Ode to Maude

Cafe Maude is rather odd.

It's a hot spot in a sleepy southwest Minneapolis neighborhood that, before Maude opened, had never seen so much nighttime activity or so many parked cars, something that drives the adjacent hardware store crazy.

It's a restaurant where a grilled flat bread is a meal (try the smoked chicken), a hamburger is heaven, and a sister special-events venue across the street, the Armatage Room, serves prix-fixe dinners based on themes: Istanbul, Argentina, period Italian films.

On the weekends, it's a mostly-jazz music club that books some of the best musicians in the Twin Cities, but almost no one comes to listen. For the vast majority of people standing two or three deep around the bar and chattering in the booths and at the tables, the music is aural wallpaper.

And yet, how I love Maude. I make sure to know who's playing there, and I often end up going, usually a bit later into the evening, when some of the clamoring crowd has cleared.

A quick list of just some of the people/groups who have appeared on the small stage in recent months: Chris Thomson, Adam Linz, Dave King, James Buckley, Bryan Nichols, Jay Epstein, Anthony Cox, JT Bates, Chris Bates, Alden Ikeda, Michael Lewis, Patrick Harison, Fat Kid Wednesdays, Enormous Quartet, Martin Dosh, Dean Granros, Milo Fine, Davu Seru, the Pines, Brad Bellows, Peter Schimke, Park Evans, Volcano Insurance, Joey Van Phillips, Tim Glenn, Sean Carey, Paul Metzger.

Last night it was a group billed as the Peter Schimke Collaboration. Led by pianist, composer, and sometime singer Schimke, it included Dean Granros on electric guitar, James Buckley on acoustic bass, and Jay Epstein on drums. Accordionist Patrick Harison stopped by after an earlier gig at a church and sat in for a couple of tunes.

We had requested a table near the music and got one. Don Berryman of Jazz Police joined us, having come over from the Artists' Quarter in St. Paul, where Astral Project was playing a second night. (HH and I came from the Bloomington Center for the Arts and a Johnny Mercer tribute show; more about Astral Project and Mercer later.) We heard the whole second set. When it was over, I was completely satisfied. I would not have changed a single thing or asked for one thing more.

Here's the setlist (thanks to Jay Epstein for considerable help with this; I usually take notes during live music but this time I was too lazy):

—Monk's "Trinkle Trinkle." This group can really play Monk.
—"The Vow," an original ballad by Schimke. So beautiful.
—Django Reinhardt's "Troublant Bolero." The first piece where Harison joined in. If you think accordion is all oom-pah-pah you are sorely mistaken. When Harison improvises on his button accordion, it's transporting
—"Wrong" by Jerry Bergonzi. Complex and challenging.
—Steely Dan's "Do It Again." Schimke sang ("You go back, Jack, do it again/Wheel turning round and round"), Harison played the squeezebox.
—"Blue Sparrow" by Dean Granros.
—"Ugly Beauty" by Monk.
—Wayne Shorter's "Footprints," their closing number, a joyous, freewheeling, in-the-moment journey through a jazz standard with generous solos by everyone.

What else is there, what else could there be?

Check Maude's calendar to see what's coming up. No cover charge, no reservations needed after 10 pm. Music starts at 9 and goes until midnight, often later, as "Footprints" did last night. The band just kept playing, as if they didn't want to let go of the tune.

The only caveat: You have to be able to stand the crowd noise. If you can't, you'll get cranky and start shooshing people, who will look at you as if you're mad and then ignore you.

If you're not sure, think about this: Month after month, weekend after weekend, exceptional musicians come to Maude to play. There's something about the place. Maybe it's owner Kevin Sheehy's infectious passion and enthusiasm for the arts. (Talk to him about art or travel or a particular musician or food and he's like a pot boiling over.) Or music programmer Ms. Mysterious (she doesn't want her name in print), who knows what she likes and brings it in. Some musicians feel she's too exclusionary; I say keep up the good work, Ms. M. Maybe it's the room; comfy, cozy, well-appointed. And the full bar, and the eclectic menu, and (in clement Minnesota months) the patio. Or maybe it's all of those things. Who knows. I'll be back.

Photo of the boys in the band by Don Berryman, taken after last night's final set. L to R: Schimke, Buckley, Epstein, Granros.

Irv Williams at nearly 90: Music and Irvisms

When: Friday, Aug. 14, 2009 • Where: Artists’ Quarter • Who: Irv Williams, tenor saxophone; Peter Schimke, piano; Jeff Bailey, bass; Kenny Horst, drums

Irv Williams doesn’t turn 90 until August 17 but can be forgiven for celebrating a few days early. (The party continues on Monday night at the Dakota, where the Steeles will open.) A mainstay of the Twin Cities jazz scene since he arrived here at the start of WWII, when he was assigned to the Naval Air Station in Minneapolis as part of the US Navy Band, Williams, known as “Mr. Smooth,” is still playing beautifully, still charming his audiences, still tossing out bon mots.

Out-of-towners and others who might not know him can read a little background here.

Williams is playing a shiny new Selmer tenor sax these days, and in his words, “It’s killing me. My old one cost $900. I had to get insurance for this one. I’m a nervous wreck.” The horn he played for decades now resides in the Minnesota History Center as part of the Minnesota’s Greatest Generation exhibit. Williams says of the Selmer, “It’s a real fine instrument but it doesn’t have that mellow sound I like to have.” Yes, it does. He makes any horn sound like his own, full of warmth and depth, resonance and emotion, and living human breath, the first maker of music.

Williams plays standards (he doesn’t compose that much, although his next CD, he says, will be mostly original compositions), and tonight is almost all legacy tunes: “I Hear a Rhapsody,” “Days of Wine and Roses,” “Here’s to Life” (which he was inspired to play by Shirley Horn), "Betsi's Song" (written for his daughter), “Green Dolphin Street,” “How Deep Is the Ocean,” “Besame Mucho,” “Alone Together,” “Bye Bye Blackbird,” “Old Folks,” “In a Mellow Tone,” “Soul Eyes.”

The near capacity crowd is there to listen and honor the birthday man (and eat cake, which comes later). The band is perfection. Williams shares a special simpatico with the great pianist Peter Schimke, his partner at his regular gigs and on the CD they made together in 2006, the exquisite Williams/Schimke Duo. Williams has known bassist Jeff Bailey since Bailey was a child, and drummer/AQ owner Kenny Horst has played with Williams more times than anyone can count.

After the first set, Horst gets up from behind his drums, walks over to Williams, and kisses him on the cheek. “I guess he likes me...a lot,” Williams says.

More Irvisms from throughout this enjoyable night:

On his birthday: “What’s all the noise about? It’s just 90. It’s just a number.”

On his new Selmer saxophone: “I wish I could play it.”

On playing the saxophone: “This is my 75th year playing this horn and I’m sick and tired of it. Seriously, I think it has something to do with my so-called longevity.”

On introducing the tune “How Deep Is the Ocean”: “Do you know how deep it is? I don’t. I don’t care.”

And, toward the end of the evening: “I’m old. I’m really old. I can play the race card and the old-age card. I can’t lose.” At that, he throws back his head and laughs.

Photos by John Whiting. T to b: Jeff Bailey and Irv Williams; Peter Schimke

J.D. Steele

When: 3/23/08
Where: Dakota
Who: J.D. Steele (vocals), Peter Schimke (piano), Serge Akou (bass), Daryl Boudreaux (percussion), Larry Robinson (drums), ???? (trumpet); Billy, Fred, Jearlyn, and Jevetta Steele (vocals)

The band warms up and suddenly J.D. rockets through the curtain and launches into Marvin Gaye's "What's Going On" before a crowd of family, friends, and admirers. He's dancing and smiling and we're right there with him. No need to warm us up. From the moment he opens his mouth until his final goodbye, this will be a high-energy show.

I've seen the Steeles several times but never J.D. on his own. I wasn't expecting to be handed so much joy. J.D. is effervescent. This night is a CD release for an album he's been recording for the past decade ("Whenever I started working on the record I'd end up doing something for my family instead"), a celebration of 25 years in the music business ("I left the corporate world in 1983"), an introduction to the new love of his life (Shangilia, a choir of former street children from Kenya), and a family reunion ("My brothers and sisters will join me later and I hope you don't mind?"). The band is splendid. If you weren't in the audience, you can be sorry now.

We hear several songs from the CD, all originals: "I Wonder," "Don't Give Up" ("I wrote this song when a friend of mine was having some problems; I just wanted him to be encouraged"). We see a short film about J.D. and Shangilia, learn to say "Every burden shall be rolled away" in Swahili, and hear J.D. sing "Save the Children," another song I associate with Marvin Gaye though it's been recorded by a lot of people.



Jevetta, Billy, Jearlyn, and Fred join their brother for the final songs: J.D.'s "Starting All Over," "All Because of You," a rousing gospel tune ("I never shall forget what he's done for me..."), and "Better Love." Now the energy is incandescent. Have we just heard more than two hours of soulful, beautiful music? The time has telescoped. The evening could not have been better.

Valves Meet Slide: Back for More

When: 1/20/08
Where: The Artists' Quarter
Who: Brad Bellows (valve trombone), Dave Graf (slide trombone), Peter Schimke (piano), Gordy Johnson (bass), Mac Santiago (drums)

I can't imagine a better way to spend a cold Minnesota Sunday afternoon than in the warm embrace of the Artists' Quarter. There's something about parking on the St. Paul streets, walking through the lighted arch over the 7th Place Pedestrian Mall, passing the goofy drummer mannequin in the window of the Hamm Building (we call him "Dusty"), and heading downstairs to the basement jazz club that makes you think all jazz clubs should be in basements. Like the Vanguard, like the Iridium, like the Standard.

As promised, Brad Bellows brought appetizers: crab dip, chips, cheese and sausage. We sat and snacked and enjoyed almost four hours of music by a group that sounds better each time I hear them. We heard tunes by Freddie Hubbard and Dave Karr, J.J. Johnson, Miles Davis, Gerry Mulligan, Jobim, Bob Brookmeyer, Tad Dameron, Horace Silver, and Fats Waller, almost all of which had been transcribed for the quintet's unusual configuration, and an original by Graf, "Going Away." Everyone sounded great, everyone looked happy and relaxed, and everyone had a chance to shine. Gordy Johnson in particular was about the best I've ever heard him; at one point, Graf said, "Gordy's on fire."

The event drew a sizable crowd for a Sunday afternoon that also featured big football games and a figure skating championship at nearby Excel Energy Center. I've heard this was something AQ owner Kenny Horst wanted to try to see if it would fly--would people come to the club on Sunday afternoon? Make it as good as this and they'll come.

Photo by John Whiting. L to R: Peter, Gordy, Mac, Dave, Brad.

Video by Don Berryman.

Trombones help beat the winter blahs: Valves Meet Slide

Originally published on MinnPost.com, January 11, 2008

The unhappiest day of the year is almost here. Thanks to Welsh psychologist Cliff Arnall, who developed an equation that factors in bleak weather, Christmas debt, failed New Year's resolutions and other glum variables, the first Monday of the last full week of January is designated Blue Monday. This year, it falls on Jan. 21.

Don't despair — prepare. Spend part of Sunday the 20th at the Artists' Quarter and stock up on bonhomie for Monday and beyond.

The AQ is hosting its first Sunday Afternoon Jazz Party starting at 3 p.m., complete with free hors d'oeuvres. On stage: Valves Meet Slide, a quintet with two trombones and a killer rhythm section.

I first heard this group last November and I liked them a lot. The music is upbeat and warm — jazz standards you've probably heard before, but on different instruments. You can see them perform here.

Not your typical jazz horn
The trombone is not the first horn people associate with jazz; that would be the saxophone or trumpet. But it's an instrument with a great range and mellow sound. Usually you're lucky to hear one in a jazz ensemble. Slide Hampton, Robin Eubanks, J.J. Johnson, Steve Turre and Delfeayo Marsalis have all helped to popularize the horn with the big reach. Hearing two at the same time is a rare treat.

In Valves Meet Slide, Dave Graf plays the trombone most people are used to seeing, the one with the slide. Brad Bellows plays valve trombone, which uses valves (like a trumpet) instead of a slide to lengthen or shorten the pipe and create the notes. (Trombone trivia: The late Maynard Ferguson played a trombone with both valves and a slide. He called it Superbone.)

Bellows is the founder of Locally Damaging Winds, the Midwest's preeminent jazz trombone septet; earlier this month, they played to a near capacity crowd at the Bloomington Arts Center. Graf can be heard with the Latin ensemble Salsa Del Soul every Thursday night at the Times Bar and Café in Northeast Minneapolis. His musically varied background includes big bands, Brazilian music, A Prairie Home Companion, and a long association with the late trumpeter Red Wolfe in his Port of Dixie Jazz Band and the Ellington Echoes. Graf has also performed with Dizzy Gillespie, Slide Hampton, Jack McDuff, and the Woody Herman Orchestra.

It was Bellows who suggested to Graf that they get together and jam. "We started doing that for the heck of it," Graf says. "I like to practice with someone else, give and take, bounce ideas around. After we'd done that a couple of times, Brad said, 'Let's try and get a gig.' Next thing I knew, we had a booking at the AQ." That was last summer. The Sunday Afternoon Jazz Party will be the fourth time Valves Meet Slide has performed in public.

Both men have fond memories of the Emporium of Jazz in Mendota, where the Hall Brothers New Orleans Jazz Band played for 25 years. "They had a Sunday afternoon show," Bellows says, "and it was fun." Bellows and Graf have day jobs, as do most of their family members and friends. "People with day gigs don't want to go out at night during the week," says Bellows. "A Sunday matinee will give more people a chance to see the band."

They will have a set list but don't yet know what will be on it. "We play what we like, a variety of stuff, and we try to sneak in a couple of new songs every time we play," Graf says. "We keep it pretty loose."

Back-up from a dream team
In addition to his valve trombone, Bellows will bring his euphonium — basically a small tuba. (Its name comes from the Greek word euphonos, meaning sweet-voiced.) Graf and Bellows will be backed by a local dream team: Peter Schimke on piano, Gordy Johnson on bass, Mac Santiago on drums.

Bellows will supply the hors d'oeuvres. He's thinking crackers and cheese, chips and dips, the sort of thing you'd eat anyway if you were at home in front of the TV. The bartender at the AQ (maybe Dan, maybe Dave) will pour the club's famously generous and reasonably priced drinks. And Davis Wilson the doorman will take your money, about what you'd pay for a movie.

The AQ's doors are seldom open on Sunday afternoons. An earlier exception was last July 15, when a singer's showcase for the Jazz Vocalists of Minnesota packed the house. Graf laughs when I remind him of that. "Those were singers, we're trombones," he says. But good music is good music, and that's what you'll hear if you go.

What: Valves Meet Slide
Where: The Artists' Quarter, 408 St. Peter Street, St. Paul
When: 3 p.m.-7 p.m. Sunday, Jan. 20
How much: $7
Phone: 651-292-1359
Website

Upcoming picks

Slide Huxtable Quartet featuring Mark Miller: I've never heard of a jazz group playing three local clubs in the same week. Maybe one day Orchestra Hall and the Schubert Club could share a soprano? This very interesting quartet — all former members of the Motion Poets — includes Mark Miller on trombone, Chris Bates on bass, and J.T. Bates on drums, with guitar wizard Dean Magraw stepping in for regular group guitarist Bill Bergmann. Earlier this week, they played the Clown Lodge (in the basement of the Turf Club) and then the Artists' Quarter. Tonight they're on the Dakota's late-night bill. The Dakota, 11:30 p.m. Friday, Jan. 11 ($5).

Roseville Winter Jazz Blast: It's the 150th birthday of the state of Minnesota, and we're finally getting a state birthday song. The Roseville Winter Jazz Blast commissioned one by Dean Sorenson, director of jazz studies at the University of Minnesota; the song will have its premiere at this day-long festival for middle and high school jazz ensembles hosted by Northwestern College in Roseville. Come for the closing concert with the JazzMN Big Band, Judi Donaghy, and T. Mychael Rambo. 7:30 p.m. Saturday, Jan. 12 ($7-$17). Call 651-631-5151 or 866-821-5151.

Improvised Music at Homewood Studios: Every two months, this artists' workspace and community gallery in North Minneapolis hosts an evening of improvised music. In their words, "It's not your regular Lake Harriet Bandshell evening." That's for sure. This month features Milo Fine on drums and bowed cymbals, Davu Seru on drums, John O'Brien on trumpet and flugelhorn and Stefan Kac (of the Pan-Metropolitan Trio) on tuba. Homewood Studios, 7 p.m. Monday, Jan. 14 ($5).

Irv Williams

When: 1/6/08
Where: The Dakota
Who: Irv Williams (saxophone), Peter Schimke (piano), Gordy Johnson (bass), Phil Hey (drums)

At 88, Irv Williams (a.k.a. "Mr. Smooth," but certainly not because he plays smooth jazz) has released a new CD. He called it Finality which just makes people roll their eyes. Williams is the Energizer Bunny of jazz without the dorky drum. We caught the first set of his CD release at the Dakota, where he and his trio celebrated with standards: "Wrap Your Troubles in Dreams," "In the Wee Small Hours of the Morning" (a melody that makes me vow never to travel anywhere without my husband again), a spry, snappy reading of "I Thought About You," "Old Folks" (what Irv calls "my theme song"), "Come Rain or Come Shine." The downstairs was full, the crowd was devoted, and Williams' sax was warm and velvety.

Introducing his new CD, Williams pointed out the image on the cover: himself as a six-year-old child. Due to the age of the photo, it needed some restoring. He also mentioned he'd been born prematurely, a much bigger problem in 1919 than it is today. Then he told us he had his pen out and was ready to sign. He stayed on stage during the break and people got in line.

Read about Finality, listen to bits of each track, and maybe order yourself a copy.
Still my favorite Irv CD.

Photos: Irv then, Irv now.

Valves Meet Slide

11/14/07, The Artists' Quarter: We're celebrating Jazz Police chief Don Berryman's birthday. After hearing Dean Granros at Cafe Maude (sort of; loud crowd) over dinner, we head to the AQ for Valves Meet Slide, a quintet with not one but two trombones. Valve trombonist Brad Bellows and trombonist Dave Graf front Peter Schimke on piano, Gordy Johnson on bass, and Mac Santiago on drums.

It's cold outside, warm inside the homey AQ, one of my favorite places on the planet, where the size of the audience (small tonight) never seems to have a negative effect on the performance. Music as fine as you're likely to hear anywhere is a regular thing at the AQ.

See Valves Meet Slide on youtube.

Photo: L to R: Dexter Gordon (the famous AQ poster), Peter, Dave, Brad.