Tag Archives: NOLA

THE CAPTAIN STRIDES BY (Part Two): JOHN ROYEN’S NEW ORLEANS RHYTHM at the SAN DIEGO JAZZ FEST: JOE GOLDBERG, JOHN OTTO, RILEY BAKER, MARTY EGGERS (December 1, 2019)

Photograph by Alex Matthews, 2014, with Marty Eggers and Katie Cavera.

John Royen is a masterful musician, and it was an honor to encounter him at the 2019 San Diego Jazz Fest.  Here‘s the first part of the story, with performances including Hal Smith, Marty Eggers, Katie Cavera, and Dan Levinson, as well as a dramatic medical tale.

But wait! There’s more.

At the very end of the festival, John assembled a delightful small band with Joe Goldberg, clarinet; Riley Baker, drums [you can’t see him, but you can certainly feel his reassuring pulse]; Marty Eggers, string bass — and, on JUST TELEPHONE ME, the delightful reedman John Otto joined in.  Here are the first performances from that set.  Not only does John play up a storm, but he is a wonderful bandleader — directing traffic and entertaining us without jokes.  If you follow JAZZ LIVES, you already admire Marty Eggers, but Riley’s drumming is better than wonderful, and it’s lovely to hear Joe out in the open like this (he’s one of the sparkplugs of Hal Smith’s On the Levee Jazz Band also).  How they all swing!

I always think I am weary of INDIANA, since so many bands play it too fast in a perfunctory manner, but John’s version is a refreshing antidote to formula:

Then, a highlight of the whole weekend — John Otto brought his alto saxophone and John Royen led the band into a song you never hear north of NOLA — (WHENEVER YOU’RE LONELY) JUST TELEPHONE ME, with a particularly charming vocal — charming because it’s completely heartfelt:

Alas, John Otto “had to go to work,” so he couldn’t stay — I would subsidize a CD of this band, by the way.

I have some of the same feelings about AIN’T MISBEHAVIN’ that I do about INDIANA — many bands run through it too quickly (it is a love song, dear friends) and call it when they can’t agree on the next selection . . . but here John, Joe, Marty, and Riley restore its original character.  And don’t miss John’s surprising bridge:

People who don’t know better will assert that SHINE is a “racist” song — they and you should read the real story — SHINE, RECONSIDERED  — and this performance shines with happy energy:

Since it doesn’t do anyone good to unload the whole truckload of joys at once, I will only say here that five more performances from this set are just waiting for a decent interval.  Watch this space.  And bless these inspired players.

May your happiness increase!

“I ALWAYS BEGIN WITH THE EYES”: MAGDA BOREYSZA’S GLITTERING IMPROVISATIONS

I am neither an art connoisseur or collector, but recently, I have had the wonderful luck of being able to follow three artists, directly or tangentially connected to jazz, whom I also personally admire.  There’s John Scurry and Ivana Falconi Allen.  To that inspiring warm company I now add Magda Boreysza.

I first took note of Magda’s work this summer when I saw this poster, had an immediate fierce infatuation with it, bought two, and spoke with her in cyberspace.  This post is my idea, although many of the words are hers.

She is a three-dimensional jazz improviser, inventing worlds we hadn’t thought of before, populated with immaculately drawn and vividly imagined creatures.  Her scope is ever-expanding: she’s not primarily a “jazz artist,” but those two works — depicted here — were my entryway into her universes.

Here she is:

I think of my pictures as stories, and I always start with a character. As I draw, the character tells me what else is happening in the story/picture. I always begin with the eyes. They reveal who the character will be. All my imagery comes from the same world, where the boundaries between human and animal are blurry.

Cue theme music:

All my work is drawing-based, but I work in different mediums. I self-publish comics, I make painted ceramic masks, I’m a printmaker, and I also make regular drawings, which I sell as reproductions. I found I would rather draw my own ideas rather than working to someone else’s specifications. But from time to time, I will make an album cover or a poster for my musician friends.

Juju’s Jazz Band Ball is an event organized by my friend Ewan Bleach, of the Cable Street Rag Band. He asked me to create a poster, and we agreed that it should feature foxes and other feral animals found in the streets of London. I imagined their wild party, their jazz dance, and I tried to capture that energy as well as a typical alley in the Brick Lane area of London. The animal musicians are based on the band members.

I was born in Poland but mostly grew up in the south of Sweden, before moving to Scotland and eventually to New Orleans. I’m married to a jazz musician, Robin Rapuzzi, who plays washboard and drums in Tuba Skinny. Because of this, I’m immersed in the world of music, and I have myself started playing, mainly the bass drum and some auxiliary percussion.

At the Edinburgh College of Art, in Scotland, I specialized in traditional animation techniques, and I made a hand-drawn film for my Master’s — A Game of String, available to stream http://foxandcomet.com/post/113892897077/a-game-of-string-hand-drawn-animation-2010.

As for the Frog & Henry poster, I just wanted to make a silly image, and I was inspired by old cartoons, where objects are sentient.

These things and people inspire my work: Tove Jansson’s Moomin books. The works of David Lynch. Nature, animals, wilderness. Pagan folklore and ritual. Medieval western European religious art, such as the paintings of Hieronymous Bosch and Hans Memling. Alice’s Adventures in Wonderland, with John Tenniel’s original illustrations.

Here is Magda’s Facebook page. You can see more of her work here, and more importantly, you can buy it here.  Her imagination is spacious, sometimes dark and luminous at the same time, and she invites us in.

May your happiness increase!