Tag Archives: Rossano Sportiello

A LEISURELY CONVERSATION OF KINDRED SOULS, or “BLUES FOR MANNIE”: MATTHIAS SEUFFERT, HELGE LORENZ, ENGELBERT WROBEL, BERT BOEREN, MENNO DAAMS, ENRICO TOMASSO, BERNARD FLEGAR, NICO GASTREICH, NIELS UNBEHAGEN (April 10, 2016)

You wouldn’t imagine that the serious man (second from left in the photograph, holding a corner of the check) could inspire such joy, but it’s true.  That fellow is my friend and friend to many, Manfred “Mannie” Selchow, jazz concert promoter, jazz scholar, enthusiast, and so much more.  He even has his own Wikipedia page that gives his birthdate, his work history, and more — but it also says that he has organized more than thirty concert tours of Germany that have resulted in many joyous concerts and CDs from them (released on the Nagel-Heyer label) featuring Ralph Sutton, Marty Grosz, Harry Allen, Randy Sandke, Eddie Erickson, Menno Daams, Jon-Erik Kellso, Dan Barrett, Kenny Davern, Bob Wilber, Mark Shane, Rossano Sportiello, and hundreds more.

I first met Manfred through the mail: he had published a small but fascinating bio-discography of one of his great heroes, Edmond Hall (whom he heard in 1955 when Ed came to Germany with Louis).  Eager as always, I wrote him to let him know about some Hall I’d heard that he hadn’t.  We began corresponding and traded many tapes.  The slim monograph grew into a huge beautiful book, PROFOUNDLY BLUE, and Manfred then began working on an even more expansively detailed one about Vic Dickenson, DING! DING! which I am proud to have been a small part of.  In 2007, I visited him in his hometown for a weekend of music; I came over again in April 2016 for “Jazz im Rathaus,” which takes place in Imhove.  This 2016 concert weekend was in celebration not only of thirty years of wonderful music, but of Manfred’s eightieth birthday.

The concert weekend was marvelous, full of music from the people you see below and others, including Nicki Parrott, Stephanie Trick, and Paolo Alderighi. However, one of the most satisfying interludes of the weekend took place near the end — a JATP-themed set led by Matthias Seuffert.  And Matthias, who has excellent ideas, had this one: to play a blues for Mannie.  Now, often “Blues for [insert name here]” is elegiac, since the subject has died.  Happily, this isn’t the case.  What it is, is a medium-tempo, rocking, cliche-free evocation of the old days made new — honoring our friend Mannie.  The players are Bernard Flegar, drums; Niels Unbehagen, piano; Helge Lorenz, guitar; Nico Gastreich, string bass; Bert Boeren, trombone; Engelbert Wrobel, Matthias Seuffert, reeds; Menno Daams, Enrico Tomasso, trumpet.  What a groove!

I think the world — in its perilous state — needs blues like this (homeopathically) to drive away the real ones we face, and this nearly ten-minute example of singular individuals working together lovingly in swing for a common purpose is a good model for all of us.  Thanks to the always-inspiring Mannie for all he’s done and continues to do.

P.S.  This post was originally prepared for the faithful readers and listeners shortly after the music was performed, but technical difficulties of a rather tedious sort interfered . . . and now you can see what we all saw a few years back.  Thanks for holding, as they say in telephone conversations.  And if Manfred is still somewhat computer-averse, I hope someone will share this post with him.

May your happiness increase!

GEORGE WETTLING’S MANY SELVES

Some artists are too big to fit into one designated category or title: drummer George Wettling is one of them, even though his name is left out of many histories of the music, and when he is mentioned, it is as a “Dixieland” musician or one of “Eddie Condon’s barefoot mob,” both designations either condescending or arcane at this remove.  He was one of those players whose energies went to the band, so I think he was often taken for granted — but replace Wettling in any situation with a lesser drummer, and the change is immediately not only heard but felt.  I proudly say that I was listening to Wettling on records in my childhood, and continue to do so with pleasure. Consider this one.  I know it’s difficult to put Jack Teagarden, Coleman Hawkins, and Joe Thomas to one side, but listen to Wettling’s drumming: intuitive, thoughtful, joyous, propulsive without being narcissistic:

Here is a post I created ten years ago, with more evidence of Wettling’s flexible, uplifting playing.  And here‘s another — with more video and audio. Wettling was quite the painter — a student and disciple of Stuart Davis — as explained  here, beautifully, by Hank O’Neal, in 2017.

But the occasion for this post is something new and wonderful — a living lesson in what Wettling DID, offered to us by the wonderful musician (and dear friend) Kevin Dorn, whose bright light is always visible in the night sky:

I had the immense good fortune of hearing Kevin swing out last night with a stellar band led by Evan Arntzen at Dizzy’s Club Coca-Cola (Evan, Kevin, Jon-Erik Kellso, Mara Kaye, Harvey Tibbs, Rossano Sportiello, Adam Brisbin, Tal Ronen) and in the best Wettling tradition, he sounded like himself without having to try hard to do so.

May your happiness increase!

SPLENDID PLAY: ROSSANO SPORTIELLO and LEWIS R TAYLOR (May 31, 2019)

I first encountered the marvelous pianist Rossano Sportiello almost fifteen years ago thanks to Dan Barrett: I was an acolyte immediately.  Maestro Sportiello’s delightful lively personality and music came from the same gracious intelligence, emotion, and mastery.

I haven’t seen the Maestro in a few years, but here is evidence that he sustains his splendid art while making it look easy.

We are indebted to Malcolm Frazer for making it possible for Rossano and the marvelous trumpeter Lewis R. Taylor to perform several unrehearsed duets at his home . . . and sharing them with us.  (The link is to Malcolm’s YouTube channel, where he presents one earthly delight after another.)  I had not heard of Lewis before these videos, but he dazzles me with a kind of unpretentious brilliance, perfectly suited to duet playing, which is, after all, the art of in-the-moment listening and responding while the music unrolls without stopping.  (I think of Jake Hanna saying, “Pay attention or you’re dead!” as the only apt commentary on this demanding art.)

Here they are: wondrous play at the highest level: I think of improvisation that is both conversational and intensely demanding, like juggling plates on the wing of a biplane — and for two, not simply solo.

I WANT TO BE HAPPY:

IF DREAMS COME TRUE:

MELANCHOLY BABY (with the less-played verse):

What beautiful gifts these two and Malcolm have given us: imperishable lyricism and swing.  If I have to drop names, I can: Fats, Johnny Guarnieri, Dick Hyman, Dave McKenna,Harry Edison, Buck Clayton, Ruby Braff . . . but the names I’d like you to go away with are Rossano Sportiello and Lewis Taylor.  Please.

May your happiness increase!

MONOGAMY, IT’S WONDERFUL: DAN BARRETT, ROSSANO SPORTIELLO, JOEL FORBES, RICKY MALICHI (Cleveland Classic Jazz Party, September 16, 2017)

As Seger Ellis sang in 1929, “To be in love . . . it’s simply marvelous,” and I think most would concur.  Although there is a long tradition of songs describing heartbreak and sorrow, there are also the songs that praise monogamous devotion.

 

 

Here’s one, performed with an affectionate bounce (it was originally a waltz) by Dan Barrett, trombone; Rossano Sportiello, piano; Joel Forbes, dtring bass; Ricky Malichi, drums, at the 2017 Cleveland Classic Jazz Party, sadly the last of those wondrous gatherings.

And if you want to jocularly remark that the only boy and the only girl in the world a) hints at post-apocalyptic romance, or b) they would fall in love out of a lack of other amusements, I hope you’ll keep it to yourself and enjoy this swinging performance more than once.

May your happiness increase!

HOT, SWEET, HOTTER: ROSSANO SPORTIELLO and FRIENDS at CLEVELAND (Sept. 15, 2017), PART TWO: DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, FRANK TATE, HAL SMITH

I posted the first part of a frankly incendiary set from the now-lamented Cleveland Classic Jazz Party here, and it seems just the right time to offer the three performances from the second half.

ROSSANO.

Rossano and his majestice friends — Duke Heitger, trumpet; Dan Barrett, trombone; Dan Block, clarinet; Scott Robinson, tenor saxophone; Frank Tate, string bass; Hal Smith, drums — really know how to do it, to play the venerable repertoire with loving care so that it doesn’t seem stale or by-the-numbers, with heartfelt solos, intelligent ensemble work, and lovely tempos.

Here’s Kid Ory’s SAVOY BLUES:

Eddie Condon always mixed in beautiful ballads with the hot numbers, so Rossano features Dan Barrett in GHOST OF A CHANCE:

Since time was running out, the final number was compact — AFTER YOU’VE GONE.  But Rossano brilliantly said, “Four choruses, ensemble,” and offered us this memorable evocation of easy teamwork in the land of Hot:

Unforgettable.  And another reason to be grateful — to the musicians, to the traditions they embody, and to Nancy Hancock Griffith and Kathy Hancock.  We who were there know why.

May your happiness increase!

“THE JOYS OF D*******D” (PART ONE): ROSSANO SPORTIELLO, DUKE HEITGER, DAN BARRETT, SCOTT ROBINSON, DAN BLOCK, FRANK TATE, HAL SMITH (Cleveland Classic Jazz Party, September 15, 2017)

Let the truth come out: the glorious pianist Rossano Sportiello loves Dixieland. Yes, that naughty word so scorned by many jazz listeners.

[An update: since I published this blog, with the word spelled out in full, I have been rebuked by several esteemed jazz journalists, a few of them friends, for my daring to print the obscenity, as if I were wrapping myself in the flag of the Confederacy.  “‘D*******d’ is the name given to the kind of music Rossano heard, loved, and played in his Milan youth.  And — should sensibilities still be raw — it’s the name Louis gave to what he played.  Do I need to cite a higher authority?]

Not, as he will point out, the homogenized variety, but the music he grew up listening to: Eddie Condon, Pee Wee Russell, Bobby Hackett, and their noble colleagues.

In 2017, for one of his sets at the much-missed Cleveland Classic Jazz Party, he chose to play the familiar repertoire . . . but with energy and love.  He called on Hal Smith, drums; Frank Tate, string bass; Dan Block, clarinet; Scott Robinson, tenor saxophone; Dan Barrett, trombone; Duke Heitger, trumpet, to accomplish this.  And even though these songs (or almost all of them) have been played to shreds by less-splendid musicians, they shine here.  Admire the relaxed tempos and fine dynamics: the hallmarks of players who remember what the songs are supposed to sound like, that MUSKRAT and BARBECUE have fine melodies that must be treated with care and admiration.

They began with the song Louis loved so well, STRUTTIN’ WITH SOME BARBECUE:

Again, thinking of Louis, a sweet-and-slow AIN’T MISBEHAVIN’:

Hot Five territory once more, but not too fast, for MUSKRAT RAMBLE:

There’s a second half, to come soon — classic performances, created on the spot.

Thanks not only to these delightful creators, but to Nancy Hancock Griffith and Kathy Hancock for making all this possible.  The Cleveland Classic Jazz Party is now only a sweet memory, but it was a glorious outpouring while it lasted.

May your happiness increase!

UNEARTHED TREASURES: MARTY GROSZ, DUKE HEITGER, DAN BARRETT, DAN BLOCK, SCOTT ROBINSON, ROSSANO SPORTIELLO, JON BURR, RICKY MALICHI at JAZZ AT CHAUTAUQUA (September 22, 2012)

A few more previously unseen beauties from the September 2012 appearance of Marty Grosz and his Sentient Stompers at the much-missed Jazz at Chautauqua, held at the Hotel Athenaeum.

Faithful readers will know I and my team of Oxford University-trained archaeologists have been uncovering marvels this year, featuring (collectively) Marty, Andy Schumm, Scott Robinson, John Sheridan, Kerry Lewis, Pete Siers, Jon-Erik Kellso, and Bob Havens.  The findings are on view here, and here,  and here.  Don’t push; don’t crowd.  All of them, including this post, come with great gratitude to Nancy Hancock Griffith, and those of us who were there know why.

And now, three more marvels by the gentlemen listed in the post’s title.  For the uninitiated, Marty Grosz, guitar and occasional banter; Duke Heitger, trumpet; Dan Barrett, trombone; Scott Robinson, taragoto, tenor saxophone; Dan Block, clarinet, bass clarinet, and trumpet; Rossano Sportiello, piano; Jon Burr, string bass; Ricky Malichi, drums.  And you’ll notice that these splendid improvisers are also sight-reading Marty’s arrangements, another thing to admire them for.

First a very Ellingtonian approach to the theme of erotic expertise:

Then, a swinging arrangement of TOO MARVELOUS FOR WORDS, with an intro that sounds like BIG CHIEF DE SOTA (also circa 1937) and with room for a wonderful surprise: Dan Block on trumpet:

Musical savagery from the early Thirties, with Dan Block’s bass clarinet solo:

What treasures!  To me, worth more than unearthed Troy.  But that’s just me.

May your happiness increase!