Tag Archives: Sam Taylor

WITH TENDERNESS: THEN, NOW, SOON (JOEL FORRESTER, VITO DIETERLE, MATT GARRITY, DAVE HOFSTRA)

JOEL FORRESTER, photograph by Metin Oner

Some more music from my hero Joel Forrester, captured live at Cleopatra’s Needle on August 3, 2017, which is the THEN of the title.  Joel brought with him Vito Dieterle, tenor saxophone; Dave Hofstra, string bass; Matt Garrity, drums (and other noble participants, their identities to be revealed in future JAZZ LIVES’ posts).

Two selections struck me most strongly as wordless evocations of tenderness, overlaid with grief.  The first, YOUR LITTLE DOG, Joel’s elegy for a beloved pet, is incomplete: I arrived late to this Musical Offering and the quartet was taking its leisurely melancholy route through this composition, one of Joel’s that is most dear to me. Here is the closing minute.  I wish I’d arrived earlier, but this minute-plus remains emotionally powerful:

Later in the evening, Joel and the quartet offered a slow ballad, ABOUT FRANCOISE, which has much of the same mood:

I’ve lingered over these two performances because they present a sound, a mood, a tempo that I don’t always encounter, in a world where some musicians feel pressured to be brighter, quicker, more attention-getting.  Joel and friends know that music that mourns can also elate and uplift, and I hope you feel those emotions here.

That was THEN, as they say.  The NOW is, of course, the minutes you are spending absorbing the sounds.

SOON is not yet here as I write this, but it will come  . . .  you know the rest.

Joel, Vito, and Dave have a new trio gig in Riverdale, New York, this coming Sunday, which is September 10, from 3 to 7 PM, at MON AMOUR, a coffee-and-wine cafe at 234 West 238th Street, two doors to the east of Broadway.  Take the #1 train to 238 (its penultimate station stop) and you are THERE. No cover or music charge. 

And Joel has promised me a full version of YOUR LITTLE DOG for my camera and my audience.  You could spend Sunday afternoon searching for your autumn-winter wardrobe, but that can wait a few days.

Something relevant and perhaps not coincidental: I am reading with great pleasure OPEN CITY, the 2011 debut novel by Teju Cole — the book a gift from tenor saxophonist Sam Taylor, and after beginning this blog, I had to leave my computer but could take the book with me.  The narrator says, early on, of a younger friend in his neighborhood, “My friend was especially passionate about jazz. Most of the names and styles that he so delighted in meant little to me (there are apparently number of great jazz musicians from the sixties and seventies with the last name Jones).  But I could sense, even from my ignorant distance, the sophistication of his ear.  He often said that he would sit down at a piano someday and show me how jazz worked, and that when I finally understood blue notes and swung notes, the heavens would part and my life would be transformed.  I more than half believed him . . . ” (24-25).

Cole’s words echo Forrester’s “tunes.”

May your happiness increase!

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“SOME TUNEFUL CATS”: STREET OF DREAMS (SAM TAYLOR, GREG RUGGIERO, AIDAN O’DONNELL, BEN CLINESS)

STREET OF DREAMS one

A musician friend I respect told me about this new quartet — called, sweetly, STREET OF DREAMS, and I was instantly pleased by the videos below.  When I shared them with another jazz fancier — like me, a devotee of melodic improvisation — I got back a near-instant response, “Those are some tuneful cats!”  I completely agree, and think you will too.

STREET OF DREAMS two

That’s Sam Taylor, tenor saxophone; Greg Ruggiero, guitar; Aidan O’Donnell, string bass; Ben Cliness, drums.  (I’ve met and video-ed three of the four [so far Ben has been safe from me] and I am proud to know them.)

YOUNG AT HEART:

CLOSE YOUR EYES:

CORCOVADO:

DON’T GET AROUND MUCH ANYMORE:

AFTER YOU’VE GONE:

Melodists, making danceable music that is both deep and gossamer.  Those among us who play or sing know that making melody come alive is not easy. Ask Louis, ask Lester, ask Monk.  And I know that some devout jazz listeners might say that this band is less “innovative” or “adventurous” than they prefer, and I leave them to their search for what they like.

But beauty never has to innovate.  It just is.

To book this group — very new but by no means immature (!) — click here.

May your happiness increase!

TAKING ROOT IN OUR HEARTS: SAM TAYLOR, AIDAN O’DONNELL, TARO OKAMOTO (OCTOBER 15, 2015)

In his liner notes to his debut CD, MY FUTURE JUST PASSED, Sam Taylor, a tenor saxophonist who creates subtle, searching music that resonates long in the mind, has written this brief credo:

Sometimes, a song enters our life at the perfect moment. It gives clarity and meaning to seemingly random events. It speaks and gives voice to our feelings of love, heartache, joy and jubilation. It taps into our memories, both personal and collective, taking root in our hearts, stirring our imagination.

In August 2015, I heard Sam’s CD and was immediately captivated by what he did — and didn’t — do.  Here‘s what I wrote (under the title of BRAVE, PATIENT BEAUTY).

I was more than a little excited to learn that Sam, bassist Aidan O’Donnell, and drummer Taro Okamoto — the trio on this CD — would be giving a CD release concert on October 15th (at the beautifully welcoming Marc A. Scorca Hall at Opera America, 330 Seventh Avenue).  Sam graciously welcomed me and my camera, and here are a few highlights of that evening of wonderfully rewarding music.

But first.  Many musicians — for whatever reasons — fill the air with notes.  This isn’t, in itself, wrong or offensive.  But the masters, to my way of thinking, use fewer notes to sing their song, to tell their story.  At first, Sam’s playing may seem spare, restrained.  But then, if you are willing to follow him, you realize that his approach is that of a great artist who has refined and pared down what he offers.  It’s like having a conversation with someone who so beautifully self-edits speech that the two sentences you hear are forever memorable.  Sam’s playing rings in my ears and continues to do so as he sculpts his solos, offering deep candor, heartfelt truths.

EVERYTHING I LOVE:

YOU ARE TOO BEAUTIFUL:

MY FUTURE JUST PASSED:

SHE’S FUNNY THAT WAY:

Hearing Sam, Aidan, and Taro, I am in the presence of great beauty, serene yet intent, beauty that does not need to blind us with flourishes and special effects, a wise, poised art that never needs to raise its voice to be heard and felt.

May your happiness increase!

BRAVE, PATIENT BEAUTY: SAM TAYLOR, “MY FUTURE JUST PASSED”

Possibly you haven’t yet heard of the tenor saxophonist Sam Taylor.  But I guarantee you will.  He has a rare gift.

When I was opening the plastic wrapping enclosing Sam’s debut CD, I confess I was expecting more-of-the-same: in this century, many young musicians are technically gifted in ways that would astonish the Ancestors.  There isn’t anything they can’t play.  Complex harmonies at top speed, chorus after chorus, are their basic vocabulary.  They often make Bird sound like Honore Dutrey. They have spent their youth practicing, and it shows.  And that in itself is a wonderful accomplishment — if technique is your primary goal.  But often it is cold — music that doesn’t ring in the listeners’ hearts.

I come back to what I think of as the basic ideal of instrumental music: to communicate something, without words, that makes us feel and reflect.  To “tell a story.”  To “sing on your horn.”

I knew Sam Taylor had a good chance of being different — of reaching our hearts — when I saw the song he had chosen as the title of his CD, a beautiful obscure 1930 song.  Not an original, although full of original sentiment.

SAM TAYLOR cover 700

Here are two versions of MY FUTURE JUST PASSED.  The first, by Annette Hanshaw, is hopeful rather than morose:

I know that the lyrics of the verse (George Marion, Jr.) suggest a certain light-heartedness (rhyming “not less” and “spotless” but the melody is haunting, especially the bridge — thanks to Richard Whiting.

Here is the 1963 version by Shirley Horn (gorgeous arrangements by Jimmy Jones) at a heartfelt tempo:

Beautiful — and I admire her willingness to take her time, to let the song unfold.

Now, listen to this — and understand why I think so highly of Sam Taylor:

If your first reaction is, “Oh, he’s only playing the melody,” I offer two options. The more polite one is, “Please listen again,” and the less is, “Please go away.”

I think of a comment (reported by Nat Hentoff, I believe) of Bobby Hackett listening to Louis Armstrong, “Do you know how hard it is to make melody come that alive?”

In Sam’s playing I hear the great melodists — Louis of course, but also Bing and Sinatra, Ben, Hawk, and Pres — but he sounds like himself as he patiently and lovingly devotes himself to the song.  No self-referential playing (those quotes that show us “ingenuity” and no ostentatious “virtuosities”) — nothing but rapt attention to the song, to melody, to the way a great artist can make us feel.  I admire his ease but also his patience, as if he is saying to us through his horn, “I have something to tell you, but it is at once both very simple and too deep for words.  It is a story of hope, but hope tinged with melancholy and risks that might not come off.  Please sit down, shut off your phone, join with me in the great ritual of music-making and truth-exploring.”

You can find out more about Sam Taylor here, and you can also download the CD.   Of course you should search out Sam at a gig and buy a copy directly, but it can also be ordered from CellarLive.comIt will soon be available on Amazon as well.

I like my CDs physically tangible, especially in this case where Sam has written the notes himself — simple, full of feeling.  Here are his opening lines:

Sometimes, a song enters our life at the perfect moment.  It gives clarity and meaning to seemingly random events.  It speaks and gives voice to our feelings of love, heartache, joy and jubilation.  It taps into our memories, both personal and collective, taking root in our hearts, stirring our imagination.

And the music on this CD exemplifies this philosophy, both simple and deep. Sam is wonderfully assisted by bassist Aidan O’Donnell and drummer Taro Okamoto — who do not fade into the background nor do they overpower.  This trio has the balanced lightness and weight of the trio sessions Lucky Thompson did with Oscar Pettiford and Skeeter Best, yet it sounds entirely fresh, not a “recreation.”

The songs reflect Sam’s love for lasting melodies: LOVE ME OR LEAVE ME / MY FUTURE JUST PASSED / DO SOMETHING (based on a Cole Porter melody) / SHE’S FUNNY THAT WAY / WHY DON’T I / MEAN TO ME / ERONEL / YOU ARE TOO BEAUTIFUL / T.O.’S BLUES.

I am certain you will welcome him as someone not afraid to create beauty.

May your happiness increase!