It occurred to me that I miss the kind of little chatty, gossipy newsy pieces I used to put in my old blog. From time to time, I’m going to put up The Music and the Hang. I’m pretty lucky to have this gig.
Saturday night in Portland.
Things started at Jimmy Mak’s where the Quadraphones were supposed to play first, and the Medler Septet second, except a couple of the players in the Medlers’ band had other gigs to go to. Farnell Newton had one at ‘the Mambo Room. No sweat, except for a mom who came up to Mary Sue Tobin between sets and was a little disappointed that her underage kid, who was required to leave at 9pm, had to miss the Quads.
Lucky for the kid Medler had brought them up onstage during his set for a tune. It helps that Ben Medler’s wife Michelle is a Quad herself. They played that incredibly lovely Phillip Glass piece that they do, and then stayed onstage for the set finale, a hot version of Caravan. There were fine solos by Mieke Bruggerman on baritone sax and Newton.
Bass player anomaly of the evening #1: Dennis Caiazza played electric bass on a tune or two.
Between sets, I kidded the always well-dressed Tobin on the fact that she wore jeans to a gig at the Mission last week, when she played with David Ornette Cherry. She scoffed, laughing and saying that, hey…she was wearing a jacket and heels.
I asked if she was going to go to the Brasserie to see Chris Mosley’s first gig during his return visit to Portland. She said of course she was. At the same time, a woman came up to her and asked if she could take a picture of the top Tobin was wearing…something with delicate chains (not in the S&M sense, however). The woman said it fit a short story she was writing. After getting enough light, she took a picture of Tobin’s top, no face. Very funny.
Tobin allowed as how the outfit was a gift from her mom and that, earlier in the day, when she went shopping for an outfit to wear at the gig tonight, she thought…why should I spend all this money when I have an outfit that my mom gave me which is just as good as anything I’m finding.
And here it was immortalized in a picture AND story.
Jimmy’s was standing room only for the first show. Farnell said he had a gig to play at the Mambo Room, said he wished they had two trumpets because it was Latin music and he’d like another one to play off of. He talked about having played golf with saxophonist Michael Phillips earlier in the week and then suggested that the Quads wear golf attire and get their picture taken on the golf course for their next album.
I’m not so sure about that.
Both Caiazza and JD, the King of Jimmy Mak’s, were pro-Saints but it sounded like they had their money (should they be betting gentlemen) on Indy. I bitched about how they stole my team from me in Baltimore, even though it’s been like 25 years ago.
The Quads took the stage with Leah Hinchcliff and Ward Griffiths. If it weren’t for the Quads and the odd Rob Scheps Big Band gig, I wouldn’t know where to go hear Griffiths, and I love to go hear Ward Griffiths.
On to the Candlelight
I slipped out into the rain and went to the Candlelight to hear some of Lloyd Jones’ set. Too bad that PSU has bought the building and the club is going to have to either move or die. I hope they stay downtown. There certainly isn’t a lack of empty spots to fill…For Lease signs on every corner, seems like.
Jones was funky and bluesy and everything you’d expect or want from him. The room was impossibly crowded, of course, but that’s part of the charm. Making a note to see Gretchen Mitchell there on Tuesday.
Caught the end of the Bobby Torres set at Brasserie Montmartre.
Bass player anomaly of the evening #2: Phil Baker playing electric bass. I know he plays it, but it’s infrequent. He said it was his first time playing at the club since it reopened and that he hadn’t played the club in the last three or four years of its previous existence.
Guitarist, Chance Hayden, who helps book the room, has a new band with Devin Phillips, Scott Steed and a trombonist (John Moak or Ben Medler, or TBA) which will play traditional New Orleans Jazz. They’ll be having their debut on March 4th at Wilf’s. The band isn’t quite set for that gig yet. Stay tuned. They don’t have a name yet. If you have a suggestion sent it to Chance’s Facebook page.
Scott Steed is one of those virtuosos who is known internationally but never plays around town (except for the odd Ron Steen Jam gig). Will be very exciting to hear him in this (or any) band.
Chris Mosely’s band was hanging out before their 11:30 show. He had Russ Kleiner on drums and Sam Howard on bass. Howard walked in in a fully tailored three-piece suit and tie, prompting admiringly snarky comments from his bandmates (and me). He said he had just come from a Valentine’s Day party that Ben Darwish had also attended. He thought Darwish had gone to play with Farnell Newton at the Mambo Club.
He also said that he was not playing at the party, just attending, so it was ok for him to eat the food. His new album is coming out soon. We’ll give you the first listen on OMN next week.
Mosley seemed to be genuinely happy to be back in Portland, not that he’s moving back, just glad to be reunited with his old bandmates and friends.
His beautiful sound was intact (nobody thought it wouldn’t be). What surprised everyone was that he started with a Kenny Burrell tune “Chittlins Con Carne,” a straight ahead minor blues which he attacked with obvious pleasure. Later, he told me it was the first jazz tune he had ever learned. He had apparently put some thought into what he would play first on his first gig back in town.
The subtlety and sublimeness of the moment was interrupted by a boar at the table next to me who had been roaring about his gambling exploits and showing off to a couple of women. After he got abusive, he and his friends got the bum’s rush. I found out later that the two women he was with had been discovered having sex in a stall in the ladies room.
Nuff said, but I’m still laughing.
Mosley continued. What have his months away taught us? How rich and unique and expressive his sound is. And how much we miss it. All three were joyful and playful, the reunion brought out the best in each of them, and that’s a lot of best.
Bass player anomaly of the evening #3: Sam Howard playing upright bass. Ok, maybe not so much anomaly. Maybe more I haven’t seen him play acoustic for awhile.
They were joined by singer Lindsey Stormo and (sit down) did “Nature Boy.”
Of course the band did some Mosley originals, filling the room with thought. Thought? Yes, you know, when the music is so good that you go somewhere else and it inspires thinking.
Not that I’ve ever had an original thought, but it’s nice revisiting other people’s.
Andrew Oliver sat in on piano for a fast bop finale. He had been drinking some sort of exotic beer. I guess if you’re at the Bra, PBR is just not the thing to do. Between sets the band gathered around the bar. Was a lot of laughing about the two women in the ladies room.
Mary Sue Tobin showed up and joined the band on soprano sax.
About 1:20am I decided it was about time to hit it. I like to walk out of a club while the music is playing and let it do a natural fade in my ears. I hope the Bra continues their late night shows.
Nice music. Nice hang. Dan Faehnle tonight. Oh boy.
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