Tag Archives: Will Anderson

PUREBREDS AT THE EAR INN (2016 and 2012)

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Thanks to photographer / chronicler Lynn Redmile, we have this shining example of what happens at The Ear Inn, 326 Spring Street, Soho, New York City, on Sunday nights, because of the EarRegulars — and what happened on January 18, 2016.  The text for this mellow sermon is Handy’s YELLOW DOG BLUES.  Lynn explains, “Each Sunday, at the historic Ear Inn on Spring Street, NYC, the EarRegulars play some of the coolest hot jazz, with a rotating lineup of musicians in their quartet, often joined by others in a jam session. This session featured founder Jon-Erik Kellso (trumpet), co-founder Matt Munisteri (guitar), Evan Arntzen (reeds) and Neal Miner (bass) and joined by Danny Tobias (trumpet), Mike Davis (cornet), Balázs Szalóky (trumpet) and Paul Brandenberg (cornet).”

That’s enough to make anyone howl.

When one DOG isn’t enough . . . let us return to those halcyon days of yore, specifically September 16, 2012, when I had a video camera ready for the closing song of a Sunday evening, when the original quartet was Jon-Erik Kellso, trumpet; Harry Allen, tenor saxophone; Chris Flory, guitar; Neal Miner, string bass. As the evening progressed, the Friends came in: Pete and Will Anderson, Dan Block, Alex Hoffman, saxophone; Eli Preminger, Danny Tobias, trumpet; Doug Finke, trombone.

Remarkable — but just another example of the ordinary magic that happens on Sunday nights at The Ear.

And perhaps not by coincidence, the Westminster Dog Show is coming to New York City on February 15 and 16, 2016.  Will this mean there will be more sitting-in at The Ear Inn, or sitting down, or sitting and staying? We’ll see.  I’ll ask my authority on such matters, Brynn White.

“Barry!  Treats for everyone!”

May your happiness increase!

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TWO GALS FROM SOHO (Jan. 25, 2015)

What you’re about to see is true.  And I will testify to this under oath.  It happened at The Ear Inn (326 Spring Street, Soho, New York City) on Sunday night, January 25, 2015, when The EarRegulars were nobly ensconced, as they should be.  (May they always be!)

That Sunday’s version of The EarRegulars was Jon-Erik Kellso, trumpet; Matt Munisteri, guitar; Scott Robinson, bass saxophone; Attila Korb (our friend from Hungary) trombone.

Midway through the first set, the wise suggestion was made that Scott Robinson could play the lead on a selection of his choice.  I know that Scott is renowned for interstellar explorations of the most courageous kind, but he is also a deep loving melodist — and here is SLEEPY TIME GAL as proof:

(SLEEPY TIME GAL, if you are not familiar with it, would suggest a cozy woman, ready to curl up in bed — ideally with the singer cuddled alongside — ready for sweet dreams.  But the lyrics are different: the singer is a little concerned that his Gal never seems to want to come to bed at all before daybreak.  A very different scenario.)

This version, so sweet and tender, reminds me of an unissued Seger Ellis side from 1929 with accompaniment from Jack Purvis, apparently doubling trumpet and trombone — a rare masterpiece.  Even the faint annoying tinkling of someone’s smartphone a few barstools away in the beginning of this performance did not ruin the mood.

Later in the evening, musicians made the trip to the Shrine, and some of them had brought their instruments (physical and vocal).  The penultimate selection of that night was MY GAL SAL, and the guest artists were Charlie Caranicas, trumpet (seated on the barstool to my left, so you see only the bell of his horn, rising and falling like a heartbeat, but you know he’s there);  Evan Arntzen, clarinet; Will Reardon Anderson, alto sax.  And they romped:

(SAL, by the way, is much less complex than her SLEEPY TIME compatriot.  I can’t speak to SAL’s nocturnal rhythms, but she is a pal, dead on the level . . . someone who would pull your car out of a ditch if you asked her.)

The Ear Inn is a sacred place.  I hope you’ve been there and can continue to support this beauty.

May your happiness increase!

“BLACK BEAUTY”: JON-ERIK KELLSO and EHUD ASHERIE and WILL ANDERSON at MEZZROW (December 16, 2014)

Beauties indeed: the music that Jon-Erik (trumpet) and Ehud (piano) create in many situations.  Here, as an utterly empathic duet, they make their way through Ellington’s BLACK BEAUTY in a performance that melds tenderness and gentle swing.  One for Artie Whetsol.  But wait.  There’s more — a surprise appearance by Will Anderson on clarinet:

I’ve posted videos of other performances from this session at Mezzrow — a new jazz club on West Tenth Street, full of energy and love — here — and I am delighted that this new club is thriving.  I hope it is always full of attentive listeners.

May your happiness increase!

“KEEPING TRADITIONAL JAZZ ALIVE”: JEFF AND JOEL’S HOUSE PARTY (October 10-11-12, 2014)

As an antidote to the recurring journalistic “Jazz is dead,” “Jazz is irrelevant,” “Jazz no longer has an audience,” I offer cheering evidence to the contrary: Jeff and Joel’s House Party (October 10-12, Guilford, Connecticut).

I’ve been to two of the House Parties thrown by Jeff Barnhart and Joel Schiavone in Connecticut and they were wonderful weekends: friendly, full of fun, with easy opportunities to hear an abundance of hot music in cozy surroundings. Rather than hearing music at a distance while sitting in a hotel ballroom, people who attend the House Party actually have it at close range, and find themselves surrounded by friends who are there because they, too, enjoy the sounds.

Most of us aren’t actually going to throw a rent party — hire a dozen or more professional musicians and have them play long sets over a weekend — so this is as close as we will get to that experience.  And when you look at the listing of musicians, stars of the traditional jazz scene in the Northeast, you know that “professional” is both accurate and an understatement here.

Only eighty seats are available for each session over this weekend, so I encourage you to investigate soon: previous House Parties have sold out. (I checked the site today, and more than half of the seating is already taken.)

My friend Eric Devine — a brilliant jazz cinematographer — has been on hand to capture some of the highlights of past House Parties for us all.  (His YouTube channel is CineDevine and he takes his camera to surprising places.) Here are a few samples of the wonderful music to be experienced there. From April 2013, John Gill singing SALOON:

Jeff Barnhart tenderly singing and playing Fats Waller’s THERE’S A GAL IN MY LIFE in October 2013:

I’ve chosen more restrained examples of the hot music offered at the House Party, but there’s plenty of AVALON and THAT’S A PLENTY. Here’s one such seismic expression from October 2012, AFTER YOU’VE GONE:

This year, there will be a special Friday night (October 10) concert featuring Dan Levinson and Molly Ryan: 7-9 PM, tickets $30 / person. And the three sessions to follow (Saturday afternoon and evening, Sunday afternoon) will feature Jeff Barnhart, Joel Schiavone, Vince Giordano, Dan Levinson, Molly Ryan, Herb Gardner, Lew Green, Tom Palinko, Fred Vigorito, Genevieve Rose, Bill Reynolds, Bob Ferguson, Peter Anderson, Will Anderson, Herb Roselle — everything from solo piano, duos and trios, to full-ensemble traditional jazz and banjo-led sing-alongs. You can purchase tickets for individual sessions or for all three, plus Friday’s concert: the tickets for the weekend sessions include food and non-alcoholic beverages.

Find out more at the event’s Facebook page, or at the Jeff and Joel’s House Party page. Or call Maureen Cunningham at (203)208-1481 — Maureen will return your call in the evening.

May your happiness increase!

YOUNGBLOODS AND ELDER STATESMEN JOIN IN TO SWING OUT

In jazz, the Infant Prodigies become the Youngbloods, Established Heroes, and Elder Statespersons in what seems like sixty-four bars. Tempus fugit rapidly in 4 / 4!

Here are two CDs by young fellows — with the gracious assistance of a Senior Sage — that I commend to you.  The first features American brothers Peter and Will Anderson; the second UK pals Jamie Brownfield and Liam Byrne.

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Most often, Will and Pete, superb players, have been found in situations I would call lovingly retrospective — recreating the music of Artie Shaw, Benny Goodman, the Dorsey Brothers, sitting in the reed section of Vince Giordano’s Nighthawks.  But they aren’t repeater pencils; their range is both broad and deep. Their latest CD, MUSIC OF THE SOPRANO MASTERS, (Gut String Records), shows how easily and comfortably they move in expansive musical worlds. There is a great deal of swinging brotherly love on this CD (no fraternal head-cutting), and each selection seems like its own small improvised orchestral cosmos.

Another delight of this disc is the way in which the Andersons have dug into the repertoire to offer us beauties not so often played, by reedmen not always known as composers — Lucky Thompson, Roland Kirk, and the ever-energetic Bob Wilber, who is represented here by his compositions and his vibrant playing. The rhythm section of Ehud Asherie, Mike Karn, and Phil Stewart couldn’t be nicer or more attentive, and the recorded sound is a treat. Sweetly sculpted liner notes by Robert Levin complete this package . . . a present ready for any occasion.

The songs are Home Comin’ (Lucky Thompson) / A Sack Full of Soul (Roland Kirk) / Vampin’ Miss Georgia (Bob Wilber) / Caressable (Thompson) / Jazzdagen Jump (Wilber) / Bechet’s Fantasy (Sidney Bechet) / My Delight (Kirk) / Warm Inside / Haunted Melody (Thompson/Kirk) / Lou’s Blues (Wilber). It’s available in the usual places, but the best way to get it (if you can’t come to the gig) is here.

Some months ago, a friend passed along a YouTube video of youthful trumpeter Jamie Brownfield and saxophonist Liam Byrne, and I was delighted. They, too, didn’t exactly copy the past, but they swung mightily in an idiom I would call post-Lestorian with dashes of Tony Fruscella, Harry Edison, George Auld.  With the addition of guitarist Andrew Hulme, Nick Blacka, string bass, Marek Dorcik, drums, and Tom Kincaid, a special guest pianist, they sound wonderful — as if the Kansas City Six had time-traveled forward to meet Barney Kessel and Jimmy Rowles in the ether.

Their new CD is appropriately called B. B. Q. for the Brownfield // Byrne Quintet, and although they don’t perform the Hot Five classic, there is a good deal of unaffected joyous strutting on this disc.

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Here is a selection of videos (posted on trumpeter Jamie Brownfield’s blog), and here is the band’s Facebook page. The repertoire on the CD might make it seem to some listeners that the band is looking in the rear-view mirror, but their performances are fresh, personal, and lively — on Wynton’s HAPPY FEET BLUES, Liam’s own IVEY-DIVEY, and a variety of classics, each with its own sweet deep associations: TICKLE-TOE, SINGIN’ THE BLUES, BOUNCE OF THE SUGAR PLUM FAIRY, NOSTALGIA / CASBAH, WEST END BLUES, JOAO, WAY DOWN YONDER IN NEW ORLEANS, 9:20 SPECIAL.

Jazz isn’t dead, dear readers; its hair isn’t even graying.

May your happiness increase!

HANDS-FREE IN JAZZLAND (Jan. 27, 2013)

Yesterday, Sunday, January 27, was my first venture back into live jazz — since I lost my video equipment (a saga chronicled elsewhere on this blog) — and I was mildly worried.  About me, I mean.

How would it be to come back to my this very familiar situation without a camera in my hands?  (Someone at the first gig who knows me well asked me how I was feeling, and I said — without thinking — “denuded,” a telling choice of words.)

But I managed to keep my composure and enjoy myself, not thinking too much that the music was vanishing into the ether without passing through me, JAZZ LIVES, and cyberspace to you.

The first session — held at the  Music Conservatory of Westchester — was very sweet and to the point, a celebration by trumpeter Bob Arthurs and guitarist Steve LaMattina of their new CD, JAZZ FOR SVETLANA (also chronicled on this blog).

Bob and Steve kept up a glorious yet understated musical conversation, switching roles — when Steve soloed, Bob gave him plenty of space for a few choruses, and then would begin to play encouraging backgrounds and riffs, his hand half over the bell of his trumpet.  At times I thought I was listening to some version of the Basie band distilled down to its essences.  They began with a medium-tempo BLUES FOR LONNIE, a trotting I THOUGHT ABOUT YOU (on which Bob sang in his husky unaffected way), I REMEMBER YOU (fast), and HOW DEEP IS THE OCEAN (introspective).  Then Svetlana Gorokhovich and Irena Portenko took the stage — at two pianos! — to perform a tribute to the late Dave Brubeck, POINTS ON JAZZ, which began in plain-spoken elegiac simplicity and escalated in intensity before settling back down again.  Bob and Steve returned for NIGHT IN TUNISIA, a “nostalgic,” slow reading of BACK HOME AGAIN IN INDIANA, with Bob’s vocal, and what was for me the highlight of the session — a beautiful one-chorus reading of Jackie Gleason’s MELANCHOLY SERENADE.  Quite a lot of music packed into a small space!

The second gig was a return to old beloved haunts — The Ear Inn — to hear Jon-Erik Kellso, John Allred, Howard Alden, and Pat O’Leary — this week’s version of The EarRegulars — swing out.  They began with a fast SUNDAY, then moved forwards in time for an even more vigorous FROM MONDAY ON, and secretly kept the theme going with a much more leisurely THE MAN I LOVE, which refers to Tuesday in the lyrics, a deep inside joke.  Two classics of the ER repertoire concluded the set — WHEN I GROW TOO OLD TO DREAM and a key-changing HINDUSTAN.  The four EarRegulars are great conversationalists — chatty fellows, you know — so the two horns kept exchanging comments (“passing notes,” if you will) on each other’s playing — with Allred providing the punchline or topper to a Kellso musical witticism.  Alden and O’Leary kept up a sweet flow of rhythm that reminded me so much of the Braff-Barnes Quartet of 1974 with noble forbears Michael Moore and Wayne Wright floating the planet.

It helped me a good deal that I was among friends — Will and Pete Anderson, Emily Asher, Dan Block, Mike Gilroy, Michael Waterhouse, the talented J.P., and others . . . and many of them sweetly tendered heartfelt camera-condolences, which mean a lot.  My pal Nan said, “You know, you’re much more fun without a video camera,” which I took as a compliment — I was at play more than at work, and it was a pleasure to be able to applaud freely — but I pointed out that I felt somewhat rudderless without the ability to make sure these good sounds were captured for posterity.

All of this once again posed the philosophical question, “If a band is swinging like mad or playing melodies sweetly and Michael is not recording it with a videocamera, does the music still enthrall and elate?”  You know the answer to that one.

May your happiness increase.

BABY SODA JAZZ BAND “AT THE HIGHLINE” (LIVE AND IN PERSON, Oct. 15, 2012)

Yesterday, I wrote a very approving review of the new CD by the BABY SODA JAZZ BAND, which found them at Radegast in Brooklyn with a variety of players including Kevin V. Louis, Jared Engel, Kevin Dorn, Adrian Cunningham, Emily Asher, and Peter Ford —  with guest appearances by Bria Skonberg, Will Anderson, Satoru Ohashi, and Ed Polcer.  Here’s  my blogpost.  (In retrospect, I am sorry that I didn’t call it THAT’S SOME BABY, but it’s too late to change the title.)

Last Monday, October 15, it was raining vigorously in New York City, but I had found out that Baby Soda was going to be playing at the Highline — a combination difficult to resist.  I packed my umbrella and appropriate shoes and headed west.  Oh, I also brought my video camera, tripod, and trusty notebook.  Thus, some fine new performances by Baby Soda . . . for your dining, dancing, and listening pleasure.

Peter Ford led the band from his one-string box bass (which he plays magnificently) and he sang with a sweet, focused surge; Gordon Au played soaring trumpet solos with every risk-taking note in place; Will Anderson built logical clarinet choruses, phrase upon sweet-toned phrase; Emily Asher held it all together with lovely terse trombone lines, then told us the truth when it was her time to solo or sing; Jared Engel kept the rhythm going on both plectrum banjo and lowboy cymbal . . . and the front line passed around one drumstick and a magic woodblock for spare but swinging rhythmic effects.

I don’t ordinarily post incomplete performances . . . but the second half of MUSKRAT RAMBLE was so satisfying that here it is:

As an acknowledgment of the general sogginess, Peter sang I GET THE BLUES WHEN IT RAINS — an overstatement, for the band was making people very happy:

ONCE IN A WHILE is, of course, the Louis Hot Five romp:

WHEN YOU WORE A TULIP, mixing nostalgia, romance, and botany, provoked an almost-band vocal (a power-packed two minutes!):

I GOT A RIGHT TO SING THE BLUES might have been true, but the band seemed happy to play this melancholy Arlen song:

MILENBERG JOYS — at a brimming tempo, never too fast:

MARIE, warbled by the eminent Miss Asher:

THAT’S A-PLENTY for sure:

JUST A LITTLE WHILE TO STAY HERE, that jazz carpe diem, was not the end of the world:

WRAP YOUR TROUBLES IN DREAMS — with no need to grumble about this band:

I went off after this session feeling so elated — Gene Kelly with a knapsack full of heavy video gear, very happy.  Baby Soda can do that to you!  And these performances sound as good at the eighth or ninth playing as they do at the first. I guarantee this.

May your happiness increase.