This is quite wonderful — and even if someone still can’t spell “cornet,” it is very touching and worth watching. I will let it speak for itself:
“It worked out all right.”
May your happiness increase!
This is quite wonderful — and even if someone still can’t spell “cornet,” it is very touching and worth watching. I will let it speak for itself:
“It worked out all right.”
May your happiness increase!
In the last year, whenever I encountered Marty Grosz at a jazz party, he would tell me that someone good was doing a documentary with him as the subject. Since we know that many projects never get completed, I didn’t dare to anticipate that I would ever see the results. But the DVD is out and it’s a thorough pleasure. Here’s a six-minute plus excerpt — Marty and the Hot Winds urging us to be candid, honest, and frank in all things:
RHYTHM IS MY BUSINESS: AN EVENING WITH MARTY GROSZ is a superb hour-long performance film / documentary by filmmaker / acoustic guitarist Jay Brodersen, capturing Marty, Dan Block, Scott Robinson, and Vince Giordano in concert. It’s available from Jay himself for $25 (including first-class mail shipping) and you can contact him at firstname.lastname@example.org., or at 6859 N Road, Escanaba, Michigan 49829.
Most of the film is the music — Marty and the Hot Winds in a small concert hall swinging through eleven songs — many of them Grosz classics, and a few surprises: I WOULD DO ANYTHING FOR YOU / I’M BUILDING UP TO AN AWFUL LET-DOWN / EMALINE / I’M CRAZY ‘BOUT MY BABY / JUST A GIGOLO / IT’S A SIN TO TELL A LIE / YOU BROUGHT A NEW KIND OF LOVE TO ME / WABASH BLUES / IF WE NEVER MEET AGAIN – JUBILEE / JUST FRIENDS . . . and the strains of DREAM MAN can be heard as the credits roll.
The beauty of this film is that, from the first minute, it presents experiences that even those intent listeners in the front row do not have. First of all, the sound and lighting are terrific: everything’s audible and the audience is quiet yet appreciative. Then there’s the wonderful camerawork. As an amateur videographer, I know the limits of the single camera, which can (at best) follow the photographer’s eye, and zoom in or out. Of course, such videos are often marred by extraneous noise or real-life distractions.
Jay has used a multi-camera setup to show us things we would never see, and he’s done this with restraint and taste. Some multi-camera videos are always on the move: the camera rests only a few seconds in any shot. The result can seem dizzying, all in the name of novelty. But this film isn’t afraid to patiently watch something that’s interesting, yet (in the manner of THE SOUND OF JAZZ) it takes us to surprising places: things we would never see if Jay had simply aimed one high-quality camera at the stage and switched it on. In addition, Jay has interviewed the members of the band and expert admirers — so there are very short interludes, always relevant to the music at hand, where Dan, Scott, and Vince talk about what Marty creates; where Marty speaks about his background and his father’s art. But the “talking heads” are entertaining and they never dominate the film.
Every time I’ve watched it I’ve seen something new: the expression on one musician’s face when someone else is soloing, a fantastic duet in WABASH BLUES (which has delightful playing by Dan on baritone sax) between Vince and Scott, making beautiful music in unorthodox ways: Scott buzzing through a clarinet with the mouthpiece removed and Vince playing his bass sax with the tuba mouthpiece . . . or so it seems. And although the concert is greatly devoted to swing numbers, Marty offers a sweetly convincing reading of EMALINE and a mournfully tender exploration of JUST FRIENDS that once again shows what a great balladeer he is.
The DVD has received a showing on the local PBS channel: I’m hoping that someone at the national level gets a chance to preview it. It’s just that good, and not only because it features one of the best bands we will ever hear. Kudos to Jay Brodersen for creating this film, and to the musicians for playing so splendidly.
Reprinted from JAZZ TIMES, May 2011:
05/04/11 • By Mick Carlon
Ruby Braff: The Beauty in Music
It’s 1999 and I’m watching a PBS special on Mark Twain. The phone rings. It’s Ruby Braff. “Are you watching the show about Twain?” he asks. “It’s superb. The man was one of our nation’s greatest geniuses.”
I agree. “Too bad Twain didn’t live to be one hundred,” I say.
“Why?” asks Ruby.
“Because then he could’ve heard Louis Armstrong’s Hot 5 and Hot 7 recordings and we’d have Twain’s reaction to them.”
I hear an intake of breath. “Why the (bleep) would you care about that? Why would anyone want to know how Mark Twain felt about Pops? What a (bleeping) stupid thing to say.”
Not taking Ruby’s insults personally (for some reason, I never did), I reply, “Well, I think it would have been interesting.”
“That’s because you’re a (bleep),” and, once again, Ruby Braff hangs up on me.
For the past quarter century, I’ve lived on Cape Cod. Believe it or not, this sandy peninsula, about an hour south of Boston, was once a garden of jazz delights. Although his fans in Japan and Denmark stood in line to buy tickets to his gigs, Dave McKenna’s local gigs were ridiculously easy to attend. My wife and I would simply stroll into Hyannis’ Road House Café to delight in the world-class sounds of Dave on his “saloon piano”—for free.
And we could hear Ruby Braff, playing the most gorgeous cornet in the world–with a sound redolent of summer dusks and autumn wood-smoke—often with McKenna and bassist Marshall Wood.
I met Ruby through Jack Bradley, his old friend who had once actually saved Ruby’s life. In the depths of a three day coma, Ruby was responding to nothing and nobody. Deciding to visit Ruby at Cape Cod Hospital, Jack brought along a cassette player and a Louis Armstrong tape. He pressed play and the sound of Pops playing “I’m In the Mood For Love” filled the hospital room. Amazingly, Ruby’s eyelids began to flutter. The color returned to his cheeks. A few moments later, his eyes opened. “Hey,” he said in his Beantown Dead End Kid voice, “that’s not the 1935 version.”
“Nope,” replied Jack. “It’s from ’38—Pops with the Dorsey band.”
A few minutes later, now fully awake, Ruby said, “You know, that’s the second time Pops saved my life.”
“When was the first?” asked Jack.
“The first time I heard him.”
Ruby, of course, was a graduate of the Louis Armstrong School of Music. “It doesn’t matter what instrument you play—you’re supposed to be listening to Louis Armstrong. It doesn’t matter whether you write, sing, dance, or anything. If you haven’t listened to Louis Armstrong, there’s nothing, nothing going to come out of your playing that will ever please me. I can tell you that.”
And Ruby would tell you. When I once mentioned a young hot-shot trumpeter, Ruby scoffed, “He can’t play (beep). And you know why? He’s never listened to Louis. I can tell.”
However, one time the young hot-shot trumpeter I admired was Ruby himself. “I love those albums you made with Dave McKenna in 1956,” I said.
“What? Are you nuts?” Ruby thundered. “Do you have ears? I couldn’t play worth crap back then. Only an ignorant fool would like that playing. Dave’s the only reason to listen to those pieces of (beep). I thought you had more sense than that!”
I guess I didn’t. I stand by my high opinion of Ruby’s 1950s music. But his later work, recorded when he was often breathless with emphysema, is among the greatest jazz of the past thirty years: On the Arbors label: Variety is the Spice of Braff; Being With You (Ruby’s lovely Pops tribute); Live at the Regattabar; Music for the Still of the Night; Controlled Nonchalance at the Regattabar I and II (with Dave McKenna and Scott Hamilton). On the Concord label: Ruby Braff and His New England Song Hounds I and II (once again with McKenna and Hamilton, along with Howard Alden; Frank Tate; and the immortal Alan Dawson). I also have big eyes for The Ruby Braff/George Barnes Quartet Live at the New School album (Chiaroscuro) and (sorry, Ruby!) his 1956 duets with Ellis Larkins (Vanguard).
My friend rarely had a good word to say about anyone—myself included—but I never heard him say anything negative about a fellow he had known since boyhood in Roxbury: Nat Hentoff. “That man,” said Ruby one evening, “has never written one phony word in his life. God knows how many bum notes I’ve hit over the years—but as a writer, Nat has never hit a bum note.”
When illness struck again, in the autumn of 2002, I visited Ruby often at Cape Cod Hospital. Strangely, amazingly, he was now always kind, with never a negative word for anyone. It worried me. “I don’t think I’ll ever play my horn again,” he said one rainy November afternoon. I kept quiet. With Ruby, phony optimism would’ve rung false—a bum note.
He died on February 9, 2003, a month short of his 76th birthday. Cape Cod has been one quiet place since.
I’ll let Ruby himself take one last word-solo. In 1979 he told Wayne Enstice: “I believe in beauty, and there’s got to be nothing but beauty in music. And if you’re not playing beautiful music that takes people to another plane, to a delicious place that they can’t ordinarily get to in their own lives, then you’re producing nothing. I want delicious sounds…that’ll take me away on a dream.”
Thanks, Ruby. You gave the world countless such delicious sounds.
P.S. I hope that neither JAZZ TIMES nor Mick Carlon mind my reprinting this delicious piece that catches Ruby whole. I, too, loved his music and followed him around with a camera (once) and a cassette recorder (many times) to be closer to the source of that wonderful sound. And who’s Mick Carlon, aside from being a good friend and a fine writer?
Mick Carlon is a 27- year veteran public school teacher. His young adult novel, Riding on Duke’s Train, starring Duke Ellington and His Famous Orchestra, will be published in December by Leapfrog Press. Says Nat Hentoff: “I knew Duke Ellington for over 25 years. He was my mentor. The Ellington in Carlon’s book is the man I knew.” In 2014, Leapfrog will publish Carlon’s young adult novel on Louis Armstrong, Little Fred and Louis. Carlon lives on Cape Cod with his wife Lisa and his daughters, Hannah and Sarah.
If you thought that arias were sung only in opera houses and on PBS; if you thought that Puccini and Mozart had cornered the market on passionate vocal expression . . . then I would ask you to consider the three performances below.
Recorded at my favorite Sunday-night hangout of all time, The Ear Inn (326 Spring Street, Soho, New York City), these three vocal – dramatic expressions are emotionally powerful. They capture two singers: Tamar Korn and Jerron Paxton, alongside Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Neal Miner, bass; Mark Lopeman, tenor sax and clarinet, and Pete Martinez, clarinet (far left) — on the final number, clarinetist Bob Curtis can be seen and heard even more to the left.
The three songs couldn’t be more familiar landmarks of twentieth-century American popular song, but listen to what these singers and players make of them!
I had heard Tamar perform BODY AND SOUL once before (with the Cangelosi Cards at the Shambhala Meditation Center, on Feb. 27, 2010 — you can see that performance on this blog) but I do not think I have ever heard her or anyone else sing this song with such despairing power and intensity. And, yes, I know it has been sung beautifully and strongly by Louis, Billie, Frank, and many others. But listen — listen! — to Tamar and the band here, the musicians giving her their full love and support, as she stretches notes in some phrases, stating some plainly. And her second chorus, where she suggests by her singing that some things are too deep for mere words:
I am not alone in having some awkward feelings about this song: its somewhat syntactically-tortured lyrics; its inescapably masochistic air (much more self-immolating than UNTIL THE REAL THING COMES ALONG); it is more a song of voluntary indeiture than of simple fidelity. And Tamar enters so wholly into the spirit of it that I hear her moving closer and closer to the flame, to the brink, in the manner of Piaf. But a strange thing happens here. You realize that as much as Tamar is apparently performing open-heart surgery in front of the crowd, saying, sobbing, “You want my heart? Here! Here it is! Take it!” she is simultaneously the artist in full control, creating a dramatic (but not melodramatic) statement about love and art and passion. In appearing to throw herself into the song, she is also the artist knowing how to create that spectacle which is so unsettling, so seismic. And the gentlemen of the ensemble evoke Roy Eldridge, Lester Young, Ed Hall, Charlie Christian, and Oscar Pettiford in the most singular ways! Perhaps they’ve all been prisoners of love, too?
After that performance, I felt utterly satisfied and drained: in some way, I thought, “That’s it for me! I don’t have to hear anything else tonight, tomorrow, next week . . . ” But it was early — perhaps twenty minutes before the EarRegulars would call it a night — and they conferred on another song that Tamar might sing with them. It took some time — choices were suggested and rejected — and since I am a born meddler and enjoy the friendly tolerance of everyone in that band, I leaned forward and said, “Sorry to intrude! But what about WRAP YOUR TROUBLES IN DREAMS”? And — my goodness! — Tamar and the Regulars thought it a good idea, and they took it up at a brisk tempo, everyone playing around with the written harmony to spark it up a bit (what I’ve heard called “the Crosby changes”) which you’ll notice. Here, the mood was properly restorative, hopeful. Yes, you sold my heart to the junkman, but I can always barter something and get it back in decent shape. The clouds will soon roll by. Your troubles can, in fact, be wrapped up in dreams and made to disappear. Hokey Depression-era thoughts, not supported by evidence? Perhaps. But if I woke up in a gloomy mood every morning, which I fortunately do not, I would want to play this video — more than once — until I felt better. See if it works for you, too:
The heroic Jerron Paxton had come in to The Ear Inn between the first and second sets, and I had hopes that he would sing. When he shows up at a club, music happens! And for the final performance of the night, he and the EarRegulars settled on a rocking SOME OF THESE DAYS, that anthem of “You left me and won’t you be sorry!” but sung with a grin rather than finger-waggling or real rancor. Jerron is a sly poet, singing some phrases, elongating others, speaking some . . . and he gets his message across when he seems to be most casually leaning against the wall, just floating along: a true improvising dramatist:
Thank you, gentlemen and lady, for your passionate candor, your eloquence.
NPR wasn’t there. PBS was off covering something else. Too bad for them.
But last Sunday night, The EarRegulars offered a master class at The Ear Inn. Anyone could attend.
Their subject? Duke Ellington called it “bouncing buoyancy,” his definition for the irresistible levitation that swinging jazz could produce. I call it floating — the deep mastery of rhythm, line, and invention that one hears in Louis, Lester, Benny Carter, Jack Teagarden, Jo Jones, Teddy Wilson, Sidney Catlett, and on and on.
The audience at The Ear Inn (326 Spring Street in Soho, New York City) may not have known what they were hearing, but I am sure it was absorbed osmotically into their very cells.
And who are these masters, teaching by example? The co-founders of The EarRegulars, Jon-Erik Kellso and Matt Munisteri, on trumpet and guitar, joined by bassist Neal Miner and someone I’d only heard about, tenor saxophonist Alex Hoffman, a young man who’s already playing splendidly. (Look him up at http://www.alexhoffman.com.)
Later in the evening a whole reed section dropped by, one by one: Andy Faber, tenor; Dan Block, alto; Pete Martinez, clarinet.
Here are a few highlights. Check yourself to find that you’re still touching the chair seat:
I THOUGHT ABOUT YOU, that pretty rhythm ballad — most of us know it as “I TOOK A TRIP ON A TRAIN,” and so on:
MY WALKING STICK is a wonderful minor-rock with the best pedigree — an Irving Berlin song recorded once by Louis Armstrong and the Mills Brothers, then, forty years later, by Ruby Braff and Ellis Larkins. This version is the twenty-first century’s delightful continuation, with Professor Kellso walking with his plunger mute:
Another pretty song that rarely gets played is UNDER A BLANKET OF BLUE — the ballad Frank Chace loved. I know it from versions by Louis, Hawkins, and Connee Boswell, not a meek triumvirate:
Caffeine always helps focus and energize, as does this version of TEA FOR TWO, with Andy Farber joining in. I don’t quite understand the initial standing-up-and-sitting-down, but perhaps it was The EarRegulars Remember Jimmie Lunceford:
How about some blues? Better yet, how about a greasy Gene Ammons blues? Here’s RED TOP, Dan Block leaping in (top right). Matt Munisteri’s dark excavations made me think of Tiny Grimes, but Matt goes beyond the Master here:
And here’s the rocking conclusion:
Finally, those singers and players who take on HOW AM I TO KNOW often do it at the Billie Holiday Commodore tempo, stretching out the long notes. But it works even better as a medium-tempo romper: Pete Martinez, seated on a barstool to my left, adds his particular tart flavorings:
And the final tasty minute and twenty-six seconds:
Seminars held every Sunday, 8 – 11 PM . . . no course prerequisites!
In case you weren’t paying close attention, last Monday was Groundhog Day.
Punxsutawney Phil came out of his burrow, saw his shadow, the news cameras, the reporters . . . and went back in, an omen of six more weeks of winter — to say nothing of acid indigestion, sinking investments, tinnitus, poor cellphone reception, and more.
But I am patient and Phil and I go back a long time. I waited until all the media went home, amused myself by draining my thermos of Trader Joe’s coffee, and waited. Then Phil gingerly came out again, after I’d assured him that it was safe: even PBS and NPR had gone home.
He looked weary; he always does after these appearances. But he gestured to me to come closer. After we’d exchanged hellos and I’d asked about the family (they’re all fine), he whispered, “Look. Of course the news is bad. There’s going to be bankruptcies and not enough hot water in the kitchen sink. But don’t despair. Hope is in sight.”
“What do you mean, Phil?” I asked.
“I’m getting out of here — hitching a ride with two jazz-loving woodchucks I know — in time to be in Manhattan on Thursday, February 19, at 8 PM. We’re going to sneak in to Jack Kleinsinger’s Highlights in Jazz concert downtown. It’s his 36th anniversary! And Jack is so caught up in the music he never notices us. It’s where these concerts always take place: the Borough of Manhattan Community College at 199 Chambers Street, www.tribecapac.org. David Ostwald and his Louis Armstrong Centennial Band will be there — David on tuba, Jon-Erik Kellso on trumpet, Wycliffe Gordon on trombone, Anat Cohen on clarinet, Kevin Dorn on drums. And two of the music’s most memorable players will be there — Dick Hyman and Joe Wilder! Maybe they’ll even do ‘Seventy-Six Trombones,’ my favorite!”
“Dick Hyman, Joe Wilder, Kevin Dorn, Jon-Erik Kellso, Wycliffe Gordon, Anat Cohen, and David Ostwald?” I repeated incredulously.
“You humans have difficulty with good news, don’t you?” Phil hissed. “And, knowing Jack, there might be a surprise guest or two.”
The moral of the story: don’t crawl into your own personal burrow just because the news is rotten and the winds are cold. Be sure to join us on February 19: I think the Beloved and I are in row H.
“Hasta luego!” as Phil always says — even though his Spanish accent is execrable.
Tickets for individual concerts may be ordered for $35.00, students $32.50. Make checks payable to: Highlights in Jazz – Mail to: Highlights in Jazz, 7 Peter Cooper Rd., New York, NY 10010
(Enclose a self-addressed stamped envelope, which I usually ALMOST forget to do.)
TRIBECA Performing Arts Center
Borough of Manhattan Community College, 199 Chambers Street
TRIBECA Box Office at (212) 220-1460
For Interviews, photos and general Highlights In Jazz information, contact:
Jim Eigo Jazz Promo Services
269 S Route 94 Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
Web Site: http://www.jazzpromoservices.com/