When NOLA funk comes to NYC Soho, it’s a wonderful connection of forces.
If you think I’m being melodramatic in my title, wait for the group vocal on THE BUCKET’S GOT A HOLE IN IT, from Jon-Erik Kellso, trumpet and post-Guinness glass mute; Jay Rattman, alto saxophone and clarinet; Matt Munisteri, guitar; Tal Ronen, string bass. It’s a sad tale of a plumbing problem that could lead to life-threatening dehydration:
I believe that on or before October 31, the EarRegulars, seen above as Out, will go In — reverting to their more familiar Sunday-night performances inside The Ear Inn. Know that these uplifting jazz picnics will become nocturnal soirees as the temperature drops and the days shorten.
And take good care of your bucket. Check it regularly for leaks.
Puccini, Jolson, Rose, Goodman, and innumerable jazz groups — one of the reliable get-off-the-stand numbers, here performed by the EarRegulars at the Ear Out (326 Spring Street, Soho, New York City) on Sunday, May 23, 2021. They are, from left, Jon-Erik Kellso, trumpet; Pat O’Leary, string bass; Scott Robinson, C-melody saxophone and trumpet; Chris Flory, guitar (who played this song with Benny, himself).
And about this performance? All I can say is Yes.
Here’s hoping you find your love in Avalon, or someplace even closer, and you bring that person to the Ear Out on a Sunday afternoon before winter comes, as we know it will.
Do you dread the start of the workweek? Or does Monday remind you of homework undone, bills unpaid, responsibilities that weigh? Take heart: JAZZ LIVES is here to help.
(Cue rousing music): the EarRegulars to the rescue! And they’re locally sourced and cage-free. Investigating all the corners of Earl Hines’ 1928 classic, they are Jon-Erik Kellso, trumpet; Jay Rattman, clarinet (in a Bechet mood for a few seconds, sparking joy); Matt Munisteri, guitar; Tal Ronen, string bass. All of this took place at the Ear Out — 326 Spring Street — on June 6, 2021:
And just think, with Monday done and done, the rest of the week will soar (or totter) by. Wishing you safe passage — with the help of these joyous sounds.
I have it on good authority that the Sunday-afternoon revival-meetings will continue through October, with guests Don Mopsick, Evan Christopher, Dennis Lichtman, Bill and John Allred . . . don’t miss out!
But we’re in 2021, in the land of blessed live performance, not simply staring rapt at the blue Decca label, and the expression on Albanie Falletta’s face says it all:
A daring little band — the EarRegulars — performing on June 6, 2021, at The Ear Out, 326 Spring Street, Soho, New York City. The core group for this Louis Armstrong classic (written by Terry Shand and Jimmy Eaton) is Jon-Erik Kellso, trumpet; Jay Rattman, clarinet and alto saxophone; Matt Munisteri, guitar; Tal Ronen, string bass. Eminent guests: Josh Dunn, guitar; Albanie Falletta, resonator guitar. Please note the groovy tempo — not too fast — for this playful inducement to public and private displays of affection.
Another musical marvel, I think. Have you been? These Sunday-afternoon sessions will not happen when the frost is on the pumpkin. So get your musical blessings while you may.
We all may have reasons for thinking the spring of 2021 particularly memorable — I know I do.
But I will also think of it as the season of The Ear Out, a frankly miraculous series of Sunday-afternoon soirees (or revival meetings?) with the EarRegulars preaching the mellow sermon whose text, “Isn’t it glorious to be alive and breathing?”
Do I overstate? I think not. Here’s some secular-sacred evidence from Sunday, May 16, 2021, laid down by Jon-Erik Kellso, Puje trumpet; John Allred, trombone; Joe Cohn, guitar; Neal Miner, string bass — the venerable chapter being SOME OF THESE DAYS:
That feels good. Bless this foursome, and thank them, too — and all the other memorable EarRegulars.
I’m so glad and relieved that no one has written in to ask, “How come you post so much of The EarRegulars?” because then I might have to question their aesthetic. These summer revival meetings at The Ear Out have proven, performance after performance, that this band — in all its permutations — has no peer in The Groove, in swinging inventiveness. Here’s another example, Walter Donaldson’s binary ultimatum, LOVE ME OR LEAVE ME, a festival of daring sounds and inspired conversations:
I love them, and I hope they never have to leave us. Class dismissed.
There are certain songs I have a limited tolerance for, and BLUES MY NAUGHTY SWEETIE GIVES TO ME is one. I revere the Jimmie Noone and Eddie Condon versions, but too many times when this song is performed by a “traditional” band someone steps forth to speak-sing it, chorus and patter. Perhaps I have NAUGHTY SWEETIE PTSD.
But not in this case. For one thing, no one in this edition of The EarRegulars burst into song. They are Jon-Erik Kellso, Puje trumpet; Scott Robinson, tenor saxophone; Chris Flory, guitar; Pat O’Leary, bass.
No, the ambiance here is entirely lacking in striped-vest-and-plastic-boater-counterfeited-glee. In fact, even though none of these musicians was born in either Kansas City, there is a distinct Pres-Reno Club flavor to this, and I am sure Milt Gabler and Harry Lim approve:
Nothing particularly naughty about this — innovative, rocking, and delightful, though. Characteristically EarRegular.
This morning, Hurricane Ida made landfall in Louisiana, and is proving to be a very terrifying storm — on the sixteenth anniversary of Hurricane Katrina. I know some of my friends have found safe havens elsewhere, but I send these sounds out to everyone feeling the wrath of Ida.
Ironically, the apt sounds — melancholy but with a groove — were created almost a month ago, on July 25, 2021, at the Ear Out, 326 Spring Street, by the EarRegulars: Jon-Erik Kellso, Puje trumpet; John Allred, trombone; James Chirillo, guitar; Neal Caine, string bass. The song? Hoagy Carmichael’s NEW ORLEANS, which I associate with Jimmy Rushing and Louis Armstrong, among others. Here it is, without words but with feeling:
I present it here as a prayer for durability and resilience of that “quaint old Southern city” and its people.
There’s an immense Groove to whatever the EarRegulars play: think Louis and Basie having a good time together.
Yes, those two deities are posing for a photographer, but I imagine them grinning at the music made by the EarRegulars one Sunday afternoon, July 25, 2021 (although any EarRegulars gathering would produce the same response).
That Sunday, the EarRegulars were Jon-Erik Kellso, Puje trumpet; John Allred, trombone; James Chirillo, guitar; Neal Caine, string bass — lovingly playing Louis’ 1947 composition, SOMEDAY YOU’LL BE SORRY, which I think of as the sweetest song of reproach and revenge possible:
The EarRegulars have been appearing all summer at The Ear Out, details specified above, from 1-3:30 on Sundays. Have you been?
Doing that easy glide! Yes, it’s the EarRegulars, spreading joy once again — in front of The Ear Inn, 326 Spring Street, Soho, New York — on one of their Sunday afternoon spiritual- refreshment gatherings.
They are Jon-Erik Kellso, Puje trumpet; John Allred, trombone; James Chirillo, guitar; Neal Caine, string bass. And this was the very first song of their July 25, 2021 performance.
Incidentally, the song was written in 1915 and published in 1917 by Shelton Brooks, the African-American (born in Ontario) composer who we also know for SOME OF THESE DAYS.
I have a sentimental attachment to this song: it was one of those my father taught me to sing when I was about 4, even though I doubt I knew what most of the words meant. Thanks, Dad, for a life where music is always restorative.
Our culture celebrates victory, but sometimes giving in is the only way: this song dramatizes the surrender to love.
I SURRENDER, DEAR has an ache in its heart. (If you don’t know the classic versions by Bing and Louis, you owe it to yourself to visit them.) But sadness, whole-heartedly dramatized, is joy.
Thank the EarRegulars for this sustained burst of emotions, coming from The Ear Out (that’s located on Sunday afternoons from 1 to 3:30 in front of The Ear Inn, 326 Spring Street, Soho, New York City). On July 25, 2021, they were Jon-Erik Kellso, Puje trumpet; John Allred, trombone; James Chirillo, guitar; Neal Caine, string bass, with NOLA guest Shaye Cohn, cornet, joining them, adding to the collective lyricism.
If you can, and you haven’t participated in these Sunday-afternoon musicales, you are seriously missing out. And you wouldn’t want to tell the grandchildren that you were too busy with the Times puzzle, would you?
Who could resist such a request? Thank you, Sigmund Romberg, of course.
And thank the EarRegulars for this sustained joy from The Ear Out (that’s located on Sunday afternoons from 1 to 3:30 in front of The Ear Inn, 326 Spring Street, Soho, New York City).
On July 25, 2021, they were Jon-Erik Kellso, Puje trumpet; John Allred, trombone; James Chirillo, guitar; Neal Caine, string bass, with NOLA guest Shaye Cohn, cornet, joining them. And here’s a masterpiece of chamber jazz, no exaggeration: solos, swing, ensemble telepathy, lyricism:
I’ve posted several other luminous performances from this session, with guests Jen Hodge, Josh Dunn, Rafael Castillo-Halvorssen, and Tamar Korn: THEM THERE EYES, IF I COULD BE WITH YOU ONE HOUR TONIGHT, and ONCE IN A WHILE. They don’t need explication, although they (and this burst of pleasures) remind me of someone from the UK — obviously deep into her own preferred variety of jazz — who used to comment on my postings, “Too swingy.”
She meant it as a criticism: I take it as the highest compliment.
The EarRegulars and friends deserve our most reverent thanks. And our physical presence: every Sunday afternoon from 1 to 3:30, at 326 Spring Street, Soho, New York City.
And a self-referential postscript: in some unimagined context, should someone ask me, “Michael, what have you done with your life? I understand you were a college professor for decades . . .” I would point them to videos like this as the achievements I’m most proud of.
By the time I began to attend live jazz happenings in New York City, 1970, the block of Fifty-Second Street once known as “Swing Street” had lost its marvelous coloration: banks and stores now stood where for, about a decade, there had been a line of jazz clubs where one could hear the most magnificent music, with musicians playing not only their own gigs but visiting others’. Ben, Bird, Billie, Big Sid, Bechet, Big T — among a hundred others. All that remained was a few dozen photographs and some record dates that tried to simulate the energies that bubbled up every night.
But in 2007, when Jon-Erik Kellso started a Sunday-night residency at The Ear Inn, 326 Spring Street, often with guitarist Matt Munisteri — the group was not yet called The EarRegulars — those sessions were the closest thing to Swing Street glories that I had ever seen, as the original quartet would delightfully grow with friends coming to add their voices to the swinging choir.
Since May of this year, Jon-Erik has been holding sessions outside The Ear Inn, and they provide the same emotional and aesthetic uplift. The music says in every note: We are not dead. We can still create joy. And we are happy to offer our wise feeling joy to you.
This happened again — most gloriously — on the afternoon of July 25 . . . a fairly quiet time in Soho, with many people having found some way to get out of the city. But those who remained in front of 326 Spring Street will, I propose, never forget what they saw and heard.
And the musicians were similarly transported: watching the performance that follows, please note the facial expressions of the musicians: Jen Hodge’s smile, James Chirillo’s approval, so evident, even behind the double mask. I’ve posted an exuberant sample from that day — the closing performance, THEM THERE EYES, featuring Tamar Korn — and here’s another wonder, James P. Johnson’s IF I COULD BE WITH YOU ONE HOUR TONIGHT:
They make it look and sound so easy, which is one of the marks of great art — what Castiglione called “sprezzatura,” or an inspired nonchalance. An extraordinarily lovely interlude by the EarRegulars plus guests, performed for all and sundry (did the passers-by feel the love as they trotted by?). The creators — bless them in long meter — are Jon-Erik Kellso, trumpet; John Allred, trombone; James Chirillo, guitar; with Rafael Castillo-Halvorssen, trumpet; Shaye Cohn, cornet, Josh Dunn, guitar; Jen Hodge, sitting in for Neal Caine, string bass. Wondrous lyricism, a great feast of sounds for our ears and hearts.
I feel so much gratitude to them and their peers: I hope you feel it also.
The magic continues — situated outdoors at 326 Spring Street, Soho, New York City, on Sunday afternoons 1-3:30.
I would guess that many jazz listeners know the Isham Jones – Gus Kahn ON THE ALAMO from recordings by Benny Goodman and Kenny Davern, but how many of us know that it was originally a song of deep love that didn’t flourish? Here’s a marvelous version by Red Nichols, with a vocal chorus by Scrappy Lambert:
That’s Red Nichols, Leo McConville, Manny Klein; Glenn Miller, Jack Teagarden, Bill Trone or Herb Taylor; Benny Goodman, Babe Russin; Arthur Schutt or Jack Russin or Bobby Van Eps; Carl Kress, Art Miller, Gene Krupa; Scrappy Lambert; Bobby Van Eps (arranger): New York, April 18, 1929. No one burst into song as the EarRegulars explored Isham Jones’ melody, but there is luminous music:
And, as Jon-Erik says to the woman who has enriched The Bucket, “Thank you very much!”
In the name of accuracy, I must point out that TOPSY was composed by Eddie Durham and 9:20 SPECIAL (which was meant to be 920 SPECIAL in honor of the AM radio station) was written by Earle Warren — but they were both members of the Count Basie orchestra, so we associate them with William Basie of Red Bank, New Jersey.
Because of the enthusiastic response to the first posting from this session, titled simply FLOATING BRILLIANCE, I thought, “Why wait?” and here are two more performances from that happy gathering — created by Jon-Erik Kellso, Puje trumpet; Scott Robinson, tenor saxophone and trumpet; Chris Flory, guitar; Pat O’Leary, string bass.
9:20 SPECIAL (catch Scott on trumpet as well as tenor!):
Of course, there’s more to come. But it also happens with real people in real time, so visit The Ear Inn at 326 Spring Street, Soho, New York City, on a Sunday from 1-3:30. I can’t be there every week, so if you wait for the videos, you will miss some marvels. I guarantee this.
Eager birdsong, sun and clouds, and the great pageant of humanity, no extra charge. A few Sunday afternoons ago, the EarRegulars gathered at their summer 2021 outdoor shrine to lift our spirits: Jon-Erik Kellso, Puje trumpet; Scott Robinson, tenor saxophone, trumpet; Chris Flory, guitar; Pat O’Leary, string bass. Here are two hosannas in swingtime.
If you want to call any version of OH, BABY! “Chicago jazz,” I can’t stop you; I prefer to think of tis performance as Lovable Mainstream:
for Louis, by Louis — usually a set-closer, but it fits right in here, SWING THAT MUSIC:
Much more to come. Have you visited the EarRegulars in their (and our) happy place? Spiritual uplift guaranteed.
Technical expertise is a great thing, but even greater when it is in the service of emotion, as it is here.
MY BUDDY is sometimes swung hard — the Hampton-Hawkins version of 1939 — but this performance (song choice and tempo by Maestro Munisteri) continues to swing while reminding us without words that the 1922 Walter Donaldson / Gus Kahn song was written because Donaldson’s cherished fiancee had died. Gus Kahn’s lyrics, powerful because unadorned, combine with the simple melody to provoke deep feeling: “Nights are long since you went away, I dream about you all through the day . . . . I miss your voice, the touch of your hand . . . ” (If you’d like to hear it sung, the most evocative versions for me are by Doris Day and Bernadette Peters.)
Here are the EarRegulars, Jon-Erik Kellso, trumpet; Ricky Alexander, clarinet and tenor saxophone; Matt Munisteri, guitar; Jay Rattman, bass saxophone, giving it their all at The Ear Out (outside of The Ear Inn, 326 Spring Street, Soho, New York City) on Sunday, June 27, 2021. What beautiful feelings they evoke without ever getting bogged down in sentimentalities:
In case you missed it — in person or in blogland — here is Opus One by the Mini-EarRegulars of June 27, 2021: SUNDAY, UNDER A BLANKET OF BLUE, and BLUE LOU, performed by Jay Rattman, bass saxophone; Ricky Alexander, clarinet and tenor saxophone; Matt Munisteri, guitar.
And here are the three remaining delights from that first set. It was warm, but with cooling breezes: a nice meteorological metaphor for the music created so generously and nimbly by this Trio.
AM I BLUE? (a question with the easy answer NO!):
(IT’S ONLY) A SHANTY IN OLD SHANTY TOWN (one of those precious pop songs of the last century that few jazz groups attempt these days, which makes this performance all the more precious) — in a performance whose focused momentum is, to me, thrilling:
Finally, the WABASH BLUES, yes, rock and roll, the old-fashioned ways:
Much more to come from this restorative Sunday afternoon session. Were you there?
“Those things are dangerous. I knew someone who lost a finger,” we hear before and after the Fourth of July. However, there are other kinds of fireworks — lighting up even the afternoon sky with no danger to life or limb — that our beloved incendiary musicians create.
When swing meets the desire to spread happiness, Roman candles go off all over the place. The evidence follows.
This was the closing selection from the EarRegulars’ session of June 27 at The Ear Out, located outside 326 Spring Street in Soho, New York City.
The EarRegulars were Jon-Erik Kellso, trumpet; Ricky Alexander, clarinet and tenor saxophone; Matt Munisteri, guitar; Jay Rattman, bass sax, and Official Friend and Sometimes Leader of the EarRegulars, Danny Tobias, trumpet. And they sounded Vincent Youmans’ clarion call, I WANT TO BE HAPPY. (I can never write that title without hearing either Wild Bill Davison or Kenny Davern in my mind’s ear, a la W. C. Fields, “Don’t we all!”)
No dangerous explosions, just sustained joys.
AND . . . on Sunday, July 4th, Jon-Erik will be joined by Grant Stewart, tenor saxophone; Joe Cohn, guitar; Pat O’Leary, string bass . . . . rockets in the sky, to be sure.
As James Chirillo has been known to say after a particularly satisfying session, “Music was made.” That it was, last Sunday afternoon in the bright sunshine (and cooling breezes) in front of the Ear Inn on 326 Spring Street, Soho, New York City. The EarRegulars were Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Jay Rattman, bass saxophone; Ricky Alexander, clarinet and tenor saxophone. But before a note had been played, Jon-Erik noticed that theCheckEngine light was shining from his trumpet, so he absented himself for a bit to get it looked at, secure that music would be made in his absence. (He came back before the set was over.)
This was a novel instrumentation, one that might have been either earthbound or unbalanced in the hands of lesser musicians. But the synergy here was more than remarkable, and the pleasure created in each chorus was palpable. This hot chamber trio — soaring, lyrical, rambunctious — performed six songs in their trio set. Here are the first three, to be savored.
SUNDAY, which goes back to 1926 (think Jean Goldkette and Cliff Edwards) but was also a favorite of Lester Young. Here, the Mini-EarRegulars also play the verse, an unexpected pleasure:
UNDER A BLANKET OF BLUE was one of Frank Chace’s favorite songs, and I think of the tender version by Ella and Louis. A rarity, though: when was the last time you heard a group play it?
And Edgar Sampson’s rocking BLUE LOU:
A fellow listener turned to me between songs and said, marveling, “Aren’t they grand?” I agreed, as I hope you would have also.
Another episode in the continuing story of rebirth, resurrection, and joy — through music, played by a community, played for one.
This is such a pretty song by Billy Hill (who wrote THE LAST ROUND-UP) and it’s been sung and played by Bing, Louis, Jim Goodwin, Ray Skjelbred, Marc Caparone, and others who dream. Here, it’s brought to wistful swinging life by Jon-Erik Kellso, trumpet; Jay Rattman, alto saxophone; Matt Munisteri, guitar; Tal Ronen, string bass, outside the Ear Inn, 326 Spring Street, New York City, on June 6, 2021.
Go hear some live music. It will reassure you that we are alive, always a good thing.
And if you missed it the first time, here‘s a wild (and wildly gratifying) WILLIE THE WEEPER from this session.