Tag Archives: standard repertoire

MARY LOU WILLIAMS and JOHN LEWIS IN DUET at the NICE JAZZ FESTIVAL (Grande Parade du Jazz, July 12, 1978)

John Lewis and Mary Lou Williams certainly knew and admired each other, but this is the only documented evidence I know of them in performance.  They were strong personalities, born only a decade apart, spiritually connected.  I hear two artists with expansive imaginations, their improvisations based in the blues and always showing deep respect for melody and swing.  Her playing is percussive; his, much more assertive than his work with the Modern Jazz Quartet — but it’s a dialogue, not a tussle.

The recording of this set — happily longer than thirty minutes — begins with the television crew and sound people setting up — you can  hear Mary Lou asking, “Aren’t they ready yet?”  Then the two pianists embark on deep explorations of the most familiar territory, making it vivid at every turn: I’LL REMEMBER APRIL / BODY AND SOUL / BLUES / THE MAN I LOVE / COTTON TAIL.

Let no one say that the standard repertoire is exhausted.  I feel this concert doesn’t require annotation.  It does inspire reverence.

May your happiness increase!


Once again, a triumph of subtlety, precision, wit, grace from the EarRegulars at The Ear Inn (326 Spring Street, Soho, New York City) on September 30, 2012.  The E.R. were very special that Sunday night but they always are: Jon-Erik Kellso, trumpet; Dan Barrett (on a brief visit from California), trombone, vocal; Joe Cohn, guitar; Joel Forbes, string bass.

What particularly delights me is the blending of individual voices and styles into a wholly supportive community: the most uplifting kind of social enterprise that encourages rather than stifles the four selves on the bandstand.  Some will point out that the “tunes” are “old chestnuts,” dating from the early part of the previous century.  In the hands of Forbes, Cohn, Barrett, and Kellso, how lively they are, how full of light and shade and surprises!

WHO’S SORRY NOW? was, as always at The Ear Inn, a rhetorical question:

Dan Barrett bursts into song on James P. Johnson’s ONE HOUR and acts out the innocently naughty vaudeville created by Vic Dickenson — its implication being that one hour wouldn’t be enough to enjoy all the imaginable delights:

When it’s played like this, Walter Donaldson’s LOVE ME OR LEAVE ME is so engaging that its title stops being an ultimatum — and this version has affectionate nods to Jack Teagarden and Lester Young, as well as a vertiginously brilliant final bridge from Dan:

“Say, you live in New York City or nearby and you’ve never been to The Ear Inn on a Sunday when The EarRegulars are playing?  What a remarkable version of self-denial that is!”

May your happiness increase.