, piano; Jaume Llombart, guitar; Jorge Rossy, vibes / marimba; Dee Jay Foster, string bass.

PEOPLE WILL SAY WE’RE IN LOVE:

OUT OF MY DREAMS:

I think that is wonderful music: light-hearted and deeply felt all at once.  The songs are HAPPY TALK / THE SURREY WITH THE FRINGE ON TOP / MAKE BELIEVE / SOME ENCHANTED EVENING / WE KISS IN A SHADOW / MARCH OF THE SIAMESE CHILDREN / GETTING TO KNOW YOU / MY LORD AND MASTER / PEOPLE WILL SAY WE’RE IN LOVE / OUT OF MY DREAMS / BALI HAI / BILL / CAN’T HELP LOVIN’ DAT MAN / THIS NEARLY WAS MINE.

And here’s what I wrote.

The great theatre and film composers weren’t always happy when improvisers “took liberties” with their songs. Rodgers and Hart made their resentment known in “I Like to Recognize the Tune.” Jerome Kern’s estate sued Musicraft Records to stop them from issuing Dizzy (with strings) playing Kern. (Eventually, they relented.)

But the tradition of jazz musicians improvising on Broadway and film songs is almost a century old. Variations on new pop hits or familiar themes sold records and the results were sometimes more memorable than what was on the sheet music. Think of Paul Whiteman’s WHY DO I LOVE YOU? and Bix’s OL’ MAN RIVER; thirty years later, Vic Dickenson’s OH, WHAT A BEAUTIFUL MORNING, Emmett Berry’s PEOPLE WILL SAY WE’RE IN LOVE, all the way to the summit: of Louis’s YOU’LL NEVER WALK ALONE.

Here, leader / drummer / arranger Guillem Arnedo selected melodies he admires and everyone treats them tenderly. That approach might seem too traditional to some. But what sets this CD apart from a Fifties “A JAZZ VERSION OF [insert famous Broadway show or musical film title]” is a gentle pervasive originality, audible as a series of small sweet surprises.

Guillem told me, “I found out that a lot of tunes that I love have Hammerstein’s lyrics. So instead of doing a tribute to Hammerstein and Rodgers or Hammerstein and Kern (his two big associations) I found it more interesting to focus on Oscar and all the marvelous plays he co-wrote. Besides, my band focuses its attention a lot not only on melodies but also to lyrics, poetry. That’s something I learned from Michael Kanan, that to understand and get deep into a song you must know the lyrics. The arrangements and decisions about which tune is instrumental or to be sung were mine. Nevertheless, you can find the Kanan blend in some little arrangements he did spontaneously.”

Listeners will find pleasure wherever they turn, but I’d recommend PEOPLE WILL SAY WE’RE IN LOVE for a start – the quiet duet of Celeste and Michael quietly exploring the verse, then Michael’s irresistible transition into the chorus, with everyone rocking immediately (embodying Jake Hanna’s “Start swinging from the beginning!”)

The band sounds gorgeous (and is beautifully recorded) throughout. Celeste is capable of shy tenderness or determined energy, each shading with its own shimmer. Michael continues to honor Jimmie Rowles with intuitions that touch our hearts. Each stroke that Guillem creates – stick, cymbal, or brush – seems just the right impressionistic touch. D.J.’s bass playing – resonant, woody, trustworthy – is precisely our cup of tea. Jorge is lyrical, eloquent, yet terse, even when playing what sounds like the world’s largest marimba. Jaume creates delicate hymns or propulsive lines: hear his meditation for the SIAMESE CHILDREN.

On this disc we find the most familiar songs shining brightly, sounding as if they were composed yesterday. Listeners may begin to sing along, whether or not they planned to, because the melodic momentum is irresistible. Guillem and friends have created a wondrous aural landscape: delightfully varied, completely uplifting. I am sure that Oscar, Dick, and Jerry approve.

Rereading these notes while the disc is playing, I feel guilty of understatement, of atypical restraint.  The music on this CD is just splendid — all the instrumentalists in solo and ensemble, and Celeste’s touching yet tangy singing.  I hope this post makes up for my praise being more quiet than it should have been.  To buy the CD, please visit here.  I believe that downloads are also available from the usual suspects.

May your happiness increase!

YES, IT’S STILL POSSIBLE! (Part One): KRIS TOKARSKI, JONATHAN DOYLE, LARRY SCALA, NOBU OZAKI, HAL SMITH at the SAN DIEGO JAZZ FEST (November 24, 2017)

Sometimes, as a devout jazz enthusiast, I feel caught between two ideologies — rather like a kernel of corn watching the two stone wheels approach. One group of fans insists that all the great music has already been made: that there’s really no point in leaving the house, because Lester and Louis and Hawkins are dead, so these fans bury their heads in their speakers and do takeout.  Another group embraces the new jazz flavors of the month, and insists that Hank McGillicuddy and his Stompers are as good as Basie at the Famous Door, and by the way, Zelda Red-Dress “brings Billie back.”  She doesn’t, but if you think so, that’s nice.

I offer a third possibility: that there are musicians who don’t have contracts with Jack Kapp or Eli Oberstein; they don’t pack the Palomar or the Savoy — but they are alive today, you can speak to them, they inhale and exhale — and they do that thing splendidly.  They are worth leaving the house for.

One shining example of this phenomenon — why I call this blog JAZZ LIVES rather than JAZZ NEEDS DUSTING — is the small group led by pianist Kris Tokarski that swung like mad at the 2017 San Diego Jazz Fest.  Along with Kris, they are Jonathan Doyle, clarinet and tenor saxophone; Larry Scala, guitar; Nobu Ozaki, string bass; Hal Smith, drums.  No too-small brightly-colored matching polo shirts; no funny hats; no group vocals.  Just wonderful music, sweet when it’s called for, hot enough to make us sweat.

Here are four examples.  Jazz thrives.

LOVE IS JUST AROUND THE CORNER, evoking Crosby and Condon:

and what Kenny Davern used to call “face to face”:

and an explosive LITTLE GIRL:

and a lovely pensive MEMORIES OF YOU:

May your happiness increase!

TWO ORIGINALS PLAY THREE ORIGINALS: JOEL FORRESTER and DAVID HOFSTRA at JULES (May 13, 2018)

Another Sunday afternoon with pianist-composer Joel Forrester at Jules, 66 St. Marks Place in New York City.

JOEL FORRESTER, photograph by Metin Oner

This afternoon, Joel brought along a dear friend and deep colleague, string bassist David Hofstra, who has been a mainstay of the Microscopic Septet for years.  Joel and David have been playing alongside each other since the Seventies, and their first recording is from 1980.

My readers have already heard or read me being seriously enthusiastic about Joel’s original compositions and his improvisations: they honor many traditions but fit neatly into no shoebox-sized category.  But since I don’t think I’ve ever witnessed Joel and David together as a duo, may I call your attention to the latter’s beautiful choice of notes, his steady unforced time, his gentle lyricism? David is no antiquarian (I’m older than he is, if the online data is right) but he harks back to a time when the string bass was both treated with respect and known as the harmonic and often moral foundation of the music in which it worked.  Just beautiful — and the two players here are in splendid intuitive harmony.

PHILLIP’S BLUES (which I presume is in honor of Microscopic Septet’s co-leader, saxophonist / composer Phillip Johnston):

Gentle meditations on the finite, NOTHING LASTS FOREVER:

A compact Frolick, LOOK TO YOU:

Joel will be at JULES all summer — solo, duo, trio.  He and Mary are off to France for a year in September, so savor this music while he — and friends — are here.

May your happiness increase!