Tag Archives: The EarRegulars

HANK O’NEAL CELEBRATES BOB WILBER (August 17, 2019)

Bob Wilber with the superb drummer Bernard Flegar, after their gig in Bülach, Switzerland, June 11th 2005.

Once again, it is my great privilege to have asked Hank O’Neal to talk about the people he knows and loves — in this case, the recently departed jazz patriarch Bob Wilber, whom Hank knew and recorded on a variety of rewarding projects.

But even before we begin, all of the music Bob and other luminaries (Earl Hines, Joe Venuti, Zoot Sims, Dick Wellstood, Dave McKenna, Lee Konitz, Ruby Braff, Dick Hyman, Buddy Tate, Don Ewell, Mary Lou Williams and dozens more) created can be heard 24/7 on the Chiaroscuro Channel. Free, too.

Here’s the first part, where he recalls the first time he saw Bob, and moves on — with portraits of other notables — Marian McPartland and Margot Fonteyn, Eddie Condon, Bobby Hackett and Vic Dickenson, the World’s Greatest Jazz Band, Teddy Wilson, Bobby Hackett, Soprano Summit, Bobby Henderson, Pug Horton, Summit Reunion, and more:

Bob’s tribute (one of many) to his wife, singer Pug Horton, from 1977, with Scott Hamilton, Chris Flory, Phil Flanigan, and Chuck Riggs:

With Kenny Davern, George Duvivier, Fred Stoll, and Marty Grosz, SOME OF THESE DAYS (1976):

Here’s the second part of Hank’s reminiscence:

and a magical session from 1976 that sought to recreate the atmosphere of the Thirties dates Teddy did with his own small bands — the front line is Bob, Sweets Edison (filling in at the last minute for Bobby Hackett, who had just died), Vic Dickenson, Major Holley, and Oliver Jackson:

Summit Reunion’s 1990 BLACK AND BLUE (Bob, Kenny Davern, Dick Hyman, Milt Hinton, Bucky Pizzarelli, Bobby Rosengarden):

and their 1995 WANG WANG BLUES, with the same personnel:

Too good to ignore!  DARLING NELLY GRAY:

and my 2010 contribution to the treasure-chest or toybox of sounds:

Thank you, Hank.  Thank you, Bob and colleagues.

May your happiness increase!

YOUNGBLOODS FOR LOUIS: GUILLERMO PERATA, FERNANDO MONTARDIT, JON-ERIK KELLSO, SCOTT ROBINSON, NEAL MINER at THE EAR INN (August 4, 2019)

A piece of paper says that Louis Armstrong was born on August 4, 1901, instead of the July 4, 1900, he always claimed.  In this, I take the testimony of his mother, who called him her “firecracker baby,” as prime.  And I will argue this point until no more copies of WHAT A WONDERFUL WORLD can be found.  Of course, he deserves every birthday celebration one can imagine, ideally 365 of them every year. 

But just yesterday, at the Ear Inn, on 326 Spring Street, there was a little celebration in the proper spirit.  Louis loved the South — which he would have defined as his native Louisiana — but he would have been very happy to greet two musicians from that region, more or less (Mexico City and Buenos Aires): cornetist Guillermo Perata and guitarist Fernando Montardit, who sat in with the EarRegulars — Jon-Erik Kellso, trumpet; Scott Robinson, reeds and F-trumpet, and Neal Miner, string bass — on a properly celebratory SWING THAT MUSIC.  And they all do:

Louis smiles his approval.  I hope you do, also.

May your happiness increase!

GAME OF TONES: TWO BEAUTIES FROM JAY RATTMAN, SCOTT ROBINSON, CHRIS FLORY, PAT O’LEARY at THE EAR INN (May 20, 2019)

For nearly twelve years, The Ear Inn has been my Sunday-night shrine (that’s 326 Spring Street in New York City, via the 1 or the C) because of the EarRegulars’ sublime residency.

Two Sundays ago, Jon-Erik Kellso was in New Orleans, making records (I use the archaic term) with Evan Christopher, but the band that Scott Robinson — on tenor saxophone, contrabass taragota, and trumpet — assembled for the night of May 20, 2019, was stellar: Jay Rattman on clarinet and alto saxophone; Chris Flory on guitar; Pat O’Leary on string bass.  It was less crowded than usual at The Ear, because (I am told) it was the last episode of GAME OF THRONES.  Hence my title.

Beauty paid a visit to 326 Spring Street when this quartet of masters created melodies than floated in the darkness.

And the usual caveats: yes, there are people chatting over their drinks, the image is quite dark at points, and my camera wobbles occasionally because The Ear is not the place to bring a tripod . . . but even the most finicky viewer should be able, through closed eyes, be transported by the Tones: subtle rejoicing scored for four instruments on two rhythm ballads — sweet and slow music with a definite pulse.

Art?  Yes, today:

If you don’t think that performance lives up to Berlin’s title, we must politely but vehemently disagree.  And this 1945 classic by Harry Warren and Mack Gordon is up in the same clouds:

Jay, Scott, Chris, and Pat made loveliness tangible.  As they always do.

May your happiness increase!

CHUCK WILSON, ADMIRED, LOVED, MISSED

I’ve come to think that one goal is to live one’s life whole-heartedly, generously, singularly, so that when one dies — moving to another neighborhood in the cosmos — one is missed.  Or, there is a hole shaped like you in the world that people notice.  “I wish Susie were here to have a piece of this pie.  I wish I could give Liz just one more hug.” and so on.

The alto saxophonist and sometime clarinetist Chuck Wilson, who died on October 16, accomplished that goal and more.

A CD worth searching for — a beauty in so many ways.

I saw and heard Chuck intermittently from 2004 to 2016, in Jazz at Chautauqua with the Alden-Barrett Quartet, and in various New York groups, including Vince Giordano and the Nighthawks, the EarRegulars, with Corin Stiggall and Carol Morgan, but I can’t say I knew him well.  So I will leave the anecdotes to others, and the outline of his biography also.  I did observe him at close range as an unusual man and player: part shy boy, part boisterous side-of-the-mouth wisecracker and social critic.  His playing was just so splendid, although I think he rarely wanted to step forward and lead — any sax section or any band that had Chuck in it immediately sounded so much better.  His sound was lovely.  And he understood both his horn and the music.

Chuck was initially very wary of my video camera (and perhaps also of the civilian who operated it) but eventually he 1) figured that I wasn’t out to embarrass him but to praise him, or 2) I wouldn’t go away so there was no use telling me to do so.  So I have a few — too few! — performance videos of him which I will share again with you — so that you who knew Chuck can have the bittersweet joy of having him in action, and that those who never heard him can regret the omission.

Here he is with Terry Waldo’s Gotham City Band — for that August 2016 afternoon, Chuck, Terry, Jim Fryer, Jay Leonhart, Jay Lepley, playing DIGA DIGA DOO in what I think of as a Fifty-Second Street manner:

And here, at The Ear Inn on May 30, 2010 with Danny Tobias, James Chirillo, Pat O’Leary, for a easy groovy EXACTLY LIKE YOU:

I wish there had been more opportunities to capture Chuck live: many things got in the way, but you can savor another large handful of performances from these gigs here and here.

I also hope that Chuck knew how much he was admired and loved.  And is.

May your happiness increase!

“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!

“FROM THEIR HEARTS (Part Three): JON-ERIK KELLSO, CHARLIE HALLORAN, BRIAN NALEPKA, JOHN GILL, and JON DE LUCIA, JORDAN HIRSCH (The EarRegulars at The Ear Inn, July 8, 2018)

The EarRegulars, plus catsup. Photograph by Neal Siegal.

Here is the link to Parts One and Two, containing ten radiant performances from that very gratifying evening at 326 Spring Street, Soho, New York City.

And here are a few of the closing performances.

BEALE STREET BLUES:

IF YOU WERE THE ONLY GIRL IN THE WORLD (Mr. Nalepka sings of romance):

‘WAY DOWN YONDER IN NEW ORLEANS, with guest Jon De Lucia, clarinet:

THE CURSE OF AN ACHING HEART, with Jordan Hirsch, trumpet, and added soundtrack from the Wolf Cubs to my right, or, as Louis says, “Somebody must have been putting alcohol in our liquor”:

A wonderful evening, hugely restorative.  You’ve never been to The Ear Inn?  Get thee hence on a Sunday evening — early to grab a barstool or table — and live life fully.

May your happiness increase!

FROM THEIR HEARTS (Part Two): JON-ERIK KELLSO, CHARLIE HALLORAN, BRIAN NALEPKA, JOHN GILL (The EarRegulars at The Ear Inn, July 8, 2018)

From left, Brian, John, Jon-Erik, Charlie, that very night. Photograph by Neal Siegal.

Another serving of musical splendor: expertise and passion in equal measure.  Visit here for the first four performances (BOGALUSA STRUT, SOMEDAY SWEETHEART, WHO’S SORRY NOW, TISHOMINGO BLUES) and for details.

Music does indeed speak louder than words, so here’s more, the best kind.

WEARY BLUES:

YOU TELL ME YOUR DREAM (swing out, Brian!):

FIDGETY FEET:

PRETTY BABY:

DO YOU EVER THINK OF ME?:

OLD FASHIONED LOVE:

Even in darkness, joy is all around us, and these performances — so generous! — are powerful reminders.

May your happiness increase!