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!