Notes on JazzOctober 01, 2012This past Thursday September 27, 2012, I was invited to attend a roof top party at one of Harlem's most prestigious new buildings One Museum Mile. Located at 1280 Fifth Avenue, this large, luxury apartment building occupies the corner between 109th street and Tito Puente Way( 110th Street), and the edge of Central Park North, right off the Duke Ellington Circle. In keeping with the jazz history of the area, there is Robert Graham's imposing, twenty-five foot tall bronze sculpture of Duke Ellington and his piano perched atop nine caryatids, adorning a small park within the circle. The recently opened Museum of African Art, with its sixteen thousand square feet of exhibit space, calls the ground level of this ninety thousand square foot building home.
On this balmy evening, the view from atop the penthouse was spectacular. Despite the large cumulus clouds that lingered above threatening the outdoor proceedings with the possibility of showers, the evening was unscathed by any rain. The mostly gentrified crowd of invitees was treated to good food, drink, a soft sales pitch (the luxury apartments are for sale with presently 40% occupied) and great music. Like a lush Persian rug being unrolled before your eyes, the great green expanse of Frederick Law Olmsted's masterpiece, Central Park, and its hidden Lake, Harlem Meer, are majestically viewed from this unique vantage point .
But on this evening it was the music that I came for and I was not disappointed. The Harlem Blues and Jazz Band is a now venerable institution. Originally founded in 1973 by King Oliver's trombonist /blues singer Clyde Bernhardt and the jazz aficionado Al Volmer, it is dedicated to keeping the significant side-men of the Classic Jazz period working and not forgotten. Since those early beginnings, an impressive number of musicians from the classic era have moved through this group's ranks, often until attrition forces the band to replace them. Through it all the band's authenticity to the music is retained while providing these journeymen musicians a reason to still play and giving the listeners an important link to the music's heritage.
Predominantly a blues and swing era band, Vollmer is still managing the latest edition of the group. On this evening the band consisted of the trumpeter and singer Joey Morant , Fred Staton on tenor saxophone, Art Barron in the trombone chair and Fred Wurtzel, the guitarist. The rhythm section included pianist Reynold "Zeke" Mullins, bassist Michael Max Fleming and drummer Jackie Williams.
All veterans of an era gone by, Fred Staton logged in as the elder statesman at ninety-seven and still going strong. The group exhibited grace and vitality as it went through a repertoire that included Ellington standards like "Take the A Train" , "In a Mellow Tone" and "C Jam Blues." Trumpet player and de facto master of ceremonies Joey Morant, sang the Armstrong classics "What a Wonderful World" and "When the Saints Go Marching In" , punctuating the music with poignant trumpet solos complete with plunger mute in the tradition of Ellington mainstay "Cootie" Williams.
Art Barron, who was a one time member of the Ellington Orchestra, did a fine job resurrecting the spirit of Ellington trombonist "Tricky" Sam Nanton, as he slurred and muted his instrument to create a plethora of unusual sounds. He would often team up with tenorist Fred Staton in a tag team of call and response. Staton's hushed tenor sound was smokey and warm; somewhere between Lester Young and Ben Webster. Staton is the brother of the late singer Dakota Staton and has played with Earl Hines among others. Reynold "Zeke" Mullins was holding down the piano duties on the electric keyboards. You could barely see his eyes under his NY Yankees cap. Mullins was a frequent collaborator with the great Lionel Hampton's band. The stately Michael Max Fleming, whose tall lean appearance was the human embodiment of his instrument the upright bass, stabilized the bottom and kept the groove on track. Fleming made his bones playing with childhood friend and multi-reed player Rahsaan Roland Kirk as well as Eddie "Cleanhead" Vincent and backed up the singer Sammy Davis Jr.
The drummer Jackie Williams kept impeccable time on the traps. Williams has anchored groups with Milt Hinton, Buddy Tate and Illinois Jacquet to name just a few.Guitarist Ed Wurtzel was heard on his hollow bodied guitar deftly comping behind the band and soloing with gusto especially on "C Jam Blues."
With showmanship and joy that belies their age, the Harlem Blues and Jazz Band is a living tribute to classic jazz from the swing era and a treasure to anyone who appreciates the fine tradition they are keeping alive. As a working band that has done tours all over the United States, Europe and Scandinavia this group shows no signs of letting age get in the way of their love of this music. Catch them if you can.