Tag Archives: Steve Alcott

JOHN GILL’S AMERICAN SONGS (Part Two: May 30, 2012)

It’s easy to tell the truth . . . so I will write it again.  (If you didn’t see Part One of this happy musical evening, here it is.)

Although John Gill is soft-spoken and wryly modest, he’s an extraordinary figure. It’s not just that he is a swinging banjoist, guitarist, drummer, and trombonist. It’s not merely that he is an intuitively fine bandleader: his bands have a certain serious lope, and the musicians look happy (no small thing). It’s not simply that he is a splendidly moving singer.

What makes John unique to me is the range and depth of his musical imagination. Many musicians have found a repertoire they prefer and it becomes their identity: when you go to hear X, you know that (s)he will play RIVERBOAT SHUFFLE. Y will break out one of the OLOGY tunes — ANTHROP or ORNITH. Z likes SATIN DOLL.

But John Gill’s world isn’t narrowly defined by one group of songs, one “genre,” one “style.” His knowledge of American music and performance styles is long, deep, and wide. In his spacious imagination, Bix and Louis visit Bing and Pat Boone; Elvis has coffee with Jolson; they hang out with Hank Williams and Buddy Holly, while Johnny Dodds, Billy Murray, Turk Murphy, and Lu Watters gossip about Tommy Rockwell and what’s new at the OKeh studios. Bessie Smith and Sophie Tucker talk fashion; Cole Porter, George M. Cohan, and W. C. Handy compare royalty statements. King Oliver lifts the sugar bowl from Scott Joplin’s table, and Jimmie Rodgers does the Shim-me-Sha-Wabble.

When John is in charge, none of this seems synthetic or forced; you never hear the sound of gears changing. All of these musics live comfortably within him, and he generously shares them with us in his heartfelt, swinging ways. I had another opportunity to watch him in action at the National Underground on May 30 with his National Saloon Band — Will Reardon Anderson on clarinet and alto; Simon Wettenhall on trumpet; Kevin Dorn on drums; Steve Alcott on string bass.

Here’s the second part of that wide-ranging musical offering.

The NEW ORLEANS HOP SCOP BLUES, which I associate with Bessie Smith and a 1940 Johnny Dodds recording:

Leadbelly’s THE MIDNIGHT SPECIAL:

For Sophie Tucker, Louis Armstrong, Bing Crosby, and a thousand others — that hot jazz admonition, SOME OF THESE DAYS:

Another Jimmie Rodgers evergreen, THE DESERT BLUES:

I wasn’t kidding when I mentioned Cole Porter above; here’s I LOVE PARIS:

A song by Ewan MacColl from 1949, made famous by The Dubliners, DIRTY OLD TOWN:

Lots of fun with THE SECOND LINE IN NEW ORLEANS, a rocking good time:

John evokes Bing Crosby splendidly — without imitating him note-for-note — and he performed one of my favorite early Bing romantic songs, PLEASE (it’s part of the Polite Bing Trilogy: MAY I? / PLEASE / THANKS:

And to close off the performance (they kept on, but bourgeois responsibilities called me home), they performed John’s own salute to New Orleans, THE BORDER OF THE QUARTER:

In my ideal world, Professor Gill would be both Artist-in-Residence at any number of prestigious universities with American Studies programs . . . but he would have time to lead bands regularly.  Any takers?

May your happiness increase.

JOHN GILL’S AMERICAN SONGS: PART ONE (May 30, 2012)

Although John Gill is soft-spoken and wryly modest, he’s an extraordinary figure.  It’s not just that he is a swinging banjoist, guitarist, drummer, and trombonist.  It’s not merely that he is an intuitively fine bandleader: his bands have a certain serious lope, and the musicians look happy (no small thing).  It’s not simply that he is a splendidly moving singer.

What makes John unique to me is the range and depth of his musical imagination.  Many musicians have found a repertoire they prefer and it becomes their identity: when you go to hear X, you know that (s)he will play RIVERBOAT SHUFFLE.  Y will break out one of the OLOGY tunes — ANTHROP or ORNITH.  Z likes SATIN DOLL.

But John Gill’s world isn’t narrowly defined by one group of songs, one “genre,” one “style.”  His knowledge of American music and performance styles is long, deep, and wide.  In his spacious imagination, Bix and Louis visit Bing and Pat Boone; Elvis has coffee with Jolson; they hang out with Hank Williams and Buddy Holly, while Johnny Dodds, Billy Murray, Turk Murphy, and Lu Watters gossip about Tommy Rockwell and what’s new at the OKeh studios.  Bessie Smith and Sophie Tucker talk fashion; Cole Porter, George M. Cohan, and W. C. Handy compare royalty statements.  King Oliver lifts the sugar bowl from Scott Joplin’s table, and Jimmie Rodgers does the Shim-me-Sha-Wabble.

When John is in charge, none of this seems synthetic or forced; you never hear the sound of gears changing.  All of these musics live comfortably within him, and he generously shares them with us in his heartfelt, swinging ways.  I had another opportunity to watch him in action at the National Underground on May 30 with his National Saloon Band — Will Reardon Anderson on clarinet and alto; Simon Wettenhall on trumpet; Kevin Dorn on drums; Steve Alcott on string bass.  They began the evening with a MAKE ME A PALLET ON THE FLOOR, which W. C. Handy then “adapted” as the ATLANTA BLUES:

One of those good old good ones that all the musicians love to play (and that includes Bix, Louis, Benny, and Basie), the ROYAL GARDEN BLUES:

Here’s where John differs from the “traditional jazz” formula: how about the Jimmie Rodgers song T FOR TEXAS:

For the dancers (and they were at the National Underground that night), SHIM-ME-SHA-WABBLE:

If you enjoy odd intersections, I think MUDDY WATER counts as one, a song both Bing Crosby and Bessie Smith recorded in 1927:

Here’s a pretty 1931 pop tune that came back to life a quarter-century later (Vic Dickenson liked to play it, too), LOVE LETTERS IN THE SAND:

And — to close off this segment — a song I’d only heard on recordings (Johnny Dodds); next time, I’ll ask John to sing WHEN ERASTUS PLAYS HIS OLD KAZOO:

In my ideal New York City, John Gill is leading small hot bands like this on a regular basis.  It would take months before he and his colleagues had to repeat a song . . .  More to come!

May your happiness increase.

GOOD NEWS FROM OUR FRIEND, JOHN GILL

TONIGHT!  May 30, 2012.  10 PM.  The National Saloon Band.

John Gill is a profoundly gifted musician — but someone who wears his substantial talents lightly.  Catch him as a singer, raconteur, banjoist, guitarist, drummer, trombonist . . . .

And here he is, with bells on, back for our listening and dancing pleasure.

John will be starting his own once-a-month gig at The National Underground on May 30th at 10pm.   He calls the band The National Saloon Band or just The Saloon Band.  The band members on May 30th will be Simon Wettenhall-trumpet, Will Anderson- reeds, Kevin Dorn -drums, Steve Alcott- bass and John on banjo, guitar and vocals.  I’m going for a old time concept and will be avoiding swing and mainstream cliche.  The repertoire will draw from many sources including pop music, jazz, ragtime, blues, gospel, and country.  While the band will perfrom instrumental hot and sweet numbers, most of the material will feature vocals by John and other band members.

And John says, wryly, “So that’s the story and we’ll run it up the flagpole and see if anybody salutes.  I don’t know if I can garner any support from the youngster/hipster/jazz world so I have no idea if this will suceed or not; it will be good musically, however.”

The National Underground is located at 159 E. Houston Street, New York, NY 10003 (212) 475-0611.  I could use a good deal more sleep but I would like to be there!  (Can anyone loan me a nap?)

May your happiness increase. 

THREE CHEERS FOR PETER ECKLUND!

One of the pleasures of this blog is the attentive local correspondents who come bearing gifts of information and insight.  Marianne Mangan is the most recent addition to the unpaid Jazz Lives staff of roving reporters, and I hope she phones in her stories frequently!

Hi Michael,

What a night Monday is for the hot stuff! You’ve talked about Vince & the Nighthawks at Sofia’s, and we know about the Grove Street Stompers at Arthur’s (VERY good on Sunday, too, with the Creole Cooking Jazz Band), but here’s one more. On Monday night we (my “beloved” / husband is writer / one-time jazz critic Robert Levin) had occasion to hear the Stan Rubin Jazz All-Stars at Charley O’s Time Square Grill. The poster outside still shows Dan Levinson and Jon-Erik Kellso…not so and no matter. The multi-talented and always able Herb Gardner led on keyboard, with young Peter Reardon Anderson on clarinet and tenor sax, steady Steve Alcott on bass, Arnie Kinsella hammering those accents home on drums (and using brushes more than anyone around) and the remarkable Peter Ecklund on trumpet and four-valve flugelhorn. They swung and stomped their way through the likes of “Milenberg Joys,” “Who’s Sorry Now?,” “Big Butter & Egg Man” and “Oh, Baby,” pausing occasionally to temper  the heat with the out & out heart-melting: “One Hundred Years From Today” and “I Surrender, Dear.”

Ecklund played every song like he had a personal connection to it: so musical, so smart, sometimes sly, sometimes sweet, always accurate. He’s generous with the other players, leading them into phrasings that are unexpected and just right. They seemed happy for the inspiration and played like a tight unit, although he’s only with them once or twice a month.

Peter also plays with the Gotham Jazzmen on Wednesdays 12:30 to 2:00 at the Greenwich Village Bistro, 13 Carmine Street at Bleecker & 6th. With Jim Collier leading on trombone, Sam Parkins on clarinet, Dick Miller on piano and Peter on whatever he feels like (which was flugelhorn and ukelele last week), the old pros wove a spell around “Rosetta,” “Deed I Do,” “China Boy,” and more. Subtle, nuanced–lovely stuff.  Peter’s played like this every time I’ve seen him recently.  In person, he sounds like his CDs, made when he was the hot hand among cornet players.  I, for one, would like the opportunity to see him work a lot more.

Thanks for all the great information (and mood elevating, too!) you get out there, Michael!

Sincerely,

Marianne

A few more words about Peter Ecklund.  Perceptive, witty, and insightful, he’s been a jazz scholar of great renown — his work on Bix and Louis is hugely admired in the field and by his colleagues.  I first heard him on a Stomp Off vinyl issue, PETER ECKLUND AND THE MELODY MAKERS, which featured him in the congenial company of Dan Barrett, Ken Peplowski, Joe Muranyi, Barbara Dreiwitz, Marty Grosz, Eddy Davis — the finest players then in New York.  Happily, that CD has just been reissued as HORN OF PLENTY on the Classic Jazz label — eminently worthwhile listening, vigorous, lyrical, and hot.  Even when Peter puts down his horns on these sessions, his whistling on “Take Your Tomorrow” is reason enough to buy the CD.

I had the opportunity to hear him twice in 1990 in concerts held in Babylon, New York (no one’s idea of a jazz hotbed) with Muranyi, Grosz, and Barrett — wonderful stuff.  I remember with pleasure Muranyi’s singing of “Louisiana Fairy Tale,” which was still the theme song of THIS OLD HOUSE.  Days gone by!

I followed Peter’s playing through several Arbors CDs, and then caught up with him a few years ago — at the Cajun with the Gotham Jazzmen, with other pickup groups, and as a noble guest at the Ear Inn with Jon-Erik Kellso and Matt Munisteri.  Peter has always had a variety of approaches — his early work had some of the tumbling bravado of Jabbo Smith balanced against the sweetness of Bix and Bobby Hackett.  When he used his mute, his personality as well as his sound changed, sometimes summoning up the growls and moans of the Thirties Ellington brass.  Peter always offered shining melodic improvisations that went in unexpected ways, and his recent playing, focused and fervent, is reminiscent of the delicate yet arching trajectories of Doc Cheatham.  I hope we hear Peter more and more . . . and that, like Doc, his playing career is long and delightful.  All hail a great talent!

As a postscript, at Marianne’s suggestion, I put on the Jazzology CD of 1994, ECKLUND AT ELKHART: Peter leading what might be The Perfect Band: Dan Barrett, Bobby Gordon, Mark Shane, Marty Grosz, Greg Cohen, and Hal Smith.  Music to rejoice by, and sorely needed, too.