Tag Archives: Jacob Ullberger

“V. HOT”: A JAM SESSION AT THE MIKE DURHAM CLASSIC JAZZ PARTY (November 3-4, 2019)

Souvenirs of a brilliant weekend, even though many of us did not make it to the Village Hotel, Newcastle, for this Party, held annually in November, bringing together wonderful European, British, and American musicians.  Three v.hot selections from the last jam session of the Party, captured for us by Chris Jonsson, the nattily dressed fellow next to Anne-Christine Persson in the photo.  I know them as “Chris and Chris” on YouTube, they are neatly CANDCJ:

Here’s CHRIS and CHRIS

I’M GONNA STOMP MISTER HENRY LEE (I prefer the version without the comma, but grammarians who wish to explicate this title may email me):

Andy Schumm, clarinet; David Boeddinghaus, piano; Dave Bock, tuba; Josh Duffee, drums; Torstein Kubban, trumpet; Graham Hughes, trombone; Matthias Seuffert, clarinet;  Stephane Gillot, alto saxophone; Jacob Ullberger, banjo.

Colin Hancock, cornet, and Henry Lemaire, string bass, come in for Gillot and Bock, and Graham Hughes sings MAMA’S GONE, GOOD-BYE (splendidly!):

and, finally, MILENBERG JOYS, with Boeddinghaus, Hancock, Kubban, Duffee, Ullberger, Lemaire, Lars Frank, clarinet . . . and if I am not mistaken, Torstein essays his own version of Louis’ Hot Chorus here, magnificently:

I would have expected more violent approval, but it was after 2 AM.

A word about my title.  What, you might ask, is “v. hot“?  It’s an inside joke for those of us — including percussion wizard Nicholas D. Ball, who have visited the Village Hotel in Newcastle with any regularity: a meant-to-be-terribly-cute advertising gimmick:

and a different view:

When I was there last in 2016, the elevator (sorry, the lift) had inside it a glossy photo of a larger-than-life young woman and the words “v. snuggly” or some such.  We joked about this, and wondered if the toilets in each room were labeled “v. flushy” or the pizza “v. costly.”  And so on.  But nothing can take away from the jam session, which was indeed “v.hot.”  Bless the musicians and both Chrisses (Christer and Anne-Christine) too.

May your happiness increase!

MAKING CONNECTIONS, 2010 and 2019, WITH THE HELP OF NORMAN FIELD

I spent much of the morning hooking up a new computer setup: my laptop and my neck have a tumultuous relationship, so I prefer a desktop computer, a large monitor, and all the trimmings.  That means a good deal of crawling around under a table, plugging wires in to the wall and in to the back of the computer (Swift’s phrase “Leaping and Creeping” came frequently to mind).  The image below is an exaggeration, but most readers know the feeling, even if they wouldn’t wear those shoes:

I succeeded,without banging my head on the underside of the table of cursing: a double victory.

As a reward to myself for all that technological-dancing, even though it was primarily on all fours, I decided that the first thing I should do on this computer, after being allowed access to my own life, would be to share some music — appropriately a song celebrating a new hot dance, the SHIM-ME-SHA-WABBLE.

Since technology, going all the way back to cylinder recordings, has blessed us with the power to make the past and present dance on into the future, here is a performance from July 11, 2010, at what was then the International Jazz Festival at Whitley Bay, featuring Norman Field, clarinet; Nick Ward, drums; Andy Woon, trumpet; Paul Munnery, trombone; Frans Sjostrom, bass sax; Jacob Ullberger, guitar / banjo:

Fewer than 400 jazz-hot fanciers have viewed this video in nearly a decade, so this post is my effort to share joy with more people.  Keep dancing, everyone, wherever you can.

May your happiness increase!

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!

“AN ORDER OF HOT, PLEASE, SIR!”: NOTES FROM THE VICTORY PUB, NEWCASTLE, UK (October 26, 2017)

“Chris and Chris” at the 2015 Steamboat Stomp in New Orleans. Photograph by Bess Wade.

I couldn’t make it to this year’s Mike Durham Classic Jazz Party, but my place as videographer has been filed nobly by a number of people, which is reassuring.  You can find their works on YouTube, but here is one performance so glorious that I wanted to share it with you.  The video is the work of my comrade Chris Jonsson — he’s half of the friendly team of “Chris and Chris,” the other half being Anne-Christine Persson (both snappy dressers as well who make all the hot festivals).  Chris Jonsson carries a video camera — low and unobtrusive — and has a YouTube channel called CANDCJ.

One of the highlights of the Party is the nightly jam sessions in the Victory Pub, where this year, they managed to get a small piano in, making the music even more true-to-life.  Chris captured hours of the “formal” sets, but the five selections he recorded in the Pub seem — to me, at least — even more thrilling. Here’s ONCE IN A WHILE, the Hot Five classic, played with immense energy and joy by some people I admire greatly: Kristoffer Kompen, trombone; Torstein Kubban, cornet; Lars Frank, reeds; Phil Rutherford, tuba; Jacob Ullberger, banjo; Morten Gunnar Larsen, piano.  And how fiercely they swing!

Thanks to five musicians and one gifted archivist.  And to Louis, of course.  An aside: proven morale-boosters and mood-enhancers (pick your jargon) for me are the company of people I love, caffeine, and anything associated with Louis.  I hope you feel better, too.

And a postscript.  This performance is hot enough to have ignited something, which reminded me that at the 2014 Party there was a fire in the Victory Pub, and we had to leave the hotel for a time.  The music that resulted when we returned is one of my favorite memories: you can see it here.

May your happiness increase!

THESE COZY VIRTUOSI: EMMA FISK, JACOB ULLBERGER, SPATS LANGHAM, HENRY LEMAIRE at the MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)

Violinist Emma Fisk — with a lovely dark tone, a romantic conception to match her fine technique — never disappoints and is always swinging.  Here she is with three of the best — Spats Langham on the right and Jacob Ullberger on the left, guitars, and Henry Lemaire, string bass — in a session celebrating Django, Stephane, and their work together both as the Quintette of the Hot Club of France and later.

This delight took place at the 2016 Mike Durham Classic Jazz Party, held in Whitley Bay, England: this set comes from November 4, 2016.We begin with an incomplete performance — my fault — but I thought the remainder was too good to ignore.

COQUETTE:

I’M CONFESSIN’:

BELLEVILLE:

IF YOU ONLY KNEW (HOW MUCH I LOVE YOU):

DARK EYES:

As you can hear, Emma is a superb violinist, one not restricted to this particular genre.  She and guitarist James Birkett have formed a duo devoted to the music of Eddie Lang and Joe Venuti, and the delightful evidence — audio and video — can be found here.  I’ve heard rustlings that a new CD by the duo is on the way as well.  Emma and friends — what friends! — will be back for the 2017 Party, held in late October: visit here for details, videos, and more.  I won’t be there, but that will leave more room for you and yours.

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!

ON DOROTHY’S SIDE: THOMAS WINTELER, TORSTEIN KUBBAN, FRANS SJOSTROM, JACOB ULLBERGER, DAVID BOEDDINGHAUS at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 5, 2015)

SUNNY SIDE OF THE STREET

Jonathan Schwartz told the story of walking with his father (Arthur Schwartz, of Dietz and Schwartz fame) on a shady city street, and his father saying, “Come on, let’s cross over to Dorothy’s side of the street,” the reference being to the lyricist Dorothy Fields and the classic 1930 song ON THE SUNNY SIDE OF THE STREET (music by Jimmy McHugh).

Even though the rendition that follows was hours away from the sunshine, it glows and radiates in the best way: evoking Bechet, Louis, and Hines if you like, or dramatizing that such mastery is still entirely possible in this century: the players are Thomas Winteler, soprano saxophone; Torstein Kubban, cornet; David Boeddinghaus, keyboard; Frans Sjostrom, bass saxophone; Jacob Ullberger, banjo.  All of this goodness took place on November 5, 2015, at the Mike Durham Classic Jazz Party.  And I know for a certainty that more like it will take place at the November 2016 Party.

Living sunshine, even in the darkness.  Thanks to Messrs. Sjostrom, Winteler, Kubban, Boeddinghaus, and Ullberger:

May your happiness increase!