Tag Archives: Stephanie Greig

THE MASTER’S ART: TED BROWN AT NINETY (December 2, 2017): AARON QUINN, KRIS MONSON, DERIC DICKENS

This post isn’t just a celebration of durability, steadfast endurance, and longevity.  Those are all virtues we love, but in the case of tenor saxophonist Ted Brown, who turned ninety in early December 2017, what we cheer is his wondrous commitment to creating beauty: not at top speed, not in a shout, but as if he were whispering tender secrets into our ears.

Ted’s birthday party took place at that shrine for music, the Drawing Room (aimed straight at the grail by Michael Kanan and Stephanie Greig) on December 2, 2017.  In this video — a touching exploration of THESE FOOLISH THINGS — Ted is lovingly accompanied by Aaron Quinn, guitar; Kris Monson, string bass; Deric Dickens, drums.  Also in the course of the evening Jeff Brown took over the drum throne and the gracious organizer of the party — someone we’re all indebted to, tenor saxophonist Brad Linde — played alongside Ted as well.  But this one, delicate, curious, and touching, is all Ted’s.  You could say that he navigates by the stars of Lester and Lennie, but his internal compass has long ago been his own.

And, afterwards, there was cake.  Of course!

Blessings on Ted Brown, a sweet inspiration.  And gratitude that lasts longer than twenty-four hours.

May your happiness increase!

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MUSIC WITH FRIENDS (Part Two): MICHAEL KANAN, GREG RUGGIERO, NEAL MINER (The Drawing Room, January 8, 2018)

Michael Kanan

This is the first part of a sextet of delicious performances by Michael Kanan, piano; Greg Ruggiero, guitar; Neal Miner, string bass, recorded on January 8, 2018, at the Drawing Room in Brooklyn.

Neal Miner

In that first segment of this impromptu session, these three lyrical friends performed  YOU DO SOMETHING TO ME, TAKE THE “A” TRAIN (which is how one gets to Jay Street-MetroTech, among other possibilities), and I’M JUST A LUCKY SO-AND-SO.  Now, for the patient faithful, this intuitive, subtle trio plays Neal Miner’s BLUES OKURA, IT’S ONLY A PAPER MOON, and LULLABY OF THE LEAVES.

Greg Ruggiero

Neal’s BLUES OKURA.  Make sure your seat belt is low and tight across your hips:

And an exceedingly tender IT’S ONLY A PAPER MOON, honoring Arlen’s intent — and I hear Harburg’s lyrics all the way through:

then the classic LULLABY OF THE LEAVES:

Wonderful reassuring music to be sure.  Thank you so much, gentlemen, for this casual affecting interlude.

May your happiness increase!

OVER THE ROUGH ROAD TO THE STARS: ROBERTA PIKET and LENA BLOCH at THE DRAWING ROOM (May 20, 2017)

Here are two of my favorite explorers, captured in a marvelous series of duets.   My title may seem a touch fanciful: the only climb a session at The Drawing Room, Michael Kanan and Stephanie Greig’s serene studio, necessitates, is a few flights of stairs. But the music created the night of May 20, 2017, by Lena Bloch, tenor saxophone, and Roberta Piket, piano, makes me think of limitless vistas full of stars.  Listen and I think you will agree.

LENNIE’S PENNIES (Tristano’s minor-key improvisation on PENNIES FROM HEAVEN, first recorded with Konitz and Warne in 1952):

Lena’s ruminative composition, SHORTER NIGHTS:

Tristano’s line on the classic song — theoretically requested by drunks, but the drunks no longer know it.  You do, even when you are sober:

Improvsations on a lovely Fifties ballad, NEVER LET ME GO:

and, to close the recital, an explosively energized HOT HOUSE:

What beauty and what quiet courage.

May your happiness increase!

TED BROWN AT 89: SIMPLY BEAUTIFUL

Through the kindness of pianist Michael Kanan, I’ve been introduced to the music of people I might not otherwise have met.  One of them is the soft-spoken and gently lyrical tenor saxophonist Ted Brown.

ted-party

And because of the inventive and much younger saxophonist Brad Linde, there have been celebrations of Ted’s birth: I’ve been at number 85, 88, and the most recent one, Ted’s 89th, on December 3, 2016.  The celebrants pictured above are Brad and Ted, Aaron Quinn, guitar; Frank Canino, string bass; Jeff Brown, drums. Other musicians in the house were Stephanie Greig, Nick Lyons, Jon De Lucia, Caroline Davis, and Elijah Shiffer — as well as some whom I haven’t met yet.

There was cake (also courtesy of Brad).

ted-cake

But more importantly, there was music.  Cake is eaten; music lasts.  And the approving shade of Lester Young was in the room.

LESTER LEAPS IN:

POUND CAKE:

YOU’D BE SO NICE TO COME HOME TO / FEATHER BED:

YARDBIRD SUITE:

Bless Ted Brown and his friends for making such beauty so generously available.

May your happiness increase!

“I RESEMBLE YOU”: The JON DE LUCIA OCTET FEATURING TED BROWN (October 22, 2016)

jon-de-luciated-brown-giuffre-concert-flyer

Thanks for the memory!  This delightful original by Jon De Lucia is based on the harmonies of a familiar song (hunt: the two titles are similar).  The Octet for this performance is Jon, alto saxophone, alto clarinet; John Ludlow, alto; Marc Schwartz, tenor; Jay Rattman, tenor, clarinet; Andrew Hadro, baritone, bass clarinet; Ted Brown, tenor saxophone; Ray Gallon, piano; Aidan O’Donnell, string bass; Steve Little, drums.

Yes, the Ted Brown!  And the Steve Little!

This is from Jon’s presentation of arrangements by Jimmy Giuffre, Ted, and himself, performed at The Drawing Room (56 Willoughby Street in Brooklyn, New York) on October 22, 2016.

The view on my video is something one can (or must?) adjust to; the sound is decent.  BUT Jon and Co. will be releasing some of the music performed on this glorious evening on an actual compact disc — and I suppose downloads.  I’ll let you know more as I find out the details.

For the moment, don’t forget to resemble.

May your happiness increase!

MASTERY: JON DE LUCIA, GREG RUGGIERO, AIDAN O’DONNELL, STEVE LITTLE, RAY GALLON (CITY COLLEGE, APRIL 15, 2016)

I first met Jon De Lucia at a concert celebrating tenor legend Ted Brown’s birthday.  The concert was held at Michael Kanan and Stephanie Greig’s The Drawing Room, so I knew the very gracious young man traveled in the best company.

Photograph by Richard Daniel Bergeron

Photograph by Richard Daniel Bergeron

But I hadn’t heard him play.  It turns out that my ignorance of Jon — altoist, clarinetist, and imaginative composer / improviser — was a serious loss, which I remedied on April 15, 2016.  Slightly after noon on that day, Jon gave a graduate recital at City College of New York — a degree requirement so that he could receive his Master’s in Jazz Studies.  With him (and alongside him) were Greg Ruggiero, guitar; Aidan O’Donnell, string bass; Steve Little, drums.  Pianist Ray Gallon joined in for two performances.

Aidan, Jon, Steve, and Greg at City College

Aidan, Jon, Steve, and Greg at City College

A Master in Jazz Studies is what Jon De Lucia is, and as I write this he hasn’t even worn the robes or gotten his diploma.

Jon’s recital lasted about an hour, and he and his ensemble performed seven improvisations — most of them his own arrangements and reinventions over moderately familiar chord sequences (with one glorious ballad).  But this wasn’t an afternoon of thin contrefacts, so that the members of the audience could say in two bars, “Oh, that’s LADY BE GOOD.”  “Again.”  No, Jon showed off his craft, his subtle gift for creating luxurious melodies, actual songs.

As  you’ll hear, some of the music had a dreamlike serenity — elusive and lovely; at other points I thought of the dear seriousness of Fifties West Coast jazz, or dance movements from early modern classical yet with a strong pulse.  It was delicate yet pointed, light-hearted but never effete.

Jon’s music didn’t fit easily into stylistic boxes (which is delightful): his lines soared, his solos had their own internal logic; the music breathed and rang and glistened. Not only is he a wonderfully seductive altoist, his tone sweet and tart, avoiding avian flurries of notes or post-Parker harshness, he is a master of that unforgiving horn, the clarinet.

I was thrilled to be in the audience.  And once you’ve heard only a few minutes of this music, you will understand why.

PRELUDE TO PART FIRST:

CONFLAGRATION:

I’M GLAD THERE IS YOU (a breathtakingly gorgeous performance):

VALSE VIVIENNE:

RONDO A LA RUSSO, featuring Aidan O’Donnell:

THE Q 25 BLUES, inspired by a bus and its route:

LOST AND FOUND, by Hod O’Brien, its title a sly wink at its origin, as is the riff that sets up Steve’s solo passages:

Now I see that Jon and friends have gigs in Manhattan and Brooklyn — information you can find out here and there is more information at his website.

I salute him and his colleagues, and look forward to hearing more.

May your happiness increase!

CONSIDER YOURSELF INVITED, or WARMING TRENDS IN BROOKLYN (February 8 and 15, 2015)

If you’re reading this in the tri-state area on February 4, the view from your window might be cheerless, the prime ornament being snow heaped up in unappealing mounds.  As I write this, the thermometer is struggling to rise up out of the twenties.  You can’t hear it, but I am sighing.

But there are two events coming soon to a Brooklyn oasis that will make me and a small group of the faithful forget about winter.  The oasis is THE DRAWING ROOM, a beautiful secular shrine to music created by pianist Michael Kanan and string bassist Stephanie Greig, and you can find it at 56 Willoughby Street, Brooklyn, New York.  It’s accessible from nearly every major subway line, and the price of admission is a mere ten dollars.  This Sunday night, from 7 to 10 PM, the wonderful singer Gabrielle Stravelli and Michael will be making beautiful music.  I know.  I speak from experience:

I watched my video of this 2012 performance again, to make sure I wasn’t simply remembering the experience through a sweet nostalgic haze, and once again I had to brush tears away.  This performance of BILL is the musical equivalent of watching a flower open in slow motion, for Gabrielle and Michael so wisely and sweetly capture the doubleness of the song — a mildly comic undercurrent, the teasing way one can gently list the faults of the person one loves, because both that person and you know the deep accepting love underneath, and the embracing tenderness.  Michael and Gabrielle fully inhabit those emotions and make them come to rich life in front of us, in sounds and words.

I expect some of this magic will happen again this coming Sunday, so I will don appropriate winter garb to make it to Brooklyn.

Here is the Facebook event page for this concert.  Sign on.  Join in.  The music will reward you.

And, one week later, February 15, pianist Roberta Piket and tenor saxophonist Lena Bloch will be making brave beautiful music at the Drawing Room.  I hope to be there, too.

May your happiness increase!