Fun Night of Live Music with Mona’s Hot Four

This past Tuesday night I had a great time at the Rockwood Music Hall for a combined launch of a new documentary and CD. The film is called “Tuesday at Mona’s” as is the new CD, a live recording, and they feature a jazz quartet called Mona’s Hot Four, who have a long-running weekly gig on Manhattan’s Lower East Side at Mona’s Bar on Avenue B between 13th and 14th streets. The basic outfit is clarinet, piano, stand-up bass, and guitar, and is regularly supplemented by additional players on various instruments.

This launch had originally been planned for the week Superstorm Sandy hit NYC, but was of course canceled. Mona’s frontman, clarinetist Dennis Lichtman reported that Rockwood was forced to cancel 81 shows because of Sandy. They were able to reschedule, and the boisterous crowd did not seem at all diminished by the change. Just after 8 PM a film screen was unrolled on stage, and a projector was clicked on to screen the new documentary. About 30 minutes long, the film tells the feel-good story of how an  eclectic tribe of jazz players ended up finding at Mona’s the ideal venue and audience for their passionate enthusiasms for tunes of the halcyon pre-bop era. There are several extended songs and a number of interviews with musicians, fans, bartenders, and Wall St. Journal jazz critic Will Friedwald, who touted Mona’s Hot Four and the scene at the bar in an 2011 diary-like piece, “After Midnight at Mona’s”:

11:30 p.m. Within a few numbers (“Margie,” “Blues My Naughty Sweetie Gives to Me”), it’s abundantly clear that this group is immersed in the early New Orleans jazz idiom…. 1 a.m. The room is packed with young men sporting beards and slender women with Bettie Page bangs and abundant tattoos. There must be 100 people crammed inside this tiny bar, with seats for maybe 15, and only a fraction of those either sitting or standing can actually see the band. The room is dense with young musicians carrying instrument cases, or wearing their saxes around their neck, waiting to be called. “I think it’s amazing that we’ve become a mecca for those who love this music,” Mr. Lichtman says….2:30 a.m. The band is starting to thin out, and plays two numbers just to delight the record collectors in the crowd, “Dardanella” and “Hang Out the Stars in Indiana,” the latter fetchingly sung by Ms. [Molly] Ryan.

Once the film ended, Mona’s Hot Four took the stage, with clarinetist Lichtman introducing his band mates: Gordon Webster (piano), Jared Engel (bass), and Nick Russo (guitar). Their playing is a joy to hear with clear melodic lines on standards like “My Blue Heaven,” tasty licks on “Sugar Blues,” and fluent ensemble work on “Up a Lazy River.” Though Rockwood is not the Hot Four’s usual venue, many additional players showed up to supplement the quartet. In the set that followed the documentary, they were joined on stage by a caravan of players on trombone, trumpet, banjo, snare drum, and a number of talented vocalists. Among this retinue was singer the aforementioned Molly Ryan and banjo player and vocalist Jerron Paxton.

Lichtman fronts another group, Brain Cloud, which I had enjoyed and posted about during the Brooklyn Folk Festival last May. I hope I have another chance to hear them sometime, as they have a semi-regular gig at the Rodeo Bar in Manhattan. That group also plays some jazz, though with a different flavor than Mona’s Hot Four, as well as Western swing, klezmer, and songs from Tin Pan Alley, with vocalist Tamar Korn (who also sang with Mona’s Hot Four this week). After the documentary and an abbreviated set of music, Lichtman announced that Mona’s Hot Four would later that night they’d be camped out at Mona’s Bar for their usual late Tuesday night set. I wasn’t able to migrate to Mona’s on this night, but I do hope to hear them there some other week. If you’d like to buy the DVD/CD which includes the documentary and live album in one package, you can order it via this link, and listen to some of the Monas’ hot stuff.

Here’s a 2010 video of Mona’s Hot Four I just found online:

On my way back uptown, I stopped in at another great spot, the 11th Street Bar, to hear what live music they might have on in their back room. I was delighted to discover a band there led by guitarist Teddy Kumpel, whose band of drums, bass, and another lead guitar, was having fun playing an infectious melange of funk and blues. You can hear a sample of his groove at this page on his websitePlease click through on this link to see all photos I took during this fun night of live music.

“A Few Genuine Songs . . . All But Drowned out by the Loud Siren of Ambition”

In “Censoring Myself for Success,” a strikingly candid Op-Ed published yesterday in the NY Times, Somali-Canadian  poet, rapper, singer, and songwriter K’naan laments the influence of his label A&M/Octone on his latest album “Country, God and the Girl.” Coming after the worldwide fame that attached to him when his first hit song “Wavin’ Flag” became the anthem of the 2010 World Cup, K’naan writes that his early songs drew directly from his childhood experiences of a country trapped in continuous conflict, but then:

“A few days before I was to record [my third album], which was released in October, I received a phone call saying my record label wanted a little talk—before the songs were written. (I like to write in the moment.) For the first two albums, there were no such talks. But that was before my name was familiar. So let me start my story there.

In 2005 I found cheap recording space and sang about the killing ground of Somalia:

‘We begin our day by the way of the gun… you don’t pay at the roadblock you get your throat shot I walk with three kids who can’t wait to meet God lately, Bucktooth, Mohamed and Crybaby.’

In 2008, with a recording budget, I went on my own to Jamaica, to Bob Marley’s old studio, and sang of a lovely, doomed young friend:

‘Fatima Fatima, I’m in America, I make rhymes and I make ’em delicate, you woulda liked the parks in Connecticut… Damn you shooter, damn you the building, whose walls hid the blood she was spilling, damn you country so good at killing, damn you feeling, for persevering.’ …

Over breakfast in SoHo, we talked about how to keep my new American audience growing. My lyrics should change, my label’s executives said; radio programmers avoid subjects too far from fun and self-absorption.

And for the first time, I felt the affliction of success. When I walked away from the table, there were bruises on the unheard lyrics of my yet-to-be-born songs. A question had raised its hand in the quiet of my soul: What do you do after success? What must you do to keep it?

If this was censorship, I thought, it was a new kind—one I had to do to myself. The label wasn’t telling me what to do. No, it was just giving me choices and information, about my audience . . . who knew little of Somalia. How much better to sing them songs about Americans. . .

And there I was, trembling between doubt and self-awareness. I had started . . . striving to make (and please allow room for grandiosity here) my own ‘Natty Dread’ or my own ‘The Times They Are a-Changin’.’ But now, after breakfast, another voice was there, whispering how narrow the window of opportunity was. . . 

So I had not made my Marley or my Dylan, or even my K’naan; I had made an album in which a few genuine songs are all but drowned out by the loud siren of ambition. Fatima had become Mary, and Mohamed, Adam.

I now suspect that packaging me as an idolized star to the pop market in America cannot work; while one can dumb down his lyrics, what one cannot do without being found out is hide his historical baggage. His sense of self. His walk.”

Later, I found this posted by K’naaan on his Facebook page:

“After your overwhelming response, I’m inclined to write you all a quick note. Starting with the question: WHERE DID YOU PEOPLE COME FROM?!!! What an amazing and articulate bunch you are. You should know, I’ve read every single word in every single post underneath my essay, and, I am deeply moved. Have no fear, whatever you hear coming from me next, good or bad, will only be born from the intention to express. No other voice shall ever trespass into the sovereign continent of my words. I really do, from the bottom of my heart, thank you all. For gathering around me, like you did. I feel energized. Let it be a wondrous journey, thank you for riding along.

So much love to you guys,
K’naan”

In K’naan’s Op-Ed, I was struck as much by his self-criticism as by his critique of the execs who suggested he change his artistic approach. I suggest you read his whole Op-Ed for yourself, and note that the NY Times web page also includes a nice spoken word by K’naan, talking about Somalia and poetry. Finally, if you haven’t heard K’naan here is a video of his performance of “Wavin’ Flag on the CBC program “Q”: 

Woody Guthrie, New Yorker

Wonderful to think of Woody Guthrie playing music on NYC’s subways. H/t @grescoe on Twitter and Hajimero on tumblr for sharing this image that appeared in LIFE magazine in 1943.

How a Community Makes a Book

I first met writer and literary journalist Robert Gray when I was Editor-in-Chief of Carroll & Graf Publishers and he worked at the splendid Northshire Bookstore in Manchester Center, Vermont. I loved that his email address at the time incorporated the phrase “marbleman,” as a personal homage to Vermont’s marble quarrying. We both later moved on but kept in touch, especially after he became a regular contributor to the daily book world read Shelf Awareness, and I started curating and writing The Great Gray Bridge. Robert’s pieces for Shelf Awareness are published under the rubric, “Deeper Understanding.”

Recently, I let Robert know about Rust Belt Chic: A Cleveland Anthology to which I’d contributed an essay, hoping the DIY energy that produced the book would appeal to him, and that he might want to cover it in his column. He took the opportunity to heart and today published a great piece, “Self-Pub, Sense of Place & Concentric Circles,” with passages like this:

“When you want to know about a place, ask the people who live there. When you want to read about a place, read the writers whose words reveal more than just the surface of a region’s past and present. What does that have to do with self-publishing? This: For a bookseller considering the possibility of stocking a self-published book, one reliable sign of a winner is a title with a tangible sense of place. Whether or not such a book eventually finds readers beyond the region, it must begin at the center–a pebble dropped in a local pond–before concentric retail sales circles can spread. In their introduction . . . editors Richey Piiparinen and Anne Trubek describe the project as “a community effort to tell the story of a city.” And that’s just what it is.” 

Later, Robert generously mentions my essay, “Remembering Mr. Stress, Live at The Euclid Tavern,” linking to an expanded version of it on this blog. I invite you to read Robert’s entire piece at this Shelf Awareness link, and my piece if you haven’t yet. Robert’s past columns can also be found at his website, Fresh Eyes Now.

I should add that the Nook, Apple, and Kindle ebook editions of Rust Belt Chic are currently being sold in their respective digital stores for the terrific price of $2.99 (link for Nook storeITunes store, and Kindle store). Finally, I’m also happy to report that the first Rust Belt Chic event in the NYC area is coming up, Thursday, January 3 in Brooklyn at Public Assembly. I’ll be there to read, as will other northern Ohio transplants in the NYC area. It would be great to see you there!

Terrific Price for Ebook Editions of “Rust Belt Chic: A Cleveland Anthology”

Readers of this blog will recall that I contributed an essay, “Remembering Mr. Stress, Live at The Euclid Tavern,” to Rust Belt Chic: A Cleveland Anthology. Co-editor Anne Trubek reports that the book is selling well, in its ebook and trade paperback editions,  and is frequently being reordered by book retailers including Amazon.com. Anne posted news on Facebook tonight that the Nook, Apple, and Kindle ebook editions are right now being sold in the respective digital stores for the terrific price of $2.99 (Nook storeITunes store, and Kindle store)
I’m also glad to report that the first Rust Belt Chic event in the NYC area is coming up, Thursday, January 3 in Brooklyn at Public Assembly. I’ll be there to read, as will other northern Ohio transplants in the NYC area. It would be great to see you there!

1970–Fairport Convention, Live

A thank-you to all the readers of this blog, here’s a musical present:
Some nice Brit-folk rock harmonizing from Fairport Convention, a group whose music I always enjoyed,  on albums  such as “Unhalfbricking”).  Today at Political Animal blogger Ed Kilgore has shared a song the group played live, sometime in 1970, perhaps at an outdoor festival. I never heard it until today. It’s called  “Now Be Thankful.” If you like them too, after the song concludes there’s a lot more of them playing their repertoire, on youtube. They changed personnel a lot, but always kept to a high level.

Mitt Affirms His 47% Remarks in Pathetic 1st Stab at a Campaign Post-Mortem

I’ve been blogging less about politics since the campaign ended last Tuesday, but am still keeping my eye on the news. An item crossed my path tonight that must be shared: Mitt’s first public post-mortem since his concession speech. As reported in the NY Times this evening, Romney and his campaign finance staff held a conference call with donors today. According to quoted portions, Romney attributed his defeat to President Obama having effectively won votes of lower-income voters by awarding them with “gifts.” The loser made, basically, the same argument as those gross super-pac ads being shown until last Tuesday, where an inner-city African-American woman talks excitedly about the “Obama phone” she’d supposedly been given by the federal government. His excuse for losing–to an audience of people whom he has an interest in convincing he didn’t piss their money away– was very similar to what he told donors in the 47% fundraising pitch. Interesting that he was speaking to contributors both times. The quotes are really offensive. Here are a couple chunks of it, from Ashley Parker’s story in the Times:

In a conference call on Wednesday afternoon with his national finance committee, Mr. Romney said that the president had followed the “old playbook” of wooing specific interest groups — “especially the African-American community, the Hispanic community and young people,” Mr. Romney explained — with targeted gifts and initiatives.
“In each case they were very generous in what they gave to those groups,” Mr. Romney said.
“With regards to the young people, for instance, a forgiveness of college loan interest, was a big gift,” he said. “Free contraceptives were very big with young college-aged women. And then, finally, Obamacare also made a difference for them, because as you know, anybody now 26 years of age and younger was now going to be part of their parents’ plan, and that was a big gift to young people. They turned out in large numbers, a larger share in this election even than in 2008.”
The president’s health care plan, he added, was also a useful tool in mobilizing African American and Hispanic voters. Though Mr. Romney won the white vote with 59 percent, according to exit polls, minorities coalesced around the president in overwhelming numbers — 93 percent of blacks and 71 percent of Hispanics voted to re-elect Mr. Obama.
“You can imagine for somebody making $25,000 or $30,000 or $35,000 a year, being told you’re now going to get free health care, particularly if you don’t have it, getting free health care worth, what, $10,000 per family, in perpetuity, I mean, this is huge,” he said. “Likewise with Hispanic voters, free healthcare was a big plus. But in addition with regards to Hispanic voters, the amnesty for children of illegals, the so-called Dream Act kids, was a huge plus for that voting group.”

On the tactical failures of his campaign,

“I’m very sorry that we didn’t win,” he said on the call. “I know that you expected to win, we expected to win, we were disappointed with the result, we hadn’t anticipated it, and it was very close but close doesn’t count in this business.”
He continued: “And so now we’re looking and saying, ‘O.K., what can we do going forward?’ But frankly we’re still so troubled by the past, it’s hard to put together our plans from the future.” . . .Still, Mr. Romney, ever the data-driven former consultant, offered a brief post-mortem analysis of where he and his campaign had fallen short. Last Wednesday and Thursday, he had convened informal what-went-wrong sessions in his Boston headquarters, where he and a small team of senior advisors pored over the numbers with Mr. Newhouse. And on the call, Mr. Romney also echoed a theme from the campaign trail, saying that while the Mr. Obama “made a big effort on small thing,” his message had been about ‘big issues.’
“Our campaign, in contrast, was talking about big issues for the whole country —military strategy, foreign policy, a strong economy, creating jobs and so forth,” he said. “And by the way, as you’ll hear from Neil, our strategy worked well with many people, but for those who were given a specific gift, if you will, our strategy did not work terribly well.”

You’ll note Romney indulges in the “shellshock” meme to describe his reaction to losing, with a weak claim that he, like the donors, had also believed their own polls and persuasion apparatus. He avers that like them he’s still getting over it all. On TPM there’s been a vigorous debate about whether it’s plausible that the Romney-Ryan camp was really shocked to lose last week, and is supposedly still getting over it. I have a few questions in this area: ) Could they have been so naive as to believe their own hype? 2) Should we call them true believers enclosed in a bubble they’ve stopped noticing even surrounds them? 3) Or cagey pols who want to move on from this without a taint on their reputations, having through political and moral malpractice actually misspent so many hundreds of millions? I agree with Josh Marshall that Romney and his staff would rather be associated with the former than the latter.

Not only does Mitt’s portrayal of President Obama as Gift-Bestower-in-Chief show a consistent worldview–from the 47% remarks to today–show that he really believes a majority of American voters expect ‘stuff’ from the government. Worse, though, he also degrades the ‘stuff’ given them, like they were all baubles. Healthcare, college tuition, and legal status for immigrants–these are hardly luxuries. What a selfish man, for one who has so much to believe that taxpayers and the government should be miserly with people who have so much less.

Manitoba Music Showcase at Arlene’s Grocery/Part II

As mentioned in my last post, ManitobaMusic.com held its annual showcase in Manhattan last night, at Arlene’s Grocery on the lower east side. It was a great night of live music, with four talented acts taking the stage–The Magnificent Sevens, JP Hoe, Chic Gamine, and Greg MacPherson–and a good crowd in the comfortable venue. Happy to share some photos I took during the showcase. Please click here to see all photos.