Ivorie's session ends December 18, 2012
December 3, 2012
another one down. it was a decent run of over a year. Carey Campbell was an excellent hostess and we helped the club to get known.
on to other things.
Ivorie's Weekly Jam Session
February 21, 2012
Ivorie's jam session from 7:30 to 10:30pm with Carey Campbell
Hall of Records session ends
December 20, 2011
it was a good, short run. nice place, great proprietors. we had fun, but like all good things............
Hall of Records Jam Session starts 10/24/2011
October 18, 2011
here we go again. hank has another jam session going on at the Hall of Records. every monday night from 8 to 10. we had a good 10 month run at the Globe. let's see what this one turns into.
another tv show - NCIS: Los Angeles
July 15, 2011
unusual blues for boy 34:32
music being played on the Queen Mary as LL Cool J chases terrorists. way cool!
total of 6 shows now with my music
1. ABC Wildfire
2. TNT Raising the Bar
3. FOX Damages
4. HBO Hung
5. CBS NCIS: LA
6. cable? Dreamcatcher Hell
Hank is Hung
February 7, 2011
the HBO hit show HUNG has used my music. the tune Hip-Lypso, from my 2005 release is used in a dinner scene. about 2 minutes of the song are played.
hank joins a big-band
November 18, 2010
although he tired of playing big-band long ago, hank has joined another band. this one is a little different. he is the bassist and musical director. The North Portland Jazz Orchestra will be performing soon.
New jam session at The Globe 2045 SE Belmont PDX
November 15, 2010
it ain't the Get Me High. it isn't even as hip as Jax, but Hank Hirsh is back in the saddle of leading a jam session. His brand of organized chaos often pisses off other members of the house band because the songs seem endless, and it is probably true, but the energy of all the cats on stage creates an enjoyable environment. In any case, this isn't like other jam sessions he has been involved in because he is the bassist. At least there is one member of the rhythm section that won't complain.
We hope this session lasts into the warmer months so that we can feel daylight with the garge door open in this delightful venue.
Sammy goes to college
July 22, 2009
Sam Hirsh has been awarded considerable grant and scholarship funds from the University of Southern California. The school has a great reputation and a great faculty. USC's Thornton School of Music also has an excellent film scoring program. Maybe Sam's name will be in the credits soon, or even in lights. Limitless possibilities opening up.
Good luck, Sam. It's not like you need luck. Just do what you have been doing all along. Swing your ass off.
More TV play for HHQ
July 3, 2009
And the folks over at FX’s Damages must really be fans of Hank Hirsh’s jazz because they are using “What Can I Say” for a second time this season.
Ep: 13 Close Shave
"So Long" by Brian Tuppert
"Just A Ride" by Jem
"Serrated Friend" by The Living Blue
"Lonely Day" by Brad Cohen
"Gonna Be Ok" by Gry'l frend
"Flying High" by Jem
"Nothing Can Compare To You" by Brad Cohen
"Bottle Breaks" by Dj Acucrack
"Taeko's Tune" by Hank Hirsh
"Samba Omocha" by Hank Hirsh
Another TV hit
April 12, 2009
Hank's music has been used for yet another TV show. TNT's new drama, Raising the Bar has used a few tunes from Around and Back.
In addition, the show Damages is being seen in Europe and Asia now. We have gone international
Sam arranges Hank
March 29, 2009
Sam Hirsh has written a hip arrangement of Hank's tune, A Buck & Some Change. Check out the YouTube video of it's first performance by the Mt. Hood Jazz Orchestra. This is Sam's first arrangement and first time to conduct a band. We hope there will be many more.
Check it out at:
Jax Sessions finally come to an end.
December 31, 2007
The Wednesday night jam session is discontinued. After nearly two years it was revealed that jazz doesn't make money.
thanks to all the players and listeners that came out trying to support the music.
hank and the band
Quintet records again
June 28, 2007
The Hank Hirsh Quintet is in the process of producing their second CD, entitled "Seekin' & Speakin". Most of the material has been tracked but work is still being done on the mix.
We feel pretty good about the project.
Vocals by friends of the band, Emi Satya Hirsh (of the distinguished family) and Jeanne Kennedy-Crosby, one of the bands most loyal fans and good friend are featured.
All new compositions and arrangements.
I can't wait, can you? Coming soon.
Local filmmaker uses "The Pearl" in Burnside
June 28, 2007
Local filmaker Cameron Beyl is using the Hank Hirsh composition "the Pearl" from the 2005 CD Around and Back.
The tune is presented here in its original form. It has since been rearranged and will appear on the soon-to-be-released CD "Seekin' & Speakin".
follow the link below to find out more about this film. The premier will be July 27th at the Hollywood Theater. See you there.
More TV exposure for HHQ
May 31, 2007
Dreamcatcher Hell is a program about daredevil mountaineering (I think) and they have chosen to use our theme song, Blowin' in From Chicago, in some portion of their shows. As yet I haven't seen the show. If you know anything about it please tell me.
Sam Hirsh best soloist again
April 20, 2007
This time Sam Hirsh was named best soloist at the Portland State Jazz Festival and competition for high-schools. The Grant High jazz band also won 1st place.
Sam prepares to head for the Big Apple
March 31, 2007
Sam Hirsh has received letters of acceptance to The Manhattan School of Music and The New School.
Financial arrangements are pending. This move may occur in the 2008 or 2009 school year.
Sam Hirsh wins best soloist again
March 22, 2007
Sammy boy wins best soloist at the 2007 Clackamas College jazz festival. CCC is offering him a two-year full scholarship. Sam says he is waiting to hear from the Manhattan School of Music, for which auditioned last week. Optimism prevails and Sam has his bags packed for the Big Apple
JSO Interview March 2007
March 2, 2007
Linda Daiber, writer for the Jazz Society of Oregon interviews Hank Hirsh. March 2, 2007
LD 1. How and when did the KMHD Jazz Jam get started?
HH I think we started in April of 2006. The first evening featured the quintet. KMHD had a promotional idea whereby each DJ invited a few listener/guests to the opening night. The guests could meet the DJ, the band and in some cases the guests were musicians themselves, as were some of the DJ and administrators of KMHD. From that point on we have been there every Wednesday evening. We all hope it continues, but anything can happen in this business.
LD 2. What were your hopes when it began, and has it turned out the way you imagined?
HH Initially, from the business perspective I had hoped to get something going for the people at Jax. They seemed sincere about promoting jazz and becoming a part of the jazz scene in Portland. We began with a few rooftop sessions, which were quite nice in the warmer months, but there seems to be a city ordinance forbidding music after 10:00pm. This put us in a situation where we could play longer but we wouldn't be able to continue the rooftop sessions. We opted to play longer. If you want to see nature you take a hike on the weekend at Mt. Hood. If you want to play jazz you do it in a club, and that's where it stands now. Anyway, as nice as it was up there, I didn't like to have our session dependent on the weather. Eight months of the year Portland is the wrong place for that.
My hopes for the session were that we could create a congenial atmosphere for players and fans to come out and kick back. I think we have accomplished that. Play if you feel like it, sit and listen and drink if you don't. The fact that this venue is open to all ages makes it somewhat different than the typical bar. Some younger players come out, and in many cases they have to have their parents drive them. Mom and dad usually seem very supportive and enthusiastic. I love seeing the young kids get up and do this for the first time. It makes me know that the music I love is not an endangered art form.
LD 3. What does a "normal" jazz session look like?
HH Normal is a subjective term and all sessions seem kind of cyclical. Some nights there are 5 or 6 drummers, 3 or 4 bassists, a couple of vocalists a trumpeter or two. Saxophonists seem to be the predominant players. One night I think there were 6 trombones! In all my experience I had never seen so many bones on a session. It was a gas. Other nights I will stand as the lone horn player and only drummers come. There is no escape from that situation. We play and everyone is happy. Sometimes exhausted, but happy.
LD 4. Who is invited to participate?
HH Anyone who plays or owns an instrument is invited to participate. It's not as though the rhythm section is a live karaoke machine. I won't let them be mistreated. As I said, everyone is invited to participate, the question is will they be invited to continue or return. I am pretty open minded, but like the vaudeville shows, I possess the hook. "thanks very much. we have some wonderful parting gifts for you..."
LD 5. What are the benefits of sitting in on a jam session?
HH The benefit of sitting in for an aspiring young musician is immeasurable. You can practice at home all you like, but there is no substitute for standing up in front of a room full of people trying to sort it all out and make a sensible, musical, hip statement. Performing in front of an audience is something that comes naturally to some and not to others. First one must find out which one of those you are. As an experienced player you learn new tunes and new changes for old tunes, hear other players' take on what you just played. It is a beautiful thing to get up and connect with the rhythm section and/or play something nice with another horn player. Make a personal connection.
LD 5. Who is part of the house band?
HH My band is the house band. The nature of this gig requires that each player has a backup for unforeseen situations or just a night off to spend with wife or girlfriend. Jonas Oglesbee began the session as our drummer and left a few months ago for personal reasons. Kenny Johnson. a Portland mainstay with tons of experience and young Harry McKenzie, a brilliant, swinging junior at Grant High School (the drummer in Sam's trio) have filled in at times and both are familiar with our book. Presently Alan Tarpinian is our drummer. He has been with us for about three months now. He is a great player and wonderful human being. He is always smiling and his exuberance and positivity bring something special to the bandstand. We are just starting to know each other musically and personally. I feel it is going well. I look forward to making our next record with him.
We have two regular bassists.
Brendon Lamoreaux has been on the gig since its inception. He has worked very hard at his instrument and is getting better all of the time. He has great stamina and that is a requisite quality for a jam session bassist, especially on the nights when no other bassists show up to sit in. He is also a very good guy. He is also the bassist in my son's trio. He alternates with Patrick Harry, who is presently a student at PSU. He too is a fine bassist and sincere musician. I have known him only a short while, but I dig his work ethic and his commitment to the music. Dave Speranza also joins us when occasionally and he is my favorite bassist in Portland and a member of my recording band. He is a great young player who improves every second.
The core trio of our quintet is something precious to me. Trombonist Dave Bones is my good friend. We began playing together about 10 or 12 years ago and went our separate ways, then connected again about 4 years ago. Our feeling about the music is our common thread and we are also on the same page about life in general. I don't know a more straight-up honest man, musician or otherwise. He is a fine player and I have learned a lot from him. We get together every Monday and play. Sometimes it is just the two of us or, more often with Sam. Sometimes we don't even play much; just hang. His attention to detail keeps me in line. I have a lot of respect for Bones and when he suggests something I am all ears. I consider him the co-leader of the band.
My son, Sam is the third member of our core trio and the driving force in the band and, along with his sister Emi, the driving force in my life. Dave and my son Sam have a special relationship that has grown over the years as Sam has progressed. Bones has been instrumental in that progress. No pun intended. Sam is far beyond the level of musicianship of his peers. He has an innate sense of swing and is very creative. He loves the music and plans to make it his life. He has been listening/hearing it since before his birth.
Sam will be auditioning for some music schools out east in the very near future and I am sure he will be accepted. It will be very difficult for me to replace him. He is the real deal and proves it night after night. I used to get bugged about being upstaged by my 16, 17 and now 18 year-old son but I have gotten used to it. I am very proud of what Sam has become and have the greatest confidence in what he plans for his future. This interview is not sufficient time for me to expound about how I feel about Sam. I can only hope that he will let me sit in with him when he gets to the top, or at least put me on the guest list.
LD 6. What are some of your favorite stories about the jam?
HH There have been many amusing stories about the session. One of my favorite moments was when Cary Campbell, one of Portland's hippest, swinginest and most under-appreciated female vocalists sat in with us. There was another female vocalist, whose name escapes me at the moment, present at the time and she too was quite good and experienced. The two of them did a couple of duo things that rocked the joint. They were embracing and laughing. It reminded me of a famous picture of Bird and Dizzy hugging with a young John Coltrane in the background. It was the essence of what I (we) strive for. No egos involved, just the music. They didn't know each other before they sang together and probably haven't spoken since, but for that brief moment something extraordinary occurred. Another of my favorite moments was just recently when Cal Hudson, a great local tenor player and I were left to do an unaccompanied cadenza together on a ballad. He is a very sensitive player and we made some nice music. The number of good things that have happened has been far greater than the not-so-good ones or we wouldn't be still doing it.
LD 7. When did you first become exposed to jazz?
HH My dad had some jazz records around from the swing era. They were on 78's and have long since been lost. He was an opera singer and tried to make it in NY but did not succeed. I thank Joe Segal, a famous promoter of jazz in Chicago for making the music available to me as a young teenager. He had Sunday afternoon sessions at the North Park Hotel. I could go in and hear Gene Ammons, Dizzy Gillespie, McCoy Tyner, Lockjaw Davis, Kenny Dorham, Milt Jackson, Philly Joe Jones, Sonny Rollins, Randy Weston, Elvin Jones, Count Basie, James Moody, Barry Harris, Cannonball and Nat, Dexter, Griffin and many more that I can't think of right now. All the cats! I think the cost back in the 70's was $3.00. My mother had a record of Oscar Peterson's trio playing West Side Story and I didn't know what it was but liked it. I heard Larry Coryell once and searched out his first record (Lady Coryell). That record had Elvin Jones and Jimmy Garrison on it and it was a great side. After that I started looking for records with those two guys on it and stumbled onto John Coltrane. After that it was off to the races and I discovered Bird and that changed my life.
LD 8. Who are your greatest influences?
HH Bird, Gene Ammons, Hank Mobley, Johnny Griffin, Dexter Gordon, Cannonball Adderley, Jackie McLean, Phil Woods, John Coltrane, Ornette Coleman, Sonny Rollins, Clifford Jordan and many others too numerous to list here have been my influences on the saxophone. Oh, did I say Bird? :) Charles Mingus, Thelonious Monk, Horace Silver, Bud Powell, Cedar Walton, and Duke Ellington have had a lot of influence on my composition.
In my early years in Chicago local legends Tommy Ponce, a great multi-instrumentalist (saxophones and piano were his main instruments but he played trumpet, flute, drums and sang. He and Ira Sullivan grew up together and they were always good friends.) , and Lin Halliday, a great saxophonist were very encouraging to me. Tommy was the one who told me to quit my day gig and play. Both were good friends and taught me a lot about playing, not in an academic way, but in the spiritual way. Merle Boley was a wonderful trumpeter, with whom I had a quintet for many years in Chicago. He was a great friend and I loved him.
LD 9. What do you want people to take away from the jam sessions?
HH I hope that the listener walks out of the session feeling joy. It is the joy of hearing a musician express how he/she feels about the state of things. I hope that the younger players feel inspired to go home and learn the tunes that they didn't know that night, and come back next week and call them. I hope that the more experienced players feel satisfied that they got their notes and thoughts out. That they were able to say what they had in mind and that nobody got in their way that night. I hope that my band enjoys the gig and doesn't feel tortured. I want to feel that I am promoting the art form I love and connecting with people at some personal level. That is the most important part for me. The connection.
LD 10. What lies ahead in your musical future?
HH I have many new compositions to record and plan to do so as soon as I feel the band is comfortable playing them. I don't like us to read in the studio. I hope that will be happening in the next couple of months. I am sure it will be a nice record. I really like my most recent compositions and musicians that play them tell me they do too. There is an independent film maker who will be using some of my music in a new film and a few of my tunes have been used on an ABC TV series called Wildfire. I would like to have more of that sort of thing.
As I said, Sam will be going to be off to college in the fall I think and I will have to begin life after Sam. That will be one of the biggest life transitions that I have undertaken in some time. I am sure I can find a pianist, but not one that also rides home with me and hangs out in the kitchen after the gig talking about the events of the night or substitute chord changes. I plan to continue writing because that is the most important part of the whole thing to me. Some day I would like Sam to play my compositions on his own record. Hirsh plays Hirsh. Can you dig it? We will see.
Sam Hirsh wins Best Rhythm Section Soloist
December 3, 2006
Sam Hirsh won recognition yesterday at the Skyview Jazz Festival/Competition.
Sam, the first chair pianist in the Grant High School jazz ensemble, was featured on melodica. For his outstanding performance he won Best Rhythm Section Soloist.
ABC-TV Family uses 2 HH tunes in series
November 1, 2006
ABC Family Channel buys two cuts from the quintet's 2005 release Around & Back (Samba Omocha and Taeko's Tune) to be used on their program Wildfire. The episode, #2013 aired originally in April 2006.
As Hirsh considers himself a better writer than a player (he is also an excellent player) this is a very proud, joyous and significant moment for Hirsh and his band. Best of luck to this sincere musician and his players. After nearly thirty years on the scene he is getting some well deserved recognition.
- Extended Chord Magazine (Aug 17, 2006)