Tag Archives: Tom Abbott

GLENN CRYTZER’S PEGU CLUB ALL-STARS (Part Two): MIKE DAVIS, TOM ABBOTT, TAL RONEN (July 26, 2015)

waitin-for-katy-mel-thompson

Before you begin, here‘s Part One: NIGHT AND DAY, IS IT TRUE WHAT THEY SAY ABOUT DIXIE?, and MY HONEY’S LOVIN’ ARMS.

Pegu club cocktail

Delicious-looking, isn’t it?  But let’s talk about music.

A delicious place and delicious music: the Pegu Club, named for a famous gin-based cocktail (London dry gin, bitters, lime juice, orange curacao, for the curious, served in what we once called Burma, is located at 77 West Houston Street, one floor up.

Glenn Crytzer PCAS

On Sunday evenings from 6:30 to 9:30, guitarist / singer / composer Glenn Crytzer leads a quartet — its personnel varies from week to week — that offers an unusually wide-ranging jazz repertoire in the most comfortable surroundings.

On July 26, the three members besides Glenn were Tal Ronen, string bass; Tom Abbott, reeds, Mike Davis, trumpet.  Here four more highlights of their very refreshing first set.

WAITIN’ FOR KATY (memories of Ben Pollack and a young Benny Goodman and of romantic encounters that don’t quite work — summed up so poignantly in the bridge.  Katy or Katie was otherwise occupied and I think she stood up our young man).  Thank you, Glenn, for introducing me to the verse, too:

GET OUT AND GET UNDER THE MOON:

POOR BUTTERFLY:

HOW ABOUT YOU

HOW ABOUT YOU? (a gorgeous Burton Lane tune with sweet lyrics by Ralph Freed — the voice in my mind is Judy’s — that I’ve heard no other group play):

Glenn has very thoughtfully laid out the schedule of players here so you can plan your Sunday post-brunch-before-facing-that-tomorrow-will-be-Monday descent back in to reality.  I plan to visit there again.  It’s a delightful spot.

May your happiness increase!

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GLENN CRYTZER’S PEGU CLUB ALL-STARS (Part One): MIKE DAVIS, TOM ABBOTT, TAL RONEN (July 26, 2015)

Pegu club cocktail

A delicious place and delicious music: the Pegu Club, named for a famous gin-based cocktail (London dry gin, bitters, lime juice, orange curacao, for the curious, served in what we once called Burma, is located at 77 West Houston Street, New York City, one floor up. Glenn Crytzer PCAS

On Sunday evenings from 6:30 to 9:30, guitarist / singer / composer Glenn Crytzer leads a quartet — its personnel varies from week to week — that offers an unusually wide-ranging jazz repertoire in the most comfortable surroundings.

On July 26, the three members besides Glenn were Tal Ronen, string bass; Tom Abbott, reeds, Mike Davis, trumpet.  Here are three highlights of their very refreshing first set.

First, a song that is an admitted “classic” of “The Great American Songbook,” but one I’ve never heard a jazz group play in live performance in the preceding decade of intense listening.  What a delight to hear NIGHT AND DAY:

Something almost as rare, although Mike likes this song and has performed it at other gigs — the 1936 IS IT TRUE WHAT THEY SAY ABOUT DIXIE? by Gerald Marks, Sammy Lerner, and Irving Caesar.  1936 was late to be writing a song about people eating possum [this is the first mention of possum in more than seven years of JAZZ LIVES — make of that what you will].  The cover of the sheet music shows Al Jolson in blackface in a characteristic gesture, a picture I thought the world didn’t need.  So it’s not hard to imagine Jolson saying, “I need another song with Dixie in it,” although he didn’t cut himself in on this one. A catchy melody nonetheless:

MY HONEY’S LOVIN’ ARMS — associated with Bing and Eddie Condon — played beautifully here:

Glenn has very thoughtfully laid out the schedule of players here so you can plan your Sunday post-brunch-before-facing-that-tomorrow-will-be-Monday descent back in to reality.  I plan to visit there again.  It’s a delightful spot.  And there’s more to come from this rewarding first set.

May your happiness increase!

TWO MINUTES AND TWENTY-SEVEN SECONDS

My title doesn’t refer to someone’s hallowed solo or a famous 78 recording.  No, it’s music created this month, March 2015.

I have watched with pleasure and amusement the birth and development of a new band — no, a new instrumental ensemble with its own gravely whimsical music.  The object of my affection is the Endangered Species Trio, which brings together Emily Asher, trombone; Tom Abbott, bass saxophone; Rob Reich, accordion.

I could make a case for all species as being endangered these days, but the title refers more to the three instruments, which have been the subject of curiosity (at best), sliding down to active mockery, contempt, disdain, and incredulity. Except for the trombone, which has a certain acceptance — although there are many jokes about trombones and trombonists — the bass saxophone and the accordion are regarded, at best, as highly miscellaneous instruments, even though both of them are capable of great beauty.

Tom, Emily, and Rob just returned from a brief stay at an artists’ retreat in Banff, and they shared this delicious musical vignette, TOM AND LIZ, on YouTube.

Humor me.  Even if you have deep reservations about “original compositions” by jazz artists; even if the thought of the accordion brings up deep childhood traumas, experience this beautiful cockeyed swinging melodic many-textured interlude:

I expect to have a good day — pleasing experiences have already taken place and there are more to come — but for sheer compact pleasure, these two minutes and twenty-seven seconds will be hard to top.

Go ahead:  see if you can listen to it only once.  I dare you.

More about this wonderful group here.

May your happiness increase! 

ALIVE AND SWINGING: EMILY ASHER’S GARDEN PARTY: “MEET ME IN THE MORNING”

EMILY ASHER MORNING

It’s taken me a few months to write anything about Emily Asher’s Garden Party’s first full-length CD, but it’s taken me that long to wrest the disc out of the CD players — car, home, and office.  The cover artwork by Jocelyn Curry is a lovely evocative introduction to the music within — full of beautiful surprises that quickly seem friendly and welcoming.

I’ve admired Emily as a trombonist / singer / arranger / composer for some time.  I first encountered her as an eager and skilled young player who came by for the second set at The Ear Inn to happily swell the ranks — and I first captured her on video at the very start of 2011 — a joyous jam session here. I wouldn’t call myself an early adopter of new technology, but I caught a young version of Emily’s band, the Garden Party, at Radegast Bierhalle in September 2011: the energetic experience comes through here.  When the Party released a mini-CD Hoagy Carmichael tribute, CARNIVAL OF JOY, the disc was aptly titled.

More recently, I caught the band at a January 2014 San Francisco house party here and here.  I know this barrage of hyperlinks may seem to some a prelude to Emily’s retirement dinner (which is far off in the future) but I simply want to suggest — as they say in certain urban areas, “We go ‘way back.  We have history.”

History, however, is not always the only offering of the Garden Party.  Yes, they can swing out on WHEN YOU WORE A TULIP in fine New Orleans style, and the band’s knowledge of traditional and swing genres includes not only the familiar (ROYAL GARDEN BLUES) but the by-now-slightly-exotic (EMPEROR NORTON’S HUNCH).  The Garden Party, however, is more than a band of youngbloods playing old favorites.  And their new disc does have TULIP, BIG BUTTER AND EGG MAN, I’VE GOT A FEELIN’ I’M FALLING, MEMPHIS IN JUNE, and the little-known WALK IT OFF (recorded by Carmichael in 1946) — but the remaining five titles are originals by Emily or by the band.

Ordinarily, “originals” make me slightly nervous, because some of the greatest improvisers do their improvising on frameworks written by others.  But these originals have substance; they aren’t endless musings on existential dread, nor are they contrefacts, thin creations over someone else’s chord changes.  In the first minutes of this disc (the opening track is called OPEN INVITATION TO A RAINSTORM, which should suggest something about Emily’s generous and quirky imagination): we hear Emily’s solo voice backed by a sympathetic rubato rhythm section; the song moves into time with a calypso exposition of the chorus, alternating with a rocking 4 / 4 time — then the band plays an instrumental chorus (beautifully arranged) punctuated with drum-break comments . . . a piano modulation takes us into a group vocal chorus alternating with Emily sweet exuberant / thoughtful voice, and the performance ends with a joyous “last eight bars.”

I won’t delineate the other nine tracks in this fashion, but MEET ME IN THE MORNING is a delightful tonic as well as a delightful corrective to some more tired (although “modern”) jazz conventions — the apparently endless string of solos over a rhythm section, the idea that modernity means turning one’s back on sentiment and swing.  The music heard on this disc (or on live gigs) benefits from a deep study of what has come before, but it is not weighed down by pure intellectualism.

Rather, the Garden Party knows and embodies what it is like to have fun with music — to Play without being goofy, to entertain a crowd, real or imagined.  They do not disdain their audience, and their pleasure at making melody and swing comes through the little plastic artifact. And they are not jazz snobs — there’s a country waltz on this disc, and Emily’s version of a Fifties soul hit (that starts with a scratchy-78 version of the verse) . . . amusing and convincing evocations of a wide range of fulfilling music — each track a small pleasing present to unwrap more than once.

Emily’s bands have always had first-rate players and singers who seemed to blossom because of the warmth and light she herself brings to the music, but this version of her Garden Party is special.  I will leave the adjectives to you, but here are the facts: Emily, trombone, vocals, composition, arrangements; Mike Davis, trumpet, fluegelhorn, cornet, arrangements, vocals; Tom Abbott, clarinet, alto saxophone; Dalton Ridenhour, piano; Nick Russo, banjo, guitar; Sean Cronin, string bass, composition, arrangements; Rob Adkins, string bass, arrangements; Jay Lepley, drums, arrangements, vocals.  Nice recorded sound and fine notes from the Dipper himself, Ricky Riccardi.

If you follow the Garden Party (on either coast and sometimes in the middle), you’ve already purchased a copy of this CD.  If not, it’s an open invitation to joy. Details here.

May your happiness increase!

WE MUST CULTIVATE OUR GARDEN: EMILY ASHER and GARDEN PARTY ARE STARTING SOMETHING

I had sworn off Kickstarter appeals for a time, but for trombonist / singer / composer / arranger Emily Asher and her neat band, GARDEN PARTY, I surely will make an exception.

Why?

Freshness without ostentatious “genre-bending,” a loving respect for melodies old and new, consistent loving good feeling and consistent inventive swinging. Who could ask for more?  Not even Voltaire, who liked his music more sedate, I am told.

Emily and Garden Party are seeking funding to make a new full-length CD. Their mini-CD, CARNIVAL OF JOY, a Hoagy Carmichael tribute, was both reverential and lively (in the right spirit), and the new one promises to be even better.

The Kickstarter campaign ends on July 29, and if they don’t raise the money they are aiming for, nothing comes out of your or my pocket.  I know some people, both musicians and fans, are chagrined by Kickstarter and similar appeals, but there are few record labels who can bankroll such projects.

Have you read enough for the moment?

Here is where you can find out more, watch an endearingly witty video that Emily has made (she explains it all) and even part with a few crumpled bills in the name of sweet hot music.

And if Emily and her trowel-wielding candid pals are new to you, I propose you sit yourself down on the soft moist earth and watch Carnival this (announcing CARNIVAL OF JOY, aptly named) —  One (the first part of their San Francisco house concert) — Two (the second) — and a little taste from Cafe Divine, February 2014:  Divine.

For those who simply can’t get enough, and I understand the feeling, I’ve also captured Ms. Asher and friends in performance in New York, at The Ear Inn, at Radegast, and elsewhere.

“Every nickel helps a lot,” even if you’re not a Shoe Shine Boy. Or, as Candide said (in the original), “Dig you now, plant you later.”

May your happiness increase!

DOUBLE DIGGING THE PERENNIALS: EMILY ASHER’S GARDEN PARTY LIVE IN SAN FRANCISCO, JANUARY 16, 2014: PART TWO

“A good time was had by all” continued to be true for the second half of this delightful evening.  (Here is the first half, for anyone who missed it.)

I present again Emily Asher’s Garden Party — captured here nearing the end of their 2014 West Coast Tour (historians take note).  Here they are at a very rewarding house concert in San Francisco, hosted by Daniel Fabricant and Vic Wong, offering a good-old-good one and three Hoagy Carmichael classics.

The GP in these videos is Emily, trombone, vocals, arrangements / compositions; Mike Davis, trumpet, vocal; Tom Abbott, reeds; Nick Russo, banjo, guitar; Rob Adkins, string bass; Jay Lepley, drums. (My videos are a little dark but the music blazes brightly.)

DARDANELLA, featuring Tom Abbott and the rhythm:

GEORGIA ON MY MIND, with a soulful vocal from Mike Davis:

LAZY BONES, with preaching by Ms. Emily after a wonderfully surprising introduction:

RIVERBOAT SHUFFLE, for the ensemble, a happily free-wheeling bunch:

May your happiness increase!

DOIN’ THE HORTICULTURAL: EMILY ASHER’S GARDEN PARTY LIVE IN SAN FRANCISCO, JANUARY 16, 2014: PART ONE

A good time was had by all.

Emily Asher’s Garden Party — captured here nearing the end of their 2014 West Coast Tour (historians take note).  Here they are at a very rewarding house concert in San Francisco, hosted by Daniel Fabricant and Vic Wong, offering good-old-good ones, Hoagy Carmichael, music associated with Louis Armstrong, and a few locally-sourced originals.

The GP in these videos is Emily, trombone, vocals, arrangements / compositions; Mike Davis, trumpet, vocal; Tom Abbott, reeds; Nick Russo, banjo, guitar; Rob Adkins, string bass; Jay Lepley, drums. (My videos are a little dark but the music blazes brightly.)

For Ella, the Mills Brothers, Sammy Cahn, Saul Chaplin, and the elusive Hy Zaret, DEDICATED TO YOU:

Emily’s original, dedicated to a clamorous stretch of road in her home town, EAST MERIDIAN:

TWO SLEEPY PEOPLE, a sweet bit of Carmichael voiced for Asher and Davis, soft-shoe tempo provided by that nimble rhythm section:

Appropriate for a Garden Party, WHEN YOU WORE A TULIP:

Thinking again of Ella and Chick, the band shouts HALLELUJAH!:

A small Louis-Jack trilogy (catch Mr. Davis’ beautiful sound here) STARS FELL ON ALABAMA:

From ‘way out West, BIG BUTTER AND EGG MAN:

At a nice tempo, MUSKRAT RAMBLE:

Emily’s original, for her flowering niece, SWEET PEA:

Music in blossom, with more to come!

May your happiness increase!