#Mezzrow’s

[theloniousbach]

ALL ABOUT THE BASSISTS

TONY MORENO with Gary Versace and Francois Moutin!, SMALL’S JAZZ CLUB, 14 APRIL 2024, 8 pm set

GLENN ZALESKI with Dezron Douglas! And Willie Jones III, MEZZROW’S, 11 APRIL 2024, 7:30 pm

These gigs appealed because of Francois Moutin and Dezron Douglas though they were also first rate trios and Gary Versace and GLENN ZALESKI whom I don’t see enough as the pianists had important impacts. But they were very different gigs with strong strong bass work.

TONY MORENO sits behind a drum kit and what he does is add color. With Moutin in the mix, compare/contrast with Pilc/Moutin/Hoenig is inevitable. Moutin was irrepressibly himself as he always is—dancing all over the fingerboard with chords, swooping lines, and three-dimensional note selection (notes that anticipate and suggest where the others in the band will be). Moreno has Hoenig’s ability to play the tune but without his ability to hold strict responsibility for the beat. In fact, Hoenig keeps that going in very complex ways. Gary Versace, without being Jean-Michel Pilc (who is?), was the hero of the gig. He was lyrical on the tunes—deep cuts of ballads from the Great American Songbook and a Frank Kimbrough composition—which had both structure and space. They were jumping off places for the others in their own ways while he maintained the framework for everyone.

Douglas was typically present with a big pulse and a warm woody sound. He found line after line that was just right. He was in a dark corner of the club so I couldn’t see him play, but I sure could hear him. I see via an FB “memory” that it was a year ago that this very band played Mezzrow’s and I watched that one for, I’m sure, the very same reason—I haven’t seen Douglas lately and Willie Jones III is always solid and I don’t know Zaleski well enough. And, gee, I would like to know Zaleski better as he plays with taste and skill with a very nice right hand at the high end. His tunes are appealing and the very new Waltz for Vera for his niece is special (and Douglas was stunning). He did Ruby My Dear and the far more obscure Teo so he knows Monk. He tipped his hat to Wayne Shorter with an original and he closed with a Horace Silver.

Nifty gigs that were fun to think about in relation to one another.

#concert review #jazz #small’s live #mezzrow’s #small’s jazz club #2024 #livestream #livestream almost

[peninsularian]

Small-band Swing, 1936

#mezz mezzrow #lost #swing #jazz #thirties

[tejedac]

Les harmonies vintage · Playlist

Cab Calloway & his Orchestra · Ted Lewis · Scott Joplin ·The Ink Spots · Muggsy Spanier · Sister Rosetta Tharpe · Jelly Roll Morton · Rose Murphy · Leo Monosson · Kid Ory · Vera Lynn · Comedian Harmonist · Al Bowlly · Mezz Mezzrow · Carroll Gibbons · Elizabeth Cotten · Barnabas von Geczy · The Mills Brothers · The Firehouse Five Plus Two · Mississippi Sheiks · Sippie Wallace · Walter Barnes & his Royal Creolians · Cannon's Jug Stompers · Savannah Churchill · Frank Stokes · The Andrews Sisters · Bunny Berigan · Blind Boy Fuller · Gus Viseur · Barbecue Bob · Harry Roy and his Bat Club Boys · Robert Wilkins · Marek Weber · Tino Rossi · Django Reinhardt · Coleman Hawkins · Red Nichols · Tiny Parham · Mamie Smith her Jazz Hounds · Paul Specht · Ma Rainey · Robert Pete Williams · Sam Morgan's Jazz Band · Bernie Moten · King Oliver's Creole Jazz Band · Sam Lanin and his Orchestra · Tony Murena · Original Dixieland Jazz Band · Helen Kane · Ray Ventura · etc,

#cab calloway #ted lewis #scott joplin #the ink spots #muggsy spanier #sister rosetta tharpe #jelly roll morton #kid ory #django reinhardt #mezz mezzrow #al bowlly #carroll gibbons #the mills brothers #the firehouse five plus two #sippie wallace #Mississippi sheiks #Bunny berigan #Marek weber #tino rossi #King oliver #original dixieland jazz band #ma rainey #tony murena #ray ventura #the andrews sisters #Cannon's Jug Stompers #vera lynn #gus viseur #red nichols

[pepperannincorrect]

Gwen Mezzrow: Milo! I’m so happy, I could kiss you! Milo: Uh… thanks! *later* Milo, lying face down on Nicky's bed: I can't believe I thanked her, Nicky. Thanked her. She wanted to kiss me and I said "thanks". Why? Because I'm a huge moron. Nicky, patting him on the back: Don’t beat yourself up over it. Things like that happen. Remember when Stewart said he loved me? Milo: Didn’t you say “neat”? Nicky, staring into the distance: I said “neat”.

#Pepper Ann #Gwen Mezzrow #Milo #Nicky #Incorrect Quotes

[moaninmoonen]

Mezzrow - King Of The Infinite Void

MezzrowVEVO

#Mezzrow #Youtube

[davidisen]

NYC Music Safari, Part 3

[Updated to include December 27, 28, 29, 30]

On Wednesday, December 27, I caught the early show at Birdland, David Ostwald's Louis Armstrong Eternity Band.

That's Ostwald on the tuba, Will Anderson on clarinet, Joe Boga on trumpet, Jim Fryer on trombone. Not visible in the back row, Vince Giordano (banjo) and Alex Raderman (percussion).

Will takes a solo, revealing Vince and Alex. I've seen the show several times. Same cheesy jokes, same over-learned moves and dialog, but great, spectacularly great, expertly executed music.

At Birdland I sat next to Anna, an impressive young lady. She didn't know anything about jazz, but clearly took huge delight in the music!

Got down to the Zinc Bar just in time to meet Neal and Peter for the Miss Maybell show.

Miss Maybell had an expert supporting cast of Brian Nalepka (bass), Dan Levinson (reeds) and Andy Stein (violin). And, it goes without saying (or showing), Andy Judkins was ragging the keys next to Miss Maybell's right elbow.

On December 29, Peter and I got to Mezzrow early, so we heard the last half of the early set from the back of the room, and then had a band-side table for the second set.

It was the Chuck Redd trio, with Chuck on vibraphone, Neal Miner on bass, and (not shown) John DiMartino (piano).

There's John DiMartino.

Chuck has total command of the vibes. When I first saw him in a combo at Dizzys, he was completely new to me and so impressive that I had to hear more.

One Sunday night at The Ear, Chuck sat at our band-side table and played a rhythm on the table with drum brushes. I held an empty glass for him, and occasionally he'd hit it.

The surprise of the evening was Janis Siegel, of the original Manhattan Transfer, who sang a couple. Ooh!

On Saturday, December 30, Neal and I went to see Les Chauds Lapins at Pangea.

Anybody who plays the banjolele like it's a serious instrument is crazy enough to be a friend of mine. Kurt Hoffman and Meg Reichardt play French swing from the 1900s with style and humor. The French I learned in school wasn't quite enough to keep up with them, but occasionally I'd catch one of their double entendres.

The band's name, for example. Les Chauds Lapins literally means hot rabbits, but the better French syntax would be "les lapins chauds." I looked it up. Chaud lapin is an idiom for horny guy, or ladies' man.

Kurt and Meg were charming performers and good musicians. They were backed up by a violist, a cellist and a bass player who stayed decidedly in a supporting role.

On Saturday, December 30, Garrett Manley (guitar), Shane Del Robles (percussion) and Ian Hutchinson (bass) played a delightful brunch gig at The Canary Club in Chinatown.

Typical NYC gig - take three world-class musicians, hire them for your 15-seat cafe, and stuff them in a corner by the closet. By the way, the food was excellent.

That's Shane's washboard "kit."

That evening I went to see Quince Marcum at Barbes. He's one of the bartenders there, but he has a quirky folksongy genius.

He plays Bouzouki, not guitar. And he sings in at least three languages.

So ... tonight is New Years Eve. The prospect is a little bit frightening.

#traditional jazz #birdland #hot jazz #Mezzrow #Zinc Bar #NYC-Jazz

[bobbybroomguitar]

In October 17th, join me as I take the bandstand with legendary guitarist Russell Malone at New York’s Mezzrow Jazz Club.

The show will be recorded by the SmallsLIVE Foundation for Jazz Art and Education, which archives every show performed at Mezzrow. Since the Archive’s inception in 2007, it has collected more than 17,000 recordings.

Russell Malone is a largely self-taught guitarist who has toured internationally with numerous jazz greats and is a member of Ron Carter’s famed Golden Striker Trio.

This will be a night of jazz guitar celebration in a “candle-lit jazz listening room featuring an elegant wine list and cocktail menu.”

I will also be performing with the Bobby Broom/Peter Bernstein Quartet at Zinc on the October 16th.

For tickets and more event information, see my Link In Bio. 🔝

📷: ? (Please let me know if you recognize the photographer for these shots.)

#jazz #jazz guitar #mezzrow #mezzrowjazz #smallsjazz #smallsjazzlive #livejazz #jazzperformance #peterbernstein #zincjazz #zincjazzbar #russellmalone

[jannabock]

Some sketches from a very cool jazz club in NYC last week. #sketch #jazz #sketchbook #art #drawing #mezzrow #mezzrowjazzclub https://www.instagram.com/p/ClMX2divSxJ/?igshid=NGJjMDIxMWI=

#sketch #jazz #sketchbook #art #drawing #mezzrow #mezzrowjazzclub

[metalsongoftheday]

Thursday, September 1: Mezzrow, “Distant Death”

Sweden became a focal point for metal during the back half of the 90s, setting the underground ablaze by fusing different strands into an extreme but cohesive whole.  But before then, it felt like northern Europe was largely trying to catch up, glomming on to movements a bit after those waves crested. With Mezzrow and Then Came the Killing, it was a take on Bay Area thrash that came out a couple years too late: “Distant Death” would’ve made total sense as a Combat Records product circa 1988, what with the dry production, somewhat aimless moshing, semi-strutting spider riffing and slightly whiny vocals.  There was something to be said for Mezzrow creating a near note-perfect emulation of late ‘80s Exodus, and perhaps they could’ve been mainland Europe’s representatives for that kind of thrash.  But all of the bands they were copying had international designs of their own, at least to some extent, which rendered “Distant Death”, enjoyable as it was, more than a bit redundant, especially since this sound had already begun to feel played out by 1990.

#heavy metal #metal #heavy metal music #heavy metal rules #heavymusic #listen to metal #metal song #metal song of the day #song of the day #song #mezzrow #thrash metal #thrash #90s music #90s rock #90s metal #90s thrash #swedish metal #heavy music #heavyrock #heavy rock #metalrock #metal rock #metalmusic #metal music #listen to music #long live rock

[lucasoulrosenfeld]

KG & The Shades at @mezzrowjazzclub Wednesday, August 31st, Two sets at 10:30pm & 12midnight!!! Kelly Green - piano & voice Dierk Peters - vibraphone Kenny Wollesen - drums Luca Soul - bass @kellygreenpiano @dierk.peters @wollesonic @lucasoul_bass #kgandtheshades #kellygreen #dierkpeters #kennywollesen #lucasoul #piano #pianist #voice #vocalist #jazzvocalist #vibraphone #drums #bass #bassist #bassplayer #doublebass #doublebassist #doublebassistsofinstagram #uprightbass #mezzrow #mezzrowjazzclub #nycjazz #originalmusic #improvisedmusic #nyc https://www.instagram.com/p/ChvgeDxrZYo/?igshid=NGJjMDIxMWI=

#kgandtheshades #kellygreen #dierkpeters #kennywollesen #lucasoul #piano #pianist #voice #vocalist #jazzvocalist #vibraphone #drums #bass #bassist #bassplayer #doublebass #doublebassist #doublebassistsofinstagram #uprightbass #mezzrow #mezzrowjazzclub #nycjazz #originalmusic #improvisedmusic #nyc

[don-lichterman]

Live At Mezzrow album review @ All About Jazz

Live At Mezzrow album review @ All About Jazz

Sheila Jordan: Live At Mezzrow album review @ All About Jazz Album Review By Pierre Giroux July 16, 2022 Sign in to view read count ” data-original-title=”” title=””>Sheila Jordan is a living jazz legend. Since coming to New York City in 1950 at the encouragement of Charlie Parker saxophone, alto1920 – 1955 ” data-original-title=”” title=””>Charlie Parker, she is one of, if not the last,…

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#album review #jazz review #Live At Mezzrow #Sheila Jordan

[theloniousbach]

LIVESTREAM: ALAN BROADBENT with Harvie S, MEZZROW’S, 8 APRIL 2024, 9 pm set

ALAN BROADBENT’s monthly gig usually includes drummer Billy Mintz, but he wasn’t there for some reason this time around. I thought I was on a drum(mer’s) roll with Vinnie Sperazza (a kindred spirit of Mintz’s) and Herlin Riley with an unrealized hope of hearing Allison Miller with Jamie Baum and Carmen Staaf. I do have Mintz on tap with a soon to be archived show with a quartet.

So what does Mintz’s absence tell me? He is oh so subtle and well suited to the smaller Mezzrow’s. He is fascinating to watch/listen to, musically and temperamentally illuminating the elegant Broadbent and the earthier Harvie S. I certainly missed him as, I sure, did his bandmates. Yet they kept a loose but strict tempo (perhaps Harvie S stayed closer to the beat, maybe Broadbent realized he had less of a net). Both can and do swing with and without Mintz.

The set was interesting and fresh, but made up of familiars. The opener was Tadd Dameron’s magical On a Misty Night, a new favorite almost certainly the result of this band calling it to my attention. They continued with two more Dameron’s, Lady Bird and If You Could See Me Now. Broadbent identified Dameron as a favorite and that sophistication certainly fits. Then it was on to the Great American Songbook for Harry Warren (I Wish I Knew), Cole Porter (I Love You, described as freely done and indeed they backed into the theme and were both discursive. That blows to hell my thought that they played it safer without Mintz), and an Irving Berlin rarity (They Say It’s Wonderful). They closed with Broadbent’s own The Long Goodbye from his days with Charlie Haden (next assignment—compare and contrast Harvie S and Haden) into Solar.

I’m sure I’ve heard all those tunes with the full trio, so business as usual. It was also pleasure as usual for me. That I get to see them for a regular dose of smarts and sophistication is a touchstone for my listening.

#concert review #jazz #small’s live #mezzrow’s #2024 #livestream

[jpbjazz]

Mezz Mezzrow et Louis Armstrong

#jazz

[gallaxowelcome]

Milton "Mezz" Mezzrow And His All Star Band* - Milton "Mezz" Mezzrow And His All Star Bands (195?)

RCA 130 219 (FRA, 10") VG+/VG+ (5)

#jazz #swing #50s #clarinet #5

[pepperannincorrect]

Gwen Mezzrow: Did it hurt when you fell? Milo: From heaven? You're going to have to try a bit better than that, Gwen Mezzrow. Gwen Mezzrow: No, I mean when you fell out of that tree that one time. Dieter just fell out of a tree and I need to know how much pain he is in.

#Pepper Ann #Gwen Mezzrow #Milo #Incorrect Quotes

[time4hemp]

Using Hemp As Currency

Is hemp as valuable as gold?

Hemp is a crop you can BANK on.

Written by Casper Leitch

The use of hemp as a de facto currency predates the founding of the United States and may be found in the historical record in the early 17th century. In 'Hemp: Lifeline to the Future', Chris Conrad notes that “hemp was used for money in most of the Americas from 1631 until the early 1800’s” (1st Ed., p. 24). It was one of many de facto currencies prevalent in the region before British Parliament passed the homogenizing Currency Act of 1751; faced with competing notes of fluctuating value issued by thirteen separate colonial governments, many colonists preferred the congruity and stability of easily measured commodities like beaver skins, tobacco leaves and, yes, hemp.

The practice of trading hemp seeds became so commonly accepted that many colonial governments passed laws allowing colonists to pay some or all of their taxes in hemp seed, including Virginia (1682), Maryland (1683), Pennsylvania (1706) and Massachusetts (1735).

The tradition revived in the 20th century, when jazz musicians, Beats and hippies began trading cannabis in the underground economy. In his memoir, 'Really the Blues', jazz pioneer “Mezz” Mezzrow describes his first time receiving a joint of cannabis outside a Midwestern club where he was part of the orchestra. Amazed at the power of the drug to unleash his musical creativity, Mezzrow set up his own underground network distributing “reefers” to his friends in the Harlem jazz scene.

Using Cannabis As Cash

Sometimes he charged, but at other times “Mezz” and his associates bartered, using cannabis once again as a kind of currency. Just as commonly, members of the underground economy traded cannabis for favors, knowing that their friends would get them back when and if they could. The same spirit carried forward through the 60’s and 70’s, with generations of hippies unknowingly acting out the same pattern of sharing economy which they inherited from the great Harlem jazz musicians who preceded them.

But now, with states like Washington and Colorado strictly regulating the cannabis industry, the long history of using the commodity in the place of money has come under threat. Rules like the 25% excise tax of Washington state only contemplate the value of cannabis as a product exchanged for cash, a paradigm harshly reinforced by license applications prohibitive liquidity for any would-be entrepreneur attempting to enter the business.

It's a new paradigm. Who knows what may happen? With the massive shifts happening in the world of fiat paper money and digital cash, many people may return to this long-honored tradition of using cannabis for currency if it doesn’t get regulated out of existence.

Below is a FREE TO DOWNLOAD marijuana music MP3 by The Tall Brothers.

It's Simply Business.

#hemp #hemp foods #hemp for taxes #hemp currency #cannabis cash #marijuana money