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Stefan and his amazing Flame-O-Phone. Click on this photo and see it nice and large – it’s pretty great.

I’m really really late to the party on this one. Maybe because the only versions of these songs that I’ve heard had so much gaudy, transexual camp on them that it glazed over the cold, hard, vile, scabrous truth to this complex and brutal music.

We did a party at Shanghai Mermaid this weekend and the theme was Weimar Germany. There was one outstanding song that began to point the way for me into this treacherous, macabre and generally thrilling music. The performers name was Lady Rizo and the song that stabbed me was “Pirate Jenny” from “Threepenny Opera.” Basically, the song is a revenge fantasy. A prostitute in a hotel concocts a vision of a pirate ship that will not only save her from her wretched condition and the brutality of how she is treated, but will also ask for her judgement on when to kill each of her persecutors. By the end of the song, no one is spared and she leaves the town on the pirate ship herself. To take the whole thing to the next dramatic level, in most performances the song is sung by a different character to make fun of Jenny for being such a pathetic, powerless looser!!

Lady Rizo gave an epic and drawn out version a la Nina Simone rendition.

Today, I began to study Weill and Brecht a bit and found many different versions of this song. The one I am posting here is probably the closest to the song’s original intent as it is performed by Weill’s wife, Lotte Lenya. It is brisk and cold and mean and ultimately horrible. I love it.

Rizo’s version was much more drawn out and in English. A side note and a tip of the hat to a great performer: Lady Rizo had a recalcitrant crowd whipped into submission from the first seconds of her set and continued to spellbind and amaze. To perform a song as unpleasant and murderous as this, with so much text as well (!!) and hold everyone’s attention is a feat of entertainment that I yearn to achieve. I was impressed.

For those of you that may or may not know (doesn’t matter), THE MIGHTY TIN PAN recently rocked the Wonderneath Show at the House of Yes…

A swirling good time of flying women, giant human eating plants, silk tentacles spewing scantly clad girls overhead, and Baby Hands smiling profoundly at learning of the mystical dance move known simply as the “Box Step”.

Jesse & I met with the cast early in the run and started working with the girls to pick the correct tunes and reshape them to fit the show. It was really fantastic that the Lady Circus gravitated to mostly original Tin Pan songs and it was great to write new lyrics to Jesse’s melodies to allow them to tell the narrative of our heroine.

For my part, I was busy catching transitions, mood, story arc, & choreography to begin working on underscoring ideas and musical direction for the dance numbers. I always love working in the theater and get a kick out of the split second musical choices that drive the action on stage home and really pride myself on creating the right sounds to convey the scene’s intent without drawing attention to the musicians*.

It was great to use much of our current repertory but I hope that the next time we score a show it allows for more original parts & arrangements. I feel that between Jesse’s songwriting chops & my theatrical scoring we could really give Andrew Lloyd Webber a run for his money!

I was super tickled with a particular section of the show I call “Tin Pan in Turkey”:
While 3 lovely ladies danced with fist-fulls of fire, Jesse was holding down the proverbial fort with a serious djembe & tambourine-snare-esque groove while I joined in with some Whirling Dervish strumming upon my trusty ol’ National guitar. I told
Stefan to get busy serenading the spitting cobras that dance in his mind by playing some SERIOUS Cor Anglais (The English Horn or “Oboe Gordo”).

But the most miraculous and unexpected part of this new little step into the soundworld of the Tin Pan was the UNABASHED, UNWARRANTED, & TOTALLY KILLING Double Bass soloing of one Peter “Baby Hands” Maness…

Yes, you heard right: The Benevolent Dictator actually requested, approved, & outright enjoyed a Five minute arco bass extravaganza!!!

With both a bass solo & Saints Super Bowl victory happening so close to each other I can hear legions of “Left Behind” readers running to get on the mythical “Escalator to Heaven”…

All in all a great experience & one I hope Tin Pan gets to repeat soon & with much regularity!

Here are some fun pics & a short review from Atlantic Records Art Director, Alex Kirzhner:

New Shade of Black

And let it be known that I totally rocked the French Horn every night of the run!

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*For more on this topic see: “PSYCHO Shower Scene” score by Bernard Herrmann.

TONIGHT TONIGHT TONIGHT! The Wonderous Flame-O-Phone makes its professional world premier in the dazzling circus fueled performance of The Wonderneath at the House of Yes.

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The Flame-O-Phone has been getting a fair amount of traction on the web. The saxophone forums have erupted with both pride and derision towards our inventive protagonist. Friends and family have weighed in with admiration and fear. “Don’t inhale!” is a common refrain.

The biggest piece of evidence of the horn’s virility (viral-ness?) (contagion?) is that the initial video of Stefan trying out the horn for the first time on the Lower East Side has been formally licensed by “Epic Win FTW” and is racking up votes as we speak… Vote here!

If you’re a jazz head you’re already thinking about Steve Bernstein. Ok. I hear ya. And good for Steve for taking something unwieldy and obscure and making it synonymous with his name. If you see me playing bass clarinet and name drop Matt Lavelle, I’m gonna just smile and say. “Wild man, heavy.”

If all this just goes right over your head and you’re thinking “What a cute little baby trombone. What is that?” then we’re on the same team. This thing is a mystery to me too. Clifton, a man with quite an instrument collection, lent me his mini-trombone about 5 months ago and I’ve just managed to start using it performance in the last month. It’s an unwieldy and slurpy but a very fun little monster. Of course, when it came time to create the music for The Wonderneath, and I learned that A) I had the option of decking out one of my horns in Swarovski crystals and B) that I would be playing the horn on stage surrounded by trapeze artists, fire dancers and circus performers, I immediately thought of the baby bone.

So now I really have to learn how to play the damn thing. Maybe even in tune. So, I’m taking a break for my lip’s sake right now to write this but then back to shedding. As with many theater pieces with multiple vocalists, the songs wind up being in strange keys and I am learning some old spirituals and dance numbers in the hellish C#. Oh god of the baby bone! Hear my prayer! Give me the strength and silliness to play kinda sorta in tune!

If there is a god of the baby bone he is wearing a diaper.

Welcome to day 18 of our month 28 day Blog-A-Thon. We’ve been bringing you highlights of drink recipes, flaming saxophones, concert reviews, and a back-stage passto our Tin Pan world. Happy to have you with us.

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This week at Googie’s Part three of our continuing series on our residency at this well-trafficked venue. A truly wonderful thing happened again at Googie’s on Friday night. We invited the wonderful Clem Waldmann play our second set with us. I know you are at least a little familiar with our music and presentation. We put a lot of work into getting some tight arrangements that have some sudden and dazzling twists and turns, hairpin mood shifts, and expressive use of tempo. Having a drummer sit in with us is fraught with peril. Either they will just miss certain changes or they will railroad the beat into something that suits their style but isn’t the groove or feeling that the rest of the band is going for.

Enter Clem Waldmann. This guy’s playing was so joyous and seamless. The bass drum wasn’t too persistent. The shuffle was impeccable. The accents were in the right places. The groove was buoyant and light when needed and thick and swampy when required. He didn’t not miss a single cue, transition or feel! Frankly, and this is going to sound strange, Stefan and I FORGOT THAT HE WAS EVEN THERE. It was such a good accompaniment and so obviously supportive of what was going on that it allowed us to focus all our attention on being in the moment and maintaining the connection with the audience. It’s hard to tell a story when you’re looking over shoulder trying to accomodate the new guy. In this case is was the opposite. Even with the very first few sounds he made, he just built confident gesture and agreement on to every moment of the music. Every once in a while he would add something delicious and fun and I would remember that we had this whole extra layer to what we were doing. It’s like when you’re walking, after the first few steps you really don’t have to think about your feet. It’s only when things get shaky would you need to concern yourself with balance. Clem was as solid as possible in that regard.

Stefan said so to Clem right after the gig while we were still on stage.

“I forgot you were there.” The truly terrific part is that Clem understood the HUGE compliment in this comment and rejoiced in it.

He clutched is hands and pumped them over his head with a huge smile like he just won a prize. Clifton reports that over at the Blue Man Group theater (where they have worked together for a few years already) Clem told another drummer how excited he was to receive that feedback and they both high-fived about it!

I think that might be the sign of a drummer that I want to be working with. They place a very high value on time-keeping, solidity, confidence, and taste and are confident enough to not be so concerned with being noticed for flashy playing. Clem, you nailed. Thanks! Listen for Clem on our next record. We start recording in March.

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Another first to note at this gig. The deliciously talented Katie Hasty sang a few songs with us on this gig. She managed to sing the material without falling into the obvious tropes of female jazz singing that we tend to avoid. She brought all her personality, wit and sauce into the mix. Her stage presence made standing next to her a joy. It was really fun. She tore it up. More please.

Some members of the audience were commenting after the show that Tin Pan is a pretty male, testosterone-driven experience. We all are gruff and going for it with boatloads of Yang energy. Katie’s presence on stage (even for justa few songs) helped members of the audience feel more comfortable and assured by balancing out the vibe. It also drew a sharper contrast making for a more compelling show. And there you have it. Thanks for the feedback.

And while we’re talking aesthetics: Clem reflected after the gig that he felt like Baby Hands and I come off like trained musicians who have too much sauce to sound like school and just want to rock-out. Clifton and Zoo on the other hand come across as rockers who somehow wound up with an acoustic guitar or a clarinet in their hands and are making the best of it.

About a month ago we met the formidable Ali Schmitz who impressed us with her huge spirit, imaginative ideas, clear headed administrative capabilities, and her articulate and intelligent mind. She had some wild schemes but had a plan and the experience to back it up.

So we started to work together on her new piece, “The Wonderneath” Basically, she wanted us to use Tin Pan music to underscore and enrich the entire show. Most performers are acrobats, fire dancers, aerialists etc… so there is next to no dialogue. It’s the wonderful experience for us of scoring a live silent-film! We used songs from our repertoire and adjusted them and moved some lyrics around to make everything fit the story. How would I describe it? … a metropolitan, turn-of-the-century, Alice in Wonderland tale with killer music and fire breathing saxophone. I am proud to say that Ali gravitated to many of my original songs: For those of you in the know “Brooklyn of Old,” “Dandelion” and “Blue Nature” all made it into the final staging. It’s a trip to hear one of your songs performed by a fire-dancing spider oracle! and another one sung while under the threat of decapitation!

Ali’s been wonderful throughout and she has the rare and delightful quality of being able to say “Yes” to any idea – and people have been throwing out some pretty creative and seemingly impossible stuff. Appropriately, the theater we are using is “The House of Yes.” It’s all coming together and peaking just at the right time. Last night was another rehearsal. Next week are the tech and dress and preview runs and then opening night is February 26th. The show runs through March 6th.

Get your tickets here! $15 advance – $20 the day of the show

Saturday night was another Shanghai Mermaid extravaganza at Galapagos. This time we shared the stage with the wonderful Gordon Webster on piano.

As some of you know, Gordon has been taking Rob and I out on the road with his quintet from time to time. It’s a blast for us to play in front of all the swing dancers at these events. It was also a trip to flip it a little and have Gordon working in our band and introduce him to the Tin Pan hang – comes complete with exotic dancers. We did a rehearsal on Thursday and Gordon made a comment that I thought was telling. Essentially he had thought that from hearing us initially that because we were so energetic on stage he could just throw himself in there and play whatever he felt and it would be fine. After about the third song of the rehearsal he realized that we have a really specific structure for each tune and real specific requirements to keep things interesting and spare so that we can be energetic but not have it be just a monster mash. As soon as he realized that his playing immediately followed suit and we all felt that he would really be able to add a lot to our sound.

The piano pictured here is the one at Galapagos. The kind and mellow folks and Galapagos promised that the piano would be tuned. It was tuned. It was also missing about a dozen keys! Even some quite important one’s like the A below middle C and the F just above it. “Hey G., give me an A” “Nope.” At least the piano looked real cool! Gordon was a trooper, though and he made that thing sound great. The Piano was a good choice and we had the idea to add it to the mix to better compliment our host, Juliette Campbell’s voice. Juliette is going for a Peggy Lee sound that is a little more refined than the typical Tin Pan gut-bucket barrage. In the middle of the evening Juliette came up and sang three songs with us. She killed it too: confident, good strong attitude – the crowd ate it up.

Also on the bill with us was Shien Lee and Mamie Minch. Shien did a lovely set of old time Shanghai Jazz tunes with our own Rob Adkins pitching in on the bass. This photo here is of Shien warming up back stage. It was great to hang out a bit with Mamie. MM’s done a few Shanghai Mermaid’s with us and we also had a chance to have her sing with us at Super Fine. She’s got a great voice and a wonderful style. By the middle of her second set, she had everyone in Galapagos enveloped in a real cozy, warm vibe.

The night ended with Gordon, Clifton and I having pizza at Artichoke on 14th street. I got to bed at 6am.

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The ox is alleged to be stubborn, hard working, doesn’t complain, keeps its head down, methodical and serious. I read today that the ox and the monkey do not get along too well. I’m a monkey – agile, quick in the mind, playful, does a lot at once, a schemer, etc… But maybe this is the right time to be ox-like. Winter’s hard and the economy is rough right now. An ox would just plow through the tough times and the good times with equal determination and consistency. Anyway, here’s some David Byrne lyrics from the Talking Head’s tune, “Animals”

I’m mad…And that’s a fact
I found out…Animals don’t help
Animal think…They’re pretty smart
Shit on the ground…See in the dark.

They wander around like a crazy dog
Make a mistake in the parking lot
Always bumping into things
Always let you down down down down.

They’re never there when you need them
They never come when you call them
They’re never there when you need them
The never come when you call them down down down down.

I know the animals…Are laughing at us
They don’t even know…What a joke is
I won’t follow…Animal’s advice
I don’t care…If they’re laughing at us.

They’re never there when you need them
They never come when you call them
They’re never there when you need them
The never come when you call them down down down down.

They say they don’t need money
They’re living on nuts and berries
They say animals don’t worry
You know animals are hairy?
They think they know what’s best
They’re making a fool of us
They ought to be more careful
They’re setting a bad example
They have untroubled lives
They think everything’s nice
They like to laugh at people
They’re setting a bad example
(Go ahead) Laugh at me

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Oh my! That’s some serious business right there. Veronica Varlow!

One time I was out at dinner. This is when my Grandpa was still with us. A tall, Jayne Mansfield looking waitress ambled by with a tray held up over her head. My good old grandpa followed her with his eyes.

My dear grandmother sees this and starts right in on him. “Manny, you like that, huh? What do you like about that?”

He demurred, “Well . . . she has a nice, hmm, posterior. And a fine, rather, uhm, a fine buxom area.”

“Manny, put out your hand.”

And ever-polite, he stretched out his hand, fully expecting to get slapped on his wrist. “Congratulations. You’re still alive!”

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In a word, new year’s was a total blast. The evening started at home where my darling Rachel was busying herself getting all dolled up and making sure that her and her whole crew would be arriving in time to secure a table. Arriving at Galapagos, we realized she had made the right decision. By the time the doors opened at 8pm there was a line at the door and folks didn’t stop coming until the place was more than full. I believe that Shanghai Mermaid had sold out over 200 tickets in the first few days that they went on sale.

I think the pictures will tell the story of the evening more succinctly and you can see them at the bottom of the post. But I will add a few scenes that helped make the evening a one-of-a-kind memory.

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The Man in The White Fedora
Stefan and I were hanging out people watching between sets and we noticed a cat with a dark pin-stripe suit and a white wide-brimmed fedora cutting a line through the crowd with a petite chocolate curly haired cutie on his arm. “Dang. That guy has got a style.” “Generally, that’s a really wide hat – but that cat pulls it off.” “Yep.”

He get’s closer and it’s Dave Jay! Wow, I played trumpet on his record this fall. Dave had called me about a week before the event asking me if I thought Shanghai Mermaid would be a good place to bring a date. “Well, yeah it is!” About 15 minutes later he calls me up and asks me where he can take some swing dance lessons! “Dave, you’re really going for it” “Well, this girl is really special and you know… I want to impress her.”

So now I’m standing next to Dave and this lovely lady and they are smiling and grinning ear to ear. Dave tells me that he rented a Packard and a chauffeur so he and his girl can travel in style and arrive on the scene with some class! You go Dave Jay!!

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The Hunch
The Blue Vipers of Brooklyn were also on the bill with us. I was really impressed with their trumpet player Sam Hoyt. I have heard him on their albums but I never got a chance to really enjoy hearing live for whole sets at a time. Now, Sam is character. Billy Nemec is character too and the two of them together are just silly mischief waiting to happen.

Back stage, Billy was smiling through his teeth and telling us about, “the next best dance craze. It’s called the Huh-huh-huh. Huh-huh-huh. The Hunch.” Some rockabilly tune he dug up that reminded me of Buddy Holly or Bill Haley and The Comets. Up on stage he introduces the tune and launches into “The Hunch.” Sam starts doing this awesome, stooped-over, storky, hunchy dance. It was great. It was even inspiring. It inspired Stefan and I to run onto the wings and then to do the hunch all the way across the stage behind the band. It was all asses and elbows. Billy was surprised but he couldn’t help laughing at us!

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Counting In The New Year
The highlight for me personally was the fact that I got to be the guy that counted in the New Year for over 300 people! I had a clock on the floor and after Juliette – our gorgeous and wonderful host – thanked and toasted everyone, I counted down the final 10 seconds. We all sang “Auld Lang Syne” together and the whole thing felt so joyous like a blessing. I told this story to Eve Polich the other day and she said, “Jesse, you are the perfect guy for that job.” I think I will agree with her. I am the perfect guy for that job. There are times where it is right and good to reflect and amplify everyone’s hopes, blessings and good wishes. I was a walking, talking, singing smile. I’m kinda still smiling from the experience. Happy New Year everyone! And to the borrow the words of Billy Nemec as he’s counting off another tune: “It’s gonna be great. You’re gonna love it!”

Oh yes! So glad this party is happening. Tin Pan as the house band, of course…

an underground speakeasy cabaret surfaces for New Year’s Eve . . .

you are most cordially invited to the last installment of “shanghai mermaid in exile” of 2008.

please join me for a scandalous evening of entertainment and debauchery from another era . . . 1930’s shanghai, 1920’s paris, weimar berlin, early gangster and jazz age new york . . .

$35 advance tickets. $40 at the door. doors open at 8pm. performances start shortly thereafter and will be scattered throughout the evening until the wee hours. the party is 21+ only. seating at tables is limited. costume is strongly encouraged. dust off your fedoras, your feather boas, your sequin gowns, flapper dresses, oriental attire . . . i can’t wait to see you all.

for the location of the new year’s bash, and to buy tickets in advance, please go to shanghaimermaid.com. advance tickets are encouraged as space is limited. whether you come early, or very late, there will be performances and glamour for you to enjoy.
xo, juliette

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