Tag Archives: Rodgers and Hart

THE RETURN of MIKE and MIKE (LIPSKIN and HASHIM, Smalls, April 28, 2015)

Jazz thrives on individuality.  The Ancestors always emphasized that a musician’s sound had to be as personal as a voice, instantly recognizable. Ben Webster spent the early part of his career trying to sound like Coleman Hawkins — a necessary stage in the development — then he realized it was time to be Ben Webster.

Two staunch individualists, happily thriving and playing, are swing piano master / singer / composer Mike Lipskin and saxophone master (here on alto and soprano) Mike Hashim.  And here are five beauties from their most recent New York City duo-recital, performed for an attentive international audience at Smalls on West Tenth Street in Greenwich Village.

I could have called this post THREE SLOW, TWO ROMPING, but you’ll discern such qualities for yourself as you watch and listen.

James P. Johnson’s wistful love poem, ONE HOUR:

Billy Strayhorn’s reverie, DAY DREAM:

I DON’T STAND A GHOST OF A CHANCE WITH YOU, that lovely ballad, has nearly vanished from the jazz repertoire.  I’m glad that Mike and Mike have good memories:

For Bix and the Louisiana Sugar Babes, an affirmation, THOU SWELL:

And for Fats.  The history’s inaccurate but the music is on course. CHRISTOPHER COLUMBUS:

Thank you, gentlemen!  Come back soon.

May your happiness increase!

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IN THE NAME OF BEAUTY: MORE FROM HILARY GARDNER / EHUD ASHERIE at MEZZROW (May 18, 2015)

It was great good fortune and the generous impulse of Spike Wilner, the owner-patron saint of Mezzrow (163 West 10th Street, New York City) that brought singer Hilary Gardner and pianist Ehud Asherie together for an offering of beauty on May 18, 2015.  Here are some remarkable performances from that evening of song:

For Fred and Ginger and lovers everywhere, Mister Berlin’s divine CHEEK TO CHEEK:

EVERYTHING I’VE GOT speaks to a more dangerous romantic entanglement, with physical force, courtesy of Rodgers and Hart, and rollicking piano by Ehud:

Think globally, sing locally — as in A BROOKLYN LOVE SONG.  Hey!:

AFTER YOU’VE GONE, a fitting farewell, loose-jointed and completely playful (including explosively joyous piano from Ehud):

and, if you missed the earlier postings, here are two sublime performances of songs not heard enough in this century:

AZALEA:

I USED TO BE COLOR-BLIND:

which wins the JAZZ LIVES award for Gorgeousness.

May your happiness increase!

“PENSIVE AND SWEET AND WISE”: HILARY GARDNER and EHUD ASHERIE HONOR RODGERS and HART at MEZZROW (March 17, 2015)

Here are two more beautiful songs from the Rodgers and Hart evening that Hilary Gardner and Ehud Asherie created for us on March 17, 2015, at Mezzrow on West Tenth Street, my new basement shrine to lyricism. The tender duets Hilary and Ehud create for us are tremendously moving celebrations of love.  Love is in the lyrics, in the melody, and of course in the performances.

WAIT TILL YOU SEE HIM, a paean in three-quarter time to the lover who is announced but not yet tangible, frankly beyond the singer’s powers to describe adequately.  (If you haven’t felt this way, have you truly been in love?) Hilary’s second chorus is both vulnerable and triumphant, a marvel:

I DIDN’T KNOW WHAT TIME IT WAS is a song of revelation: I was wandering the universe, my internal chronograph not working . . . until I met you.  And now all feels right. It’s a song of delight in that moment when emotion and evidence come together, through love, to create a new aware being:

What a lovely time it was.  And sublime it was, too.  I’ve posted other performances from that night here — and I hope for more.  Singly or in tandem, Hilary and Ehud never fail to move me.

Hilary and Ehud wouldn’t mind my closing with a recording from January 12, 1956: Lester Young, Vic Dickenson, Roy Eldridge, Teddy Wilson, Freddie Green, Gene Ramey, Jo Jones — doing TIME, a little faster.  Even the slightly untuned piano can’t make this any less of a masterpiece:

THIS JUST IN: Hilary and Ehud will be returning to Mezzrow on May 18, 2015.  Whether you’re in love or out, you owe it to yourself to hear and see this divine pair.

May your happiness increase!

“YOU MIGHT AS WELL SURRENDER”: HILARY GARDNER and EHUD ASHERIE HONOR RODGERS AND HART at MEZZROW (March 17, 2015)

Two investigations of sweet deep sorrow, so beautifully offered by Hilary Gardner and Ehud Asherie at that belowstairs shrine, Mezzrow, on West Tenth Street, on March 17, 2015.

LITTLE GIRL BLUE is often performed as a slow lament, in keeping with the dark indigo hue  that the lyrics would suggest, but here Hilary and Ehud give it the slightest edge of urban wryness — not merely in the slightly increased tempo, but in their delivery. Ehud mixes Ellis Larkins and Fats; Hilary has just a touch of amused world-weariness in her delivery: “What can you do?”:

A SHIP WITHOUT A SAIL is, however, gloriously sad.  Another singer might have dropped anchor into self-pity, as the lyrics urge: “All alone / and all at sea / why does no one care for me?” but Hilary floats rather than sinks.  I am so busy listening to the secret delicate walk of her phrasing and the dark caverns Ehud is opening for us, that I don’t mind the almost-sob of the lyric line:

My title has its own wryness.  I don’t mean that listeners should give up.  Rather, we all should surrender to the beauty created here by Hilary, Ehud, Larry, and Dick.  Sadness expressed as beauty both intensifies and transforms grief. Otherwise how could we go on living?

Here are two other Rodgers and Hart gems by this pair, songs dark — TEN CENTS A DANCE — and light — MANHATTAN.  I most earnestly hope that I will get more chances (note the plural) to marvel at Hilary and Ehud again, soon and later.

It may seem odd to close this post — two gorgeous sad songs — with my familiar wish, but I continue to wish that for everyone in the house.

May your happiness increase!

AND FAIR CANARSIE’S LAKE WE’LL VIEW: HILARY GARDNER and EHUD ASHERIE HONOR RODGERS AND HART at MEZZROW (March 17, 2015)

The combination of Hilary Gardner’s creamy voice — floating, multi-textured, full of feeling — and Ehud Asherie’s rollicking piano — sure-footed, playful, surprising — is intoxicating.  They go to my head: I feel elated and happy.

They did it again just a few days ago — on St. Patrick’s Day in Manhattan — when they presented a gorgeous concert of Rodgers and Hart at Mezzrow, that belowstairs oasis of fine music at 163 West Tenth Street.

A word about the video: viewers may at first think Ehud is getting visually slighted, which would be unjust.  But if you look in the mirror, you will see him fine profile — reversed? — moving in rhythm.  And his sound rings, which is the point.

There will be a few more videos from this evening.  And even better news — Hilary and Ehud are not finished exploring Mr. Rodgers and Mr. Hart.

Key change.

There have been so many recordings and performances of MANHATTAN that I have no intention of tracing its history.  But this one is both odd and special:

This clip — Allan Gould and Ruth Tester in the 1929 short devoted to Rodgers and Hart, MAKERS OF MELODY, is a fascinating window into what some might call early performance practice, and it reminds me that MANHATTAN was meant as a comic song for a UK couple marveling at this new landscape, where balmy breezes blow / to and fro.

The modern analogue, for me, is walking through Central Park and seeing visitors from other countries absolutely delighted and agog by the squirrels, snapping picture after picture of our furry friends to show to the folks back home, who will marvel.

Feel free to sing along, all through the day, no matter what borough you are in:

Summer journeys
To Niag’ra
And to other places
Aggravate all our cares.
We’ll save our fares.
I’ve a cozy little flat
In what is known as old Manhattan.
We’ll settle down
Right here in town.

We’ll have Manhattan,
The Bronx and Staten
Island too.
It’s lovely going through
The zoo.
It’s very fancy
On old Delancey
Street, you know.
The subway charms us so
When balmy breezes blow
To and fro.
And tell me what street
Compares with Mott Street
In July?
Sweet pushcarts gently gliding by.
The great big city’s a wondrous toy
Just made for a girl and boy.
We’ll turn Manhattan
Into an isle of joy.

We’ll go to Greenwich,
Where modern men itch
To be free;
And Bowling Green you’ll see
With me.
We’ll bathe at Brighton
The fish you’ll frighten
When you’re in.
Your bathing suit so thin
Will make the shellfish grin
Fin to fin.
I’d like to take a
Sail on Jamaica
Bay with you.
And fair Canarsie’s lake
We’ll view.
The city’s bustle cannot destroy
The dreams of a girl and boy.
We’ll turn Manhattan
Into an isle of joy.

We’ll go to Yonkers
Where true love conquers
In the wilds.
And starve together, dear,
In Childs’.
We’ll go to Coney
And eat baloney
On a roll.
In Central Park we’ll stroll,
Where our first kiss we stole,
Soul to soul.
Our future babies
We’ll take to “Abie’s
Irish Rose.”
I hope they’ll live to see
It close.
The city’s clamor can never spoil
The dreams of a boy and goil.
We’ll turn Manhattan
Into an isle of joy.

We’ll have Manhattan,
The Bronx and Staten
Island too.
We’ll try to cross
Fifth Avenue.
As black as onyx
We’ll find the Bronnix
Park Express.
Our Flatbush flat, I guess,
Will be a great success,
More or less.
A short vacation
On Inspiration Point
We’ll spend,
And in the station house we’ll end,
But Civic Virtue cannot destroy
The dreams of a girl and boy.
We’ll turn Manhattan
Into an isle of joy!

(I love beyond all that’s reasonable one turn of the lyrics — that “fin to fin” anticipates “soul to soul,” rather than the more predictable reverse.)

If Manhattan was indeed an isle of joy on the 17th, I think credit belongs to Dick, Larry, Hilary, and Ehud — let the green-garbed roisterers take a back seat.

May your happiness increase!

DICKENSON, BALLIETT, AND COOL

An excerpt from Whitney Balliett’s memorial for Vic Dickenson:

Dickenson . . . seemed almost ageless.  As the years went by, he never looked any older, and his playing never diminished. Keeping his cool was essential to him–it was a matter of pride–and perhaps that insulated him. The only thing that visibly gave out was his feet, and their failure left him in his last decade with a slow, leaning-over gait. He had a tall, narrow frame and a tall, narrow head. His arms and hand and legs were long and thin. The expression in his eyes flickered between humor and hurt, and his smile went to one side. He was a laconic man who said he had become a musician because “I know I wouldn’t have been a good doctor, and I wouldn’t have been a good cook. I know I wouldn’t have been a good janitor, and I don’t have the patience to be a good teacher. I’d slap them on the finger all the time, and the last thing I ever want to do is mess up my cool.”  (“Vic,” 657-8; Collected Works: A Journal of Jazz).

I read that piece when it first appeared in The New Yorker, and it has stayed with me for almost thirty years.  Both Vic and Whitney remain heroes — their work always sounds new but has the comfort of an unexpected hug from an old friend, met by surprise.  Balliett’s quiet observant power is still my model.

But I am still amazed that Vic could tell an admiring listener that he became what he was because he was so unqualified to do other things. Whether it was a true self-awareness of limitations or an excessive modesty, I don’t know.  But he created singular art for five decades without ever shouting his name in our ears.

I also think Vic’s final lines stay with me because anyone’s cool — that delicate serene balance we strive for — is so fragile, so easily damaged.  Small slights, casual acts, emotions coming upon us unaware inevitably “mess up our cool.”

Vic didn’t like to speak at length.  He didn’t philosophize, but he left us thousands of heartfelt texts to consider.  I refer to Pema Chodron at intervals; I might just as well start the day with a Dickenson solo to learn something about how to proceed through life.

Here he is, playing MANHATTAN — with Dick Cary, Jack Lesberg, and Cliff Leeman — on Eddie’s Condon’s tour of Japan in 1964 (other heroes on this voyage were Buck Clayton, Pee Wee Russell, Bud Freeman, and Jimmy Rushing):

Vic’s version of serenity and balance seems warm and welcoming, as if he is saying, “Isn’t this melody beautiful?  I want to shine my sound through the notes so that you will never forget them.”

I hope that no one messes up your cool — or, if it happens, you can think of Vic and set things right.

May your happiness increase!

TOMMY THUNEN, SEEN (THANKS TO MARK CANTOR)

The very diligent film historian Mark Cantor reminded me that unsung trumpeter Tommy Thunen (chronicled here)can be seen on film in the 1929 Vitaphone short, RED NICHOLS AND HIS FIVE PENNIES.  Understandably, much has been made of the short film for its hot qualities — Pee Wee Russell soloing, two vocals from Eddie Condon — but at the two-minute mark, Nichols and two other trumpeters (John Egan to his right, Thunen to his left) play an a cappella chorus of WHISPERING:

This is the sort of research we’ve relied on Mark for — and his generosity is legendary.  But you don’t have to be in the inner circle of jazz film collectors to enjoy his offerings.  In January, March, and May 2014, Mark will be offering his annual film programs at the Jewish Community Center of San Francisco at 3200 California Street, (415) 292-1200.  We attended last year and found the program and Mark both equally delightful and informative. You can read more about Mark here.

January 25 – Treasures From the Archive – a potpourri of rarities from the collection.  “Join us for an evening of film clips showcasing some of the finest names in big band and small combo jazz, including many never before screened at the JCCSF. Among the artists to be featured are Duke Ellington, Count Basie, Shorty Rogers, Buddy Rich and Thelonious Monk.”

March 22 – Showtime at the Apollo – a compilation of artists and bands that appeared at the Apollo Theater in Harlem. “The stage shows at the Apollo had it all: jazz bands and combos, vocalists, R&B, dance and comedy routines. Join us to watch clips of Dizzy Gillespie and his Orchestra, Louis Jordan and his Tympany Five, “Moms” Mabley, The Berry Brothers, Billie Holiday, Ella Fitzgerald and many more.”

May 3 – Broadway to Hollywood – jazz performances based on music from the Broadway and Hollywood musicals.  “A lot of the repertoire of classic jazz can be largely traced to the Broadway stage and Hollywood musical. Join us for an evening of film featuring jazz performances of compositions by the Gershwins, Rodgers and Hart, Cole Porter, Irving Berlin, Johnny Mercer and many more.”

Mark says he has been digging through his treasures for these three programs and expects to offer performances by Joe Venuti, “Red” Allen All Stars, Billie Holiday, Coleman Hawkins, Thelonious Monk, Thelma White, Buddy Rich, Bob Crosby’s Bobcats, Stan Getz, Billy Eckstine, Yusef Lateef. John Coltrane. Nat “King” Cole, Marian McPartland . . .

The programs begin at 8 PM; tickets for non-members are $25.  Details and ordering here.

May your happiness increase!