Although I’ve only met the young pianist / composer Kris Tokarski a few brief times in person, I admire him as a remarkable musician with great wit, warmth, flexibility, and swing.
Kris Tokarski. Photograph by Scott Myers.
About sixteen months ago, Kris made his first CD as a leader, DROP ME OFF IN HARLEM — a delightful musical collation with Kris among his friends and peers James Evans, Evan Christopher, and Benji Bohannon. Here’s what I wrote about Kris (with music samples) in April 2014.
Although Kris’ musical and emotional range is substantial, he is a great subtle player of older music with the right feeling — without being hemmed in by written manuscript, older recordings, or restrictive stylistic conventions. Here is a recent video-recording Kris did especially for JAZZ LIVES — at home and informally — of Joseph Lamb’s RAGTIME NIGHTINGALE:
Notice his lovely touch, his gentle approach. Would you like to hear more? That is easily accomplished.
Kris, photographed by Don Keller, in front of Jelly’s house, Frenchmen and Robertson Streets, New Orleans
In March of this year, Kris, Hal Smith, drums, and Cassidy Holden, string bass, went into the GHB Studios in New Orleans to create a CD that would consider classic rags from a Mortonian perspective, with performances modeled on Jelly’s own evocations as well as songs known to be familiar during his career but not recorded. The compositions are Pastime Rag #3 / Heliotrope Bouquet / Kinklets / Peacherine Rag / Elite Syncopations / Ragtime Nightingale / Grace And Beauty / Please Say You Will / Sunflower Slow Drag / Swipesy / Magnetic Rag / The Easy Winners / Cataract Rag / St. Louis Rag. If you understand the concept, the CD is a magnificent invention; if you’ve never heard the Morton Library of Congress recordings, the CD will please just as deeply.
I was delighted to be asked to write the liner notes. Here’s what I said:
SOFT, SWEET, PLENTY RHYTHM
In 1972, I had several opportunities to marvel at Eubie Blake, then nearing ninety. He would play MEMORIES OF YOU, TROUBLESOME IVORIES, STARS AND STRIPES FOREVER, or CHARLESTON RAG, but he always concluded with a virtuosic display and a triumphant shout, “That’s RAGTIME!” It certainly was, but the music was more than notes on the page; it was shaped by the personality and experiences of its creator. Jazz improvisation is never pure (thank goodness): it’s all subliminal osmosis and hybridization. Eubie’s ragtime was broad-minded: it cuddled up with stride, eight-to-the-bar, orchestral flourishes owing as much to Rachmaninoff as Joplin.
I’ve heard many musicians approach the ragtime repertoire according to their spirit animal. Some storm through a rag as if preparing for a martial arts tournament. Others play it with reverent rigidity, the way a child in an antique shop sits tensely on the chair to which he’s been affixed. This CD presents one, two, and three musicians embodying a radical idea: “Let’s play the music with joy and attention to detail, and whatever happens, it will be good.”
On this CD, Jelly Roll Morton’s proud, playful New Orleans spirit is strong, although Kris Tokarski wisely avoids the Morton caricature: lesser pianists turn Morton into a large papier-mache figure at the keyboard.
Kris’s playing is, as always, warm and delicate but you know there is stomping power beneath the surface. I admire his beautiful touch, the logic of his phrases, but he’s never so precise as to be chilly. Kris animates the rags, reminding us that ragtime is swinging syncopated dance music: pastoral but not effete.
Masterful playing by Cassidy Holden and Hal Smith makes this a genuine trio, democratic and empathic. Hear the low woody propulsive sound Cassidy gets (the right notes, the right changes, a wonderful pulse) as well as his cellolike clarity. Hal’s playing appears uncomplicated, but it takes decades of devoted playing to know what to leave out, what sounds to make, how and when to make them. I thought occasionally of Minor Hall and Tommy Benford, but most often of Hal.
These performances aren’t “recreations” of some imagined past, but neither are they free-form improvisations on the harmonies. I hear echoes of the jungle (ANIMULE BALL) in CATARACT RAG, the Spanish tinge in MAGNETIC RAG. But each song sounds like a movement in a dance suite – with echoes of marches, quadrilles, and street parades. PLEASE SAY YOU WILL moves so deliciously from waltz to a gently swinging rhythm ballad with a few closing moments of stomp (as Morton did on MY GAL SAL). ST. LOUIS RAG – in the words of Jake Hanna – starts swinging from the beginning. GRACE AND BEAUTY shows off this trio’s many virtues: they don’t get louder or faster, but you know the train is moving on the right track and it will arrive on time.
SUNFLOWER SLOW DRAG is a history of the first decades of jazz, as it progresses from a tender, almost shy start to a romp.
We owe this session to Hal Smith, not only a master percussionist but a jazz scholar and detective. He had long been fascinated by Morton’s transformations of famous ragtime pieces, and wondered how other rags would sound if played in Jelly’s style. He knew that Kris would be perfect for the project, making the performances vibrant, not dusty. Hal put together a list of rags that might have been played in New Orleans between 1900 and 1917 – and after swapping music and recordings, this wonderful group was ready – not for the river, but for the studio. Thank you, Kris, Hal, Cassidy, for opening the magic toybox and offering us so much joy.
I couldn’t have said it better myself. Or perhaps I have.
To purchase the CD, visit here. Or if you encounter Kris at a gig, I am sure he will be happy to arrange a mutually satisfying transaction.
And I am looking for several chances to enjoy Kris and friends in the coming months. His trio — with Hal Smith and Tim Laughlin (yes, you did read that correctly!) — is a highlight of the Evergreen Jazz Festival in Colorado at the end of July; the “Hot Classicism” trio of Kris, Hal, and Andy Schumm will also appear at the 2016 Steamboat Stomp in New Orleans.
May your happiness increase!