Submitted by Al Kanovsky 05/01/14
...in one place at one time can create a terrible turmoil or turn out to be terrific fun. Last night at Le Chat Noir (the black cat) they had a celebration of International JAZZ Day. Plenty of JAZZ musicians showed up. Some to play, others to listen. Outside of the owners, Alex, Gio and Ezzio I was the only civilian in the house. Late in the evening Holly Spillane showed up with her husband Eddy (Ek Gato Fresco) Balzola (the cool cat) of Oriente. The musicians showed up slowly. First Roberto Rodriguez (drums) with Felix Gomez (piano). Then Federico Brito (Violin), Rafael 'Califa' Valenciano (bass), Othello Molineaux playing congas tonite), Ramatis (guitar), Rose Max (vocals), Lindsay Blair (guitar) and Mike Levine (piano). Silvan Monasterios stopped by just to say hello. --- A Jam is really a jam when the jammers are playing for the other jammers. The club owners had laid out Cheeses, salames, breads and assorted vittles for the players. Wine flowed freely and the music grew in intensity. It was Duke Ellingtons birthday, so the first tune was "A-Train". On stage were Roberto, Felix, Lindsay, Rafael, and Otello. Each taking a turn at impressing one another----and me. They followed with "Moonglow". When Flo and I started dating back in '56, that was 'our song'.
The sound of a trumpets blare and out of nowhere, Stuart King joining in. It was a little boppy before but now it was B-B all the way. "Autumn Leaves" and 52 St, had moved to Miami Avenue. Sonny Rollin's "Tenor Madness" and we are definitely in Bop City. Mike Levine was playing piano and Nicky Orta had taken over on bass. No way you can not play "Watermelon Man". The whole Orta clan was in the house with him. Mike, Luz and Debby. Luz's son and girlfriend had come along. Kai Sanchez comes in. It's the JAZZ bass convention. He shoulders the bass when Rose gets up to sing.Lindsay does the first tune with her and the Clematis shows up. The trip to Rio continues through "One Note Samba", Samba Cancao" and "E so Ol Har". Ray Pena is now on congas tearing it up. When Rose leaves the stage, Eddy is left alone. He strums the guitar---You hear the chord changes of "Lush Life". Howard Moss gets up to do the lyric line vocal. Achille Navarro(trumpet) has come in and picks up the melodic line. The young man can play.
Papo Delgado sits down at the piano, noodling around. Papo and Eddy do "Imagine" all by themselves. You know what I say about clave. It is in their very souls. It emerges into the rhythm of guaguancoa. A lot of people have left. It is after midnight. Less is often times more. Paul Shewchuck is here and when they play "Day in the Life of A Fool", Paul amazingly whistles a solo. In tune, on time and groovy. Ray follows suit---That's why I get out to listen to music as much as I do. I am sure you will never, ever have the opportunity to hear something like that. Everyone takes a break and El Gato Fresco shows his versatility when he intones " Louisiana". Everybody that's still there listens to Papo do a kind of funky cadenza or two. It becomes an all out funk jam. Kai on bass, Eddy on guitar, Ray on conga and Papo running the '88' I am clappin' and tappin'. Holly is using the claves to ka-ka the funky beat. Slowly but surely the rhythm pattern moidifies. Just read the names, Pena, Balzola, Delgado, Sanchez---you know there is no escape. All I needed was a dancing partner----SALSA is in the house. It is somewhere after 1. Ezzio buys me an espresso and walks me to my car. I wasn't ready to leave---oh well. They told me that Papo plays at Le Chat daily from 4 'til 7. Gotta get down there to hear more of that truly creative pianist.
side note; if you get the opportunity, talk to Othello about the 'pan' and its relationship to JAZZ. Interesting guy and more interesting conversation.
Al's Disclaimer:
A short note: The reason I write this is because I love music and words. I do not book acts. I do not promote acts. I do not accept invitations to review artists. I go to venues of my own choice. When and where is not influenced by anything other than who I would like to hear that night or day. If I don't like what I hear, I won't write about it. When I like it I let you all know. I never mention a name without asking permission. "Pardon me, Miss. Would you like to dance?"
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