Tag Archives: Rob Garcia

REMIX WELL! (Part Two): GORDON AU’S GRAND STREET STOMPERS at SWING REMIX (April 13, 2019)

Here’s the second part of a glorious evening of music and dance at Swing Remix, music provided and created by Gordon Au’s Grand Street Stompers — who were, for this gig, expanded: Gordon, trumpet, arrangements, compositions; Joe McDonough, trombone; Ricky Alexander, Matt Koza, reeds; Nick Russo, guitar and banjo; Rob Adkins, string bass; Rob Garcia, drums.  (R1 was there, stepping, twirling, and dipping, although my camera did not catch her in flight.)  It added up to great dance music, delightful small-band jazz, splendidly played, with inventive arrangements that make familiar songs seem new.

Here’s Part One.

Bechet’s SI TU VOIS MA MERE, featuring Matt Koza, in honor of Earl McKee:

From an elegy to an original by Gordon, dedicated to a wayward feline:

A classic from the time when people still carried nickels for the pay phone:

The lovely Harry Ruby – Rube Bloom paean to simplicity:

A nocturnal horror in Swing:

Let’s!

and an encore, from GUYS AND DOLLS:

May your happiness increase!

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AT THE BALL, THAT’S ALL (Part One): GORDON AU’S GRAND STREET STOMPERS at SWING REMIX (April 13, 2019)

Dance off both your shoes!  Who could do otherwise when Gordon Au’s Grand Street Stompers play for dancers?  This took place at Swing Remix on April 13, 2019. That’s Gordon, trumpet, compositions and arrangements; Joe McDonough, trombone; Ricky Alexander and Matt Koza, reeds; Nick Russo, guitar; Rob Adkins, string bass; Rob Garcia, drums; Molly Ryan, vocals.  R1 was there, too, which meant that the universe was properly aligned.

The usual caveats apply (not at all to the music!): I can’t shoot videos from the dance floor because of the eager traffic, people who have a right to be there and swing out.  So these videos were recorded from an upstairs balcony, and as a result the sound is somewhat distant . . . but it is what you would have heard if you weren’t fortunate enough to be dancing close to the wonderful band.  I also confess to some technical difficulties (a recalcitrant camera) so the sound is stronger in one channel than the other: no need for you to get a hearing test.  But it’s there. . . .

Here are seven bursts of instrumental pleasure from early in the evening:

Gordon’s own JUMP OUT AND GETCHA (perhaps because he is a connoisseur of things that go bump in the night?):

BLUE ROOM, with verse and clever arrangement:

Half of a new pair, PST (PACIFIC SWING TIME):

And a Grand Street Stompers’ classic, SWANG THANG:

The second half, EST (for EASTERN SWING TIME), a composition John Kirby would admire:

Gordon’s swinging and surprising  take on early bebop, GROOVIN’ HIGH:

and the attractive original NADINE:

There are more videos to come from this delightful evening.  But even better . . . see, hear, and dance to the Grand Street Stompers in person: follow them here.  See you on the dance floor (vertically, not horizontally).

May your happiness increase!

“THAT AMAZING MUSIC”: PHILLIP JOHNSTON and the SILENT SIX at SMALLS (November 27, 2018)

Phillip Johnston and friends create music that’s unpredictable but rooted, surprising but deeply immersed in his own versions of the jazz tradition.  I had the good fortune to sit right in front of his Silent Six (a whimsical monicker) at Smalls in Greenwich Village last November, and can share with you a number of wonderful highlights.

He began the evening by discussing his recent joyous study of the music of the Twenties and Thirties, focusing on Jelly Roll Morton, Louis Armstrong, Duke Ellington, and Don Redman, and you will hear compositions by Louis and the Duke below, elevated by the same exploratory imaginative spirit that animated their creators.  (Sometimes we forget that POTATO HEAD BLUES was a brand-new tune in 1927, rather than a hallowed artifact of Hot.)

Phillip described the compositions and arrangements of that period as “that amazing music,” completely modern, larger than categories.  Hearing the Silent Six, you realize that he is also (without being immodest) describing what it does in this century.

The Silent Six is Phillip Johnston. soprano and alto saxophone; Joe Fiedler, trombone; Mike Hashim, baritone saxophone; Neal Kirkwood, piano; Dave Hofstra, string bass; Rob Garcia, drums. Philip originally formed the NYC-based Six to perform live in WORDLESS!, his multi-media film/music/lecture collaboration with Pulitzer-Prize winning illustrator and graphic art historian Art Spiegelman that had its 2013 debut at the Brooklyn Academy of Music and continues to tour worldwide.

And now for some music from Smalls.  Attentive listeners will hear deep roots: blues, shuffles, variations on familiar harmonic patterns, all performed with vigor, looseness, and wit — over irresistible dance rhythms, the result a series of surprises that immediately become comfortable.

Louis Armstrong’s POTATO HEAD BLUES:

Ellington’s AWFUL SAD:

Phillip’s DUCKET’S GOT A WHOLE IN IT (identified as a “deep shuffle”):

and his own LATER:

Phillip’s HOFSTRA’S DILEMMA (for stalwart string bassist Dave):

TEMPORARY BLINDNESS:

PLANETELLA ROCK:

Phillip also has two new CDs for us — DIGGIN’ BONES and THE ADVENTURES OF PRINCE ACHMED.  You can read reviews of them here.  Learn more / buy DIGGIN’ BONES here; for more about ACHMED, visit here.

This post is for Maurice Kessler, gig-friend extraordinaire.

May your happiness increase!

 

BECKY MAILS IT! (BRYAN SHAW, DAN BARRETT, CARL SONNY LEYLAND, JOEL FORBES, EDDIE ERICKSON, JEFF HAMILTON)

Rebecca Kilgore is coming to New York in April 2019 to sing, uplift, and to teach.  In case you need to be reminded of her magic and the music she engenders in her fellow musicians, here’s a sunny example — with Jeff Hamilton, drums; Joel Forbes, string bass; Eddie Erickson, guitar; Carl Sonny Leyland, piano; Dan Barrett, trombone; Bryan Shaw, trumpet.  This swing miracle took place some years back (March 5, 2011) at Dixieland Monterey:

Communication is essential, even when you’re writing the letter to yourself in lieu of one you’re hoping to get.  And everyone on that stand knows how to send a heartfelt message Express Mail right to our hearts.

The dear Ms. Kilgore is coming east for the best reasons.  Hark!

Here is the link to the Facebook page, and you can see the website listed in the advertisement above.  April seems a long time away, but enterprises such as this fill up early, so don’t wait for the crocuses to burst through the ground.  Rather than sending yourself a letter, make yourself a gift of enrolling.

May your happiness increase!

DENNIS LICHTMAN and THE QUEENSBORO SIX: “JUST CROSS THE RIVER”

Slightly less than three years ago, the superbly gifted multi-instrumentalist / composer Dennis Lichtman assembled his Queensboro Six and gave a concert at the Louis Armstrong House Museum in Corona, Queens.  Here is the first half, and here is the second.  The music was multi-colored and seriously rewarding: Dennis’ tribute to the true jazz borough, Queens County, New York, home of so many jazz figures — from Clarence Williams and Basie to Louis and Dizzy, Milt Hinton and James P. Johnson — and currently home to so many more of the musicians we love.  Dennis assembled his Queensboro Six for a truly delightful new CD, its title above, its theme song below:

This disc is a model of how to do it — musicians and composers take note.  For one thing, the band has an immense rhythmic and melodic energy, but the pieces are compact — sometimes explosions of twenty-first century Hot, sometimes evocative mood pieces, but none of them sounding just like the preceding track.  Dennis is a real composer, so that even an exploration of Rhythm changes sounds lively and fresh.  His arrangements also make for refreshing variety, so that one doesn’t hear him as the featured soloist to the exclusion of the other luminaries, and the performances are multi-textured, harking back to the later Buck Clayton, to Charlie Shavers’ work for the John Kirby Sextet, Raymond Scott, to sensitive elegies and musings that hint at the work of Sidney Bechet and Django Reinhardt.  You’ll also notice compositions by and associated with those Queens denizens Louis, Fats, Clarence Williams.  As that borough boasts some of the finest ethnic restaurants, this disc offers one savory musical dish after another.   As they used to say, “For listening and dancing”!  Peter Karl is responsible for the lovely recorded sound and Ricky Riccardi for the fine liner notes.

Here are some details.  The musicians are Dennis, clarinet; Dalton Ridenhour, piano; Gordon Au, trumpet; J. Walter Hawkes, trombone; Rob Garcia, drums; Nathan Peck, string bass — with guest appearances by Jerron “Blind Boy” Paxton, vocal , guitar; Mazz Swift, violin, vocal; Terry Wilson, vocal; Nick Russo, guitar.  If you know even a few of those performers, you will want this disc, because they seem especially inspired by Dennis’ compositions, arrangements, and playing.  And no one imitates any of the Ancestors.

The songs are 7 EXPRESS / FOR BIX / MIDNIGHT AT THE PIERS / ROAD STREET COURT PLACE AVENUE DRIVE / SOMEDAY YOU’LL BE SORRY / WALTZ FOR CAMILA / L.I.C. STRUT / JUST CROSS THE RIVER FROM QUEENS / BLUE TURNING GREY OVER YOU / 23rd BETWEEN 23rd AND 23rd / SQUEEZE ME / THE POWER OF NOT THEN / I’D REMEMBER HAVING MET YOU / CAKE WALKING BABIES FROM HOME.

You may order a download or a disc here at very reasonable prices.

But perhaps more important than the disc itself, on August 1, the Queensboro Six will play two sets at Dizzy’s Club Coca Cola.  Tickets and details here.  Get yours today:

May your happiness increase!

SVETLANA and the DELANCEY FIVE MAKE “SOCIAL MUSIC”

I wrote about the singer Svetlana Shmulyian and her band, the Delancey Five, more than two years ago here, and I am happy to report their first full-scale CD, NIGHT AT THE SPEAKEASY, is more than pleasing.

svetlana pro mo

I found it an engaging session, balancing more contemporary originals and lively versions of venerable jazz and pop classics. Here’s a neat audio-visual sample:

In his notes to the CD, Will Friedwald points out that both Svetlana and Jonathan Batiste prefer the term “social music” to “Hot Jazz” or Swing,” and this CD lives up to that definition: friendly, engaging, warm improvisations in many moods, music that welcomes listeners in.  As you can hear in the video, Svetlana strives to be engaged with her audience, whether she is describing her own motivations, singing standards, or writing new tunes.  And her band operates in the same happy spirit: Wycliffe Gordon, trombone / vocals; Adrian Cunningham, reeds / vocals; Charlie Caranicas, trumpet; Dalton Ridenhour, piano; Vinny Raniolo, guitar; George Delancey, string bass; Rob Garcia, drums. The very appealing arrangements — tight without being constricting — are by Wycliffe, Rob, and Adrian, and they often suggest a much larger band that happens to be streamlined and focused.

Svetlana and Wycliffe give their own flavoring to two songs I always associate with Louis and Ella (from two decades): YOU WON’T BE SATISFIED and UNDER A BLANKET OF BLUE; two Twenties classics, SOMETIMES I’M HAPPY and TEA FOR TWO, and two Ellington favorites, DO NOTHIN’ TILL YOU HEAR FROM ME and JUST A SETTIN’ AND A ROCKIN’, are refurbished and shined-up.  Svetlana and the band give a warm quirky embrace to GOD ONLY KNOWS from the Beach Boys, and BECAUSE from the Beatles.  There are also originals — ALL I WANT, TEMPTATIONS, DANCE IN BETWEEN THE RAINDROPS (Rob Garcia’s neat composition which should easily become an anthem for the crowds who come to see the band whether it’s south or north of Fourteenth Street), and Svetlana’s lovely acknowledgment of her Russian heritage, trumpeter Eddie Rosner’s YOU ARE LIKE A SONG, sung in her native tongue.  Whatever the language and whatever the material, she swings in admirable ways.  As does that band!

Here’s Svetlana’s own Facebook page, and here is the band’s page.

Let’s suppose you are properly taken with the band and their new CD.  What would be the surest way to afford yourself a double pleasure: seeing the band and purchasing the CD?  May I propose you visit here — to find out all you’d need to know about the band’s CD release party / performance on January 15 at 8 PM, at B.B. King Blues Club & Grill, 237 W 42nd St, New York, New York 10036.  Get ready to swing and be moved.

May your happiness increase!

IN THE JAZZ BOROUGH: DENNIS LICHTMAN’S QUEENSBORO SIX, PART TWO (August 29, 2015)

Manhattnites think theirs is the jazz borough: Harlem, Fifty-Second Street, the Village.  Sorry, but no.  It’s Queens, home to Louis Armstrong, Billie Holiday, Bix Beiderbecke, James P. Johnson, Fats Waller, Clarence Williams, Count Basie, Milt Hinton, Bobby  Hackett, Illinois Jacquet, Dizzy Gillespie, Jimmy Heath, Roy Eldridge, Clark Terry, Benny Goodman, John Coltrane, Lester Young, Ben Webster . . .

QUEENS map

And the jazz glories of this borough aren’t only historical (read: dusty).  Dennis Lichtman proved that vividly in his concert — with his Queensboro Six — at the Louis Armstrong House Museum (34-56 107th St, Corona, Queens, by the way) on August 29, 2015.  The band was Dennic, clarinet, compositions, arrangements; Gordon Au, trumpet; J. Walter Hawkes, trombone; Nathan Peck, string bass; Dalton Ridenhour, keyboard; Rob Garcia, drums; Terry Wilson, vocal, with guest stars Ed Polcer, cornet; Tamar Korn, vocal.  And there were luminaries not on the bandstand: Michael Cogswell and Ricky Riccardi, Brynn White, Cynthia Sayer, Jerome Raim, among others.

Here‘s the first half of the concert for those who missed my posting.  And now the second.  Dennis explains it all, so watch, listen, and savor.

UNDECIDED:

MIDNIGHT AT THE PIERS:

STOMPIN’ AT MONA’S:

I CRIED FOR YOU (vocal Terry Wilson):

BLACK AND BLUE (vocal Terry):

THE POWER OF NOT-THEN:

I’D REMEMBER HAVING MET YOU IF I’D MET YOU:

WHAT A LITTLE MOONLIGHT CAN DO (add Terry WIlson, Ed Polcer, Tamar Korn):

May your happiness increase!