I believe that the wondrous Hot Antic Jazz Band is a working band no more. But their sounds (and sights) continue to delight us, thanks to the generous technological skills of their leader, Michael Bastide, and we can enjoy their performances of FOUR OR FIVE TIMES and THE STORY BOOK BALL from Scottish television. (I love the former especially: McKinney’s Cotton Pickers coming to life amid greenery.)
These masters of Hot are Michel Bastide, cornet, valve-trombone, vocal; Virginie Bonnel, alto saxophone, clarinet, vocal; Jean-François Bonnel, tenor alto saxopone, clarinet, trumpet, vocal; Stéphane Matthey, piano; Jean-Pierre Dubois, banjo; Christian Lefèvre, tuba, marching trombone:
Delightful: authentic but not musty, full of expert fun.
As I write this, Michel Bastide‘s YouTube channel has a very small number of subscribers. I ask JAZZ LIVES’ readers to make sure the eminent Doctor Bastide does not feel that his efforts are in vain. Subscribe, s’il vous plait. (Or, as Red Allen would shout, “Make him happy!”)
Early on November 4, 2016, an august group of informally-attired gentlemen assembled within the Village Hotel in Newcastle, England, at what is now called Mike Durham’s Whitley bay Classic Jazz Partyto rehearse their set of songs and arrangements by the most-talented and most short-lived Alex Hill. Their aims: to have a jubilee and also do some needed functionizin’.
The truly all-star band was led by trumpeter / scholar / arranger Menno Daams, and was comprised of David Boeddinghaus, piano; Spats Langham, guitar and vocal; Henry Lemaire, string bass; Richard Pite, drums; Rico Tomasso, Duke Heitger, trumpets; Jean-Francois Bonnel, Richard Exall, Robert Fowler, Lars Frank, reeds; Jim Fryer, Alistair Allan, trombones.
This was a rehearsal: thus, not everything had already been polished through focused playing and replaying, but the absence of an audience occasionally lets musicians cut loose and experiment. I’ve intentionally left in the pre-and-post comments to give listeners the experience of being there.
And although they knew I was there, they happily managed to ignore me, which was fine then and turned into a great boon for all of us. I had a wonderful view of the chairs, but one must sit far enough back in the room to capture everyone in the band. My focus wasn’t perfect, but at least you can blame the camera rather than its operator. The sound is clear, and the absence of an audience, bringing pint mugs back and forth and chatting, is a great boon, although sharp-eared video observers will hear some commentary which usually stops when the band begins.
About the band name: I don’t think Menno and Co. had an official collective sobriquet in the program, and many of the original Hill sessions were issued as “his Hollywood Sepians,” and no amount of linguistic immolation on my part could convert that to a group title both appropriate and inoffensive. I will leave the possible variations on that theme to you, and comments offering such names will, alas, never see the light of cyber-day.
On to the blessed music. LET’S HAVE A JUBILEE:
SONG OF THE PLOW:
AIN’T IT NICE?:
DISSONANCE (Mezz Mezzrow took credit, but it is a Hill composition and arrangement):
DELTA BOUND (with wonderful singing by Mr. Langham, typically):
FUNCTIONIZIN’, a close cousin of SQUEEZE ME:
KEEP A SONG IN YOUR SOUL, wise advice:
One of the unannounced pleasures of this Party, held this November in the same space [the “v.snuggly” Village Hotel] is that well-behaved listeners are welcome to sit in on rehearsals — a rare pleasure. Blessings on Alex, Menno, and the wonderful musicians for their splendid work in keeping the good sounds alive.
And just so you know my enthusiasm is global, not local, this comment, relayed through my good friend Sir Robert Cox: “Tom [that’s Spats] said how brilliant Menno’s arrangements were and how much, to their astonishment, rehearsal had taken only 45 minutes. He said that, never in the history of the party, had a rehearsal lasted less than an hour.”
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:
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.
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.
Ben Cohen Hot 7 at Bude 1998, courtesy of Alex Revell. L-R: Nick Ward, Terry McGrath, Alex Revell, Mick Clift, Ben Cohen, Geoff Over, Jon Penn.
I came very late to this particular party, but happily the party still rocks on in cyberspace. Let me explain. The searing yet also lyrical cornet player, singer, and bandleader Ben Cohen moved to another neighborhood in 2002, when he was 73. I didn’t take notice of his work until last year, when I heard him on a record featuring the late clarinetist Pierre Atlan, which also starred Humphrey Lyttelton — but one side of the disc was a 1987 session showcasing Ben, whose KNEE DROPS astonished me with its hot fluency and mastery. I regret that I can’t share this music, but the record is on eBay, like so much else (including two CDs featuring Ben, posthumously).
I contented myself with playing the record many times, then browsing through my shelves, where I found him appearing with Jean Francois Bonnel and Wally Fawkes, among other luminaries. I looked in Tom Lord’s discography and found that Ben had recorded widely from 1950 to 2000, a very long time to be in one’s prime.
And there the matter would have remained, were it not for the gracious fellow who calls himself JazzVideoMike on YouTube — the link will lead you to his channel, where you will find yourself enchanted. In real life, he answers to Mike Stevens.
I asked Mike to tell me something of his involvement with Ben, and Mike graciously wrote:
Ben Cohen played in Brian White’s Magna Jazz Band for many years right up to his passing. The Magna played weekly and from about 1990 I went weekly and got to know Ben. I started videoing jazz when I went to the French Quarter Festival in 1995 and bought my first camcorder on Canal Street. I then started going to the Bude and Keswick UK jazz festivals and making videos whenever possible, which I have continued right up to now.
I met Ben at these festivals and found that his style of playing with his Hot 5 & 7 was much more to my taste than his style with the Magna band. His early Louis style playing caused quite a stir, and admiration from many musicians. After 2000 Ben suffered several strokes, but he refused to stop playing and it was a more serious stroke which eventually brought him down.
Ben was a lovely man and greatly admired by many. [Sarah Spencer, below, says that Kenny Davern loved Ben.] Brian White still says he was the best trumpeter he ever had in his bands. Ben and Alex Revell were the front line along with Chris Barber in his amateur band before Chris made it a full time professional band. Ben was an engineer with his own business and remained a part time musician throughout his career. Alex was a also a noted engineer and designer, and they played together again in Ben’s Hot 5 & 7. Jon Penn was the pianist, and Nick Ward the drummer, both now at Whitley Bay every year.
And here is Mike’s splendid video (let us praise the man behind the camera!) of a ninety-minute plus live session at the Bude Jazz Festival:
Now for a rare treat – a new Ben Cohen Hot Five Seven concert never before published – Launched in 1993, Ben’s Hot Five caused an immediate sensation at the Bude festival that year, since when they have starred at major festivals all over the country. 1994 saw the launch of an even more exciting Hot Seven. Ben Cohen, hailed by Humphrey Lyttleton as today’s finest trumpeter in the “early Louis” style, leads Alex Revell (clarinet), Mick Clift (trombone), Jon Penn (piano), Geoff Over (banjo), and they are joined in the Hot Seven by Terry McGarth (sousaphone), and Nick Ward (drums) with special guest Norman Field (reeds).
Ben Cohen is one of the legendary backroom boys of British Traditional Jazz. He first came to notice in Chris Barber’s amateur band in 1950. He based his style on that of early Louis Armstrong and over the years developed a reputation as a powerful lead player in any band he was in. He stuck religiously to playing the cornet rather than the trumpet and was only ever semi-professional throughout his career. Ben was a popular figure on the UK Jazz scene and for many years led his Armstrong inspired Hot 5.
A brief guided tour: YOU MADE ME LOVE YOU (Ben, vocal); PAPA DIP; GULLY LOW BLUES (Ben, vocal); EAST COAST TROT (featuring Alex and Norman); NO ONE ELSE BUT YOU (Alex, vocal); TAKE YOUR PICK (featuring Geoff Over); an interlude where the band removed their jackets; MABEL’S DREAM; WEARY BLUES; SOME OF THESE DAYS (Ben, vocal); WILLIE THE WEEPER (Geoff Cole, vocal); I CAN’T SAY (Alex and Norman); ONCE IN A WHILE; ROCKIN’ CHAIR (Ben, vocal); BIG FAT MA AND SKINNY PA (Alex, vocal); KNEE DROPS; AFTER YOU’VE GONE (closing theme).
The band is marvelous. But I keep returning to Ben, who is — in the words of his friend and bandmate Sarah Spencer — “hot as heck.”
I am sorry that I never got to hear him in person, and — even more — tell him how much his music moves me. But here is evidence of gorgeous nimble heat in the best Louis manner. Thank you, Ben Cohen.
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.
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.
No disrespect to the other musicians, but my focus is on the name at top left: ENRICO TOMASSO: majestic, determined, hilarious, tender, indefatigable, joyous.
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.)
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.
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.
“Lo and behold!” is, by now, an archaic expression by which one refers to something surprising that has happened. In this case, the surprises are all good ones. (The record below belongs to William Berndt, who also took the photo.)
When Andy Schumm (multi-instrumentalist, arranger, composer, bandleader) came to the 2014 Whitley Bay Classic Jazz Party, he brought arrangements with him for a ten-piece band — which would have been a characteristic instrumentation in the late Twenties and early Thirties: three brass, three reeds, four rhythm. At home, Andy and string bassist Beau Sample pilot a hot band called THE FAT BABIES (they’ve made two delightful CDs for the Delmark label and they have a regular gig in Chicago) . . . but the charts Andy brought held no terrors for the international luminaries at Whitley Bay. In addition to Andy, there’s Menno Daams, cornet; Alistair Allan, trombone; Jean-Francois Bonnel, Lars Frank, Claus Jacobi, reeds; David Boeddinghaus, piano; Henri Lemaire, banjo; Malcolm Sked, bass and sousaphone; Josh Duffee, drums. They performed — nobly — a lengthy set of hot music, dance music, an Oriental fox-trot . . . full of surprises, including a new Schumm composition in the best style and many new arrangements of venerable songs. Herewith!
FIVE FOOT TWO, EYES OF BLUE:
BABY (in the Guy Lombardo arrangement, with heat):
SHE REMINDS ME OF YOU (a song associated with Bing):
I WANT YOU, JUST MYSELF (homage to King Oliver with new solos):
CHINA GIRL (the aforementioned “Oriental fox-trot” with a wonderful outchorus):
I WANT TO GO HOME (a Joe Sanders arrangement):
LO AND BEHOLD! (from 1932):
SMILE WHEN THE RAINDROPS FALL (for Stan and Ollie, with a group vocal):
WHEN SHE CAME TO ME (comp. Schumm; manner, Goldkette):
LIVIN’ IN THE SUNLIGHT, LOVIN’ IN THE MOONLIGHT:
And if you’d like to hear more music like this, the Mike Durham Classic Jazz Party is taking place in Newcastle-upon-Tyne, England, November 5-8, 2015.
A postscript. I take public transportation to get in and out of New York City, preferring that to the stress of finding parking for my car. So on the bus and on the commuter railroad, everyone has earbuds firmly mounted. Often I can hear what they are listening to through the earbuds, which means that audiologists will never want for work — but I digress. Whether or not you can make it to Whitley Bay, I would like all my readers who commute to save some of these videos for their trek to and from work. It would please me immensely to think of people on the bus or train happily grooving to BABY or LO AND BEHOLD! Do what you can, please, to help make my hot jazz / hot dance fantasy a reality.
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.
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).
I thought, “What could I give the JAZZ LIVES audience for Christmas 2014?”
I am not in the habit of giving holiday presents, but I thought this would do the trick: a wonderfully sustained six-minute exploration of the 1928 classic TWO DEUCES (summoning up Louis Armstrong and Earl Hines in their youth) by some of Gabriel’s boys: Enrico Tomasso and Bent Persson, trumpets; Jean-Francois Bonnel, Mauro Porro (grinning), Claus Jacobi, reeds; Alistair Allan, trombone; David Boeddinghaus (brilliantly Hinesian), piano; Martin Wheatley, banjo / guitar; Henri Lemaire, string bass; Nick Ball, drums. Recorded on November 9, 2014, at the Whitley Bay Classic Jazz Party:
This music embodies joy for all. It won’t be stale on December 26. And if you would allow me to send the Official JAZZ LIVES Holiday Message, it would be just six words and a few punctuation marks:
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 Stompin 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.”
The very expressive swinging violinist Emma Fisk was given a difficult assignment — to summon up the ghosts of Stuff Smith (violently, dramatically hot) and Eddie South (elegance personified) in thirty minutes at the 2013 Whitley Bay Classic Jazz Party. I’d give her and her colleagues very high marks at this nearly-impossible task.
The colleagues are Jeff Barnhart, piano and vocal (hear him romp on the verse to LADY BE GOOD — a feat that astonishes the band — as well as on a block-chord solo on SKIP IT), the ceaselessly rocking Richard Pite, drums; the energized Henri Lemaire, string bass; the versatile Spats Langham (called upon to be Django for seven choruses of uplifting accompaniment on EDDIE’S BLUES), and two guest stars to take us close to the Onyx Club Boys of fabled memory, Ben Cummings, trumpet (hidden behind someone’s coif, but he comes through clear as a bell); Jean-Francois Bonnel, clarinet.
Here they are — recorded on November 3, 2013, nimbly being themselves while honoring departed masters.
IF YOU’RE A VIPER (thank you, Jeff!):
MAMA MOCKINGBIRD (for Hoagy and Eddie):
LADY BE GOOD:
Well played, Emma, Jeff, Spats, Henri, Richard, Ben, and Jean-Francois!
And I know that Emma has a feature set at this year’s Whitley Bay Classic Jazz Party called FIDDLESTICKS in honor of Signor Venuti, which I know will be fun.
Some of the hottest music of the late Twenties was created by Luis Russell and his Orchestra. That band could “romp,” to use Pops Foster’s perfectly accurate verb, in ways that blended New Orleans polyphony and the awareness of how musicians in a big band could play effectively as sections. Russell wrote wonderful arrangements and the band showed off a galaxy of soloists — Red Allen, Charlie Holmes, Albert Nicholas, J. C. Higginbotham, Teddy Hill, Greely Walton, Will Johnson, Pops Foster, Paul Barbarin (later editions of the band, captured on record, also included Dicky Wells, Rex Stewart, and a sweetly vocalizing Vic Dickenson). The band also backed Louis Armstrong on memorable records — and it became the nucleus of Louis’ Decca band as well.
If someone asked me to define “swing,” it would be easy to do by playing the Russell PANAMA or JERSEY LIGHTNING — perpetual motion machines that amaze and delight.
Trumpeter / arranger / scholar Bent Persson has long loved the Russell band, not only for its soloists but for its ensemble beauty — and last year at the Whitley Bay Classic Jazz Party he offered a full plate of joy, taking us in time and space to the Saratoga Club in 1929-1930. He was aided in this journey by Jeff Barnhart, piano and vocal; Henri Lemaire, string bass; Richard Pite, drums; Jacob Ullberger, banjo and guitar; Andy Schumm, trumpet; Kristoffer Kompen, trombone; Jean-Francois Bonnel, Lars Frank, Stephane Gillot, reeds.
NEW CALL OF THE FREAKS (with its classic vocal: is it an invitation or a command?):
ON REVIVAL DAY (purification of the Spirit thanks to Reverends Jeff and Kris):
POOR LI’L ME, with an extraordinary vocal by Jeff:
HONEY, THAT REMINDS ME (which was Vic Dickenson’s first recorded vocal):
Oh, what a band! — both in the original and in the energetic evocation here.
All of this wonderfully uplifting jazz was performed (in 2013) at the Whitley Bay Classic Jazz Party where many of these musicians will be performing in the 2014 version in a few days.
It’s always pleasing to me when an artist fully inhabits the present while offering a deep understanding of the tradition. The soulful Miss Daryl Sherman does just that.
Here, Daryl honors one of her idols and mine, Mildred Bailey, at the 2013 Whitley Bay Classic Jazz Party. She is accompanied by Duke Heitger, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, reeds; Emma Fisk, violin; Keith Nichols, piano; Henri Lemaire, string bass; Spats Langham, guitar; Richard Pite, drums.
First, the lovely I’LL CLOSE MY EYES:
Then, Mister Berlin’s cheerful I’VE GOT MY LOVE TO KEEP ME WARM:
I’ve been remiss in not posting these earlier, but a variety of technical difficulties held them back. Thank you, Daryl, and swinging players, for telling your stories with a swinging beat.
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):
and a leisurely romp through ONE O’CLOCK JUMP:
Let us live our lives the Basie way — gently improving the universe as we go.
The very intense young singer Cecile McLorin Salvant sings MEMORIES OF YOU, which we don’t always characterize as a memorable “torch song,” at the 2013 Whitley Bay Classic Jazz Party, with the estimable assistance of Ben Cummings, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Malcolm Sked, string bass; Spats Langham, guitar; and Nick Ward, drums. For details about this year’s Classic Jazz Party, please click here.
Jabbo Smith — that precise daredevil, that trumpet superhero — has often been emulated but rarely equalled. This hot little band in honor of Jabbo’s searing Rhythm Aces recordings does everything mere mortals could do in Jabbo’s honor, with delightfully incendiary results: Ben Cummings, trumpet / vocal; Jean-Francois Bonnel, reeds; Keith Nichols, piano; Jacob Ullberger, banjo; Phil Rutherford, brass bass. This session took place on November 2, 2013, at the Whitley Bay Classic Jazz Party. You might want to have an iced drink handy before viewing this set: it raises the temperature of the room precipitously.
ACE OF RHYTHM:
As brilliant as this hot evocation was, it wasn’t an isolated event at the 2013 Party (more videos to come as proof) and I know it will happen again, over and over in different contexts, at this year’s Party — detailshere.
Thanks to Clint Baker and David Jellema for assistance and inspiration, as always.
and for unrequited and unsuccessful love and lovers of all kinds.
Here, the passionate Ms. McLorin offers her own version of Benny Carter’s 1933 LOVE, YOU’RE NOT THE ONE FOR ME — at the 2013 Whitley Bay Classic Jazz Party. Her colleagues are Ben Cummings,trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Malcolm Sked, string bass; Spats Langham, guitar; and Nick Ward, drums. Recorded on November 1, 2013:
I first heard Cecile McLorin Salvant sing at the Whitley Bay International Jazz Festival — I think it was 2010 — and she made a powerful impact.
Three years later, the band supporting her at this set was Ben Cummings, trumpet; Alistair Allan, trombone; Jean-Francois Bonnel, tenor saxophone; Martin Seck, piano; Spats Langham, guitar; Malcolm Sked, string bass; Nick Ward, drums.
Admirable and empathic fellows, one and all, but our focus is on Ms. McLorin Salvant, fully immersed in this “torch song,” perhaps the most famous of them all, BODY AND SOUL, allowing the song to flow through her . . . to reach us:
Three delights, previously unseen, from the 2012 Whitley Bay Classic Jazz Party:
MY HONEY’S LOVIN’ ARMS, by Keith Nichols, piano / vocal; Norman Field, clarinet / vocal; Emma Fisk, violin, Frans Sjostrom, bass saxophone; Spats Langham, guitar:
STOMP YOUR STUFF (with a Louis Hot Chorus at 3:24) by Bent Persson, cornet; Jean-Francois Bonnel, Rene Hagmann, Thomas Winteler, reeds; Jens Lindgren, trombone; Frans Sjostrom, bass saxophone; Martin Seck, piano; Josh Duffee, drums; Martin Wheatley, banjo / guitar; Phil Rutherford, brass bass:
LOUISE (where are Bing and the Rhythm Boys?) with Andy Schumm, cornet; Spats Langham, banjo; Keith Nichols, piano; Michael McQuaid, C-melody saxophone; Norman Field, clarinet; Alistair Allan, trombone; Frans Sjostrom, bass saxophone; Phil Rutherford, brass bass; Richard Pite, drums:
See you at the Village Newcastle in November 2014. Details here.
And I just learned about the pre-Party opening jam session, featuring the Union Rhythm Kings on Thursday, November 6: that’s Bent Persson (trumpet), Lars Frank (clarinet and saxophone), Kristoffer Kompen (trombone); Jacob Ullberger (banjo & guitar); Frans Sjostrom (bass saxophone); Morten Gunnar Larsen (piano). They are a wonderful band.