Tag Archives: Soho

SWINGTIME IN SOHO (Part One): JON-ERIK KELLSO, DAN BARRETT, CHRIS FLORY, JOEL FORBES at THE EAR INN (Sept. 14, 2014)

At The Ear Inn (326 Spring Street, Soho, New York City), the Sunday-night sessions by the EarRegulars — now in their eighth year — are always delightful. But when Dan Barrett comes back east for a visit, they’re spectacularly rewarding.  Here is the first half of the first set performed on September 14, 2014, by Messrs. Barrett (trombone and instant head arrangements); Jon-Erik Kellso, trumpet; Chris Flory, guitar; Joel Forbes, string bass.

I could write at length about the swinging brotherhood of this quartet, about Jon’s exuberant energy, about Dan’s slippery ensemble work and brilliant solos, about Chris’ immense bluesy conviction, about Joel’s eloquent subtle simplicities, but the music can say all that and more, without words.

COQUETTE:

OUR MONDAY DATE:

THEY SAY IT’S WONDERFUL:

I SURRENDER, DEAR:

Three more to come.

May your happiness increase!

Advertisements

“WHAT’S NOT TO LOVE?” (JON-ERIK KELLSO, WARREN VACHÉ, MENNO DAAMS, MATT MUNISTERI, JOHN ALLRED, HARVEY TIBBS, PAT O’LEARY at THE EAR INN, October 6, 2013)

Just the facts.

Sunday night, October 6, 2013.  Apprximately 9:15 PM.

The Ear Inn, 326 Spring Street, Soho, New York City.

The EarRegulars: Jon-Erik Kellso, trumpet; John Allred, trombone; Matt Munisteri, guitar; Pat O’Leary, string bass, with guests Warren Vaché, Menno Daams, cornet; Harvey Tibbs, trombone.

Text for the occasion:  THE LADY’S IN LOVE WITH YOU by Frank Loesser and Burton Lane, 1939.*

Cinema verite by Ineke Rienks.

We love it!

*Here’s the original soundtrack from the film SOME LIKE IT HOT, featuring Bob Hope, Shirley Ross, and Gene Krupa:

May your happiness increase!

FREE-WHEELING ON SPRING STREET: THE EarRegulars (JON-ERIK KELLSO, MATT MUNISTERI, GREG COHEN, TAD SHULL) PLAY HOAGY CARMICHAEL (March 31, 2013)

Those “old chestnuts” can be very tasty.

RIVERBOAT SHUFFLE (originally called FREE WHEELING) by one Hoagland Carmichael, is ninety years old as I write this.  But the tune — with its twists and turns — is flavorful and lively, especially when played by a group as energized and intuitive as The EarRegulars, the regularly brilliant quartet-plus co-led by guitarist Matt Munisteri and trumpeter Jon-Erik Kellso on Sunday nights (8-11 PM) at The Ear Inn, 326 Spring Street, Soho, New York City.  The other members of this quartet — on March 31, 2013 — were string bassist Greg Cohen and tenor saxophonist Tad Shull.

Creativity — from 1923 or 2013 or a blending of the two — will never grow old.

May your happiness increase.

OUR IDEAL: THE EARREGULARS at THE EAR INN (January 29, 2012)

Very simple, no flourishes, nothing fancy: just four of the best musicians you’ll ever hear honoring the melodies, improvising at lightning speed, making a wonderfully cohesive little band right there in the corner at The Ear Inn (326 Spring Street, Soho, New York City) last Sunday night from 8-11 PM.  By the summer of 2012 the EarRegulars will have pulled off such secular miracles for five years, which stands as an amazing record for creative consistency.

Last Sunday’s Peerless Quartet was Matt Munisteri, guitar; Jon-Erik Kellso, trumpet; Alex Hoffman, tenor saxophone; Neal Miner, string bass.  Here are five varied and luminous performances from that evening:

The Claude Hopkins-Alex Hill declaration of gracious acquiescence, I WOULD DO [MOST] ANYTHING FOR YOU, which also became the Hopkins theme song.  I always wonder whether it reflects the leader’s mood if the MOST is included or left out.  Scholarly research, anyone?

Then a leisurely exposition of the 1922 Youmans SOMETIMES I’M HAPPY, at a tempo that recalls Lester Young and his gorgeous Keynote session:

So many “traditional” and “Dixieland” bands have claimed THE SHEIK OF ARABY for their own that one is in danger of forgetting what an effective swing tune it is.  Here, Matt and Jon-Erik launch into the appropriately Middle-Eastern verse in a manner that recalls the eternally memorable Hot Lips Page session for V-Disc:

A lovely tune, not often played by jazz improvisers, is the Irving Berlin CHANGE PARTNERS — of course associated with Fred Astaire and Ginger Rogers:

And a sweet, musing version of Walter Donaldson’s MY IDEAL, recalling both Coleman Hawkins and Billie Holiday:

I was thrilled to be there . . . and I had very good company — new young friends, Travis and Jillian, who were digging the music in the most heartfelt way.  Shazam, you cats!

The EarRegulars will be taking Sunday, February 5, 2012, off, because of the Super Bowl — but they will be back on the 12th with Matt, Jon-Erik, Mark Lopeman, and Nicki Parrott — prepare to swing!

INSPIRATIONS at THE EAR INN (April 17, 2011)

While Jon-Erik Kellso and Matt Munisteri were finishing up what I hope was a rewarding weekend at the 2011 Atlanta Jazz Festival, the EarRegulars kept swinging happily in their absence — at The Ear Inn last night (Sunday, April 17, 2011 — at 326 Spring Street, Soho, New York City).

The quartet was made up of old friends and musical colleagues — people who had a lot to say to each other on their instruments: Danny Tobias, cornet; Dan Block, clarinet and tenor saxophone; Chris Flory, guitar; Frank Tate, bass.

The music was playful and conversational: the band evoked the past (the 1938 Basie band, an imagined 1944 Keynote session, a Vanguard record date) while reminding us at every turn that there were four living musicians creating beauty in the here and now.  In each of these performances, you’ll see and hear casual splendor: the inventive lines and big sound of Frank Tate, who plays the string bass as it wants to be played (no manic guitar runs for him); the irresistible rhythmic surge of Chris Flory, his lines chiming; Danny Tobias’s subtle mastery — he never plays a superfluous note, and although he’s deeply grounded in the tradition of Buck Clayton and Ruby Braff, you’d lose all your bets trying to predict where his next phrase will land; the fierce lyricism of Dan Block, lemony on clarinet, yearning on tenor — a man inseparable from the phrases he creates.

Melodies everywhere!

Pay attention! as Jake Hanna used to say — especially to the conversations between Danny and Dan, uplifting interludes in several performances.

LINGER AWHILE isn’t played that much by contemporary bands, but Bill Coleman, Dicky Wells, and Lester Young had a good time with it some decades back:

Some cautious optimism with SOMETIMES I’M HAPPY at an easy rocking tempo:

A good old good one, EVERYBODY LOVES MY BABY:

Happiness is on everyone’s mind on a Sunday night at The Ear Inn, so why not play I WANT TO BE HAPPY:

And to cool the room down, a swinging JADA:

Cherish these sessions!  They’ve been going on for nearly four years . . . come visit while this music is in the air . . . .

FOR BIX BEIDERBECKE (The Ear Inn, March 13, 2011)

I do not know what memories Bix Beiderbecke had of New York.  Aside from that terrible apartment in Sunnyside, Queens, where he died, I think that many of them were good: recording for OKeh, jamming in Harlem, playing against the Henderson band, drinking at Plunkett’s.  Bixians can, I am sure, supply more.

Although Bix has been gone a long time, New Yorkers still celebrate him in many ways: a vigil on the anniversary of his death; WKCR-FM plays his music on his birthday, and (this year) the EarRegulars devoted an evening to honoring him.

The EarRegulars were Jon-Erik Kellso (trumpet) and Matt Munisteri (guitar), founding members, with Pete Martinez (Albert system clarinet) and Greg Cohen (string bass).  And they played as if Bix was seated at the bar, grinning appreciatively — which, in a way, he always is.

Here’s Hoagy’s FREE WHEELING — later named RIVERBOAT SHUFFLE, a wondrous way to start things off.  Catch Jon-Erik’s clarion, flexible lines, Greg’s fervent support.  Pete’s quotation early in his first chorus is a delicious in-joke.  As ALONE, it is the romantic number in the Marx Brothers’ A NIGHT AT THE OPERA.  And his second chorus — only Matt could follow something like that, and how nimbly he does!  Jon-Erik soars; Greg stomps, and the closing ensemble is a triumphant paradox: searing hot and cool to the touch at the same time:

It took me several choruses to recall the name of the next selection — it’s THERE’LL COME A TIME and it’s a tribute to the deep affection and deeper recall that all the editions of the EarRegulars show — not in an academic or pretentious way, but with love.  This version, deliciously, has an easy stroll to it — it could be a 1938 Basie-inspired small group recording for Commodore, couldn’t it?  (Think of Buck, Lester, Durham, Page.)  And wait until the very end — the equine commentary is here and intact:

Pianist and wit Jeff Barnhart says that SAN has the distinction of being the Dixieland tune with the shortest title.  I wouldn’t deny that, but it’s also a rocking composition — especially the way the EarRegulars launch into it, with quartet telepathy all around:

Finally, a song I take as a tribute to my serene and well-establish standing in academia — the JAZZ ME BLUES — which has the immortal line, worthy of Keats, “Professor, come on and jazz me!”  I would have responded but it would have required that I put my camera down, so I couldn’t:

Bix thanks you.  We all thank you, gentlemen of the ensemble!

DON’T BE IN A MIST!  CLICK HERE TO GIVE SOMETHING BACK TO THE MUSICIANS IN THE VIDEOS (ALL MONEY COLLECTED GOES TO THEM):

https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQAS

A JAZZ BOUQUET: DAN BARRETT and ANDY SCHUMM at THE EAR INN (Oct. 24, 2010)

Last Sunday, in the late afternoon, I began to fidget — perhaps two hours before The EarRegulars were scheduled to start playing at The Ear Inn.  The Beloved said to me, kindly, “What are you so anxious about?  We’ll be there in plenty of time,” which was of course true.  (She knows such things.) 

I replied, “You’re right, but I’ve been waiting two months for this evening,” which was no less true.

Why?  Let’s call the roll:

Andy Schumm, cornet (sitting in for a traveling Jon-Erik Kellso); Dan Barrett, trombone; Matt Munisteri, guitar; Scott Robinson, bass sax.

And I didn’t even know that there were going to be august guests, that Vince Giordano would sit in on tenor guitar, that Dan Block and John Otto would bring their clarinets, that I would get to hear saxophonist Ned Goold, and that I would meet the thoroughly captivating singer Jerron Paxton. 

Had I known all this in advance, I might have camped out at the bar of The Ear Inn (that’s 326 Spring Street, Soho, New York City) a day in advance. 

But we got there in time, I situated myself in proper video range (near pals Jim and Grace Balantic, Rob Rothberg, Bill and Sonya Dunham, and Lucy Weinman), and here’s what happened.  I’m thrilled by what I witnessed and recorded: a dozen beauties, a jazz bouquet.  (And I wasn’t the only one feeling blissful: look at the expressions on the faces of the musicians!)

The EarRegulars began with a bouncy CHINA BOY — recalling not just Bix and Whiteman, but also Bechet-Spanier and the Condon gang:

A rousing opener usually is followed by something in a medium-tempo, but not for these fellows: someone suggested the lovely, sad/hopeful Irving Berlin song WAITING AT THE END OF THE ROAD, which evokes Bing and Fats as well as Bix (or Secrest, you choose):

Dan Barrett called for MY HONEY’S LOVIN’ ARMS (or, as Cutty Cutshall used to say, MAHONEY’S); he and Andy knew the verse and leaped in, and then Dan vocalized — splendidly and wittily:

AT THE JAZZ BAND BALL could have been the title of this posting and an apt summation of the whole night:

A sweetly pensive SLEEPY TIME GAL (in a Red Nichols IDA mood) was next, with Scott singing out on his bass saxophone:

Clarinetist John Otto joined in, and Vince Giordano added his own special pulse to the rhythm section. Dan Barrett suggested one of his favorite jam tunes, the early-Thirties number, its title a wistful plaint, its tempo more optimistic, DO YOU EVER THINK OF ME?:

WEARY BLUES is always too joyous to live up to its name, and this version was a honey — with Scott picking up his flea-market trumpet, then (to my delight and astonishment) Dan putting his own mouthpiece on it and swinging out!

YOU TOOK ADVANTAGE OF ME demands a chase chorus in honor of Bix and Tram– Dan Block had joined the EarRegulars and the three horns conversed diligently and sagely on this 1927 Rodgers and Hart classic:

Then something even more remarkable (and cinematic) happened.  A substantial young man, handsome and casually imposing — he would have been all these things even if he hadn’t been wearing down-home overalls — was asked by Matt Munisteri to sing.  (Thank you, Matt!) 

I’LL BE A FRIEND “WITH PLEASURE” is thought of as a wounded dirge, although the Condonites tried to turn it into a romp on their BIXIELAND album.  People who know the original recording well start cringing well in advance of Wesley Vaughan’s sweetly effete “vocal.” 

When the young man started to sing, I nearly fell off my barstool.  Although his strong musical personality was evident from the first phrase, he put himself at the service of the song, with an unaffected but deeply moving style that comes from his shoes on up.  His name is Jerron Paxton; he later told me he was “half blind,” and his business card reads MUSICIANER.  Hear for yourself; he’s astounding!  (The serious bespectacled man sitting behind Jerron is photographer John Rogers, a jazz devotee of the finest kind):

Then saxophonist Ned Goold joined the band, to great effect — soloing in a deliciously individualistic way and placing himself perfectly in the band riffs.  Jerron sat out MARGIE, which swung delightfully: Bix and Tram and Lester and Jo would have been happy with this version.  Scott quoted HANDFUL OF KEYS; Dan Barrett became Tricky Dan Nanton; Andy and Matt duetted (!), and Scott picked up his trumpet once again:

I was hoping that Jerron would be asked to sing again (not being able to believe my ears) and Matt must have read my mind, for he invited Jerron for BLUE, TURNING GREY OVER YOU — which melded swing and melancholy.  Dan Barrett’s muted sound is a joy, and Scott just sang on his bass saxophone:

Even in Soho, everyone has to go home sometime, and things ended with JAZZ ME BLUES: 

Driving home, I felt thoroughly jazzed, completely elated.  Although many times the recordings one makes at the gig (audio or video) seem diminished, pallid in the unforgiving light of day, these continue to amaze.

And the young man from Wisconsin?  He doesn’t need me to trumpet his glories: music speaks louder than words, most beautifully, in Andy’s case.

Jim Balantic, seated next to me, leaned over and whispered, “This is the greatest night of my life.”  I don’t know if that statement would stand up under hypnosis or truth serum, but I certainly know how he felt. 

In case you’re new here, singular versions of this musical magic take place every Sunday night from 8-11 at The Ear Inn.  This evening was extraordinary but not in the least atypical!