Tag Archives: Cecile McLorin Salvant

“HOTTER THAN THAT”! (on January 15 – 16, 2016)

It’s getting colder, which is both appropriate and reassuring because it is January.  But if the descending temperatures oppress you, here’s a wonderful chance to become HOTTER THAN THAT in the New York winter.  I don’t refer to new down parkas or thermoses full of the preferred hot dram . . . but to the New York Hot Jazz Festival. . . . the continuing creation of the indefatigable Michael Katsobashvili:

Art by Cecile MLorin Salvant

Art by Cecile MLorin Salvant

Here’s the Facebook event page.  And the Festival’s website.

Details?  How about a schedule of artists and times.  (And there are seats — first come, first served, as well as room to dance.)

FRIDAY (doors at 5:45 pm)

6:20 – Tom McDermott (New Orleans piano explorer)

7:20 – Bumper Jacksons

8:40 – Evan Christopher’s Clarinet Road with Hilary Gardner

10:00 – Jon-Erik Kellso and the EarRegulars with Kat Edmonson

11:20 – Mike Davis’ New Wonders

SATURDAY (doors at 5:45 pm)

6:20 – Christian Sands (solo stride)

7:20 – Michael Mwenso & Brianna Thomas: Ella and Louis Duets – 60 Years

8:40 – Rhythm Future Quartet

10:00 – Tatiana Eva-Marie & The Avalon Jazz Band

with special guest Oran Etkin

11:20 – Gordon Au’s Grand Street Stompers

with Molly Ryan & Tamar Korn

That’s a wonderful mix of music — solo piano, small band, gypsy jazz, singers — all of the highest caliber.  And although some New Yorkers might note local favorites, consider what it would cost to see them all in one evening, even if you could work out the transportation and timing.  New Orleanians McDermott and Evan Christopher will bring their own special rhythmic tang to the New York winter.

If you need more evidence, here are videos of the artists above.

Here‘s the way to buy tickets.  It’s an absolute bargain, and New Yorkers love nothing better.

The place?  The Ballroom at Greenwich House Music School, 46 Barrow Street (West of 7th Ave South), New York, New York.

And for inspiration, here’s a 1949 version of HOTTER THAN THAT, performed live on the Eddie Condon Floor Show — Eddie was the first jazz musician to have his own television show — featuring Wild Bill Davison, Cutty Cutshall, Peanuts Hucko, Ernie Caceres, Gene Schroeder, Eddie, Jack Lesberg, and Sidney Catlett.

May your happiness increase!

A SECOND EAR-RING: JON-ERIK KELLSO and The EarRegulars: MATT MUNISTERI, EVAN CHRISTOPHER, KERRY LEWIS (on JAZZOLOGY)

The EarRegulars have come out with a second CD, and it’s delicious, even before one unwraps the package: the ingenious cover art is by Cecile McLorin Salvant:

EARREGULARS CD Jazzology

The first EarRegular CD featured Kellso, Munisteri, Scott Robinson, and Greg Cohen:

EarReg 1 CD

The splendid new disc features a New York / New Orleans hybrid: Kellso, trumpet; Munisteri,guitar / vocal; Evan Christopher, clarinet, and Kerry Lewis, string bass.  And they groove spectacularly.

And here are the notes that someone enthusiastic wrote:

I am proud to have followed The EarRegulars with delight, rapt attentiveness, and recording devices, since they first began to transform the cosmos on Sunday, June 17, 2007, at The Ear Inn (326 Spring Street, Soho, New York City). They’ve been consistently inspiring, a twenty-first century version of Fifty-Second Street many blocks to the south. (My only problem with The EarRegulars is that I can’t decide if they IS or ARE, for reasons beyond the grammatical.)

They are a Marvel of Nature, an expansive sonic orchestra that masquerades as a tidy improvising quartet. They model democracy in swingtime, where each of the four players is audible, recognizable, playfully sharing musical heart-truths. In their native habitat, they are small enough to fit in a New York corner (The Ear Inn is a compact place), where they reverberate not loudly but mightily. Their mailing address is the intersection of Translucence and Stomp, just off Lyrical.

And although the Official Jazz Historians try to force music into restrictive boxes, The EarRegulars create timeless and limitless music, joyous lyrical improvising. One hears the Ancestors (who are grinning) but this band is a triumph of the Here and Now. They cavort in the present moment rather than offering shelf-stable, freeze-dried jazz repertory. Their musical conversation is collaborative joy: one hears four creative individuals, easily amused, sweetly competitive, extending each others’ thoughts, capping each others’ jokes.

The pleasure, not only mine, of witnessing The EarRegulars live, Sunday after glorious Sunday, has been the feeling, “This is the way I imagine musicians play when all distractions and tensions are removed, when the ideal audience fully understands them, when they are surrounded by love, free to express themselves fully. What a blessing this is.” This bicoastal version of the band offers its leader, Jon-Erik Kellso, and his inspiring colleague, Matt Munisteri, alongside New Orleans heroes Evan Christopher and Kerry Lewis. Their sounds need no explication, merely your most fervent close listening. Each track has beauties it reveals on the third hearing, the twentieth, their approach a beautiful oxymoron, a delicate ferocity. And their flexible, playful approach reminds me of what Ruby Braff would do with any gathering of musicians: scatter them on the floor like puzzle pieces and reassemble them in surprising, fluid ways. So this quartet becomes a series of trios, duos, and solos, never predictable, never the Same Old Thing of ensemble-solos-ensemble. And the sounds!

The repertoire is gorgeously uplifting. Even though I have heard The EarRegulars take the most familiar song and make it new, this CD is full of delights. Jon-Erik’s OUT OF THE GATE has to be the soundtrack for an animated film, LITTLE JAZZ! — where superhero Roy Eldridge vanquishes the enemies of Swing. His EARREGULARITY (something to be sought out, not feared) is a 2015 ragtime dance. Evan’s SURRENDER BLUE is so touching! I hear it as lullaby superimposed on love song, the most tender music imaginable. The other songs have wondrous associations: the Casa Loma Orchestra, Benny Carter, the Hot Five, Ivie and Duke, Louis and Papa Joe, Fate Marable . . . all memorable but rare.

I think of these sounds as healing defense against the wounding clamor of the world, reminders that the cosmos will welcome us. Start with IN THE LAND OF BEGINNING AGAIN – sung so soulfully by Matt – and you will agree. I am honored to live in a time and place where such joy is not only possible but freely offered. Bless The EarRegulars and may they prosper. Forever.

Although I find it inconceivable that anyone encountering JAZZ LIVES would be unfamiliar with the EarRegulars, here they are — at least three-fourths of the latest combination — onstage at the Louisiana Music Factory.

BLUES IN MY HEART:

IN THE LAND OF BEGINNING AGAIN (vocal Matt):

Of course, you can purchase the disc from Jon-Erik at The Ear Inn or at other gigs, or visit here.  It is on Amazon as a download, and probably iTunes.  And available direct from Jazzology and Louisiana Music Factory.

Here’s a song direct from the CD — a poignant version of SMOKE RINGS — but do the right thing and help support the art and the artists by buying it:

One way to get a double dose of this joy is to visit Symphony Space at Broadway at 95th Street in New York City on November 2, 2015, at 7:15 PM  for the Sidney Bechet Society’s season finale, “Ear Inn, Uptown!” which will feature Jon-Erik Kellso, Evan Christopher, Matt Munisteri, singer Brianna Thomas, and others in a jam session saluting the jazz scene at The Ear Inn, the city’s oldest bar.  Tickets $30 in advance via mailorder from the Society, and $35 at the box office: Peter Norton Symphony Space, 2537 Broadway at 95th Street, New York, NY 10025.  (212) 864-5400.

May your happiness increase!

FOR IVIE: CECILE McLORIN SALVANT / DARYL SHERMAN at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 3, 2013)

Jazz parties sometimes are stereotyped as loud — raucous affairs where one high-energy band or singer succeeds another.  This isn’t true, and I offer this tender interlude from last year’s Whitley Bay Classic Jazz Party — in honor of Miss Ivie Anderson.  The very expressive Cecile McLorin Salvant is joined here by the underrated pianist (and much-loved singer) Daryl Sherman to summon up a vanished era and the entire Ellington band of 1937 in the Mack Gordon – Harry Revel THERE’S A LULL IN MY LIFE:

And although you may be completely captivated (and rightly so) by Cecile’s singing on a first hearing, I would draw your attention to Daryl’s perfectly subtle accompaniment — with the verse.  I think Daryl’s final chord is as touching as anything that has preceded it.

LULL IN MY LIFE sheet

Thank you, dear Cecile and Daryl.  And of course, Miss Ivie.

May your happiness increase!

 

BECOMING ENLIGHTENED: CECILE McLORIN SALVANT and DARYL SHERMAN SING ELLINGTON at WHITLEY BAY (Nov. 3, 2013)

Here’s an energized romantic song, a Forties Ellington hit, performed by two “hip chicks” and a swinging band (unfortunately off-camera) at the 2013 Whitley Bay Classic Jazz Party.

They are Daryl Sherman (in mauve) next to Cecile McLorin Salvant, and the band is Richard Pite, drums; Malcolm Sked, string bass; Jacob Ullberger, guitar; Morten Gunnar Larsen, piano; Duke Heitger, trumpet; Kristoffer Kompen, trombone; Matthias Seuffert, reeds.

I’m posting this not only because of its delightful savor, but because I can count the days (about fourteen) until the next Whitley Bay Classic Jazz Party. It begins on the evening of Thursday, November 6, and runs until late Sunday night, November 9 . . . possibly into Monday morning.  Tickets may still be available: you can check here. It might be costly for those not close to Newcastle, UK, to attend, but it is eminently worth the trip. There’s no festival like it, nor (in my decade of serious study of the matter) has there ever been.  In the ancient dialect of the area, “Get thee hence, if thou canst.”

May your happiness increase!

A ROSARY OF TEARS: CECILE McLORIN SALVANT SINGS AT WHITLEY BAY (November 1, 2013)

The very intense young singer Cecile McLorin Salvant sings MEMORIES OF YOU, which we don’t always characterize as a memorable “torch song,” at the 2013 Whitley Bay Classic Jazz Party, with the estimable assistance of Ben Cummings, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Malcolm Sked, string bass; Spats Langham, guitar; and Nick Ward, drums. For details about this year’s Classic Jazz Party, please click here.

May your happiness increase!

CECILE McLORIN SINGS FOR BENNY CARTER

and for unrequited and unsuccessful love and lovers of all kinds.

Here, the passionate Ms. McLorin offers her own version of Benny Carter’s 1933 LOVE, YOU’RE NOT THE ONE FOR ME — at the 2013 Whitley Bay Classic Jazz Party. Her colleagues are Ben Cummings,trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Malcolm Sked, string bass; Spats Langham, guitar; and Nick Ward, drums. Recorded on November 1, 2013:

I hope you can make it to the 2014 Whitley Bay Classic Jazz Party, where musical beauty flourishes.

May your happiness increase!

TWO HOT, ONE WISTFUL: UNSEEN MUSICAL TREASURES FROM THE 2012 WHITLEY BAY CLASSIC JAZZ PARTY

Three New Beauties from the Whitley Bay Classic Jazz Party — recorded on October 26 and 27, 2012 — living advertisements of what the musicians and the Party-givers do so superbly.

Part of a rousing tribute to the power behind the throne, Lil Hardin Armstrong (pianist, composer, bandleader, inspiration) — a song named for her young husband, PAPA DIP.  It’s performed here by Bent Persson, cornet; Stephane Gillot, alto saxophone; Matthias Seuffert, clarinet; Jens Lindgren, trombone; Martin Seck, piano; Martin Wheatley, banjo; Malcolm Sked, string bass.

YOU RASCAL YOU has serious Armstrongian associations, although the performance here takes its impetus from the magnificent series of 1932-33 recordings by the “Rhythmakers,” ostensibly led by Billy Banks or Jack Bland — but really driven by Henry “Red” Allen, Pee Wee Russell, Jimmy Lord, Tommy Dorsey, Joe Sullivan, Fats Waller, Pops Foster, Eddie Condon, Zutty Singleton and other luminaries.  At the Classic Jazz Party, the New Rhythmakers kept things hot — Andy Schumm, cornet; Jens Lindgren, trombone; Norman Field, clarinet; Jean-Francois Bonnel, tenor; Martin Seck, piano; Emma Fisk, violin; Spats Langham, banjo; Frans Sjostrom, bass saxophone; Josh Duffee, drums. This video also contains a sweet, sad memento: the voice and right hand of our much-missed Mike Durham introducing the band and cracking wise (as was his habit).  Thank you, Mike, for everything:

After all that violent heat, something rueful seems just right, so here is Cecile McLorin Salvant’s melancholy reading of the Willard Robison song A COTTAGE FOR SALE, with the empathic assistance of Norman Field, clarinet; Duke Heitger, trumpet; Spats Langham, guitar; Alistair Allan, trombone; Emma Fisk, violin; Martin Litton, piano; Henri Lemaire, string bass; Richard Pite, drums:

We don’t have to end on a wistful note.  I have three more 2012 delights to post and many more from 2013 . . . and (with a Nick Ward drum roll) the 2014 Party is happening this November 7 through 9 — details here.

You can learn all about it — the accomodations, pricing, concert themes . . . I’ll content myself my lingering over the list of musicians who will be there:

Trumpets: Bent Persson (Sweden), Duke Heitger (USA), Andy Schumm (USA), Ben Cummings (UK), Enrico Tomasso (UK) / Trombones: Kristoffer Kompen (Norway), Alistair Allan (UK), Graham Hughes (UK) / Reeds: Jean-François Bonnel (France), Mauro Porro (Italy), Claus Jacobi (Germany), Matthias Seuffert (Germany), Lars Frank (Norway), Thomas Winteler, (Switzerland) / Piano: Keith Nichols (UK), Martin Litton, (UK), Morten Gunnar Larsen (Norway), David Boeddinghaus (USA) / Banjo/Guitar: Spats Langham (UK), Henry Lemaire (France), Jacob Ullberger (Sweden), Martin Wheatley (UK) / String Bass: Richard Pite (UK), Henry Lemaire (France) / Brass Bass: Phil Rutherford (UK), Malcolm Sked (UK) / Drums: Josh Duffee (USA), Richard Pite (UK), Debbie Arthurs (UK) / Bass Sax: Frans Sjöström (Sweden) / Violin: Emma Fisk (UK) / Vocals: Janice Day (UK), Debbie Arthurs, (UK), Spats Langham (UK).

May your happiness increase!

STOMPING AT WHITLEY BAY (November 2013)

First, the theme song of the overtired jet-lagged jazz blogger:

Having offered that, I proceed to the reason for the joyous exhaustion: my visit (with video camera and notebook) to the 2013 Whitley Bay Classic Jazz Party. To tell all the tale would tax my five wits, but the music — small concerts in the main ballroom, plus rehearsals and jam sessions in the Victory Pub — was engrossing.  As I write this, more than three hundred videos are up-or-downloading.  And many of them will be shared with what I know is a fervent audience.

Speaking of that audience, I met a number of most grateful and devoted JAZZ LIVES readers in person, always a very heartwarming experience.  I said to more than one person, “It means so much to me to know that real people are out there, that I am spending hours in front of the computer so that _____ can see and enjoy this performance.”  Thank you all, those people I’ve met and those yet to be encountered.

I’ve been attending the banquets of music put on at the Village Newcastle in England since 2009 — first, the Whitley Bay International Jazz Festival, now the Classic Jazz Party — and they have always delighted and enlightened. They continue to reflect the spirit of their departed founder, Mike Durham, who felt that if the music was not presented in its historical context, then that history would be lost.  So these weekends have always offered us something more elaborate than six people on the stand having a good time playing the blues or a ballad medley: mini-concerts that are often highly educational although never tedious.

On paper, it might look as if one had wandered into a living jazz museum — the Hot Tate, for instance.  But since “museum” has immediate associations of antiquity, with the treasures safely packed away, visible but out of reach, I think the Classic Jazz Party is more properly compared to a wondrously shape-changing repertory company.  One hour, Matthias Seuffert is Johnny Dodds; another, he has reappeared as Coleman Hawkins, then Lester Young, which is the jazz equivalent of seeing Olivier one night as Iago, then next as Stanley Kowalski, a third as Everyman.

This year, there was a lively hour of Jelly Roll Morton, a swinging evocation of the early Basie band, two sessions of Ellington (Twenties, then late Thirties), a lovely reincarnation of the Coon-Sanders Nighthawks — where else would such a thing happen? — an hour with the 1929-31 Luis Russell band.  There were also more informal tributes to Mildred Bailey, Lee Wiley, Coleman Hawkins, Stuff Smith and Eddie South, Bix Beiderbecke, Eddie Condon and the Chicagoans, Harry Reser, Ray Noble and Al Bowlly, Jabbo Smith, Fats Waller and his Rhythm, Bessie Smith, Johnny Dodds’ Black Bottom Stompers, Tiny Parham, the California Ramblers, Clarence Williams Jazz Kings, King Oliver in New York, British dance bands, the Jimmie Noone Apex Club Orchestra, and more . . . torch songs and cheerful songs from the Great Depression, solo piano recitals, two outings for Jeff and Anne Barnhart’s Ivory and Gold, and more.  The program lists thirty-eight separate sessions, including the nocturnal happenings in the Victory Pub, which (I am told) continued well past 2:30 AM.

The players and singers were:

Bent Persson, Duke Heitger, Andy Schumm, Ben Cummings, Andy Woon, Torstein Kubban, Kristoffer Kompen, Alistair Allan, Graham Hughes, Aurélie Tropez, Stéphane Gillot, Jean-Francois Bonnel, Claus Jacobi, Matthias Seuffert, Lars Frank, Frans Sjostrom, Keith Nichols, Jeff Barnhart, Morten Gunnar Larsen, Martin Seck, Spats Langham, Henry Lemaire, Jacob Ullberger, Roly Veitch, Richard Pite, Henry Lemaire, Malcolm Sked, Phil Rutherford, Jean-Philippe Palma, Josh Duffee, Julien Richard, Nick Ward, Emma Fisk, Daryl Sherman, Cecile McLorin Salvant.

I won’t single out individual performers — that would take more energy than I have at the moment — but the music ranged from excellent to enthralling.

Thanks to all the musicians, to Mike Durham, to Patti Durham, to Julio and Jonathan, and to pals Bob and Bobbie, Ron and Ellen, Peter and his saxophone, to Michel Bastide, to Emrah and Pascal,to Norman Field,  to Mary B. and John Carstairs Hallam . . . and more.

And — not incidentally — here are the last notes I heard on Sunday-night-into-Monday-morning before I went to bed.  The jam session at the Victory Pub continued, but here’s KING PORTER STOMP — featuring Morten Gunnar Larssen at the portable keyboard; Andy Schumm on C-melody saxophone; Torstein Kubban on cornet; Kristoffer Kompen on trombone; Jacob Ullberger on banjo; Nick Ward on drums; Claus Jacobi on Frans Sjostrom’s beloved bass saxophone:

Stomp, indeed.  More to come.

And “more to come” is a serious thing.  Amid general rejoicing, it was announced that the 2014 Whitley Bay Classic Jazz Party will be held, beginning Friday, November 7, 2014.  As Harry Barris wrote, IT MUST BE TRUE.

May your happiness increase!

FOR LOUIS, SIDNEY, and CLARENCE: BENT PERSSON, STEPHANE GILLOT, THOMAS WINTELER, MARTIN SECK, HENRI LEMAIRE, CECILE McLORIN SALVANT at the 2012 WHITLEY BAY CLASSIC JAZZ PARTY (October 28, 2012)

All jazz fans have their own versions of Jazz Camelot — one bright shining hour when the greatest figures improvised together.  For some, it’s Basie at the Famous Door 1938, or Ellington-Webster-Blanton 1940, Bird and Diz 1945, or even oddities such as Bessie Smith singing Cole Porter in 1936 or the Jimmy Ryan’s Sunday jam sessions.

But one particularly bright constellation is the early intersection of young Louis Armstrong and Sidney Bechet under Clarence Williams’ aegis — in the first half of the nineteen-twenties.  Yes, they reunited twice — in a 1940 Decca studio session and a 1945 concert — but nothing touches the ardent intensity of those early sides, which this splendid band evokes once again: Bent Persson, cornet; Stephane Gillot, Thomas Winteler, reeds; Jens Lindgren, trombone / vocal; Martin Seck, piano; Henri Lemaire, banjo / string bass; Cecile McLorin Salvant, vocals — recorded October 28, 2012, at the Whitley Bay Classic Jazz Party.

Fats Waller’s early WILD CAT BLUES:

The deep-down TEXAS MOANER BLUES:

Cecile, evoking the Twenties blues queens on CHANGEABLE DADDY O’MINE:

The incendiary CAKE WALKIN’ BABIES FROM HOME:

PAPA DE DA DA, irresistible as a song and perhaps as a model of behavior:

COAL CART BLUES:

DINAH, with a remarkable vocal by Jens:

CANDY LIPS, a reed riot:

PERDIDO STREET BLUES, in honor of the 1940 NEW ORLEANS JAZZ session for Decca:

May your happiness increase. 

CECILE McLORIN SALVANT SINGS LILLIE DELK CHRISTIAN at the WHITLEY BAY CLASSIC JAZZ PARTY (Oct. 28, 2012): BENT PERSSON, THOMAS WINTELER, KEITH NICHOLS, MARTIN WHEATLEY

Singers Cecile McLorin Salvant and the late Lillie Delk Christian would never be mistaken for one another, but they have several good things in common.  Each of them has a readily identifiable sound and approach; they cannot be mistaken for other singers.  They are both forceful, dramatic singers . . . and they work well with the best hot improvising jazz musicians, as you can see here.

Should the name Lillie Delk Christian be unfamiliar to you, I invite you to read the-lillie-delk-christian-mysteries and lillie-delk-christian-continued — two JAZZ LIVES blogposts that turned up all sorts of interesting research, especially in the comments.

For the 2012 Whitley Bay Classic Jazz Party, Cecile temporarily assumed the mantle of Miss Christian — which means singing a few excellent songs that were hits in 1928, with musicians who are emotionally connected to Louis Armstrong, Johnny Dodds, and Sidney Bechet.  Not a burden for anyone.  The band — and what a band! — is Bent Persson, cornet; Thomas Winteler, reeds; Keith Nichols, piano; Martin Wheatley, guitar.

I MUST HAVE THAT MAN:

BABY:

I CAN’T GIVE YOU ANYTHING BUT LOVE (instrumental, with the verse):

SWEETHEARTS ON PARADE:

And — this post is dedicated to David Parkinson, a gracious fellow without peer.

May your happiness increase.

THEY’RE THROUGH WITH LOVE: CECILE McLORIN SALVANT, SPATS LANGHAM, DUKE HEITGER, ALISTAIR ALLAN, NORMAN FIELD, EMMA FISK, MARTIN LITTON, HENRI LEMAIRE, RICHARD PITE at the WHITLEY BAY CLASSIC JAZZ PARTY (November 26, 2012)

Music for the lovelorn, the hopeful, the despairing, the wistful . . .all in swingtime, performed at the 2012 Whitley Bay Classic Jazz Party by singers Cecile McLorin Salvant and Spats Langham (who has a guitar or banjo in his hands most of the time), with instrumental backing from trumpeter Duke Heitger, trombonist Alistair Allan, reed hero Norman Field, violinist Emma Fisk, pianist Martin Litton, bassist Henri Lemaire, and drummer Richard Pite.

There’s a long tradition in jazz of taking the most mournful popular songs (and I think there have always been more downcast songs than elated ones, although I haven’t counted) at swinging tempos. Even the saddest Crosby and Columbo laments had some rhythm in them, and if you consider Billie’s I’M GONNA LOCK MY HEART for one example, you’ll see the possibilities of the juxtaposition.

But until Cecile’s romp on the final song, much of this set was sadness or yearning in a lightly mobile 4 / 4.

Spats began with Fud Livingston’s sadly serious I’M THROUGH WITH LOVE:

YOU’VE GOT ME CRYIN’ AGAIN was recorded in 1933 by both Bing Crosby and a young Lee Wiley:

Cecile tells the imaginary lover I GET ALONG WITHOUT YOU VERY WELL:

Spats goes back to Bing and Eddie Lang — at the same time — for a song I love dearly, PLEASE:

Evoking the jazz tradition of fifteen years later (I thought of Sarah Vaughan), Cecile swings out with LOVER, COME BACK TO ME:

I don’t know what this music would do for the genuinely lovelorn (in the audience or on the stand) but I appreciate every turn.

May your happiness increase.

STILL MORE HOT NOTES FROM THE WHITLEY BAY CLASSIC JAZZ PARTY (Sunday, October 28, 2012)

Sunday was the final official day of this year’s Classic Jazz Party at Whitley Bay, but it wasn’t a disappointment, even given the heights hit on Thursday, Friday, and Saturday.

Impatient readers may scroll down to the bottom, although you’ll lose points on the final examination.

The first set of the day was especially ambitious — a history of jazz (at least the middle Twenties to the middle Forties) that was gleaming and inventive —  because it didn’t traverse the ground from HIGH SOCIETY to ANTHROPOLOGY, but delineated the journey in seven original compositions and arrangements by Matthias Seuffert — one evoking the Hot Five, another Bix and Tram, tributes and sly homages to Basie and Hawkins, to Ellington and a Goodman small group . . . ending up with Matthias’ brilliant rewriting of I’M COMIN’ VIRGINIA as a 1945 boppish small group.  I  hope the startling swerve into Modernism upset no one: it kept me enthralled.

An hour-long consideration of Louis, Bechet, and Clarence Williams followed — with strong playing and singing by Bent Persson, Jens Lingren, Thomas Winteler, and Cecile McLorin Salvant — in addition to a scorching two-reed extravagana (Stephane Gillot and Winteler) on CANDY LIPS.

Just as fine — although different — was Matthias Seuffert’s bow to Benny Carter, with Rene Hagmann on trumpet, Alistair Allan, trombone, and a rocking rhythm section of Richard Pite, Martin Litton, Henry Lemaire — with versions of BLUES IN MY HEART, DOOZY, WHEN LIGHTS ARE LOW, BLUE INTERLUDE, SMACK, JUST A MOOD, and I’M IN THE MOOD FOR SWING.  (My notes read “lovely” and “just perfect.”)

What could follow that?  How about Bent Persson, Kristoffer Kompen, Michael McQuaid, Jean-Francois Bonnel, Spats Langham, Martin Litton, Nick Ward, and Rico Tomasso (vocal and trumpet) bringing us a superior version of the Armstrong – Hines Savoy Ballroom Five?  The set began with FIREWORKS, which turned out to be truth in advertising.  Then — just as good as much more rare — an hour spent with the music of King Oliver’s Dixie Syncopators circa 1926 — including a riotous WA WA WA and a chart the band was seeing for the first time, SHAKE IT AND BREAK IT.  Topping that was a genuinely exact and ecstatic reincarnation of the Halfway House Orchestra, with glorious playing from Andy Schumm, Michael McQuaid, Stephane Gillot, and Nick Ward — drumming as if possessed by the great spirits of savage grace.

Sunday concluded 9officially) with a stand-up-and-cheer 1937 Goodman concert with masterful playing, ensemble and solo . . . my room one story above was rocking!

After the Goodman tribute ended, sedate souls went to bed.

But I went to the Victory Pub for a jam session that began with Andy Schumm (now informally attired) romping through his favorite late-Twenties repoertoire . . . before friends came along: Rico Tomasso, Jean-Francois Bonnel, Thomas Winteler, Frans Sjostrom, Jens Lindgren, Josh Duffee, Malcolm Sked, Alistair Allan, Michael McQuaid, Matthias Seuffert, and other gifted roisterers.  I needed my sleep but stayed there until two in the morning (and you will see some of the reason I couldn’t leave!).  Extravagant creativity in near-darkness including sweet leisurely versions of TOPSY, MY MELANCHOLY BABY, AFTER YOU’VE GONE, I NEVER KNEW, ONCE IN A WHILE (the Hot Five version), I SAW STARS and LESTER LEAPS IN . . . Minton’s comes to Newcastle, as lit by Edward Hopper, recorded by Jerry Newman with a video camera.

Because of the “storm” or Hurricane Sandy, my flight to New York was cancelled.  But I was given the chance to make the most sublime jazz lemonade.  Paul Adams, of Lake Records, was creating a Vintage Recording Session with a Jazz-Age big band of Whitley Bay superstars: Duke Heitger, Rico Tomasso, Andy Schumm, Alistair Allan, Kristoffer Kompen, Stephane Gillot, Jean-Francois Bonnel, Matthias Seuffert, Michael McQuaid, Keith Nichols, Malcolm Sked, Spats Langham, Josh Duffee, and a guest appearance by Bent Persson.  I couldn’t stay for the whole session, but I heard them play POTATO HEAD BLUES (with the Louis and Dodds solos scored for brass and reeds, respectively), JAZZNOCHRACY, AWFUL SAD, HOT AND BOTHERED, CHANT OF THE WEED, ONE MORE TIME, THE SPELL OF THE BLUES, MANDY (MAKE UP YOUR MIND), WHEN THE FOLKS HIGH UP DO THAT MEAN LOWDOWN (a Berlin tune introduced by Bing in the film REACHING FOR THE MOON), STAMPEDE, MY PRETTY GIRL, and they were part-way through MILENBERG JOYS when I had to leave to make a train . . .   It will be a profoundly stirring recording — and the project needs subscribers.  Paul and Linda were asking for jazz-lovers to become patrons at a minimum of thirty pounds apiece, for which they would get their names in the CD booklet and a copy of the CD itself.  More information to come — but you can click fellside    for details.

I will post videos from this year’s extravaganza in a week or so — but take it from me.  The 2012 CJP was a sustained explosion of joy, and the 2013 promises to scrape the clouds — with appearances by Les Red Hot Reedwarmers (with Aurelie Tropez) and the Union Rhythm Kings (with Bent Persson, Frans Sojstrom, Morten Gunnar Larsen, Jacob Ullberger, Kristoffer Kompen, and others).

November 1-3, 2013.   If you are able to attend and you don’t, you’ll have missed something very special.  And if you don’t mind whispering a fact in your ears, the 2012 party was sold out.  People had to be turned away.

Check whitleybay for detials.

The musicians invited for the 2013 party include:

Trumpets: Bent Persson (Sweden), Enrico Tomasso (UK), Andy Schumm (USA), Ben Cummings (UK), Andy Woon (UK)

Trombones: Kristoffer Kompen (Norway), Alistair Allan (UK), Graham Hughes (UK)

Reeds: Aurélie Tropez (France), Stéphane Gillot (France), Claus Jacobi (Germany) , Matthias Seuffert (Germany), Lars Frank (Norway), Mauro Porro (Italy)

Piano: Keith Nichols (UK), Jeff Barnhart (USA), Morten Gunnar Larssen (Norway), Martin Seck (Germany)

Banjo/Guitar: Spats Langham (UK), Henry Lemaire (France), Martin Wheatley (UK), Jacob Ullberger (Sweden), Keith Stephen (UK)

String Bass: Richard Pite (UK), Henry Lemaire (France), Malcolm Sked (UK)

Brass Bass: Phil Rutherford (UK), Jean-Philippe Palma (France)

Drums: Josh Duffee (USA), Richard Pite (UK), Julien Richard (France), Nick Ward (UK)

Bass Sax: Frans Sjöström (Sweden)

Violin: Mike Piggott (UK)

Vocals: Daryl Sherman (USA), Caroline Irwin (UK), Spats Langham (UK)

Here’s something both sweet and hot from Friday, October 26 — part of a tribute to Lovie Austin enacted by Rene Hagmann, Jens Lindgren, Thomas Winteler, Martin Litton, Roly VEitch, and Josh Duffee:

And here’s a valuable lesson in swinging animal husbandry from a JElly Roll Morton tribute (featuring Enrico Tomasso, Kristoffer Kompen, Matthias Seuffert, Martin Litton, Malcolm Sked, Nick Ward, Michael McQuaid — BILLY GOAT STOMP — with the ordinarily quite evolved Nick doing the convincing animal imitations (and making the band laugh in the process):

And — the lovely sound you hear in those videos is in no small part because of the sensitive hard work of Chris and Veronica Perrin — who made sure the music sounded like music.

May your happiness increase.

MORE HOT NOTES (Whitley Bay Classic Jazz Party, Oct. 27, 2013)

More random impressions from the second day of the Whitley Bay Classic Jazz Party:

The elegant Martin Litton merging himself and Teddy Wilson for the first set of the day, a solo recital of pretty songs (BODY AND SOUL) and more energetic ones (LIZA);

a ferocious evocation of the New Orleans Bootblacks and Wanderers (recording aliases with not a little of the expected condescension of the time featuring Lillian Hardin Armstrong, George Mitchell, Johnny Dodds) — by Bent Persson, Jens Lindgren, Stephane Gillot, Matthias Seuffert, Martin Seck, Martin Wheatley, and Malcolm Sked — music that nearly unsettled the foundations of the Village Hotel Newcastle (PAPA DIP, DROP THAT SACK, TOO TIGHT, GEORGIA BO BO, MY BABY, and two others).  Down-home exuberance!  I was delighted by Gillot’s alto playing, which (from my perch) made the band echo the late-Twenties Sam Morgan recordings . . . with magnificent ensemble and solo work from the others;

a tribute to Red Nichols from 1926-30, with Andy Schumm stepping into the role masterfully, Alistair Allan summoning up the Master Miff Mole (shoes off or on), Michael McQuaid reminding us, once again, how much Lester Young must have learned from Jimmy Dorsey, Frans Sjostrom singing pretty songs through his bass saxophone, and Nick Ward creating hot castles in the air.  That would have been sufficient pleasure for anyone, but when Rico Tomasso and Duke Heitger joined for the trumpet trio on ECCENTRIC, it was nearly too much pleasure to bear;

reed wizard Thomas Winteler sitting close to the bandstand, smiling;

Rene Hagmann, on cornet; Jean-Froncois Bonnel, soprano, giving their own individualistic version of the Bechet-Spanier Big Four — the expected songs, but full of surprising light and shade — the landscape we expected but seen anew, with Hagmann suggesting not Muggsy but Cootie, marvelously;

Spats Langham singing the songs of Al Bowlly (accompanying himself on guitar) so tenderly that I thought I saw tears in many eyes — but also suggesting that Bowlly could easily have visited the ARC studios in 1937 and made himself at home with a small elegant hot band;

a wonderfully romping evocation of the Graeme Bell-Humphrey Lyttelton collaborations led by Michael McQuaid, with fires stoked by Duke Heitger, Bent Persson, and Nick Ward;

Josh Duffee’s loving and energized McKinney’s Cotton Pickers (all new songs) with vocal refrains by Mike Durham, Spats Langham, and Keith Nichols — reminding us that there are rainbows around our shoulders when we know how to do the ZONKY;

trombone hero Kris Kompen donning the mantle of Jack Teagarden — for a sweetly swinging DIANE and a BABY, WON’T YOU PLEASE COME HOME that truly cut loose;

Cecile McLorin Salvant, Bent Persson, Thomas Winteler, Keith Nichols, and Martin Wheatley suggesting that the 1928 OKeh studios had moved right next to the local Marks and Spencer, with visits from Lille Delk Christian and Little Louis;

I missed the tributes to Mary Lou Williams (at the head of the Andy Kirk band) and the Missourians, as well as what I was told was an exuberant jam session in the Victory Pub — video-recording and note-taking can be draining, too — but what I did see was choice and more.

A continued pleasure was the beautiful natural sound provided by Chris and Veronica Perrin — I’d hire them for every jazz party!

People are already reserving their places for 2013.  You come, too.

May your happiness increase.

HOT NOTES (Whitley Bay Classic Jazz Party, Oct. 26, 2012)

Random impressions of the first day at the Whitley Bay Classic Jazz Party . . .

the wonderfully agile and focused violinist Emma Fisk filling in for Joe Venuti, who had other commitments;

Nick Ward, adjusting his gong for the best auditory efficiency, so that he could reach over and hit it (affectionately) at the proper moments — and his castanet work during a dark soulful reading of Jelly Roll Morton’s JUNGLE BLUES (led by Martin Litton);

Andy Schumm’s blue-blowing, luminous cornet, first-rate alto playing;

the same Andy leading a romping rendition of BEND DOWN, SISTER . . . I asked if he would consider a vocal rendition next year;

two magnificent trombonists, Kristoffer Kompen and Alistair Allan;

Bent Persson making Louis come alive on CAFE CAPERS and SPANISH SHAWL  as well as HOT NOTES;

Cecile McLorin Salvant making her way sadly through I GET ALONG WITHOUT YOU VERY WELL;

Spats Langham being both Bing Crosby and Eddie Lang on PLEASE;

Thomas Winteler throwing his head back slightly to show us how the soprano saxophone should sound;

Jean-Francois Bonnel and Rene Hagmann, giants roaming the earth, ennobling the air;

the quietly eloquent Michael McQuaid, making his alto sing;

Norman Field with a rack of reed instruments, making the twenties and Thirties come alive — “That’s Fud Livingston!” I heard someone near me say);

Duke Heitger, muted, playing a tender obbligato;

a hilariously incendiary rendition of HELLO, LOLA (with or without comma);

Keith Nichols being anecdotal from the piano bench;

Josh Duffee getting more music out of one cymbal than Zildian ever imagined;

and more, and more . . .

Beautiful natural sound provided by Chris and Veronica Perrin — I’d hire them for every jazz party!

The Classic Jazz Party will continue on in 2013.

May your happiness increase.

A FEW WORDS FROM THE LAND OF DREAMS (October 26, 2012)

At the moment, the Land of Dreams isn’t Basin Street or the outskirts of Lake Ponchartrain.  It’s the Village Hotel Newcastle, where the Whitley Bay Classic Jazz Party had its unofficial beginnings last night . . . and will emerge at full power in a few hours.

Some of my friends went, last night, to a concert at The Sage Gateshead to hear Cecile McLorin Salvant pay tribute to Billie Holiday with noble assistance from Rico Tomasso and Jean-Francois Bonnel; I stayed at the hotel to marvel at two rehearsals.  In one, a band featuring Andy Schumm, Michael McQuaid, Alistair Allan, Frans Sjostrom, Nick Ward, and others, played music associated with Frank Trumbauer, and then Red Nichols.  Imagine I’M COMIN’ VIRGINIA and WAY DOWN YONDER IN NEW ORLEANS, IDA, ECCENTRIC, FEELIN’ NO PAIN, THAT’S NO BARGAIN . . .   Then my hero Bent Persson took the stand to work his way through clever arrangements of some truly obscure songs Louis had recorded for the Hot Choruses book — SPANISH SHAWL, CAFE CAPERS, SIDEWALK BLUES, HOT NOTES, STOMP YOUR STUFF . . . with wonderful playing from Jens Lindgren, Martin Seck, Rene Hagmann (saxophone and cornet), Thomas Winteler, Frans Sjostrom, Phil Rutherford, Josh Duffee, and others.  And Bent played the Louis choruses on each tune — electrifying!  The band, if you can’t imagine it from my words, sounded like an on-the-spot evocation of the CHICAGO BREAKDOWN session.  With no breakdowns.

I expect to be Too Busy to Blog . . . but think of me among the beautiful sounds.

I hope some of my readers will be inspired by this description to begin to consider the possibility of a 2013 visit.  Good music, good friends — joy in the air.  Today we’ll hear from Keith Nichols, Norman Field, Duke Heitger, Matthias Seuffert, Spats Langham, Martin Wheatley, Stephane Gillot, Malcolm Sked, Richard Pite, Kristoffer Kompen, Emma Fisk, and more . . .

May your happiness increase.  

“I’D LOVE IT”: WHITLEY BAY JOYS — 2011, 2012, 2013 . . . !

I’ve attended the Whitley Bay Classic Jazz Party for the last few years . . . and always had an extraordinary experience . . . meeting and hearing players who don’t often make it to the United States, including Jean-Francois Bonnel, Bent Persson, Frans Sjostrom, Michel Bastide, Nick Ward, Norman Field, Spats Langham, Michael McQuaid, John Scurry, Jason Downes, Matthias Seuffert, Enrico Tomasso, Jacob Ullberger, and two dozen other luminaries — even musicians from the US I don’t encounter often enough, such as Andy Schumm, Josh Duffee, and Jeff Barnhart.

The 2012 Jazz Party is sold out, but if you want a portable audio sampling of the 2011 Party, I urge you to snap up a copy of this limited edition CD . . . only 100 copies were produced.

The CD was recorded live at the 2011 Party by Torstein Kubban, and features this stellar assortment of players: Michel Bastide, Mike Durham, Bent Persson, Andy Schumm, Enrico Tomasso, Andy Woon, Alistair Allan, Kristoffer Kompen, Paul Munnery, David Sager, Steve Andrews, Bernard Anetherieu, Michel Bescont, Jean-Francois Bonnel, Norman Field, Mauro Porro, Matthias Seuffert, Paul Asaro, Jon Penn, Keith Nichols, Martin Seck, Jean-Pierre Dubois, Phillippe Guignier, Keith Stephen, Martin Wheatley, Roly Veitch, Christian LeFevre,Henry Lemaire, Bruce Rollo, Phil Rutherford, Debbie Arthurs, Josh Duffee, Richard Pite, Nick Ward, Raymond Grasier, Mike Piggott, Frans Sjostrom, Caroline Irwin, Cecile McLorin Salvant.

And the songs?  Nothing “psychological,” as Ruby Braff once said.  I’D LOVE IT / I GOT RHYTHM / SWEET SUE / I DON’T KNOW IF I’M COMIN’ OR GOIN’ / COTTON CLUB STOMP / WOLVERINE BLUES / VIPER’S DRAG / SINGIN’ THE BLUES / THANKS A MILLION / STARS AND STRIPES FOREVER / WHEN YOU LEAVE ME ALONE TO PINE / SOUTH / SNOWY MORNING BLUES / BLUE AND SENTIMENTAL / ALLIGATOR CRAWL / FRONT AND CENTER / OH, BABY! / WILDFLOWER RAG / CORNFED / BUGLE CALL RAG — a nice mix of small bands, big bands, three-tenor extravaganzas, vocals, novelty showcases . . . not a dull minute in the seventy-eight contained on the CD.

You can purchase a copy of the souvenir CD by visiting here.  Your purchase helps fund future Classic Jazz Parties, but the price of the disc isn’t prohibitive.

On to the future.  The 2013 CJP will run from November 1-3, and the following musicians are being considered . . . which will give us all something to dream about:

Trumpets: Bent Persson (Sweden), Enrico Tomasso (UK), Andy Schumm (USA), Ben Cummings (UK), Andy Woon (UK)

Trombones: Kristoffer Kompen (Norway), Alistair Allan (UK)

Reeds: Aurélie Tropez (France), Stéphane Gillot (France), Claus Jacobi (Germany) , Norman Field (UK), Matthias Seuffert (Germany), Lars Frank (Norway), Mauro Porro (Italy)

Piano: Keith Nichols (UK), Jeff Barnhart (USA), Morten Gunnar Larssen (Norway), Martin Seck (Germany)

Banjo/Guitar: Spats Langham (UK), Henry Lemaire (France), Martin Wheatley (UK), Jacob Ullberger (Sweden), Keith Stephen (UK)

String Bass: Richard Pite (UK), Henry Lemaire (France), Malcolm Sked (UK)

Brass Bass: Phil Rutherford (UK), Jean-Philippe Palma (France)

Drums: Josh Duffee (USA), Richard Pite (UK), Julien Richard (France), Nick Ward (UK)

Bass Sax: Frans Sjöström (Sweden)

Violin: Mike Piggott (UK)

Vocals: Daryl Sherman (USA), Caroline Irwin (UK), Spats Langham (UK)

and you can visit here to see the “themes” being mulled over for 2013 — because, as you may already know, the CJP is remarkable in its intense focus.  Some jazz parties get wonderful results by merely putting a group of musicians onstage and saying, in effect, “You have 45 minutes to do whatever you’d like.”  The CJP arranges its musicians thematically — so there might be a Jelly Roll Morton trio, a Lionel Hampton small-group session, a recreated McKinney’s Cotton Pickers, the Rhythmakers come again, and so on.  It’s not a dry historical lesson — more like a pageant of jazz history, alive and exuberant.

So, I encourage you to do “all of the above” if possible.  You’ll love it.  Or them.

May your happiness increase.

THAT RHYTHM MAN: BENT PERSSON PLAYS LOUIS at the 2011 WHITLEY BAY CLASSIC JAZZ PARTY (thanks to Flemming Thorbye and Elin Smith)

Even though I think he finds it mildly embarrassing, I hold the cornetist / trumpeter / bandleader / jazz scholar / occasional singer Bent Persson in awe.  He isn’t the only brassman who has studied and emulated Louis Armstrong — but when he plays, young and middle-period Louis comes alive, gloriously.

In this set at the 2011 Whitley Bay Classic Jazz Party (on Friday, November 4) he and an all-star band evoked some music from 1929, when Louis was often accompanied by the Carroll Dickerson and Luis Russell — a period of his career that doesn’t always get the attention it deserves.

The band had Bent, Andy Schumm, and Michel Bastide on trumpets; Kristoffer Kompen, trombone; Michel Bescont, Matthias Seuffert, and Mauro Porro, reeds; Martin Seck, piano; Mike Piggott, violin; Jean-Pierre Dubois, guitar; Richard Pite, sousaphone and string bass; Debbie Arthurs, drums; vocals by Rico, Cecile McLaurin Salvant, and Michel Bastide.

SYMPHONIC RAPS is more good-natured than symphonic, although it occasionally gives the impression of a Hot Seven line scored for large orchestra. I admire the way the sections play off each other at the start, then the exchanges between Seck’s properly skittering Hines-styled piano and the band.  Because this band isn’t constrained by the recording studio, Bent opened up the arrangement for a few more solos — the first being the nimble Matthias on alto, then an off-camera Kristoffer on trombone (catch Debbie Arthurs rocking the proceedings all through this), before he comes on with some organic, locally sourced Louis. Bent knows Louis so well that he seems to move around freely in the great man’s imagination, leaving the impression of a newly-discovered alternate take, say, on Argentinian Odeon — before Debbie wraps this package up neatly with comments on the temple blocks:

The Waller-Razaf lament about what they now call “colorism,” BLACK AND BLUE, remains deeply moving.  Everything here is in place, with the comfortable feeling of musicians who know the original so well that they can bring to it their own individualities — Bent, Kristoffer, that reed section, and an understated but impassioned vocal from Rico that summons up the Master, leading to an early-Thirties Hawkins interlude from Bascont, and Bent rising above the band and Debbie’s most empathic drumming:

Another Waller-Razaf song, THAT RHYTHM MAN, its basic conceit going back to Renaissance poetry, that the whole world is an orchestra, is clearly a dance number.  The band swings out from the start, with Kristoffer doing his special J.C. Higginbotham magic on the bridge. Michel Bastide shows that rhythm can triumph over every obstacle, even a recalcitrant microphone; he’s followed by rocking solos from Kristoffer, Bascont, Bent, and Matthias, before the whole rollicking performance winds down.  I wonder how many jazz players and singers across the country had this black-label OKeh in their collection, a record worn to a low gravy:

The most famous of the Waller-Razaf trilogy is of course AIN’T MISBEHAVIN’ (Elin) and this version follows the less well-known Seger Ellis small band recording, which featured Joe Venuti, Tommy and Jimmy Dorsey, Eddie Lang, Arthur Schutt, and Stan King — here the compelling Cecile McLorin Salvant stands in for Ellis, to great effect:

DALLAS BLUES (Thorbye) shows the band ready to swing — propelled by Debbie and her colleagues — even before Kristoffer and Richard play the blues and Bent sings them.  An inspired Kristoffer returns for a substantial outing and wows both the crowd and the band, before the trick ending that catches almost everyone by surprise:

I AIN’T GOT NOBODY (Thorbye) is given a performance at odds with the melancholy lyrics. Rocking interludes for the band, Rico, Mauro Porro and his metal clarinet, and Bent, suggest that everyone here indeed has somebody:

THANKS A MILLION (Elin), with both Rico and Bent invoking and evoking Louis, makes me feel so grateful for this set of music.

Thanks, once again, to Flemming Thorbye — check out his treasures   here

and Elin Smith, whom you can visit here

YES, IT’S THE LAST TIME! WHITLEY BAY 2012

It’s true.  Festival Director – Hot Trumpeter – Singer – Mike Durham tells me that the 2012 Whitley Bay Classic Jazz Party (beginning October 25, 2012, with a curtain-raising Thursday night concert at The Sage Gateshead and continuing through Sunday night / early Monday morning, October 28-29, depending) is THE LAST TIME.  (Honey babe.)

And for once, the race is absolutely to the swift: attendance is strictly limited to the first 280 patrons to book online.  The price is £125 (for those outside the United Kingdom, that translated into $140 when I booked a ticket two days ago).  You can purchase your seat through PayPal — or use a credit card — by visiting here.

The lineup of musicians and singers is spectacular: consider these names —

Duke Heitger (USA), Spats Langham (UK), Bent Persson (Sweden), Keith Nichols (UK), Matthias Seuffert Germany), Cecile McLorin Salvant (USA), Michael McQuaid (Australia), Caroline Irwin (UK), Stéphane Gillot (France), Emma Fisk (UK), René Hagmann (Switzerland), Martin Litton (UK), Andy Schumm USA), Rico Tomasso (UK), Jean-François Bonnel (France), Norman Field (UK), Thomas Winteler (Switzerland), Malcolm Sked (UK), Michel Bescont (France), Alistair Allan (UK), Kristoffer Kompen (Norway), Richard Pite (UK), Martin Seck (Germany), Jens Lindgren (Sweden), Martin Wheatley (UK), Josh Duffee (USA), Keith Stephen (UK), Manu Hagmann (Switzerland), Phil Rutherford (UK), Henry Lemaire (France), Frans Sjöström (Sweden), Nick Ward (UK) – and Mike Durham (West Jesmond).

And the party is like no other.  Here’s what Mike tells us, “All concerts will take place in the four-star Village Hotel’s Inspiration Suite, with cabaret seating: a new band or solo artist brought to you at the comfort of your table every 60 minutes (or less!) from midday to midnight (with a break for dinner).  All properly themed – no disorganised “let’s just get together and blow” sessions….. except for the late-night jam-session in the hotel’s Victory Pub.”

Here’s some music to order your seats!