Tag Archives: Taro Okamoto

TWO BOUQUETS OF NOTES, TONES, ELEGANT SILENCES, MELODY, ARCHITECTURE, SWING, AND EMOTION: TED BROWN, BRAD LINDE, AARON QUINN, DAN PAPPALARDO, DERIC DICKENS

Ted Brown, Japan, 2009

I shall be simple.  There are two new CDs out, both recorded November 2018, with Ted Brown, tenor saxophone; Brad Linde, tenor saxophone; Aaron Quinn, guitar; Don Pappalardo, string bass; Deric Dickens, drums.  One is called JAZZ OF NEW CITIES; the other, ALL ABOUT LENNIE (wordplay on venerable jazz classics).  Both CDs are greatly rewarding and people who love this particular music will want to acquire them.

Brad Linde

You can listen to JAZZ OF NEW CITIES here and purchase a digital copy for $15; you can do the same for ALL ABOUT LENNIE here, same price tag.  Downloads or discs are available at CD Baby here and here.  And, as Brad writes here, “some streaming services.”  I also know that both Brad and Ted will have a few physical copies at gigs, about which more below*.

Or, simply, immerse yourself in STAR DUST:

Hearing that performance, I must say again that those who call the music made by Lennie Tristano, colleagues, and acolytes “cold” are listening with some other part of their anatomy than their ears.  I hear a direct line to Lester or Pee Wee Russell and of course Louis at their most soulful.

These CDs are immediately memorable to me in their deep intricate simplicities — like watching a master Japanese brush painter do with five strokes what a lesser painter would take weeks of canvas-covering to attempt and then not convince us at all.  I hear quiet tenderness in STAR DUST, and the meeting of souls — not only the five players on this disc, but this music reaches out of the speaker and hugs us.

As gentle a creator and person as Ted is, it will surprise no one that these CDs are egalitarian affairs: he might solo first for a few choruses, then the beautifully nimble Aaron Quinn might follow, then an eloquent solo by Brad, then some wonderfully twining counterpoint for two tenors.  That rhythm section, not incidentally, is propulsive but kind: Dickens, Pappalardo, and Quinn deserve their own CD, which I would buy: they make beautiful sounds and propel the band without being aggressive about it.

And for something more assertive, here’s LOVER, COME BACK TO ME:

I won’t offer a track-by-track summary, for this music doesn’t need such a thing if hearts and ears are open to it: it is based on aural breezes, uplifting without being self-conscious.  I haven’t listened to all the tracks because it seemed both urgent and hopeful for me to inform you about these discs now.

*Moving from “now” to “soon,” Ted Brown — born December 1, 1927 — please do the calculations — has a New York City gig in a few weeks: Wednesday, October 16 at Jazz at Kitano from 8 to 11 PM.  Ted will be joined by Michael Kanan, piano; Murray Wall, string bass; Taro Okamoto, drums.  Details and tickets here.  I’m sure Ted would autograph copies of the discs for you.

Right now, I am going to return to the pleasure of discovering this music, one track at a time, lovingly, the spirit in which it was created.  To quote Robert Frost, “You come, too.”  It would make all of us — the band and me — happy to see many people at the Kitano gig, either bearing CDs or the money to purchase them.

May your happiness increase!

TED BROWN’S BIRTHDAY, TWICE (December 1 and 6, 2015)

Photograph by Hiroi

Photograph by Hiroi

The lyrical — understated but eloquent — tenor saxophonist Ted Brown turns 88 today.  This Sunday, December 6, 2015, there will be a musical birthday party at The Drawing Room — 56 Willoughby Street in Brooklyn, New York, beginning at 7 PM, organized by Ted’s friend and colleague, tenorist Brad Linde. Details  — including a map — here.

The rhythm section, happily, will be Michael Kanan, piano; Murray Wall, string bass; Jeff Brown, drums.  If this weren’t enough, I am told there will also be cake.

Here are Ted and Michael in 2011 — singing sweetly and sadly on PRISONER OF LOVE:

Here are Ted, Brad, Michael, Murray, and Taro Okamoto in 2012, celebrating Ted’s eighty-fifth birthday with a romping BROADWAY:

An occasion you shouldn’t miss.

May your happiness increase!

TAKING ROOT IN OUR HEARTS: SAM TAYLOR, AIDAN O’DONNELL, TARO OKAMOTO (OCTOBER 15, 2015)

In his liner notes to his debut CD, MY FUTURE JUST PASSED, Sam Taylor, a tenor saxophonist who creates subtle, searching music that resonates long in the mind, has written this brief credo:

Sometimes, a song enters our life at the perfect moment. It gives clarity and meaning to seemingly random events. It speaks and gives voice to our feelings of love, heartache, joy and jubilation. It taps into our memories, both personal and collective, taking root in our hearts, stirring our imagination.

In August 2015, I heard Sam’s CD and was immediately captivated by what he did — and didn’t — do.  Here‘s what I wrote (under the title of BRAVE, PATIENT BEAUTY).

I was more than a little excited to learn that Sam, bassist Aidan O’Donnell, and drummer Taro Okamoto — the trio on this CD — would be giving a CD release concert on October 15th (at the beautifully welcoming Marc A. Scorca Hall at Opera America, 330 Seventh Avenue).  Sam graciously welcomed me and my camera, and here are a few highlights of that evening of wonderfully rewarding music.

But first.  Many musicians — for whatever reasons — fill the air with notes.  This isn’t, in itself, wrong or offensive.  But the masters, to my way of thinking, use fewer notes to sing their song, to tell their story.  At first, Sam’s playing may seem spare, restrained.  But then, if you are willing to follow him, you realize that his approach is that of a great artist who has refined and pared down what he offers.  It’s like having a conversation with someone who so beautifully self-edits speech that the two sentences you hear are forever memorable.  Sam’s playing rings in my ears and continues to do so as he sculpts his solos, offering deep candor, heartfelt truths.

EVERYTHING I LOVE:

YOU ARE TOO BEAUTIFUL:

MY FUTURE JUST PASSED:

SHE’S FUNNY THAT WAY:

Hearing Sam, Aidan, and Taro, I am in the presence of great beauty, serene yet intent, beauty that does not need to blind us with flourishes and special effects, a wise, poised art that never needs to raise its voice to be heard and felt.

May your happiness increase!

SHE’S BACK, ALTHOUGH SHE’S NEVER BEEN AWAY

Marty Elkins hat

Marty Elkins is one of my favorite singers.  If you know her work, you’ll understand why.  If she’s new to you, prepare to be entranced:

For one thing, she swings without calling attention to it.  Nothing in her style is written in capital letters; she doesn’t dramatize.  But the feeling she brings to each song comes through immediately.  Her voice is pleasing in itself and she glides along next to the song, not trying to obliterate it so that we can admire her and her alone.  And that voice is not an artifice — a mask she assumes to sing — it comes from her deepest self, whether she is being cheerful or permitting that little cry to come out.  I think her approach to the songs on this CD is a beautifully mature one: not the shallow cheer of someone who’s not lived . . . nor the bleakness of the world-weary.  I hear in Marty’s voice a kind of realistic optimism, a faith in the universe that also knows melancholy is possible.  Gaze at the sky in blissful wonder but look out for that cab while crossing the street.

I know that such art is not easily mastered . . . ask any singer whether it’s simply a matter of memorizing the notes and the words and standing up in front of the microphone — but Marty quietly has something to tell us, and we feel what she feels.  Direct subtle transmission!

And she improvises.  Her third chorus on any performance is not simply a repetition of the second.  She doesn’t obliterate the composer or the lyricist; rather she makes friends with the song and — as if she were a great designer — considers the approach that would show it off most truly.

I shelve my CDs alphabetically — so to the left of ELKINS there is ELDRIDGE, to the right ELLINGTON.  Fast company, but neither Roy nor Duke has protested; in fact, were they booking gigs at the moment, Marty would be getting calls.  But my ELKINS holdings have been — although choice — small in scope.  Two CDs, to be precise: FUSE BLUES (Nagel-Heyer 062) finds her with Herb Pomeroy, Houston Person, Tardo Hammer, Greg Staff, Dennis Irwin, Mark Taylor.  (The provocative title is Marty’s own blues which has a great deal to do with the ministrations offered by her electrician.)  IN ANOTHER LIFE (Nagel-Heyer 114), a duo-recital for Marty and Dave McKenna, is just gorgeous. Here‘s what I wrote about IN ANOTHER LIFE when it was released — not just about the CD, but about Marty’s beautiful singing.

So it’s delightful news that Marty has released her third CD, WALKIN’ BY THE RIVER (Nagel-Heyer 119), and it is a treat.

marty-elkins-walkin-by-the-river-2015

Marty isn’t a Diva or someone who demands to be a Star.  When I’ve seen her in performance — sitting in or on her own gig — she is on equal, friendly terms with the instrumentalists, never demanding the spotlight.  But quietly, subversively, her voice finds a place in our hearts: it is the closest thing to having someone you’re fond of whisper something pleasing in your ear.  And it’s not just me, or my ear.  Marty has things to tell us about love, about pleasure, about sadness.  Many of the songs on this CD are familiar — but they take on new depth and feeling when she sings them.  And Marty has a real feeling for the blues, so her offerings seem authentic rather than learned . . . with bluesy turns of phrase that are warm surprises in standard 32-bar songs.

Marty has consistently good musical taste.  Her band: Jon-Erik Kellso, trumpet; Howard Alden, guitar; Steve Ash, piano; Joel Diamond, Hammond C3, Lee Hudson, string bass; Taro Okamoto, drums.  This small group is priceless in itself — intense yet relaxed, with a light-hearted Basie feel on some numbers, a gritty soulful drive on others.  But — with all respect to these musicians — I am always happy on a track when the band plays and Ms. Elkins returns for another chorus.  She’s their equal in keeping our attention.

Her songs: IF I COULD BE WITH YOU /  RUNNIN’ WILD / IS YOU IS OR IS YOU AIN’T MY BABY? / GARBAGE CAN  BLUES / WHEN MY SUGAR WALKS DOWN THE STREET / DON’T LET THE SUN CATCH YOU CRYIN’ / THERE’LL BE SOME CHANGES MADE / DOWN TO STEAMBOAT TENNESSEE / COMES LOVE / ILL WIND / I’LL NEVER BE THE SAME / BETWEEN THE DEVIL AND THE DEEP BLUE SEA / WALKIN’ BY THE RIVER.  Song historians will note some nods to Lee Wiley, Una Mae Carlisle, and of course Billie.  But this is living music, not a repertory project, thank goodness.

Marty, thank you!  Now — let’s have a regular gig for this remarkable singer?

I just found out that the CD  will officially be out in September, which is nearly here.  You can check out Marty’s website, or find Marty at her regular Thursday-night gig Cenzino Restaurant in Oakland, New Jersey, where she performs with Bob Wylde, guitar, and Mike Richmond, string bass.

May your happiness increase!

 

BRAVE, PATIENT BEAUTY: SAM TAYLOR, “MY FUTURE JUST PASSED”

Possibly you haven’t yet heard of the tenor saxophonist Sam Taylor.  But I guarantee you will.  He has a rare gift.

When I was opening the plastic wrapping enclosing Sam’s debut CD, I confess I was expecting more-of-the-same: in this century, many young musicians are technically gifted in ways that would astonish the Ancestors.  There isn’t anything they can’t play.  Complex harmonies at top speed, chorus after chorus, are their basic vocabulary.  They often make Bird sound like Honore Dutrey. They have spent their youth practicing, and it shows.  And that in itself is a wonderful accomplishment — if technique is your primary goal.  But often it is cold — music that doesn’t ring in the listeners’ hearts.

I come back to what I think of as the basic ideal of instrumental music: to communicate something, without words, that makes us feel and reflect.  To “tell a story.”  To “sing on your horn.”

I knew Sam Taylor had a good chance of being different — of reaching our hearts — when I saw the song he had chosen as the title of his CD, a beautiful obscure 1930 song.  Not an original, although full of original sentiment.

SAM TAYLOR cover 700

Here are two versions of MY FUTURE JUST PASSED.  The first, by Annette Hanshaw, is hopeful rather than morose:

I know that the lyrics of the verse (George Marion, Jr.) suggest a certain light-heartedness (rhyming “not less” and “spotless” but the melody is haunting, especially the bridge — thanks to Richard Whiting.

Here is the 1963 version by Shirley Horn (gorgeous arrangements by Jimmy Jones) at a heartfelt tempo:

Beautiful — and I admire her willingness to take her time, to let the song unfold.

Now, listen to this — and understand why I think so highly of Sam Taylor:

If your first reaction is, “Oh, he’s only playing the melody,” I offer two options. The more polite one is, “Please listen again,” and the less is, “Please go away.”

I think of a comment (reported by Nat Hentoff, I believe) of Bobby Hackett listening to Louis Armstrong, “Do you know how hard it is to make melody come that alive?”

In Sam’s playing I hear the great melodists — Louis of course, but also Bing and Sinatra, Ben, Hawk, and Pres — but he sounds like himself as he patiently and lovingly devotes himself to the song.  No self-referential playing (those quotes that show us “ingenuity” and no ostentatious “virtuosities”) — nothing but rapt attention to the song, to melody, to the way a great artist can make us feel.  I admire his ease but also his patience, as if he is saying to us through his horn, “I have something to tell you, but it is at once both very simple and too deep for words.  It is a story of hope, but hope tinged with melancholy and risks that might not come off.  Please sit down, shut off your phone, join with me in the great ritual of music-making and truth-exploring.”

You can find out more about Sam Taylor here, and you can also download the CD.   Of course you should search out Sam at a gig and buy a copy directly, but it can also be ordered from CellarLive.comIt will soon be available on Amazon as well.

I like my CDs physically tangible, especially in this case where Sam has written the notes himself — simple, full of feeling.  Here are his opening lines:

Sometimes, a song enters our life at the perfect moment.  It gives clarity and meaning to seemingly random events.  It speaks and gives voice to our feelings of love, heartache, joy and jubilation.  It taps into our memories, both personal and collective, taking root in our hearts, stirring our imagination.

And the music on this CD exemplifies this philosophy, both simple and deep. Sam is wonderfully assisted by bassist Aidan O’Donnell and drummer Taro Okamoto — who do not fade into the background nor do they overpower.  This trio has the balanced lightness and weight of the trio sessions Lucky Thompson did with Oscar Pettiford and Skeeter Best, yet it sounds entirely fresh, not a “recreation.”

The songs reflect Sam’s love for lasting melodies: LOVE ME OR LEAVE ME / MY FUTURE JUST PASSED / DO SOMETHING (based on a Cole Porter melody) / SHE’S FUNNY THAT WAY / WHY DON’T I / MEAN TO ME / ERONEL / YOU ARE TOO BEAUTIFUL / T.O.’S BLUES.

I am certain you will welcome him as someone not afraid to create beauty.

May your happiness increase!

WHEN THE COMMON LANGUAGE IS SOPHISTICATED SWING: TED BROWN / BRAD LINDE: “TWO OF A KIND”

One of the nicest aspects of the jazz brother-and-sisterhood is that music eradicates many barriers less enlightened people mistakenly construct.  When Louis Armstrong arrived in a foreign country whose language he couldn’t speak, the band playing STRUTTIN’ WITH SOME BARBECUE at the airport told him that everyone knew what to say and how to say it.

Jazz critics construct Schools and Sects, so that people under thirty are supposed to play one way, people over seventy another.  But the musicians don’t care about this, and jazz has always had a lovely cross-generational mentoring going on, where the Old Dudes (or the Elders of the Tribe or the Sages) took on the Youngbloods (or the Future Elders or the Kids) to make sure the music would go on in the right loving way.  In theory, the Jazz Parents look after the Young’uns, but the affectionate connection works both ways: sometimes younger players bring back the Elders (Eva Taylor, Sippie Wallace, Jabbo Smith) from their possibly comfortable retirement, find them gigs, make sure that the audience knows that the Elders aren’t dead and can still swing out.  When the partnership works — and it usually does — everyone feels good, especially the listeners.

One of the most rewarding examples of this has been the side-by-side swing partnership of tenor saxophonists Ted Brown (now 85) and Brad Linde (now 33), which I have followed and documented in a variety of live appearances in New York City, the most recent being a wonderful evening organized by Brad at The Drawing Room in Brooklyn in December 2012, to celebrate Ted’s birthday.

TED AND BRAD coverAnother celebration is the new CD by Ted and Brad — TWO OF A KIND (Bleebop Records # 1202).  It reminds me of the Satchel Paige line about age: it was all about mind over matter, and if you didn’t mind it didn’t matter.  Or words to that effect.  If you closed your eyes while listening to this delightful CD, you wouldn’t hear Elder and Younger, you wouldn’t hear Master and Student.  You would hear two jazz friends, colleagues, taking their own ways on sweetly swinging parallel paths to a common goal — beautiful arching melodies, interesting harmonic twists, and subtle rhythmic play.  And the material is both familiar and fresh — Ted’s original lines that twist and turn over known and time-tested chord structures: SMOG EYES, SLIPPIN’ AND SLIDIN, and his new tribute to Lester, PRESERVATION, and Lester’s blues line POUND CAKE.  Warne Marsh, Lennie Tristano, and Lee Konitz are happily in evidence here as well, with Warne’s BACKGROUND MUSIC, the theme from Tschaikovsky’s Opus 142 that Ted and Warne recorded together on a classic session, Konitz’s LENNIE’S, and the indestructible MY MELANCHOLY BABY and BODY AND SOUL.

It’s a delightful CD — on philosophical grounds of music transcending artificial definitions and barriers — beautifully recorded, full of feeling and sweet energy.  No abrupt shocks to the nervous system, no straining after novelty — just evocations of a world where melody, harmony, and swing rhythms have so much to offer us.  Thank you Brad, Ted, Tom, Michael, Don, and Tony.

Visit Ted’s website here; Brad’s here.

I was originally considering titling this post BEAUTIFULLY OLD-SCHOOL, but realized that not all of my readers would take that as a compliment.  I don’t mean that TWO OF A KIND consciously tries to make it sound as if life had come to a graceful halt in 1956, but if one heard this CD playing from another room, one might think it was a newly discovered classic Verve, Vanguard, or Contemporary Records issue — because of the great ease and fluency with which the players approach the material and intuitively understand their roles in an ensemble.  The young players — although not known to me — are just splendid, as individualists and as a cohesive rhythm section.  Michael Kramer, guitar; Dan Roberts, piano; Tom Baldwin, string bass; Tony Martucci, drums, work together as if to the late-swing / timeless-Mainstream manner born, and if I heard sweet subtle evocations of Mel Lewis, Ray Brown, Tal Farlow, and Jimmie Rowles, no one would blame me.

If you have never heard Ted and Brad together, here they are at The Drawing Room — playing BROADWAY with Michael Kanan, piano; Murray Wall, string bass; Taro Okamoto, drums.  Sweet swing, gentle urgencies, messages to send throughout the universe.

May your happiness increase.

GENEROSITIES OF SOUND: CELEBRATING TED BROWN (Part Two: December 2, 2012)

This is the second part of a triple tribute to the tenor saxophonist Ted Brown, someone I admire immensely — for his quiet lyricism, his floating melodic improvisations that seem to come directly from his heart through the bell of his horn.

And Ted — soft-spoken, reticent, not a man to call attention to himself — reversed the usual practice in December 2012 when it came to celebrating his eighty-fifth birthday.  Instead of sitting at a table surrounded by people who love and admire him, opening gifts and receiving congratulations, Ted gave us presents — as you will see and hear below.

This is conclusion of a divinely inspired evening at Michael Kanan’s Brooklyn studio, The Drawing Room (December 2); the third part will document an evening at Somethin’ Jazz (December 13) where Ted was joined by the energetically lyrical trumpeter Bob Arthurs.  At The Drawing Room, Ted performed with tenor saxophonist Brad Linde and Michael Kanan as guiding spirits.  For once, I will leave all commentary aside: Ted’s music really speaks deeply for itself, a mixture of lightness and deep feeling — conscious spiritual homage to Lester Young.

The first part of that concert can be seen  here — with beautiful playing from Murray Wall, Taro Okamoto, Sarah Hughes, Kirk Knuffke, Chris Lightcap;, Matt Wilson.

More!  With new friends joining in — the other musicians sitting and admiring.

ALL THE THINGS YOU ARE (Ted, Brad Linde, Sarah Hughes, reeds; Michael Kanan, piano; Putter Smith, string bass; Hyland Harris, drums):

LENNIE’S (Ted, Brad, Ethan Iverson, piano; Kirk Knuffke, cornet; Putter Smith, Hyland Harris):

THESE FOOLISH THINGS (just perfect — Ted, Ethan Iverson — whose idea it was to call a ballad — Putter Smith, Hyland Harris):

POUND CAKE (a Lester Young blues line in G: Ted, Brad, Ethan Iverson, Murray Wall, Taro Okamoto):

YARDBIRD SUITE (Ted, Brad, Michael Kanan, Will Caviness, trumpet; Murray Wall, Taro Okamoto):

What astonishing music!  Happy birthday, Mr. Brown — with more music and more birthdays to come.

POUND CAKE Kirk Knuffke

TWO OF A KIND Brad LindeTed has released two new compact discs: one, TWO OF A KIND Bleebop 1202, pairs him with Brad; POUND CAKE, Steeplechase 31749, puts him alongside Kirk and Matt.  I will have more to say about these discs in 2013, but you don’t need my permission to venture boldly into ownenership.  Delicious airs!

And for some of my more “traditionally-minded” readers wd to back away from this “modern” jazz . . . . listen deeply and you will hear Lester and Jo Jones — their swing, their lightness — brought into this century by warm gentle improvising men and women.

Thanks to the spirits — Lester, Jo, Lennie, Bird — and to the people in the room: Hyland and Ben, Stephanie and Lena . . . as well as to the heroes making the music.  They all have made The Drawing Room a holy place.

May your happiness increase.

GENEROSITIES OF SOUND: CELEBRATING TED BROWN (Part One: December 2, 2012)

I admire the tenor saxophonist Ted Brown immensely — for his quiet lyricism, his floating melodic improvisations that seem to come directly from his heart through the bell of his horn.

And Ted — soft-spoken, reticent, not a man to call attention to himself — reversed the usual practice in December 2012 when it came to celebrating his eighty-fifth birthday.  Instead of sitting at a table surrounded by people who love and admire him, opening gifts and receiving congratulations, Ted gave us presents — as you will see and hear below.

This is the first of a three-part series celebrating Ted: the first two parts will present a divinely inspired evening at Michael Kanan’s Brooklyn studio, The Drawing Room (December 2); the third part will document an evening at Somethin’ Jazz (December 13) where Ted was joined by the energetically lyrical trumpeter Bob Arthurs.

Here’s the first part: music performed at The Drawing Room with tenor saxophonist Brad Linde and Michael Kanan as guiding spirits alongside Ted.  For once, I will leave all commentary aside: Ted’s music really speaks deeply for itself, a mixture of lightness and deep feeling — conscious spiritual homage to Lester Young.

BROADWAY features Ted, Brad Linde, Michael Kanan, Murray Wall (string bass), Taro Okamoto (drums):

SMOG EYES adds alto saxophonist Sarah Hughes for a famous original line of Ted’s:

MY MELANCHOLY BABY was an amusing choice, given the broad smiles in the room:

317 EAST 32nd STREET belongs to Lennie Tristano — his line on OUT OF NOWHERE chord changes:

A second set paired Ted with the wonderful cornetist Kirk Knuffke, Chris Lightcap (dtring bass);, Matt Wilson (drums).  It was my first in-person introduction to Kirk and Matt, and I am still amazed, three weeks later.

They began with BLIMEY (on the chords of LIMEHOUSE BLUES):

Then, three more famous Brown original lines — FEATHER BED:

DIG IT:

JAZZ OF TWO CITIES:

Michael and Brad joined in for SLIPPIN’ AND SLIDIN’ (on the chords of I FOUND A NEW BABY):’

What astonishing music!  Happy birthday, Mr. Brown — with more music and more birthdays to come.

POUND CAKE Kirk Knuffke

And for those who are inspired by these videos to want TWO OF A KIND Brad Lindesomething musical they can carry around, Ted has released two new compact discs: one, TWO OF A KIND Bleebop 1202, pairs him with Brad; POUND CAKE, Steeplechase 31749, puts him alongside Kirk and Matt.  I will have more to say about these discs in 2013, but you don’t need my permission to venture boldly into ownership.  Delicious airs!

And for some of my more “traditionally-minded” readers who might be inclined to back away from this “modern” jazz . . . . listen deeply and you will hear Lester and Jo Jones — their swing, their lightness — brought into this century by warm gentle improvising men and women.

Thanks to the spirits — Lester, Jo, Lennie, Bird — and to the people in the room: Hyland and Ben, Stephanie and Lena . . . as well as to the heroes making the music.

May your happiness increase.

DON’T MISS THIS: TED BROWN / MICHAEL KANAN QUARTET at SILVER LINING (Sept. 17, 2011)

The Beloved and I will be at Jazz at Chautauqua while this gig is taking place, but we’re sorry to miss it — for these four poetic players and the new room.  I hope that some JAZZ LIVES readers can go and report back . . . . !

“The Ted Brown / Michael Kanan Quartet will be performing this Saturday at New York’s great new Jazz spot, Silver Lining.  The club is an elegant and comfortable room with a great Steinway.  There is no cover or minimum, although we urge you to enjoy the excellent Moroccan influenced cuisine (reasonably priced), or the extensive cocktail selection.”

The players: Ted Brown, tenor sax; Michael Kanan, piano; Murray Wall, bass; Taro Okamoto, drums.  They will perform from 9 PM to midnight.

Silver Lining is at 75 Murray Street (between Greenwich Street and West Broadway) in New York City.  To get there, take the A or the C train to Chambers Street station, and walk 1 and a half blocks west on Murray Street.  Silver Lining is on the north side of the street.

THIS WEEK: TED BROWN / BRAD LINDE QUARTET (April 21 and 23, 2011)

The wonderful cross-generational jazz conversation of tenor saxophonists Ted Brown and Brad Linde will be returning to New York City for two gigs.

On Thursday, April 21, they will be appearing from 7:30 -9:30 PM at Miles’ Cafe, 212 East 52nd Street (on the third floor: 212-371-3657) with alto saxophonist Sarah Hughes, bassist Joe Solomon, and drummer Taro Okamoto.

On Saturday, April 23, Ted, Brad, bassist Murray Wall, and Taro will be playing at Tomi Jazz, 239 East 53rd Street (between Second and Third Avenues) — slightly below street level (646-497-1254) from 8 – 10:30 PM.

Here’s a video excerpt from an intriguing interview with Ted Brown about what Lennie Tristano taught him and others:

and here are Brad Linde and Dan Tepfer playing MARIE:

Both of those admirable videos are produced by “MaltShopPictures” — visit their YouTube channel for more.

And here’s my own recording of this quartet’s exploration of SWEET AND LOVELY at their previous gig at Tomi Jazz:

Carpe diem, dear readers!

BACK BY POPULAR DEMAND!: TED BROWN / MICHAEL KANAN / MURRAY WALL / TARO OKAMOTO: Hotel Kitano, Jan. 12, 2011

This posting came about because at JAZZ LIVES, we take our mission seriously.  And when a trusted reader wrote in just an hour ago to say, “I was at Ted’s gig at the Kitano — it was one of the great evenings of jazz I remember.  Do you think you could post another couple of the swinging tracks?  He swung that night!”

Nothing simpler.  With pleasure!

FEATHER BED (on YOU’D BE SO NICE TO COME HOME TO):

LULLABY OF THE LEAVES:

Thank you, dear reader, and dear gentlemen of the ensemble.

SWING OUT WITH GENEROSITIES: CLICK HERE!

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

BRAD LINDE and TED BROWN and FRIENDS at TOMI JAZZ (Feb. 5, 2011)

The musical intelligence of youthful saxophonist Brad Linde continues to impress me.  Brad also has good taste in friends: Lee Konitz and Ted Brown. 

One of the high points of seeing Ted Brown and friends live at Sofia’s in January 2011 was the impromptu pairing of Ted and Brad, eminence and youthful star, musing over the chord changes, having a lovely empathic dialogue.  Affectionate, thoughtful collaboration, not competition. 

So when Brad told me that he and Ted would be leading a quartet (with Joe Solomon, bass, and Taro Okamoto, drums) at Tomi Jazz on East 53rd Street in New York City, I was there . . . quite early, as always, to document the good sounds I knew would be created. 

Tomi Jazz is very cozy (you could pass right by it on the street) and for much of the evening the audience was made up of intent listeners.  

Here are some of the songs that Brad, Ted, Joe, and Taro (with surprise guests) reinvented that night.  Obviously they are honoring their own creative impulses and going their own way, but they also do honor to the Masters: Pres and Bird, Lee and Lennie.  And the contrasts of pure sound are so revealing here: Ted often has a particularly focused, intense sound on his tenor that suggests a double-reed instrument (an English horn, perhaps?) while Brad’s sound is more orthodox, more furry, broader.  (Not meaning to be taken seriously, I told Brad that at points they reminded me of Herschel and Pres in the Basie band . . . and we both laughed.)  Joe Solomon’s bass sonority is big and warm, and Taro Okamoto knows just what to play, when, and when not to!  I’ll let you discover Jim, Sarah, and Lena as we go along . . .

From the first set, here’s Ted’s improvisation on the changes of THERE WILL NEVER BE ANOTHER YOU — celebrating perhaps more than a little ruefully what it was like in Los Angeles — SMOG EYES:

Here’s the tender, winding SWEET AND LOVELY.  I always wonder where the more “modern” musicians picked this one up from.  Bing?  Ed Hall?  Hawkins?  Whatever the source, it is a song that lives up to its title:

Not too fast, but truly exuberant — one for Lester Willis Young from Woodville, Mississippi — LESTER LEAPS IN (I believe a title created by John Hammond, someone Lester came to abhor):

Still on a 1939-40 Basie kick — always a good idea!  Here’s BROADWAY:

Since Lester’s spirit was at Tomi Jazz and is always in the room — delicately but tangibly — I should point out that the eminent Chris Albertson has just posted on his STOMP OFF IN C site a recording of the 1958 interview he did with Lester: click here to hear it: http://stomp-off.blogspot.com/2011/02/my-interview-with-lester-young.html

Joined by trumpeter Jim Ketch, the band launches into a song honoring that Parker fellow and his early creation.  Jim Ketch, by the way, is Professor of Music and Director of Jazz Studies at the University of North Carolina at Chapel Hill.  Here’s his website: http://www.jimketch.com/index.html.  And here’s YARDBIRD SUITE:

Another song with unusual chord changes was the Ned Washington – Victor Young I’M GETTING SENTIMENTAL OVER YOU, which Tommy Dorsey took as his theme song:

Two songs about memory and memories:

I REMEMBER YOU:

and I’LL REMEMBER APRIL:

The young, gifted altoist Sarah Hughes joined the quartet for a romp on Lee Konitz’s SUBCONSCIOUS-LEE, based on WHAT IS THIS THING CALLED LOVE? changes:

Another song with subtle, unusual harmonies is YOU STEPPED OUT OF A DREAM:

The very fine player Lena Bloch came on board, tenor at the ready, for Harold Arlen’s exhortation GET HAPPY.  (The ding-dong at the start is Tomi Jazz’s doorbell rather than an aesthetic comment from extraterrestrials.):

A very rewarding evening — even for a man standing up through three sets with a video camera.

For those who, like me, enjoy reading what the musicians have to say, there’s a wonderful interview with Ted done by Clifford Allen: read it here:

http://cliffordallen.blogspot.com/2011/01/ear-conditioning-with-tenor-saxophonist.html?showComment=1297609944573#c7835830240652120113.

REMEMBER THE MUSICIANS!  ALL MONEY COLLECTED GOES TO THEM, SO CLICK HERE (EVERY NICKEL HELPS A LOT):

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

And a possibly superfluous postscript.  I celebrate what some listeners call “OKOM” (Our Kind Of Music) although I also love other styles — with melodies and swing.  I hope that listeners with more firmly defined preferences don’t reject performances such as the ones above because they don’t fit expected formulas: I bow low before the Blue Note Jazzmen of 1943-44, say, but there are worlds and worlds of creativity.  Stretching isn’t just confined to yoga!  End of sermon.  

COMING SOON: TED BROWN AND BRAD LINDE (Feb. 5, 2011)

Wonderful things can happen at a jazz gig before a note has been played. 

That was the case when the Ted Brown Quartet performed at Sofia’s on Jan. 13, 2011. 

I had gotten there very early (my anxious parents always left the house too far in advance and arrived everywhere too early) and fell into conversation with a bespectacled young man seated at the bar.  We spoke of the musicians and the music, and he extended his hand and introduced himself.  “I’m Brad Linde,” he said. 

I am embarrassed to say that I didn’t have an instantaneous flash of recognition, but as we talked I thought, “He knows his stuff; he’s a real player with a deep awareness of the music.”  And then I said, “Do you have any CDs out?”  He said, “Yes, one, it’s called FEELING THAT WAY NOW.” 

As they say in the United Kingdom, the penny dropped, and I said — right off.  “My God!  I reviewed that CD for CADENCE and I loved it!”  And everything was hilariously in balance: I hadn’t recognized him but I was able to bring him good news: he had not seen the review.  A delightful interchange, wouldn’t you say? 

And it was even more delightful when young Mr. Linde did two things. 

It was his gentle urging that got Lee Konitz to walk in and sit at the bar to hear the music — making me think that we were in the presence of greatness.

And when Brad took out his tenor, I was warmed by the music he and Ted made — a series of heartfelt, friendly, apparently casual conversations.  Not a Hollywood cutting contest, certainly not Young Warrior overpowering Old: more like father and son chatting about things that mean so much.  (Brad has a loving reverence for his Jazz Fathers — performing with Butch Warren and Freddie Redd, for example!) 

Here’s a sample of what Ted and Brad created on YOU STEPPED OUT OF A DREAM:

I’m writing this post not only to celebrate the cheerful, humble, expert Mr. Linde and his many endeavors — but to let New Yorkers know that more of this splendid music is coming our way in one week. 

On Saturday, February 5, 2011, a quartet of Brad, Ted Brown, bassist Joe Solomon, and drummer Taro Okamoto will be playing from 9:30 PM to 1 AM at Tomi Jazz — that’s 239 East 53rd Street (lower level), between Second and Third Avenues.  646-497-1254 or http://www.tomijazz.com/. for more information.  I have it on good authority that the delightfully gifted tenor saxophonist Lena Bloch, who played so beautifully at Sofia’s, will be there, too.  Perhaps Mr. Konitz will come in and oversee everything as he did, as well. . . .  You come, too!

ALL MONEY GOES TO THE MUSICIANS!  PLEASE CLICK ON THE LINK AND BE GENEROUS!

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

FEEL THE WARMTH: TED BROWN AND FRIENDS AT SOFIA’S (Part Two: Jan. 13, 2011)

In reading about tenor saxophonist Ted Brown and his connections to Lennie Tristano and what is characterized as “the Tristano school,” I kept finding the words abstract, intellectual, cool. 

It intrigues me to see those terms used as faint praise, as if anyone who ever had contact with Tristano was suddenly transformed into a snow creature.  I didn’t hear that in Ted’s playing. 

And even though I come from the world of HOTTER THAN THAT and STEAMIN’ AND BEAMIN’ (you could look those up), I heard the music that Ted and friends played on that snowy night as lyrical, song-based, not a series of chilly mathematical puzzles.

The participants that night at Sofia’s (221 West 46th Street, New York City) for these performances were Ted on tenor; Lena Bloch, tenor; Bob Arthurs, trumpet; Michael Kanan and / or Sacha Perry, piano; Murray Wall or Stephanie Greig, bass; Taro Okamoto, Hyland Harris, or Mark Wadsworth, drums. 

Listen and observe for yourself!

Here’s SUBCONSCIOUS-LEE, an improvisation on WHAT IS THIS THING CALLED LOVE?  — with its eminent creator, Lee Konitz, sitting at the bar, sipping his beer, listening closely to what his friends (Ted, Bob, Michael, Murray, and Taro) were creating.  (Perhaps some of my more “tradition-minded” readers will find the opening chorus a little startling.  Have faith: this music won’t bite you!):

DIG IT!  — now there’s a title to conjure with.  Ted, Michael, Murray, and Taro ride the lovely up-and-down contours of this loping line with grace and wit:

Another apt title — THE THINGS I LOVE — is a sweet saunter through romance and romanticism worthy of late-period Lester Young and his friends Jimmy Rowles, Ray Bown, and  Jo Jones.  These players certainly have heartfelt stories to share with us.  And I thought again of Pete Malinverni’s assertion, “It’s melody, man!”  Yes, it is!:

For I REMEMBER YOU, some new friends came to play: Lena on tenor (two tenors doesn’t have to mean JATP); Stephanie on bass, and Hyland on drums.  Thanks for this memory!:

And the closing music honored Bird — in the same melodic, lazily intense way.  First, YARDBIRD SUITE, with Ted, Lena, Stephanie, Hyland (swinging that hi-hat and brushes in the noble manner), and Sacha:

And, to close off this rewarding evening, SCRAPPLE FROM THE APPLE, featuring Ted, Murray, Michael and Sacha, and Mark.  That personnel listing might seem a mistake, but watch closely.  Sacha is a wondrous pianist (as is Michael) and he had played on YARDBIRD — but you can see him politely hoping that another chance to play might happen before the evening came to an end.  In the most gracious way, the two pianists switch seats slightly more than halfway through the performance — true gentlemen as well as swinging improvisers!:

Abstract, intellectual, cool?  Hardly! 

And I hope to be watching Ted, Brad Linde, Joe Solomon, bass, and Taro create more of the same delicious music on Saturday, Feb. 5, 2011 from 9:30 to 1 AM at Tomi Jazz in New York City: 239 East 53rd Street (lower level) between Second and Third Avenues.  Their phone is 646-497-1254; their website is http://www.tomijazz.com.

REMEMBER: ALL MONEY GOES TO THE MUSICIANS!  PLEASE CLICK ON THE LINK BELOW!

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

TED BROWN AND FRIENDS (Part One): SOFIA’S, JAN. 13, 2011

To me jazz is still such a surprising expansive field — a huge meadow, in fact — that there are wonderful players I have never heard. 

I am trying to make up for these lapses, though. 

I confess that the tenor saxophonist Ted Brown, now 82, was only a name on the back of a record cover until he came to sit in on a Joel Press – Michael Kanan quartet gig at the very end of June 2010.  I already admired Joel immensely, and I could add Ted to the list of musicians whose playing spoke to me.

Ted came back to play gigs in New York City this month — the first one on Jan. 12, 2011, at the Kitano Hotel, with Michael Kanan, Murray Wall, bass, and Taro Okamoto, drums.  I hope to have some performances to share with you from that night.

But the next night (it was still dreadfully cold and snowy) Michael surprised all of us by saying that the quartet was going to be appearing at Sofia’s.  I had other non-musical obligations for the evening, which I quickly sloughed off so that I could see this quartet again.  And I am delighted that I did so!

Where the Kitano gig was lovely and serene, Sofia’s was much more like a convocation of friends.  Not exactly a jam session, but a sweet series of “Come on, join us!” as the evening progressed. 

After a first set by the quartet, a number of jazz-pals brought their horns and sat in for a number or two, with fine results.  No one tried to outdo anyone, no solos went on for long, but it gave me the feeling that I do not always have in jazz clubs, “This is the way the musicians would be playing if they were alone!”  A rare sensation.

I wouldn’t presume to point out highlights from each performance, but I would ask listeners to pay particular attention to Ted’s dry, sometimes hesitant, questioning sound and approach.  It isn’t a matter of physical inability: his powers are intact.  Rather it is a kind of focused purity, of paring-away the inessentials in the manner of late Lester Young, not running through long-held figures and phrases but choosing the two notes, perfectly placed, that have greater impact.  Ted’s spaces and pauses are as beautiful, architecturally, as the notes he plays. 

Michael Kanan is, quite simply, a great pianist, someone who nibbles away at the edges of a song — its melody, its harmony, displacing its familiar rhythms, setting up teasing tensions between left and right-hand lines and accents.  He reminds me of Jimmy Rowles, in the surprising, sometimes intentionally asymmetrical castles he builds in the music. 

Murray Wall is at one with the beat: see him rock with what he plays, bringing enthusiasm and precision to those notes, that pulse.  And Taro Okamoto has a ringing sound and great variety, no matter what parts of his drum kit he is experimenting on at that moment. 

And the delightful guest stars were up to their level: tenor saxophonist Brad Linde, a husky other-voice responding affectionately to Ted’s lines; the young trumpeter Felix Rossy (he and his father, drummer Jorge, hail from Barcelona) who recalls a young Miles, bassist Stephanie Greig, energizing the band with her rhythmic propulsion; trumpeter Bob Arthurs, cool yet impassioned.  And more to come!

The quartet began the evening with an easy melodic choice — Gershwin’s SOMEBODY LOVES ME taken at a fast clip:

SWEET AND LOVELY, its harmonies more complex, brought out the inherent striving lyricism not only in Ted but in the other players:

Michael suggested to Ted that they do the latter’s line SMOG EYES (a play on STAR EYES and Ted’s comment on the climatological burdens of Los Angeles, where he had moved from New York City — and an improvisation on the chord changes of THERE WILL NEVER BE ANOTHER YOU):

Then Felix Rossy, tentative in posture but not approach, joined in.  Felix has his back to the camera, but his sound — reminiscent of Tony Fruscella — comes through!  His father told me that Felix was 16 (he’ll be 17 on April Fool’s Day) and when I said to Jorge, “You did a good job!” Jorge grinned and blushed but said, “Thank you, but he did it himself,” which is a lovely compliment to them both.  The quintet embarked on a long exploration of ALL THE THINGS YOU ARE:

Someone suggested LESTER LEAPS IN (the spirit of Pres is never far when Ted is playing) but Michael wanted to make the tempo much less frenetic than it might have been, calling this version LESTER REASONABLY STROLLS IN, with Murray giving his bass over to Stephanie, who plays jauntily:

At Brad Linde’s telephonic urging, a true star walked in — raincoat tightly belted around him, his hair in a near crew-cut, said hello, made himself comfortable at the bar, ordered a Corona, and listened intently.  It was Lee Konitz, whose presence you must imagine through the next performances.  With his august (perhaps austere) presence, the second set ended with RELAXIN’ AT CAMARILLO, the Bird blues, with Felix sitting out, Stephanie remaining:

After a break, Brad Linde joined the quartet for a splendidly evocative YOU STEPPED OUT OF A DREAM — the two tenors graciously making way for one another, their sounds distinct but never clashing:

And the momentum of that DREAM carried them through an equally leisurely investigation of I’LL REMEMBER APRIL:

Then Bob Arthurs took Brad’s place for the Lennie Tristano 317 EAST 32nd STREET (Tristano’s address at the time), an improvisation on OUT OF NOWHERE:

Six more lengthy performances remain in this most fulfilling evening.  Join me for Part Two!

PAY ATTENTION: TED BROWN RETURNS! (Jan. 12, 2011)

Mark your calendars: saxophonist Ted Brown will be playing his first official New York gig in thirty years this coming January 12th at the Kitano Hotel — with a congenial rhythm section of Michael Kanan, piano; Murray Wall, bass, and Taro Okamoto, drums.  

In the late 1940s, Ted Brown, Warne Marsh, and Lee Konitz were among the first students of jazz innovator Lennie Tristano.  And Brown continues to evoke the spirit of Lester Young — as he did when I saw him play alongside Joel Press and Michael Kanan at the end of June 2010.  Here are Ted, Joel, Michael, Neal Kanan, and Joe Hunt exploring ALL THE THINGS YOU ARE at Sofia’s Ristorante (Ted is wearing the red shirt, if you don’t know him by sight or sound):

Brown has performed and recorded with Tristano, Marsh, Konitz, Art Pepper, Kenny Clarke, Art Taylor, Jimmy Giuffre, Jimmy Raney, and many others.  His best-known recordings are probably JAZZ OF TWO CITIES with Marsh and FIGURE AND SPIRIT with Konitz.  (Both also feature Brown’s own compositions.)

Brown’s more recent years have often been lean: he has worked as a computer programmer.  But even when not performing regularly, he continued to practice at home and play private jam sessions.  His sound has retained its purity, warmth, and intimacy.  Perhaps he’s even grown as artist; certainly he is playing just as strong as on his classic recordings.

Supporting Brown at the Kitano are players connected to both the Tristano universe and serious swing:

Michael Kanan (piano) studied with Tristano-disciples Harvey Diamond and Sal Mosca.  He was a member of the International Hashva Orchestra (Mark Turner, Nat Su, Jorge Rossy) which explored original Tristano/Marsh/Konitz repertoire.  Kanan appears on Kurt Rosenwinkel’s INTUIT and has had long term associations with Jimmy Scott and Jane Monheit.

Murray Wall (bass) has performed Clark Terry, Benny Goodman, Buck Clayton, Ken Peplowski, Jon Hendricks, Marty Grosz, Annie Ross, Billy Eckstine, the EarRegulars, Michael Bank, and Mel Torme.  And upon arriving in New York from Australia in the 1970ss, he also  studied with Tristano.

Taro Okamoto (drums) has performed with Sal Mosca, Warne Marsh, Hank Jones and Sadik Hakim.  He was also an assistant to Elvin Jones. Most importantly for this gig, Wall and Okamoto have been playing together for 30 years!

The Kitano Hotel: 66 Park Avenue at 38th Street, NYC.  Sets at 8:00 and 10:00.  No cover charge, $15 minimum good for food or drink.  Reservations recommended: 212-885-7119.  http://www.kitano.com.

P.S.  I saw Ehud Asherie and Harry Allen at the Kitano this summer.  There’s a first-rate piano and they make a fine mojito!  Look for me — in between sets, of course: I’ll be the person intently looking through a viewfinder.