Tag Archives: Scott Robinson

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!

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HIDDEN TREASURES, CONTINUED: MARTY GROSZ, ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, PETE SIERS: JAZZ at CHAUTAUQUA, SEPTEMBER 21, 2013

Jazz groups often choose well-established formats: the piano trio; the bebop quintet; the trad or swing sextet.  But “unorthodox” bands offer wonderful surprises.

“Tell us a story, Mister Grosz!” Photo by Lynn Redmile

Marty Grosz likes such original assemblages: two  horns, guitar and string bass, for instance, all unamplified.  And in the case of this morning set at Jazz at Chautauqua, not so long ago, Marty assembled two especially nimble horn players, a pianist, himself, and a very sensitive drummer who used snare and wire brushes only.  It happened in this century, but it felt like a dream of the old days, thanks to Andy Schumm, Scott Robinson, John Sheridan, and Pete Siers.  Now, thanks to the glories of teleportation, and thanks to Nancy Hancock Griffith, we can go there also.

Calling Mr. Berlin!

Marty without Fats just wouldn’t be Marty:

and a homage to the esteemed and elusive Horace Gerlach and his co-composer, Mister Strong:

Marty turned 88 — yes, eighty-eight — a few days ago.  He probably won’t see this post, but it is a deeply admiring salute to his delightful selves.  This place wouldn’t be the same without him.  And here’s a 2013 missive from MOG:

May your happiness increase!

BEAUTY, SO RARE: HIDDEN TREASURES FROM JAZZ AT CHAUTAUQUA: JON-ERIK KELLSO, SCOTT ROBINSON, BOB HAVENS, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS (September 23, 2012)

When it’s good, you know it.  When it’s sublime, you feel it.  Here are four previously unseen treasures from the sprawling JAZZ LIVES vault of video sweetness, recorded at the Hotel Athenaeum in Chautauqua, New York, on September 23, 2012, during the delightful gathering of cosmic energies once called “Jazz at Chautauqua,” the creation of Joe Boughton and then Nancy Hancock Griffith.

We take so much for granted, and on paper, this set might just have seemed another pleasing interlude in a long weekend of delights — a Sunday-brunch set focused on the music of Louis Armstrong.  With other players, even such an inspiring theme could have turned into genial formula.  But not with Jon-Erik Kellso, trumpet; Bob Havens, trombone; Scott Robinson, metal clarinet, tenor saxophone, and taragoto; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.

How they soar.  How tenderly they caress the music.  You’ll experience it for yourselves.

First, a WEARY BLUES that gently piles delight upon delight, a  great piece of Hot Architecture reaching toward the sky:

and, with some priceless commentary from Scott Robinson — erudite comedy gently coming to earth as a loving tribute to Joe Muranyi, who loved to play BIG BUTTER AND EGG MAN:

“Right on it,” as they say, with Mr. Robinson on the tenor, for ONCE IN A WHILE, where the rhythm section shines:

If the closing ninety seconds of that performance doesn’t make you jubilant, then perhaps you should consider seeing a specialist.

What could be better to close off such a glorious episode than an expression of gratitude, in this case, THANKS A MILLION, beginning with a Kellso-Sheridan duet on the verse:

I find that performance incredibly tender: gratitude not only from the musicians to the audience, but to Louis and the worlds he created for us.

Perhaps it’s true that “you can’t go home again,” but if I could book a flight to Buffalo in the certainty that I would see this band again, I’d be packed and ready.  Maybe it’s because I can’t get back to this morning in September 2012 in some temporal way that I feel so deeply the precious vibrations these ministers of swinging grace offer us.  Bless them.  It was a privilege to be there, an honor to be allowed to capture this for posterity.

Watch this with full attention; savor it; share it; exult in it.  Let us never take beauty for granted.

May your happiness increase!

HIDDEN TREASURE: MARTY GROSZ and THE CELLAR BOYS at JAZZ AT CHAUTAUQUA (Sept. 22, 2012): ANDY SCHUMM, SCOTT ROBINSON, JOHN SHERIDAN, KERRY LEWIS, PETE SIERS

Marty Grosz and Bob Haggart, date and location not known

When you’ve shot as many videos as I have — over a decade’s worth — there’s a sizable treasure chest of the unseen.  Sometimes videos are buried for good reason, the primary one being musicians’ unhappiness with the results.  And since we aim to please, I don’t post what offends the creators.

But a few weeks ago, during an atypical tussle with insomnia, I was sitting at my computer at 3:30 AM, looking at unlisted videos stored safely on YouTube, and I found this rousing delight.  The musicians who like to approve of my postings have approved, so I can share it with you.  It’s a hot half-hour with Marty Grosz and his Cellar Boys, from Jazz at Chautauqua, probably a Sunday morning, the exact date noted above.

That’s Marty on guitar, vocal, commentary (yes, he does like to expound, but commenters who complain will be teleported to another blog); Andy Schumm, cornet and miscellaneous instrument; Scott Robinson, reeds and inventiveness; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums.

The real breadstick, as Marty would say.

Sucrose, no corn syrup:

Don’t tell me different — I know I’m right!  Watch Andy and Scott do magic:

And a series of wonderful hot surprises:

Once, when I was in Dublin, I found the Oxfam charity shop (as they would call it) and sniffed out the small shelf of recordings.  Very little of interest, but there was one jazz lp — autographed by the band, and the band had Keith Ingham in it. I clutched it to my chest, fearful that someone would steal it away, and when I approached the cash register, the gracious woman volunteer looked at me, smiled, and said, “Well, YOU’VE found a treasure, haven’t you?”

That’s how I feel about these videos.  Blessings on the musicians and of course on Nancy Hancock Griffith, who made it all possible.

May your happiness increase!

“WE CALL IT MUSIC” (PART TWO): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)

It’s only music.  Don’t be afraid of the unfamiliar.  Everything good was unfamiliar once, and that includes ripe apricots.

Here‘s Part One of the Musical Offering.  And here’s the text for what follows:

Randy Weston’s late-Fifties composition SAUCER EYES, is here exuberantly performed on September 14, 2017, by a comfortable assemblage of all-stars at the 2017 Cleveland Classic Jazz Party: Dan Block, tenor saxophone; Scott Robinson, tenor saxophone; Ehud Asherie, piano; Joel Forbes, string bass; Pete Siers, drums.  I hadn’t known the tune, but after hearing it, it is now permanently stuck in my head, in a good way.

I like it, I like it.

May your happiness increase!

“WE CALL IT MUSIC” (PART ONE): DAN BLOCK, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, PETE SIERS (Cleveland Classic Jazz Party, September 14, 2017)

Possibly the first recording of the Gershwin classic, October 20, 1930.

What we have here is the essence of classic jazz — spirited improvisations on the chord changes of I GOT RHYTHM, followed by a Thirties song from a Broadway show.  I write this to calm any skittish listener, deeply enamored of jazz pre-1931 or 1944, who might run off when hearing the opening line, called either CRAZEOLOGY (if the composers are Little Benny Harris and Charlie Parker) or BUD’S BUBBLE (if Bud Powell takes credit); SEPTEMBER SONG, that follows, should scare no one.

Beautifully played by Dan Block, tenor saxophone; Scott Robinson (partially concealed behind the piano) tenor saxophone and trumpet; Ehud Asherie, piano; Joel Forbes, string bass; Pete Siers, drums.

Should any of my readers / listeners take flight at “that modern jazz,” I urge them to listen calmly, even hum I GOT RHYTHM along with the band — to see that the divide between “styles and schools” was never created by musicians, but by journalists, to whom pugilism was good copy.  (See “Blesh, Rudi,” “Ulanov, Barry,” “Feather, Leonard,” among others.)  Listen, listen.  It’s all music.

And, once again, I post this video as a sad but admiring tribute to the Cleveland Classic Jazz Party, which will not continue into 2018, even with the superhuman efforts of its heroic team, Nancy Hancock Griffith and Kathy Hancock — read about it here.  Both I and Laura Wyman (of Wyman Video) will be sharing videos from the 2017 Party in time.

May your happiness increase!

MARTY GROSZ’S “BIXIANA”: “I’M LOOKING OVER A FOUR-LEAF CLOVER” (Jazz at Chautauqua, September 2011)

Days gone by, but not days beyond recall — afternoons and evenings in September 2011 at the Athenaeum Hotel in Chautauqua, New York — for the late Joe Boughton’s annual jazz weekend.  Because I am feeling more than a little melancholy at the news of the end of the Cleveland Classic Jazz Party, I thought I’d share some music from the glory days — to ease the feelings.

Here is one stomping example of the goodness that I was privileged to witness from 2004 to 2017.  It comes from a Marty Grosz set devoted to songs associated with Bix Beiderbecke, performed in styles he wouldn’t necessarily have known.  (Marty’s opening interlude reminds me pleasantly of Alex Hill’s MADAM DYNAMITE, recorded two years after Bix’s death.)

The band includes Marty, guitar and inventive arrangements; Andy Schumm, cornet; Dan Block and Scott Robinson, reeds; Dan Barrett, trombone; Jim Dapogny, piano; Jon Burr, bass; Pete Siers, drums, performing a song I know from the Goldkette Victor — a song of romantic optimism that is perhaps now best known in the banjo-and-let’s-all-sing genre, but it gets up and moves around nicely, not only because of the hot solos, but because of the truly varied and rich arrangement:

“We’ll always have Chautauqua.  And Cleveland,” says some famous film actor.

May your happiness increase!