Category Archives: Jazz

Getting 2017 off to a good start with the New York Jazzharmonic Trad-Jazz Sextet

New York Jazzharmonic Trad-Jazz Sextet at Union Arts Center, Sparkill, New York, on Jan. 6, 2017. (Photo © 2017. Steven P. Marsh/willyoumissme.com)

New York Jazzharmonic Trad-Jazz Sextet at Union Arts Center, Sparkill, New York, on Jan. 6, 2017. (Photo © 2017. Steven P. Marsh/willyoumissme.com)

In reflecting on my concert-going of 2016 and looking at what’s already on the docket for 2017, I’ve finally come to grips with the fact that I should be keeping  list of the concerts, shows, and other performing arts events I attend.

It’s not that I haven’t thought about this before. I used to dismiss it because I take photos at most shows and keep my tickets stubs, or what pass for stubs. But in the past year or so, more and more venues, at least in the rock world, are opting for total will call operations.

Granted, there’s usually a receipt generated for each faux ticket purchase, but a receipt is a poor substitute for a ticket in the scrapbook — even if, as in my case, it’s a shoebox with scrapbook aspirations.

So my logging begins in earnest in 2017, and kicked off Friday night with Rocklander Ron Wasserman’s New York Jazzharmonic Trad-Jazz Sextet in an uplifting, well-played program of early jazz at the Union Arts Center in Sparkill, New York. It was a marked contrast to my last show of 2016, a Brooklyn New Year’s Eve bash featuring Guided By Voices.

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Ron Wasserman builds his big-band dreams on a classical bass

Ron Wasserman, front left, with the New York Jazzharmonic. (Mihyun Kang)

Ron Wasserman, front left, with the New York Jazzharmonic. (Photo by Mihyun Kang)

This article was first published on NyackNewsandViews.com. GO HERE to read it in its original form.

By Steven P. Marsh

Ron Wasserman fell in love with the seductive syncopations and improvisations of jazz as a young musician, but the relationship faded and he abandoned tiny, smoky jazz clubs in favor of the New York State Theater in 1988, when he landed a permanent job playing double bass in the New York City Ballet Orchestra.

Nearly three decades later, sparks are flying again between the 54-year-old musician and his youthful obsession: He started a 17-piece big band, the New York Jazzharmonic, last year, and is presenting its next concert, featuring famed violinist Lara St. John and tango artist J.P. Jofre, this Sunday at the Leonard Nimoy Thalia in Manhattan.

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Riding in The General took Tom Wopat far beyond Hazzard County

Tom Wopat brings his vast songbook to Rockwells in Pelham, N.Y., on Friday night. (Handout photo)

Tom Wopat brings his vast songbook to Rockwells in Pelham, N.Y., on Friday night. (Handout photo)

‘Dukes of Hazzard’ star will show off his vocal chops at Rockwells in Pelham Friday night, May 9

It’s difficult to hear Tom Wopat’s name without thinking of “The Dukes of Hazzard,” the hit TV show that made the dark-haired Wisconsin native and his blond co-star John Schneider pin-up boys for teens for years.

Find out what Wopat’s has to say about his days in The General and where his career has taken him since then in my interview with him for The Journal News/lohud.com. Check it out online now by tapping or clicking here. To see it in print, pick up a copy of The Journal News on Friday.

Jen Chapin brings her warm, wonderful sound to Piermont’s Turning Point

Jen Chapin

Jen Chapin

You might think that Jen Chapin simply had no choice but to become a musician.

More than most American families, hers was full of musicians.

While her dad, the late Harry Chapin, may today be the best known of the lot, he was just one of many. Harry and his brothers, Tom and Steve, performed as the Chapin Brothers long before Harry found his breakout fame as a singer and writer of songs like the enduring “Cat’s in the Cradle.” Tom Chapin remains a regular performer and the Steve Chapin Band still plays from time to time as well. (Tom’s daughters Abigail and Lily perform as The Chapin Sisters.) And her grandfather, Jim Chapin, was a big-band drummer. Continue reading

Dave Van Ronk gets his long overdue time in the spotlight

Terri Thal and Dave Van Ronk at their home at 190 Waverly Place in Greenwich Village, in August 1963 (Photo by Ann Charters, courtesy Terri Thal)

Terri Thal and Dave Van Ronk at their home at 190 Waverly Place in Greenwich Village, in August 1963 (Photo by Ann Charters, courtesy Terri Thal)

Moviemakers Joel and Ethan Coen have gone to great lengths to let us know that their new movie, “Inside Llewyn Davis,” is not about Greenwich Village folksinger Dave Van Ronk.

The movie, which has been making the rounds of film festivals throughout the year and started playing in major cities a couple of weeks ago, opens nationwide  this Friday.

LEARN MORE about the real Dave Van Ronk

Terri Thal (© Martus Granirer 2013)

Terri Thal (© Martus Granirer 2013)



Check out the interview with Terri Thal I wrote for The Journal News.  Thal, a Rockland County woman who was married to him during the period covered in the film, and don’t miss her first-person account for the Village Voice.  And read Van Ronk’s memoir, “The Mayor of MacDougal Street.”





Yes, Llewyn Davis, as played wonderfully by actor and talented singer Oscar Isaac, affects a Van Ronk look of sorts with his facial hair. And yes, many people, me included, took to calling the flick in early days the “Dave Van Ronk movie.” (That probably was before it had gotten a formal title.) Continue reading

New collection skims the cream of Caffè Lena’s rich musical history

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Live At Caffè Lena: Music From America’s Legendary Coffeehouse, 1967-2013 is slated for release on Sept. 24.

A review of Live At Caffè Lena: Music From America’s Legendary Coffeehouse, 1967-2013, with buying and streaming links after the jump

I’ve always meant to visit the legendary Caffè Lena, the tiny coffeehouse at 47 Phila Street in Saratoga Springs, N.Y.

Devonsquare, the sweet-harmonizing folk-rock trio, first piqued my curiosity about Lena and Bill Spencer’s cafe (or caffè, as they dubbed it, using two f’s) with their song “Caffè Lena” on the  1987 album Walking on Ice.

Caffè Lena was a place of mythical proportions to me then. For one reason or another, I never found myself in Saratoga Springs.

After all, I live close to The Turning Point in Piermont, N.Y., a music cafe that is, while 16 years younger than Caffè Lena, has a similar mission and musical profile.

And then there was the Towne Crier in Pawling, N.Y.,  from 1972 until closing in June with plans to reopen soon in Beacon. That gave me a backup option just a bit farther afield than The Turning Point.

So  I never got myself motivated sufficiently to make the trek to Saratoga Springs.

I should have known I was missing out. And now the Tompkins Square record label has  shoved into my face some very real evidence of exactly how much I’ve missed. Continue reading

Stew stirs things up with fantastic new songs at Barbès

The hat was more crumpled at Barbès on July 25, but Stew's energy was at a peak. (Photo © 2012, Steven P.  Marsh)

The hat was more crumpled than this at Barbès on July 25 and Stew’s energy level seemed higher than usual. (Photo © 2012, Steven P. Marsh)

By the time his latest gig in his musical living room (aka Park Slope, Brooklyn, boîte Barbès) rolled around Thursday night, July 25, singer-songwriter and Tony Award winner Stew had dumped his original staged plan to play versions of his songs from Passing Strange and other numbers from his extensive repertoire.

Instead, he launched into a tight song cycle “inspired by recent events.” In other words, songs about George Zimmerman and the Trayvon Martin case. If yoy don’t know what I’m talking about, it’s time to get out from under that rock where you’ve been living and catch up on the news!

If you’re a Passing Strange fan who passed on the show for one reason or another and are thinking now that this make you feel OK about missing, hold that thought. I’m here to tell you differently. Continue reading

Bangin’ it up at the Bang on a Can Summer Music Festival

To call Mark Stewart a guitarist would be a disservice. The multi-talented redhead leads participants at MASS MoCA in making some noise with some of his homemade tubes during the 2010 Bang on a Can Summer Music Festival. (Photo © 2010, Steven P. Marsh)

It’s a disservice to call Mark Stewart a guitarist. He leads a group at MASS MoCA in making some noise with some of his homemade tubes during the 2010 Bang on a Can Summer Music Festival. (Photo © 2010, Steven P. Marsh)

18 days of fantastic summer music in the Berkshires

Today’s subject: MASS MoCA.

I’ve written a lot lately about the Massachusetts Museum of Contemporary Art, especially in the last month or two because of Wilco’s splendid Solid Sound Festival, held on the museum campus in North Adams, Mass., in late June.

When Wilco announced the inaugural Solid Sound back in 2010, I pretty much knew it would be great because I had already seen MASS MoCA host many, many editions of the Bang on a Can Summer Music Festival — colloquially known at Banglewood.

If you’ve been a regular reader of Will You Miss Me When I’m Gone?, you already know something about the Bang on a Can program. This summer’s program is the 12th annual festival on the beautiful industrial MASS MoCA grounds.

But maybe you’re not a musician, or at least not one who wants to participate in the festival. How does this matter to you?

Rain on the MASS MoCA campus. (Photo © 2011, Steven P. Marsh)

Rain on the MASS MoCA campus. (Photo © 2011, Steven P. Marsh)

That’s easy. Festival participants do their learning in public, putting on recitals six days a week and participating in a public Marathon concert on the final day. There’s also a performance of Bang on a Can co-founder Julia Wolfe‘s Steel Hammer, a full-length piece that weaves together the many variations of the John Henry folk legend.

So there’s plenty of professional-quality entertainment  for people who are just interested in listening and looking at some modern art. (Click through to the jump for schedule and ticketing information.)

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Make time for Lincoln Center Out Of Doors | ALL SHOWS FREE

Singer-songwriter Erin McKeown performs at the 2012 Lincoln Center Out Of Doors festival. (Photo © 2012, Steven P. Marsh)

Singer-songwriter Erin McKeown was one of many performers at the 2012 Lincoln Center Out Of Doors festival. (Photo © 2012, Steven P. Marsh)

Stellar summer lineup of free concerts

The flyer for Lincoln Center Out Of Doors arrived in my mailbox the other day. It reminded me that I hadn’t posted a single word about this free outdoor concert series yet.

So here goes. It’s a super linuep, as always, meticulously planned by Bill Bragin, director of public programming, and his amazing team.

For now, just let me mention a few names: Kronos Quartet, Asphalt Orchestra, Allen Toussaint, Sahr Ngaujah, Dan Deacon, Jherek Bischoff, Jacob Garchik, Dan Zanes and Ozomatli. (Along with Nick Lowe, My Brightest Diamond, Trixie Whitley, James Burton and Desert Blues. And Rubén Blades, Jason Isbell, Sleepy LaBeef and Amanda Palmer & Grand Theft Orchestra.)

Does that whet your appetite? If not, you’re probably reading the wrong blog.

The free outdoor shows start July 24 and run through Aug. 11 at various locations around the Lincoln Center campus on Manhattan’s Upper West Side.

Check out the whole lineup by clicking or tapping here (http://bit.ly/15MOo6P).

I hope to see you there.

Saying goodbye to Maxwell’s: Share your ideas for the final show

Patrons enter Maxwell's at 11th and Washington streets in Hoboken, N.J., on July 5, 2013, (Photo © 2013, Steven P. Marsh)

Patrons enter Maxwell’s at 11th and Washington streets in Hoboken, N.J., on July 5, 2013, (Photo © 2013, Steven P. Marsh)

We’ve been thinking a lot about closing night at Maxwell’s, the well-loved Hoboken, N.J., music club that hosts its last show on July 31.

There’s a selfish motive, in part, of course: How can WE get to be there. Surely with all the bands and fans that have passed through the Washington Street club over the last 35 years there will be far, far more people trying to get in than the small (capacity 200) venue can possibly hold. With closing a bit over three weeks away, Todd Abramson, the club’s booker and co-owner, is working on a plan.

Todd Abramson with the New York Post's Mary Huhn in Austin in 2003.

Todd Abramson with the New York Post’s Mary Huhn at South by Southwest in Austin, Texas, in 2003.

But, as he told us by phone this morning, “there’s no news here” just yet. He definitely has some ideas about ways to make it accessible to more people and to level the playing field for those who want to be there. But he says he still has a lot to work out.

What we know is that “a,” the first band to play Maxwell’s, is supposed to reunite for the farewell show. And The Bongos, the much better-known band that grew out of “a,” will also be on the bill. But after that, just about everything is pure speculation.

Since things are in flux, you have a chance to weigh in with ideas of your own.

How should the final show be handled? Should it run all day. Should it be free on a first-come, first-served basis, a normal Maxwell’s price ($15-$25 from TicketFly) or should it be premium priced, a la Neil Young at the Capitol Theatre in Port Chester, N.Y., where’s the best seats are tabbed at $285? (Then again, when speaking of Maxwell’s, there are no SEATS, really.)

What about timing? July 31 is a weekday. Should the show start at 9 and go all night? Or should it start in the early afternoon and go on and on?

Who else — band, solo artist, influential individual or fan — be a part of the show in some way?

Don’t just tell us who or what. Tell us why — make a case for your idea. There should be a good reason for every eulogy and every participant in the farewell proceedings.

The sky’s the limit. Share you ideas in the comments section. Get a conversation going. Have fun thinking of the wildest ways possible to pay tribute to Maxwell’s incredible legacy.

Meanwhile, The Bongos promise details of some sort about the show on their Facebook page soon. And keep an eye on Will You Miss Me When I’m Gone? We’ll be sure to let you know of any developments as soon as we can dig them up.