Tag Archives: Todd Strait

“MOONSHADOW DANCE”: REBECCA KILGORE, ELLEN VANDERSLICE, and MIKE HORSFALL

I’m delighted to tell you about a new Rebecca Kilgore CD, delicious and new. I’ve repeated NEW in the first sentence for a reason: MOONSHADOW DANCE is not only a new plastic artifact in a new cardboard sleeve, but it contains new music — songs by Ellen Vanderslice, Mike Horsfall, and Rebecca herself.

MSD_Cover

The idea of the singer-songwriter is such a familiar one in the last half-century that I won’t make a fuss about it.  However, our Rebecca has made her wondrous reputation by singing “the Great American Songbook,” which in most cases has meant songs from the late  Twenties to the late Fifties, with some exceptions. And for most CD-buyers and audience members, that has meant a certain amount of comfort.  Rebecca is a happily curious Songhound — she searches out deserving songs whether they are rare or familiar, and they glisten when she sings them.  But at a concert, for instance, I can almost feel the audience sigh with pleasure when Rebecca finishes the verse of a Rodgers and Hart song and tenderly makes her way into the chorus.  “A beloved friend,” is our unspoken response, our happiness at hearing something we have the most tender feelings for.

It is of course possible and even delightful to devote one’s career to singing or playing the familiar.  Louis never got tired of WHEN IT’S SLEEPY TIME DOWN SOUTH, and Hot Lips Page is reputed to have said, “The material is immaterial.” But the great pleasure of this new CD, MOONSHADOW DANCE, is that almost every song is a new creation by Vanderslice, Horsfall, and Kilgore.

But before any reader panics and snorts, “New songs?  Why doesn’t anyone sing any of the great old songs anymore?” and reaches for a familiar sheaf of 78s . . . here’s some pleasing evidence that “new” doesn’t have to mean “loud,” “coarse,” or “postmodern,”when the songs are written by the masterful Ellen Vanderslice, Mike Horsfall, and our Rebecca:

Not only do you hear Rebecca’s silken voice, but the melody and lyrics are beautifully crafted — no cliches, either musical or lyrical — but with a certain fresh flair, so that a listener doesn’t think for a moment, “Wow, that turn of phrase must have been the cat’s meow or the cat’s pajamas in 1929.”  Rather, this song and the fifteen others on this disc are musically substantial but not imitations of older songs, and the lyrics sound the way an elegant, witty speaker of this century might talk.

A digression about the video: words and music by Ellen Vanderslice, music by Mike Horsfall.  Musicians are Rebecca Kilgore, vocal; Randy Porter, piano; Tom Wakeling, string bass; Todd Strait, drums; Dan Balmer, guitar; Mike Horsfall, vibraphone / arrangement.  The wonderful dancers are Rachel Lidskog-Lim and Jack Lim.  (I am a literal-minded type, so I was relieved that the pasta did not get overcooked and gummy and that Rachel and Jack — unlike me — can cook so neatly that they don’t mess up their formal clothes.)

Back to the CD.  On it, you’ll hear wry portraits of contemporary life (a blues about the civilization and its discontents) that are mildly reminiscent of Portland’s master viewer-at-a-slant, Dave Frishberg, but there are plenty of songs about songwriters’ favorite subject: love.  There’s ONE LITTLE KISS, AEOLIAN SHADE, I’M NOT SUSCEPTIBLE TO LOVE, UM MINUTO A MAIS (ONE MINUTE MORE), TO HAVE, TO HOLD, TO LOVE, ONE MORE TIME TO SAY GOODBYE, and the even more emphatic THAT’S IT!  There’s also what I believe is the first recorded performance of Rebecca’s multilingual fantasy, THE DAY I LEARNED FRENCH.  And I already have found myself humming BIRTHDAY SONG, GENERIC, which has a hilarious punchline.

The instrumental accompaniment from Randy Porter, Tom Wakeling, Todd Strait, Dan Balmer, Israel Annoh, Steve Christofferson, Marco DeCarvalho, David Evans, Mike Horsfall, Tim Jensen, Mike Horsfall, John Moak, and Dick Titterington is first-rate: singer Susanna Mars joins in on YOU MAKE IT LOOK SO EASY.

It’s a very rewarding CD, full of small sweet / tangy surprises.  I predict that some of the “new” songs” will become memorable friends in one or two listening.

Now — if you live in Portland, Oregon, and are reading this early on Sunday, January 31, 2016, you have a special opportunity to enjoy this music in an experience larger than your earbuds: a concert from 2-4 PM, with Rebecca, Randy Porter, Todd Strait, Tom Wakeling, Mike Horsfall and other musicians, as well as dancers Rachel and Tim from the video above.  Details here at the bottom of the page.  Also on that same page you will find links to help you purchase the CD as a disc or download.

Now, if you’ll excuse me, I’m going to get dressed up and cook some pasta.  And MOONSHADOW DANCE will be the entirely fitting soundtrack.

May your happiness increase!

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SHE BURST INTO SONG: REBECCA KILGORE, ROSSANO SPORTIELLO, NICKI PARROTT at the ALLEGHENY JAZZ PARTY (September 22, 2014)

Rebecca Kilgore has been one of my favorite singers for more than two decades now.  But life is full of surprises, delights that catch us happily unaware.  At the Allegheny Jazz Party last month, our Becky stepped to the microphone and announced that she — with the help of two dear friends — had written a song.

And then she sang it.  And it was delicious.

The song is THE DAY I LEARNED FRENCH, and she really did dream that she had mastered the language.  When she awoke, she wrote down the melody and sketched out some lyrics.  Mike Horsfall added the harmonization, and Ellen Vanderslice contributed more clever lyrics to give this Kilgore-fantasy its charming shape.

I am thrilled to be able to share this song, and Rebecca’s sprightly performance, with you. And let us not forget those two international jazz masters, Rossano Sportiello and Nicki Parrott, who add their own je ne sais quoi to it all:

For those who — as I do — delight in the spiffy, stylish lyrics, here they are.

 

THE DAY I LEARNED FRENCH

Verse:

One night I lay me down to sleep

I said a pray’r and counted some sheep

But something strange occurred that night

Was I insane? Let me explain…

 

Refrain:

Oh, the day I learned French, I recall with delight

How I woke with a start, feeling ever so smart:

I’d learned French overnight!

And not just parlez vous I knew French through and through

When so sweetly, j’ai dit “oui completely, the day I learned French

 

In a tiny boutique, lingerie from Paris

Seemed to fit parfaitement in the life of une femme

Who could parler so free

And it’s simply magnifique, to discover I could speak

Like a native, creatively phrasing, the day I learned French

 

It was easy, comme ça, comme ci, voilà, voici, j’ai appris

Merci beaucoup, s’il vous plait, alors, le fait accompli!  [to CODA last time]

 

I looked up at the sky, et j’ai vu le soleil

It was shining so brightly I knew this would be a spectacular day

And the birdies sang cui, cui! They were speaking French like me

We were swingin’ and singin’ the Spring in, the day I learned French

CODA:

You can try this at home, if your slumber is deep

You don’t need an excursion or total immersion, just drop off to sleep

And as quick as un, deux, trois, you can dream in French, voilà!

It’s amazingly, dazingly crazy, the way I learned French

It’s easy voici: Merci beaucoup, à bientôt, adieu

Le fait accompli!

 

Music by Rebecca Kilgore and Mike Horsfall
Words by Rebecca Kilgore and Ellen Vanderslice
Copyright 2014 Cherry Pie Music, PO Box 29103, Portland OR 96296

This isn’t the trio’s sole creation.  Non.

In late July, some of Portland’s finest jazz musicians gathered at Dead Aunt Thelma’s Recording Studio in Sellwood to record fresh original material. Project partners Rebecca Kilgore, Ellen Vanderslice, and Mike Horsfall teamed up to produce 18 original songs, with each partner contributing melodies, harmonies and lyrics to the collaboration.  For the recording session, they brought together a dream team of musicians: Randy Porter, piano; Tom Wakeling, string bass; Todd Strait, drums, with guests David Evans, tenor sax; Dan Balmer, guitar; Jon Moak, trombone; Tim Jensen, flute and alto flute; Israel Annoh, percussion; Steve Christofferson, melodica; Mike Horsfall, vibes and arranging. Special guest Susannah Mars performed a duet with Rebecca on “You Make It Look So Easy,” and contributed vocal harmonies on “A Christmas Lullabye.”

A CD release (details to be announced) is just one of the ways the team hopes to make this sparkling new music available.

And something festive nearer at hand: Becky and friends will be releasing a Christmas EP with 3 original songs.  The title cut is “It’s Getting To Be That Time Of Year” with words and music by Ms. K.

May your happiness increase!

DON’T “BRUSH ASIDE THE ITALIANS”

 From the KANSAS CITY JEWISH CHRONICLE:

The ‘multi-talented musical genius’ of jazzman Dave Frishberg

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Written by Rick Hellman, Editor   
Friday, 12 February 2010 12:00
 

altDave Frishberg

Jazz pianist, singer and songwriter Dave Frishberg, the author of such witty ditties as “I’m Hip,” “Peel Me a Grape” and “My Attorney Bernie,” rejects the notion that Jews are overrepresented among great, white American jazz players — as they are among, say, Nobel Prize winners.  “I don’t know if you can just brush aside the Italians,” Frishberg said dryly last week in a telephone interview from his home in Portland, Ore. “I never thought about Jewish representation in roles; I don’t know why that would be.”

As a former sideman for Zoot Sims and Al Cohn, Ben Webster, Gene Krupa and more, the 76-year-old Frishberg is practically a one-man history of American jazz. He grew up in St. Paul, Minn., and recognized Kansas City’s contribution to the form early on.

He visits Feb. 27 for the first time in 30 years as part of the Folly Jazz Series. (See below for details.)

“My older brother had all these records — Jay McShann and Count Basie, Jimmy Rushing,” Frishberg said. “I knew all that stuff as a kid, and I guess it just stuck with me. …

“I eventually got to play with a lot of people — Ben Webster and Gus Johnson and other people — from Kansas City. And I remember Jo Jones! … I guess mainly it was Lester Young. I loved him so much, and from listening to him, I got familiar with all the music surrounding him.”

Although his own style wound up a bit more cerebral, Frishberg said Basie and McShann “were very influential” on his playing.

“More recently, I have crossed paths with two wonderful Kansas City musicians,” Frishberg said. “One is the guy I consider best drummer in the world, Todd Strait, who lives in Portland now. The other was when I was playing the Regency Hotel’s Feinstein Room, and in walks Marilyn Maye, a name that I used to see around a lot. She was kind of legendary.”

Frishberg respects what a great set of pipes can do with one of his songs. They have been recorded by such jazz greats as Mel Torme, Rosemary Clooney and Blossom Dearie.

Solo act
Today, Frishberg sings and performs his own material as a solo act. It started in the late 1960s or early ’70s, he said, when he was living in New York.

“I had been there 10 or 12 years as a pianist, writing all that time,” Frishberg said, “But I never really thought about singing, except to make demos of my songs. At that time, I made a record album (including vocals), but I had still never faced an audience in the face. I never really intended to sing in front of people. But Carl Jefferson at Concord (Records) made an album of mine, and he invited me to bring the band on the album up to play at the Concord Jazz Festival. It was the first time I ever faced a crowd. … One of the most daunting things was that I was the opening act for Bing Crosby. It was a crushing responsibility and also the thrill of my life to be in that position. I was struck by the fact that I was well received. Then I began to include singing tracks in some of my albums.”

It progressed to the point where Frishberg plays and records almost exclusively as a solo act.

“When I do my own songs, it’s always by myself,” he said. “It’s just easier for me that way. I don’t have to rehearse with a band. It’s all special material. There are no standards in it, so nobody can fake my show. They’ve got to be reading it. And it never sounded good till the gig was over. So I thought, well, I can handle this myself. It leaves me more flexible. I can make instant decisions without having to worry about anyone else.”

Finally, Frishberg said, “The songs are better served that way. None of them depend on beat or groove. They are mostly personal addresses to the people, not rhythm-section music. There is a certain starkness to it that works in my favor.”

Folly Theater Development Director Steve Irwin called the venerable downtown hall “the perfect venue to showcase the multi-faceted musical genius of Dave Frishberg. … He’s done it all in his career … and did I mention he’s one of the best cabaret entertainers in the business?”

Irwin joked that if Frishberg’s career had been as a thespian, “I would describe him as one of those great character actors you love seeing, and who always gives a great performance — but you don’t know his name! On Feb. 27 at the Folly you can have the total Frishberg experience. You won’t be disappointed!”

Humorous songs
Frishberg might even play his best-known song, although it’s not one primarily associated with jazz, but, rather, children’s educational television. Frishberg is the author of “Just a Bill,” perhaps the best-known song from the 1970s ABC animated television series, “Schoohouse Rock!” It was one of a handful of songs he wrote for the series, Frishberg said. It tells how proposals become laws in the American system of government.
And while humor is clearly a tool in Frishberg’s entertainment arsenal, it’s not all he wants to be known for.

“I don’t think of my songs as funny,” he said. “Maybe half of them are. I write in different moods and with different things in mind than getting laughs. My favorite songs are the ones that don’t get the laughs, but seem to touch people. …

“When I was a kid, my ambition was to be a cartoonist; even a political cartoonist. I thought that was great to make these one-panel statements with a drawing, and I find that same kind of thing creeping into my song writing. I think of my songs as cartoons; and maybe not funny, but a three-panel strip. The characters are caricatures, almost … It’s the character that sings the song about his attorney Bernie. So the song is not about Bernie, but the guy who’s singing it. I take that approach. I like to write for characters.”

Frishberg at the Folly

The Folly Jazz Series presents “An Evening with Dave Frishberg” at 8 p.m. Saturday, Feb. 27, at the Folly, 300 W. 12th St. There will be a pre-show talk at 7 p.m. Tickets range from $15 to $30. To charge by phone, call the Folly, (816) 474-4444 or Ticketmaster, (800) 745-3000. Or visit follytheater.com or ticketmaster.com.