Thursday, March 24, 2011

TSJS Cryptogram

YVZYUWEU QTU VBM NLA NTF MTRA

Name of a one-time recording band

hint t = 0

Wednesday, March 23, 2011

Review - Jeff Barnhart

The Time: 7:30 p.m. - 10:00 p.m., Friday, March 11, 2011
The Place: The Porch Club, 4th and Howard Streets, Riverton, NJ
Jeff Barnhart, piano and vocals; Anne Barnhart, guest musician, flute

Great piano artistry continues with the TSJS piano series. On Friday night, Jeff Barnhart gave an outstanding performance. In the first half of his piano concert he played medleys of songs by three composers: Hoagy Carmichael, George Gershwin and Fats Waller.

Flautist Anne Barnhart was invited to accompany Jeff on Gershwin’s "Summertime,” Anne soloed at the start of the tune by leaning underneath the piano lid, playing over the piano strings, which caused the strings to echo, creating a haunting effect (A similar routine was performed when the couple performed as part of the Barnhart-Midiri Quartet, back in November, 2009). The pair concluded the Gershwin segment with a rip-roaring version of Gershwin's "I Got Rhythm."

Fats Waller, whom Jeff called his patron saint, was celebrated in the performances of "Honeysuckle Rose" and “Hold My Hand." Jeff explained that in the latter piece Fats introduced an ABCD pattern in place of the AABA approach universally being used. It isn't heard often today, but Fats loved the tune so much that he both opened and closed each of his performances with it during the early 1940's.

The intermission was a pleasant social interlude with snacks provided by former TSJS President Pete Peterson. One of the attendees was a native from Scotland, Helen Campbell, who said she just had to come to hear Jeff.

To open the second set, Jeff made some short educational comments about stride piano and played James P. Johnson's "The Mule Walk" and Jelly Roll Morton's "The Pearls." He followed up by informing us that TSJS member Jay "JazzBo" Schultz had sent him a song titled "Red Hot Mama" to play, which Jeff first turned into a short educational interlude about the workings of Tin Pan Alley, after which he performed the song as it might have been played by several pianists in varying styles, such as boogie woogie.

Jeff next featured three tunes by Eubie Blake. The first one, "I'm Just Wild About Harry," had been written as a waltz which was rejected by Tin Pan Alley publishers, so Eubie changed it the next day into a fox trot which succeeded wildly.

The memorable concert concluded with "Blue Skies" by both Anne and Jeff. – Mike Mudry

Tuesday, March 1, 2011

REVIEW - PIANO SERIES - JOE HOLT

The Time: Sunday, February 27, 2011, 2:00 p.m. to 4:30 p.m.
The Place: The Porch Club, 4th and Howards Sts., Riverton, NJ
Joe Holt, piano

Direction. Getting from point A to point B. How we get from those two points varies according to the individual. For some, the quickest route serves best, not attractive for sight-seeing, but saves time. For others, taking in some scenery, and an escape from the busiest highways with its congestion, short-tempered drivers et al allows for a more pleasant drive.

Then there’s Joe Holt.

To illustrate visually a Joe Holt piano performance would go something like this: Getting in the car, starting the engine, go back in the house because he forgot something, get back in car, drive around the block three times to admire the Christmas lights, then go back to the house because he forgot to say goodbye to the pet dog, off again, one more trip around the block-this time to admire the neighbor’s ’57 Chevy, makes a U-turn, then arrives at a traffic light, makes another U-turn to go to an intersection where there is no light, takes a road less traveled to get to point B! It is an understated cliché to define Holt’s playing as the mouse in the maze hunting for the elusive piece of cheese.

To be a good stride pianist, one must have a strong left hand. All the greats had them – Smith, Johnson, Waller, etc. Mr. Holt was no exception. In some cases, he presented his left hand as a walking bass, taking “bass solos” as in the case in his performance of “Sweet Georgia Brown.” However, his right hand should not go unnoticed-the driving metaphor described in the previous paragraph is applied here. Some performances like in the opening “Aint Misbehavin’” had both hands switch parts – the bass playing melody and the treble playing bass.

All of the selections performed had their moments. “Putting on the Ritz” could be defined as “What happened after the Ritz.” Both hands stagger in opposite directions, somehow managing to hail a taxi cab to go uptown, while passing Carnegie Hall, “Anitra’s Dance” is performed, ultimately arriving at Small’s Paradise Café where the house band is playing “Sing, Sing, Sing.” “If Only” a Holt original, took a different direction. Described as a “feeling of regret,” the title fits the mood of the piece, sort of a looking back on an unpleasant past. Based loosely on the melody of “Ochi Chernye (Dark Eyes)”, the piece reminds one of Debussy’s impressionistic works. The closing, “I Got Rhythm” was the best saved for last. Describing his penchant for quoting as “my Tourettes,” Holt applied them liberally, citing diversified works as “Yes, We Have No Bananas” and “Seven, Come Eleven.” Gershwin’s composition brought out the Basie in Holt, applying the subtle treble effects the great Count was known for, even going so far as to allow a Walter Page impression with his left hand!

The relaxed encore, “If I Had You,” marked the end of an adventurous ride, arriving at Point B, safe and sound. - Jim McGann

RECALLING MUSIC OF THE PAST

RECORD RESEARCH, Issue 128, July 1974 saluted “Duke” Edward Kennedy Ellington (piano /composer/ arranger), born Washington, DC, April 29, 1899, died early 1974. The following biography by John Chilton appeared in “Who’s Who of Jazz(1970):

“During early childhood he was nicknamed “Duke” by a neighbor. He attended Armstrong H.S. in DC from February 1914 until June 1917; won a poster design contest (organized by NAACP), left high-school before graduation and started own sign-painting business. While still in High School , Duke had begun ‘gigging’ at the Washington True Reformers’ Hall, soon afterwards he began ‘subbing’ for pianist Lester Dishman at the ‘Poodle Dog Café’; while working there wrote his first composition “Soda Fountain Rag” --- soon followed by his first tune with lyrics: “What Are You Going To Do When The Bed Breaks Down?” He studied harmony with Henry Grant. He worked as relief pianist at the Abbott House and the Oriental Theater and ‘gigged’ with quite a
few bands.

“He worked New York and Atlantic City with “The Washingtonians” directed by Elmer Snowden. Early in 1924 Duke became the leader of “The Washingtonians”; during the following year he and lyricist Jo Trent wrote the score for the “Chocolate Kiddies” revue. From 1925 to 1927 the band did regular tours through New England as well as New York clubs. Starting 12-4-1927 the orchestra resided at the Cotton Club in NY until February 1931. The residency was not continuous -- the orchestra did regular tours and dates at many New York Theaters, and traveled to California (in August 1930) for local engagements and filming. The orchestra did extensive touring in 1931 (theaters), played residencies in Boston and California before returning to the Paramount, NY in February 1932, later returning to California.

“They arrived in England on June 9, 1933; residency at the London Palladium, they toured Bolton, Liverpool, Glasgow, Blackpool, etc., before playing concerts in Paris. They sailed back to New York August 2, 1933, later that year they did first southern tour, then played residency at the Cotton Club, Culver City. Toured Texas, Louisiana, Canada, etc. (summer 1935), played
residency at Congress Hotel, Chicago (May & June 1936) etc. Residency at the NY Cotton Club (from March 20, 1937) then resumed widespread touring.

“From July 1 until August 10, 1938 Duke was away from the scene whilst undergoing surgery for hernia; during this period wrote the music for the ballet “City Woman”. In March the orchestra toured France, Belgium, Holland, Denmark, and Sweden. By 1940 Billy Strayhorn had joined Duke as staff arranger and collaborator; the orchestra continued touring and residencies, then appeared in “Jump for Joy” revue in Los Angeles from August 1941. In 1943, they did the first of the Carnegie Hall Concerts plus residency at the Hurricane Club, NY (April – Sept.)toured in 1944-5.

“After a brief spell in the hospital (spring 1948), Duke, Ray Nance and vocalist Kay Davis toured variety halls in Great Britain (June - July 1948). During the 1940s, 1950s, and 1960s, Duke continued to lead (and compose) with undiminished success. In the autumn of 1956 they made a triumphant return to Britain. During the 1960s they also toured throughout Europe, the Far East, the Middle East, India, Japan, South America, Senegal, etc. Early in 1970 they began a wide range of overseas tours, visiting Japan, Australia, and New Zealand.”

The magazine also contains photos and adds details on his compositions, specifics at typical locations, and more. The world knew the Duke! - Woody Backensto