Tag Archives: The EarRegulars

FOR BIX, FOR RUBY, FOR EVERMORE (Part Two): The EarRegulars at The Ear Inn: JON-ERIK KELLSO, SCOTT ROBINSON, JAMES CHIRILLO, GREG COHEN, and FRIENDS (March 11, 2018)

Here is my first post about the glorious fun at The Ear Inn on March 11, 2018, featuring SUGAR and SOMEBODY STOLE MY GAL, as played by Messrs. Cohen, Chirillo, Robinson, and Kellso.

And I present two more performances from the same happy evening, with the affectionate spotlight on Mister Braff.

Walter Donalsdon’s IT’S BEEN SO LONG:

and my favorite anthem of hope, WRAP YOUR TROUBLES IN DREAMS — Dan Block, clarinet, and Will Reardon Anderson, alto (left and right) sitting in:

The moral of the story?  As the Sages say, “Get thee to The Ear Inn on Sunday nights.”

May your happiness increase!

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FOR BIX, FOR RUBY, FOR EVERMORE (Part One): The EarRegulars at The Ear Inn: JON-ERIK KELLSO, SCOTT ROBINSON, JAMES CHIRILLO, GREG COHEN (March 11, 2018)

I haven’t made it to the Ear Inn (326 Spring Street, Soho, New York City) as often as I’d like: the Monday-morning alarm summoning me to work has become more cruel.  But the Sunday-night sessions that have been going on for over a decade — all hail the EarRegulars! — are a reason to stay in New York forever.

On March 11, the EarRegulars — Jon-Erik Kellso, Scott Robinson, James Chirillo, and visiting hero Greg Cohen — played some songs loosely connected to Bix Beiderbecke and Ruby Braff, cornetists of a certain lyrical tendency who had March birthdays.  Here are two highlights, with more to come:

Maceo Pinkard’s SUGAR:

and the musical celebration of broken romance, SOMEBODY STOLE MY GAL:

Just gorgeous, I think.

May your happiness increase!

QUIET EMOTION: JON-ERIK KELLSO, CHRIS FLORY, JOEL FORBES at SARAH’S WINE BAR (August 27, 2017)

On August 27, which seems like a long time ago, I drove up to Ridgefield, Connecticut, to spend an evening at this welcoming spot — Sarah’s Wine Bar, located upstairs at the fine restaurant called Bernard’s.  The food and service were both lovely, but I had more serious goals: Jon-Erik Kellso was playing, and Jon had with him Chris Flory and Joel Forbes.

They are three good reasons to venture out, and the music was exceedingly rewarding: thoughtful, quiet, deep, and swinging — performed in a quiet room to an attentive audience.

THESE FOOLISH THINGS:

I WANT A LITTLE GIRL:

MOOD INDIGO:

In simple math, three times three equals a mere nine.  These performances prove that the end result is uncountable pleasure.  Thanks to Ken and Marcia Needleman for their kindnesses.

And THIS JUST IN: tonight, Sunday, October 22, from 8-11 PM, give or take a few moments, The EarRegulars will be at The Ear Inn (326 Spring Street) with two of the heroes above — Jon-Erik and Chris — as well as Aaron Johnson, reeds; Neal Miner, string bass.  To learn about all things Kellso-musical, you can join his mailing list.  As Monk wrote, Ask Me How.

May your happiness increase!

xxxxxx

A SUMMER NIGHT, EIGHT YEARS AGO (June 7, 2009)

Good times, fine sounds.  the calendar says they’re gone; we know they aren’t.

The Ear Inn has been host to gatherings of joyous insight on Sunday nights since July 2007, and I think I was there for the second gathering of The EarRegulars — who may not have been named just yet (Jon-Erik Kellso, Howard Alden, Frank Tate): I was converted rapidly, although going to work with an early teaching schedule has made me at times a lax postulant.

Here’s a delightful interlude from the summer of 2009: SOME OF THESE DAYS, played so buoyantly by Matt Munisteri, guitar; Duke Heitger, trumpet; Harvey Tibbs, trombone; Dan Block, clarinet; Neal Miner, string bass.  And the final minutes of this — with Duke evoking another New Orleans boy who made good — give me chills of the best sort:

You don’t need to climb the Himalayas for spiritual uplift: visit the Ear Inn on Sunday nights; your pilgrimage requires only the C or the 1 train or perhaps an automobile . . . see you there sometime soon!  In the interim, watch, hear, and marvel.

May your happiness increase

MARA KAYE SINGS LADY DAY with JON-ERIK KELLSO, DAVID SAGER, JOHN GILL, BRIAN NALEPKA, SCOTT RICKETTS, EYAL VILNER at THE EAR INN (August 13, 2017)

Mara Kaye is one of New York’s great gifts to the world. Two years ago, she did a concert performance at Joe’s Pub, an evening of songs associated with Billie Holiday.  Here is some of what I wrote, that still rings true.

She is a substantial stage personality.  One way this is expressed is in her nearly constant yet genuine motion, as if her energy is too strong for her to stand still.  It’s not just hair-tossing, but a continual series of dance moves that also look like yoga poses and warm-up stretches, even a jubilant marching-in-place. Often she held her arms over her head, her hands open.  I think it was always exuberant emotion, but it was also her own expression of an ancient and honorable theatrical style . . . so that even the people in the most distant balcony of the Apollo Theatre could see you and join in with the person onstage. And her voice matched her larger-than-life physical presence.  On a Twenties record label, she might have been billed as COMEDIENNE WITH ORCHESTRA, and that odd designation rang true. The comedy bubbled up here and there in speech: she hails from Brooklyn, so that her sailboat in the moonlight was idling along in Sheepshead Bay. But it also emerged delightfully in her voice: I heard echoes of Fanny Brice, of comic Eastern European melodies . . . it never sounded as if she was taking Billie or the music lightly, but as if she was having such a good time that she couldn’t help playing. . . . SHOW in the best tradition — not caricature, but something Louis would have admired immensely.

I’m always glad to see Mara, and when she showed up at The Ear Inn (326 Spring Street, Soho) on Sunday, August 13, I had hopes she would be invited to sit in with the EarRegulars.  Leader and brass deity Jon-Erik Kellso has the same feelings about this young woman, so he invited her to join the band . . . and these two performances are the result. The EarRegulars, that night, were Jon-Erik; David Sager, trombone (making a guest appearance from his home in a southern town), John Gill, banjo; Brian Nalepka, string bass, with sitters-in Scott Ricketts, cornet and Eyal Vilner, to my left, alto saxophone.  The ghosts of Buck Clayton, Lester Young, and Benny Morton were there, and they approved.

Two gorgeous performances: FOOLIN’ MYSELF:

and I CAN’T GIVE YOU ANYTHING BUT LOVE (during the instrumental portion you’ll see Mara, ever the good jazz citizen, walking around with the tip jar — the tip pumpkin — to help the band:

Music like this, peerless and delicate, improves our world, for these musicians give us love and more.

May your happiness increase!

A SHRINE FOR JOY: DANNY TOBIAS, SCOTT ROBINSON, JAMES CHIRILLO, FRANK TATE: The EarRegulars at The Ear Inn, August 6, 2017

You won’t find 326 Spring Street, Soho, New York City, on any ecclesiastical register of shrines, but that’s their omission, one I am working to correct.  On Sunday nights, from about 8-11 PM, joy reigns when the EarRegulars are in their sacred space.  I am not being impious: many nights at The Ear Inn have left me deeply reassured, even consoled, with the feeling that beauty is possible and within our reach if we can only pay attention to it.  For me, it’s about ninety minutes away; for those of you in close connection to computers and phones, it’s even easier to find.

On August 6, 2017, the EarRegulars were Danny Tobias, trumpet; Scott Robinson, taragoto, alto clarinet, baritone saxophone; James Chirillo, guitar; Frank Tate, string bass.

Here are two swinging benedictions for us all.

Irving Berlin’s ALL BY MYSELF:

And a song often turned in to vaudeville patter but with a big swinging heart, BLUES MY NAUGHTY SWEETIE GIVES TO ME:

and it was late in this evening when James Chirillo created this beautiful interlude, if you haven’t already delighted in it:

The moral of all of this, which you are free to accept or reject, is that if each of us felt free to spread joy as generously and without pretension as the EarRegulars do, we would be living in a paradise of our own making now.

May your happiness increase!

A MASTER AT PLAY: JAMES CHIRILLO at THE EAR INN (August 6, 2017)

Drawing by Dan Christoffel

I have been enjoying the art of guitarist / composer / arranger James Chirillo (and I know I have company in this) for some years now on discs, all the way back to 1985, when he appeared as a member of the Loren Schoenberg jazz orchestra then led by Benny Goodman. I browsed his discography and was amazed but not surprised to find how many of my favorite discs he is on, for musicians knew a long time ago that he had a deep yet playful intelligence.

I don’t know when I first encountered him in person (finding him serious, witty, surprising, and kind) but I can say that he allowed me to point a video camera at him a good many years ago, beginning in 2009.  He is a very serious judge of his own work but has been generous and gracious about getting captured and shown off for free, possibly because he understands the depth of my admiration (and, again, I am not alone in this.)

James has always been a peerless soloist — offering delightful surprises mixed in with a fine respect for sound and for melodies — and a wonderful team player, someone who works seriously yet with a light heart to keep the band trotting in the right direction.  I’ve written elsewhere about James’ deadpan penchant for weird notes and tones and spaces, something I cherish, but there is nothing weird about what I can present here.

Often, The Ear Inn, my intermittent Sunday-night shrine, on 326 Spring Street, home of the blessed EarRegulars, has been crowded and noisy.  Although it plays hell with my goals of a) appreciating music in a near-reverent hush and b) recording it for this audience, I understand the throng as a good thing.  People who have read about The Ear in a guidebook that calls it one of the secret New York City places that tourists don’t know about (is that a whiff of irony burning in that skillet?) keep these Sunday soirees going — as they have been for ten years.  But two Sundays ago, The Ear was wonderfully serene, and the band of Danny Tobias, Scott Robinson, Frank Tate, and James (with an early-evening guest appearance by the lyrical violinist Valerie Levy) had a good time in the peaceful admiration and pleasure.

About two-thirds of the way through the evening, after a very pleasing EarRegulars performance of a song had concluded, James turned to the band and to us, and said (low-key, wry yet plainly) that since he hadn’t taken a solo on the previous tune, he was going to take one now, and play something he had worked on, Johnny Smith’s arrangement / recomposition / improvisation on GOLDEN EARRINGS, a composition by Victor Young — the title theme of a 1947 film starring Marlene Dietrich and Ray Milland (an autographed copy of the sheet music is here just because it seems a shame not to share it):

and the movie poster:

Here is James’ tender virtuoso interlude, and it is a marvel — you don’t have to be a guitarist to understand that:

James is also that rare entity, a functioning adult: some hours after I posted the blog, he wrote to me, “Would you be surprised if I told you I consider my performance around a 7.8 compared to Johnny Smith’s 10.0? I’m not trying to be unduly self-effacing, it’s just the fact of the matter.”  I admire someone for whom realistic self-assessment is second nature, no matter that we might disagree about the numbers.

Thank you, Master Chirillo, for offering us, without fanfare, a multicolored respite from this modern world.

May your happiness increase!