Tag Archives: Wow!


Here are four more performances from one of the best chamber-jazz groups you’ll ever hear — TENOR MADNESS — not a nod to Sonny Rollins’ famous session, but an acknowledgment of the two electric tenor guitars (four-string marvels) in this trio.  Hanna Richardson, that fine singer, is in charge of one; Tom Bronzetti masterfully handles the other; the eloquent bassist Phil Flanigan holds it all together.  Here they are at a cozy concert recorded in November 2009.  Note their gently propulsive rocking motion, their delicacy, the speaking voices of the three instruments, and Hanna’s casual, sly, feeling way with lyrics and melody.  And their quotes from other songs are nimbly hilarious, their harmionies deep (hear what they do on WRAP YOUR TROUBLES IN DREAMS, for one):

And how nicely they handle the sly twists (melody and lyrics) of the imperishable James P. Johnson – Andy Razaf A PORTER’S LOVE SONG TO A CHAMBERMAID, which expresses truest devotion in down-to-earth domestic terms:

(The group apologizes for a few missing measures about three minutes in, due to a camera malfunction . . . I hardly noticed.)

Three variations on the subject of Amour — first, HOW’D YOU LIKE TO LOVE ME?:

Then, an even more insistent Twenties summons, on the theme of “Shut up and kiss me!” — DO SOMETHING (updated in this performance to an eager rock reminiscent of the Nat Cole trio):

And finally, there’s fulfillment in THE LADY’S IN LOVE WITH YOU:

See and hear more about Tenor Madness at http://www.myspace.com/tenorguitarmadness.  Wow!

Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited.  Excerpts and links may be used, provided that full and clear credit is given to Michael Steinman and Jazz Lives with appropriate and specific direction to the original content.



In my previous posting about Dan Barrett’s October 15, 2009, gig with Ehud Asherie, I concentrated on the lovely hot sounds this duo made.  Late in the hour-long session they were joined by one of Ehud’s friends, altoist Luigi Grasso — a genuine marvel, as you’ll hear for yourself. Luigi is 23 — yes, only 23 — and he hails from Arianoirpino, Italy.  And he plays like a dream — serious allegiance to early Charlie Parker, but Luigi has his own energy and passion, rather than simply being a fledgling.  Ehud and Dan had played splendidly as a duo, but when Luigi showed up he became (without any particular motive of his own, I would guess) the kind of catalyst that my high school chemistry class never encountered.  Luigi balances sweetness and muscle, and he is an intuitive player — so the potentially unusual blend of trombone, alto, and piano, never seems ungainly.  Thanks, of course, to Dan and Ehud — two sublime players who know what it is to blend, to vary, to support.

This little session began with PLEASE DON’T TALK ABOUT ME WHEN I’M GONE:

That cheerful jogging music led to a real surprise: the moody SOME OTHER SPRING, always associated with Billie Holiday, and an emotional highlight of this or any other jazz evening:

Where to go from that peak?  A familiar romp, on WHEN I GROW TOO OLD TO DREAM:

And, finally, what used to be commonplace but is almost a rarity — a medium-tempo themeless blues, suggesting Kansas City or perhaps Wichita in 1940, more or less:

Faithful readers will notice that I’ve commented less than usual on this music: all I want to write is WOW!