Tag Archives: Echoes of Swing

WISTFUL STRENGTH: CHRIS HOPKINS at the PIANO

Say it simple: Chris Hopkins is such a fine pianist.

He is imaginative without being self-consciously “innovative”; he respects the composer’s intentions without being enslaved by the manuscript; he is both delicate and sure-footed.  The temptation, I think, is to play Eubie Blake’s MEMORIES OF YOU as eulogy or elegy even before the current world so violently changed shape, but Chris’ performance is tender and rueful without getting bogged down.  Admire his touch; his harmonies; his taste [he plays the verse, also].  And subscribe to his YouTube channel — why deprive yourself of pleasures?  It’s here, and there is space in the cyber-clubhouse for you.  Now, the music:

Chris’ “problem,” I say facetiously, is that he is also a world-class improviser on the alto saxophone, which he plays gloriously with the marvelous quartet of shape-changers called Echoes of Swing . . . you could look that up, too.  I think that, like me, you might have four bars of leisure time more than two months ago to admire his work — on CD and on YouTube — thoroughly. But of course I could be mistaken.

May your happiness increase!

REBECCA KILGORE and ECHOES OF SWING: “WINTER DAYS at SCHLOSS ELMAU”

Before writing this post, I was thinking about Rebecca (or Becky or Roo — she has many names, as appropriate to a multi-faceted personality) someone I have been listening to with awe and pleasure since 1994, perhaps beginning with I SAW STARS (Arbors).  As for Echoes of Swing, I got to hear them in person in Germany (in 2007, thanks to Manfred Selchow) and could tell them how I admired them.  It’s one of my dreams to have musicians and groups of musicians I revere play together, and the new CD is just such a dream. . . . one that you and I can hear and re-hear.

The disc also affords us a chance to adjust our perspectives, to shake off some preconceptions.  Some listeners have perched Rebecca on a sunny windowsill in the country of Light, Bright, and Sparkling. Yes, she may prefer PICK YOURSELF UP to GLOOMY SUNDAY, but for me a little darkness will suffice.  Hear her on this disc as she sails through I’VE GOT MY LOVE TO KEEP ME WARM and her reputation as an antidote to darkness is intact.  But only shallow listeners will mistake optimism for shallowness: she has depths of feeling.

Echoes of Swing plus Two: Chris Hopkins, Bernd Lhotzky, Rolf Marx, Oliver Mewes, Henning Gailing, Colin T. Dawson. Photo by Katrin Horn.

Echoes of Swing has also been slightly mis-characterized, praised for their large orchestral sound (the core unit is four players, count them, four — even though on this CD they add a string bass and guitar as well as Rebecca) — as if they were somehow marvelous simply for this magic trick, and critics have heard them as successors to the John Kirby Sextet, which is both plausible and confining.  But on this CD, the players — whom I should name now: Bernd Lhotzky, piano and musical director; Colin T. Dawson, trumpet and flugelhorn; Chris Hopkins, alto saxophone; Oliver Mewes, drums, with Henning Gailing, string bass, and (on four tracks) Rolf Marx, guitar — create such rich varied sounds inside and outside of the arrangements by Bernd and Chris that I felt as if I’d wandered into a universe scored by, let us say, Gil Evans, spacious and resonant.

Other artists have created records and CDs devoted to Winter.  And many of those jolly efforts are avalanches of fake snow from the arts-and-crafts store.  Christmas music looms, no matter how many chairs might be wedged against the studio door, or there’s LET IT SNOW, the now-troublesome BABY, IT’S COLD OUTSIDE, or WINTER WEATHER.  Sweet, certainly, but not always true to the reality of the season, for Winter is a time for introspection as the world becomes colder and darker.  This disc, I assure you, is not a descent into Seasonal Affective Disorder, and there are a few familiar cheery songs on it, but it is not the usual forgettable fluff.

Here’s a wonderful example, the text being the 1931 WINTER WONDERLAND, where the focused purity of Rebecca’s voice balances against a complex, shifting orchestral background:

Bernd’s quirkily cheerful setting of the most famous Robert Frost poem:

Rebecca’s own witty and sweet song:

You’ll have to explore the other surprises for yourself — songs I’d never heard by Frishberg, Berlin, and Jobim, and a few poems set to music by Bernd — performances that are remarkable on the first hearing and grow more so.

The disc is dense — which is not to say difficult or off-putting — but it has levels and levels of musical and emotional pleasure.  Some discs make wonderful background music — the soundtrack for rearranging one’s spice rack — but this one has the delicious resonance of one short story after another.  It’s available in all the old familiar places.  Details here. WINTER DAYS is ambitious, heartfelt, completely rewarding.  You won’t regret it, no matter what the temperature.

May your happiness increase!

GUILTY, AS CHARGED

This morning, Connor Cole, a young Facebook friend, someone with good taste, casually asked me to list the recordings that had impressed me in the past year.  I’ve stopped composing “ten best” lists because I know that I will hurt the feelings of someone I’ve left off.  (I once applied for a job where there were openings for five people, and was told afterwards that I was number six, a memory which still, perhaps absurdly, stings.)  But Connor’s request pleased me, so I began thinking of the recordings of 2019.

Perhaps it was that I wasn’t fully awake, but I came up with almost nothing, which troubled me.  So I began searching through blogposts and came up with these reassuring entities (new issues only) in approximate chronological order, with apologies to those I’ve omitted, those discs which I will write about in 2020:

IN THIS MOMENT, Michael Kanan, Greg Ruggiero, Neal Miner

NEW ORLEANS PEARLS  Benny Amon

UNSTUCK IN TIME  Candy Jacket Jazz Band

NO ONE ELSE BUT YOU  Danny Tobias, Mark Shane

RAGTIME — NEW ORLEANS STYLE, Volume 2  Kris Tokarski, Hal Smith

PICK IT AND PLAY IT  Jonathan Stout

BUSY TIL’ ELEVEN  Chicago Cellar Boys

TENORMORE  Scott Robinson

UPTOWN  The Fat Babies

COMPLETE MORTON PROJECT  Andrew Oliver, David Horniblow

A SUNDAY KIND OF LOVE, Alex Levin

DREAM CITY  David Lukacs

THE MUSIC OF THE BIRD AND THE BEE  Charles Ruggiero, Hilary Gardner

LESTER’S BLUES  Tom Callens

WINTER DAYS  Rebecca Kilgore, Echoes of Swing

The majority of those discs are musician-produced, funded, and released — which is yet another blogpost about “record companies” and their understandable attrition.  Economics, technology, and a changing audience.

But that list made me go back in time, decades of trading money for musical joy.

In late childhood, I would have walked or bicycled the mile to Times Square Stores and bought Louis’ Decca JAZZ CLASSICS for $2.79 plus tax.  A few years later, Monk cutouts on Riverside at Pergament or Mays. E.J. Korvette. Lester Young and Art Tatum Verves at Sam Goody’s.  A British enterprise, Tony’s, for exotic foreign discs.  In New York City, new Chiaroscuro issues at Dayton’s, Queen-Discs at Happy Tunes.

In the CD era, I would have stopped off after work at Borders or the nearby Tower Records for new releases on Arbors, Concord, Pablo, and import labels.  Again in the city, J&R near City Hall for Kenneth, French CBS, and more.  But record stores gave way to purchasing by mail, and eventually online.  Mosaic Records was born, as was Amazon, eventually eBay.

So today the times I actually visit “a record store,” it is to browse, to feel nostalgic, to walk away with a disc that I had once coveted — often with a deceased collector’s address sticker on the back — but I am much more likely to click on BUY IT NOW in front of this computer, or, even better, to give the artist twenty dollars for a copy of her new CD.

What happened?  I offer one simple explanation.  A musician I respect, who’s been recordings since 1991, can be relied upon to write me, politely but urgently and at length, how I and people like me have ruined (or “cut into”) his CD sales by using video cameras and broadcasting the product for free to large audiences.

So it’s my fault.  I killed Decca, Columbia, and Victor — Verve, Prestige, and Riverside, too.  Glad to have that question answered, that matter settled.  Now I’m off to do more damage elsewhere.

May your happiness increase!

“DANCING” WITH THE STARS — a/k/a ECHOES OF SWING: COLIN T. DAWSON, CHRIS HOPKINS, BERND LHOTZKY, OLIVER MEWES

 

ECHOES OF SWING

The wonderful quartet ECHOES OF SWING is often compared to the John Kirby Sextet, and with some justification.  They both create intricate lines; they turn corners adeptly at top speed; they like surprises; they often play with classical themes.  But I need to write a heresy here.  Stand back.

I think ECHOES OF SWING has well and truly outstripped its ancestor: they are satisfying in ways the Kirby group couldn’t have imagined.  There!  I’ve said it.

This quartet can be energized up to 11, but they are also capable of great yearning, quiet serenities.  And they like the groove (not even the slowest track drags) but don’t get stuck in it — each track has small jubilant surprises in it, and the CD never feels like an hour of the same thing, a salad that’s really a huge bowl of Swiss chard.

The four heroes at work are Colin T. Dawson, trumpet / vocal; Chris Hopkins, alto saxophone; Bernd Lhotzky, piano; Oliver Mewes, drums.  Chris, Colin, and Bernd have also contributed originals and arrangements.

And they have a new CD — called DANCING, appropriately.

Rarely do I quote from other people’s liner notes . . . but these tell the tale —

‘…a waltz through the history of jazz, an anthology which takes a wry look at the theme of dance in jazz, occasionally heading off at a tangent, and making some very surprising connections. It begins at the very beginning with Johann Sebastian Bach. A Gavotte from the English suite No. 6, a baroque dance, is transformed into a melodic platform for an effervescent drum feature. A journey through James P. Johnson’s ‘Charleston’ (‘straightened out’ into a modern jazz waltz), Scott Joplin’s ‘Ragtime Dance’, Cole Porter’s ‘Dream Dancing’, or Sidney Bechet’s ‘Premier Bal’ to Pixinguinha’s Brasilian Choro ‘Diplomata’, Bernd Lhotzky’s Cuban Bolero ‘Salir a la Luz’ or the exotic Ellington-like timbre of ‘Ballet Of The Dunes’ from Chris Hopkins. This is dance in jazz, but not as we know it. For a start, a third of the tracks are original compositions, and all of the remaining tunes have been not so much arranged, but more like given a complete and thorough overhaul. The older selections now possess a new ‘hipness’ and have been brought stylistically right up to the present day. This album presents the winning combination of flawless musicianship, a comprehensive knowledge of music history, good taste and judgement, and a sly sense of humour. Each of the tracks of “Dancing” communicates simultaneously and directly with the brain, the emotions and down to your feet. There is quite simply a very wide range of delights for the listener to enjoy.’

A few words more.  When I listen to EOS, I am always amazed by two things at once: the band’s nifty and expansive ensemble work, polished but not stiff.  It’s clear they rehearse, but rehearsal has not stifled their essential joyful spirits. And then there are the soloists.  If you don’t follow the band, the names of the four musicians may be slightly new to you, but they are sterling: Oliver is one of the finest drummers playing today — not an antiquarian, but a swinger who is so aware of the rollicking obligation to keep the other players afloat and make beautiful sounds.  Bernd is a lyrical hot expert orchestral player, but even when he plays one note, it has a splendid epigrammatic shape.  Colin is not only a fine hot trumpeter, lyrical or edgy as needed, but also a very warm persuasive singer, who moves us in his first eight bars.  And when Chris plays, I sense Benny Carter, Pete Brown, and Rudy Williams grinning: his sweet-tart tone, his blazing attack, his innate rhythmic energies are all memorable.

As a postscript, I have to apologize to the four gentlemen of EOS for taking so long to bring this disc to my readers’ attention.  I loved it instantly; I have played it two dozen times . . . but I was intimidated by its glowing vibrant variety. “What can I say about this except BUY IT NOW?”  But now’s the time.  It’s glorious. Here is the EOS CD page, and the Echoes Of Swing Facebook page. You can find the disc through iTunes and in all the old familiar places.

A working jazz band, these days, is a true marvel.  Echoes of Swing is a marvel well beyond that.

May your happiness increase!

ELEGANTLY IMAGINATIVE: ECHOES OF SWING, “BLUE PEPPER”

I begin somberly . . . but there are more cheerful rewards to follow.

As the jazz audience changes, I sense that many people who “love jazz” love it most when it is neatly packed in a stylistically restrictive box of their choosing. I hear statements of position, usually in annoyed tones, about banjos, ride cymbals, Charlie Parker, purity, authenticity, and “what jazz is.”

I find this phenomenon oppressive, yet I try to understand it as an expression of taste.  One stimulus makes us vibrate; another makes us look for the exit.  Many people fall in love with an art form at a particular stage of it and their development and remain faithful to it, resisting change as an enemy.

And the most tenaciously restrictive “jazz fans” I know seem frightened of music that seems to transgress boundaries they have created .  They shrink back, appalled, as if you’d served them a pizza with olives, wood screws, mushrooms, and pencils.  They say that one group is “too swingy” or “too modern” or they say, “I can’t listen to that old stuff,” as if it were a statement of religious belief.  “Our people don’t [insert profanation here] ever.”

But some of this categorization, unfortunately, is dictated by the marketplace: if a group can tell a fairly uninformed concert promoter, “We sound like X [insert name of known and welcomed musical expression],” they might get a booking. “We incorporate everyone from Scott Joplin to Ornette Coleman and beyond,” might scare off people who like little boxes.

Certain musical expressions are sacred to me: Louis.  The Basie rhythm section. And their living evocations.  But I deeply admire musicians and groups, living in the present, that display the imaginative spirit.  These artists understand that creative improvised music playfully tends to peek around corners to see what possibilities exist in the merging of NOW and THEN and WHAT MIGHT BE.

One of the most satisfying of these playful groups is ECHOES OF SWING. Their clever title says that they are animated by wit, and this cheerful playfulness comes out in their music — not in “comedy” but in an amused ingenuity, a lightness of heart.  They have been in action since 1997, and when I saw them in person (the only time, alas) in 2007, they were wonderfully enlivening.

This action photograph by Sascha Kletzsch suggests the same thing:

EchoesOfSwingInAction1 (Foto Sascha Kletzsch, v.l. Lhotzky, Hopkins, Dawson, Mewes)

They are Colin T. Dawson, trumpet / vocal;  Chris Hopkins, alto sax; Bernd Lhotzky, piano; Oliver Mewes, drums.  And they are that rarity in modern times, a working group — which means that they know their routines, and their ensemble work is beautiful, offering the best springboards into exhilarating improvisatory flights. They are also “a working group,” which means that they have gigs.  Yes, gigs!  Check out their schedule here.

Here  is a 2013 post featuring their hot rendition of DIGA DIGA DOO, and an earlier one about their previous CD, MESSAGE FROM MARS, with other videos — as well as my favorite childhood joke about a Martian in New York City here.  And while we’re in the video archives, here is a delicious eleven-minute offering from in November 2014:

and here they are on German television with a late-period Ellington blues, BLUE PEPPER:

All this is lengthy prelude to their new CD, aptly titled BLUE PEPPER:

EchoesOfSwing  - BluePepperCover

The fifteen songs on the disc are thematically connected by BLUE, but they are happily varied, with associations from Ellington to Brubeck and Nat Cole, composers including Gordon Jenkins, Rodgers, Bechet, Waller, Strayhorn — and a traditional Mexican song and several originals by members of the band: BLUE PEPPER / AZZURRO / BLUE PRELUDE / LA PALOMA AZUL / BLUE & NAUGHTY / BLUE MOON / BLACK STICK BLUES / BLUE RIVER / OUT OF THE BLUE / AOI SAMMYAKU [BLUE MOUNTAIN RANGE] / THE SMURF / BLUE GARDENIA / THE BLUE MEDICINE [RADOVAN’S REMEDY] / WILD CAT BLUES / AZURE.

What one hears immediately from this group is energy — not loud or fast unless the song needs either — a joyous leaping into the music.  Although this band is clearly well-rehearsed, there is no feeling of going through the motions. Everything is lively, precise, but it’s clear that as soloists and as an ensemble, they are happily ready to take risks. “Risks” doesn’t mean anarchy in swingtime, but it means a willingness to extend the boundaries: this group is dedicated to something more expansive than recreating already established music.

When I first heard the group (and was instantly smitten) they sounded, often, like a supercharged John Kirby group with Dizzy and Bird sitting in while at intervals the Lion shoved Al Haig off the piano stool.  I heard and liked their swinging intricacies, but now they seem even more adventurous.  And where some of the most endearing CDs can’t be listened to in one sitting because they offer seventy-five minutes of the same thing, this CD is alive, never boring.

A word about the four musicians.  Oliver Mewes loves the light-footed swing of Tough and Catlett, and he is a sly man with a rimshot in just the right place, but he isn’t tied hand and foot by the past.  Bernd Lhotzky is a divine solo pianist (he never rushes or drags) with a beautiful lucent orchestral conception, but he is also someone who is invaluable in an ensemble, providing with Oliver an oceanic swing that fifteen pieces could rest on.  I never listen to this group and say, “Oh, they would be so much better with a rhythm guitar or a string bassist.”

And the front line is just as eloquent.  Colin T. Dawson is a hot trumpet player with a searing edge to his phrases, but he knows where each note should land for the collective elegance of the group — and he’s a sweetly wooing singer in addition.  Chris Hopkins (quiet in person) is a blazing marvel on the alto saxophone — inventive and lyrical and unstoppable — in much the same way he plays the piano.

And here is what my wise friend Dave Gelly wrote: It’s hard to believe at first that there are only four instruments here. The arrangements are so ingenious, and the playing so nimble, that it could be at least twice that number. But listen closely and you will discover just a quartet of trumpet, alto saxophone, piano and drums – with absolutely no electronic tricks. The style is sophisticated small-band swing, the material a judicious mixture of originals and swing-era numbers and there is not a hint of whiskery nostalgia in any of it. It’s about time this idiom received some fresh attention and here’s the perfect curtain-raiser.

Here is their Facebook page, and their website.

We are fortunate that they exist and that they keep bringing us joyous surprises.

May your happiness increase!

WHEN FOUR MUSICIANS MAKE A BRILLIANTLY VERSATILE ORCHESTRA

The four musicians are Colin T. Dawson, trumpet; Chris Hopkins, alto saxophone; Bernd Lhotzky, piano; Oliver Mewes, drums: “ECHOES OF SWING,” caught here live performing DIGA DIGA DOO that segues into the Benny Carter variant KRAZY KAPERS with a percussive detour into SING SING SING territories:

Chris Hopkins tells me that this video “was from a big concert in Erlangen, Germany, on October 21, 2013. Colin filmed it himself (for the first time) with 3 cameras and is crazy about learning all the video stuff at the moment. He’s having fun digging into it. You find a picture of the hall on the Echoes Of Swing Facebook page.”

This wonderful quartet also has a new CD, called BLUE PEPPER . . . details to come soon.

May your happiness increase!

FOR ROY: ECHOES OF SWING and FRIENDS at ASCONA

I’ve just been delighted by the Echoes of Swing disc called MESSAGE FROM MARS — the players are Chris Hopkins, alto; Bernd Lhotzky, piano; Colin T. Dawson, trumpet; Oliver Mewes, drums.  Here’s the EOS as part of a wonderful ensemble paying tribute to David Roy Eldridge, the man who created exciting jazz wherever he played. 

The colleagues here are tenorist Frank Roberscheuten, guitarist Eddie Erickson, trombonist Dan Barrett, bassist Joel Forbes  — and they romp through an unnamed line on the chord changes of IDAHO that I associate with Roy’s time with Coleman Hawkins: BEAN STALKING.  Thanks to Ned Newitt for the identification.  And the band is pure joy:

“MESSAGE FROM MARS”

No, the aliens haven’t landed.  And this isn’t a detour into NASA’s territory or a nostalgic trip back to the Mickey Mouse Club (although I haven’t been able to get one ancient “The Martians come to New York” joke out of my head*).

MESSAGE FROM MARS is the name of a splendid new disc by Echoes of Swing, a world-class band that lives up to its name and more.  While retaining its essential identity — flexible and convincing — this quartet can sound like a much larger unit, and the disc is characterized by a delightful variety in mood, tempo, and approach.  The players are superb chameleons who remain true to themselves: Chris Hopkins (himself a superb pianist) on alto sax; Colin T. Dawson on trumpet and vocal; Bernd Lhotzky on piano; Oliver Mewes on drums.

Each of those musicians savors the past and does it personal homage: Mewes suggests Catlett and Jones; Lhotzky celebrates Waller and Nat Cole; Dawson evokes Eldridge and Emmett Berry; Hopkins summons up Pete Brown and Carter.  But this isn’t a repertory effort: the music produced here is both profound and hilariously flightly, skittering from surprise to surprise.

On the surface, Echoes of Swing might sound like a John Kirby Sextet spin-off, with tightly voiced ensembles and an affection for “jazzing the classics.”  But they avoid the potential claustrophobia of these categories by being very eager to play hooky: you’ll hear echoes of many other styles and hints of other approaches, all fused delightfully into something both nostalgic and startling.

But don’t take my word for it.  Here are Echoes of Swing performing James P. Johnson’s SWINGA-DILLA STREET (recorded only by Fats Waller and his Rhythm before this):

And here’s a Lhotzky original, HIS HONOUR AND THE VERMIN (FLEAS IN MY WIG):

MESSAGE FROM MARS offers a deliciously subtle and witty tasting menu of music — a disc you could listen to all the way through without the slightest hint of monotony; at the same time, you could savor each of the sixteen miniatures for its own surprises without ever getting tired.  There I saw this group for the first and only time in Germany in 2007, thanks to Manfred Selchow, and found them exciting and deep: the disc captures their subtleties and drive wholly.  It’s beautifully recorded and (as a bonus) has expansive notes by our own Dan Barrett.

The songs are SHAKE IT AND BREAK IT /  MESSAGE FROM MARS (groovy and futuristic by Sid Phillips) / THE GHOST OF MARSDEN GHETTO (an atmospheric piece by Colin T. Dawson) / DON’T EXPLAIN / BUTTERFLY CHASE (Lhotzky-Chopin) / THE GOON DRAG (Sammy Price) / DELIRIUM (Arthur Schutt) / HIS HONOUR AND THE VERMIN / MOONLIGHT FIESTA (also known as PORTO RICAN CHAOS) / LIEBESLIED (Kreisler) / TWILIGHTNIN’ HOPKINS (by Chris) / DON’T SAVE YOUR LOVE FOR A RAINY DAY (an obscure Harold Spina pop tune) / ODEON (Ernesto Julio Nazareth) / BUGHOUSE (Red Norvo – Teddy Wilson) / SPRING IS HERE / GAVOTTE (Shostakovich).

Here’s what Scott Hamilton said about this band:

I’ve been listening to these guys for a few years now, and they’re always full of surprises.  This CD is their best yet.  They all have a deep understanding of the literature, and they play from inside.  How they do it all with four instruments is beyond me.

But fortunately the CD isn’t beyond our reach: visit http://www.EchoesofSwing.com. for more information.

[*The Martians land in New York.  They’re friendly interstellar tourists who want to learn everything about us — to swap information and customs.  A curious New Yorker hands one of the Martians a toasted bagel to see what the alien might make of it.  The Martian, to everyone’s surprise, sniffs the bagel, inserts it into where his jaws might be, chews it a bit, and says (through simultaneous translation), ‘Mmmmm.  This would go great with cream cheese and lox.'”]

HOW I WOULD SPEND MY SUMMER VACATION . . .

If I had what W.C. Fields used to call “the spondulics,” mountains of them, (“bucks,” for the uninitiated), I’d be following these bands around Europe.  I especially pant for the Schloss Elmau Swing Festival, which collects some of the finest musicians I’ve ever seen, many of them who have not made many American tours.  To see the gorgeous hotel, click here:

SCHLOSS ELMAU Swing Festival (“The Musicians’ Party”)

 Musical director: BERND LHOTZKY  

 May 27th – June 4th, 2010

Shaunette Hildabrand (voc), Scott Hamilton (ts), George Washingmachine (vio/voc), Duke Heitger (tp), Menno Daams (tp), Chris Hopkins (p/as), Frank Roberscheuten (cl/sax), John Allred (tb), Howard Alden (g), Bernd Lhotzky (p), Joel Forbes (b), Eddie Metz (dm), Michael Keul (dm).

 27.05.10: “The Grand Opening” | 28.05.10: “Moon Songs” | 29.05.10: “Dancing on the Ceiling – A Caribbean Affair” | 30.05.10: “George Gershwin Night” | 31.05.10: “Scott Hamilton” | 01.06.10: “The Various Talents of Mr. Daams” | 02.06.10: “Frank Roberscheuten’s Hiptett” | 03.06.10: “Metzo Forte” | 04.06.10: “Vive Le Hot Club De France – A Joyful Celebration of Django Reinhardt’s 100st Birthday” |

Information and booking: Schloss Elmau, 82493 Elmau / Bavaria (Germany), Tel.: D – 08823 / 18-0.  http://www.schloss-elmau.de

Special swing festival package – 7 nights // Special short stay saver – 5 nights

ECHOES OF SWING

Colin Dawson, Chris Hopkins, Bernd Lhotzky, Oliver Mewes  >4 Jokers in the Pack – and more!<

Their recent album was awarded the “Grand Prix du Disque de Jazz” du Hot Club de France

19.04.10 (20:30), NL-5691 Son, De Zwaan, NL – 0492 / 599890  //  20.04.10 (19:30), D-51399 Burscheid, Kulturscheune Dierath, D – 02174 / 81 47  // 21.04.10 (19:30), D-46236 Bottrop, Kammermusiksaal, D – 02041 / 3 40 18  // 22.04.10 (20:00), D-33102 Paderborn, Kulturwerkstatt, D – 05251 / 3 17 85 //  23.04.10 (20:30), B-4800 Verviers, Königl. Stadttheater, B – 087 / 64 72 67  //  24.04.10 (20:00), D-48249 Dülmen, Aula des Cl.-Brentano-Gymnasiums, D – 02594 / 12400  //  25.04.10 (11:00), D-42699 Solingen, Rheinisches Industriemuseum, D – 0212 / 23 24 1-12  //  26.04.10 (20:00), D-90523 Wendelstein, Jegelscheune, D – 09129 / 90 97 87  //  27.04.10 (19:30), D-97877 Wertheim, Arkadensaal im Rathaus, D – 09342 / 219 11  //  08.05.10 (19:30), D-86911 Dießen/Ammersee, Theatersaal im Augustinum, D – 08807 / 70115  //  09.05.10 (20:00), D-85591 Vaterstetten, Rathaus, D – 089 / 90 90 11 86  //  26.05.10 (20:00), A-6840 Götzis (Voralberg), Kulturbühne Ambach, A – 05523 / 54949  //  18.06.10, D-45127 Essen, Kulturpfadfest, Lichtburg, D – 0201 / 88 45045  //  27.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-0  //  28.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-029.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-0  //  30.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-0  //  08.08.10 (11:00), D-65343 Eltville am Rhein, Schloss Reinhartshausen, D – 01805 / 74 34  //  30.09.10 (20:30), D-86156 Augsburg, Spectrum Club, D – 0821 / 257 28-28  //  01.10.10 (20:00), D-84508 Burgkirchen, Bürgerzentrum, D – 08679 / 91503-210  //  14.10.10 (19:30), D-81375 München, Theatersaal im Augustinum, D – 089 / 1893799-24  //  15.10.10 (20:00), D-82380 Peißenberg, Tiefstollenhalle, D – 08803 / 63 23 03  //  16.10.10 (20:00), D-82229 Seefeld, Schloss Seefeld, D – 08152 / 98 08 97  //  29.10.10 (20:00), D-53925 Kall, Kulturraum der KEV, D – 02441 / 82300  //  30.10.10 (20:30), D-55218 Ingelheim am Rhein, Weiterbildungszentrum, D – 06132 / 89 71 24  //  04.11.10 (20:00), D-49716 Meppen, Theater im Windthorst-Gymnasium, D – 05931 / 15 33 78  //  05.11.10 (20:30), D-26871 Papenburg, Forum Alte Werft, D – 04961 / 82337  //  06.11.10 (20:00), D-24306 Plön, Aula am Schiffsthal, D – 04522 / 8187  //  04.12.10 (20:30), D-63322 Rödermark, Jazzclub Rödermark, D – 06074 / 93200  //  06.12.10 (20:00), D-47051 Duisburg, Theater ‘Die Säule’, D – 0203 / 20125  //   

David Lukács – Menno Daams Orchestra feat. Frank Roberscheuten, Chris Hopkins a.o.

28.04.10 (20:00), NL-1018 Amsterdam, Hermitage Amsterdam, NL – 020 / 530 87 51

The THREE TENORS OF SWING feat. Antti Sarpila, Frank Roberscheuten, Engelbert Wrobel   

24.04.10 (14:00), NL-4201 Gorinchem, Jazzfestival, NL – 0183 / 62 52 58  //  25.04.10 (18:00), D-53111 Bonn, Collegium Leoninum, D – 0228 / 94 92 6-0  //  26.11.10 (20:30), D-73257 Köngen, Schloss Köngen, D – 07024 / 86730  // 

INTERNATIONAL STRIDE PIANO SUMMIT  >virtuoso classic jazz performed on two grand pianos<   

feat. Chris Hopkins, Louis Mazetier, Bernd Lhotzky & Paolo Alderighi:

10.06.10 (20:00), D-59439 Holzwickede, Wasserburg Haus Opherdicke, D – 02303 / 27 25 41   

feat. Bernd Lhotzky, Paolo Alderighi, Ehud Asherie, Chris Hopkins:

21.10.10 (20:00), D-85045 Ingolstadt, Audi Forum, D – 08431 / 4 12 33

feat. Ehud Asherie, Bernd Lhotzky, Rossano Sportiello, Chris Hopkins, Louis Mazetier, Stephanie Trick & Nicki Parrott (bass):

23.10.10 (19:00), CH-5623 Boswil (Zürich), Alte Kirche, CH – 056 / 634 31 32

24.10.10 (17:00), CH-5623 Boswil (Zürich), Alte Kirche, CH – 056 / 634 31 32

Engelbert Wrobel’s Swing Society feat. Chris Hopkins, Rolf Marx, Henning Gailing, Oliver Mewes   

04.07.10 (11:30), D-45964 Gladbeck, Mathias-Jakobs-Stadthalle, D – 02043 / 2 26 74

25.07.10 (11:00), D-53113 Bonn, Bundeskunsthalle, D – 0228 / 66 88-242

21.09.10 (20:00), D-59348 Lüdinghausen, Burg Lüdinghausen, D – 02591 / 926 176

26.09.10 (11:30), D-40764 Langenfeld (Rheinland), Stadthalle Langenfeld, D – 02173 / 794 926

05.10.10 (19:30), D-58511 Lüdenscheid, Kulturhaus Lüdenscheid, D – 02351 / 171 299

07.11.10 (19:00), D-51379 Leverkusen, Scala, D – 02171 / 76 79 59

JAZZIN’ JULY WORKHOP July 5th – 11th, 2010

NL-5595 LEENDE (Nähe Eindhoven), Golden Tulip Jagershorst, Valkenswaardweg 44

Teachers: Shaunette Hildabrand (vocal), Colin Dawson (trumpet), Dan Barrett (trombone), Frank Roberscheuten (saxophone/clarinet), Engelbert Wrobel (clarinet/saxophone), Chris Hopkins (piano/saxophone), Bernd Lhotzky (piano), Howard Alden (guitar/banjo), Karel Algoed (bass), Oliver Mewes (drums).

Information & Booking: +32-11-515326 (Frank Roberscheuten, director)   

More Info: http://www.swingcats.nl/workshop2010

Flyer-Download: JazzinJulyWorkshop2010

Chris Hopkins meets his Piano Friends: Louis Mazetier (Paris)

>virtuoso classic jazz performed on two grand pianos<

16.09.10 (19:00), D-53229 Bonn, Klavierhaus Klavins, D – 0228 / 94 92 6-0

17.09.10 (19:30), D-44869 Bochum, Kunstwerkstatt am Hellweg, D – 01805 / 00 18 12  (14 Ct./Min.)

18.09.10 (20:00), D-58332 Schwelm, Kulturfabrik Ibach-Haus, D – 02336 / 990 540

19.09.10 (16:00), D-44869 Bochum, Kunstwerkstatt am Hellweg, D – 01805 / 00 18 12  (14 Ct./Min.)

For more Information please  visit these websites.

info@hopkins.de

http://www.hopkins.de

info@EchoesOfSwing.com

http://www.EchoesOfSwing.com

SHUFFLE ALONG!

Egged on by the inestimable Messrs. Riccardi and Hutchinson, I present my unexpurgated and hugely idiosyncratic list of the first 25 selections on my iPod, no cheating.  Readers of similar temperaments are encouraged to respond:

Perdido, Stuff Smith

Sleigh Ride, Mark Shane’s Xmas All-Stars

Good Little, Bad Little You, Cliff Edwards (Venuti and Lang)

Blame it On the Blues, Duke Heitger’s Big Four

It’s A Sin to Tell A Lie, Humphrey Lyttelton

Walk It To Me, Hot Lips Page

Gassin’ the Wig, Roy Porter

Under A Texas Moon, Seger Ellis

They Say, Echoes of Swing

Some Rainy Day, Hal Smith’s Roadrunners

Linden Blues, Rex Stewart

There’s Something In My Mind, Ruby Braff

Down By The Old Mill Stream, Benny Goodman

Sweet Sue, Jammin’ at Rudi’s (Rudi Blesh, 1951)

Take the “A” Train, Duke Ellington

My Blue Heaven, Eddie Condon (Town Hall)

Farewell Blues, Eddie Condon (Decca)

Stay On the Right Side of the Road, Bing Crosby

Oriental Man, Simon Stribling

All That Meat and No Potatoes, The Three Keys

Stompin’ at the Savoy – Fine and Dandy, Coleman Hawkins (1967 JATP with Teddy Wilson)

Corrine Corrina, Red Nichols

Fascinatin’ Rhythm, Cliff Edwards

St. Louis Bllues, The Boswell Sisters

I’ll See You In My Dreams, Jeff Healey

 

Perhaps not a scientific cross-section or a scholarly sample, but those tracks — in that idiosyncratic assortment — offer great happiness.  Anyone care to join in?