Tag Archives: Enrico Tomasso

A LEISURELY CONVERSATION OF KINDRED SOULS, or “BLUES FOR MANNIE”: MATTHIAS SEUFFERT, HELGE LORENZ, ENGELBERT WROBEL, BERT BOEREN, MENNO DAAMS, ENRICO TOMASSO, BERNARD FLEGAR, NICO GASTREICH, NIELS UNBEHAGEN (April 10, 2016)

You wouldn’t imagine that the serious man (second from left in the photograph, holding a corner of the check) could inspire such joy, but it’s true.  That fellow is my friend and friend to many, Manfred “Mannie” Selchow, jazz concert promoter, jazz scholar, enthusiast, and so much more.  He even has his own Wikipedia page that gives his birthdate, his work history, and more — but it also says that he has organized more than thirty concert tours of Germany that have resulted in many joyous concerts and CDs from them (released on the Nagel-Heyer label) featuring Ralph Sutton, Marty Grosz, Harry Allen, Randy Sandke, Eddie Erickson, Menno Daams, Jon-Erik Kellso, Dan Barrett, Kenny Davern, Bob Wilber, Mark Shane, Rossano Sportiello, and hundreds more.

I first met Manfred through the mail: he had published a small but fascinating bio-discography of one of his great heroes, Edmond Hall (whom he heard in 1955 when Ed came to Germany with Louis).  Eager as always, I wrote him to let him know about some Hall I’d heard that he hadn’t.  We began corresponding and traded many tapes.  The slim monograph grew into a huge beautiful book, PROFOUNDLY BLUE, and Manfred then began working on an even more expansively detailed one about Vic Dickenson, DING! DING! which I am proud to have been a small part of.  In 2007, I visited him in his hometown for a weekend of music; I came over again in April 2016 for “Jazz im Rathaus,” which takes place in Imhove.  This 2016 concert weekend was in celebration not only of thirty years of wonderful music, but of Manfred’s eightieth birthday.

The concert weekend was marvelous, full of music from the people you see below and others, including Nicki Parrott, Stephanie Trick, and Paolo Alderighi. However, one of the most satisfying interludes of the weekend took place near the end — a JATP-themed set led by Matthias Seuffert.  And Matthias, who has excellent ideas, had this one: to play a blues for Mannie.  Now, often “Blues for [insert name here]” is elegiac, since the subject has died.  Happily, this isn’t the case.  What it is, is a medium-tempo, rocking, cliche-free evocation of the old days made new — honoring our friend Mannie.  The players are Bernard Flegar, drums; Niels Unbehagen, piano; Helge Lorenz, guitar; Nico Gastreich, string bass; Bert Boeren, trombone; Engelbert Wrobel, Matthias Seuffert, reeds; Menno Daams, Enrico Tomasso, trumpet.  What a groove!

I think the world — in its perilous state — needs blues like this (homeopathically) to drive away the real ones we face, and this nearly ten-minute example of singular individuals working together lovingly in swing for a common purpose is a good model for all of us.  Thanks to the always-inspiring Mannie for all he’s done and continues to do.

P.S.  This post was originally prepared for the faithful readers and listeners shortly after the music was performed, but technical difficulties of a rather tedious sort interfered . . . and now you can see what we all saw a few years back.  Thanks for holding, as they say in telephone conversations.  And if Manfred is still somewhat computer-averse, I hope someone will share this post with him.

May your happiness increase!

ELLINGTONIA with FRANK ROBERSCHEUTEN, AURELIE TROPEZ, ENRICO TOMASSO, CHRIS HOPKINS (October 29, 2017)

Ellington by Hirschfeld

The Frank Roberscheuten Hiptett, led by Frank on alto and tenor, did the lovely magic of honoring an ancestor and a tradition without copying the records note-for-note.  This magic took place at the Classic Jazz Concert Club in Sassenheim, in the Netherlands, on October 28, 2017, and it appeared — magically! — on YouTube this morning. I couldn’t resist, and I hope you can’t either.

The other creators are Aurelie Tropez, clarinet; Enrico Tomasso, trumpet; Chris Hopkins, piano (his accompaniments especially subversive and delicious), Mark Elton, string bass; Stan Laferrière, drums. And there’s a surprise vocal trio — always a treat.

The songs they chose are familiar, yet the light of individuality shines through these performances, even when the ghosts of Ellington, Procope, Cootie, Nance, Hodges, Gonsalves, are visiting.

Thank you for being, dear players and singers.

May your happiness increase!

“LET ME OFF MIDTOWN”: RICO TOMASSO VISITS BIRDLAND: THE LOUIS ARMSTRONG ETERNITY BAND (David Ostwald, Bjorn Ingelstam, Adrian Cunningham, Jim Fryer, Vince Giordano, Paul Wells: August 9, 2017)

When the noble Enrico Tomasso visited New York (with wife Debbie and daughter Analucia) on August 9, 2017, his activities had a distinct theme running through them, which shouldn’t be hard to recognize.  First, Rico visited the house that Louis and Lucille Armstrong had called home for decades.  That was in the morning.  In the afternoon, the Tomassos visited the Louis Armstrong Archives at Queens College, got to have a good time with Ricky Riccardi, play Louis’ trumpet, look at scrapbooks and hear tapes from Louis’ library — much of which I captured on video here.  Ricky, who is an estimable tour guide in addition to everything else, got us to the subway by car (through the window, I saw my favorite new business sign — the S & M PHARMACY — and I leave the commentaries to you).  On the E train, Rico told stories of Henry “Red” Allen and other heroes.

Where were we going?  To “New York’s friendliest jazz club,” which would be Birdland — for their Wednesday afternoon-into-evening jazz serenade by the Louis Armstrong Eternity Band, led by David Ostwald.  I present two thrilling performances by Rico and the LAEB (is the theme becoming clear now?), whose members were David, tuba; Paul Wells, drums; Vince Giordano, banjo; Adrian Cunningham, clarinet and alto; Jim Fryer, trombone and euphonium; Bjorn Ingelstam, trumpet.  Attentive viewers will notice a nicely-coiffed immovable object in the middle of the frame: she and her partner were there to stay and I did what I would like to believe was the best I could.

BACK O’TOWN BLUES:

STRUTTIN’ WITH SOME BARBECUE:

As the little boy says to Alan Ladd, “Come back, Rico!  Come back!”

May your happiness increase!

THE KISS OF JOY: ENRICO TOMASSO VISITS THE LOUIS ARMSTRONG ARCHIVES (August 9, 2017)

At an age when most of us are playing with imaginary friends or real toys, the lovely musician Enrico Tomasso was playing BASIN STREET BLUES for Louis Armstrong and — in that famous photograph — receiving “The  Kiss Of Joy” from Louis.  So when Marc Caparone refers to Rico as “anointed,” he speaks the truth.

August 9, 2017, was a very special day for me, for Enrico and his family — his wife Debbie and daughter Analucia — thanks to Ricky Riccardi, the Ambassador of Louis and Louisness.  For it was on that day that Rico came to the Louis Armstrong Archives at Queens College, my idea of a holy place, to sit among the wonders.  I was there, with my camera, and recorded what happened, for all to see.  The opening videos of this segment are narrative: Rico, Ricky, and family, looking at Louis’ scrapbooks and photographs.  But Rico has marvelous stories to tell: this isn’t “history”: it’s very much alive.

First, Rico’s stories of New York and New Orleans, 1971, with glimpses of Dizzy Gillespie, George Wein, and Big Chief Russell Moore:

Then, going back a bit, stories of Louis in England both in 1933 and 1968.  You’ll want to hear what Rico’s mother told him, and that Louis called Rico, “my little trumpet player”:

Looking at one of Louis’ scrapbooks — and there’s a great punchline at 4:25:

And what I find very touching, the scrapbook that Lucille Armstrong kept of letters and notes of condolences sent to her after Louis’ death.  I asked Ricky to read out the note from Spike Mackintosh, which is touching beyond words:

A little mouthpiece-talk:

“Now here comes the beautiful part”: Enrico Tomasso playing Louis’ trumpets.  Much of the memories above have shown us the grown man reliving parts of his childhood, completely dear and alive — but now we move into the much more vivid present, even though Rico says that he has “holiday chops.”

Here are excerpts from DINAH, STRUTTIN’ WITH SOME BARBECUE, I COVER THE WATERFRONT, SLEEPY TIME DOWN SOUTH, POTATO HEAD BLUES, a story Bob Wilber told about the 1947 Town Hall Concert, a cadenza, and I USED TO LOVE YOU — which the young Rico learned and sent on a tape to Louis:

And a little extra taste:

When someone, as a loving gesture, says, “Have a blessed day,” I have a good sense of where that utterance is coming from.  I usually say, “You too!  I already am.”  But August 9, 2017, with Enrico, Ricky, Analucia, and Debbie, was an especially blessed day.  The kiss of joy that Louis gave Rico in 1968 — Rico has returned to us for decades.  And this was another glowing unrestrained example of love in the form of sound, from Louis, from Rico: a great gift that warms us like sunshine.

And there will be more music from Rico and friends to come.

Rico and Louis at Heathrow Airport, 1970.

May your happiness increase!

RICO RINGS THE BELL! (Mike Durham Classic Jazz Party, November 5, 2016)

Anointed by Louis in 1968, Enrico Tomasso is a glowing force of nature: he never lets us down.  I’ve been able to hear and admire him a few times in Newcastle, England — which is the source of the performance below — but Rico and his charming family (that’s Debbie, his wife, and Analucia, their daughter) also visited New York City for a few delightful days earlier this month.  Thanks to Ricky Riccardi, I was able to be on the scene.  Yes, I had my camera.  More about that soon.

At the 2016 Mike Durham Classic Jazz Party, Rico was one of the stars of a set of orchestral jazz devoted to what was happening in Los Angeles.  And Louis visited the West Coast in 1930, so we had the immense privilege of hearing and seeing Rico play and sing a few of Louis’ great specialties, SHINE, I’M A DING DONG DADDY, and ONE HOUR.  I’d posted the first and last songs already, but thought it wouldn’t bother anyone if they were all here, at once, in their passionate finery.  The band is Keith Nichols, piano; Andy Schumm, trumpet; Alistair Allan, trombone; Claus Jacobi, Richard Exall, Jean-Francois Bonnel, reeds; Emma Fisk, violin; Martin Wheatley, banjo and guitar; Phil Rutherford, bass; Nick Ball, drums.

SHINE:

I’M A DING DONG DADDY:

ONE HOUR:

And should you fall into the trap of reflexively assuming that any song called SHINE must be racist, please read this and learn the truth.

Thanks again to Eric Devine for invaluable technical expertise!

The Mike Durham Classic Jazz Party will take place October 27-29 this year.  I can’t be there and Rico has other commitments, but it will still be great fun.

May your happiness increase!

“THESE ARE MY PEOPLE”: LOUIS and ENRICO at the BATLEY VARIETY CLUB, 1968

This is an amazing and sweet documentary, something I never expected to see and hear, a portrait of Louis in unusual surroundings, with deep commentary from Enrico Tomasso, whom I admire greatly, as musician and humane being.  It will all become clear:

The twentieth century had its horrors; some continue, intensified, today.  But Louis Armstrong — our spiritual beacon — could come to Batley, in Yorkshire, and play for several weeks.  Such a fact suggests that, as THE NEW YORKER’S Harold Ross said in a different context, “Talent doesn’t care where it resides.”

May your happiness increase!

“I’D LOVE YOU STRONG”: ENRICO TOMASSO PLAYS LOUIS (Mike Durham Classic Jazz Party, November 5, 2016)

one-hour-louis

Today is the day after Valentine’s Day, but we know that romance does not stop when February 14 ends.  Call it what you will, the light of love or the light of Louis or both, but they shine through Enrico Tomasso.  Here, Rico plays and sings his own version of Louis’ 1930 classic at the Mike Durham Classic Jazz Party (on November 5, 2016) accompanied by Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball.

I suppose it took and takes a particularly sensitized listener to understand the depths of Louis’ romantic passion, playing or singing.  Even Mezz Mezzrow, Louis’ great champion, said in his autobiography that the jukebox owners in Harlem had their machines full of Louis’ records, but that they had to have a few others because not everyone heard Louis so deeply.  But Rico does, and conveys that enthusiastic passionate energy, both singing and playing.  The only thing missing here is Vic Dickenson’s visual joke — holding up TWO fingers while singing about “one hour tonight.”  Sixty minutes is just too brief an interval to love someone effectively.

As is often the case, many thanks to Eric Devine for invaluable technical expertise — Eric is “CineDevine,” an expert videographer and a good fellow.

May your happiness increase!

LANGHAM’S LIZARDS, MASTERS OF THE ART: SPATS LANGHAM, RICO TOMASSO, MATTHIAS SEUFFERT, JOEP LUMEIJ, NICK WARD (Nov. 19, 2016, Sassenheim)

Sassenheim Hoofdstraat 197 01

Thanks to the Classic Jazz Concert Club of Sassenheim, we can immerse ourselves in wonderful music created by Thomas “Spats” Langham and Friends. I do not think of Mister Langham as a Lizard, although if he chose the alliterative title, I will bow low respectfully. Rather, I think of Mister Langham (vocal, banjo, guitar, repartee) as a Master of the Art — that wonderful art of surprising and reassuring us simultaneously, making us remember that joy is possible and Things aren’t So Bad.  Here he is joined by string bassist Joep Lumeij (whom I know — through video and recordings), trumpeter  and vocalist Enrico Tomasso, clarinetist / saxophonist Matthias Seuffert, and percussionist Nick Ward — all of them legendary regal figures, and I do not exaggerate.  That we live in a time where such things are possible is uplifting.

TRAV’LIN’ ALL ALONE (with thoughts of Ethel Waters, McKinney’s Cotton Pickers, and Billie Holiday):

SMOOTH SAILING (thanks to Henry “Red” Allen):

THE GYPSY (Spats and his Masters in full Thirties ballad mode — think Bill Kenny and Al Bowlly — with all deference to Louis and Bird.  Pay special attention to the gorgeous Langham / Tomasso duet later in the performance):

SWANEE RIVER (which begins with a trumpet fanfare that I last heard in BACH GOES TO TOWN):

WAITING AT THE END OF THE ROAD (Mister Berlin, with echoes of Bing and the Whiteman Orchestra):

and finally, a bit of theatre — Spats’ divine reading of NIGHT OWL (beloved of Cliff Edwards) in the dark, with an explication of bass-drum heads:

I do not know if these performances happened in this order, so I hope I will be forgiven by archivists of all kinds.  However, I thank the CJCC for putting on this concert and offering us videos, with rather pleasing multi-camera work and fine sound as well.

May your happiness increase!

HAIL, ENRICO!

No disrespect to the other musicians, but my focus is on the name at top left: ENRICO TOMASSO: majestic, determined, hilarious, tender, indefatigable, joyous.

2016-rico

And here’s The Man Himself, in two performances from the November 2016 Mike Durham Classic Jazz Party, one hot, the other sweet and hot.

EVERYBODY LOVES MY BABY:

From November 4, 2016, a tribute to Mike Durham, the much-missed founder of what is now the Mike Durham Classic Jazz Party, the venerable EVERYBODY LOVES MY BABY, performed by Rico with Keith Nichols, piano / vocal; Spats Langham, banjo / vocal; Phil Rutherford, sousaphone; Richard Pite, drums; Thomas Winteler, soprano saxophone; Alistair Allan, trombone. And here is Rico’s SWEET GEORGIA BROWN from the same set.

And a day later, Enrico honoring Louis, singing and playing IF I COULD BE WITH YOU ONE HOUR TONIGHT:

Here, Rico is accompanied by Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball.  And for those hoboes who missed the train, here is Rico’s SHINE from the same set.

Mr. Tomasso is our hero.

This post would not have been possible without Eric Devine’s generous technical expertise.  (Eric is “Cine Devine” on Facebook and a world-class videographer.)

May your happiness increase!

“HOW SHE COOLS THEM DOWN”: ONE FOR MIKE by KEITH NICHOLS, SPATS LANGHAM, ENRICO TOMASSO, ALISTAIR ALLAN, THOMAS WINTELER, RICHARD PITE, PHIL RUTHERFORD: MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)

Sometimes the old songs still have surprising life in them, no matter how many decades of playing and singing they have gathered on themselves.  This performance is in honor of Mike Durham, the much-missed founder of what is now the Mike Durham Classic Jazz Party: it’s the venerable SWEET GEORGIA BROWN, performed by Keith Nichols, piano / vocal; Spats Langham, banjo / vocal; Phil Rutherford, sousaphone; Richard Pite, drums; Thomas Winteler, soprano Saxophone; Alistair Allan, trombone; Enrico Tomasso, trumpet.

Mike Durham (left) and Rene Hagmann, pensive, at Whitley Bay, probably 2010. Photo by Michael Steinman

Mike Durham (left) and Rene Hagmann, pensive, at Whitley Bay, probably 2010. Photo by Michael Steinman

Jazz and fun are intertwined here — from the conversational scat duet by Keith and Spats to the hot ensemble playing and the tidy soaring solos.  Nothing but lively creative music, which has always been a hallmark of the Classic Jazz Party:

The 2017 Party will take place in the last weekend of October at the Village Hotel Newcastle.  You really should check it out here.  It’s never too early to plan for such things.

May your happiness increase!

LOUIS SHINES THROUGH HIM: THE GLORY OF ENRICO TOMASSO at the MIKE DURHAM CLASSIC JAZZ PARTY (November 5, 2016)

When I first met the trumpeter / vocalist Enrico Tomasso at the Mike Durham Classic Jazz Party a few years ago, I was stunned by the warmth and energy of the man and the beauty of his music.  I rather timidly came up to him in the pub and introduced myself, received a big grin, and said, “The light of Louis shines right through you,” which pleased him.  Rico proved that once again at the 2016 Party.

But first, a bit of history: Rico, at seven, having played trumpet for Louis at the Leeds airport in 1968.  Note Louis’s inscription: THE KISS OF JOY.

rico-and-louis-kiss-of-joy

The sounds of joy were in the air at the Party on Saturday, November 5, 2016, when Rico performed several Louis features from 1930 . . . miraculously, in front of us, with fine support from Keith Nichols, Andy Schumm, Alistair Allan, Claus Jacobi, Jean-Francois Bonnel, Richard Exall, Emma Fisk, Martin Wheatley, Phil Rutherford, Nick Ball.

Extraordinary, no?  And it’s not simply the virtuosity.  Rico sends a glowing message of loving exuberance to everyone.

And should you fall into the trap of reflexively assuming that any song called SHINE must be racist, please visit this 2012 shine-reconsidered and learn the truth.

Many thanks to Eric Devine (“CineDevine”) for kind and invaluable technical expertise.

May your happiness increase!

“WHEN LOUIS MET BIX”: ANDY SCHUMM, ENRICO TOMASSO, MATTHIAS SEUFFERT, ALISTAIR ALLAN, SPATS LANGHAM, MORTEN GUNNAR LARSEN, MALCOLM SKED, NICK BALL (LAKE RECORDS)

A wise philosopher — Gladys Bentley or Blanche Calloway — once said, “There are a thousand ways to do something wrong, but only four or five ways to do it right.”  One of the most eagerly-awaited CDs of recent memory, WHEN LOUIS MET BIX,  on Lake Records, is a shining example of beautiful imaginations at work.

WHEN LOUIS MET BIX two

The assertive cover photograph is slightly misleading, suggesting that we might be getting ready for one of those Battle of the Valves scenes so beloved of film directors.  I offer as evidence one of the most musical (having seen this scene from THE FIVE PENNIES when I was perhaps eleven, it made a deep impression):

Beautiful as it is, that scene is all about mastery and power: the unknown challenger coming out of the shadows (the club dramatically silenced) to claim territory for himself, and being accepted by the gracious King, who makes space for him on the regal bandstand.  It might be satisfying but we know it’s not the way things happen.

And this myth isn’t the story of WHEN LOUIS MET BIX, either historically or in this evocative CD.  Consider this fraternal conversation, instead:

Immediately, the ear understands that this CD succeeds at being more than a recreation of a 1927 or 1928 after-hours jam session or cutting contest.  The music on this disc, even when it is searing hot, is carried along by a fundamental gentleness of spirit, an aura of brotherly love and deep admiration.  No skirmishes, no high notes except as they would logically occur.

As I mentioned at the start, there would have been many ways to make this noble idea turn into a leaden result.  One would have been to hew strictly to factoids: to use only songs that we knew Bix and Louis played or recorded, and perhaps narrow the repertoire to a choking narrowness by sticking to compositions both of them had done.  (By this time, certain well-played songs are reassuring to the audience but must feel like too-tight clothing to the musicians, restricting free movement.)  Another would have been to envision the music as competitive: the Bix of BARNACLE BILL pitted against the Louis of POTATO HEAD BLUES.  Nay, nay, to quote the Sage of Corona.

Instead, the repertoire is spacious — Louis and Bix loved melodies — and it offers Broadway show music by Rodgers and Blake next to pop classics of the time, alongside “jazz standards” and obscurities by Morton, Chris Smith, Fats Waller — and one evocative original by Andy Schumm.  And rather than simply say to the noble players in the studio, “All right.  MILENBERG JOYS, and find your own way home,” or “Meet you at the end,” the performances on this disc are delicately yet effectively shaped so that each seems a complete musical expression.  There are small arrangements on each track, and rather than that being an impiety (affront to the Goddess of Hot, who supposedly loathes anything worked out — although we know better) these little sketches make the performances even more satisfying.  Split choruses, four-bar trades, modulations, duet interludes, balanced conversations where X plays the melody and Y improvises around it, stop-time choruses . . . the wonders that musicians had and have accessible to them instead of the possible monotony of ensemble-solo-ensemble.

On that score, one of the reasons it has taken me longer than usual to review this worthy disc is that I kept falling in love with one track so that I wanted to play it all the way to work and all the way home.  By definition, CDs are economy-sized packages of music, and I think I would have been happier (although weighed down) if this Lake Records CD could have been sold as eight 12″ 78 discs in a heavy cardboard binder, to be listened to deeply one at a time, on and on.  But longing for the past, although understandable, has its limits.  And the imagined 78s would have warped in my car.

For the record, and what a record! –the songs are OL’ MAN RIVER / MILENBERG JOYS / CHLOE / MANDY, MAKE UP YOUR MIND / WHO’S IT / PUT ‘EM DOWN BLUES / WHISPERING / MANHATTAN / SKID-DAT-DE-DAT / BESSIE COULDN’T HELP IT (the one Louis-Bix recording overlap) / COME ON AND STOMP, STOMP, STOMP / MY MELANCHOLY BABY / WHEN SHE CAME TO ME/ I’M JUST WILD ABOUT HARRY / THE BALTIMORE.

And the players.  Rico (Louis) and Andy (Bix) are joined by absolutely stellar folk.  And since neither Bix nor Louis tried to take up all the space on a recording, democracy prevails; thus we hear beautiful work from Alistair Allan, trombone; Matthias Seuffert, reeds; Morten Gunnar Larsen, piano; Spats Langham, banjo and guitar; Malcolm Sked, string bass; Nicholas D. Ball, drums.

More evidence:

Through this CD, we are able to travel to an alternate universe, where glorious improvised music evokes and summons up the Great Departed.  And unlike actually attending the after-hour jam session at the Sunset Cafe or the Savoy Ballroom and thinking, “Where is all this beauty going?” we can have this dramatic evocation to visit over and over again (without our clothes smelling of smoke, spilled whiskey, or beer).

Incidentally, may I urge you to do the most venerable thing and purchase the actual physical disc (from Amazon US or UK or elsewhere).  Not only does the glorious sound Paul Adams got through his vintage microphones deserve to be reproduced in the highest fidelity (as opposed to mp3s played through earbuds on a noisy train in the common fashion) but you’ll miss out on wonderfully detailed but light-hearted liner notes by scholar-producer Julio Schwarz Andrade and many wonderful photographs that convey the joy that reigned at this session.

My hope is that Lake Records will continue this series of mystical voyages that make an imagined past into tangible present reality.  I’m sure that Julio, Paul, and the fellows have even more thrilling ideas for us in future.  And I hope that there is an on-the-spot Louis / Bix meeting at the 2016 Mike Durham Classic Jazz Party so that we can marvel again.

Thanks to all the participants for making a visit to the alternate universe possible and so joyous. . . . a world where lyricism, abandon, passion, and expertise shape the music.

May your happiness increase!

PARADISE FOR STRINGS: MARTIN WHEATLEY’S IMAGINATIVE WORLDS

Photograph by Andrew Wittenborn, 2015

Photograph by Andrew Wittenborn, 2015

I know Martin Wheatley as an astonishingly talented player of the guitar, banjo, electric guitar, ukulele.  I’ve heard him on a variety of recordings as a wonderful rhythm player and striking soloist, and had the good fortune to see him in person at the Whitley Bay Classic Jazz Party (now the Mike Durham Classic Jazz Party) from 2009 to 2015.

One facet of his talent is as a virtuosic ukulele player (and arranger for that instrument): a 2010 solo performance of THE STARS AND STRIPES FOREVER:

Here’s Martin on electric guitar from the November 2015 Party in a salute to Artie Shaw’s Gramercy Five, with Lars Frank, Martin Litton, Enrico Tomasso, Richard Pite, Henry Lemaire:

From that same weekend, here are Emma Fisk, Spats Langham, Henry Lemaire, and Martin doing their own evocation of the Quintette of the Hot Club of France on J’ATTENDRAI:

Here’s Martin on banjo in 2010 with the Chalumeau Serenaders — Matthias Seuffert, Norman Field, Nick Ward, Keith Nichols, Malcolm Sked — performing A PRETTY GIRL IS LIKE A MELODY:

And there’s more.  But the point of this blogpost is to let you know that Martin has made a truly imaginative CD under his own name, called LUCKY STAR — a musical sample below:

Martin says of LUCKY STAR, “Quite a mixture of things, lots of my own compositions and some standards.  Some solos –  plenty of overdub extravaganzas.  All me apart from Tom Wheatley (one of Martin’s sons) on bass.”

Solo efforts that have a good deal of overdubbing might suffer from sameness, because of the strength of the soloist’s personality, but not this CD: Martin is seriously and playfully imaginative.  And when you open the disc and read the instruments he plays, you know the disc is expansive, not constricted: guitar, tenor guitar, Hawaiian guitar, lap steel guitar, soprano / tenor / baritone ukulele; tenor / five-string / fretless banjo; moonlute, mandolin, octophone, percussion, keyboard, vocals.

The five standards are IF DREAMS COME TRUE, ALL GOD’S CHILLUN GOT RHYTHM, YOU ARE MY LUCKY STAR, MY ONE AND ONLY LOVE, and MY SWEET.  I couldn’t tell absolutely which instruments Martin is playing on any track, but I can say that DREAMS sounds like a one-man Spirits of Rhythm, with a swinging bass interlude by Tom after Martin’s absolutely charming vocal (think Bowlly crossed with McKenzie, Decca sunburst edition); CHILLUN is Pizzarelli-style with more of the same swing crooning intermingled with virtuosic playing — but no notes are smudged or harmed, and there’s a cameo for Hawaiian guitar at a rocking tempo.  LUCKY STAR begins with harp-like ukulele chords and Martin picks up the never-heard verse, turning the corner into the sweet chorus in the most light-hearted sincere way, and MY ONE AND ONLY LOVE follows — a quiet instrumental masterpiece, a hymn to secular devotion. MY SWEET — beloved of Louis and Django — begins with serene chiming notes picking out the melody delicately and then builds into a rocking vocal / guitar production worthy of the QHCF — ending with waves rhythmically yet gently coming up the beach.

I’ve given these details because if I had heard one of those tracks I would want to know who the fine singer and the fine guitarists were, and I would buy the CD. They are that delightful.

But that survey would leave out the majority of the disc, Martin’s original compositions: STARGAZING / ON THE BANKS OF THE WINDRUSH, FAR AWAY / EPPING FOREST / GOLDEN HILL / THE OTTER / BRUNTCLIFFE / FOUND & LOST / COLONEL FAWCETT’S UKULELE / IN THE MERRY LAND OF UZ / X.  They aren’t easy to describe, much less categorize.  I hear lullabies, rhapsodies, inquiries, echoes of Hawaii, of Weill and Broadway shows, of Bach and modern classical, Forties film soundtracks, harp choirs, Scottish folk music, bluegrass, birdsong and forest sounds — all immaculately and warmly played.  Words fail me here, but the journey through this CD is rather like reading short stories or being shown a series of watercolors — nothing harsh, but everything evocative.

Martin told me, “Over the last seven or eight years I’ve returned to writing music and wanted it to have an outlet, which it wouldn’t get on gigs.  Although jazz is what I do, I have other musical interests and have played other sorts of music in the past. Without making any self-conscious attempts at ‘fusions’ I’ve tried to allow it all to come out – English folk tunes, Psychedelia, classical music – especially English 20th century, Hawaiian music, doubtless others. I don’t know how evident any of those is but they’re in there somewhere!

It probably is evident that most of it is romantic – Bruntcliffe, for example, I wrote as an organ piece to be played as entrance music for my wedding to Lindsay in 2011.  Most of it is less specific.  One piece with something of a programme is Colonel Fawcett’s Ukulele. Aside from punning on Captain Corelli’s Mandolin, it was inspired by reading about Colonel Percy Fawcett and his habit of playing his ukulele to the natives he encountered in the Amazon.  What he played and how they reacted is unrecorded.  It’s an amazing tale.  The obvious conclusion is that he was deluded in his belief in the Lost City of Z and its civilization from which we could learn; however, we know that with no more certainty than we know what he played on his ukulele.”

A technical note: “Overdubs were done usually to a guide track which is not heard on the final mix (pulling up the ladder after climbing up!).  This allows for a steady pulse and changes in tempo when required.  Wayne McIntyre, the sound engineer, did a terrific job.”

“If anyone would like a copy please contact me. £10 incl p&. Hope you like it!”

Find Martin on Facebook here.  If it’s not evident, I recommend this disc fervently.  It’s original yet melodic, lyrical, sweet and rocking.

May your happiness increase!

 

LUCKY STAR

“BIX OFF THE RECORD” at the MIKE DURHAM CLASSIC JAZZ PARTY: ANDY SCHUMM, KRISTOFFER KOMPEN, MICHAEL McQUAID, DAVID BOEDDINGHAUS, FRANS SJOSTROM, JOSH DUFFEE (Nov. 8, 2015)

Imagine, if you will, a friendly conversation between Bix Beiderbecke and Hugo Gernsback — rendered without a word, in lovely mysterious music — and you have some idea of what follows.

I don’t care to rank artists — let others create pyramids with The Hero(ine) at the apex — but it fascinates me that the collective grief at the death of Bix is so strong that generations of musicians have energized themselves in homages, exact or imaginative.  It is as if we cannot endure the fact of his death, so musicians invent contexts in which his glowing spirit can be summoned anew. It used to take the form of copying a Bix solo (SINGIN’ THE BLUES might be the most copied one I know) but that had its limits, so musicians began to imagine alternate universes.  What if Bix had played Gershwin?  What if we could know what CLOUDY sounded like?  And, most recently, how might Bix have sounded on songs of his time and place that he never recorded?

In 2014, an expert and heartfelt group assembled after the Whitley Bay Classic Jazz Party — Andy Schumm, cornet; Kristoffer Kompen, trombone; Mauro Porro, reeds; David Boeddinghaus, piano; Frans Sjostrom, bass saxophone; Josh Duffee, drums — to create the CD for Lake Records, called whimsically BIX OFF THE RECORD:

BIX OFF THE RECORD

In 2015, the same players — with Michael McQuaid taking Mauro’s place — played another set: the delightful results below.  Andy provides commentary as needed.

WOLVERINE BLUES:

TELL ME:

CATARACT RAY BLUES:

MY BABY’S ARMS:

DRIFTWOOD:

Beautiful performances of songs that haven’t been overplayed, all in the idiom but expansively imagined.

But wait! There’s more!  Andy, Rico Tomasso, and other nobles have recorded a new CD for Lake Records — WHEN LOUIS MET BIX, celebrating hot nights in 1928 Chicago — with Matthias Seuffert, Alistair Allan, Morten Gunnar Larsen, ‘Spats’ Langham, Malcolm Sked, Nicholas D. Ball.

The songs are Ol’ Man River; Milenberg Joys; Chloe; Mandy Make Up your Mind; Who’s It; Put ‘Em Down Blues; Whispering; Manhattan; Skid-Dat-De-Dat; Bessie Couldn’t Help It; Come On and Stomp, Stomp, Stomp; My Melancholy Baby; When She Came To Me; I’m Just Wild About Harry; The Baltimore.

WHEN LOUIS MET BIX

A copy is winging its way to me through the mail. Details (of a digital sort) here.

Thank you, gentlemen — alive and dead.

May your happiness increase!

 

WAY OUT WESTOVERLEDINGEN / PAPENBURG JOYS (APRIL 8-10, 2016)

I don’t always speak to my college students about Literature; more often, I find myself standing at the intersection of Literature and Life.  So that when a student says to me that (s)he is exhausted because of working too many hours to pay for “things,” I encourage that student to consider, before springing to buy a glittery object, exactly how many hours of work it will cost.  I don’t know if my parental exhortation has any effect, but it is part of a cost / benefit calculation that has sometimes led me to put back something I was about to buy.

Cost and benefit is relevant here, because the person writing these words is still seriously exhausted by the previous weekend’s travel to the Rathaus, in Papenburg, in the larger territory of Westoverledingen, where the Generous Man of Jazz Manfred Selchow lives and has been staging concerts and tours for thirty years.  I know I spent more hours in transit than I did listening to music, but the ten-plus hours of the latter were and are precious.  A few notes follow. But first, a photograph (by my new friend Elke Grunwald):

Rathaus photo by Elke Grunwald

From the left, that’s Engelbert Wrobel, tenor saxophone; Helge Lorenz, guitar; Matthias Seuffert, tenor saxophone; Nicki Parrott, string bass / vocal; Menno Daams, cornet; Rico Tomasso, trumpet; Moritz Gastreich, drums.  Others on the program were Stephanie Trick, Paolo Alderighi, Niels Unbehagen, piano; Bert Boeren, trombone; Bernard Flegar, drums; Nico Gastreich, string bass.  And in the audience there’s a balding fellow with a turquoise shirt and a video camera, as close to the music as he can get without ascending the stage.

Friday night featured a two-set concert by Engelbert, Stephanie, Paolo, and Nicki — a group coyly termed SWINGIN’ LADIES PLUS 2.  The music was lively (TEMPTATION RAG), funky (BLUEBERRY HILL), riotously exuberant (THE WORLD IS WAITING FOR THE SUNRISE), multi-colored (THANKS FOR THE MEMORY), classic (SUNNY SIDE OF THE STREET, SHINE, LIZA, ST. LOUIS BLUES) tender (THE VERY THOUGHT OF YOU) and Brazilian (Nicki sang BRAZIL and played a samba medley).  I heard delicious echoes of Goodman, James P. Johnson, Garner and Don Lambert, but the quartet was itself as well as evocative, full of sweet surprises in ensemble and solo.

FROM JOPLIN TO JOBIM

If you weren’t in the audience, you can still hear this group — their wonderful CD, FROM JOPLIN TO JOBIM, is available on iTunes and elsewhere.

And that was Friday.

Saturday, post-breakfast, was devoted to a necessary exploration of Sleep.  But at night, there was JAM SESSION NIGHT — four hours and more of sheer pleasure.  It began with a set devoted to Eddie Condon’s music and world, which was started off in just the proper spirit by Nico, reading aloud from WE CALLED IT MUSIC — in German — the passage where Eddie has to go to the induction center to determine if he is fit for service.  (The punchline, in English, is something like, “Get this man a drink!”)  After the laughter died down, Menno, Rico, Bert, Matthias, Niels, Nico and Moritz offered songs directly related to Eddie’s recordings and performances: LOUISIANA, WHEN YOUR LOVER HAS GONE, DIANE, OH, BABY!, THEM THERE EYES, a ballad medley, and MEET ME TONIGHT IN DREAMLAND.  The music also honored Milt Gabler and George Avakian, appropriately.  And it honored Eddie, with beautiful hot lyricism from everyone.

A short pause, and then Paolo introduced his clever AROUND BROADWAY — jazz classics that were originally show tunes in one way or another — with Engelbert, Stephanie, Nicki, and Bernard.  Berlin, Youmans, Gershwin, with intelligent but never pedantic commentary by Paolo.  And we heard HONEYSUCKLE ROSE, BLUE SKIES, OVER THE RAINBOW, ALEXANDER’S RAGTIME BAND, THE MAN I LOVE, and I WANT TO BE HAPPY.  (The audience and the musicians were already happy.  I saw this.)

One of the highlights of the weekend followed, a Hoagy Carmichael set featuring Menno, Matthias, Engelbert, Paolo, Nicki, and Moritz.  The classics were beautifully played and sung: SKYLARK, RIVERBOAT SHUFFLE, NEW ORLEANS, STARDUST, RIVERBOAT SHUFFLE, LAZY RIVER — with two delicious surprises: SHIM-ME-SHA-WABBLE, which Carmichael’s Collegians had recorded, although not a Carmichael composition, and THANKSGIVING, which was his work.  My marginal notations (what Stephanie called my “grades”!) were very enthusiastic.

Finally — who or what could follow that? — a set led by Rico in tribute to his mentor, idol, and ideal Louis.  A brief AIN’T MISBEHAVIN’ led off, then a seriously intent CHINATOWN, a more relaxed MY WALKING STICK, WILLIE THE WEEPER, a Rico-Niels duet on SWEET LORRAINE (unplanned and elegant), two versions of I LOVE YOU, SAMANTHA, YOU’RE LUCKY TO ME, A KISS TO BUILD A DREAM ON, and a two-tiered finale, merging STRUTTIN’ WITH SOME BARBECUE and WHAT A WONDERFUL WORLD.

A seemingly insatiable audience called for more, and got it — eleven players assembled for a Benny Carter-flavored I NEVER KNEW and a promise, WE’LL MEET AGAIN.

Delighted, thrilled, elated, exhausted, I went to bed as soon as I could.

After a perfect German breakfast buffet (I dream of these lavish assortments of food, I confess) it was time for Sunday’s JAZZ FRUSCHOPPEN (I now know that the second word means “morning / lunchtime drink,” another linguistic morsel for the word-hoard).  Bert, Rico, Engelbert, Niels, Stephanie, Helge, Nico, and Moritz took on the pleasure of honoring Basie in under an hour, with MOTEN SWING, SPLANKY, a plunger-muted feature a la Al Grey for Bert on MAKIN’ WHOOPEE, SHINY STOCKINGS, ALL OF ME (for the rhythm section) and a searing JUMPIN’ AT THE WOODSIDE.

Nicki led Menno, Matthias, Stephanie, Paolo, and Bernard through a tenderly swinging evocation (not imitation) of Billie, Teddy, and Lester, with ME, MYSELF AND I, LOVER MAN, PLEASE DON’T TALK ABOUT ME WHEN I’M GONE, SAY IT ISN’T SO, THE WAY YOU LOOK TONIGHT, STORMY WEATHER, and WHAT A LITTLE MOONLIGHT CAN DO — drawing on the best songs that Billie ever recorded, instead of A SUNBONNET BLUE.

And — a proper climax — a JATP set with a five-horn front line backed by Paolo, Helge, Nicki, and Moritz, which presented long versions of TEA FOR TWO, STOMPIN’ AT THE SAVOY, I SURRENDER DEAR, IDAHO, a BLUES FOR MANNIE, THEY CAN’T TAKE THAT AWAY FROM ME, LADY BE GOOD with Lester’s 1936 solo for two tenors, and an encore of PERDIDO, with swing rather than honking.

It was wonderful.

Yes, I video-ed the weekend, so those who weren’t there should not grieve.  It will, however, take some time for the videos to emerge: courtesy to the musicians requires that they be given a chance to see what they like or loathe.

A Manfred Selchow weekend is a jazz feast, and he’s been doing this and more for three decades.  We are all so grateful.

May your happiness increase!

FOUR FOR ARTIE: RICHARD PITE’S CHAMBER JAZZ at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 7, 2015)

Shaw Granercy 5

When we think of the great small bands of the Swing Era, early and late, Artie Shaw’s Gramercy Five is both memorable and overshadowed . . . perhaps because (unlike the Goodman small groups, the Crosby Bobcats, and others I can’t call to mind) it was a studio aggregation, so we don’t have a large history of live performances in concert or recorded off the radio.  (I’ve seen a photograph of the 1945 group with Roy Eldridge and Dodo Marmarosa, apparently performing as part of the Shaw big band presentation, but I don’t think the 1941 group existed outside the Victor studios.)

It was a superb — and quirky — group, with an affectionate kinship to the Raymond Scott and Alec Wilder small bands.  Its instrumentation accounted for much of that — pianist Johnny Guarnieri on harpsichord — but its very tight arrangements were also remarkable.  Al Hendrickson was an excellent electric guitarist — in the dawn of that era; Billy Butterfield, Nick Fatool, and Jud deNaut were also brilliant.

I was delighted to see and capture this four-song evocation at the 2015. Mike Durham Classic Jazz Party, where such heartfelt expertise is the main dish.  Led by the masterful drummer Richard Pite, this new Gramercy 5 — what would that be on your smartphone? — soared and rocked.  The noble participants: the brilliant clarinetist Lars Frank, Martin Litton, harpsichord; Rico Tomasso, trumpet; Martin Wheatley, electric guitar; Henry Lemaire, string bass.  And they perform four classics: SUMMIT RIDGE DRIVE, KEEPIN’ MYSELF FOR YOU, SCUTTLEBUTT, and SPECIAL DELIVERY STOMP.  A quarter-hour of compact pleasure:

Hot modernism in its own way, and it hasn’t aged.  Try to make your way to the 2016 Mike Durham Classic Jazz Party — where such good surprises proliferate.

May your happiness increase!

WHEN IT’S APRIL IN WESTOVERLEDINGEN, GOOD SOUNDS HAPPEN (April 8-10, 2016)

Westoverledingen

Westoverledingen, Germany, a city with an imposing name, is not known worldwide as the cradle of jazz, but memorable music has been created there for the past thirty years and more by Manfred Selchow.  Manfred doesn’t play an instrument, but I feel secure in writing that he has done more for jazz than many people who do play.

I first encountered Manfred, or Mannie, as people call him, as a jazz scholar, because of his splendid documentation of clarinetist Edmond Hall’s life, performances, and recordings in a substantial book, PROFOUNDLY BLUE. Then he did the same thing for another hero of mine, trombonist Vic Dickenson, in a book he called, properly DING! DING!.

But Manfred likes the real thing, created on the spot, as much as he adores recordings — so he has invented and produced concert tours and festivals of some of the greatest musicians of this era.  (Many of his concerts have been recorded and the results issued on the Nagel-Heyer label.)

I first met Manfred and his wife Renate in 2007, when I also had the distinctive pleasure of encountering Menno Daams, Frank Roberscheuten, Colin T. Dawson, Oliver Mewes, Chris Hopkins, Shaunette Hildabrand, Bernd Lhotzky, and others.  At the time I didn’t have a blog or a video camera, so perhaps I only documented those evenings for the much-missed The Mississippi Rag.  

Jazz im Rathaus

Here’s a wonderful example of what takes place under Mannie’s amiable direction — a 1992 romp by Marty Grosz, Peter Ecklund, Dick Meldonian, Keith Ingham, Bob Haggart, Chuck Riggs (video by Helge Lorenz):

and more recently, a 2013 session with Menno Daams, Nicki Parrott, Bert Boeren, Antti Sarpila, Engelbert Wrobel, Joep Peeters, Chris Hopkins, Helge Lorenz, Jan Lorenz:

And since I gather that “Jazz im Rathaus” means roughly “Jazz at the Town Hall,” the shades of Louis and Eddie Condon are properly approving.

Now, for April 2016!  Consider the listings below:

Friday, April 8, 2016 – 8:00 – 10: 30 p.m.

Swingin’ Ladies + 2
Jazzfestival
(with Engelbert Wrobel, reeds; Stephanie Trick, Paolo Alderighi, piano; Nicki Parrott, bass / vocal)
Rathaus Ihrhove
Bahnhofstraße
26810-Westoverledingen
Germany

Saturday, April 9, 2016 – 8:00 – midnight.

Jazzfestival “Jam Session Night”
(with Engelbert Wrobel, Paolo Alderighi, Nicki Parrott, Menno Daams, Enrico Tomasso, trumpet; Bert Boeren, trombone; Matthias Seuffert, reeds; Niels Unbehagen, piano; Nico Gastreich, bass; Moritz Gastreich, Bernard Flegar, drums)

Set One: “We Called It Music”: Enrico Tomasso, Bert Boeren, Matthias Seuffert, Niels Unbehagen, Nico Gastreich (leader), Moritz Gastreich.

Set Two: “Around Broadway”: Engelbert Wrobel (leader), Paolo Alderighi, Stephanie Trick, Nicki Parrott, Bernard Flegar.

Set Three: “The Stardust Road”: Menno Daams (leader), Matthias Seuffert, Engelbert Wrobel, Paolo Alderighi, Nicki Parrott, Moritz Gastreich.

Set Four: “What A Wonderful World”: Enrico Tomasso, Bert Boeren, Matthias Seuffert, Niels Unbehagen, Nico Gastreich, Bernard Flegar.

At the finale all the musicians join in.

same location as Friday

Sunday, April 10, 2016 – 11:00 a.m. – 2 p.m.

Jazzfestival “Jazz Frühschoppen”
(with Engelbert Wrobel, Paolo Alderighi, Nicki Parrott, Menno Daams, Enrico Tomasso, Bert Boeren, Matthias Seuffert, Niels Unbehagen, Nico Gastreich, Moritz Gastreich, Bernard Flegar)

Set One: “Basie Jam”: Enrico Tomasso, Bert Boeren (leader), Engelbert Wrobel, Niels Unbehagen, Stephanie Trick, Helge Lorenz, guitar; Nico Gastreich, Moritz Gastreich.

Set Two: “To Billie, Teddy, and Pres”: Menno Daams, Matthias Seuffert, Paolo Alderighi, Stephanie Trick, Nicki Parrott (leader), Bernard Flegar.

Set Three: “Jazz at the Philharmonic Remembered”: Matthias Seuffert (leader) plus all of the other musicians in various combinations.

same location as Friday and Saturday

And here is another version of that information.  (And now I know what “Vorschau” means, so don’t let anyone tell you that blogging isn’t educational.)

Vorschau

I’m going.  How could I resist?  So I hope to meet some of the faithful there — even people who know of this blog — for good music and good times.

My dear friend Sir Robert Cox tells me that there are many good hotels in Papenburg and Leer only minutes away at €90 – €100/night ($100-110) with breakfast.

For more information, use the phone number on the bottom of the program:

(0049) 04955 933225. (Mainly German speaking, possibly some English)
email: helmer.alberring@westoverledingen.de

or Manfred Selchow (0049) 04955 8216. (English and German)

or Bob Cox (0044) 01634 232934. (English)
email: coxes@tesco.net

May your happiness increase!

AT RICO’S BARBECUE: WHERE I’VE BEEN, AND WHAT I HEARD (November 8, 2015)

For Part One of these delights, please click here.

Rico CD front better

Trumpeter / singer / bandleader / composer Enrico Tomasso, “Rico” to the legions of people whom he’s adopted and vice versa, is an endearing human being (fully embodying the spirit of Louis) and stellar musician. What might not be immediately apparent is that he is also a superhuman trumpet player.  What you will see and hear below is the final performance of a four-day marathon party (Thursday through Sunday) where Rico had often been playing lead trumpet in front of large ensembles.  And he ended the Mike Durham Classic Jazz Party on a high note, no a series of high notes, with his rendition of Louis’ 1938 Decca recording of STRUTTIN’ WITH SOME BARBECUE.

BBQ Decca

I will leave the discussion of the song’s authorship to others, and merely point out that the title is then-contemporary slang for walking proudly down the street with one’s stunning woman partner, not eating a dripping meat sandwich on the run.  And the arrangement you’ll hear is by the brilliant Chappie Willet, whose work has been extensively explored by John Wriggle — and is the subject of John’s forthcoming book.

But to the music.

Rico is joined by and supported by Duke Heitger, Andy Schumm, Kristoffer Kompen, Alistair Allan, Michael McQuaid, Lars Frank, Matthias Seuffert, Robert Fowler, Keith Nichols, Spats Langham, Malcolm Sked, Josh Duffee:

That’s superhuman but also delicately beautiful.  Thank you, Rico, and friends. And as I said in my previous post, the Mike Durham Classic Jazz Party is scheduled once again for 2016, but it would be terribly nice if you were there. Since all human enterprises are finite, do what you can to attend this fiesta of music while it’s accessible, rather than saying, “Oh, I’ll get there some day!” and then saying, “I wish I had gone.”   It can be done.  Class dismissed.

May your happiness increase!

EDDIE and PHYLLIS, AT REST (September 26, 2015)

Eddie, Phyllis, and their daughters Liza and Maggie in Washington Square, New York

Eddie, Phyllis, and their daughters Liza and Maggie in Washington Square, New York

Maggie Condon — the surviving daughter of Eddie and Phyllis Condon — has been my friend for years, a fact I am proud to write.  Both of her parents passed into spirit some time ago, and their ashes had been kept in the family apartment.

Newlyweds Phyllis and Eddie

Newlyweds Phyllis and Eddie

This year, Maggie decided to put Eddie and Phyllis to rest in the cemetery where their headstone was, where they would be surrounded by Phyllis’ family, the Smiths.  This ceremony — very touching, both loving and sad and funny — took place on September 26, 2015, at Christ Church in Shrewsbury, New Jersey. When Maggie mentioned it to me, I immediately asked if I could come along, and then — with some trepidation — asked if she would like me to video it, and she agreed without a qualm.

I offer this as a tribute to all Condons, Smiths, and Reppliers, at the gravesite or living vibrantly in our hearts.  The other speaker is our friend and my hero Hank O’Neal, who has done so much for the music for nearly forty years.

and the conclusion:

The video is not even up to my standards — there is wind noise and people occasionally block the camera.  But an outdoor scene is far less easy to document than even a noisy club, so I present it with those reservations.

This is the music played in the cemetery, which deserves to be heard complete:

But this is the song that keeps running through my mind as I think of this Saturday afternoon:

To me, this isn’t “Goodbye, Eddie.  Goodbye, Phyllis.”  Rather, it’s “Thank you, Eddie and Phyllis.”

May your happiness increase!

WHAT YOU’LL HEAR WHEN YOU’RE THERE: THE MIKE DURHAM CLASSIC JAZZ PARTY (November 5 – 8, 2015)

TWO DEUCES! Bent Persson and Enrico Tomasso at the 2014 Whitley Bay Classic Jazz Party

TWO DEUCES! Bent Persson and Enrico Tomasso at the 2014 Whitley Bay Classic Jazz Party

“Fine! Wonderful! Perfect!” to quote Fats.  I’m referring to the Mike Durham Classic Jazz Party — coming soon to the Village Hotel Newcastle in the UK.

I mean no offense or slight to my friends and heroes who organize Parties, Stomps, Fests, and other weekend galas, but the MDCJP (the Party formerly known as the Whitley Bay Classic Jazz Party) is special.  Many musicians simply want to get up on the stand and sing or play among their friends and peers, and this is standard — often exhilarating — fare at most jazz weekends.  And the MDCJP encourages such frolic with a nightly jam session in the Victory Pub. But many musicians devoted to the sounds of the Twenties and Thirties and beyond want to pay reverent homage to their forbears while having their own say — so this Party is organized into small concerts, each celebrating a band, a sound, a leader: it becomes a wondrous living evocation of where we’ve all come from.

First, a list of who’s going to be there on the bandstand — an illustrious lot for sure:

Janice Day, Mellow Baku (vocal); Emma Fisk (violin); Andy Schumm, Menno Daams, Duke Heitger, Bent Persson, Enrico Tomasso (trumpet); Kris Kompen, Graham Hughes, Alistair Allan (trombone); Matthias Seuffert, Michael McQuaid, Robert Fowler, Lars Frank, Thomas Winteler, Claus Jacobi (reeds); Martin Litton, David Boeddinghaus, Morten Gunnar Larsen, Keith Nichols (piano); Spats Langham, Jacob Ullberger, Martin Wheatley (banjo, guitar); Phil Rutherford, John Hallam, Malcolm Sked (bass, brass bass); Frans Sjostrom (bass saxophone); Henry Lemaire (bass, guitar, banjo); Richard Pite (drums, bass); Josh Duffee (drums, vibraphone); Nicholas Ball (drums, washboard)

(If I have left anyone out, I apologize.)

And a brief listing of the concert themes: the Union Rhythm Kings; a tribute to Mike Durham; the Original Memphis Five; the Quintette of the Hot Club of France; Jelly Roll Morton; Bunny Berigan; the “avant-garde” of Red Nichols and Miff Mole; Spats Langham’s Hot Combination; Lu Watters; solo piano recitals; Teddy Brown; the Dixie Stompers; Dance Band Divas; Thirties small-group sessions; Louis (featuring Bent and Enrico); the 1938 Morton Library of Congress recordings; Black New Orleans; chamber jazz; Western Swing; Spike Hughes; Chicago South Side; the Cotton Club; Casa Loma Orchestra; more unrecorded Bix; Bechet; Duke Heitger; California Ramblers; Eddie Condon; the Nichols-Duffee Orchestra . . . and more.

And two highlights of the 2104 Festival — moments to remember!

HOT.

SWEET.

It’s a musical feast.  Don’t miss out on this Party.

May your happiness increase!

ALTHOUGH IT IS HIS BIRTHDAY, ENRICO TOMASSO GIVES US A PRESENT (Nov. 8, 2014)

As a child, Enrico (“Rico”) Tomasso was full of music, a young member of the family band, someone whose epiphany through Louis Armstrong was a life-changing experience — a lightning-stroke of joy.

He had the immense good fortune to play his trumpet for Louis when the great man visited Britain.  Louis was enthralled by young Rico, and they remained dear friends.

When I first heard Rico at the Whitley Bay Classic Jazz Party, I was moved to happy tears, and when I caught up with him later, I beamed at him and said, “The spirit of Louis shines through you,” words that pleased him.

A day ago Rico celebrated a birthday, but he is the kind of fellow who doesn’t stand with his hand out for his gift.  Rather, he is a generous giver all the time  — so here is his tribute to Louis and my tribute to both of them.  It is a glorious evocation.  Look carefully behind and to the right of Rico, and you will see Duke Heitger, who knows his Louis deeply, smiling and nodding while Rico plays and sings.

The ensemble behind our man is Menno Daams, Duke Heitger, Kristoffer Kompen, Lars Frank, Claus Jacobi, Matthias Seuffert, Keith Nichols, Spats Langham, Emma Fisk, Malcolm Sked, Richard Pite, and other luminaries, including Josh Duffee as entering master of ceremonies.

Happy birthday, dear Rico.  Thank you for being born.  We’re always in the market for you.

And Mister Tomasso will again be gracing the Mike Durham Classic Jazz Party in November 2015!

May your happiness increase!

THE JOHNNY DODDS JUBILEE, PART ONE: WHITLEY BAY CLASSIC JAZZ PARTY (November 8, 2014)

This was a truly delightful set, balancing neatly between uproarious riot and precise tribute, where the participants paid tribute to New Orleans / Chicago clarinetist Johnny Dodds by evoking some of his less famous recordings.  Those expert participants were Claus Jacobi, reeds; Matthias Seuffert and Thomas Winteler, clarinet; Rico Tomasso, cornet; Martin Litton, piano; Spats Langham, Jacob Ullberger, Martin Wheatley, banjo; Malcolm Sked, bass; Nicholas Ball, washboard. (That’s the collective personnel: you’ll see / hear who is playing on each number.)

Here’s the first part, as captured at the Whitley Bay Classic Jazz Party on November 8, 2014.

I note with pleasure how happy the musicians look — and that’s no stage joke. The most accurate emotional barometer on this little stage is the visage of one Nick Ball, percussionist supreme: he looks as if he’s going to explode with rhythmic joy.  You can imagine how happy I was from behind my camera.

IDLE HOUR SPECIAL (with an unexpected cameo by a t-shirted jazz fan at 4:00, who momentarily blocked the view but thankfully not the sound — I knew he was a “jazz fan” because it was written on his shirt, thus saving me the need to speculate):

ORIENTAL MAN:

39TH AND DEARBORN:

CARPET ALLEY BREAKDOWN:

More to come.  And you might want to investigate this year’s Mike Durham Classic Jazz Party.  It’s a place where such things happen — beautifully — throughout a long weekend.

May your happiness increase!