Tag Archives: Pete Martinez

SUNDAY NIGHTS AT 326 SPRING STREET (Part Seventeen) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

Something you ought to Ear.

Wow.  It’s Sunday again.  How the days go by so quickly when it feels as if more than half of our former lives have been put in the freezer . . . a puzzlement, as the King said.  Here ‘s the record of last week’s pilgrimage to the Soho Shrine, The Ear Inn on 326 Spring Street.

And now, we spin the dial on the cyber-roulette wheel and take you back to May 16, 2010, when the EarRegulars were Jon-Erik Kellso, trumpet; Pete Martinez, clarinet; Matt Munisteri, guitar; Greg Cohen, string bass.

Let’s start with a pretty song, one that could be our national anthem these days, I BELIEVE IN MIRACLES:

Now, the fable of a remarkable Texan, I’M A DING DONG DADDY FROM DUMAS:

DING DONG DADDY (concluded):

I looked up Dumas, Texas, and it’s just under 1750 miles from New York, a straight shot of 26 hours in the car.  All things are possible for those who believe:

WILLIE THE WEEPER had a wonderful dream.  No words, but join him:

Care to Stomp?  Here’s MAHOGANY HALL STOMP, with Dan Block, tenor, sitting in, a performance that astonishes me ten years later:

For the final song of this offering, I’M CONFESSIN’, Dan sat out, and they were joined by Alex Norris, trumpet, from Vince Giordano’s Nighthawks:

Let us all believe in Miracles.  Honestly, we should.

May your happiness increase!

BARBARA ROSENE KNOWS THE WAY*, THEN and NOW

Some weeks back, I posted an exciting instrumental version of SONG OF THE WANDERER (WHERE SHALL I GO?) by Carl Sonny Leyland, Jacob Zimmerman, Jeff Hamilton, and Lakshmi Ramirez, and mentioned that one of the best versions I knew was by a Harry James – Basie contingent with Helen Humes singing, but that I didn’t know versions with the verse.

A dear friend wrote in and said, “You know, Barbara Rosene made a marvelous recording of that for Stomp Off, and she sings the verse.”

Perfectly correct, and I’d forgotten (shame on me)!  It’s from March 2007, and the band is Tom Roberts, cornet; Jon-Erik Kellso, trumpet; Brad Shigeta, trombone; Pete Martinez, soprano and tenor saxophone; Mike Hashim, soprano and alto saxophone; Conal Fowkes, piano; Craig Ventresco, banjo; Brian Nalepka, string bass, tuba; Kevin Dorn, drums.  The wonderfully hip arrangement is by Pete Martinez:

Barbara has a beautiful voice — if she tells the telemarketer to not call her again, the person on the other end of the phone has heard a little concert — but that is only the foundation of her art, which is a multi-colored mixture of tenderness, sentiment, swing, a joy even in the saddest songs . . . depths that resonate with us but never feel mannered or ponderous.  She is that rare creature, an adult whose awareness comes through the lyrics: she knows what she’s singing about.

Her art is not only contained on those plastic discs and YouTube videos, but it is living in bright colors and subtle hues today.

And when I write “today,” I do mean it.  Barbara has been doing a series of streaming cocktail-hour concerts in duet with the gifted pianist Rock Wehrmann and the one coming right up will happen on Friday evening, September 4th, at 6 PM.  There’s no formal ticket-link, but when you go on Barbara’s page on Friday, you’ll be able to — as they say — tip the band.  And you’ll want to.  In case you want to start early and avoid the rush, the links are Venmo- @Barbara-Rosene Paypal- Barbeteart@aol.com.

* to our hearts, if you hadn’t guessed.

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Ten) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

Ear ye!  Ear ye! 

You’ll notice that this photograph depicts a different young woman, listening intently.  My first model enjoyed the music but complained that her elbow was sore because of keeping that pose for nine weeks and she had to see her acupuncturist.  But she’s covered by the JAZZ LIVES health insurance plan, and she’ll be back soon.

And here is the doorway through which you can immerse yourself in the previous nine postings.

History: The Ear Inn in 1940, thanks to Kathy Barbieri:

Back to NOW, or the reachable past.

Being at The Ear Inn on a Sunday night is a kind of national holiday, although the calendar-makers haven’t gotten the idea yet.  But once in many Sundays it coincides with another holiday — in April 2010, it was also Easter Sunday, and the gallant celebrants took notice of this, musically.  They are Matt Munisteri, guitar; Pete Martinez, clarinet; Charlie Caranicas, trumpet; Pat O’Leary, string bass; Andy Farber, tenor saxophone, joins in for the closing number.  You’ll notice an affectionate bunny-and-[Irving] Berlin concentration of joyous energies.

I’M PUTTING ALL MY EGGS IN ONE BASKET:

EASTER PARADE, of course:

RUSSIAN LULLABY, also for Mr. Baline:

Matt invited Ellington’s little bunny to stop in for a salad:

See you next Sunday!  And someday I hope to say those words with “at 326 Spring Street” attached.

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Nine) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

Are you listening?

Before we inch forward, here is the doorway to the previous eight posts of Sunday-evening joy and solace at 326 Spring Street.

Return with us to the thrilling nights of yore, which will come again.

Because I feel that everyone is in the late-summer doldrums, I’ve ladled out a double helping from the glorious session of March 21, 2010.  Here, the EarRegulars are Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Scott Robinson, bass sax; Pete Martinez, clarinet, and guest Julian Lage, guitar.

CHINA BOY:

and a stunning I GUESS I’LL HAVE TO CHANGE MY PLAN — Julian sat back and admired the proceedings:

“No place is grander, I do declare.” Yes, 326 Spring Street but also LOUISIANA:

I hear a CREOLE LOVE CALL:

That NAUGHTY SWEETIE certainly gets around:

Scott leads off, so sweetly, for AT SUNDOWN:

And here’s something that touches my heart — not only the wondrous Pete Martinez making his way so beautifully, but also Scott playing both piccolo and bass sax; and guests John Bucher, cornet; Dave Gross, guitar.  It touches me so to hear John quote COLUMBIA, THE GEM OF THE OCEAN.  And the chosen text is I NEVER KNEW:

WHISPERING, with the same house band and guests:

And a very nostalgic IT’S THE TALK OF THE TOWN:

Every Sunday night at The Ear Inn was typical — people who knew, knew what to expect — but “typical” was also remarkable.  Utter the right invocations to the Goddess of Heartfelt Lyrical Swing and they will have a salutary effect.  See you there when the clouds clear.

May your happiness increase!

SUNDAY NIGHTS AT 326 SPRING STREET (Part Eight) — WE NEED SOMETHING TO LOOK FORWARD TO: SESSIONS AT THE EAR INN, featuring THE EarRegulars (2007 – the Future)

Let’s start our journey to The Ear Inn earlier today.  It’s restorative, you know.  If you’re late to the party, here’s a link to the previous seven Sunday pilgrimages.

Ready?

From March 14, 2010, a session featuring Pete Martinez, clarinet; Harvey Tibbs, trombone; Matt Munisteri, guitar; Neal Miner, string bass, considering I COVER THE WATERFRONT (appropriate because it was a rainy night and the Ear is not all that far from the river);

and a musical assent in ‘DEED I DO:

Finding delight in JAZZ ME BLUES:

Virtual now, for real someday . . . join me in either realm.

May your happiness increase!

“OH, MEMORY! OH, MEMORY!” (Part Two): The MANHATTAN RAGTIME ORCHESTRA at THE CAJUN: JOHN GILL, MATTHEW SZEMELA, JON-ERIK KELLSO, CONAL FOWKES, BRAD SHIGETA, PETE MARTINEZ, JESSE GELBER, ROB GARCIA (July 13, 2006)

Once, the Manhattan Ragtime Orchestra had a steady gig in New York City where they made wonderful music.  The club is gone; the gig is gone.  But the music remains.

Here is the first part of this glorious archaeological dig, with almost an hour of new / old 2006 music, and the stories underneath the surface.

Here’s the first video segment:

and the second:

That night the MRO — usually led by clarinetist Orange Kellin — was Jon-Erik Kellso, trumpet; Brad Shigeta, trombone; Pete Martinez, clarinet; Matt Szemela, violin; Jesse Gelber, piano; John Gill, banjo, vocals; Conal Fowkes, string bass; Rob Garcia, drums, and the songs played are WHEN MY BABY SMILES AT ME (Gill does Ted Lewis) / RED PEPPER RAG / UNDER THE BAMBOO TREE (Gill) / RUBBER PLANT RAG arr. Pete / EGYPTIA / “OUR GANG” theme out:

And Part Four, THE RAGTIME DANCE / KROOKED BLUES / NEW ORLEANS WIGGLE / HIGH SOCIETY / SONG OF THE ISLANDS (out theme) //

Those were great times.  And not simply because of any historical-nostalgic longings, but because of the wonderful music, played with inspiration rather than ironies.  I am grateful to have been there, and even more grateful that I could bring a video camera and a tiny tripod . . . gifts from the past that gleam today.

After this post was published, a friend reminded me that the CD,
“MANHATTAN RAGTIME ORCHESTRA: AT THE JAZZ BAND BALL” (with its
wonderful 1898 photograph of Broadway at 28th Street in Manhattan!),
is still available from Stomp Off Records: PO Box 342, York, PA 17405.

May your happiness increase!

“OH, MEMORY! OH, MEMORY!”: The MANHATTAN RAGTIME ORCHESTRA at THE CAJUN, PART ONE: JOHN GILL, MATTHEW SZEMELA, JON-ERIK KELLSO, CONAL FOWKES, BRAD SHIGETA, PETE MARTINEZ, JESSE GELBER, ROB GARCIA (July 13, 2006)

The power of memory:

That girl, and the story of that girl, are both imperishable.  Not only does Mr. Bernstein recall her, but everyone who has ever seen CITIZEN KANE recalls him recalling her.  Or so I hope.

Music, so powerful and so multi-layered, is more slippery in the memory, giving us a mixture of sensations and emotions.  Of course people remember Louis playing 250 high C’s, but how many people can recall with clarity a performance full of lights and shadings that happened once, on the spot, and then was over?

Fortunately we have recording equipment of all kinds, and to think of what would have happened to jazz without it is impossible.  But here’s a New York story with gratifications attached, not simply narratives of what happened.

Exhibit A, “The Big Easy”:

Exhibit B, courtesy of eBay:

Exhibit C, self-explanatory:

In 2005, when I was once again free to explore, I discovered The Cajun, a traditional-jazz club in New York City’s Chelsea neighborhood.  It closed in late summer 2006, and it was obliterated to become luxury housing, alas.

The owners were Herb Maslin and Arlene Lichterman (Arlene is still with us) and at our first encounter I offered to help publicize the club, even though I had not yet imagined having a jazz blog.  I was writing for The Mississippi Rag and other jazz periodicals, and offered help with press releases.  She was eager to have what festival promoters call Asses in Seats, so I could come anytime and make notes on performances and the general ambiance.  I was free to modestly of generic food.  (I worked my way through the menu, an explorer looking for edible land.)

I have said elsewhere that I’d seen people of my vintage shooting videos of their grandchildren and the ducks on the pond, and it dawned on me that I could buy one to document the music I and others loved.  Exhibit B was, after Flip, my first real video camera.  It recorded on 30-minute mini-DVDs, difficult to transfer, but it worked in the odd lighting and the built-in microphone was acceptable, especially when I sat close to the band.  At the time, I did not know what I might do with the discs — YouTube was only allowing postings of no more than ten minutes and my editing skills were not even rudimentary — but the thought of capturing what would otherwise be evanescent was entrancing.

Thirteen years later, I uncovered a number of videos from 2006: a small stack of mini-DVDs in plastic cases still sits in a bookcase as I write this.  Some videos, when I shared them with the participants (I ask permission first, the videographer’s “informed consent”) created hot-jazz-PTSD, and will remain unseen.  But the four sets of the Manhattan Ragtime Orchestra pleased my hero John Gill, and the trumpeter Jon-Erik Kellso, who encouraged me to  post them so that this splendid band would not be just a memory or a record.  I canvassed the musicians, some of whom are friends, and those who responded agreed that these performances should be enjoyed now.

John continues to believe in the music: he told an interviewer long ago, “It’s music of the people. It’s open and honest and straightforward and comes to you with open arms,” and he continues to live that truth in New Orleans.

Here is the first hour of music (a set-and-a-half of four) from the Manhattan Ragtime Orchestra, playing their own warm, spirited “radical pop music”: John is on banjo and vocals, with Jon-Erik Kellso, trumpet; Matthew Szemela, violin; Brad Shigeta, trombone; Pete Martinez, clarinet (subbing for leader Orange Kellin); Jesse Gelber, piano; Conal Fowkes, string bass; Rob Garcia, drums.

No tricks, no funny hats, no gimmicks: just real music.  A woman fanning herself: it was July.

Part One, including PORTO RICO / NEW ORLEANS JOYS / TEE NAH NAH (Gill vocal) with Arlene Lichterman cameos / BUDDY’S HABITS / HOME IN PASADENA (Gill) / HIAWATHA (Lizard On A Rail) / DEAR HEART – I’M FOREVER BLOWING BUBBLES //

Part Two, including a Buddy Bolden Medley: DON’T GO WAY, NOBODY – MAKIN’ RUNS / CONGO LOVE CALL / BOUNCING AROUND / SONG OF THE ISLANDS (closing theme) / CREOLE BELLES (Gill) / A BUNCH OF BLUES //

To me, much more gratifying that a fleeting glimpse of a girl and her parasol.  And there is another forty-five minutes of music to come.

May your happiness increase!

DESIRE (SUPPRESSED) and PASSION (SECRET), THEN and NOW

Does popular art follow high art, or the reverse, or are the coincidences simply coincidental?  In 1915, Susan Glaspell and George Cram Cook premiered a play, SUPPRESSED DESIRES; 1924, Eugene O’Neill’s DESIRE UNDER THE ELMS; 1929, Dali’s THE ACCOMODATIONS OF DESIRE.  PASSION had always been part of the cultural vocabulary, so no need to search out appearances in the Twenties.  A graduate student in early modernist popular culture would probably trace some of this to Havelock Ellis, Theodoor Hendrik Van de Velde, and others writing for a curious public.  I don’t doubt that Dr. Freud is behind all this in some way, also.

I know that the stereotypical idea of pop songwriters is cigar-smoking fellows looking to make money off the latest craze, but it is possible that some of those brilliant tunesmiths read something in the paper besides the sports pages.  Make what you will of the synchronicity or the coincidence, these two songs, HE’S MY SECRET PASSION and MY SUPPRESSED DESIRE enjoyed some fame in that year, the second creation even featured in a film where I would think little was suppressed.

I’ve known MY SUPPRESSED DESIRE for years through the Bing Crosby – Harry Barris – Al Rinker recording, a series of small hot comedic playlets unfolding one after another:

Bing’s “Tell it!” at 1:35 is a favorite moment, and I like the way the recording morphs through moods and tempos — a whole stage show in miniature, with the introduction coming around as the conclusion, and the rocking intensity of Bing’s last bridge.

Here’s a very pleasing Goldkette-styled version by Abe Lyman’s California Orchestra:

There are several excellent contemporary dance band versions of this song — by Coon-Sanders Nighthawks, Verne Buck, and Lud Gluskin — which I leave to you to find on YouTube, because for me the Rhythm Boys’ version blots all the others out.

Now (thanks to Jonathan David Holmes) I have a new recording of HE’S MY SECRET PASSION by The Four Bright Sparks, my favorite new band name, to share with you.  I find the instrumental combination of clarinet, xylophone, guitar, drums, and piano entrancing, and Queenie Leonard’s slightly emphatic singing is also charming.  Discographer Tom Lord sniffs, “The above was a studio group but they played straight dance music and nearly never featured hot solo work,” a classic example of jazz-snobbery:

And here is Marion Harris’ impossibly tender reading of PASSION:

Showing that passion has living validity in this century also, Barbara Rosene and friends (among others, Conal Fowkes, Michael Hashim, Pete Martinez, Brian Nalepka, and Craig Ventresco) in 2007:

Barbara, Conal Fowkes, and Danny Tobias will be performing at Mezzrow on West Tenth Street in New York City on June 13.  Her shows are always delightful, and, yes, attendance will be taken.

Attentive textual explicators will note that these are not the same song at all: the singer of PASSION is wistful and hopeful that an introduction can be arranged and great things will result, where the singer of SUPPRESSED notes accurately that the Object of Desire belongs to someone else, which is an entirely different situation.  But these recordings and the songs are atypically cheerful — no one is lamenting that the opportunity has passed forever.  For listeners, we hope for the best: gratified passion, reciprocated desire.

May your happiness increase!

“WILD REEDS AND WICKED RHYTHM” (Part Two): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, BOB RINGWALD, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

The Cajun Restaurant, no longer extant but the vibrations and sights still exist here and in our memories.

Eddy Davis, “The Manhattan Minstrel”

A little more than a week ago, I posted the first of a three-part series on this wonderful band, with videos from 2006 that I rediscovered.  I am taking the liberty of reprinting the text from that post here.  And the music from that first post is also here.  (For those impatient with prose — and some have told me this in ungentle terms — the new video is at the bottom of this posting.)

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.  [Update to this posting: pianist / singer Bob Ringwald of California and father of Molly, sits in for this set.]

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

The songs are AFTER YOU’VE GONE / OLD BONES / YOU TOOK ADVANTAGE OF ME / TROUBLE IN MIND, all with vocals by Bob.

It’s so lovely to be able to reach back into the past and find it’s not only accessible but glowing.  There’s more to come.

May your happiness increase!

“WILD REEDS AND WICKED RHYTHM” (Part One): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, CONAL FOWKES, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

Eddy Davis, “The Manhattan Minstrel.”

Hallowed ground.

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

Here’s the first part of the evening.  Eddy announces the songs, some of them his originals and a few transformations — all listed in the descriptions below the videos.

Come with me to the glorious days of 2006, to a club that has been replaced by a faceless high-rise apartment building, which has none of the joyous energy of the band and the Cajun.  And enjoy the music, with no cover charge — yours for keeps.

Part One:

Part One, concluded (with apologies to Dmitri):

Part Two:

May your happiness increase!

ACOUSTICALLY YOURS: BARBARA ROSENE, DANNY TOBIAS, CONAL FOWKES (June 2, 2016)

I’ve known the warmly delightful singer Barbara Rosene for a dozen years . . . encountering her first, I believe, at The Cajun.  Barbara has been pursuing a different — but related — art recently, with paintings of jazz scenes in New York and a few depictions elsewhere.

Rosene Birdland booklet

To learn more about Barbara’s paintings and the book above, visit here.

Barbara held a showing of her paintings at Mezzrow, on West Tenth Street, last Thursday, and a number of art lovers showed up to admire.  Many friends were there: Neal Siegal, Debbie Kennedy, Dan Morgenstern, Simon Wettenhall, Pete Martinez, Conal Fowkes, Danny Tobias, Hank O’Neal, Maggie Condon, Marcia Salter, and many others.

Where Barbara is, music follows.  As it did, impromptu and without amplification.  The happy results below.

Conal Fowkes at the piano, exploring DEEP NIGHT, a song he recalled playing for Barbara many moons ago:

Danny Tobias joined Conal for a lyrical WRAP YOUR TROUBLES IN DREAMS:

LADY BE GOOD:

THESE FOOLISH THINGS:

THIS CAN’T BE LOVE:

SUNDAY:

LOVE ME OR LEAVE ME:

Barbara was urged to come up and sing, which she did, beautifully, without amplification, allowing the resonant beauty of her voice to come through with great clarity, on IT HAD TO BE YOU:

SWEET LORRAINE:

Barbara returned for A HUNDRED YEARS FROM TODAY:

How I wish that more jazz sessions could be like this: singing, relaxed, melodic, lyrical.  Maybe someone needs to start booking Fowkes-Tobias-Rosene?

May your happiness increase!

 

THE LOUIS ARMSTRONG ETERNITY BAND at BIRDLAND (Dec. 11, 2013) PART ONE

David Ostwald takes Louis Armstrong very seriously — not only as a philosophical model, but as a musical beacon.  That’s why he’s created and led a small hot jazz group devoted to Louis and the music he loved — now called the Louis Armstrong Eternity Band — that has had a regular Wednesday gig at Birdland for fourteen years.

But sometimes honoring Louis takes David off the bandstand.  On December 11, he stopped in at Birdland to say hello to everyone before heading to the Louis Armstrong House Museum gala which was honoring Quincy Jones and Dan Morgenstern.  But David wanted to make sure that the music at Birdland would be right on target, so he asked his friend and ours, Brian Nalepka, to lead the band.

Brian brought his string bass and sang on a few songs, and had the best assistance from Danny Tobias, cornet; Tom Artin, trombone; Pete Martinez, clarinet; Vinny Raniolo, banjo; Kevin Dorn, drums. Here’s the first half of that delightful concert for Louis.

SLEEPY TIME DOWN SOUTH / INDIANA:

OH, DIDN’T HE RAMBLE:

STAR DUST:

HONEYSUCKLE ROSE:

BODY AND SOUL (featuring Pete Martinez, King of Tones):

I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME:

Many first-class songs associated with that Armstrong fellow, and what a band!

May your happiness increase!

CONAL FOWKES HAS GOOD NEWS (and GOOD GIGS)!

Pianist / singer / actor / string bassist / composer Conal Fowkes always delights us — a sly wit, a romping pianist, a propulsive bass player, an all-around civilized man.

CONAL

So it was a special pleasure to read Conal’s most recent good news, which I pass along to you.  He deserves the award and a great deal more.

It is with great pleasure that I can announce that I, along with my dear friends and colleagues Eddy Davis, Yrving Yeras and Lisa Yeras, won a GRAMMY at the 55th Annual GRAMMY Awards for Best Compilation Soundtrack for Visual Media for my work on the Oscar winning film Midnight In Paris.  I can be heard throughout the movie as the voice and piano of Cole Porter, played by French actor Yves Heck, and also as part of the Yerason Trio, playing “Barcarolle” by Offenbach, with Yrving and Lisa Yeras (violins) in an arrangement written for the movie by Eddy Davis. The news came as a big surprise but nevertheless a great thrill!

Let me take this opportunity also to tell you of a few up-coming gigs I have in the NY /Tristate area.

Sunday, Feb. 17th, I’ll be playing in duo with the amazing, ridiculously talented, Scott Robinson (various reeds, brass & sonic devices). Shanghai Jazz, Madison NJ. 3:30pm-5:30pm http://www.shanghaijazz.com/ This is an event run by the New Jersey Jazz Society so it doesn’t appear on the Shanghai Jazz website, but we WILL be there!

Thursday, Feb. 21st, I’ll be in a quartet with singer Barbara Rosene http://barbararosene.com/ — and Andy Stein (violin) and Pete Martinez (clarinet). Birdland, 315 W 44th St, NYC http://www.birdlandjazz.com/ This gig will be to release Barbara’s new CD “Nice and Naughty,”at the 5:30 pm show (one set).

Saturday, Feb. 23rd, I’ll be performing with veteran singer Judi Marie Canterino*, guitar legend Bucky Pizzarelli, and bassist Jerry Bruno, at the Church of the Holy Communion, Norwood, New Jersey: 5-6:30 pm.

*And a word from JAZZ LIVES: “veteran singer Judi Marie Canterino” sang duets with Jimmy Rushing at The Half Note — Spring and Hudson Streets — when I was there in 1972.  That’s a seriously impressive credential.

May your happiness increase.

THE EARREGULARS TAKE ROCA, or LET ME OFF UPSTATE: JON-ERIK KELLSO, MATT MUNISTERI, PETE MARTINEZ, NEAL MINER (Dec. 9, 2012)

If you read JAZZ LIVES, you know who The EarRegulars are — a compact group of highly inspired improvising musicians who invariably bring joy, most often found on Sunday nights (8-11 PM) at The Ear Inn, 326 Spring Street, Soho, New York — co-founders Matt Munisteri (guitar, vocal); Jon-Erik Kellso (trumpet).  But ROCA may be new to you — see here and find out more about the Rockland Center for the Arts, a quiet space in West Nyack, New York, lovingly watched over by our friend Lynn Stein, the Center’s Artistic Director.

The EarRegulars came uptown to West Nyack one Sunday afternoon about two months ago — December 9, 2012 — and played their own brand of beautiful music, serene and intense.  I was fortunate to be right in front of the band so that I could bring the sounds to you.  From the first note, it was a splendid affair — with clarinetist Pete Martinez and bassist Neal Miner joining in the fun.  See and hear for  yourself:

A famous set-cloer used as the opening, AFTER YOU’VE GONE:

Feeling optimistic, here’s WRAP YOUR TROUBLES IN DREAMS:

A Dixieland classic, FIDGETY FEET:

Neal’s feature on LULLABY OF THE LEAVES:

HAPPY FEET (no longer FIDGETY — with a few words about The Ear Inn from Skip Hayman):

THE NEARNESS OF YOU — for our very own Pete:

‘S’POSIN’ with a wry yet sweet vocal from Matt:

A wistful reading of AM I BLUE?:

And a rousing SOME OF THESE DAYS:

“The Fellas” (as regular Nan Irwin calls them) outdid themselves — but they do that Regularly.  Thank you, Matt, Jon, Neal, Pete, and Lynn!  (And without acting as anyone’s unsolicited press agent or manager, it does suggest to me that The EarRegulars could be hired for all sorts of concerts, affairs, private and public occasions.  Just a thought.)

May your happiness increase.

ROSES IN DECEMBER: TED BROWN, THE EARREGULARS GO NORTH, LENA BLOCH (December 2 / December 9 / December 13, 2012)

“Mark it down.”

Rather than spending your energies on Black Friday hysteria, how about some inspired music?

The memorable tenor saxophonist / composer Ted Brown will be celebrating his eighty-fifth birtthday in December . . . in the best possible way, avoiding the sheet cake and M&Ms but choosing instead to give us all thoughtful, sweet-natured lessons on what improvisation is all about.  Two gatherings deserve your attention.

One — on Sunday, December 2, will take place at Michael Kanan’s serene studio in Brooklyn, The Drawing Room, on Willoughby Street.  The musical gathering will also celebrate the release of two new Ted Brown CDs — POUND CAKE, with cornetist Kirk Knuffke, and TWO OF A KIND with reedman Brad Linde.  The gala starts at 7:30 PM; admission is a mere $10, and the location is 70 Willoughby Street, # 2A.  Also appearing will be Matt Wilson, Murray Wall, Taro Okamoto, Sarah Hughes, Michael Kramer, Michael Kanan, and special guests.  Here’s the Facebook event page.

Cornetist Kirk Knuffke is someone new to me — but as you’ll hear, he has a deep lyricism reminiscent of Tony Fruscella.  With pianist Jesse Stacken, he explores Ellington’s SUNSET AND THE MOCKINGBIRD:

Two — On Thursday, December 13, the eloquent trumpeter Bob Arthurs will be hosting a continuation of the party for Ted — with Ted himself — at Somethin’ Jazz Club 212 East 52nd Street, third floor, from 7 to 9 PM.  The Facebook event page is here.  Joining Ted and Bob will be Jon Easton, piano; Joe Solomon, bass; Barbara Merjan, drums.

Here are Ted and Michael Kanan in duet at the Kitano (January 12, 2011) creating a tender, searching PRISONER OF LOVE:

Moving right along, in swing time . . .

For those who find it difficult to be at The Ear Inn on a Sunday night (a problem I have never been troubled by), the EarRegulars are playing a rare off-site gig on Sunday, December 9 — at 2 PM at the Rockland Center for the Arts.  This edition of the EarRegulars will have Matt Munisteri, guitar; Jon-Erik Kellso, trumpet (the co-founders); Pete Martinez, clarinet; Neal Miner, string bass.  Not to be missed!  Details / reservations as noted above.

Here’s a near-match: the EarRegulars in 2011, playing RIVERBOAT SHUFFLE  joyously — Kellso, Munisteri, Martinez, and bassist Greg Cohen:

On that same Sunday, the coolly intent, always swinging tenorist Lena Bloch will be playing at the Firehouse Space in Brooklyn, with Dan Tepfer, piano; Dave Miller, guitar; Billy Mintz, drums.  The gig starts at 8 PM, and the Space is at 246 Frost Street in Brooklyn, New York: more details here.

Here’s Lena with Dave Miller, Putter Smith, and Billy Mintz from 2012 — appropriately playing Ted Brown’s FEATHER BED:
I would like to be at all four of these gigs and will do my best — but my presence and my video camera (when permitted) can’t fill the room or the tip jar — is that sufficiently subtle? — so I hope friends of the music will join me to celebrate these happy occasions.
May your happiness increase.

BACK IN NEW YORK (Volume One): MATT MUNISTERI, DANNY TOBIAS, PETE MARTINEZ, JARED ENGEL — The EarRegulars — at THE EAR INN (Sept. 2, 2012)

I don’t mean to suggest that my return to New York after a California summer is as momentous as that of Louis — but the phrase brought to mind this beloved vinyl issue — cover drawing by Thomas B. Allen, I think, and eloquent commentary by Dan Morgenstern.

Being “back in New York” could be defined in a thousand ways . . . but joy for me is being back at The Ear Inn (326 Spring Street, Soho) on a Sunday night from 8-11 for a session with the EarRegulars.  No fake stereo there, just genuine swinging creativity.

Sunday, September 2, found Matt Munisteri (guitar), Danny Tobias (cornet), Pete Martinez (clarinet), and Jared Engel (string bass) having themselves a time and sharing their pleasure with us.  You’ll hear four sweetly intense conversationalists who majored in empathy and telepathy in graduate school.  No one steps on anyone else’s line, but it’s clear they all know The Path.  And that Path winds around through 1938 Basie, the Keynote sessions, 1929 Ellington, but the EarRegulars are never imprisoned by the past.  This music is splendidly vibrant, shining in the twenty-first century.

You’ve never been to The Ear Inn on a Sunday night?  You, too, can be BACK IN NEW YORK if you put your mind to it . . . .

MY HONEY’s LOVIN’ ARMS (for Bing and Cutty Cutshall):

CREOLE LOVE CALL (for Barney Bigard and Wellman Braud):

BLUES MY NAUGHTY SWEETIE GIVES TO ME (alas):

I MAY BE WRONG (for Joe Thomas and Pete Brown, among others):

AT THE JAZZ BAND BALL (for Bix and Eddie):

The American Decca Jazz Heritage series started off promisingly, but several reissue projects never got to their second volume.  No such worries about The EarRegulars at The Ear Inn . . . many more glorious Sunday sessions to come!

May your happiness increase.

CELEBRATE LOUIS, the EARREGULARS, GEORGE, and YOU! (June 2012)

There are always reasons to celebrate, but the news is more brightly-hued these days.

The Partners in Preservation grant contest advisory committee awarded the Louis Armstrong House Museum $150,000 — funds that will be used to preserve Louis’s Garden. Your votes showed the committee how much people from all around the world love Louis and Lucille’s home and treasure their time there.

This funding initiative will help keep Louis’s legacy alive in Corona, Queens — and when the weather is hot, so is the music at the LAHM.  Click Satchmo to learn more about the summer programs in the Garden!

This Sunday, June 17, the EarRegulars — that New York institution founded by Matt Munisteri and Jon-Erik Kellso — will be celebrating their fifth anniversary of glorious Sunday-night improvising at The Ear Inn (326 Spring Street, Soho, New York City): the charter quartet will be Jon-Erik Kellso, trumpet; John Allred, trombone; James Chirillo, guitar; Neal Miner, string bass . . . prepare for high spirits, guests, and fine jazz!

Another celebration is taking place this week, and it’s remarkable.  George Avakian is celebrating his ninety-third birthday.  And he is doing it among friends: at Birdland this coming Wednesday, June 20, from 5:30 to 7:15, hot music provided by the Louis Armstrong Centennial Band led by David Ostwald.  Birdland is located at 315 West 44th Street, New York City, and the phone number is (212) 580 3080.

When we attended one of George’s birthday celebrations with the LACB, the line formed early and it was long . . . so make plans early!

The musicians scheduled to be there include David, tuba; Marion Felder, drums; James Chirillo, banjo; Pete Martinez, clarinet; Jim Fryer, trombone; Randy Reinhart, cornet . . . and I am sure there will many musicians who want to pay tribute to George as only they can.  Don’t miss this party!

May your happiness increase.

“A GOOD TIME WAS HAD BY ALL”: EMILY ASHER’S GARDEN PARTY at RADEGAST (Sept. 27, 2011)

Emily Asher certainly knows how to throw a party.  And her brilliance isn’t a matter of laying in huge quantities of blue corn chips and IPA, nor is it because of those cookies she bakes.  In fact, Emily comes to the party with little except her trombone, some sheet music, and her insistence that everyone have a good time and swing.

She accomplishes this nicely — and she’s also one of those musicians who seems to be growing and developing before our eyes . . . not that she was a novice when I first encountered her!

For her midweek session at the Radegast Bierhalle in Williamsburg, Brooklyn, Emily assembled her “Garden Party,” a hot band despite its refined UK title.  This version had our Ms. Asher on trombone / vocals; Bria Skonberg on trumpet / vocals; Dan Levinson on clarinet / tenor; Kelly Friesen on string bass; Nick Russo on banjo / guitar; Kevin Dorn on drums.  And since it was a Wednesday during the two-week Dan Barrett Celebratory East Coast Tour, Dan came uptown from his earlier gig with David Ostwald’s Louis Armstrong Centennial Band and brought the fiery clarinetist Pete Martinez with him.

Here are a goodly handful of video performances from that night at Radegast.  Expert dancing provided by Sam Huang and Michelle DeCastro — other dancers unidentified.

The Garden Party began with something fierce and New Orleanian — Jelly Roll Morton’s MILENBERG JOYS:

Then, the hot yet admonitory SOME OF THESE DAYS, with a Charleston beat:

Emily very sweetly offered a slow waltz-time HEY, LOOK ME OVER! — commenting that her father had taught her the song when she was three, and she retains some of the choreography from her childhood.  I find it absolutely charming.  (Thanks, Dad!):

And a perennial: ROYAL GARDEN BLUES:

I was embarrassed by my ignorance, having no idea of what this song was — but Emily told me in a kind way that it was EMPEROR NORTON’S HUNCH.  I think I have to take Remedial Turk Murphy over the summer:

NOBODY’S SWEETHEART NOW featured a harmonized vocal chorus from Emily and Bria, who remain our sweethearts:

For the last few numbers of the third set, Dan Barrett and Pete Martinez joined in (up until this point, they had been enjoying the sounds) on an energetic but not-too-fast MUSKRAT RAMBLE (beginnig a compact Louis-tribute, but all jazz is a Louis-tribute, isn’t it?):

Dan borrowed Bria’s trumpet for a nifty BIG BUTTER AND EGG MAN, and I thought, “Where else on the planet could I hear Louis’ 1926 chorus played with such accuracy and fervor?”:

And we close this visit to Emily’s wonderful party with a sweet ON THE SUNNY SIDE OF THE STREET, with Bria back on trumpet and Dan on trombone, trading phrases:

Wonderful!  And if you get on Emily’s email list (visit her site at http://www.emilyasher.com.) you can find out when the next party is — as well as learning about her upcoming CD, which needs your support:

http://www.kickstarter.com/projects/712404112/emily-ashers-debut-cd-featuring-garden-party-and-e

HOT NOTES FROM UNDERGROUND: TERRY WALDO’S GOTHAM CITY BAND (featuring DAN BARRETT) at FAT CAT (Sept. 25, 2011)

Fat Cat is a large underground room located at 75 Christopher Street (off of Seventh Avenue South) in Greenwich Village, New York City.  Without much fanfare, it has been featuring jazz at night — sometimes three different bands performing each evening — as well as Sunday afternoon sets by pianist / singer Terry Waldo and his Gotham City Band.

Last Sunday, September 25, 2011, was a special afternoon, because Dan Barrett, the Pride of Costa Mesa, California, brought his trombone and cornet to the session.  Early on, the band included Peter Ecklund on trumpet; Pete Martinez, clarinet; Terry himself; John Gill, drums and banjo; Alexi David, string bass — with guest appearances from singers Barbara Rosene and Jerron “Blind Boy” Paxton.

As always, Fat Cat is known for “atmospheric lighting,” which means deep darkness (but you can always pretend you are listening with your eyes closed to the world’s best live radio broadcast) and occasional irrelevant shouts of triumph from the young folk playing foosball or other games . . . but even with these distractions, the music remained focused, stirring, and swinging.

The session began with a very happy — even joyous — MILENBERG JOYS:

Be it ever so humble, there’s no song like HOME — with deep associations to Louis Armstrong (early and middle-period) and an irreplaceable Keynote recording by Jack Teagarden, Joe Thomas, and Coleman Hawkins:

A groovy, slow-drag BLUES MY NAUGHTY SWEETIE GIVES TO ME was next, suggesting that the Sweetie in question was exceedingly Naughty to inspire such music:

Pete Martinez, Terry, Alexi, and John took a different tack with the RUBBER PLANT RAG:

I hadn’t seen or heard the fine singer Barbara Rosene in a long time, but she sounds wonderful, here CONFESSIN’ her inward thoughts to us in the darkness:

And to show off her cheery side, her sunny-side-up, she chose ‘S’WONDERFUL to follow:

Terry chose the venerable Berlin song ALL BY MYSELF for his feature, with Dan taking over Peter Ecklund’s lead by playing hot cornet:

The delightfully enigmatic Jerron “Blind Boy” Paxton sat in for DIGA DIGA DOO — singing and clowning and having a fine time:

Then, a highlight for me — John Gill’s performance of the most satirized song in pop music of the last hundred years, MY MELANCHOLY BABY, which he sang with casual sincerity, the mark of a genuine performer:

MARGIE, ninety-plus years old, is still entrancing us:

Barbara Rosene told me that IF I HAD YOU is one of her favorite songs: her sweet conviction comes through in every bar:

Jerron returned to sing WRAP YOUR TROUBLES IN DREAMS, and the band agreed that optimism of this sort is never out of style.  (The young gamers were shouting at the start, but I could dream those troubles away with ease):

And the session closed with a frankly riotous CHINATOWN, Jerron mugging while Dan and Pete played superb improvisations:

Music worth descending into the depths for . . . and the cover charge at Fat Cat is a very tidy three dollars, a rare pittance in New York City.

DAN BARRETT COMES EAST (September – October 2011)

To quote Henry Nemo, “‘Tis autumn,” and one of the more rewarding manifestations of that season is the annual Dan Barrett Comes East tour.  The inimitable Costa Mesa, California trombonist, cornetist, arranger, composer, pianist, singer, comes to this coast for a series of what have proven memorable gigs.

Thursday – Sunday, Sept. 15-18: Dan at Chautauqua Jazz Party, Chautauqua, New York (http://athenaeum-hotel.com/Jazz-at-Chautauqua/)

Monday, Sept. 19: Dan at Arthur’s Tavern, with Bill Dunham’s Grove Street Stompers (Grove Street & 7th Ave South; 7-10 pm)

Tuesday, Sept. 20: Dan in Cape Cod, Massachusetts, with Howard Alden & Frank Tate (details to follow)

Wednesday, Sept. 21: Dan at Birdland with David Ostwald’s Louis Armstrong Centennial Band (5:30-7:15 pm): see http://www.ostwaldjazz.com/live/ for details.  Dan will be joined by Bria Skonberg (trumpet), Vinny Raniolo (banjo and guitar), Marion Felder (drums) and others.

Sunday, Sept. 25: a double-header!  Dan will join Terry Waldo’s band at Fat Cat (77 Christopher Street), from 5:45 to 8 pm).  Then, Dan will go south and west for an evening at the Ear Inn, with Evan Christopher, Matt Munisteri, and New York’s finest, immediately after that (8-11 pm)

Monday, Sept. 26: Dan will again appear alongside Evan Christopher at a concert sponsored by the Sidney Bechet Society, beginning at 7:15 pm.  Evan’s “Clarinet Road” will pay tribute to the Master in “Blues for Bechet.”  Featured guests will include vocalist Catherine Russell, guitar virtuosi Doug Wamble and Matt Munisteri, and LaFrae Sci on drums.  The concert will take place at Symphony Space (95th Street and Broadway), and tickets are available here:

http://www.sidneybechet.org/purchase-tickets/

Tuesday, Sept. 27: Dan will join the brass section — on cornet — of Vince Giordano’s Nighthawks at “Club Cache'” — the lower floor of Sofia’s restaurant in the Edison Hotel, 211 West 46th Street.

Wednesday, September 28: Dan will again be part of David Ostwald’s Louis Armstrong Centennial Band at Birdland, from 5:45-7:15 pm, alongside Bria Skonberg, Pete Martinez, Howard Alden, Marion Felder, and others.

Sunday, October 2: Another double-header: Dan at Fat Cat again with Terry Waldo’s band; then on to the Ear Inn, 326 Spring Street, Soho, New York (8-11 pm)

Monday, October 3: Dan will be part of another Arbors Records event at Feinstein’s at the Regency with singers Rebecca Kilgore, Nicki Parrott, Lynn Roberts, and Harry Allen’s Quartet (Harry, Rossano Sportiello, Joel Forbes, and Chuck Riggs).

Alas and woe for New Yorkers, Dan flies home the next day.  Don’t miss out on the Barrett Comes East tour.  There are, as yet, no plans for souvenir sweatshirts, buttons, or pennants — merely fine jazz and many musical surprises.

And in case you are just discovering Mr. Barrett, here’s some musical evidence — his cornet lights up this August 2011 performance of MY BUDDY, recorded at the JAZZ LIVES party (with John Smith, alto; Vinnie Armstrong, piano; Marc Caparone, bass; Mike Swan, guitar):

REASONS TO CELEBRATE at THE FAMOUS EAR (June 19, 2011)

Being alive is cause for celebration.

And being someplace where beauty is being created is even more reason to feel joy.  Last Sunday, June 19, 2011, was a happy time at The Famous Ear (The Ear Inn, 326 Spring Street, Soho, New York City) for many reasons.  The EarRegulars knew it was Father’s Day and played one song — you’ll hear it here — to celebrate our Papas (whimsically, mind you).

The EarRegulars that night were co-founders Matt Munisteri (guitar); Jon-Erik Kellso (trumpet); Pete Martinez (clarinet); Jon Burr (bass) — with a visit from Andy Stein, often playing his violin with Vince Giordano’s Nighthawks, but here toting his tenor saxophone for the first set (a surprise!) and his baritone for the second.   

The EarRegulars are not a group of antiquarians, “playing old records live.”  Nay, nay.  But they do honor their creative parents all the time: their jazz Dads and Moms — with great love, in the best way . . . by making something new and fresh and striking out of their own experiences.  Every Sunday at The Famous Ear is a kind of spiritual Father’s Day, because Louis and Bix, Roy and Ruby, Eddie and Django, and a hundred others are remembered and cherished in the solos, the ensembles, the tempos, the swing.

And there was another reason to celebrate: the EarRegulars marked a run of steady gigs — four years of glorious Sunday evening sessions — that June 19.  Was it their fourth birthday or their fourth anniversary?  I can’t tell (someone will surely write in to explain which it was) but it was a sweet occasion, especially in a world where a “steady gig” is usually measured in shorter timespans.

Here are some soul-uplifting performances from that night:

A lilting, sweet SLEEPY TIME GAL that had the pleasure of staying at home with the Beloved in every note:

For Jimmie Noone and all the jam sessions that followed him, a profoundly swinging statement of mutual knowledge, I KNOW THAT YOU KNOW:

From that certainty, a troubling question: HOW COME YOU DO ME LIKE YOU DO?

And a cheerful THREE LITTLE WORDS:

Then (a request from JAZZ LIVES), that romantic entreaty — LET ME CALL YOU SWEETHEART:

A groovy I COVER THE WATERFRONT, suggesting that the waterfront in question was Danish, circa 1933:

For Fathers everywhere (or forefathers?): I’M A DING DONG DADDY FROM DUMAS, with an utterly unexpected vocal chorus by Herr Stein:

Jon Burr, brave explorer, led everyone into a deep IT HAD TO BE YOU:

And there was HAPPY BIRTHDAY (TO US)* — but since that song is only eight bars long, which is rather like a soliloquy of ten words, Matt led the EarRegulars into adding an I GOT RHTYHM bridge, for variety — I thought of Lester Young’s BLUE LESTER, but there was nothing seriously historical in the air, just jubilation, well-deserved:

May the EarRegulars and The Famous Ear prosper and continue to spread joy!

*I called this version on YouTube LET’S GET HAPPY, in honor of the 1938 Commodore recording featuring Bobby Hackett and Leo Watson, a stunning combination.

HAPPY 123, MR. BERLIN!

For Irving Berlin, who would be 123 today . . . the overlooked master of humor, sentiment, and deep feelings expressed in simple but unforgettable words and melodies:

And some music to go with the cake, of course.

Here are Vince Giordano and the Nighthawks playing a Berlin waltz medley in December 2009:

And Tamar Korn and The EarRegulars essaying THE SONG IS ENDED:

The songs are never going to be ended as long as we remember Mr. Berlin.