Tag Archives: Rodgers and Hart

“SPIRITUAL REFRESHMENT = LIVE MUSIC” (Part Two): YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)

Yes, these two magicians: Yaala Ballin, singing; Michael Kanan, playing.

About four weeks ago, they did their subtle transformations here:

They made music blossom.  The sign is perfectly apt.

Never let it be said that JAZZ LIVES omits any relevant detail:

And here‘s the first part, the songs being I COULD WRITE A BOOK; SO IN LOVE; EASY TO LOVE; THE WAY YOU LOOK TONIGHT; BEWITCHED, BOTHERED, AND BEWILDERED; HOW DEEP IS THE OCEAN?

And if that weren’t enough, here is the second part.

S’WONDERFUL:

IN A SENTIMENTAL MOOD:

I LOVE PARIS:

IT’S ALL RIGHT WITH ME:

MANHATTAN:

I’LL BE AROUND:

CHEEK TO CHEEK:

It was delightful to be there, which my videos may not convey wholly.  But if you missed it, and I am sure some New York readers did, be glad: Michael and Yaala will be doing another box-of-surprises program at Mezzrow on December 11 of this year.  Details here.

Yaala told us, during the concert, that she, Michael, Ari Roland, and Chris Flory are recording a CD devoted to her near-namesake, Israel Baline, whom we know as Irving Berlin.  That will be a treat — but do come out for the music as it is performed in real time, in front of people who appreciate it.

May your happiness increase!

“SPIRITUAL REFRESHMENT = LIVE MUSIC”: YAALA BALLIN and MICHAEL KANAN, “The Great American Songbook, Requested” (St. John’s in the Village, New York City, October 19, 2019)

Last Saturday, I was on my way along West 11th Street in Greenwich Village to the church above for a musical event that turned out to be more memorable than I could have imagined.  Ambling along, I had my video equipment; the musicians are friends of mine as well as heroes, and I was imagining the blogpost that might come of it.  Then I saw this banner from another church and the top two phrases struck me as completely apropos to the event to come — and they are, in the ideal world, the same thing:

Back to St. John’s for the event poster, which depicts Yaala Ballin:

“The Great American Songbook, Requested” presented Yaala Ballin, vocal, and Michael Kanan, piano, in a duo-recital drawing on Rodgers and Hart, Irving Berlin, Cole Porter, Jerome Kern and Dorothy Fields, George and Ira Gershwin, Duke Ellington, and Alec Wilder.

The songs were treated lovingly, but as old friends — which is to say that both Yaala and Michael have a reverence for their melodies and harmonies as printed on the contemporaneous sheet music, and a depth of knowledge about the best performances, but that they felt free to improvise, to express their own personalities without obscuring the music.

“Requested” was a sly and endearingly playful idea.  When we entered the church, we were given a list of songs, more than forty, organized by composer, and asked to write down two on a small slip of paper — a favorite first, another second — that we wanted to hear.  It gave the afternoon the slight flavor of a children’s party (or the office grab bag, without the terrors that can inspire).  The thirteen selections Yaala and Michael performed were drawn at random from a basket that Yaala — for that brief time, the Red Riding Hood of the West Village — had brought with her.  Of course, they knew the songs on the list, but it was a small adventure, the very opposite of a tightly-planned program.  And it worked sweetly, as you will see and hear.

I COULD WRITE A BOOK (Richard Rodgers, Lorenz Hart, Pal Joey):

SO IN LOVE (Cole Porter, Kiss Me Kate):

EASY TO LOVE (Porter, Born to Dance):

THE WAY YOU LOOK TONIGHT (Jerome Kern, Dorothy Fields, Swing Time):

BEWITCHED, BOTHERED, AND BEWILDERED (Rodgers and Hart, Pal Joey):

HOW DEEP IS THE OCEAN? (Irving Berlin):

I don’t think this playful, light-hearted but emotional musical partnership displayed this afternoon, could have been better.  I could go on about Michael’s deeply musical approach to the piano, and the chances Yaala takes and how they pay off, but the evidence is all here.  And seven more performances will be shared soon.

Yaala and Michael will be performing another version of this concert at Mezzrow on December 11.  And (as if that would not be enough), Yaala, Michael, Ari Roland, and Chris Flory are going in to the studio to record a CD of Israel Baline’s music (he wrote the preceding song and a few others).

May your happiness increase!

MUSIC THAT FALLS KINDLY ON THE EAR: DANNY TOBIAS, JACK SAINT CLAIR, SILAS IRVINE, SAM HARRIS at the 1867 SANCTUARY (Ewing, New Jersey: April 6, 2019)

Some of the most memorable sessions — improvising without arrangements — are marked by a delightful ensemble tension coming out of competitiveness.  Think of almost any date Roy Eldridge played on, for an example close to hand.  Others are marked by an equally pleasing calm friendliness: we’re all here for the same purpose, and let’s have a good time.  A collective hug rather than head-cutting.

The quietly impressive group that Danny Tobias — master of various brass instruments — brought to the 1867 Sanctuary in Ewing, New Jersey, on Saturday, April 6, really exemplified the affectionate community of the second example.  Danny assembled very gifted young men from Philadelphia: reedman Jack Saint Clair, here solely on tenor; pianist Silas Irvine, and string bassist Sam Harris.  Here’s their sweet version of CHEROKEE — not at a racetrack tempo, but as a waltz:

And the Rodgers and Hart SPRING IS HERE, wistful, pensive, still swinging:

Danny’s secret indulgence (one that makes me particularly glad) is the Eb alto horn — beloved of Dick Cary and very few others.  This particular specimen, Danny notes, was a gift from his friend, the very fine trombonist Gil Toth, who was in the audience.  (Also in the audience were dance luminaries Lynn Redmile and Renee Toplansky.)

What better way to say “Thank you” to Gil and all of us than with this heartfelt rendition of SOMEONE TO WATCH OVER ME?

Every jazz concert needs a song with disputed authorship, so here’s DIG, a line on SWEET GEORGIA BROWN, that Miles Davis took credit for:

Even if your idea of paradise is King Oliver 1923, I hope you can hear the sweet floating beauties on display here.  And let’s not forget Jack Saint Clair’s melancholy-uplifting solo feature, posted earlier.

It was a wonderful afternoon at the 1867 Sanctuary — where art flourishes — and Danny, Jack, Silas, and Sam gave us great gifts.

May your happiness increase!

MORE DELIGHTS FROM THE 75 CLUB: GABRIELE DONATI, MICHAEL KANAN, DORON TIROSH (March 14, 2019)

Back by popular demand (the first beautiful performance by Gabriele Donati, string bass; Michael Kanan, piano; Doron Tirosh, drums — at the 75 Club,  located at 75 Murray Street — here).  Three masters of the music at a most convivial place.

 

 

 

Bobby Troup’s blues in C, which I knew from a Frankie Laine record, BABY, BABY, ALL THE TIME:

a little Monk, LET’S COOL ONE:

and the beautiful Rodgers and Hart classic, HAVE YOU MET MISS JONES?:

I hope you’ve met Messrs. Donati, Kanan, and Tirosh, as well as making the acquaintance of the lovely 75 Club.

May your happiness increase!

HILARY GARDNER and EHUD ASHERIE: “THE LATE SET”

This new CD doesn’t have a false note in it, just tremendously satisfying music.

I don’t recall the first time I heard Hilary Gardner sing, with or without Ehud Asherie’s accompaniment, but I was smitten — in a nice legal Platonic way — by the blending of her tender, expressive voice and his elegant, sometimes raucous piano.  Singular individualists, they combine in wonderful synergy, and this CD expertly reproduces what it’s like to hear marvelous improvisations in a small club full of attentive, sympathetic listeners, leaning forward to catch every nuance.  The sound is spectacularly fine — by which I mean natural, and you don’t have to leave your house to “be there.”  (Although seeing them at Mezzrow on West Tenth Street has been one of my great pleasures for a few years.)

Both Hilary and Ehud are splendid connoisseurs of the best songs, and this recital shows off their sensitivity to fine melodies and telling lyrics: SHADOW WALTZ by Al Dubin and Harry Warren; SWEET AND SLOW by the same two masters in a completely different mood; the very sad Rodgers and Hart A SHIP WITHOUT A SAIL; the ancient but still lively AFTER YOU’VE GONE with the never-heard second chorus; I NEVER HAS SEEN SNOW, by Harold Arlen and Truman Capote; Irving Berlin’s immensely touching I USED TO BE COLOR BLIND; the wicked EVERYTHING I’VE GOT, again by Hart and Rodgers; the sweet command to MAKE SOMEONE HAPPY, by Adolph Green, Betty Comden, and Jule Styne; the wistful SEEMS LIKE OLD TIMES, by John Jacob Loeb and Carmen Lombardo.

Song-scholars will find connections to Fred Astaire, Diane Keaton, Arthur Godfrey, Sophie Tucker, Lee Wiley, Fats Waller, Busby Berkeley, and two dozen others, but this is not a CD of homages to the Ancestors nor to their recordings.  Although the majority of the songs are enshrined in “the Great American Songbook,” this CD isn’t an exercise in reverential mummification.  No, the magic that Hilary and Ehud bring to these possibly venerable pages is to sing and play the songs for real — asking the questions, “What meaning might be found here?  What feelings can we share with you?”  And, ultimately, “Why are these songs so affecting in themselves?”

I’ve celebrated Ehud a great deal on this blog: his ability to create a Frolick all by himself, evoking both Bud Powell and Francois Rilhac, his touch precise but warm, his marvelous ability to think of anything and then to play it, his eye for the perfect swinging epigram a master archer’s.

Hilary was a wonderfully complete singer when I first heard her.  She has outdone herself here.  I find myself reaching for adjectives: is her voice “warm,” “creamy,” “light,” “rich”?  Then I give up, because it sounds as if I am a blindfolded contestant on a cooking show assessing a pound cake.

In plain English: she swings, she understands the lyrics, she improvises splendidly but without theatricality, and when she descends into a song, even if it’s one she’s sung a hundred times before, she comes to the surface, immensely naturally, showing us something we’ve never thought of before.  She’s witty but not clever; emotive but not melodramatic, tender but not maudlin.  Her approach is warm, delicate, unhurried.

When Hilary and Ehud did a brief tour of the Pacific Northwest not long ago, they visited KNKX, did an interview about the CD, and performed three songs in the studio — SWEET AND SLOW, I NEVER HAS SEEN SNOW, and AFTER YOU’VE GONE.  Here‘s the link to watch the videos and hear the interview.

You can find THE LATE SET at iTunes, Amazon, Spotify, and the Anzic Records site.  I urge you to find and purchase a physical disc, because one of the great pleasures — hidden inside — is Hilary’s own pitch-perfect evocation of “the late set” in what I presume is a New York City jazz club.

This is extraordinary music.  How delightful that it exists in this century.

May your happiness increase!

THANKS FOR THE SWING! (TERRY WALDO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT, January 29, 2017)

you-took-advantage-of-me

When it’s good, you can tell right off. And this — recorded at Fat Cat, at 75 Christopher Street, New York City, is good.

While Terry and Company were waiting for everyone to arrive on Sunday, January 29, 2017, they gently launched in to this 1927 Rodgers and Hart classic — once only a new pop song — and created some very fine and spiritually moving vibrations. The creators? Terry Waldo, piano; Jim Fryer, trombone; Evan Arntzen, clarinet; John Gill, banjo; Brian Nalepka, string bass; Jay Lepley, drums.

Music like this improves the world.  Blessings on you, gentlemen.

And a rather sour postscript, which has nothing to do with the glorious music presented here.  This video ends up on YouTube, my cosmic megaphone to broadcast the joy that others create.  But many people who post comments on YouTube do so to complain.  “The video is too dark.  The crowd is too noisy.  One of the musicians is not up to my high standards.”

My imagined response is, at its most polite, “Dear Sir (it’s always a male writer!), such complaining is rather like pointing to the wonderful free dinner, made for you by a world-renowned chef, and refusing to eat it because it is on what you think is the wrong china. Since the internet has made most people think that everything is free, and that their often tactless expressions of taste are true criticism, I simply sigh.”

Insert loud sigh here.  Now I will enjoy the video again, to be uplifted by the generous mastery of these musicians.

May your happiness increase! 

BUT WHO KNOWS WHERE OR WHEN?

Although technology — whatever that means — keeps telling us we are “all connected,” and it is easier than ever to click a “like,” to instant-message someone, I think many of us feel, in the midst of the crowd, more isolated than ever before.

where-or-when

But community is always possible.  I offer this tender example from — oh, only eighty years ago.

The song is WHERE OR WHEN, by Richard Rodgers and Lorenz Hart, from the musical BABES IN ARMS, which premiered in New York April 14, 1937.  I don’t know when Benny Goodman, Teddy Wilson, and Gene Krupa first heard the song or had the sheet music (possibly well in advance of the show’s premiere, because who wouldn’t want to know, sing, play a new score by Rodgers and Hart?) — but they performed it at the Madhattan Room of the Hotel Pennsylvania, on October 23, 1937.  (An aside: the first jazz group to record the song was Frank Newton’s small band.)

Here is that Goodman Trio performance:

Now, this is not a generic time-travel post.  As delightful as it would be to hear the music of 1937, I’d also be reading about Herr Hitler in the newspapers; people would die from tuberculosis and polio . . . so I don’t want to leap backwards in time.

But the sound of the “college audience,” to quote my friend David J. Weiner, who wrote the notes to the CD issue of this track, singing along in unified pleasure and knowledge . . . it’s a sweet yet heartbreaking reminder of a time when such things were possible.  Perhaps the fragmentation of the collective audience is an inevitable result of astonishing strides forward in communication, but I’d trade Facebook for a world where people acted in unison, so sweetly.

Here are the lyrics to the chorus, for those motivated to sing along.  I know I was.

It seems we stood and talked like this before.
We looked at each other in the same way then.
But I can’t remember where or when…
The clothes you’re wearing are the clothes you wore
The smile you are smiling you were smiling then,
But I can’t remember where or when…
Some things that happen for the first time
Seem to be happening again.
And though it seems like we have met before,
And laughed before, and loved before,
But who knows where or when…”

What could we do to make such sweet unity the norm in the Here and Now? And I mean more than people knowing the lyrics and being willing to share their sweet impulse.

This post is for Hilary Gardner, who knows and sings.  Both.

May your happiness increase!