Tag Archives: Michael Steinman

DAN MORGENSTERN CELEBRATES CECIL SCOTT, DICK KATZ, AND NANCY HARROW (Sept. 29, 2017)

I won’t go on at length about my good fortune — having Dan Morgenstern patiently sit and tell wonderful stories to my camera so that you can all delight in his warmth, his first-hand experience, and his beautifully articulated love for the music and the musicians . . . but here are two interview segments from my most recent visit, September 29, 2017.

The first, a belated celebration of reedman and splendid figure CECIL SCOTT:

Here’s Cecil in a 1935 Oscar Micheaux film, MURDER IN HARLEM:

and one of my favorite recordings ever, Red Allen’s ROLL ALONG, PRAIRIE MOON (with Cecil and J.C. Higginbotham):

Here are Dan’s affectionate memories of someone who was much loved and is not, I fear, well-known today, pianist / composer DICK KATZ and the very much with-us NANCY HARROW:

On a personal note or two: I am more involved in this video than I usually am, and I hope our conversation bothers no one.  On the subject of conversation . . . as soon as I’d shut the camera off, I said to Dan, awe-struck, “YOU KNOW Nancy Harrow?” and through the kindness of Daryl Sherman and Dan, Nancy and I have met and exchanged compliments and gratitudes — a great blessing.

But back to DICK KATZ.  Here is Dick playing THERE WILL NEVER BE ANOTHER YOU:

and THREE LITTLE WORDS:

and with Nancy Harrow on a very touching rendition of IF YOU WERE MINE (I need no excuse to recommend Nancy to you):

Dan Morgenstern says, “Dick was a dear man.”  Dan Morgenstern is a dear man.

May your happiness increase!

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AN ABSOLUTE WOW: BROOKS PRUMO ORCHESTRA: “PASS THE BOUNCE”

Probably no one is asking forlornly, “Are the Big Bands going to come back?” because we once thought we knew the gloomy answer.  But hearing this disc, I feel bursts of swinging optimism cascading around me.  Brooks Prumo Orchestra has done the best magic: evoking past glories without imitating them.  If you heard this disc from another room, you might think, happily, that a new cache of Bill Savory’s discs has descended from Heaven (something that will, in fact, be true soon) — but these musicians are alive and ready to swing out on their own terms, in their own remarkable voices.

And speaking of voices, this is my first real introduction to Alice Spencer, who has one of the greatest voices I have heard in this century — supple, witty, multi-colored — and she knows what to do with it.

Artwork by Laura Glaess. 

The songs: BOLERO AT THE SAVOY / DICKIE’S DREAM / BENNY’S BUGLE / NOTHING TO DO BUT HANG WITH YOU / LOSERS WEEPERS / DINAH / JUMPIN’ WITH SYMPHONY SID / SWING, BROTHER, SWING / SIMPLE SWEET EMBRACE / SIX CATS AND A PRINCE / PASS THE BOUNCE / ESQUIRE BOUNCE / JUMP JACK JUMP / I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME / THE LAST JUMP (A JUMP TO END ALL JUMPS – SILVER SHADOWS) / STARDUST.

And, lest you feel overwhelmed by words, you can go here and hear the CD.

Now, “a mission statement” from Brooks:

“The Brooks Prumo Orchestra was created for swing dancing.”

For me, big band music from the Swing Era is my favorite music for swing dancing. I wanted to put out an album only of tunes that were either original compositions, original arrangements, or remakes of tracks where the original version did not have a good recording. Please take a look at the inside liner notes for info about each track. Hopefully this release is a positive contribution to the world of swing music and swing dancing!  In addition to the tracks themselves, I also wanted to hit a wide range of tempos for dancing. This album has songs at approximately the following tempos: 235, 230, 225, 210, 190, 180, 175, 160, 155, 145, 140, 135, and 125 beats per minute.  Every single song on this recording holds a special place in my heart. I truly hope you enjoy it and thank you for your support!

The Musicians: Alice Spencer, vocal; Hal Smith, drums; Ryan Gould, string bass; Dan Walton, piano; Brooks Prumo, guitar; Marcus Graf, Adrian Ruiz, trumpet; David Jellema, cornet, clarinet; Mark Gonzales, trombone; Greg Wilson; alto sax; Dan Torosian, alto sax, baritone sax; Jonathan Doyle, tenor sax, clarinet; Lauryn Gould, tenor sax, soprano sax.

About the music: some of the names above will be familiar to you if you’ve heard The Thrift Set Orchestra, the Sahara Swingtet, or Jonathan Doyle’s groups.  And certain names in that personnel have well-deserved star status.  Worth repeating: musicians have praised Alice Spencer to me, but she comes through this CD like a gorgeous swing breeze, with a big wink, as if Joan Blondell had taken swing lessons and graduated at the head of her class.

The rhythm section of the BPO is just peerless.  And let us say “Hal Smith!” all together, reverently.

The sections hit together wonderfully, and the solos — often by Jellema, Doyle, Gonzales, Walton, Ruiz — although everyone gets a taste — are idiomatic yet free.  I know there are charts on this session, but the band and Alice swing out from their hearts.

The only side-effects from this music might be silly grinning and bouncing around one’s domicile, and these side-effects will persist after the disc is no longer spinning.  Don’t tell your doctor: tell everyone!

The repertoire draws on Basie, Goodman, Krupa, Shaw, with a few original arrangements and original tunes thrown into the mix — performances that evoke Commodore and Keynote sessions, Lester Young, Tommy Dorsey, Billie Holiday, Andy Kirk.  But the BPO is not a machine devoted to “playing old records live”: they sound wonderfully like a 1940-44 Basie small group with a few extra friends along for the joyride.

PASS THE BOUNCE contains highly seductive music.  Even though my ballroom dance instructor and my neurologist suggested — a decade apart — that I was not going to impress anyone on the dance floor, this CD makes me feel as if I can dance.  Even better, that I should be.  It’s that lovely and encouraging.

Make your holiday season rock . . . or any season.  This CD is seriously joyous.  Grab a few copies here — or if you prefer to download and stream (having it your way) that door is wide open as well.  And the BPOrchestra’s Facebook page is here.

It is more reassuring than I can say that such music is getting played and recorded: maybe the end of civilization as we know it can be postponed for a bit?

May your happiness increase!

KRIS AND HIS GANG: MORE FROM THE SAN DIEGO JAZZ FEST: KRIS TOKARSKI, HAL SMITH, LARRY SCALA, JONATHAN DOYLE, NOBU OZAKI, MARC CAPARONE (Nov. 26, 2017)

Dawn Lambeth, Kris Tokarski, Larry Scala, Nobu Ozaki, Hal Smith, Jonathan Doyle, Marc Caparone at the San Diego Jazz Fest

Oh, how they swing.  This band is one definition of happiness.

See here for their version of MY GAL SAL which continues to bring great pleasure, with the same heroes: Kris Tokarski, piano; Hal Smith, drums; Larry Scala, guitar; Jonathan Doyle, clarinet and tenor; Nobu Ozaki, string bass; Marc Caparone, guest nobleman, on trumpet.

And Edgar Sampson’s fervent wish, IF DREAMS COME TRUE:

Don Redman’s CHERRY:

and Alex Hill’s I WOULD DO ANYTHING FOR YOU:

Not only might they do anything for us, or would do anything for us: they DO.  And so splendidly.  I recorded another four sets (if memory serves) so there might be a few more delicacies to come.  Such joy, such generosity of spirit, such art.

May your happiness increase!

“WE CALL IT MUSIC” (PART TWO): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)

It’s only music.  Don’t be afraid of the unfamiliar.  Everything good was unfamiliar once, and that includes ripe apricots.

Here‘s Part One of the Musical Offering.  And here’s the text for what follows:

Randy Weston’s late-Fifties composition SAUCER EYES, is here exuberantly performed on September 14, 2017, by a comfortable assemblage of all-stars at the 2017 Cleveland Classic Jazz Party: Dan Block, tenor saxophone; Scott Robinson, tenor saxophone; Ehud Asherie, piano; Joel Forbes, string bass; Pete Siers, drums.  I hadn’t known the tune, but after hearing it, it is now permanently stuck in my head, in a good way.

I like it, I like it.

May your happiness increase!

“MY GAL SAL”: KRIS TOKARSKI, JONATHAN DOYLE, HAL SMITH, LARRY SCALA, NOBU OZAKI, MARC CAPARONE at SAN DIEGO (Nov. 26, 2017)

Imagine a small band, perfectly balanced, without excess in any way, that honors the Basie rhythm section, the Goodman Sextet with Charlie Christian, Fifty-Second Street, steadiness, great lyricism, allying Teddy Wilson and Al Capone for a few minutes.  What if you didn’t have to imagine this marvel?  Yes, they existed for more than five sets — outside the recording studio — and you can enjoy them here.

The generous benefactors of small-band swing are Kris Tokarski, piano; Jonathan Doyle, tenor saxophone; Hal Smith, drums; Larry Scala, guitar; Nobu Ozaki, string bass; Marc Caparone, trumpet.  All of this took place on Sunday, November 26, 2017, at the San Diego Jazz Fest.

The song they chose was the venerable MY GAL SAL, from 1905, music and lyrics by Paul Dresser, whose older brother Theodore Dreiser — the original family name — is more famous, although Theodore could never restrict himself to thirty-two bars.  Paul’s story is fascinating and sad: read about it here.

Hal Smith reminded us that SAL was Al Capone’s favorite song.

It’s one of those harmonically simple compositions that can be played at a number of tempos, but Kris wisely starts it off at an easy bounce.

A digression.  I am a relentless armchair critic.  Even though my own musicianship is at best faded, I sit in front of the speaker or the musicians or the video and say (thank goodness, silently) “That tempo is too fast.  He missed a chord in the bridge.  She could have taken a third chorus!” and so on.  But in this performance I wouldn’t change a note, a tone, an inflection, from intro to riffs to the ending.  It’s “in the pocket” deeply and splendidly, a Keynote session realized in front of our eyes in 2017.

During this set, someone’s phone in the audience rang and rang, and Marc Caparone, dangerously witty, said to us, “Teddy Wilson’s calling. He wants his rhythm section back.”

I will post more videos by this band, because I followed Kris, Jonathan, Larry, Hal, and Nobu for five hour-long sets at San Diego.  And if you haven’t seen the other performance I’ve posted — an absolute masterpiece — check it out here.

What a blessing to see and hear these musicians, and a greater blessing to be able to share their work with you.

P.S.  (Pro tip for aspiring videographers: we in the trade ask the musicians for their permission to shoot video before the music starts, and we clear it with the musicians before posting.  That’s what makes us different from the amateur with the iPhone at the back of the room.)

May your happiness increase!

SENSATION! THE ORIGINAL CORNELL SYNCOPATORS with KATIE CAVERA at the SAN DIEGO JAZZ FEST (November 26, 2017)

The Original Cornell Syncopators, relaxing at the 2017 San Diego Jazz Fest.

They’re college students — 20 and 21 — they’re very intelligent and enthusiastic — and they play a kind of hot jazz that’s rarely heard these days.  And they play it with love. They’re the Original Cornell Syncopators, led by multi-instrumentalist Colin Hancock.  This is their five-piece incarnation, with Colin on cornet and vocal, Hannah Krall on clarinet and saxophones, Rishi Verma on trombone, Amit Mizrahi on piano, and Noah Li on drums.  For this Sunday afternoon set at the San Diego Jazz Fest, they were also graced by Katie Cavera, banjo and vocal, who has graduated from her own college and now teaches by exuberant example.

The Syncopators have a special place in my heart because they are exploring different areas of hot improvised jazz that are usually neglected.  I revere Louis, but this band is curious about kinds of hot jazz that are not heavily Louis-influenced; they often concentrate on bands from the Middle West: all of this is enlightening and their playing has that delightful youthful zest, the way the music must have sounded when it was brand-new, say, in 1924.

SENSATION RAG:

CHRISTINE:

WHO CAN YOUR REGULAR BE, BLUES:

FIDGETY FEET:

THE CO-ED:

ANGRY:

Here ‘s a very recent profile of leader Colin Hancock, an intriguing artist and a good fellow in the bargain.  And here is the band’s Facebook page.  The band has just released its debut CD — the cover below — which offers not only the quintet but the twelve-piece dance band and several other combos in between.  I’ve heard a few tracks and it’s marvelous.  So far, I think it is available on Spotify and iTunes, and a physical disc is in the works.  Details here.

I admire these young musicians tremendously, and think you will also.

May your happiness increase!

“MY DREAMS ARE ON PARADE”: DAWN LAMBETH, KRIS TOKARSKI, LARRY SCALA, MARC CAPARONE, HAL SMITH, NOBU OZAKI at the SAN DIEGO JAZZ FEST (November 26, 2017)

“A tender plea” is what the fine writer Harriet Choice calls this Sammy Cahn / Saul Chaplin song.  PLEASE BE KIND speaks of the vulnerability of love — the way we say “Here is my heart” to the person whose love we gently ask for.  When the plea doesn’t work, we could feel as if we’d painted an archery target on our t-shirt.

But when neither person has arrows or bow, happiness is possible, blossoming out of mutual understanding.  Kindness becomes the common language, enacted more than spoken.

I’d heard many great versions of this song, by Mildred Bailey, Frank Sinatra, Carmen McRae — but this version, performed at the San Diego Jazz Fest just a few days ago (November 26, 2017) is slower, more tender, and infinitely more touching than any of the more famous ones.

Dawn Lambeth sings it from her heart, as if it mattered, which of course it does.

I’ve known Dawn’s music for nearly fifteen years, thanks to the blessed and much-missed Leslie Johnson, of The Mississippi Rag, who offered me a copy of her first CD, MIDNIGHT BLUE, to review.  And from the first notes of “If I Were You,” I knew I was listening to a splendid artist: someone who understood the words, who knew how to swing, whose voice was a gentle warm embrace of the song and the listener.  And although it might be rude to speak of an artist “improving,” the emotional riches Dawn offers us now are lasting gifts.

Pianist Kris Tokarski’s little band is just spectacular — Kris on piano, Larry Scala (who set the magnificent yearning tempo) guitar; Jonathan Doyle, tenor saxophone — showing his heart utterly as well; Nobu Ozaki, string bass; Hal Smith, drums; Marc Caparone, trumpet.

I know that comparisons are precarious, but this performance hits me gently where I live — as Louis and Lester do.  Allergies are not the reason my eyes are suddenly damp.

This performance quietly says to me that even in the darkest moments, when I might think all is harsh and hard, “No, kindness and beauty and subtlety have not been lost and will not ever be lost.”

I hope you watch and re-watch this performance, that you go away with words and melody in your mind and ears, and that you, too, make the choice to be kind. It always counts.

May your happiness increase!