Tag Archives: Nancy Hancock Griffith

HOT, SWEET, HOTTER: ROSSANO SPORTIELLO and FRIENDS at CLEVELAND (Sept. 15, 2017), PART TWO: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, FRANK TATE, HAL SMITH

I posted the first part of a frankly incendiary set from the now-lamented Cleveland Classic Jazz Party here, and it seems just the right time to offer the three performances from the second half.

ROSSANO.

Rossano and his majestice friends — Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet; Scott Robinson, tenor saxophone; Frank Tate, string bass; Hal Smith, drums — really know how to do it, to play the venerable repertoire with loving care so that it doesn’t seem stale or by-the-numbers, with heartfelt solos, intelligent ensemble work, and lovely tempos.

Here’s Kid Ory’s SAVOY BLUES:

Eddie Condon always mixed in beautiful ballads with the hot numbers, so Rossano features Dan Barrett in GHOST OF A CHANCE:

Since time was running out, the final number was compact — AFTER YOU’VE GONE.  But Rossano brilliantly said, “Four choruses, ensemble,” and offered us this memorable evocation of easy teamwork in the land of Hot:

Unforgettable.  And another reason to be grateful — to the musicians, to the traditions they embody, and to Nancy Hancock Griffith and Kathy Hancock.  We who were there know why.

May your happiness increase!

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“THE JOYS OF D*******D” (PART ONE): ROSSANO SPORTIELLO, DUKE HEITGER, DAN BARRETT, SCOTT ROBINSON, DAN BLOCK, FRANK TATE, HAL SMITH (Cleveland Classic Jazz Party, September 15, 2017)

Let the truth come out: the glorious pianist Rossano Sportiello loves Dixieland. Yes, that naughty word so scorned by many jazz listeners.

[An update: since I published this blog, with the word spelled out in full, I have been rebuked by several esteemed jazz journalists, a few of them friends, for my daring to print the obscenity, as if I were wrapping myself in the flag of the Confederacy.  “‘D*******d’ is the name given to the kind of music Rossano heard, loved, and played in his Milan youth.  And — should sensibilities still be raw — it’s the name Louis gave to what he played.  Do I need to cite a higher authority?]

Not, as he will point out, the homogenized variety, but the music he grew up listening to: Eddie Condon, Pee Wee Russell, Bobby Hackett, and their noble colleagues.

In 2017, for one of his sets at the much-missed Cleveland Classic Jazz Party, he chose to play the familiar repertoire . . . but with energy and love.  He called on Hal Smith, drums; Frank Tate, string bass; Dan Block, clarinet; Scott Robinson, tenor saxophone; Dan Barrett, trombone; Duke Heitger, trumpet, to accomplish this.  And even though these songs (or almost all of them) have been played to shreds by less-splendid musicians, they shine here.  Admire the relaxed tempos and fine dynamics: the hallmarks of players who remember what the songs are supposed to sound like, that MUSKRAT and BARBECUE have fine melodies that must be treated with care and admiration.

They began with the song Louis loved so well, STRUTTIN’ WITH SOME BARBECUE:

Again, thinking of Louis, a sweet-and-slow AIN’T MISBEHAVIN’:

Hot Five territory once more, but not too fast, for MUSKRAT RAMBLE:

There’s a second half, to come soon — classic performances, created on the spot.

Thanks not only to these delightful creators, but to Nancy Hancock Griffith and Kathy Hancock for making all this possible.  The Cleveland Classic Jazz Party is now only a sweet memory, but it was a glorious outpouring while it lasted.

May your happiness increase!

UNEARTHED TREASURES: MARTY GROSZ, DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, JON BURR, RICKY MALICHI at JAZZ AT CHAUTAUQUA (September 22, 2012)

A few more previously unseen beauties from the September 2012 appearance of Marty Grosz and his Sentient Stompers at the much-missed Jazz at Chautauqua, held at the Hotel Athenaeum.

Faithful readers will know I and my team of Oxford University-trained archaeologists have been uncovering marvels this year, featuring (collectively) Marty, Andy Schumm, Scott Robinson, John Sheridan, Kerry Lewis, Pete Siers, Jon-Erik Kellso, and Bob Havens.  The findings are on view here, and here,  and here.  Don’t push; don’t crowd.  All of them, including this post, come with great gratitude to Nancy Hancock Griffith, and those of us who were there know why.

And now, three more marvels by the gentlemen listed in the post’s title.  For the uninitiated, Marty Grosz, guitar and occasional banter; Duke Heitger, trumpet; Dan Barrett, trombone; Scott Robinson, taragoto, tenor saxophone; Dan Block, clarinet, bass clarinet, and trumpet; Rossano Sportiello, piano; Jon Burr, string bass; Ricky Malichi, drums.  And you’ll notice that these splendid improvisers are also sight-reading Marty’s arrangements, another thing to admire them for.

First a very Ellingtonian approach to the theme of erotic expertise:

Then, a swinging arrangement of TOO MARVELOUS FOR WORDS, with an intro that sounds like BIG CHIEF DE SOTA (also circa 1937) and with room for a wonderful surprise: Dan Block on trumpet:

Musical savagery from the early Thirties, with Dan Block’s bass clarinet solo:

What treasures!  To me, worth more than unearthed Troy.  But that’s just me.

May your happiness increase!

HIDDEN TREASURES, CONTINUED: MARTY GROSZ, ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, PETE SIERS: JAZZ at CHAUTAUQUA, SEPTEMBER 21, 2013

Jazz groups often choose well-established formats: the piano trio; the bebop quintet; the trad or swing sextet.  But “unorthodox” bands offer wonderful surprises.

“Tell us a story, Mister Grosz!” Photo by Lynn Redmile

Marty Grosz likes such original assemblages: two  horns, guitar and string bass, for instance, all unamplified.  And in the case of this morning set at Jazz at Chautauqua, not so long ago, Marty assembled two especially nimble horn players, a pianist, himself, and a very sensitive drummer who used snare and wire brushes only.  It happened in this century, but it felt like a dream of the old days, thanks to Andy Schumm, Scott Robinson, John Sheridan, and Pete Siers.  Now, thanks to the glories of teleportation, and thanks to Nancy Hancock Griffith, we can go there also.

Calling Mr. Berlin!

Marty without Fats just wouldn’t be Marty:

and a homage to the esteemed and elusive Horace Gerlach and his co-composer, Mister Strong:

Marty turned 88 — yes, eighty-eight — a few days ago.  He probably won’t see this post, but it is a deeply admiring salute to his delightful selves.  This place wouldn’t be the same without him.  And here’s a 2013 missive from MOG:

May your happiness increase!

HIDDEN TREASURE: MARTY GROSZ and THE CELLAR BOYS at JAZZ AT CHAUTAUQUA (Sept. 22, 2012): ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS

Marty Grosz and Bob Haggart, date and location not known

When you’ve shot as many videos as I have — over a decade’s worth — there’s a sizable treasure chest of the unseen.  Sometimes videos are buried for good reason, the primary one being musicians’ unhappiness with the results.  And since we aim to please, I don’t post what offends the creators.

But a few weeks ago, during an atypical tussle with insomnia, I was sitting at my computer at 3:30 AM, looking at unlisted videos stored safely on YouTube, and I found this rousing delight.  The musicians who like to approve of my postings have approved, so I can share it with you.  It’s a hot half-hour with Marty Grosz and his Cellar Boys, from Jazz at Chautauqua, probably a Sunday morning, the exact date noted above.

That’s Marty on guitar, vocal, commentary (yes, he does like to expound, but commenters who complain will be teleported to another blog); Andy Schumm, cornet and miscellaneous instrument; Scott Robinson, reeds and inventiveness; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.

The real breadstick, as Marty would say.

Sucrose, no corn syrup:

Don’t tell me different — I know I’m right!  Watch Andy and Scott do magic:

And a series of wonderful hot surprises:

Once, when I was in Dublin, I found the Oxfam charity shop (as they would call it) and sniffed out the small shelf of recordings.  Very little of interest, but there was one jazz lp — autographed by the band, and the band had Keith Ingham in it. I clutched it to my chest, fearful that someone would steal it away, and when I approached the cash register, the gracious woman volunteer looked at me, smiled, and said, “Well, YOU’VE found a treasure, haven’t you?”

That’s how I feel about these videos.  Blessings on the musicians and of course on Nancy Hancock Griffith, who made it all possible.

May your happiness increase!

MARTY GROSZ’S “BIXIANA”: “I’M LOOKING OVER A FOUR-LEAF CLOVER” (Jazz at Chautauqua, September 2011)

Days gone by, but not days beyond recall — afternoons and evenings in September 2011 at the Athenaeum Hotel in Chautauqua, New York — for the late Joe Boughton’s annual jazz weekend.  Because I am feeling more than a little melancholy at the news of the end of the Cleveland Classic Jazz Party, I thought I’d share some music from the glory days — to ease the feelings.

Here is one stomping example of the goodness that I was privileged to witness from 2004 to 2017.  It comes from a Marty Grosz set devoted to songs associated with Bix Beiderbecke, performed in styles he wouldn’t necessarily have known.  (Marty’s opening interlude reminds me pleasantly of Alex Hill’s MADAM DYNAMITE, recorded two years after Bix’s death.)

The band includes Marty, guitar and inventive arrangements; Andy Schumm, cornet; Dan Block and Scott Robinson, reeds; Dan Barrett, trombone; Jim Dapogny, piano; Jon Burr, bass; Pete Siers, drums, performing a song I know from the Goldkette Victor — a song of romantic optimism that is perhaps now best known in the banjo-and-let’s-all-sing genre, but it gets up and moves around nicely, not only because of the hot solos, but because of the truly varied and rich arrangement:

“We’ll always have Chautauqua.  And Cleveland,” says some famous film actor.

May your happiness increase!

THANK YOU, NANCY AND KATHY!

You might not think it from the picture, but two of these women have done the music we love an irreplaceable service, and not just once.

From the left, they are Kathleen Hancock, Abbey Griffith, and Nancy Hancock Griffith: grandmother, granddaughter, and mother.

What have they got to do with JAZZ LIVES, and with jazz?  Joe Boughton, hallowed and irascible, began a series of weekend jazz parties in the Eighties, which I encountered late in their existence, in 2004, as “Jazz at Chautauqua.” I’ve written elsewhere on this blog about these yearly ecstasies of music, friendship, coffee, Scotch, and music.  When Joe’s health began to fail, Nancy gently offered her assistance, both musical and practical — and she was quickly expert and invaluable in all things, from settling disputes about seating or who wouldn’t play with whom, and Chautuqua went on — even improved — after Joe died in 2010.

When the Allegheny Jazz Society moved itself to new quarters in Cleveland, Nancy and her mother, Kathy, took over the running of the Party.  Beautifully, without complaining about the year’s worth of labor such a weekend required.

I won’t go into the economics and logistics of running such a weekend, but even from my semi-outsider’s perspective, the work required had been massive.  And then there’s the financial balancing act.  Thus I was saddened but not entirely startled to read this letter from Nancy and Kathy on the 14th:

Cleveland Classic Jazz Party
All Good Things…

As they say,

— Go out on a high note.

So, after four years trying to make a go of the Cleveland Classic Jazz Party, we find we must take this advice. The 2017 Jazz Party was the best one yet, but unfortunately we find we cannot continue. We gave it our best shot.

This was a very hard decision for us, as we both dearly love this genre of music. We had hoped that we would be able to garner much more support in Cleveland for the Jazz Party, but we were never able to get to the break- even point — even with your generous donations. The costs involved in putting together the first-class productions we all appreciate are too high for us to absorb.

We are still trying to think of a way to continue to support traditional jazz in a small way, but for now, we find we need to disband the Cleveland Classic Jazz Party. We will always remember the wonderful friends we made, and the good times (and some of the challenges) we had along the way.

Many thanks to all of your for your support over the years. We hope to see you often at other jazz events and venues.

Warmest regards,

Nancy Griffith and Kathy Hancock

I could write many things here, but what needs to be said can best be said in music — in a performance from the 2015 Cleveland Classic Jazz Party, THANKS A MILLION, dedicated to Jon-Erik Kellso, by Duke Heitger, Rossano Sportiello, Scott Robinson, Nicki Parrott, and Ricky Malichi:

Nancy and Kathy gave time, energy, patience, good humor, and money — for years — to make these enterprises flourish.  Without them, my life would have been less gratifying.  Bless them! I send deep gratitude, and I know I am not alone.

May your happiness increase!