Tag Archives: Scott Robinson

“MORE TOMORROW”: SCOTT ROBINSON, “TENORMORE”

Scott Robinson isn’t a single flower; he’s a whole garden in bloom.  Each phrase he plays contains surprises: sounds and feelings he is intent on sharing with us.

He does so many things well that perhaps it’s hard for those of us who love him to sit down and contemplate him as he deserves.  Having heard him in person for fifteen years, I am always amazed.  He is brave; he is honest; he doesn’t coast.  Like him, his music is welcoming, never predictable; kind and energized.

His most recent CD, TENORMORE, is a great accomplishment, and it reflects his long love affair with the tenor saxophone, which he plays with more ardor and expertise than others who are better-known.  Unlike some of his recordings, it is narrow in its focus (“narrow” is a compliment here): he plays only that one horn, and there are four musicians with him: Helen Sung, piano, Hammond B3 organ; Dennis Mackrel, drums; Martin Wind, string bass and acoustic bass guitar; Sharon Robinson plays flute on THE WEAVER.

The disc starts in the most open way: a solo performance by Scott on the Lennon-McCartney song of my youth, AND I LOVE HER, which shows not only his full mastery of the horn but also his passion, controlled yet ferocious.  And from then you’re on your own: Scott’s music is too spacious to compartmentalize, although I know some listeners will be putting what they hear in tiny labeled boxes, but it would be both rude and reductive to do so.  I have written more briefly than usual of this CD because it’s too spacious for mere prose.

But what I hear on this disc is a wooing, playful love — for the horn, for the musics it can make — Scott’s deep feelings for the worlds he knows and those he wants us to imagine.  I particularly delight in his purring sweet PUT ON A HAPPY FACE, which feels like a kind arm around your shoulders when you feel low, and the dance he and wife Sharon perform on THE WEAVER.  Other standards, explored with care and daring, include THE NEARNESS OF YOU and THE GOOD LIFE, and original compositions are Martin Wind’s RAINY RIVER, Scott’s own TENOR ELEVEN, TENOR TWELVE, and the title song.

But this will show and tell you more than I ever could:

TENORMORE is also a celebration of Scott’s 60th birthday.  Savor with me the pleasure of saying, “I share the planet with Scott Robinson.  My goodness, what a great thing that is!

And a postscript, just in: I saw this quotation on Facebook and instantly  thought of Scott and TENORMORE: We are slowed down sound and light waves, a walking bundle of frequencies tuned into the cosmos. We are souls dressed up in sacred biochemical garments and our bodies are the instruments through which our souls play their music.  The source?  Albert Einstein, violin.

May your happiness increase!

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GAME OF TONES: TWO BEAUTIES FROM JAY RATTMAN, SCOTT ROBINSON, CHRIS FLORY, PAT O’LEARY at THE EAR INN (May 20, 2019)

For nearly twelve years, The Ear Inn has been my Sunday-night shrine (that’s 326 Spring Street in New York City, via the 1 or the C) because of the EarRegulars’ sublime residency.

Two Sundays ago, Jon-Erik Kellso was in New Orleans, making records (I use the archaic term) with Evan Christopher, but the band that Scott Robinson — on tenor saxophone, contrabass taragota, and trumpet — assembled for the night of May 20, 2019, was stellar: Jay Rattman on clarinet and alto saxophone; Chris Flory on guitar; Pat O’Leary on string bass.  It was less crowded than usual at The Ear, because (I am told) it was the last episode of GAME OF THRONES.  Hence my title.

Beauty paid a visit to 326 Spring Street when this quartet of masters created melodies than floated in the darkness.

And the usual caveats: yes, there are people chatting over their drinks, the image is quite dark at points, and my camera wobbles occasionally because The Ear is not the place to bring a tripod . . . but even the most finicky viewer should be able, through closed eyes, be transported by the Tones: subtle rejoicing scored for four instruments on two rhythm ballads — sweet and slow music with a definite pulse.

Art?  Yes, today:

If you don’t think that performance lives up to Berlin’s title, we must politely but vehemently disagree.  And this 1945 classic by Harry Warren and Mack Gordon is up in the same clouds:

Jay, Scott, Chris, and Pat made loveliness tangible.  As they always do.

May your happiness increase!

MUSIC FOR THE MORNING COMMUTE, REVISITED

This post is devoted to one of my favorite songs — even though I stopped setting my alarm clock almost two months ago.  But I send it out for all of you who still have to obey the summons.  And if you are newly freed from such tyrannies, the song continues to be charming.

I saw in my online research into this song — music and lyrics by Herman Hupfeld (best known now for AS TIME GOES BY, less so for LET’S PUT OUT THE LIGHTS AND GO TO SLEEP, NIGHT OWL, or SING SOMETHING SIMPLE) — that I’d written about it in 2015, but there are now new versions on YouTube, so I propose this blogpost as an improvement rather than plagiarizing from myself.  Here’s my favorite Thirties version, led by Adrian Rollini, with  possibly Bunny Berigan, Al Philburn, Pee Wee Russell, Arthur Rollini, Fulton McGrath, Dick McDonough, Art Miller, Herb Weil, Red McKenzie:

I don’t have any personnel for this version.  Possibly a Gene Kardos group?

and a British version that includes the verse:

We move out of the Thirties for a 2008 version featuring Marty Grosz, Dan Block, Scott Robinson, Vince Giordano, Rob Garcia:

And to return to the song’s inception, it comes from a film delightfully titled MOONLIGHT AND PRETZELS.  Evidence herewith.

 

 

 

 

 

 

 

 

 

and the relevant film clip — homage to Mister Berkeley:

Whatever your circumstances, may that other sock not elude you, and I hope your colleagues treat you kindly and with respect where you make your living.

May your happiness increase!

FOUR FOR THE HAWK: DAN BARRETT, HOWARD ALDEN, RANDY REINHART, SCOTT ROBINSON, EHUD ASHERIE, JOEL FORBES, RICKY MALICHI (Cleveland Classic Jazz Party, September 16, 2017)

I started this post on November 21, which is Coleman Hawkins’ birthday — to the sounds of his music played by WKCR-FM in New York City.  And then the jazz guitarist- archaeologist Nick Rossi unearthed this photograph on Google: Hawkins in Amsterdam, spring 1938, with Maurice van Kleef, drums; Freddy Johnson, piano — a trio that recorded a dozen sides:

Hawk moved to another neighborhood in 1969, but he certainly hasn’t been forgotten.  Here are a group of artists — I think few if any of them were playing in 1969 — paying their own energetic loving tribute at the Cleveland Classic Jazz Party.  Dan Barrett, trombone / leader; Howard Alden, guitar; Randy Reinhart, cornet; Scott Robinson, tenor saxophone; Joel Forbes, string bass; Ehud Asherie, piano; Ricky Malichi, drums.

MY BLUE HEAVEN (with an affectionate backwards glance to the Victor All-Star Octet of 1940, featuring, among others, Benny Carter, J. C. Higginbotham, and Walter Johnson):

SOMEDAY SWEETHEART (with thoughts of the 1933 Allen-Hawkins Orchestra, whose first two test recordings — this and SISTER KATE — were not issued at the time but were saved for future generations):

BEAN AND THE BOYS (a line on LOVER, COME BACK TO ME from 1946, the middle of an especially fertile decade for Hawk):

IF I COULD BE WITH YOU (harking back to the cosmically-important 1929 Mound City Blue Blowers session):

Beautiful music.  The Cleveland Classic Jazz Party (nee Jazz at Chautauqua) is no more, which is cause for woe — but these artists are still filling the air with beauty, for which I and others bless them.

May your happiness increase!

 

“EVERY DAY’S A WORKING DAY FOR YOU”

How do you recognize wealthy people?  They go on vacation with more possessions than they can carry, and they hire someone to do the work for them.

“Red cap” or “redcap,” now archaic, dates back to when people traveled by train, when suitcases did not have wheels, so passengers would need help with their luggage, and would summon a railway porter.

Here is a 1983 news story, “The Top Redcap,” which explains it in greater depth.  I believe that the redcaps were hard-working men of color who may not have been treated well by affluent passengers.  One of the sadnesses of this life is that people who perform low-status jobs become servants and are thus invisible.

If you wonder at the photographs — figurines carrying suitcases and golf clubs, my intent is not to demean these diligent laborers, but these objects turned up online, described as “REDCAP W/ LUGGAGE, STANDARD GAUGE MODEL TRAIN PLATFORM FIGURE, NEW/REPRODUCTION” — produced for people who wanted the landscape of their model train layout to be realistic.  “Look.  Servants, too!”

The description reads: “This is a Standard Gauge figure of a redcap/train porter carrying luggage. It is a reproduction cast in tin from a Lionel antique original and is hand-painted by Leddy & Slack. Lionel’s six-piece set #550 of Standard Gauge figures was manufactured from 1932-1936. The redcap is 3″ tall and wears a dark gray uniform. The suitcase in his left hand is detachable. . . . Suitcases are also available separately to replace a lost piece of luggage on an old figure; please inquire.”  It’s significant that this piece of miniature art dates from 1932-36.

But JAZZ LIVES has not turned into a cultural studies explication of Lionel train figures.  It’s all a prelude to the music, which touches us through the decades.

In 1937, Louis Armstrong and Ken Hecht collaborated on a song, RED CAP.  Everyone, including me, thinks the Hecht referred to was BEN — he’s even credited in the Mosaic set — but it’s  KEN.  See below for Dan Morgenstern’s correction.

Louis had traveled coast-to-coast many times by 1937, so he had first-hand experience of the amiable fellows who helped you and your bags off the train.  Ricky Riccardi, my brother-in-Louis, told me something I hadn’t known, that Louis refused to put his name on songs he had no part in writing.  But there’s an even stronger story behind RED CAP.

Louis grew up in poverty, knew what it was like to hunt through garbage cans for food, was contemptuous of the “lazy,” and held hard work for a goal as the greatest good.  He also was generous, and I would bet that when Louis and his band came into town, he was a hero to the red caps and more.

A year before RED CAP, Louis had a great hit with SHOE SHINE BOY, by Sammy Cahn and Saul Chaplin (Cahn wrote about Louis in his autobiography, and I posted this cameo in 2009).  If you don’t know the song, or know it only through the instrumental versions by Count Basie, Lester Young, and Jo Jones, listen to this touching December 1935 performance:

So: a song celebrating the working man (or child) invisible to the higher classes, directed at him (as in “you” rather than “he”) and predicting a hopeful future, upward economic mobility.  As you’ll hear, RED CAP has one extra touch that SHOE SHINE BOY doesn’t: it ends with the notion that the man working so hard hustlin’ and bustlin’ other people’s suitcases will someday be able to take a vacation and call for a red cap as well.  A dream worth dreaming!

It’s easy to imagine the dialogue between Louis and Hecht about writing a song in praise of the unseen but invaluable red caps, no matter who started the conversation. Louis usually worked with Horace Gerlach,  but you are free to let your imagination wander as to the genesis of RED CAP.

My imagination wanders to this wonderful 2003 performance now accessible on YouTube, from Scott Robinson’s eloquent spacious Louis tribute.  Here Scott plays C-melody saxophone alongside another hero, Mark Shane, irresistible both as pianist and singer:

and from five years ago (can it be that long?), our friend Daryl Sherman, vocal and piano; Scott, taragoto; Harvie S, string bass:

And the Master comes last:

I write these words a few days before Labor Day — thus “Perhaps some day you may be shouting, ‘Red Cap!’ too!” — has much hopeful significance to me: people’s dreams can still become realities.

And this, a gift from the Big Dipper, which says so much:

THIS JUST IN, from Dan Morgenstern, whom I trust!

Alas, I too thought how wonderful that Louis and Ben Hecht, of whom I was and still am a great fan, should have collaborated, and on a theme fitting with Hecht’s ideology . But I was not convinced that Ben and Louis had ever been connected. Sure enough, the Red Cap lyric is by KEN Hecht, writer of special material for many comedians and such entertainers as Belle Baker and Rose Marie. None of his other songs is near Red Cap. As for Ben, his most famous work is the play “The Front Page” a big 1928 Broadway hit twice filmed with success, first with the same title and later as “His Girl Friday” with which anyone at all into vintage films will know. Hecht’s partner was Charles Macarthur with whom he screenplayed “Scarface”, “Twentieth Century”, “Nothing Sacred” and, for Noel Coward’s first major film role, “The Coward”, all that plus making the twosome major league screenwriter. Hecht was one of the major advocates for the creation of Israel, among other causes. His 1926 novel “Count Bruga” is a sui generis satire that should be rediscovered. I don’t know if he was a Louis fan but glad this brought him up. His dates are 1894-1964.

AND a wonderful postscript, just in, from the wise Paige VanVorst:

One of my longtime idols, Natty Dominique, who’s on as many classic jazz records as Bix (As Wayne Jones used to say, “but they don’t buy them for Natty’s playing”), worked much of his life as a redcap at Chicago’s Midway Airport. People loved him, and he told stories of the early days of jazz to the people he served. He had a very nice retirement- he had a nice apartment with everything he needed, a wife who was an excellent creole cook, and he’d tell you it was all from his work as a redcap.

May your happiness increase!

WHERE THE WILD ARCANA GROWS: ANDY SCHUMM and his GANG at GRUMPY’S in DAVENPORT, IOWA (Set Two, August 1, 2018)

Many jazz bands that identify themselves as steeped in Twenties Hot are devoted to the Ancestors and the irreplaceable recordings, but have reduced their  repertoire to a dozen-plus familiar songs: DIPPERMOUTH BLUES, SINGIN’ THE BLUES, TIN ROOF BLUES, THAT’S A-PLENTY, ROYAL GARDEN BLUES, STRUTTIN’ WITH SOME BARBECUE, and so on.  Those songs achieved classic status for good reason, but they quickly come to feel like the same Caesar salad.  (“Mainstream” groups do the same thing with PENNIES FROM HEAVEN, ALL OF ME, SUNNY SIDE OF THE STREET . . . continuing forward to GROOVIN’ HIGH and the bop -OLOGIES also.)

But the noble and flourishing Andy Schumm is not only a marvelous multi-instrumentalist (on this session, cornet, clarinet, tenor saxophone, “Reserphone,” and one voice in the glee club) but a truly diligent researcher — coming up with hot tunes and lyrical songs that rarely — or never — get performed.  At the end of the video presented here, you should observe the thickness of manuscript that he picks up off his music stand, and when he announces the next tune to the band by number as well as title, the numbers are notably three digits, suggesting a substantial “book.”

Andy and his Gang performed two wonderful sets of lively, “new” “old” material at the August 2018 Bix Beiderbecke Memorial Festival in Davenport, Iowa.  The Gang was a streamlined version of the Fat Babies, with Andy; John Otto, reeds; Johnny Donatowicz, banjo / guitar; Dave Bock, tuba, and guest star David Boeddinghaus, piano.  All of this good music was beautifully preserved for us by “Chris and Chris,” whose generosities you know or should know.  My posting of the first set is here.

As far as arcana is concerned, here are the songs performed: CUSHION FOOT STOMP (Clarence Williams), EL RADO SCUFFLE (Jimmie Noone: supposedly the club was the ELDORADO but not all the letters in the sign were visible), AIN’T THAT HATEFUL? (Oliver Naylor), JUST LIKE A MELODY (a Walter Donaldson composition, one known in recent decades thanks to Scott Robinson’s recording of it), FLAG THAT TRAIN (watch out for the Reserphone), I MUST BE DREAMING (a sweet duet for John Otto and David Boeddinghaus), BEER GARDEN BLUES (Clarence Williams, with glee-club vocal; Williams also recorded this melody with different lyrics, perhaps called SWING, BROTHER, SWING, but not the Billie-Basie song), GRAVIER STREET BLUES (Clarence Williams again, his Jazz Kings — thanks to Phil Melnick for catching the title, something I didn’t recognize, which proves my point about arcana), CROSS ROADS (California Ramblers), WAILING BLUES (thanks to Cellar Boys Wingy, Tesch, Bud, and Frank Melrose), an impish Boeddinghaus chorus of WE’RE IN THE MONEY, perhaps a satiric reference to the undernourished tip jar? — and closing with a wild SAN in honor of Jimmie Noone’s Apex Club Orchestra.

Thanks to Andy, John, John, Dave, Dave, and Chris and Chris.  (I see a pattern here, don’t you?)

“Chris and Chris” at the 2015 Steamboat Stomp in New Orleans. Photograph by Bess Wade.

May your happiness increase!

WHEN LOVE COMES IN THE EAR: JON-ERIK KELLSO, MATT MUNISTERI, SCOTT ROBINSON, NEAL MINER (The EarRegulars at The Ear Inn, Sunday, June 10, 2018)

Readers of JAZZ LIVES know how deeply I and others treasure the Sunday-evening gatherings of kindred enlightened souls that take place at The Ear Inn, 326 Spring Street, Soho, New York City.  Here is some joy from June 10, with the personnel listed above: Jon-Erik Kellso, trumpet and special mutations; Matt Munisteri, guitar; Scott Robinson, reeds and brass cross-species permutations [translation: tenor saxophone, alto clarinet; miniature French horn]; Neal Miner, string bass.

The EarRegulars, June 10, 2018. Photograph by Neal Siegal.

Here are a few highlights, delights all.

Some Fats by way of Louis, BLUE, TURNING GREY OVER YOU:

YOU BROUGHT A NEW KIND OF LOVE TO ME (its beginning excised because of a collision between my camera and an eager patron):

Don Redman’s soulful plaint, GEE, BABY, AIN’T I  GOOD TO YOU?:

More Fats! I’VE GOT A FEELING I’M FALLING with Scott’s loping, tender solo reading of the verse:

See you at The Ear around 7 some sweet Sunday.  And save me a barstool.

May your happiness increase!