Tag Archives: William Faulkner

I DON’T QUITE KNOW WHAT IT IS, BUT IT SOUNDS LOVELY: JON DE LUCIA, “AS THE RIVER SINGS”

As someone used to listening to jazz — first a narrow slice, then broadening and deepening — like most listeners, I am familiar with what I am familiar with.  I appreciate known melodies, improvised on in a variety of ways, as well as beautiful sounds, and I am not too embarrassed by my occasional inability or unwillingness to appreciate what others call jazz.  Sometimes, though, I hear something different, created by musicians I respect, and I am emotionally drawn to it.  I take it seriously and try to figure out “what it is,” and sometimes fail.  But in this case, my ears and my emotions tell me that the music is beautiful and worthy, even though I don’t quite know what to call it.  (Categorization can get ugly, as if I was trying to wear the jeans I wore ten years ago.)

I met the saxophonist / clarinetist Jon De Lucia in 2016, and have followed him to several gigs — in an intimate restaurant in Park Slope, Brooklyn; a few sessions at Michael Kanan and Stephanie Greig’s beautiful Drawing Room; most recently to Sir D’s Lounge, also in Brooklyn.  Jon asked me if I’d like to hear the music on his new CD release, AS THE RIVER SINGS, recorded in 2014.  I listened to some of it online and said yes.  On this disc of twelve compositions by Jon, he plays alto saxophone, clarinet, Sruti Box, alto clarinet, flute; he’s joined by Greg Ruggiero, electric guitar; Chris Tordini, string bass; Tommy Crane, drums.

as-the-river-sings-cover

Before you read on, you can listen to a few selections here.  Wisely, I think, Jon has not provided a programmatic narrative of what the music is “about,” so we are free to hear.  Each track seems part of a larger suite of dance melodies, or dancing ones.  I hear Irish keening and island rhythms; the dancing underpinnings also reminded me of Anglo-American pop/dance music of the second half of the last century.  Without being a self-conscious rhythmic travelogue, the suite moves gracefully from rhythmic idiom to rhythmic idiom, encouraging the listener to feel, to muse, to sway.  Floating melodies, chiming sounds, music that one can listen to in many ways and be moved by it.

The quartet is delightfully egalitarian, so melodies and patterns are passed around and the variety is always entertaining.  Jon is a virtuoso who knows the wonders of restraint.  His tone is rewarding in itself — I think of the coinage that Darl Bundren, in a William Faulkner novel, uses to describe the ideal temperature for the water he is about to drink, “warmish-cool,” to describe Jon’s playing and his approach to his instruments and our ears.  His melodies and improvisations gently have something to tell us, but they are subtle, never banging loudly on our door.  And they sink in to our consciousness in quietly memorable ways.

I write this not only to point JAZZ LIVES’ readers towards some rewarding music on disc, but to announce the CD release show at Cornelia St. Cafe on Wednesday, March 8, 2017.  Jon and Greg Ruggiero, Sean Smith, and Billy Mintz — all heroes! will play two sets, at 8 and 9:30.  The Facebook event page is here.  And the salient details are that there is a $10 cover; reservations are recommended; Cornelia St. Underground, 29 Cornelia St., near West 4th St in Manhattan.

May your happiness increase!

GUILTY, WITH AN EXPLANATION (September 2016)

judges-gavel

I confess that I’ve let some days go by without blogging.  Unthinkable, I know, but I (gently) throw myself on the mercy of the JAZZ LIVES court of readers.

Permit me to explain.  From Thursday, September 15, to Sunday, the 18th, I was entranced by and at the Cleveland Classic Jazz Party.  Consider these — randomly chosen — delights.  Jim Dapogny playing IF I WERE YOU (twice) and some of his winsome original compositions.  Rossano Sportiello, Frank Tate, and Hal Smith swinging like no one’s business.  Rebecca Kilgore singing KEEP A SONG IN YOUR SOUL in the Andy Schumm-Hal Smith tribute to Alex Hill. Andy, on piano, with Paul Patterson and Marty Grosz — once on banjo! — in a hot chamber trio (a highlight being LOUISE).  Wesla Whitfield in wonderfully strong voice.  Dan Block and Scott Robinson romping through HOTTER THAN ‘ELL.  A Basie-styled small band led by Jon Burr, offering (among other pleasures) IN THE WEE SMALL HOURS OF THE MORNING.  A string bass trio — Burr, Tate, and Kerry Lewis — showing that no other instruments need apply.  Harry Allen and Jon-Erik Kellso playing ballads, and Dan Barrett, too.  Tributes to Nat Cole, Harry Warren, Isham Jones, and Bill Evans.  Many videos, too — although they take some time to emerge in public.

I came home late Sunday night and on Monday and Tuesday returned to normal (employed) life as Professor Steinman: John Updike, Tillie Olsen, William Faulkner.

Tomorrow, which is Wednesday, September 21, I get on a plane to New Orleans for Duke Heitger’s Steamboat Stomp.  Obviously I can’t report on delights experienced, but I can say I am looking forward to hearing, talking with, and cheering for the Yerba Buena Stompers, Miss Ida Blue, Banu Gibson, Tim Laughlin, Hal Smith, Kris Tokarski, Andy Schumm, Alex Belhaj, David Boeddinghaus, Ed Wise, Charlie Halloran, James Evans, Steve Pistorius, Orange Kellin, Tom Saunders, Debbie Fagnano, and many others.

So there you have it.  I could sit at home blogging, or I could be on the road, collecting gems, some of which I will be able to share.

My counsel in all this has been the most eminent solicitor, Thomas Langham, who will now offer his closing argument to the jury:

May your happiness increase!

ONE MORE FOR MISTER MIKE: “NEW ORLEANS SHUFFLE”: MICHAEL McQUAID’S HALFWAY HOUSE ORCHESTRA at the WHITLEY BAY CLASSIC JAZZ PARTY (Oct. 28, 2012)

If “Mister Mike” isn’t someone recognizable to you, would you kindly take a minute and read this?  It would mean a great deal to many people, and (to paraphrase Dizzy Gillespie) “No him, no this.”

In a rollicking tribute to the under-acknowledged Halfway House Orchestra, a memorable amalgam of hot and sweet, Michael McQuaid leads his ebullient troops onwards at the 2012 Whitley Bay Classic Jazz Party (this session recorded on Oct. 28, 2012): Andy Schumm, cornet; Michael and Stephane Gillot, reeds; Martin Seck, piano; Spats Langham, banjo; Malcolm Sked, string bass / brass bass; Nick Ward, drums.

PUSSY CAT RAG (with Stephane acting the part of Leon Roppolo):

LET ME CALL YOU SWEETHEART:

SQUEEZE ME (with the authentically wrong verse):

NEW ORLEANS SHUFFLE:

IT BELONGS TO YOU:

SNOOKUM:

LOVE DREAMS:

I WANT SOMEBODY TO LOVE:

JUST PRETENDING:

If you’ve wondered why people are so passionate about the Whitley Bay Classic Jazz Party, this music should be convincing on its own.  But please notice: the best international musicians diving deep into under-explored but rewarding songs and repertoire.  Other festivals provide their own blend of pleasures, but Whitley Bay is and has been remarkable for just this . . . a vivid embodiment of Gavin Stevens’ words in a William Faulkner novel: “The past isn’t dead.  It’s not even past.”  Especially not when it sounds like this!

And, as always, tickets are on sale to the 2013 Party, that hot cornucopia, here.

May your happiness increase.

“WHERE’D YOU GET THOSE EYES?”

Daryl Sherman knows the answer to that question, and so much more.  Here she is, having the time of everyone’s life, on June 8, 2009, at the Oak Room of the Algonquin Hotel, paying tribute to Johnny Mercer — with the able help of Wycliffe Gordon, who also seems to be enjoying himself. 

The song (music by Harry Warren) comes from an otherwise frail movie, GOING PLACES, where Louis Armstrong sang it to a horse, conveniently named “Jeepers Creepers.”  This must have been one of those films where Faulkner, Huxley, or Fitzgerald had nothing to do with the screenplay.  But the equine clamor Wycliffe invents late in his solo is obviously a tribute to Louis, the film, and — dare I say it? — his own brand of horseplay.

If you’d like to hear more of Miss Sherman and Mister Gordon paying tribute to Mister Mercer, check out Daryl’s new Arbors CD — it’s a beauty!

WORDS TO LIVE BY

Here’s a witty, deep meditation on art and creativity.

Charlie Parker told the reed player Bobby Jones: “First you master your instrument, then you master the music, and then you forget about all that shit and just play.”

Surely this applies equally to Faulkner and Kandinsky, Louis and Dave Tough. I would like to carve this axiom over the doors of the college where I teach, but I am sure that the Board of Trustees would object to the naughty word at the end.

I’m grateful to Dan Morgenstern for bringing these lines to my attention. (Dan deserves our thanks for a million other gifts, but this is his most recent one.) Dan knows a good deal about mastery — how the great artists worked so hard to achieve it — and has worked just as hard to catch it on paper.