Tag Archives: Graham Hughes

WHEN BEING “MAD” IS PLEASURE (1924, 1938, and 2017)

Our subjects today are the overlap of “madness” and “pleasure.”  Please be prepared to take notes.

“But first, this,” as they used to say on public radio.

PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren’t issued, except for this one.  Did the record company find it too direct to be acceptable?  Here’s Ethel Waters’ version, clear as a bell:

Perhaps the song continued to be performed with those lyrics, but I don’t have any evidence.  However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O’Neil Spencer:

There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?

While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks!  12 pounds!) to share with you.  A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham’s International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.

Here are three samples, videoed by me, songs and personnels named:

and

and

I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience.  The Party continues to do its special magic splendidly, a magic that videos only partially convey.  This year it’s November 1-3, and details can be found here.  And if you search JAZZ LIVES for “Whitley Bay” or “Durham,” you will find a deluge of posts and videos.

But this post isn’t exactly about the Party as such, nor is it about my videos.  Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling.  It’s called PLEASURE MAD: ‘LIVE RECORDINGS FROM MIKE DURHAM’S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007).  As I wrote above, 36 live performances in beautiful sound.

And the sound is worth noting, with delight.  At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could.  But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years.  Torstein is a phenomenal player, so I may be permitted this digression:

He’s got it, for sure.  And his recordings are wonderful.

Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie “the Lion” Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:

And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle.  If I’ve left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.

I think it’s taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay.  A few highlights, deeply subjective: Martin Litton’s sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham’s NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis’ WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN’ BLUES with layers and textures as rich as great architecture.  You will find your own favorites; those are mine of the moment.

My advice?  If you can, get thee to the Party, where seats are going fast.  Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades.  If you can’t get to the UK, you can still purchase the set, which I urge you to do.

The CD is obtainable from website: https://whitleybayjazzfest.com
email:wbjazzfest@btinternet.comFor more information, contact patti_durham1@btinternet.com.

And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, “Well, Officers, I’m PLEASURE MAD!  Would you like to come in?” And all will be well.

May your happiness increase!

JELLY ROLL MARTIN: LITTON PLAYS MORTON at the MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)

litton

I don’t think there’s such a thing as too much Morton, especially when it’s played as expertly as this — and from some unusual corners of the canon.  Here are Duke Heitger, trumpet; Graham Hughes, trombone, Jean-Francois Bonnel, Robert Fowler, reeds; Martin Litton, piano, transcriptions, arrangements; Martin Wheatley, banjo, guitar; Malcolm Sked, bass; Nick Ball, drums, at the Mike Durham Classic Jazz Party on November 4, 2016. “Sweet, soft, plenty rhythm” is at the foundation — these performances never rush or shout — but there is a good deal of rollicking energy here.  No doubt.

TRY ME OUT:

DEEP CREEK:

GAMBLING JACK:

ELITE SYNCOPATIONS:

May your happiness increase!

FROLICSOME, THEN TOUCHING: MENNO DAAMS AND FRIENDS HONOR HOAGY CARMICHAEL (RICHARD EXALL, DAVID BOEDDINGHAUS, MARTIN WHEATLEY, GRAHAM HUGHES, JOSH DUFFEE) at the MIKE DURHAM CLASSIC JAZZ PARTY, November 6, 2016

menno-daams

Menno Daams is one of the great trumpet players (arrangers, composers, bandleaders) of our era, but, better yet, he is a sensitive imaginer, someone who understands intuitively how to make even the most familiar standards glisten.

He does it here in his brief but very fulfilling tribute to Hoagy Carmichael at the 2016 Mike Durham Classic Jazz Party, with the help of five kindred spirits who get the feeling and never lose it: Josh Duffee, drums; Graham Hughes, string bass; Martin Wheatley, guitar; Richard Exall, tenor saxophone; David Boeddinghaus, piano.  (And — consciously or unconsciously, perhaps because one thinks of Louis and Hoagy in the same moment — there are two lovely delicate slow-motion homages to Louis as well.  You’ll hear them.)

For RIVERBOAT SHUFFLE, rather than go all the way back to Bix — with the Wolverines or with Trumbauer — Menno and band take what I would call a 1936 Fifty-Second Street approach to this song, with echoes of Berigan or Hackett, Forrest Crawford or Joe Marsala, Teddy Wilson or Joe Sullivan, Carmen Mastren, Sid Weiss, and Stan King — light-hearted yet potent):

A thoughtful, gentle exploration of LAZY RIVER:

Then, something gossamer yet imperishable, a medley of SKYLARK / STAR DUST that begins as a cornet-guitar duet, and then becomes a trio. But allow yourself to muse over David’s incredibly deep solo exposition:

And because we need a change from those subtle telling emotions, Menno offers an audio-visual comedy, then THANKSGIVING, featuring a rocking and rocketing solo by Josh.  Appropriate, because I was thankful then and continue to be now:

Menno’s website is here; his Facebook page here.

Speaking of thanks, I owe some to the generous and expert Cine Devine, Rescuer Par Excellence and creator of fine jazz videos.

May your happiness increase!

MAGGIE FEELS THE HEAT (November 8, 2015)

MAGGIE Swing label

SWING indeed.  It gets very hot in Newcastle during the long weekend when the Mike Durham Classic Jazz Party gently but firmly occupies the Village Hotel in Newcastle, England.

Nick Ball and Graham Hughes at the 2015 Mike Durham Classic Jazz Party. Photograph by Emrah Erken.

Nick Ball and Graham Hughes at the 2015 Mike Durham Classic Jazz Party. Photograph by Emrah Erken.

This year, the Party begins with a jam session on Thursday, November 3 . . . and runs almost without a letup until late Sunday (really, early Monday morning) — either November 6 or 7, depending on what your watch or smartphone tells you.

I’ve posted links to the Party site below, but before you venture into the land of Clicks, how about some hot music?  This rousing performance (from November 8, 2015) was part of a set led by Thomas Winteler paying tribute to the 1938-41 recordings Bechet made for Victor Records.

The heroes onstage are Thomas Winteler, soprano saxophone; Bent Persson, trumpet; Graham Hughes, trombone; Morten Gunnar Larsen, piano; Jacob Ullberger, guitar; Henry Lemaire, string bass; Nicholas Ball, drums.

Visit the Party’s Facebook page here.

To see who’s playing, click here.  And to book your seat, click here.

The Party’s webpage has a number of delightful videos, so prepare to spend some happy (hot) minutes.  I’ve posted a substantial number myself from 2009 on, on this site, too.  Maybe we’ll see each other there this November.

May your happiness increase!

HOMAGE TO HUGHES: MENNO DAAMS and his ORCHESTRA at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 7, 2015)

Before there was any discussion of “Third Stream Music,” jazz and classical shaking hands congenially, before Gil Evans or Gunther Schuller, there was Patrick “Spike” Hughes — British writer, composer, bassist — who visited the United States in 1933 for a memorable series of recordings that used the Benny Carter orchestra with guest stars Henry “Red” Allen and Coleman Hawkins.

SPIKE HUGHES

John Wright’s wonderfully detailed (and lively) biographical sketch of Spike can be found here.

FIREBIRD

Many of us have marveled at Spike’s 1933 recordings, which blend European compositional ideas with hot solos.  But it waited until 2015 for someone to put together an expert jazz orchestra to play transcriptions of those sides.  That someone is the magnificently talented Menno Daams.  (Bent Persson, Menno’s diligent trumpet colleague, also transcribed the Red Allen solos — as arduous as task as one could imagine).

ARABESQUE

This orchestra offered its tribute to Spike’s 1933 music at the November 2015 Mike Durham Classic Jazz Party, and I was fortunate enough to be sitting in front of this eloquent band.  Here are seven performances from this set: notice the shifting textures behind the soloists, and the soloists themselves.  If these compositions are new to you, notice their charming and surprising mixture of 1933 hot dance music, fervent soloing, and advanced harmonies: before we are a whole chorus into NOCTURNE, for example, we have the sense of a landscape both familiar and unsettling — even when absorbing this music in 2016.  There’s beautiful lyricism and a rocking 4/4 beat, but it’s as if, while you slept, someone has painted the walls of your living room different colors and nailed the kitchen cutlery to the ceiling.

I salute Menno for bringing this modernistic music to us, and the band for rendering it so superbly.  They are: Menno Daams, cornet; Bent Persson, Rico Tomasso, trumpet; Michael McQuaid, Claus Jacobi, Matthias Seuffert, Lars Frank, reeds; Kristoffer Kompen, Alistair Allan, Graham Hughes, trombone; Martin Litton, piano; Spats Langham, guitar / vocal; Henry Lemaire, string bass; Richard Pite, drums.

NOCTURNE:

AIR IN D FLAT:

SWEET SORROW BLUES:

FIREBIRD:

ARABESQUE:

DONEGAL CRADLE SONG:

SOMEONE STOLE GABRIEL’S  HORN (vocal Spats):

A personal note: I first heard the Spike Hughes sides in 1972, and they struck me as beautifully ambitious music.  The impression hasn’t faded.  But viewing and re-hearing Menno’s precise, swinging transcriptions and the band’s playing, I heard aspects of the music I’d not heard before, and even the listener new to this can find a thousand delights that grow more pleasing each time.  I think this set a magnificent accomplishment.  Only at the Mike Durham Classic Jazz Party could such marvelous undertakings find a home and an appreciative audience.  Join me there this November.

May your happiness increase!

BEHIND THE SCENES: BENT PERSSON, THOMAS WINTELER, GRAHAM HUGHES, MORTEN GUNNAR LARSEN, MALCOLM SKED, HENRI LEMAIRE, NICK BALL (Whitley Bay Classic Jazz Party, Nov. 8, 2014)

“How do they do it?” is the question, uttered or thought, that we all ask when we hear our admired jazz musicians sing or play as part of an ensemble.  “How do they know where to go?  Even when they have music in front of them, how are there no collisions?”

WB 2014 photo for rehearsal

The answers are deep and not easy to put into words.  Professionalism is part of it, a common language, experience with hours of practice (solo and with others), the great gift to improvise.  It’s deeply intuitive, and the only analogy for non-musicians might be, “How do we know what to say — if, in fact, we do — when among people we don’t know?  How do we know how to be part of a conversation, how to follow the general threads of thought and feeling?”

One of the great pleasures of what is now called the Mike Durham Classic Jazz Party (colloquially known to its friends as “Whitley Bay”) is that, because the music can be complicated, and the musicians don’t all play with one another regularly, there are hours of open rehearsals.  People like myself can sit in the Village Hotel ballroom and watch and listen for hours.  I do it with my camera, because once in a great while a band catches fire are plays gloriously, as if the musicians were in a back room in a Chicago nightspot.

Late last year, after the 2014 Party was over, I’d sent one of the rehearsal videos to trumpeter Bent Persson — it was a Bechet tribute with Thomas Winteler on clarinet and soprano saxophone, Graham Hughes, trombone; Morten Gunnar Larsen, piano; Henri Lemaire, guitar and banjo; Malcolm Sked, brass and string bass; Nick Ball, drums — and asked him if he thought it could be shared with the public.  The song was ACHIN’ HEARTED BLUES, which contains a labyrinth of instrumental breaks.  This year, Bent said I could go ahead and post it.

It is, of course, a rehearsal.  So there are long pauses.  Questions are asked. Some of this will be curious to non-musicians.  But it is a wonderful opportunity, I think, to see how — without words, magically — a performance comes together. And the rocking complete version of ACHIN’ HEARTED BLUES is, for me, magical:

Words would not be terribly useful to explain what happens here — part knowledge, part empathy, part wizardry.  But I see and hear something new each time I revisit the video.

In case you need more encouragement to get yourself to this year’s Party — which starts November 5 and ends November 8 or perhaps in the early hours of the 9th — here is a list of the musicians who will be there.  Astounding, in short. I’ve left my comfortable New York nest every year since 2009 to be there, and the rewards are huge.

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!

JANICE DAY IS OPTIMISTIC AND RIGHTLY SO

And in a few seconds more than three minutes — the length of a 78 — she makes us all feel more optimistic.  Janice can affect us in many ways, but at her core is a gentle winsomeness, which comes through so easily here.

This performance of LAUGHING AT LIFE — at its 1930 tempo — comes from the 2014 Whitley Bay Classic Jazz Party, and Janice’s accompanists are Keith Nichols, piano; Menno Daams, cornet; Graham Hughes, trombone; Mauro Porro, reeds; Martin Wheatley, guitar /banjo; Malcolm Sked, bass; Emma Fisk, violin; Richard Pite, drums:

“Why not grin?” indeed.  We have Janice Day and Her Gang to inspire us.  And this November, there will be another Party — celebrating a quarter-century of the best hot music, November 6-8, 2015.

May your happiness increase!

THE LATE MISTER MORTON: BENT PERSSON, MORTEN GUNNAR LARSEN, THOMAS WINTELER, JEAN-FRANCOIS BONNEL, GRAHAM HUGHES, JACOB ULLBERGER, HENRI LEMAIRE, NICK BALL at the 2014 WHITLEY BAY CLASSIC JAZZ PARTY (November 7, 2014)

Cornetist / trumpeter / scholar Bent Persson loves Jelly Roll Morton.  Here, he assembled a cohesive little band for a set at the Whitley Bay Classic Jazz Party (on November 7, 2014)  that took as its text Morton’s last recordings, from 1940 and 1941.  Bent’s colleagues are Nick Ball, drums; Henri Lemaire, string bass; Jacob Ullberger, guitar; Morten Gunnar Larsen, piano; Thomas Winteler, Jean-Francois Bonnel, reeds; Graham Hughes.

In the full-band titles, most of which featured Henry “Red” Allen, one of Bent’s (and my) heroes, one hears an approach different from the Victor Red Hot Peppers — sometimes as if Morton was adapting conventions of Swing Era arranging for his own purposes, with great effectiveness.

Here are five selections, each rewarding and full of small surprises.

MY HOME IS IN A SOUTHERN TOWN, which rollicks along:

WININ’ BOY BLUES, without a vocal but with double-time passages:

KING PORTER STOMP in its original form as a piano solo, which — after decades of hearing it scored for brass and reeds — sounds novel, almost startling.  Talk about “orchestral piano”!

FROG-I-MORE RAG, as imagined for the trio of Thomas, Morten, and a very happy Nick:

SWEET SUBSTITUTE, for full band, echoing the powerful General recording:

I’ll be at the 2015 Mike Durham Classic Jazz Party.  These videos, and others I’ve posted, should answer the question “Why?” neatly.  At least they do for me.

May your happiness increase!

BEAUTIFUL DANCE MUSIC: HENDERSONIA at the WHITLEY BAY CLASSIC JAZZ PARTY

Here is one of the high points of a wonderful tribute to Fletcher Henderson’s “Connie’s Inn Orchestra,” led by Claus Jacobi, saxophone, with Rico Tomasso, Duke Heitger, Menno Daams, trumpet / cornet; Kristoffer Kompen, Graham Hughes, trombone; Matthias Seuffert, Jean-Francois Bonnel, Claus Jacobi, reeds; Keith Nichols, piano; Jacob Ullberger, banjo / guitar; Malcolm Sked, bass; Richard Pite, drums. Recorded on November 8, 2014, at the Whitley Bay Classic Jazz Party:

The song?  STARDUST.  What could be more beautiful? And this performance speaks to a time when rhythmic ballads could be both hot and tender, when improvisation could also be romantic dance music, when African-American bands could venture into Caucasian pop music . . . and play it beautifully. And the quietly eloquent shadow of Bix is evident throughout. (Would this performance also be possible without the genial angelic guidance of Louis?  I think not.) A profound gentle lyricism in dance tempo — a great achievement then and now (with heroic subtle playing from Mister Daams and the band as a whole).

Oh, memory.  Oh, memory.

May your happiness increase!

THE MANY LIVES OF SIDNEY BECHET: THOMAS WINTELER, BENT PERSSON, GRAHAM HUGHES, MORTEN GUNNAR LARSEN, HENRI LEMAIRE, MALCOLM SKED, NICK BALL at WHITLEY BAY (Nov. 8, 2014)

The very great Sidney Bechet was an assertive soloist early in the history of jazz, a swaggering melodic improviser who pointed the way for many players. Sometimes his legacy gets compressed into SUMMERTIME (which is an offering in the presentation below) but his legacy was much more expansive than one operatic performance.

BECHET

Here, at the 2014 Whitley Bay Classic Jazz Party, reed virtuoso Thomas Winteler and friends Bent Persson, trumpet and vocal; Graham Hughes, trombone; Morten Gunnar Larsen, piano; Henri Lemaire, banjo / guitar; Malcolm Sked, bass; Nick Ball, drums, offer a wide-ranging portrait of Monsieur Bechet from the very early Twenties to the mid-Forties, with familiar songs taking a back seat to less-played ones, including a pair of unrecorded Bechet originals.

OH, DADDY:

SHREVEPORT BLUES:

Forward more than fifteen years, to his version of Victor Herbert’s lovely INDIAN SUMMER:

From the Decca date with Louis (here Bent sings the blues), 2:19 BLUES:

OLD FASHIONED LOVE:

SUMMERTIME:

Two Bechet originals, never recorded — SWEET LOUISIANA / I’LL BE PROUD OF YOU:

GEORGIA CABIN:

A memory of the 1945 Blue Note date with Bunk Johnson, PORTO RICO:

This happens only at the Whitley Bay Classic Jazz Party, now called the Mike Durham Classic Jazz Party in honor of its beloved founder, and it will happen again on November 5-8, 2015.

May your happiness increase!

PILGRIMAGES TO BEAUTY

I urge anyone who loves the music to experience it live.  For some, that isn’t possible because of cost or one’s health.  But even though I am proud of my video recordings, they are not the same thing as being on the spot while beauty is created.  And jazz festivals, parties, clubs, concerts can only go on if there are people in attendance.

My readers know all this.  But the trick is to make the great leap from an intellectual awareness (“I should go hear some live jazz . . . someday.”) to action. All of us who have said, “I’ll go to hear Hot Lips Ferguson some other Sunday . . . those gigs will go on forever!” know the sadder reality.)

End of sermon.

I cannot attend this year’s Steamboat Stomp in New Orleans, but my absence means there’s another seat for you.  It begins Friday evening, November 14, and ends Sunday afternoon, the 16th.  In  between I count nineteen one-hour sets of music, in addition to a presentation about the Historic New Orleans Collection, four steam calliope concerts by Debbie Fagnano.  Much of the music will be performed on the two decks of the steamboat Natchez, gliding up and down the Mississippi River.  The artists include Duke Heitger, Don Vappie, Evan Christopher, the Yerba Buena Stompers, Dukes of Dixieland, Tim Laughlin, David Boeddinghaus, Hal Smith, Banu Gibson, Solid Harmony, Jon-Erik Kellso, John Gill, Kevin Dorn, Clint Baker, Tom Bartlett, Conal Fowkes, Orange Kellin, Leon Oakley, Steve Pistorius, and another dozen.

I was able to attend in 2013, and had a wonderful time.  Some evidence!

SWEET LOVIN’ MAN by Duke and the Steamboat Stompers:

Steve Pistorius considers the deep relationship between music, memory, and love in A DOLLAR FOR A DIME:

Banu Gibson, as always, shows us her heart, and it’s full of RHYTHM:

and the Yerba Buena Stompers play a later King Oliver piece, EDNA:

INSERT FOUR-BAR MODULATION HERE.

I returned last night from the 2014 Whitley Bay Classic Jazz Party, exhausted and uplifted.  The exhaustion will wear off (it always does) after a day or two of treating myself like an invalid, nut the joy is permanent.  It comes from seeing people make friends through music.  The music began with rehearsals at 9 AM on Thursday and ended sometime late Monday morning (I heard the jam session at the pub as I was going up the stairs around 1 AM).  The texts for those mellow sermons were based on the teachings of Johnny Dodds, Count Basie, Louis Armstrong, Duke Ellington, Charlie Johnson’s Paradise Orchestra, Jabbo Smith, Jean Goldkette, Bix Beiderbecke, Red Nichols, Chu Berry, Paul Whiteman, Cootie Williams, Adrian Rollini, Jimmy Dorsey, Joe Venuti, Eddie Lang, Johnny Dunn, Luis Russell, Bing Crosby, Helen Morgan, Jimmie Lunceford, Benny Carter, Don Byas, Willie Lewis, Sidney Bechet, Al Bowlly, Cliff Edwards, Eubie Blake, James P. Johnson, Chick Webb, Jelly Roll Morton . . . you get the idea.

And the performers!  Rico Tomasso, Duke Heitger, Menno Daams, Andy Schumm, Bent Persson, Claus Jacobi, Thomas Winteler, Matthias Seuffert, David Boeddinghaus, Graham Hughes, Alistair Allan, Martin Litton, Janice Day, Morten Gunnar Larsen, Keith Nichols, Richard Pite, Malcolm Sked, Phil Rutherford, Spats Langham, Emma Fisk, Frans Sjostrom, Josh Duffee, Nick Ball, Mauro Porro, Henri Lemaire, Kristoffer Kompen, Lars Frank, Martin Wheatley, Jean-Francois Bonnel. . . and sitters-in at the Pub, including Torstein Kubban.  (If I’ve omitted anyone’s name, it is because yesterday was nearly twenty hours of travel, which does terrible things to cognition.)

And the friends!  Everyone who was there will have a mental list, but I think we all start with Patti Durham — then I think of Bob Cox, Bobbi Cox, Derek Coller, Veronica Perrin, Chris Perrin, the young woman clarinetist, so intent, Jonathan David Holmes, Julio Schwarz Andrade, Andrew Wittenborn — and many more.

If you are wondering, the answer is Yes, I did bring my video cameras.  Plural. Safety first.

And I shot video of all the sets, one jam session / concert in the Victory Pub, and many of the rehearsals — several hundred performances.  It takes some time to upload and download, so I have nothing from this last weekend to share with you at the moment.  But I will.

While you are thinking, “How could I start putting money away for the 2015 WHITLEY BAY CLASSIC JAZZ PARTY?” (for that will indeed happen), I invite you to revel in this, recorded at a rehearsal at the 2012 Party:

All over the quite comfortable Village Hotel in Newcastle (with a very solicitous staff) are signs and photographs advertising the pleasures to be found there, all sharing a lower case “v.” at the start, both to show an intensity of feeling (“very!”) as well as remind you of the hotel chain’s identifying logo.  In the mechanism that takes you from one floor to another (I called it an elevator and was reminded that it was a “lift,” because I was in the  United Kingdom now) was a photograph of three pillows reading “v. snuggly” “v. cheeky” and “v.lazy.”

All I will say here, as a bow to the Party and to the Village Hotel and to my heroes and friends, is that I am “v.joyous.”

May your happiness increase!

THE BASIE WAY: MATTHIAS SEUFFERT HONORS COUNT BASIE at WHITLEY BAY (Nov. 3, 2013)

William Basie persists as a model and mentor even though he is no longer at the keyboard. Regarding the world with a cheerful amused skepticism, he embodied truths long before they were adopted as cultural cliche: less is more; the medium is the message; ‘t’ain’t what ‘cha do; give away those things not meant for you; the blues cure the blues.

Basie would have brushed such praise away, but he is Thoreau who chose the bandstand over the beanfield, a great abstract painter without a brush; a prophet whose message was primarily silence and joy, making the universe swing.

We can’t go backwards to the youthful glory of the Basie band of the late Thirties, except by listening to the airshots, the Deccas, and the Columbias, but this band has some of the unbuttoned joyous energy of the real thing (with a few leaps forward).  It’s not an outright imitation, which is a good thing, but it moves in the same happy directions.

This endearing evocation — captured at the 2013 Whitley Bay Classic Jazz Party — is led by Matthias Seuffert, reeds, with Jean-Francois Bonnel, Gavin Lee, Claus Jacobi, saxophones; Duke Heitger, Ben Cummings, Andy Woon, trumpets; Alistair Allan, Graham Hughes, trombone; Keith Nichols, piano; Roly Veitch, guitar; Henri Lemaire, string bass; Richard Pite, drums.

JIVE AT FIVE:

LESTER LEAPS IN:

A more recent effort in this swinging manner, Buck Clayton’s CLAYTONIA (originally recorded for Vanguard in 1957, then brought to life once more for the Buck Clayton Legacy Band, still floating):

SHOE SHINE BOY (evoking Chicago, 1936):

BLUE AND SENTIMENTAL (for Herschel):

POUND CAKE:

and a leisurely romp through ONE O’CLOCK JUMP:

Let us live our lives the Basie way — gently improving the universe as we go.

May your happiness increase!

RED HOT CHICAGO at the WHITLEY BAY CLASSIC JAZZ PARTY: MATTHIAS SEUFFERT, ANDY SCHUMM, DUKE HEITGER, GRAHAM HUGHES, MARTIN SECK, JACOB ULLBERGER, PHIL RUTHERFORD, NICK WARD (November 3, 2013)

Erastus was very pleased, and told me so.  He wasn’t alone.

One of the things the Whitley Bay Classic Jazz Party does best — perhaps with no equals — is to offer vivid panoramas-in-sound of what our heroes sounded like . . . not exactly copying the records, but swinging out in devoted, accurate loving style

Here’s one such example: four beautiful evocations of hot Chicago 1927, in honor of Johnny Dodds’ Black Bottom Stompers (and its close relatives) — brought to life again in 2013 by clarinetist (and Dodds scholar) Matthias Seuffert, Andy Schumm, Duke Heitger, trumpet; Graham Hughes, trombone; Martin Seck, piano; Jacob Ullberger, banjo; Phil Rutherford, brass bass; Nick Ward, drums.

The players in this video are really in there, as they used to say: I delight in the intricate ensemble dance they do and their intense yet loose soloing.

WILD MAN BLUES:

WHEN ERASTUS PLAYS HIS OLD KAZOO:

MELANCHOLY:

WEARY BLUES:

More of these uplifting sounds to come in November: details here. I am gently nudging those JAZZ LIVES readers who can attend this year’s Party to not wait: both seating and hotel rooms sold out months in advance in prior years.

May your happiness increase!

THE BEAUTY OF IT HOT: AFTER HOURS IN THE VICTORY PUB, with JEFF BARNHART, BENT PERSSON, ANDY SCHUMM, TORSTEIN KUBBAN, KRISTOFFER KOMPEN, GRAHAM HUGHES, NORMAN FIELD, MATTHIAS SEUFFERT, FRANS SJOSTROM, LARS FRANK, JACOB ULLBERGER, JOSH DUFFEE — AT THE 2013 WHITLEY BAY CLASSIC JAZZ PARTY (November 1, 2013)

Collectively and joyously, Jeff Barnhart, keyboard / vocals; Bent Persson, Torstein Kubban, Andy Schumm, cornet; Graham Hughes, trombone; Kristoffer Kompen, valve-trombone; Lars Frank, tenor sax; Norman Field, clarinet; Matthias Seuffert, reeds; Jacob Ullberger, banjo; Frans Sjostrom, bass saxophone; Josh Duffee, drums.

Recorded on November 1, 2013, in the Victory Pub at the 2013 Whitley Bay Classic Jazz Party in Newcastle, England.

THEM THERE EYES:

NOBODY’S SWEETHEART NOW:

LULU’S BACK IN TOWN:

A fellow named Andy Schumm came by . . . and so did Josh Duffee:

MARGIE:

COME ON AND STOMP, STOMP, STOMP:

Because it is difficult to manage a camera, a tripod, a sheet of paper, and a pen, under these circumstances, I could be slightly inexact about who was playing what, when. (No doubt my precise readers will let me know my lapses.) It could have become November 2, 2013, while I was videoing. And if you think, “I can’t see the musicians,” I agree with you.

What matters is the liveliness of the music. These are the moments we remember all our lives — when improvisers, united by common love, memory, and knowledge, give us everything they have spent their lives experiencing — for the pure joy of it.

By the way, there’s more from this and another November 2013 jam session.  But the best way to experience such marvels is by being there. Consider this seriously if you can.

May your happiness increase!

“FEELIN’ NO PAIN”: A RED NICHOLS TRIBUTE at the 2012 WHITLEY BAY CLASSIC JAZZ PARTY

“Feeling no pain” was a Twenties slang expression that meant one was sufficiently intoxicated to be numb.  Without the final G, it was also the title of several 1927 Red Nichols recordings of Fud Livingston’s composition — here evoked expertly in the twenty-first century by a group of nimble Hot Adventurers at the 2012 Whitley Bay Classic Jazz Party.

The obstacle-course masters here are Andy Schumm, cornet; Rico Tomasso, trumpet; Michael McQuaid, reeds; Alistair Allan, trombone; Keith Nichols, piano; Martin Wheatley, guitar; Nick Ward, drums:

This is the sort of lively musical evocation that happens all the time at the Whitley Bay Classic Jazz Party — and it will happen again in November 2014.  Details here.  And here is the list of musicians who will be appearing — that’s a plenty!

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); frums: 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).  And there might be other surprises.

I know that the title (Livingston’s idea?) was meant whimsically, but I take it seriously: may all beings be free from pain — and they don’t have to read this blog or hear this music to feel this wish.

May your happiness increase!

MORE LIGHTNING IN THE DARK: JAMMING AT WHITLEY BAY 2013 (Part One)

I don’t quite know what it is like when the music isn’t being created there, but the Victory Pub in the Village Hotel Newcastle (UK) has become a small shrine for Hot music when the Whitley Bay Classic Jazz Party is in session — a once-yearly transformation into a place where dreams come true.

Here’s the second half of WASHBOARD WIGGLES, with Jeff Barnhart, keyboard / vocals; Bent Persson, Torstein Kubban, cornet; Graham Hughes, trombone; Lars Frank, reeds; Jacob Ullberger, banjo; Frans Sjostrom, bass saxophone:

Then, the Master stopped in — Norman Field and his clarinet — for a romp on LITTLE GIRL (with the verse and a characteristically buoyant Jeff Barnhart vocal):

We don’t like to talk about Buddy behind his back, but we must — BUDDY’S HABITS:

More of the good stuff — The Good Stuff — is on the way. And a cinematographic postscript: if you can, while watching on YouTube, boost the settings (where the little gear or toothed wheel is) to the highest — 1o80 — and watch full screen. That way you will find, no matter what Gertrude Stein said, there is a there there!

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!

SIXTEEN WORDS TO GENTLY NUDGE THE HESITANT TOWARDS PLEASURE, THE 2013 WHITLEY BAY CLASSIC JAZZ PARTY

SIXTEEN SEATS REMAIN for the 2013 WBCJP.  

Hesitate and miss something special.  

There’s nothing like it. 

(My title is also sixteen words long; I hope the numerologically-minded will admire this.)

Some words in a slightly more expansive vein.  Last year’s party sold out and people were turned away, with “wailing and gnashing of teeth.”  Tickets can be ordered at whitleybay.

Quite simply, the Whitley Bay Classic Jazz Party — the creation of the much-missed Mike Durham — continues to strive for musical authenticity while making sure everyone has a good time.  The players and singers do a wonderful job of hot time-travel, taking us to musical stages and situations we’ve only dreamed of.

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)

Obviously, a trip to Newcastle might be beyond the resources of many of my United States readers.  But if you can get there, you won’t regret it.  Here’s just one sample of what happened last year:

I think you’d have to be deeply ECCENTRIC to not feel those good vibrations!

May your happiness increase!