Tag Archives: Terry Waldo

“EVAN ARNTZEN MEETS LA SECTION RHYTHMIQUE” (DAVE BLENKHORN, SEBASTIEN GIARDOT, GUILLAUME NOUAUX, 2017)

The way art is perceived, explained, and marketed can be distant from the art itself.  Some critics and fans pounce on an artist, decide that (s)he does one thing superbly, and make that an identity.  Dick Wellstood = Stride Pianist.  Vic Dickenson = Dixieland Trombonist.  Gerry Mulligan = Modernist. And so on.  However, artists find these identities imposed by others are rather like clothes two sizes too small.  Happily, through the history of jazz we find musicians who can and want to do more than their “role” asks of them.

One such person is the reed virtuoso, composer, and singer Evan Arntzen.

Evan Arntzen, photograph by Tim Cheeney

This modern age being what it is, I believe I first encountered Evan through video and compact disc before I met him face-to-face in New York, but I admired his deep swing, cheerful musical intelligence, and deep feeling in all the media I saw and heard.  And since I’ve had many more opportunities of late to savor his work because of the Holland-Coots Jazz Quintet, I have come to value him all the more.  He can easily play alongside Terry Waldo in the darkness of Fat Cat, read the notes flying by as a member of Vince Giordano’s Nighthawk rhythm section, fit right in with the EarRegulars . . . as well as being a shining light of a dozen other bands, including his own (one such aggregation was called the Scrub Board Serenaders and may now be called the Animule Dance).  And he’s a compelling singer (hear I’LL GET BY) that had he been born decades earlier, we’d be reading about girls swooning at the Paramount.  This new CD, recorded in France in January 2017, is a marvel because it shows how well he can be himself in many ways, all rewarding.

Here’s Chris Smith’s venerable BALLIN’ THE JACK from this CD:

Some of you might think that is heretical, and you are welcome to do it, because it doesn’t follow the paths you hear in your head, those strictures created by famous records — but it sounds like fine inventive witty music to me.  I know, as do you, how BALLIN’ THE JACK is “supposed” to sound — a performance should, by the laws of whatever Deity you like, start with an ensemble version of the last eight and then go right in to it.  None of this Fifties television mood-setting vamp, no Second Line beats, no exploration, right?  I much prefer these four fellows finding joy in the mildly unexpected and sharing it with us.

“La Section Rhythmique” is not simply your average pianoless trio, but a small stellar musical attraction on its own, lyrical, inquisitive, and impassioned.  They know the past but they live in the present, which I commend.

And this quartet creates immensely pleasing variations on the familiar — Evan’s sweetly intense vocal on MISTER JELLY LORD (is it sincerely audacious or audaciously sincere?); a hip serpentine line on I ONLY HAVE EYES FOR YOU called HALF EYES (wordplay worthy of Mel Brooks); a clarinet-guitar duet on ISN’T IT ROMANTIC, taken a little faster than usual, perhaps in the name of Modern Romance; a glorious TICKLE-TOE that summons up, without imitation, the blessed Lester Young – John Collins live version; a tender PLEASE that begins with a questing improvisation, perhaps to keep the listener from falling into complacencies; a LITTLE WHITE LIES that tips its 1945 fedora to Don Byas; AFTERTHOUGHT, a happy improvisation on a jazz standard with a similar title that works its way in from the outside; I’LL GET BY that so tenderly explores this dear song in a multiplicity of ways, vocally and instrumentally; a TWELFTH STREET RAG that would have made Milt Gabler very happy; the concluding LOTUS BLOSSOM, deeply reverent, quietly emotional.

Evan, in addition to his other talents, is a marvelous bandleader, someone devoted to getting the most out of the other people on the stand.  A musician with a much more limited vision would see himself as The Star and the others as The Supporting Cast, thus performances would be Ensemble-Solos-Ensemble or some other formula.  Evan is untrammeled by conventions unless the conventions work in gratifying ways: like my hero Ruby Braff, he views a quartet as four equal voices, with imaginative possibilities resounding.  If you sit down with one track that especially pleases you and chart who’s-doing-what-now for the three or four minutes, you will be pleasantly astounded at the richness and variety.

If it isn’t clear by now, I think this disc is a treasure.

You can buy a digital download ($10), an actual disc ($15), and hear sound samples here.  Although it’s only by purchasing the disc — how archaic to some! — that you can read the typically splendid notes by Dan Morgenstern.

May your happiness increase!

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CHARLIE JUDKINS: NEW OLD MUSIC, ONE FLIGHT DOWN (December 17, 2017)

That’s one view of Charlie Judkins, ragtime / stride / traditional jazz pianist (taken in 2015); here’s a more orthodox one:

At the end of last year, I ventured down the long staircase to the underground home of improvised music, surrealism, and (it cannot be ignored) noise from “screeching fratboys,” to quote a friend.  You know it, you love it: it’s Fat Cat at 75 Christopher Street.  Terry Wldo was holding one of his Sunday piano parties, with his special guest being Mike Lipskin.  I’ve posted Mike’s two beautiful performances here.

During the afternoon, Terry and Mike played, and also a number of Terry’s friends and students.  The one who impressed me most was a young man with dark hair who played beautifully — and, even more pleasing to the ear, ragtime pieces new to me.  That’s our man Charlie, seriously talented and seriously young.

“Mule Blues” by Milo Rega (pseud. for Fred Hager and Justin Ring) 1921:

“Le Bananier” by Louis Moreau Gottschalk, 1846:

“The Delmar Blues” by Charley Thompson, written but unpublished, c. 1910:

Charlie Judkins (b. 1991) is a practitioner of Ragtime, Traditional Jazz and Blues piano, as well as a lifelong Brooklyn native. He began playing piano in 1997 at age six. In 2007, he was introduced to the music of Jelly Roll Morton and immediately began studying traditional ragtime and blues piano. Shortly thereafter he came under the informal tutelage of several highly-regarded pianists including Terry Waldo, Mike Lipskin, Ehud Asherie and the late George Mesterhauze. He is currently studying classical piano technique and theory under Jeff Goldstein.

His piano playing has been in demand at various public and private events in the New York City area since debuting as a professional bar-room pianist in the Summer of 2010. He also works as a silent film accompanist at various theaters in the New York area, and also provides scores for silent animation archivist Tom Stathes’s series of DVD/Blu-Ray releases.

Charlie will be performing on Wednesday, January 31, at Dixon Place: “I’ll be accompanying my friend Lara Allen performing obscure ragtime/comedy songs from the early 1900s/late 1890s that were featured by pioneer female recording artists such as May Irwin, Marie Dressler and Clarice Vance.”  Details here: Dixon Place is at 161A Chrystie Street, and the show begins at 9.

I’m very pleased to know that Charlie Judkins exists.

May your happiness increase!

“UNDERNEATH THE GROUND, WHERE ALL THE FUN IS FOUND”: TERRY WALDO’S GOTHAM JAZZ BAND (January 29, 2017): JON-ERIK KELLSO, EVAN ARNTZEN, JIM FRYER, TERRY WALDO, BRIAN NALEPKA, JOHN GILL, JAY LEPLEY

Even in January, it’s hot down below — when “down below” refers to Fat Cat, 75 Christopher Street in Greenwich Village, New York, and when Terry Waldo and the Gotham City Band are in session.  As they were last January 29 — one of their Sunday early-evening delights.  (I’d advise not looking at the club’s graphic too strenuously; it raises certain questions.)

Our text for today, Brothers and Sisters, is the 1916 hit DOWN IN HONKY TONKY TOWN, by Charles McCarron and Chris Smith.  I would never have added the Y to the penultimate word, but that was because I’d never seen the cover of the sheet music.  I have changed my ways.

This site, the source of the sheet music above, also has a wonderfully erudite discussion about the origin of “honky tonk,” which I found fascinating.

Here is the start of the chorus:

Come honey, let’s go down,
to honky-tonky town.
It’s underneath the ground,
where all the fun is found.
There’ll be singing waiters,
singing syncopaters,
dancing to piano played by Mister Brown.
He plays piano queer,
he always plays by ear.
The music that you hear,
just makes you stay a year.

(At this point the variant versions became too deep for me to delve into without a paid sabbatical, but you get the idea — an inducement to good times.)

Here’s the quite hot instrumental version created belowstairs by Terry Waldo, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, clarinet; Brian Nalepka, string bass; John Gill, banjo; Jay Lepley, drums:

The temperature is in the nineties today, so we don’t need anyone to get us hotter, but this will be homeopathically salutary, and you can also watch it next winter to keep heating costs down.

May your happiness increase!

NEW YORK CAKE: TERRY WALDO, EVAN ARNTZEN, JON-ERIK KELLSO, BRIAN NALEPKA, JIM FRYER, JOHN GILL, JAY LEPLEY at FAT CAT (January 29, 2017)

Not this (announced as “the best New York style cheesecake):

but a hot version of the song immortalized in 1924 and 1925 by Louis Armstrong and Sidney Bechet, Bessie Smith and others, CAKE WALKIN’ BABIES FROM HOME.  This is my second CAKE post: the first, presenting two hot performances by Dave Kosymna, Christopher Smith, Ray Heitger, Nicole Heitger, James Dapogny, and Pete Siers (all deftly captured by Laura Wyman) may be visited here.

But my experience of New York and New  Yorkers — even from the suburbs, what Flaubert would call the provinces — is that we don’t like to take second place to anyone or anything.  And in a cake walking contest, second place is noplace.

So here’s the New York version, created a month earlier at Fat Cat (75 Christopher Street in Greenwich Village) by Terry Waldo and the Gotham City Band, who were on that Sunday Evan Arntzen, Jon-Erik Kellso, Jim Fryer, Jay Lepley, Brian Nalepka, John Gill.  Consider for yourselves:

I won’t ask viewers to set up mock combat between Ohio and New York: all those cakes and contests are beautiful and hot.

May your happiness increase!

REBUKING THE DEACON: TERRY WALDO’S GOTHAM CITY BAND: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT (January 29, 2017)

Some might know W.C. Handy’s AUNT HAGAR’S BLUES as one of the ancient classics — a multi-strain composition, hallowed through decades of performance. But the lyrics tell a deep story: here is an approximate transcription of what Louis sang on the 1954 Columbia session honoring Handy (that recording the precious gift of the far-seeing George Avakian):

Old Deacon Splivin his flock was givin’ the way of livin’ right, yes
Said he, “No wingin’, no ragtime singin’, tonight,” yes
Up jumped Aunt Hagar and shouted out with all her might
All her might.

She said, “Oh, ain’t no use to preachin’
Oh, ain’t no use to teachin’.

Each modulation of syncopation
Just tells my feet to dance and I can’t refuse
When I hear the melody they call the blues, those ever lovin’ blues.”

Just hear Aunt Hagar’s children harmonizin’ to that old mournful tune.
It’s like a choir from on high broke loose, amen
If the Devil brought it, the good Lord sent it right down to me
Let the congregation join while I sing those lovin’ Aunt Hagar’s blues.

Even in 2017, the Deacon is still waggling his bony finger at us, and even when the lyrics to AUNT HAGAR’S BLUES aren’t sung, you can hear Aunt’s triumph.  A convincing example took place downstairs at Fat Cat (75 Christopher Street, Greenwich Village, New York) on Sunday, January 29, 2017, when Terry Waldo’s Gotham City Band played the song.  The hot philosophers sending the message are Terry, Jon-Erik Kellso, John Gill, Brian Nalepka, Jay Lepley, Jim Fryer, Evan Arntzen:

The message is clear.  When faced with those who would preach denial of life, always choose joy, no matter who tries to direct your course.  I’m with Aunt Hagar.

May your happiness increase!

PIPING HOT, EXPERTLY PREPARED: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT (January 29, 2017)

WEARY BLUES was written in 1915 by Artie Matthews as a ragtime piece, and the earliest recording we have (I believe) is this quite warm and well-seasoned  1919 rendition by the Louisiana Five:

Then it was recorded by many people — it’s terribly catchy with many breaks and it has a natural momentum.  I will only offer this piece of history, because my feeling everyone should know this hot record by heart:

But this blog isn’t about archaeology; rather, it’s about gratifying music performed NOW.  Down in the basement of Fat Cat (75 Christopher Street, Greenwich Village, New York City) on Sunday, January 29, 2017, Terry Waldo and his Gotham City Band created something beautiful and blazing hot out of WEARY BLUES.  The cooks were Terry, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, reeds; John Gill, banjo; Brian Nalepka, string bass; Jay Lepley, drums.

The savory dish, herewith:

Why do I live in New York?  Many reasons, but the possibility of wandering down the stairs on a late Sunday afternoon, making my way through young people focused on beer, ping pong, billiards, conversation, and hearing THAT is one of the chief reasons to be here and stay here.

For my readers: may the most heavy WEARY BLUES you ever feel be just this light upon your heart.

May your happiness increase!

“FOX TROT, VOCAL CHORUS”: JIM FRYER, EVAN ARNTZEN, BRIAN NALEPKA with TERRY WALDO, JAY LEPLEY, JOHN GILL, JON-ERIK KELLSO at FAT CAT (Jan. 29, 2017)

Even if they don’t have trained voices, the instrumental soloists I know tend to be really convincing singers, often with a loose, sleeves-rolled up approach to the song, which, by its casualness, conceals a real understanding of melody, rhythm, and how to “sell a song.”  (And sometimes the most under-documented singers are the most affecting: Basie, muttering his way through HARVARD BLUES, Hawkins emoting on LOVE CRIES, Carter wooing us with SYNTHETIC LOVE.)

Musicians know that bursting into song delights an audience (if it’s not offered on every performance) and it rests tired lips and hands. Here are three wonderful examples from a Sunday afternoon session by Terry Waldo, Jon-Erik Kellso, Jim Fryer, Evan Arntzen, Brian Nalepka, John Gill, and Jay Lepley — January 29, 2017).  I will point out that everyone in this band has been known to warble a chorus, but today I am concentrating on Messrs. Fryer, Arntzen, and Nalepka — all of whom have sung in performance and the recording studio.

And since so much of American pop music of the last century and more takes romance as its subject, here are three very different love songs: the first a chronicle of deprivation (“I’d love to join the fun but they bar me.”) the second a narrative of how serendipity made for great love (“I kept buying china / Until the crowd got wise.”) and the last a happy description of mutual adoration (“My baby don’t care who knows it.”)

Jim Fryer chronicles romantic woes, Lombardo / Louis style on SWEETHEARTS ON PARADE:

Evan Arntzen reminds us of Bing, 1931, incidentally, with I FOUND A MILLION DOLLAR BABY (IN A FIVE-AND-TEN CENT STORE):

and Brian Nalepka tells the truth (ask Mary Shaughnessy), MY BABY JUST CARES FOR ME:

These frolics happen most Sunday afternoons at Fat Cat, 75 Christopher Street, Greenwich Village, New York City (take the #1 train to Christopher Street / Sheridan Square).

May your happiness increase!