- DAN MORGENSTERN CELEBRATES CECIL SCOTT, DICK KATZ, AND NANCY HARROW (Sept. 29, 2017)
- AN ABSOLUTE WOW: BROOKS PRUMO ORCHESTRA: “PASS THE BOUNCE”
- 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)
- “WE CALL IT MUSIC” (PART TWO): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)
- “MY GAL SAL”: KRIS TOKARSKI, JONATHAN DOYLE, HAL SMITH, LARRY SCALA, NOBU OZAKI, MARC CAPARONE at SAN DIEGO (Nov. 26, 2017)
- SENSATION! THE ORIGINAL CORNELL SYNCOPATORS with KATIE CAVERA at the SAN DIEGO JAZZ FEST (November 26, 2017)
- “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)
- “WE CALL IT MUSIC” (PART ONE): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)
- FROM THURSDAY ON (November 23-26, 2017)
- LOUIS GOES WEST: 1946 and 1950
- “RAGSTRETCH” IS GOOD FOR YOU
- HILARY GARDNER and EHUD ASHERIE: “THE LATE SET”
- MARTY GROSZ’S “BIXIANA”: “I’M LOOKING OVER A FOUR-LEAF CLOVER” (Jazz at Chautauqua, September 2011)
- THANK YOU, NANCY AND KATHY!
- GIBSON, STRAIGHT UP: BANU CHARMS US ONCE AGAIN (Jeff and Joel’s House Party, October 13-15, 2017)
- “LESSONS LYRICAL”: PETRA VAN NUIS and ANDY BROWN
- “GEORGE WETTLING, ARTIST,” by HANK O’NEAL (October 27, 2017)
- DANCING IN SOUND: KRIS TOKARSKI, JAMES EVANS, HAL SMITH (Bombay Club, Sept. 22, 2016)
- MORE HOT JAZZ IN THE GARDEN OF EDEN (Part Three): THE NEW WONDERS (MIKE DAVIS, JOE McDONOUGH, RICKY ALEXANDER, JARED ENGEL, JAY RATTMAN, JAY LEPLEY): AUGUST 20, 2017
- NANCY HARROW, ENCHANTER
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Tag Archives: Paris
I appreciate the comfort of improvising on familiar themes: I haven’t tired of the blues or BODY AND SOUL. But even the most “traditional” of listeners can find that venturing beyond one’s fenced front yard can be uplifting. A new CD, INTRODUCING MUSETTE EXPLOSION, is a happy, bracing exploration of fresh fields and pastures new (the lively cover art, befitting the music, is by Na Kim). The three impish yet serious improvisers on this disc are Will Holshouser, accordion / compositions; Matt Munisteri, guitar and banjo; Marcus Rojas, tuba.
The music they are exploring is French musette — dance-based pop music of Paris that flourished in the last century. A listener new to the form will hear some Django-connections, both literal (one of the compositions is the Reinhardt-Grappelli SWING 39) and whimsical — some songs are by the virtuoso accordionist Gus Viseur, others by guitarist Baro Ferret. But this isn’t another by-the-numbers Django-and-Stephane tribute, and the music has its own vivid energies, its own quirky turns.
Each track seems a small musical drama all its own — not simply an attempt by jazz musicians to pretend to be French strolling street musicians, but their delightful variations within and around the form.
Some performances instantly suggest films that haven’t yet been created (and there are a few neat aural interpolations — witty surprises that don’t feel hackneyed) but each track is its own dance. In fact, it is easy to listen to the whole disc at a sitting as if one were at a chamber-music concert with ten movements in a suite. (This variety, never forced or abrupt, is something few discs offer.)
This isn’t to suggest that the music is “contemporary classical,” with all the intellectual rigor implied by that name, because this trio swings. The performances are affectionate but I wouldn’t call them sentimental: no berets and striped sailor shirts are audible in this hour of music.
I first heard accordionist Holshouser on a Matt Munisteri CD, and was immediately impressed with the easy grace he brings to an instrument that, in other hands, can be melodramatic and rhythmically constrained. Munisteri shines wherever he is; he consistently improves the landscape — enough said. Tubaist Rojas is not only a splendid player who makes his instrument as light-hearted and melodic as any French hornist, but he is also a deft musical impersonator: the bird songs or whale murmurs heard on this CD come from him. (I was reminded of hornist Jimmy Buffington, and that is not small praise.)
In his notes, Will writes that he and Matt “got hooked” on French musette music — seduced by the “dark beauty and thrilling virtuosity” they heard in the classic recordings, “passionate and sweet, but played with a fierce edge — like jazz.” But rather than create a repertory project, another set of old records in contemporary fidelity, they brought jazz players’ vigor and willingness to explore to the songs and conventions they had grown to love, finding new ways to improvise on the material.
And as brilliant as Will, Matt, and Marcus are as soloists, they come together marvelously as ensemble players — something is always going on in every performance, and this combination of instruments that would seem odd or unbalanced in other hands sounds complete and rich here.
You can hear brief samples of the music on Will’s site here. The band has been captured on video, playing SWING VALSE:
and GITAN SWING:
Those who are members of the Terry Gross Fan Club have already heard Will play and talk about this band and their music on NPR’s FRESH AIR, but that fascinating segment can be heard here. The band’s Facebook page is here. And the disc itself can be found in all the old familiar places: CD Baby, Amazon (may I gently urge readers to investigate Amazon Smile, where a percentage from one’s purchases goes to a charity one selects), or iTunes.
I find this music happily atmospheric, so I offer a suggestion that is part challenge. I hope some creative film-school or drama-school type finds this music and begins to make short films, no dialogue needed, with each track as a central character in a theatre piece or a short film. Those who aren’t making films, writing, directing, or acting in theatre can simply buy copies of the disc or download it — rare pleasures are in store.
May your happiness increase!
It wasn’t a matter of playing high notes, for other trumpeters have gone higher, but the ease with which Coleman accomplished his arcs in the sky. Most astonishingly, he made the whole thing sound so easy, which even non-trumpeters will know is a great feat of magic. And his sound! Not brass and valves and air pressure and force, but “gold to airy thinness beat.”
Here he is in glossy form in late 1935 in Paris:
The band was billed as “Garnet Clark and his Hot Club’s Four,” with Bill on trumpet and vocal; George Johnson, clarinet and tenor; Clark, piano; Django Reinhardt, guitar; June Cole, bass.
Here’s Bill in 1972 — playing fluegelhorn, his sound heavier, and darker, but still masterfully light.
We have this clip from a French television program, “Jazz Harmonie,” thanks to trumpeter and film scholar Bob Erwig. Bill is joined by Marc Hemmeler, piano; Jimmy Gourley, guitar; Pierre Sim, bass; Michel Silva, drums.
And — thanks to eBay — Bill signs in, too:
Postscripts: I realized, perhaps too late, that this blogpost was seriously indebted to that of my friend Michael McQuaid, hot musician from Australia, who had recently paid homage to Bill with THE OBJECT OF MY AFFECTION. The evidence of the borrowing is here, but the theft was purely imitation as the sincerest form of flattery. And — also from Oz — the trumpet player who most reminds me of Mr. Coleman is the equally dazzling Bob Barnard.
That’s Luigi Grasso (alto saxophone), Nicolas Dary (tenor), Ehud Asherie (piano), Mathias Allamane (bass), and Philippe Soirat (drums), playing BEWITCHED (Luigi) and SERENADE IN BLUE (Nicolas) — recorded at the Sunside in Paris, February 2, 2011. Lovely!
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The music historian ANTHONY BARNETT does nothing halfway, and his enterprises are never predictable. He is a scholar — a term I do not use casually – on the subject of Jazz violin who has published extensive bio-discographies of Eddie South and Stuff Smith. He has also done remarkable research on less famous players (Harry Lookofsky, Ginger Smock), and published a journal devoted to violin improvisation. But Barnett does not restrict himself to print: his AB Fable CDs are full of marvels: airshots of Stuff Smith leading a band of Fats Waller alumni; homemade 78s of Ray Nance, Ben Webster, Jimmie Blanton, and Sonny Greer jamming; a 1966 home recording of Rex Stewart and Stuff Smith chatting and playing. Scratchy one-of-a-kind acetates are restored carefully and annotated superbly. And all of his research is presented in lively, witty, and sharp-edged prose. I would expect no less from a poet who has also been a percussionist with Don Cherry and John Tchicai.
Barnett’s newest project is unusual even for him, and its lengthy title doesn’t even begin to explain it: LISTENING FOR HENRY CROWDER: A MONOGRAPH ON HIS ALMOST LOST MUSIC with the poems and music of Henry-Music (Allardyce Book / AB Fable Recording, 2007, paper, 128 pages, with CD). I had never heard of Crowder or his music, but that is the point. The most superficial way to explain Crowder as a fit subject for Barnett’s investigations is that Crowder (1890-1955), a Jazz pianist, singer, and bandleader, recorded with Eddie South’s Alabamians in 1927-28. The “almost lost” of Barnett’s title first becomes comprehensible when we learn that all discographies prior to 2000 incorrectly stated that Antonio Spaulding was the pianist on these Victor sessions, unwittingly erasing Crowder in his two most accessible musical appearances.
But this is not simply a book about “finding” Crowder, a Jazz legend; readers should not hope to discover a homegrown Tatum, for Crowder was a capable player and improviser on the basis of the limited evidence we possess. But his pianistic talents are only a small part of his portrait and of this book. No other study justifiably intertwines Ezra Pound and the singer Bee Palmer (“The Shimmy Queen”), Jelly Roll Morton and Nancy Cunard, Samuel Beckett and Sidney Bechet (a felicitous although unlikely pairing). Crowder, the book reveals, was more than a little-known African-American musician and sideman whose band Morton fronted for a 1927 tour. He and Cunard had a seven-year relationship, with Crowder the inspiration for and a contributor to her 1934 Negro: An Anthology. Henry-Music, a tantalizing part of Barnett’s title, was a 1930 folio of poems by Cunard, Richard Aldington, Beckett, and others, with musical settings by Crowder. He is thus a tangential but intriguing figure – someone who visited Pound in St. Elizabeth’s Hospital — in the cross-continental modernist culture of the period.
Barnett’s book contains everything knowable at this distance about Crowder: a forty-page biographical profile, an itinerary of the places he played, press clippings, many photographs, reproductions of letters, record labels, drawings, articles written by and pertaining to Crowder, the poems and musical settings in Henry-Music, a discography of recordings and piano rolls and more. Crowder was, it should be said, a fine prose writer: his “Hitting Back,” published in Negro, should be far better known. And – sensibly and graciously – the book has its own CD, broad in scope but exceedingly relevant, containing not only the thirteen 78 sides on which Crowder plays and sings, but the half-dozen 1926 piano rolls he made (restored and played on modern equipment), new recordings of Crowder’s compositions – sung beautifully by Allan Harris, and four sides by orchestras with whom Crowder was associated although he did not play on these sessions.
Here, I can imagine readers muttering their version of poet Philip Larkin’s Law of Reissues, which (paraphrased) is “If you haven’t heard of this musician or these recordings before, he or they can’t be worth your interest,” which is amusing but reductionist and illogical. Crowder himself is not the sole subject of Barnett’s book, although his life, alternating between highly illuminated and shadowy, is. It isn’t one of those pretentious books about My Search for Some Famous Recluse where the author’s ego becomes the subject. This book and the accompanying CD provoke philosophical stirrings on the chord changes of “What can and cannot be known about anyone’s life?” followed by “How can anyone assemble – properly and doing justice to the subject – the posthumous fragments of evidence anyone will leave behind – to make some valid overview of what has been lived?” This book may not be Barnett’s Citizen Kane, but it awakened some of the same concerns and speculations. Because his research is so scrupulous and diligent, his delight in fact over conjecture so enlivening, I would like to see this book in universities – not just on the library shelves – because it is an essential text for anyone interested in the culture of the last century and its implications. I am also certain that readers who would profess no interest in Crowder or Cunard will delight in its perceptive, stubborn, inquiring ways.
(Copyright 2008 Cadence Magazine: www.cadencemagazine.com.)