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It was a weekend in Minneapolis where Woody Allen could be found in multiple places-
Allen’s latest star-packed film- the mystery drama, Irrational Man, had opened in theaters that Friday and he and his acclaimed New Orleans Jazz Band had left their friendly confines of New York’s Café Carlyle where they have a Monday night residency (playing one since 1973, at the venue for over a decade), for a 100 min. performance at the State Theatre in Minneapolis.
The 79 year-old Allen was front and center on clarinet as his Dixieland-style jazz band cherry-picked from the reported 1,200 songs they know of mostly hundred-year old spirituals, marches, rags, and blues standards. In keeping with the spontaneous nature of the music, there was no play list, nor did the other musicians know what song Allen, in collaboration with band director Eddy Davis, would call out next after some brief discussion between them.
In addition to Allen and Davis, the band featured pianist Conal Fowkes, trumpet player Simon Wettenhall, trombonist Jerry Zigmont, John Gil on drums, and Greg Cohen on bass, all well-dressed performing on a bare stage. Five of the seven members took lead vocals at one point, though most were glad Allen didn’t try to croon a tune.
Allen didn’t get up to speak until three songs in- dressed casually in earth-toned dress shirt and slacks, still ever self-depreciating in his delivery. “Anyone who’s foolish enough to pay to see us….we’re thrilled”, Allen joked, “thanks for showing up.”
Spontaneity ruled the set of early 20th century standards, which would have Davis usually start the next song, after a short off-mike talk with Allen and included ‘Down by the Riverside’, ‘Easter Parade’, St. Louis Blues’ and the hymn ‘The Old Rugged Cross’, which was played near the halfway mark.
Allen’s solos punctuated many of the songs, his Albert system clarinet occasionally sounding squeaky, but were mostly fine and predictably received the most applause of the night. The music was rooted in Big Easy sounds from a century previous, and an offshoot of the soundtracks of Allen’s own films, most of which he plays on as well.
The 1918 song, ‘Til We Meet Again’ was played near the end of the main set; the horn section and Allen, (admittedly no Sidney Bechet or Barney Bigard) performing admirable solos, with vocals on the negro spiritual ‘Down by the Riverside’, which ended their set, sounding a bit soulless when held up against the Leadbelly version.
Allen and band re-emerged for an encore, with each of the band introduced to rave applause, before sitting back down for their version of Irving Berlin’s 1933 ‘Easter Parade’. The 100 year-old W.C. Handy classic, ‘St. Louis Blues’ closed the night on an upbeat note, even though it was written about a place farther down the Mississippi.
Those more curious about Allen and his connection to Dixieland Jazz should seek out his worthy 1999 drama, Sweet and Lowdown starring Sean Penn, or Barbara Kopple’s 1997’s now hard-to-find documentary about Allen and co. on tour in Europe, Wild Man Blues- that, or book an even pricier Monday night show in NYC at the Carlyle.
Allen’s latest star-packed film- the mystery drama, Irrational Man, had opened in theaters that Friday and he and his acclaimed New Orleans Jazz Band had left their friendly confines of New York’s Café Carlyle where they have a Monday night residency (playing one since 1973, at the venue for over a decade), for a 100 min. performance at the State Theatre in Minneapolis.
The 79 year-old Allen was front and center on clarinet as his Dixieland-style jazz band cherry-picked from the reported 1,200 songs they know of mostly hundred-year old spirituals, marches, rags, and blues standards. In keeping with the spontaneous nature of the music, there was no play list, nor did the other musicians know what song Allen, in collaboration with band director Eddy Davis, would call out next after some brief discussion between them.
In addition to Allen and Davis, the band featured pianist Conal Fowkes, trumpet player Simon Wettenhall, trombonist Jerry Zigmont, John Gil on drums, and Greg Cohen on bass, all well-dressed performing on a bare stage. Five of the seven members took lead vocals at one point, though most were glad Allen didn’t try to croon a tune.
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Woody Allen |
Spontaneity ruled the set of early 20th century standards, which would have Davis usually start the next song, after a short off-mike talk with Allen and included ‘Down by the Riverside’, ‘Easter Parade’, St. Louis Blues’ and the hymn ‘The Old Rugged Cross’, which was played near the halfway mark.
Allen’s solos punctuated many of the songs, his Albert system clarinet occasionally sounding squeaky, but were mostly fine and predictably received the most applause of the night. The music was rooted in Big Easy sounds from a century previous, and an offshoot of the soundtracks of Allen’s own films, most of which he plays on as well.
The 1918 song, ‘Til We Meet Again’ was played near the end of the main set; the horn section and Allen, (admittedly no Sidney Bechet or Barney Bigard) performing admirable solos, with vocals on the negro spiritual ‘Down by the Riverside’, which ended their set, sounding a bit soulless when held up against the Leadbelly version.
Woody Allen introduces the band
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Those more curious about Allen and his connection to Dixieland Jazz should seek out his worthy 1999 drama, Sweet and Lowdown starring Sean Penn, or Barbara Kopple’s 1997’s now hard-to-find documentary about Allen and co. on tour in Europe, Wild Man Blues- that, or book an even pricier Monday night show in NYC at the Carlyle.
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Woody Allen and his New Orleans Jazz Band at State Theatre, Minneapolis (02 Aug 2015) |
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