Tag Archives: Rob Reich

CHOOSING TO SWING: NIRAV SANGHANI AND THE PACIFIC SIX

I don’t have grandchildren*, but I can imagine myself gathering the younguns around and telling them, “Younguns, Grandpa knew Nirav Sanghani when he was only a swing dancer, before he began to lead a band!” They would be properly awestruck.  As I am by Nirav’s debut CD, its pretty cover displayed above.

Some facts: the CD is immensely danceable music, the tracks at righteous groovy tempos, with a mix of classic standards and riff-based originals.  Nirav is one of the young musicians mentored by Clint Baker, so you know that he has taken all the right impromptu classes and scored high on the real-life exams (in front of audiences).  And he understands rhythm guitar (rather than attempting to become a Famous-Solo-Guitarist-Clone) and playing for the band.  The band is a compact sextet of wise individualists, and they rock in solo and ensemble.  Beautiful sound . . . . and a digital download costs $8.  I am sure that Elders like myself could also buy a physical disc from Nirav at any of the swing events he and the Pacific Six adorn.

The band: Justin Au, trumpet; Jacob Zimmerman, clarinet and tenor saxophone; Rob Reich, piano; Nirav Sanghani, guitar; Jen Hodge, string bass; Riley Baker, drums; Clint Baker, trombone (on BAKER BOUNCE only).

The songs: BAKER BOUNCE / DOODLE RHYTHM / MARIANAS / BLUE (And Broken-Hearted) / IRRATIONAL BLUES / SOMEDAY SWEETHEART / WHO’S SORRY NOW? / LULLABY OF THE WAVES / WHISPERING.  arch 26, 2019

Recorded August 19, 2018 at Community Music Center, San Francisco, CA.

From the first notes, the band floats on a well-connected four-piece rhythm section: Reich, Sanghani, Hodge, and Baker have listened hard to the great small groups of the Forties and the wartime Basie influence is so happily evident (although none of the cliches are).  I noticed happily that more than a few of the tracks began with a rhythm-section introduction, reminiscent of the great small groups and also clearly setting the tempo for dancers.  (Incidentally, that rhythm section has its own delicious quirky approach: hear the opening chorus of WHISPERING to get at it: hilarious and completely effective.)  IRRATIONAL BLUES is beautifully evocative of the 1938 Kansas City Six, with a guitar introduction by Sanghani.

And the horn soloists (Zimmerman switching from clarinet to saxophone on some tracks; a terse, lyrical Au — with the impassioned Clint Baker, jazz parent, adding huge trombone sounds on the first track) are wonderfully idiomatic but never imitative.  Eddie Condon would surely admire their interplay on BLUE and on SOMEDAY SWEETHEART.  The jazz fans in the audience might think of 1946, of Savoy Records, of swing-to-bop; the dancers will be too busy dancing to consider such erudite matters.

Nirav’s originals are made of familiar materials but each has its own little surprises, and the arranging touches are well-shaped but never overfussy.  I know that if I heard this on the radio or on a DJ’s playlist, I might not immediately call each of the players by name but I certainly would insist on knowing about the band and buying a few copies of the disc.

I propose that people who enjoy this CD pass along copies of it to dance organizers who might be out of touch with the best Bay Area jive so that we can spread the swinging word(s).

My only complaint about this disc is that it isn’t a two-disc set.

Here is the band’s Facebook page, and here, perhaps even more important, is the Bandcamp page where you can hear the sounds and download the music.

If you have a swing dance event coming up, this would be one of the many fine bands to hire.  If, like me, you don’t, you surely will want to have the music in your home, your ears, your car . . . the possibilities are endless, and gratifying.

*Because I don’t have grandchildren, I am expecting like-minded younger JAZZ LIVES readers to visit us in assisted living, bearing new CDs, organic fruit and vegetables.  I think that’s not too much to ask.

May your happiness increase!

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TWO MINUTES AND TWENTY-SEVEN SECONDS

My title doesn’t refer to someone’s hallowed solo or a famous 78 recording.  No, it’s music created this month, March 2015.

I have watched with pleasure and amusement the birth and development of a new band — no, a new instrumental ensemble with its own gravely whimsical music.  The object of my affection is the Endangered Species Trio, which brings together Emily Asher, trombone; Tom Abbott, bass saxophone; Rob Reich, accordion.

I could make a case for all species as being endangered these days, but the title refers more to the three instruments, which have been the subject of curiosity (at best), sliding down to active mockery, contempt, disdain, and incredulity. Except for the trombone, which has a certain acceptance — although there are many jokes about trombones and trombonists — the bass saxophone and the accordion are regarded, at best, as highly miscellaneous instruments, even though both of them are capable of great beauty.

Tom, Emily, and Rob just returned from a brief stay at an artists’ retreat in Banff, and they shared this delicious musical vignette, TOM AND LIZ, on YouTube.

Humor me.  Even if you have deep reservations about “original compositions” by jazz artists; even if the thought of the accordion brings up deep childhood traumas, experience this beautiful cockeyed swinging melodic many-textured interlude:

I expect to have a good day — pleasing experiences have already taken place and there are more to come — but for sheer compact pleasure, these two minutes and twenty-seven seconds will be hard to top.

Go ahead:  see if you can listen to it only once.  I dare you.

More about this wonderful group here.

May your happiness increase! 

WITH THIS BOOK (AND A FUNCTIONING PEN) THE BAY AREA JAZZ FAN IS ALL READY FOR MEMORABLE EXPERIENCES

Photographer / jazz fan Jessica Levant has been enjoying her twin pleasures for years now — as she says, “idly” taking pictures of her jazz and blues heroes and heroines in the Bay Area (that’s the area in and around San Francisco, California).  She’s now collected those photographs — no posing, all taken in performance — into a charming book, SAN FRANCISCO BAY AREA JAZZ & BLUSICIANS.

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The book is sweet testimony to the wide variety of musical styles and performers working in this area — women and men, youths and veterans, singers and instrumentalists, leaders and side-people. By offering these photographs in pure alphabetical order, Jessica has wisely avoided the question of categorizing or of valuing these musicians. I am pleased to see portraits and biographies of people I know and have heard: Clint Baker, Danny Brown, Waldo Carter, Mike Greensill, Jeff Hamilton, Paul Mehling, Si Perkoff, Rob Reich, Dave Ricketts, Mal Sharpe, John Wiitala . . . as well as people I know by reputation . . . and the larger group of people I look forward to hearing and meeting.  Jessica’s color portraits are informal and lively; no stiff poses against a studio backdrop here, and her biographies combine material provided by the artist and her own perceptions.

It’s an entertaining book, and I predict it could start a social trend. Jazz and blues fans like (we’re all fans at heart) to go home with an autograph from our favorite musician, and I can see Bay Area fans competing with one another to collect ALL the autographs in this book.  Better hurry: I’ve spotted Jessica at jazz clubs, busily photographing — I hear rumors of a second volume to come.

You can learn more about Jessica and her book here. And when you see a quietly enthusiastic woman with a camera (tactfully not getting in anyone’s way) I encourage you to approach her and ask, “Are you Jessica Levant?  May I have your autograph?”  I’m fairly sure she will oblige, graciously.

Thanks to Barb Hauser for making the connection, as she always does!

May your happiness increase!

FROM EAST TO WEST, EMILY ASHER BRINGS GOOD SOUNDS (Cafe Divine, February 17, 2014)

Trombonist, singer, composer, arranger Emily Asher is so blissfully bicoastal that she makes the rest of us seem as if we’re glued to our recliners.  She flies from Hither to Yon, whisking back and forth from Seattle to Brooklyn, making friends for the music wherever she goes, a marathon runner for good music.

Here’s a very recent sample, from an intriguing gig at Cafe Divine in San Francisco — which began as a duo of trombone (Emily) and accordion (Rob Reich) but expanded in the most graceful way.  The first Special Guest was string bassist Daniel Fabricant, who joined in for a romping ROYAL GARDEN BLUES:

Daniel had to go off to make a gig with Gaucho (those spreaders of joy) so Emily and Rob asked the sweet but pointed question, WHY DON’T YOU GO DOWN TO NEW ORLEANS?:

I think Frank Loesser’s imagined ship would be too sluggish for our Ms. Asher, but she likes the tune ON A SLOW BOAT TO CHINA:

BLUE SKIES featured an Impromptu but Expert Girl Trio — An Historic Moment — Emily, Meredith Axelrod, and Kally Price, with Rob and the esteemed Craig Ventresco, guitar:

Meredith showed us the way to MY BLUE HEAVEN:

Now, if you’re reading this on the East Coast and feeling deprived, there is Good News Tonight.  On Saturday, March 1, Emily Asher’s Endangered Species Trio (yes!) will begin New Brunswick Jazz Project’s Women in Jazz month.  They will play at the Alfa Art Gallery in New Brunswick, New Jersey, immediately following a viewing of the very fine film THE GIRLS IN THE BAND.

Details here and here.  The event begins at 6:30; the film screening will be from about 7:20-8:45, and the band will play from 9-11 PM: with Emily, the EST is Tom Abbott, bass saxophone; Rob Reich, accordion.  I’d be there if I could.

May your happiness increase!

SWEET AMBIANCE: TAMAR KORN, GORDON AU, DENNIS LICHTMAN, DAVE RICKETTS, JARED ENGEL, ROB REICH, ARI MUNKRES: A SESSION AT BRENDA’S (June 9, 2013)

When she asked what I would like, “I’ll take a dozen of your best,” I politely told the waitperson at Brenda’s French Soul Food (on Polk Street in San Francisco) in the late afternoon of June 9, 2013.

Here’s what happened — along with delicious New Orleans food: swing visitations by my friends and heroes: Tamar Korn, voice; Gordon Au, trumpet; Dennis Lichtman, clarinet; Dave Ricketts, guitar; Jared Engel, Ari Munkres, string bass; Rob Reich, accordion.  A gathering of musically like-minded friends to be sure, but also a melding of three ensembles: San Francisco’s GAUCHO (Ricketts, Reich, and Munkres); Gordon’s GRAND STREET STOMPERS and Tamar Korn and Friends (everyone else).  Collect them, buy the set!

BACK HOME AGAIN IN INDIANA:

BLUES EN MINEUR:

DJANGOLOGY:

I’LL SEE YOU IN MY DREAMS:

THERE’LL BE SOME CHANGES MADE:

LAZY RIVER:

DOUCE AMBIANCE:

WRAP YOUR TROUBLES IN DREAMS:

COMES LOVE:

IT’S LIKE REACHING FOR THE MOON:

DINAH:

IT’S A SIN TO TELL A LIE:

Echoes of Louis, Django, Bing, Fats, Billie — all presented in entirely individual ways.

May your happiness increase!

ANOTHER SUNDAY SUPPER AT BRENDA’S WITH GAUCHO (DAVE RICKETTS, ROB REICH, ARI MUNKRES): JUNE 23, 2013

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Dr. Matilda Weinstein (the JAZZ LIVES house physician) asks, “Have you had your GAUCHO today?”

Here’s a hot and sweet musical tonic from my visit to one of GAUCHO’s regular spots — Brenda’s French Soul Food on Polk Street in San Francisco — on Sunday, June 23, 2013.

Dave Ricketts brought along his ever-reliable Tin Man (you’ll see it in his lap) but also his cornet, where he displays an admirable calm lyricism; Rob Reich swung out on the accordion in ways that the instrument isn’t accustomed to — all for the good! — and Ari Munkres showed again why he is a one-man rhythm section.

A hot SWEET GEORGIA BROWN (I got my camera in action late, but the second half is delicious):

The little-known rhythm ballad, MOANIN’ FOR YOU (courtesy of the Mills Brothers and patented Ricketts-Romanticism):

And for those who like their New Orleans cuisine with Middle Eastern touches, THE SHEIK OF ARABY:

Tasty (as is the food at Brenda’s)!

May your happiness increase!

GAUCHO GOES TO BRENDA’S (June 9, 2013)

The gypsy jazz group GAUCHO is flexible — it is often a trio of guitarist / composer / singer Dave Ricketts, string bassist Ari Munkres, and accordionist / pianist Rob Reich.  Then it can expand to a sextet, with guitarist Michael Groh, reedman Ralph Carney, and percussionist Elizabeth Goodfellow — or other permutations I haven’t yet witnessed.

On Sunday, June 9, the trio of Ricketts, Munkres, and Reich shared the stage with Tamar Korn, Gordon Au, Dennis Lichtman, and Jared Engel at    Brenda’s, an estimable “French soul food restaurant” in San Francisco: 652 Polk Street (at Eddy).  Brenda’s deserves applause not only because GAUCHO has a regular Sunday afternoon-into-night gig there, but because its “French soul food” translates as their version of New Orleans food in substantial well-seasoned portions.  (My muffaletta hero came with a small dish of spicy watermelon rind pickle — five stars’ plus — and all around me people were happily devouring their food.  And Brenda’s blog even provides the recipe for the pickles!)

Here are two performances by GAUCHO from that night.  I would have stayed for more, but we had a recording session to go to — the results of which, I hope, will emerge sooner rather than later.

DOUBLE BARREL, Dave’s composition — using the KING OF THE ZULUS vamp as a starting point — rocks:

SHINE, the old favorite:

Come to Brenda’s on a Sunday (5-8) for hot food and hotter jazz.  And to keep up with GAUCHO, click here.

May your happiness increase!