As promised, the second half of the glorious session (inventive yet very free-minded) that was Bent Persson’s tribute to Henry “Red” Allen’s early recordings — captured at the 2010 Whitley Bay International Jazz Festival, in a downstairs room that was part of the hotel’s health club. Healthy music, though — seriously aerobic for players and audience!
The players were Bent and Michel Bastide, trumpets; Paul Munnery (standing in for Red’s pal, J.C. Higginbotham), trombone, Robert Fowler and Jean-Francois Bonnel, reeds, Jeff Barnhart, piano and vocals; Jacob Ullberger, guitar and banjo; Henri Lamaire, bass; Josh Duffee, drums.
The second half began with one of the atypical small-group recordings with men from the Luis Russell band, issued under the euphonious title J.C. HIGGINBOTHAM AND HIS SIX HICKS — playing a serious blues, HIGGINBOTHAM BLUES:
Then, moving forward to one of the Russell recordings less celebrated than their characteristic rompers — a sweet ballad, HONEY, THAT REMINDS ME (originally recorded in 1931 with a lovely, earnest Vic Dickenson vocal — here reimagined by Jeff Barnhart):
Bent scaled down to a rocking small group to give his own version of the incendiary Rhythmakers records (the originals were Philip Larkin’s favorites):
WHO’S SORRY NOW? had a Barnhart vocal (instead of Billy Banks’ warbling):
I WOULD DO MOST ANYTHING FOR YOU (which became Claude Hopkins’ theme):
YES, SUH! (a piece of spirited hot vaudeville):
In 1933, Allen and Coleman Hawkins — comrades from the Fletcher Henderson band — teamed up for a series of recordings aimed at the jukebox market. Some of the songs they recorded were charmingly ephemeral, among them MY GALVESTON GAL, HUSH MY MOUTH (If I Ain’t Goin’ South). Bent chose to revisit three classic recordings:
SISTER KATE (an old-time tune in 1933):
HEARTBREAK BLUES (where one can hear the cross-fertilization of influence between Hawkins and Bing Crosby):
The program ended with the moody THERE’S A HOUSE IN HARLEM FOR SALE — a somber conclusion to an uplifting program of hot music:
You’ll notice that although the players reflect back on the original recordings and the fabled players, there is very little direct imitation of Red, Hawk, Higgy, Pee Wee, Dicky Wells, etc. — the way it’s supposed to be. Bravo, Bent!
Readers who want to hear Robert Fowler in a brawnier, more mainstream setting should get his 6tet CD Tight Lines (Diving Duck 002, ’04) & his 2-tenor Al & Zoot tribute Brandy & Beer (33 Jazz 192, ’09) with Karen Sharp, his colleague from the Humphrey Lyttelton band.
Thank you, John — I hadn’t made the connection even though I have video-recorded Karen Sharp in London myself. But I thought Bent’s band was sufficiently “brawny” myself!
Super thanks for this! Great band, great music. I only wish I was there myself. But this is the next best thing. Great filming! the quality of the clips are all superb!
Thank you, Andreas, for your praise — and (the words everyone loves to hear) you were right about YouTube — as soon as I got home to New York, the clips downloaded quickly! More to come, although I too think this session was a highlight of the Festival. Cheers, Michael
Thanks for posting these, Michael – I missed this set because I had to leave to play with my own band upstairs!