Last Wednesday, April 20, 2011, I made the now familiar trip to the Radegast Bierhall (131 North 3rd Street, corner of Berry in Brooklyn, New York) to enjoy one of my favorite bands — trumpeter Gordon Au’s Grand Street Stompers — with the alwys surprising Tamar Korn.
Nick Russo (guitar and banjo) and Rob Adkins (bass) swung out, keeping it all together; the front line was Gordon (trumpet, compositions, arrangements, and quiet moral leadership), Matthew Koza (clarinet), Will Anderson (tenor saxophone).
And here are the festivities, in living HD.
Gordon delights in the songs from certain Disney films, with justification — they’re good songs with good associations. I connect BARE NECESSITIES with Louis.
I told Gordon about seeing Louis on television around 1968, singing and playing this song, and (someone’s idea of a clever visual pun) a man in a bear suit came out, danced around Louis, and the bear and Louis may even have performed a little twirl on camera. Radegast hasn’t yet had anyone come in dressed as a bear; perhaps it will happen. Bears love sausage, as do men dressed in bear suits:
SHE’S CRYIN’ FOR ME is a New Orleans favorite, composed (I believe) by Santo Pecora, although it was originally called GOLDEN LEAF STRUT, a reference to muta, muggles, or shuzzit:
I never get tired of hearing WRAP YOUR TROUBLES IN DREAMS, especially when Tamar sings its message of optimism and resilience:
WHILE THEY WERE DANCING AROUND is a new old favorite, dating from 1913, a song Gordon has revived with the GSS (splendidly on their new CD . . . soon to be available where better books and records are sold):
EXACTLY LIKE YOU is from 1930 but still seems fresh, and its message, that the Beloved is precisely the person of our dreams, never gets stale:
BE OUR GUEST is another Disney creation, this time from BEAUTY AND THE BEAST. I love Gordon’s mock-symphonic treatment, full of crescendo and decrescendo, and all those Italian words. And the key changes. Can I be the only person who thinks this line is close to WHEN YOU’RE SMILING?:
I’M COMIN’ VIRGINIA is one of the loveliest songs about going back home to Dixie, and it calls up memories of Bix, Tram, and Jimmy Rushing:
AVALON reminds me of Puccini (and a lawsuit), Al Jolson, the Benny Goodman Quartet, and of course of Miss Korn:
At points, WALTZ OF THE FLOWERS sounds so much like A MONDAY DATE (or MY MONDAY DATE) that Earl Hines should have sued Tschaikovsky for plagiarism:
Think of how much the previous century and this one owe to Harold Arlen and Ted Koehler while you listen to I’VE GOT THE WORLD ON A STRING:
CRAZY EYES is a silly, frisky Gordon Au love song — it would have been a huge hit in 1936, wouldn’t it?:
And while you’re up, give thanks to Irving Berlin, too, for THE SONG IS ENDED and more:
Gordon comes across splendidly — his swing, feeling, and wit — on this glowing, memorable CORNET CHOP SUEY:
LINGER AWHILE is both a sweet sentiment and a swinging song:
Although some of the lyrics of the Disney songs seem too hopeful for reality, I wouldn’t argue with the idea of A DREAM IS A WISH YOUR HEART MAKES, which begins in sweet 3 / 4 before becoming a delicately swinging rhythm ballad:
As I write this, it’s gray outside. But in the world conjured up by Dorothy Fields and Jimmy McHugh, the SUNNY SIDE OF THE STREET (at a nice bouncy 1938 Louis tempo) is only a few steps away:
Rather than end the evening with something uptempo, Tamar suggested the wistful and romantic A KISS TO BUILD A DREAM ON, which would be a lovely song even if it didn’t make us think of Louis. I think that she is expanding her emotional awareness and taking more chances — not that she was a timid singer to begin with:
This posting contains a large number of video performances — too many to be absorbed at a single sitting? But I couldn’t stand to leave any of them in my camera. Not sharing them would have seemed selfish.