A Hot Club Christmas

Given his untimely death in 1953, there are many great jazz standards that Sinti jazz pioneer Django Reinhardt never had the chance to cover. He never had the occasion to record a set of Christmas carols either, leaving a void the Hot Club of San Francisco (HCSF) recently filled with Hot Club Cool Yule, a Christmas-themed release recorded in the swinging Roma-jazz style developed by Reinhardt during his tenure with French violinist Stéphane Grappelli in legendary Quintette du Hot Club de France.

The Hot Club Christmas starts on a distinctly hipsterish note with “Cool Yule,” a high-spirited Steve Allen ditty that was a minor hit for Louis Armstrong, performed with a cheerful playfulness fitting to the holidays. The HCSF then throw a real change-up, launching into “Don Rodolfo,” perhaps the most sophisticated version of “Rudolph the Red-Nosed Reindeer” you will hear this season, recast in a romantic Latin mold, slyly blended with the “Habañera” from Bizet’s Carmen.

The HCSF also pays homage to some of the enduringly popular Christmas albums that have become jazz classics in their own right. Vince Guaraldi’s “Skating” theme from the truly beloved A Charlie Brown Christmas special sounds surprisingly compatible with the traditional “Carol of the Bells” in the HCSF’s elegant jazz waltz medley. They also Django-ize “Sugar Rum Cherry,” Duke Ellington and Billy Strayhorn’s swinging adaptation of Tchaikovsky’s “Dance of the Sugar Plum Fairies,” with bassist Clint Baker’s muted trumpet echoing the tonal colors of the Ellington band on the fade-out.

While there are a couple vocal tracks, Yule is best when the HCSF cuts loose on instrumental swingers, like the snappy “Djingle Bells” (groan). Indeed, the Hot Clubbers exhibit a madcap sense of humor throughout the set, even burying a brief hidden track, “We Wish You a Merry Christmas,” at the end of “Auld Lang Syne” (which surely Reinhardt himself must have played at some point, given his reputation for enjoying a good party). While technically it might not be a Christmas tune, solo guitarist Paul “Pazzo” Mehling liberally quotes “O Tannenbaum” before they eventually segue into the aforementioned brief but breakneck rendition of “Wish.”

Displaying a zesty flair throughout the program, the HCSF again prove they are one of the best Hot Club inspired combos on the scene today. Yule is another good jazz stocking stuffer or office “Secret Santa” gift. Unapologetically fun, it is easily accessible to general listeners, yet also steeped in the jazz tradition. Happy Thanksgiving.

The John Abercrombie Quartet: Wait Till You See Her

Wait Till You See Her
By the John Abercrombie Quartet
ECM Records

In 1974, the USSR expelled dissident novelist Aleksandr Solzhenitsyn, Oskar Schindler passed away, Philippe Petit walked a high wire between the Twin Towers, and jazz guitarist John Abercrombie recorded his first session as a leader for ECM Records. Thirty-three years and twenty-six albums later, Abercrombie is still recording for the label, now fronting a slightly reconfigured quartet that prominently features violinist Mark Feldman on his latest release, Wait Till You See Her.

While guitar and violin are hardly an unheard of combination in jazz, the Abercrombie Quartet is not at all Hot Clubby. Much of the group’s character is actually derived from the sound of the violin, although the music and conception is undeniably Abercrombie’s. Indeed, the plaintive quality of Feldman’s violin is particularly pronounced on the aptly named opener “Sad Song.” Marked by Abercrombie’s thoughtful solo and drummer Joey Baron’s sensitive brush work, it might sound like a counter-intuitive choice to kick-off Wait, but it is certainly a distinctive one.

Conversely, the following “Line-Up” is taken at a more vigorous tempo, yet it is a freer piece that allows the quartet greater latitude for exploring. The sole standard of the set is the Rogers & Hart title track, originally composed for the 1942 musical By Jupiter (which ran just over a year on Broadway for 427 performances, but is not particularly well remembered today). Again, like “Sad Song” it is a lyrical lament that derives much of its tonal colors from Feldman’s contributions.

Feldman then sits out on the most traditionally boppish tune, the logically titled “Trio,” which is quite a virtuoso spotlight for Abercrombie, ably abetted by the rock-solid support of Baron and bassist Thomas Morgan. However, listeners will probably find the strongest melodic hooks in Abercrombie’s “Out of Towner,” as well as a soaring solo from Feldman, contrasting nicely with Wait’s more pensive moments. Indeed, it might be the most radio accessible track of the disk. The Quartet concludes with their most dramatic selection, the spellbinding “Chic of Araby,” which channels exotic sounds and hypnotic rhythms for a truly trance-inducing effect.

Throughout Wait the Quartet’s seamless interplay is quite remarkable. Abercrombie and Feldman deliver consistently inventive jazz solos while combining the discipline of classical chamber music with the openness of freely improvised music. It is an accomplished group that New Yorkers will have an opportunity to hear live when they open at Birdland on September 30th.

Les Paul 1915-2009

Hip New Yorkers used to look forward to Monday nights. That was when Les Paul ruled the roost at the Iridium Jazz Club, packing the house on what is traditionally the slowest night of the week for any nightclub. When I caught his Monday night gig two years ago, Paul was still an energetic entertainer, flirting outrageously with his bassist Nicki Parrott (whom it should be noted was a very good sport about it all). Though his supportive group helped carry the musical load, he was still playing at a remarkably advanced level, particularly for a musician in his early nineties.

Still, for many fans, it seemed Paul’s personality the biggest draw. That wit and spirit was nicely captured in American Masters’s Les Paul: Chasing Sound, directed by John Paulson, which remains an engaging introduction to the man whose very name is synonymous with the guitar. What follows is revised and edited from my 2007 DVD review:

Paul worked as a musician of the highest order in the jazz, pop, and country genres, but perhaps his greatest contribution was an innovator, pioneering the use of multi-tracking, over-dubbing, and the solid body electric guitar. Without these developments, it would be impossible to imagine rock & roll as we know it.

Wisely, Paul is the dominant voice of Chasing, in both interview segments and performance clips. Through Paul’s recollections, we get a picture of a resourceful young musician. Despite being told by big band leader Fred Waring, “I’ve got sixty-two Pennsylvanians to feed and I’m not looking for any more,” an impromptu hallway audition landed him a position with the Waring outfit. After the Pennsylvanians, Paul became associated with Bing Crosby, and eventually found his greatest popular success with his vocalist-wife Mary Ford.

To its credit, Chasing is still entertaining on the second or third viewings. Paul’s humor and charm come through clearly, particularly in the extensive bonus performance footage, as when he reacts in mock horror when Steve Miller (his god-son) pulls out a Fender (Paul of course is the original designer of Gibson’s solid body Les Paul, called: “by far, the most successful endorsement relationship ever in the history of musical instruments”).

Perhaps the greatest aspect of his live performances, as well as Chasing, was Paul’s personality. Still, the DVD edition included a choice Iridium set, rare archival footage, and Paul duets with the likes of Keith Richards and Chet Atkins that will be rewarding viewing for anyone who ever strummed an electric guitar. After all, they could not have done it without Les Paul.

Broom Plays Monk

Bobby Broom Plays Monk
Origin Records

Like an ambitious ice-skating jump, interpreting the music of Thelonious Monk carries a high degree of difficulty for jazz artists, but those who nail it, are guaranteed to make a lasting impression. Yet, Bobby Broom makes it sound easy as pie on Bobby Broom Plays for Monk, his refreshingly laidback new CD tribute to the legendary composer-pianist.

Though he was only twelve years old when Monk retired from music in 1973, Broom could claim an apostolic link to the jazz legend a mere four years later, beginning his long professional association with tenor giant Sonny Rollins in a Carnegie Hall concert appearance. Rollins in turn had played on a 1953 quintet session led by Monk and featured the distinctive pianist on his 1957 Blue Note album simply titled Sonny Rollins, Volume 2.

Frankly, there is no shortage of Monk homage CDs on the market, but most tend to showcase the leader’s pyrotechnics. Broom wisely takes the opposite approach, largely keeping the mood bluesy and relaxed, like an after-hours session played for the enjoyment of the musicians rather than to impress the square audience.

Opening with Monk’s “Ask Me Now,” Broom establishes the smoky azure vibe right from the start. Though the guitarist does not solely confine himself to ballads, even when he kicks up the tempo, as on the following “Evidence,” his technique is so fluid and smooth, the Monk standard does not sound nearly as jittery as on typical renditions. Broom shows an almost effortless facility for Monk’s slightly off-kilter melodies, like the particularly distinctive “Work.” Still, Broom’s finest moments probably come on Monk’s achingly lovely “Ruby, My Dear.”

Although most of the program consists of Monk tunes, Broom also interprets two standards which Monk also covered. The spritely “Lulu’s Back in Town” is a sly charmer that nicely demonstrates Bloom’s rapport with his trio, while he takes “Smoke Gets in Your Eyes” as a heartfelt solo feature to conclude the disk. Throughout the balance of the session, Broom gets effective support from bassist Dennis Carroll and drummer Kobie Watkins, who lock-in behind the leader, propelling the music forward at a nice-and-easy trot.

Broom’s take on Monk has resulted in some rich but accessible music. Even though many of the selected Monk standards will be very familiar to most jazz listeners, his bluesy approach makes them sound fresh. It is a great disk for late night hangs and one of the strongest Monk tributes in recent years.

New Music from the Hot Clubs of the World

Bohemian Maestro: Django Reinhardt and the Impressionists
By the Hot Club of San Francisco

Django Music
By the Hot Club de Norvege

The Belgian Roma guitarist Django Reinhardt easily remains the most influential European artist in the history of jazz. His sessions with the original Quintette du Hot Club de Paris, with Stéphane Grappelli on violin and brother Joseph as one of two rhythm guitars, still inspires guitarists of all genres, resulting in the world-wide proliferation of “Hot Club” combos playing Reinhardt inspired jazz. There are Hot Clubs of Sweden, Hungary, New Orleans, Detroit, Las Vegas, and even Spokane. Some have developed international reputations through Django festival appearances and recordings, including The Hot Club of San Francisco and the Hot Club de Norvege (Norway), who have recently released Bohemian Maestro and Django Music respectively.

Very definitely on the Parisian scene during the Impressionist period, Django Reinhardt and the Hot Club often performed for and occasionally jammed with Maurice Ravel. Jumping off from that point, the Hot Club of San Francisco (HCSF) pays tribute to their inspiration with Bohemian Maestro, an ambitious program of Reinhardt’s influences, the contemporary sounds of his era, and the Roma maestro’s little known compositions that illustrate an affinity for classical, particularly Impressionist music.

Bohemian starts with two originals that channel the Django spirit, particularly the brief opener, “Le Surdoue,” which lead guitarist Paul Mehling pieced together from Reinhardt’s melodies and improvisations. In tribute to Ravel, the HCSF add classical pianist Jeffrey Kahane (music director for the Los Angeles Chamber Orchestra and Colorado Symphony Orchestra) for a fleet rendition of Reinhardt’s “Vendredi 13,” as would befit a spontaneous club jam. Kahane also joins the HCSF on the more relaxed “Diminushing Blackness,” a tune Reinhardt once recorded under the title “Go Tell Mozart,” getting a chance to stretch out nicely with an elegant solo statement.

Reinhardt was eight years old when Claude Debussy died, so it is safe to assume they never jammed, but as a longtime resident of Paris, the HCSF reasonably assumed his familiarity with Debussy’s music, mixing into the program two brief but evocative extracts from “Pour L’Egyptienne” and a sensitive rendition of “Clair de Lune,” all which spotlight Evan Price’s expressive violin.

The HCSF expands the sonic range by adding the woodwinds of the Aeros Quintet for two Reinhardt compositions originally written for large ensembles. “Nympheas” was originally a big band piece, which the HCSF speculates may have been inspired by Monet’s “Water Lilies.” The woodwinds give it a warm lushness, while Mehling’s guitar solo is appropriately thoughtful. The Aeros Quintet is also featured front-and-center on “Messe,” Mehling’s transcription of the surviving overture from Reinhardt’s lost mass for the Roma, before segueing into Reinhardt’s so-called “Improvisation.” It is a lovely performance in a rich and inventive tribute.

The Hot Club de Norvege (HCN) has also recorded some more ambitious Reinhardt tributes, but in Django Music they largely return to the essentials of Djangology. After a “meh” of a vocal opener with “I Can’t Give You,” they settle into the Reinhardt repertoire with a swinging “Blue Drag.” “Nuages” and “Tears” are absolutely indispensible for any Django greatest hits collection, and the HCN does right by them both, with violinist Finn Hauge’s harmonica particularly effective capturing their sophisticated melancholy.

While more traditional than the Villa-Lobos and Poulenc of the HCSF’s Bohemian, the HCN still includes some adventurous tune selections, like the traditional Jewish songs, “Joseph, Joseph” and “David,” which give an idea how Reinhardt’s Hot Club might have approached the Benny Goodman hit “Bei Mir Bist Du Schoen.” However, their most inventive and rewarding Hot Clubbing of a tune is “Danse Norvegienne” from their homeland. After an exotic (almost Celtic sounding) opening dominated by Hauge’s violin, guitarist John Larsen brings it back to gypsy swing, soloing eloquently while Hague maintains the Scandinavian vibe.

Larsen, second guitarist Per Frydenlund, and bassist Svein Aabostad have been playing together since 1979 (with Hauge the relative newcomer, joining in 1985) so their rapport is well attuned at this point. Laying claim to the first Norwegian jazz to have digital life on CD with Swing de Paris, they also prove many Hot Clubs of the world are significantly more than mere cover bands. Both the HCSF and HCN demonstrate the lasting inspiration of Django Reinhardt, putting intriguing spins on his sophisticated Hot Club style.

Scow & Brough

Sharon by the Sea
By Eva Scow & Dusty Brough
Adventure Music

If you programmed a computer to generate a group best suited to the editorial preferences of No Depression (formerly the magazine, now the bookazine, whatever that is), the result would probably bear a striking resemblance to the duo of Eva Scow and Dusty Brough. Mandolin prodigy? Check. Diverse world music influences? Check. A blatant disregard for genre boxes? It’s all in there, and can be heard on their debut CD Sharon by the Sea, which is now available from Adventure Music.

Though defying category, Scow and Brough can sort of be thought of as a bluegrass string duo performing largely acoustic jazz with Latin and Brazilian rhythms and a folky attitude. That is an imperfect description, but at least it is a place to start. In fact, Scow and Brough are a string band unto themselves, with the former playing both acoustic and electric mandolins, as well as violin on Sharon, while the latter is heard on guitar (nylon string and electric), acoustic bass, and the Turkish cumbus. While their musical voices clearly dominate the proceedings, they are augmented by several musicians, most frequently percussionist John Martin III.

Despite their dazzling technique, Scow & Brough keep the mood relaxed throughout Sharon, never letting the music get overly frantic or rushed. Having co-written most of the tunes, the co-leaders show a knack for up-beat melodies, as on the opening pseudo-flamenco “Bird with Beastlike Qualities” and the easy-going “Rodolfo.” Scow and Brough’s highly attuned, seamless interplay is quite impressive throughout their set, at times requiring concerted listening to untwine their blended lines.

Their influences are indeed quite diverse, as on the classically inspired “Theoretically Speaking,” the traditional Venezuelan “Pica Pica,” and the vaguely Hot Club-sounding miniature “Best in Show,” (which clocks in at a mere forty-two seconds). However, some of the best tracks incorporate unexpected aural colors and combinations, particularly Javon Davis’s Fender Rhodes, which takes the title track in an unexpectedly funky direction and makes for an intriguing aural combination with Scow’s mandolin on “Gateway Chronicles.” On the concluding “Saturday,” Scow herself over-dubs on the Fender Rhodes to pleasing effect, before segueing into an appropriately greasy coda (complete with nightclub background noise), to close out the set.

Scow and Brough have an audible rapport and a really fresh sound. While Sharon might have benefited from a bit more contrast in terms of overall mood (like a legitimate up-tempo burner), it is surprisingly accomplished musical statement that actually appreciates with repeated listening.

Jazz Therapy: Dedicated to Earl May

Jazz Therapy Vol. 1: Smile
By Gene Bertoncini & Roni Ben-Hur
Motema Music

It came as a shock when the great jazz bassist Earl May had died in early January. I had recently heard him perform at a Jazz Foundation holiday event, where he looked and sounded great. Still a vital force on the New York scene, as it turns out, he was planning a new recording with his frequent musical collaborator, guitarist Roni Ben-Hur. The musicians often played together in the lobby of the Englewood Hospital in New Jersey, as part of a program sponsored the Jazz Foundation of America. Their intent was to produce a duo CD that would benefit Englewood’s Dizzy Gillespie Memorial Fund, which provides health services to jazz musicians in need. As a tribute to May, Ben-Hur has recorded the benefit CD they envisioned, with acoustic guitarist Gene Bertoncini joining the electric player for a set of jazz duets entitled Jazz Therapy Vol. 1: Smile, produced by Ben-Hur’s label and the Jazz Foundation of America.

As befits its name, Therapy is highly accomplished, but soothing jazz that would not sound out of place during a performance at Englewood. Given its lyrics, which might not be ideal for hospital audiences, one wonders if “Killing You Softly” ever made their Englewood set list. However, as the opening track, it is certainly indicative of the guitarists’ laid back camaraderie and very hip interplay.

The perilous title track, Charlie Chaplin’s “Smile,” often lends itself to overly maudlin interpretations. Although Bertoncini and Ben-Hur are true to the original sentiment, they invest their rendition with a strong underlying rhythm and some tasteful flourishes, which prevent it from descending into the lachrymose.

While the entire CD is the tribute to May, some tracks are more direct in their reference to the bassist. Ira Gitler’s liner notes suggest the Chaplin standard was a reference to May’s own smiling countenance (seen pictured inside the CD digipack). Dizzy Gillespie and Ray Brown’s “That’s Earl, Brother,” though not originally composed in May’s honor, is nice twofer tribute both the bassist and the trumpeter-composer who started the jazz medical fund at Englewood. Naturally, it is the fleetest burner of the session, with Ben-Hur taking the lead on the bop lines.

Bertoncini in turn comes to the fore on a pair of his elegant originals, “You Are a Story” and the concluding “Set Blue,” a sophisticated reworking of Toots Thieleman’s “Bluesette.” In addition to being a friend of JFA, Bertoncini is also well known to the St. Peter’s community (the New York Lutheran church known for its jazz services and memorials), where his sensitive style is always appropriate. Together he and Ben-Hur create some intimate but artful jazz, obviously in heart-felt tribute to May, Englewood, and the Jazz Foundation. While its relative consistency in tone and tempo would be a drawback for other sessions, it fits Motema’s “Jazz Therapy” concept, which they plan to carry forward with future releases.

As a good karma bonus, proceeds of Therapy go to a worthy cause. The good work of Englewood’s longtime partner, the Jazz Foundation of America is also always worth reviewing. Led by the tireless Wendy Oxenhorn, JFA has been a life-line for jazz musicians in dire straits—artists without insurance or pensions, who were never properly compensated for their work. JFA has been there to forestall evictions and to provide emergency medical treatment (with their partners at Englewood). When Hurricane Katrina hit New Orleans, their caseload went from the hundreds to the thousands. You can learn more about the Foundation at their website and see NY1’s report on Ben-Hur’s performances at Englewood in the newly rechristened Earl May Corner here.

Day Trip

Day Trip
Pat Metheny
Nonesuch Records

Pat Metheny has the most recognizable hair in jazz and a remarkable flexibility to excel within various styles and formats. With his latest release, Day Trip, he strips things down to a simple, straight-forward trio, for a relaxed, enjoyable set of Metheny originals.

Metheny’s newly reconstituted trio consists of the leader’s guitar, Antonio Sanchez on drums, and Christian McBride on bass, who play cohesively together throughout. McBride is proving to be the go-to bassist for powerhouse trios over the last year, performing with Sonny Rollins and Roy Haynes at Carnegie Hall and recording with Bruce Hornsby and Jack DeJohnette on the rock star’s jazz debut. Here, he meshes perfectly with Metheny and Sanchez.

Things lead off with the mid-tempo “Son of Thirteen,” enriched by Sanchez’s rhythms. It is followed by the contemplative “At Last You’re Here,” featuring some of session’s the strongest solo statements from the leader and McBride.

Indeed, it is the peaceful, introspective tunes like “At Last” that are the highlights of Day Trip. In fact, the session’s emotional climax comes with “Is This America (Katrina 2005),” a haunting elegy obviously inspired by current events, but sounding like a delicate, deeply personal statement, rather than a political broadside. (Yes, it can be done.) Metheny’s playing sounds truly inspired and McBride’s arco solo is perfectly fitting.

Day Trip is at its bluesiest with the strutting “Calvin’s Keys,” evidently a tribute to the under-recorded guitarist, Calvin Keys, a veteran of the Jimmy Smith trio. Metheny also changes things up a little by breaking out the guitar synth for a jazz-rock excursion on “The Red One."

Metheny is jazz’s current guitar hero and his return to the trio format is certainly well worth hearing. This Metheny Trio plays at a consistently high level throughout Day Trip, but the CD may actually suffer from high expectations set by the guitarist’s last several recordings, including collaborations with Brad Mehldau and the extended suite The Way Up. Metheny will probably be playing the instant classic “Is This America” for years to come, but his other originals here are not quite as distinct and compelling. Still, Day Trip rewards repeated listening with many moments of dynamic group interplay.

Azzolina’s Live Dialect

The Stones must be off the road this week. Jay Azzolina was able to get his musical comrade Tim Ries, the Rolling Stones sideman and jazz interpreter, for his CD release and tour launch celebration at the Cutting Room in New York’s fashionable Flatiron district. The CD bringing everyone together was Local Dialect, reviewed here last week.

As on Dialect, Azzolina kicked-off the set with “Friends of Friends” an intriguing, but catchy original that serves as a nice up-tempo ice-breaker. While Dialect often shifts in tone and personnel throughout the disk, in live performance Azzolina stuck to the old-school soul-jazz organ combo format. Azzolina is perhaps best known for his more commercial work with Spyro Gyro, but he can clearly burn through a grits and gravy session. While Dialect actually has one particularly “contemporary” radio friendly track, it was full speed ahead with no concessions during last night’s set.

Behind the organ console, Gary Versace is obviously fluent in the soul-jazz vernacular. Ries, Azzolina’s Westchester neighbor, had plenty to say as well, particularly in his fiery soprano solos. This is definitely a good band, which should only get better as they continue to play this music.

Dialect really is a strong release, with some memorable compositions, that often have a hint of the bittersweet. This is probably most pronounced on the lovely “Angel’s Dance” a Latin-style duo number that did not make it into Tuesday night’s set list. The CD is well worth checking out, as are Azzolina and company if they are playing in your locale.

Fortunately, I had a heads-up about the gig. Even though the Cutting Room is quite convenient to the J.B. offices, its bookings are so eclectic, I often lose track of who is playing there (it turns out Hubert Sumlin will be making a guest appearance Thur.). Hopefully the myspace add will rectify that.

According to his myspace page, Azzolina’s next gig in New York is at the Bar Next Door on December 13th, as part of the club’s guitar trio series. Hearing Azzolina in a slightly different format should make for a good night out as well.

Local Dialect

Local Dialect
By Jay Azzolina
Garagista

Just North of Yonkers, Hastings-on-Hudson is a Westchester village easily accessible to the City via commuter rail. While it may never eclipse celebrated jazz communities like Harlem and the Tremé neighborhood of New Orleans, at various times in its history Hastings-on-Hudson has been home to many jazz legends, including Michael Brecker, Ralph Sutton, and Fats Waller. It has also been home to guitarist Jay Azzolina and his musical comrades, Tim Ries and John Patitucci, who join Azzolina on his latest release: Local Dialect.

While Azzolina is probably best known for his association with Spyro Gyra, Dialect is a varied, but largely straight ahead session, as established by the opener, “Friends of Friends,” with its intriguing melody and complex rhythms. Benefiting from Rolling Stones sideman and jazz interpreter Tim Ries’s horn arrangement, it is a great vehicle for some smoldering solos by Azzolina and Ries. The easy groover “Three Ladies” follows in one of Dialect’s many shifts of tone. Again Azzolina shows a facility for attractive melodies and tasteful solo statements, accented by Ries’s flute and some short, but attractive brass passages.

Larry Goldings joins the group (minus the horns) for three soul-jazz oriented organ combo numbers. “Mind Your Mind,” performed as a trio with drummer Greg Hutchinson, is the bluesiest in its vibe, whereas “Between Thoughts” and the closer “Exit Strategy” are more up-tempo swingers, giving plenty of space to Azzolina and Goldings to have their say.

The Latin flavored “Angel’s Dance” is a dramatic change a pace, featuring Azzolina’s guitar and vocalizing accompanied only by the percussion of Cyro Baptista. It’s a standout track that really adds another sonic dimension to the release.

“Smile For Me” might be the most pleasing for his Spyro fans, combining a funky backbeat, with keyboards, flute, and soprano sax. The other tune employing keyboards is the darker, more challenging “Acceptance,” propelled by Janko R.’s insistent drum program.

Throughout its shifts in personnel, Dialect enjoys the rock-solid rhythmic support of Patitucci and Hutchinson. With their assistance and that of his other guests, Azzolina makes some eloquent statements, both as a composer and as a soloist.

(Note: Azzolina will be playing in the Citywith Ries and Hutchinson at the Cutting Room on Nov. 27th, at 9:30.)

Les Paul: Still Chasing Sound

Les Paul: Chasing Sound
Directed by John Paulson
Koch Vision

Hip New Yorkers look forward to Monday nights. With both teams at 1-2, it’s not for football. Guitar innovator Les Paul has held a long-term Monday night residency at the Iridium, transforming a traditionally slow club night into their busiest (usually) of the week. Profiled as part of PBS’ American Masters series in July, Les Paul: Chasing Sound is now available on DVD, with notable bonus footage.

Paul has worked as a musician of the highest order in jazz, pop, and country genres, but perhaps his greatest contribution was an innovator, pioneering the use of multi-tracking, over-dubbing, and the solid body electric guitar. Paulson’s documentary shows Paul as an amiable artist, enjoying his lofty position as the beloved father of the electric guitar. Reviewing Chasing before it aired I wrote:

"Wisely, Paul is the dominant voice of Chasing, in interview segments and performance clips. We also hear from figures like Gary Giddins, Bucky Pizzarelli, Kay Starr, Tony Bennett, B.B. King, and Johnny Frigo. . . Throughout the film, Paul comes off as a likeable, witty individual. Ultimately, Chasing is as much a tribute to Paul’s continuing longevity, still playing at a highly accomplished level every Monday night at age 92, as it is to his audio innovations. It is well worth catching."

Chasing is still entertaining on second viewing. Paul’s humor and charm come through clearly, even more so when you watch the extensive bonus performance footage, as when he reacts in mock horror when Steve Miller (his god-son) pulls out a Fender (Paul of course is the original designer of Gibson’s solid body Les Paul, called: “by far, the most successful endorsement relationship ever in the history of musical instruments”).

A predictable complaint with docs about musicians at this blog is the frequent lack of complete, unedited musical performances. After all, is not that what their subjects are really all about? The extras here rectify that handsomely, including one of his Iridium sets (celebrating his birthday), featuring an array of guests sitting-in, including a blues with Miller and a very tasty, finger-picking duet with Tommy Emmanuel on “Blue Moon.”

We also see some of the musical features from his television show Les Paul and Mary Ford At Home (1953-1960), sponsored by Listerine (there ought to be another DVD release there, if not a complete set, there should be plenty of highlights to collect). Also of interest are expanded interview segments, covering Paul’s love of jazz, and the reaction to his first electric guitar, which actually occurred during his time with Fred Waring.

The greatest aspect of Chasing is the extent to which it captures Paul’s personality. Most would be happy to be as witty and spry as Paul at 92, let alone have the chops for a weekly gig. Collecting Chasing with a choice Iridium set, archival film footage, and rare film of Paul duets with the likes of Keith Richards and Chet Atkins, makes this great viewing for anyone who ever strummed an electric guitar. After all, they could not have done it without him.

Les Paul—American Master

Monday nights are usually off nights in the New York jazz clubs, but it is usually one of the strongest for the Iridium, thanks to Les Paul’s longtime regular Monday engagement there. Next week, PBS viewers can get a good taste of Paul’s Iridium shows in Les Paul: Chasing Sound, the newest installment of American Masters, airing July 11th on WNET 13 here in the New York area.


Chasing starts by documenting some recent events of Paul’s life, like his induction into the Inventors Hall of Fame, his birthday celebration at the Iridium, and the donation of some of his groundbreaking audio equipment to the Smithsonian. Viewers eventually get an overview of Paul’s life through his reminiscences and the reflections of on-screen commentators, without a traditional narrator reading biographical data.

Paul is unique for having made an impact in many different musical genres. He jammed with Art Tatum, while working as a country musician on Chicago radio. As for Paul’s jazz influences, Gary Giddins identifies that of Django Reinhardt:

“More than any other guitarist, it’s Django that you often hear in Les Paul’s mature style. The main thing is the clarity of the style, the simplicity of the melodic line.”

Through Paul’s recollections, we get a picture of a resourceful young musician. Despite being told by bandleader Fred Waring, “I’ve got sixty-two Pennsylvanians to feed and I’m not looking for any more,” an impromptu hallway audition landed him a position with Waring’s outfit. After Waring, Paul became associated with Bing Crosby, and eventually found his greatest popular success with his vocalist-wife Mary Ford.

Wisely, Paul is the dominant voice of Chasing, in interview segments and performance clips. We also hear from figures like Giddins, Bucky Pizzarelli, Kay Starr, Tony Bennett, B.B. King, and Johnny Frigo. Periodically, rock legends also appear in Chasing to pay tribute to the master for his groundbreaking multi-track recording and overdubbing techniques, as well as perfecting the solid body electric guitar. The solid body Gibson Les Paul is called: “by far, the most successful endorsement relationship ever in the history of musical instruments,” and it would become a favorite of a generation of rockers.

Throughout the film, Paul comes off as a likeable, witty individual. Ultimately, Chasing is as much a tribute to Paul’s continuing longevity, still playing at a highly accomplished level every Monday night at age 92, as it is to his audio innovations. It is well worth catching on PBS next Wed. (7/11), at 9:00 (ET).

Of Song and Water

Of Song and Water
By Joseph Coulson
Archipelago Books
0-9778-5766-1

Music can evoke powerful sense memories of people, places, and times. In Joseph Coulson’s novel Of Song and Water, music and issues of memory, identity, and family are intimately tied together in the story of onetime jazz guitarist Coleman Moore.

There is a sizeable canon of jazz fiction, but Water is distinct for its use of Midwestern settings, like Chicago (including The Green Mill), and upstate Michigan. Certain archetypes and tropes from the jazz canon reappear in Water, like the experienced African-American musician-teacher taking a young white student under his wing. Like the Art Hazard character in Dorothy Baker’s Young Man with a Horn, Otis Young becomes a complicated father figure for protagonist Moore. Coulson though, brings greater sensitivity to his characterization of the mentor-student relationship. Coulson describes Young as a man dispensing hard-won wisdom:

“Jazz is dead. He remembers first hearing the idea from Otis, who liked to go off on philosophers and critics who were in the business of declaring this or that thing deceased, particularly music, books, theater, small towns, newspapers, public education, motherhood, empathy, justice, hope, even God. ‘Tell me this,’ said Otis. ‘When I pick up my guitar and play, even if I’m alone in my house, is jazz dead?” (p. 122)

For Coulson, jazz is not dead. He is clearly steeped in the history of jazz guitar, with legends like Wes Montgomery and Joe Pass making cameos as Moore tours the scenes of his triumphs and failures as a once promising musician. Unlike some jazz books written by “slumming” writers, Coulson must have a genuine love for his characters’ music.

To a large extent, Moore is haunted by the history of his nautical family and the secret of his bootlegging grandfather. However, his own issues, even including his name (born Jason, dubbed Coleman by a club owner) make Moore an increasingly difficult character to spend time with. Memory is indeed fundamental to Water, to the point that the constant flashbacks sometimes confuse the narrative.

However, Coulson is a skilled writer who undeniably knows how to use language. Deliberately paced, Water is a serious character study that treats the music of its narrative with genuine sincerity.