Tag Archives: Pete Siers

THE HORACE GERLACH FAN CLUB, or ANYTHING CAN SWING: THE ORIGINAL DOWNHOME JAZZ BAND (Toledo, Ohio, February 25, 2017)

On Benny Goodman’s “Camel Caravan” radio show — circa 1938 — there was a feature called ANYTHING CAN SWING, and what follows is a fine illustration.

Louis Armstrong followers like myself know the sacred and mysterious name of Horace Gerlach — co-composer with Louis of three masterpieces: SWING THAT MUSIC, I’VE GOT A HEART FULL OF RHYTHM, and IF WE NEVER MEET AGAIN.  I’ve featured them on this blog as performed by Louis, Marty Grosz, Banu Gibson, and others.

But I’ve never had occasion to spotlight the fourth Gerlach opus, which probably made him the most money, DADDY’S LITTLE GIRL.  In some traditional weddings, it is the song the bride and her father have their ceremonial dance to.  (I don’t know how this makes the groom feel, but leave that to you to ponder.)

Thanks to my friend and friend of JAZZ LIVES Laura Wyman — CEO of Wyman Video — we have this hot performance of DADDY’S LITTLE GIRL by the Original Downhome Jazz Band (February 25, 2017, Ye Olde Durty Bird, Toledo, Ohio) captured on video for everyone to enjoy, whether or not there is a daughter in the house.

The ODJB is Dave Kosmyna, leader, cornet, vocal; Chris Smith, trombone; Ray Heitger, clarinet; James Dapogny, piano; Pete Siers, drums, and do they beat it out:

Laura has also shared many fine hot videos on her YouTube channel.  Wyman Video (expert, discreet, and informed) can come and video your event: fee schedule available on request. Weddings, recitals, hot bands, basement jam sessions: you name it.

For now, I will muse upon the invisibility of Horace Gerlach: composer, arranger, friend of Louis.  Anyone have a portrait of the man to share?

May your happiness increase!

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

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

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

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

Calling Mr. Berlin!

Marty without Fats just wouldn’t be Marty:

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

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

May your happiness increase!

BEAUTY, SO RARE: HIDDEN TREASURES FROM JAZZ AT CHAUTAUQUA: JON-ERIK KELLSO, SCOTT ROBINSON, BOB HAVENS, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS (September 23, 2012)

When it’s good, you know it.  When it’s sublime, you feel it.  Here are four previously unseen treasures from the sprawling JAZZ LIVES vault of video sweetness, recorded at the Hotel Athenaeum in Chautauqua, New York, on September 23, 2012, during the delightful gathering of cosmic energies once called “Jazz at Chautauqua,” the creation of Joe Boughton and then Nancy Hancock Griffith.

We take so much for granted, and on paper, this set might just have seemed another pleasing interlude in a long weekend of delights — a Sunday-brunch set focused on the music of Louis Armstrong.  With other players, even such an inspiring theme could have turned into genial formula.  But not with Jon-Erik Kellso, trumpet; Bob Havens, trombone; Scott Robinson, metal clarinet, tenor saxophone, and taragoto; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.

How they soar.  How tenderly they caress the music.  You’ll experience it for yourselves.

First, a WEARY BLUES that gently piles delight upon delight, a  great piece of Hot Architecture reaching toward the sky:

and, with some priceless commentary from Scott Robinson — erudite comedy gently coming to earth as a loving tribute to Joe Muranyi, who loved to play BIG BUTTER AND EGG MAN:

“Right on it,” as they say, with Mr. Robinson on the tenor, for ONCE IN A WHILE, where the rhythm section shines:

If the closing ninety seconds of that performance doesn’t make you jubilant, then perhaps you should consider seeing a specialist.

What could be better to close off such a glorious episode than an expression of gratitude, in this case, THANKS A MILLION, beginning with a Kellso-Sheridan duet on the verse:

I find that performance incredibly tender: gratitude not only from the musicians to the audience, but to Louis and the worlds he created for us.

Perhaps it’s true that “you can’t go home again,” but if I could book a flight to Buffalo in the certainty that I would see this band again, I’d be packed and ready.  Maybe it’s because I can’t get back to this morning in September 2012 in some temporal way that I feel so deeply the precious vibrations these ministers of swinging grace offer us.  Bless them.  It was a privilege to be there, an honor to be allowed to capture this for posterity.

Watch this with full attention; savor it; share it; exult in it.  Let us never take beauty for granted.

May your happiness increase!

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

Marty Grosz and Bob Haggart, date and location not known

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

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

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

The real breadstick, as Marty would say.

Sucrose, no corn syrup:

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

And a series of wonderful hot surprises:

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

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

May your happiness increase!

“MUSIC, MAESTRI, PLEASE”: ANDY BROWN, HOWARD ALDEN, NICKI PARROTT, PETE SIERS at the CLEVELAND CLASSIC JAZZ PARTY (September 15, 2017)

For me, those four names are all I’d need to hear to relax back into my chair, sure that wonderful music would result.  For the uninitiated, Andy Brown, Howard Alden, guitars; Nicki Parrott, string bass; Pete Siers, drums.  And they played a wonderful set at the 2017 Cleveland Classic Jazz Party on September 15, 2017.  And here’s the music.

First, thinking about Ruby Braff, Don Redman, and Louis, with NO ONE ELSE BUT YOU:

And Ruby’s great pal and model, Charles Ellsworth Russell, with PEE WEE’S BLUES (with gorgeous playing from Nicki and Pete):

In honor of Billie — and Carl Sigman (ask Daryl Sherman about this wonderful composer) CRAZY HE CALLS ME, a guitar duet:

And for Red Norvo and Tal Farlow, the tongue-twisting I BRUNG YOU FINJANS FOR YOUR ZARF (instead of VIOLETS and FURS) possibly also reflecting the influence of Fifties science fiction in its title:

What wonderful music.

May your happiness increase!

“WE CALL IT MUSIC” (PART TWO): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)

It’s only music.  Don’t be afraid of the unfamiliar.  Everything good was unfamiliar once, and that includes ripe apricots.

Here‘s Part One of the Musical Offering.  And here’s the text for what follows:

Randy Weston’s late-Fifties composition SAUCER EYES, is here exuberantly performed on September 14, 2017, by a comfortable assemblage of all-stars at the 2017 Cleveland Classic Jazz Party: Dan Block, tenor saxophone; Scott Robinson, tenor saxophone; Ehud Asherie, piano; Joel Forbes, string bass; Pete Siers, drums.  I hadn’t known the tune, but after hearing it, it is now permanently stuck in my head, in a good way.

I like it, I like it.

May your happiness increase!

“WE CALL IT MUSIC” (PART ONE): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)

Possibly the first recording of the Gershwin classic, October 20, 1930.

What we have here is the essence of classic jazz — spirited improvisations on the chord changes of I GOT RHYTHM, followed by a Thirties song from a Broadway show.  I write this to calm any skittish listener, deeply enamored of jazz pre-1931 or 1944, who might run off when hearing the opening line, called either CRAZEOLOGY (if the composers are Little Benny Harris and Charlie Parker) or BUD’S BUBBLE (if Bud Powell takes credit); SEPTEMBER SONG, that follows, should scare no one.

Beautifully played by Dan Block, tenor saxophone; Scott Robinson (partially concealed behind the piano) tenor saxophone and trumpet; Ehud Asherie, piano; Joel Forbes, string bass; Pete Siers, drums.

Should any of my readers / listeners take flight at “that modern jazz,” I urge them to listen calmly, even hum I GOT RHYTHM along with the band — to see that the divide between “styles and schools” was never created by musicians, but by journalists, to whom pugilism was good copy.  (See “Blesh, Rudi,” “Ulanov, Barry,” “Feather, Leonard,” among others.)  Listen, listen.  It’s all music.

And, once again, I post this video as a sad but admiring tribute to the Cleveland Classic Jazz Party, which will not continue into 2018, even with the superhuman efforts of its heroic team, Nancy Hancock Griffith and Kathy Hancock — read about it here.  Both I and Laura Wyman (of Wyman Video) will be sharing videos from the 2017 Party in time.

May your happiness increase!