The Kerouac Connection - Amram and Murphy

Jazz and Jack Kerouac have been closely linked ever since the publication of On the Road, with its depiction of Sal Paradise and Dean Moriarty at a West Coast jazz gig.  This connection continued in the experimental short, “Pull My Daisy,” which included Kerouac’s off-screen narration while fellow Beats such as Allen Ginsburg and Gregory Corso acted silently on the screen.  The score of this film was written by another onscreen participant, musician/composer David Amram.  Of all those involved with this project, the last man standing may well be Amram.

 

Jazz vocalist Mark Murphy also has his own Kerouac connection.  While he never directly collaborated with Kerouac, he paid tribute to him in a couple of iconic albums, “Bop for Kerouac” and “Kerouac, Then and Now.”  Not only do they contain music inspired by Kerouac and the Beats, but Mark reads selections from some of the writer’s novels, including the haunting ending of On the Road, which precedes the equally-moving Fran Landesman song, “Ballad of the Sad Young Men.”

In my own personal Kerouac connection, I expect to be seeing both Amram and Murphy this coming Saturday.  Thinking about this made me realize that not only are both still actively creative artists in their 80s, but they both have gigs coming up very soon.

David Amram is the special guest with Carol Sudhalter’s Astoria Jazz Band (quintet) at Sunnyside Reformed Church this Saturday night, April 21.  It begins at 7:00 p.m. and includes a concert, oral history, Q&A and jam session.  The address of the venue is 48-03 Skillman Ave., Sunnyside, NY 11104. 718 426 5997.  This is a free event made possible (in part) by the Queens Council on the Arts with funds from the Decentralization Program, a regrant program of the New York State Council on the Arts, administered by the Queens Council on the Arts. 

Mark Murphy, who turned 80 this past March 14, has been celebrating his milestone in a series of birthday concerts around the world.  During the next one, which takes place at New York’s Blue Note Jazz Club on May 21, he will be further celebrated by other singers who are friends and/or have been influenced by the master.  Of course, Mark himself is slated to sing a few songs, carefully picked from recordings spanning 50+ years of excellence.  The two sets are happening at 8:00 and 10:30 p.m.  The club’s address is 131 West 3rd Street, New York, NY 10012.  For more information, you can call 212-475-8592 or go to Blue Note-NY’s website at http://www.bluenote.net/newyork/index.shtml.

Jack Kerouac would have turned 90 years old this past March 12.  While he no longer walks physically among us, at least it’s nice to know that his legacy still lives on, not just through his books which are being read by the latest generation of free spirits, but through appearances by free-spirited elders such as David Amram and Mark Murphy.



 (Photo of Mark Murphy courtesy of The Jazz Paisan)

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Carol Sudhalter: The Octave Tunes

Carol Sudhalter has always been a bit of a Renaissance woman: playing and leading groups from duo to big band, collaborating with band mates from the U.S. and Italy, gigging overseas as well as at her home base in NY, being a multi-reeds player who doubles on flute, putting her own unique spin on familiar standards, and writing and performing original compositions.

Carol’s latest CD, Carol Sudhalter: The Octave Tunes, reflects the eclectic nature of her music. The title refers to the fact that each song has its own special opening leap. I’ve included my observations on a few of the tracks.

The first cut, “Flamingo,” given an Afro-Cuban treatment, features Carol’s ethereal but hard-driving flute, along with the exquisite piano of her young Italian protégé, Carlo M. Barile. On “Pancake Blues,” written by another fine Italian musician, Vido Di Modugno, who swings on organ, Carol showcases her earthy, old-school tenor. A soulful and moving vocal by Marti Mobin is the focus on “You Go to My Head,” where Carol contributes strong support with the interweaving lines of her bari, and her low-pitched notes cut straight to the heart.

It’s back to flute for “Alice in Wonderland,” along with Carlo on piano again. The sensitive interplay and soloing of the two instruments accentuates the wistful nature of the Disney song. In “Nature Boy,” Antonio Cervellino plays purring arco bass, and this time the pianist is the compelling Joe Vincent Tranchina. Carol contributes a heartbreaking flute solo before a return to the basic combination of arco and piano, with the occasional addition of flute accents. Another wonderful singer, Elena Camerin, is showcased with her romantic vocal to the beautiful Argentinian song, “Quisiera Ser.” Vito Di Modugno’s powerful organ is front and center for a moving reading of Billy Strayhorn’s “Daydream.”

To end the CD (and make it truly one for “all seasons”), are festive but off-the-beaten-track renditions of the Holiday Season standards, “Let It Snow! Let It Snow! Let It Snow!” and “The Christmas Song.”

These are just a few of the musical delights listeners can find on Carol Sudhalter: The Octave Tunes. There is no other recording, jazz or otherwise, quite like it. Carol Sudhalter and her fellow artists have managed to achieve fresh ways of performing familiar standards, as well as originals, and make this CD an enjoyable and fascinating listening experience from beginning to end.

For further information about Carol Sudhalter: The Octave Tunes click on this link. You can also learn about Carol Sudhalter's other recordings and gigs by going here.

An interview with Carol can also be found in my blogpost of Friday, July 24, 2009 ("And More Answers to the Two Questions.")

And Still More Answers to the Two Questions

The latest responder to my two questions is yet another talented Astoria neighbor, Carol Sudhalter. Besides having great chops on baritone sax, tenor sax and flute, she is the leader of groups which include the Astoria Big Band and the Astoria Jazz Band. With these ensembles she has showcased the music of Women Composers of Queens such as Emme Kemp, Sarah Mclawler and Julie Mandel in a series of concerts supported by grants awarded to her and her band from local and city-wide arts organizations including the Department of Cultural Affairs. Thanks to another grant, Carol's band also presented a Jazz History of Queens, which was narrated by Leonard Gaskin. Furthermore, she has presented several fine Italian jazz performers in the U.S., some of whom are currently working in New York.

Now on to my questions and Carol's answers:


1) Why did you decide on a career in music?

I had NO intention of going into music. My family were all jazz musicians and I think I didn't want to be in their shadow. I loved jazz and followed jazz bands around a lot and had little flings with musicians. But in college I was a biology major with intentions of having a career in science writing. As a kid, I was a birdwatcher and insect collector. The music in my house was Chicago style jazz: Bix, Frankie Trambauer, Bud Freeman etc. Later, in college, I linked into Django, Billie Holiday, Louis Armstrong. My tastes and exposure were not 'modern'. Even bebop came much later.

When I was between my junior and senior years of college, I had an emotional meltdown and began the long and painful road of psychotherapy. There, I discovered my center, and 6 months later, realized that what I wanted to do was PLAY music rather than follow bands around. I borrowed a flute from a classmate and started picking out the notes and playing along with records as I had always seen my brother and my father do. Soon I was sitting in with local bands. Like everyone else, I had been bitten by the bug, and it was straight downhill all the way, from there! A wonderful, rewarding, creative life with no material gain to show for it. I took up sax much later: first tenor, then bari and alto.

2) What is it you love about jazz that made you decide to focus on that type of music?

Jazz is what I heard at home since I was born. I studied classical piano and sang in glee club in both high school and college, and studied classical flute for 15 years, but always felt that being able to hear lines of improvisation in my head was something that not everyone had, and that if one had to choose, it was best to focus on that special ability. I try not to compare myself with others...Just try to bring out the ideas that are inherent in me, unique to me. I love playing classical flute when I get a chance! In another life maybe I'll do more of that.

I'm excited about my new CD to be released between September and December, recorded with several of my most highly esteemed Italian artists including a very savvy and accomplished 19-year-old pianist from Bari, Carlo Barile; and several New York artists from both U.S. and Japan, such as pianist Joe Vincent Tranchina and woman drummer Kaori Yamada.

The most exciting thing about this project was discovering a studio right here in Astoria with a brilliant engineer who handled the whole thing. It is at 30-80 33rd St. -- walking distance from my house -- the engineer, Slau, handled the whole thing, with kid gloves, lots of TLC, amazing ears and incredible professionalism. I recommend him to anyone. BeSharp Studios, 718-932-3660.


To see an example of Carol in action, click on this link.