Tag Archives: John Carstairs Hallam

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!

JAZZ CORNUCOPIA! (Whitley Bay, July 2010)

Mike Durham, the fine trumpet player, festival organizer, and wit, sent along the following list.  For those who have never been to the Whitley Bay International Jazz Festival — and 2010 is THE FINAL ONE — this list will be both enticing and mysterious.  This is the schedule of which bands will be playing at what times during what is sure to be a thrillingly music-packed weekend.  It takes place in a well-appointed hotel, and the “Cotton Club,” the “Sunset Cafe,” “Kelly’s Stables,” and the “One Cent Club” are rooms of varying sizes in the hotel. 

The schedule both exalts and terrifies.  I was saying to my first class the other morning (we are concluding MACBETH) that the universe is limitless, but the first choice, no matter how small, that one makes, renders other choices impossible.  So it is at Whitley Bay: if I want to  hear The Four Pods of Pepper (Spats Langham, Frans Sjostrom, and Norman Field) joined by Rico Tomasso, that makes it impossible, according to Newtonian physics, for me to be at “Kings of Stride” at the same time.  Of course, I could hear the first set of the Pods and then scamper in for some Stride after the break.  One must have a plan!  Or I could do what I did last time: stay where my heart led me and then wander . . .

I’ll have my video camera, of course, and Elin Smith will have hers, but it isn’t the same thing as being there.  Consider yourself encouraged to join in the fun, even if you don’t have a camera. 

Find out more at http://www.whitleybayjazzfest.org/

 
WHITLEY BAY JAZZ FESTIVAL 2010 – DAY BY DAY, ROOM BY ROOM, HOUR BY HOUR (OR JUST ABOUT!)
 
FRIDAY
 
                             Noon-3.00                                                           3.00-6.00                                              7.00-9.00                                          9.00-Midnight
 
Cotton Club         Hot Antic Jazz Band                                   Blue Devils                                    New Century Ragtime Orch           Les Rois du Foxtrot

Sunset Café         La Retaguardia J B                                      N ew Orleans Rascals                      Bohem Ragtime J B                     Red Hot Peppers

Kelly’s Stables     Late Hour Boys                                          Schumm’s Bixologists                     Hot Antics                                   Bent Persson’s N Y Orch

One Cent             Jeff & Anne Barnhart                                West Jesmond R Kings           Kings of Stride                              Four Pods + Rico Tomasso
 
 
SATURDAY
 
                            Noon-3.00                                                           3.00-6.00                                              7.00-9.00                                              9.00-Midnight
 
Cotton Club        Blue Devils                                                    Les Rois du Foxtrot                          New Orleans Rascals                              La Retaguardia
Sunset Café        Bohem Ragtime J B                             Flaming Reeds                                  Red Hot Peppers                                   Winteler’s Serenaders
Kelly’s Stables   Schumm’s Bixologists                       Hot Antics                                           Spats & Rhythm Boys                               Cecile Salvant 
One Cent           K Stephen’s Hot Club Trio                 Litton & Nichols – Ragtime          Late Hour Boys + Rico Tomasso           Doc Bastide’s Owls
 
 
SUNDAY
 
                              Noon-3.00                                                           3.00-6.00                                      7.00-9.00                                           9.00-Midnight
 
Cotton Club        Chalumeau Serenaders                                 Bohem Ragtime J B                         Les Rois du Foxtrot                              Hot Antics (Grand Finale)
Sunset Café        Winteler’s Jazz Serenaders                          New Orleans Rascals                   La Retaguardia                            Schumm’s Bixologists
Kelly’s Stables   Late Hr Boys/Cecile Salvant (Billie H)        Field’s Novelty Orch                  M Seuffert Sextet             Winteler’s Jazz Serenaders
One Cent            Jeff & Anne Barnhart/Boogie Piano         Banjorama/Fidgety Fingers         Hot Jazz Trio

BENT PERSSON PLAYS LOUIS: Conclusion

I hated to see this wonderfully expansive concert — Bent Persson’s marvelous evocations of big-band Louis Armstrong — come to an end.  These final seven selections explore Louis’s Decca period, here defined as 1935-41. 

A word about the Deccas — appropriate not only because of this concert, but because of the recent Mosaic box set.  As a body of work, they have provoked both defensive overpraise and criticism built on misunderstanding.  At this distance, readers who wish to see the Swing Era as a high point in creative improvised music have found it necessary to forget that the material the bands and musicians were given to record was of variable quality — popular music from films and Broadway shows, music meant for dancers.  Yes, a Porter, Berlin, Coslow, or Gershwin song could find its way in to the record session, but Ellington was playing CALL OF THE CANYON at Fargo. 

But this constant influx of new songs was not a bad thing.  Left to their own devices, many of the jazz artists we revere operate within a narrow repertoire, whether it is bounded by the blues and I GOT RHYTHM or a half-dozen other favorite songs.  We all admire what the 1936-40 Basie band did within such constraints, but this makes TAXI WAR DANCE and TICKLE-TOE all the more delightful.  So I don’t perceive Louis as shackled and victimized by Jack Kapp and Joe Glaser.  His band was ragged at times, and I can hear the terrifying sound of Bingie Madison’s clarinet even now, but Kapp made the right choices more often than not: repeating a take so that the clarinet passage would be in tune would have required Louis to play more and more, not a wise or generous use of his energies.  

Bent and the band do these majestic recordings justice and more: watching this concert is as close as I or anyone else will come to seeing Louis circa 1938, a magical experience.  And both he and the band are using the recordings as frameworks for improvisation: the band plays Bent’s versions of the arrangements, and his solos are certainly shaped by what Louis played, but they are variations on variations — alternate takes, if you will — rather than exact attempts at reproducing what Louis played in the studios.   

They began with that truly pretty tune (Louis didn’t play the verse, which is a pity — ask Jon-Erik Kellso to do it if the band knows the changes) from the film of the same name, THANKS A MILLION.  And the sweetly ethereal Elena P. Paynes of the Chicago Stompers shows us that expressing our gratitudes is always a good thing, as is Martin Litton’s pretty, ruminative solo chorus:

Bent took over the dramatic leadership of the next song — really a playlet, as acted by Louis in his first leap into film stardom, in PENNIES FROM HEAVEN — a clip I’ve posted elsewhere on this blog.  “The fun was loud and hearty, when a notorious wallflower became the life of the party!”  Here’s THE SKELETON IN THE CLOSET:

I assume that Louis was asked to perform ALEXANDER’S RAGTIME BAND, already a hoary standard, because of the musical film of the same name.  It’s a difficult arrangement, with Technicolor trappings (the march-band opening) and on the original Decca, even Louis has a moment’s trouble finding where he is . . . but Elena is in fine form, even given the wordy lyrics and the fast tempo:

I DOUBLE DARE YOU is a pretty swing tune, one that should have gotten more attention in its time — now, it seems the only people who play and sing it are trumpeters.  Would that there were other singers inviting us all to “get friendly” in Ludvig Carlson’s amiable way!  And there are some fine instrumental solos — Clerc, McQuaid, Munnery, and Bonnel — all backed by Nick Ward’s rocking drums:

SO LITTLE TIME isn’t musically complex, but Louis made something splendid out of it (as he did with TRUE CONFESSION and RED CAP); Elena makes this Swing version of tempus fugit truly winsome, and Bent adds his own majesty:

In the idealized Chicago period (the years some listeners think of as Louis’s only peak), Tommy Rockwell of OKeh Records wouldn’t let him record WHEN THE SAINTS GO MARCHING IN on the grounds of impiety.  Lucky for us that Jack Kapp’s musical world-view was broader, thus making it possible for Louis to explore this hymn as well as IN THE GLOAMING and ON A COCOANUT ISLAND.  Reverends Persson and Paynes offer a “mellow sermon” for us all:

Finally, Bent pays homage to Louis’s moving instrumental examination of the song he played in fragments every night for forty years — WHEN IT’S SLEEPY TIME DOWN SOUTH.  Luxuriant, I say:

Video recordings may give you a sense of what it was like to be there — not only the sound, but the musicians smiling at something perfectly apt that someone else has played or sung.  But videos are still not designed to be played in the car (unless you’re a lucky bored passenger) so I happily recommend an earlier compact disc recording of some of this material — a different band, solos, and vocals, but our Bent and Claes Brodda are there . . . so you know the heights will be scaled!  The project was issued on the late Gosta Hagglof’s Kenneth label as FOR THE LOVE OF SATCHMO, and the backing band is the very empathic and hot Royal Blue Melodians.  Ordering details can be found on the blogroll: click on “Classic Jazz Productions.”  (You’ll also find the CDs of Bent and friends playing Louis’s Hot Choruses and breaks, astonishing music.) 

K3416F

K3416B

 A million thanks to everyone involved in this concert.

HOT AND BLUE AT WHITLEY BAY (July 10, 2009)

For your listening, viewing, and dancing pleasure — Spats Langham and his Rhythm Persons!

This gender-neutral appellation was created to include the lovely and talented Ms. Debbie Arthurs on percussion and vocals.  The other members of this ensemble are Spats himself, on vocal, banjo, guitar, and ukulele; Mike Durham on trumpet and vocal; Paul Munnery on trombone; Norman Field on clarinet, C-melody saxophone and other reeds; Frans Sjostrom on bass saxophone; Martin Litton on piano; John Carstairs Hallam on bass and tuba. 

I was also entranced by the utterly impassive woman sitting near the bandstand, watching everything intently but from some metaphysical distance, who clapped her hands above her head at the end of each selection.  I’m sure she was having a fine time, too.

Here are a few selections from their afternoon program:

I wouldn’t ordinarily post banjo spectaculars, but this one’s splendid: a Langham-Litton romp on the 1925 Harry Reser song, LOLLIPOPS.  Spats lets us know that the key of A is “horrible,” but Mike Durham speaks up for it in a truly egalitarian way.  The tempo direction, “as fast as you can,” also needed to be preserved for posterity:

Incidentally, Spats and Martin have also recorded a duet CD — with the same title — for Lake Records.  Even better! 

Debbie Arthurs is a wonderful percussionist with an infectious beat; she’s a wow on the temple blocks, snare drum, and choke cymbal.  Her steady bass-drum four also drives the band.  She’s also a fine, winsome singer, as her version of AM I BLUE? proves.  Hear her on her new Lake CD, “THANK YOU, MISTER MOON,” which is a consistent delight:

Mike Durham delivered the Ted Lewis recitative, I’M THE MEDICINE MAN FOR THE BLUES, mixing deadpan satire and seriousness:

IT LOOKS LIKE RAIN (IN CHERRY BLOSSOM LANE) is a tepid tune — but it was recorded once, memorably, by the journeyman vocalist Dick Robertson on one of his by-the-book Deccas (1937?) with lustrous playing by a very young Bobby Hackett.  Here it is, in tribute:

Finally, every jazz set needs a pseudo-religious song, and SING YOU SINNERS was the one that the Persons chose — my video camera kept wandering off to the dancing feet of Bridget Calzaretta and her ad hoc partner, who just might be a musician with the Chicago Stompers.  If anyone knows . . .

BENT PERSSON PLAYS LOUIS, Part Two

Still more from Bent’s recreation and reimagining of Louis’s classic early Thirties recordings — a Whitley Bay highlight from July 12, 2009.  I posted videos from the first part of this concert on August 2.  To refresh your memory, as they say in courtroom dramas, the band was international and truly “all-star,” including Nick Ward (drums), John Carstairs Hallam (bass), Martin Litton (piano), Jacob Ullberger (banjo / guitar), Jean-Francois Bonnel, Matthias Seuffert (reeds), Paul Munnery (trombone), Beat Clerc (trumpet), Michael McQuaid (trumpet / reeds), Ludvig Carlson, Spats Langham, Elena P. Paynes, and Bent himself (vocal), and one of two musicians whose names I didn’t catch or write down — being busy clutching my video camera like a man possessed!  (By the way, astute Louis-fanciers will note that Bent is often evoking Louis without playing the solos note for note, which raises these performances far above the limits of jazz repertory, or “playing old records live.”

Here’s a jaunty WALKIN’ MY BABY BACK HOME, no longer the property of Maurice Chevalier — now taken over by Bent and Spats Langham:

If that song celebrates the happiness of the end of a loving evening — infinitely expandable, with kisses and stops for barbecue — I SURRENDER, DEAR (which remains the property of Bing and Hawkins as well as Louis) depicts the lover’s swooning subjection, again offered with proper emotion by Spats:

WHEN YOUR LOVER HAS GONE is, as its title tells us, something very different — grieving and despondent, given a touching performance by Elena P. Paynes, temporarily on loan from the Chicago Stompers:

The destinies of Louis and Hoagy Carmichael were entwined early on, with the 1929 ROCKIN’ CHAIR (which Louis performed until the end of his life, with different bandsmen playing the other part) — but it didn’t stop there.  Carmichael must have been ecstatic to hear his songs immortalized by Louis, and Louis never got such good material.  This medley leaves out LAZY RIVER and GEORGIA ON MY MIND, but includes the rarely-heard MY SWEET and the pretty MOON COUNTRY, which Louis performed during his European tours but never recorded, as well as LYIN’ TO MYSELF and the exultant JUBILEE, sung here by Ludvig Carlson and Elena:

Many jazz wfriters have termed THAT’S MY HOME a brazen attempt to cash in on WHEN IT’S SLEEPY TIME DOWN SOUTH, and it does come from the same root — but what a pretty song it is, both here and in Louis’s 1932 Victor performance.  A pity he didn’t go back to it more often, although there is a 1961 version from the Ed Sullivan Show, full of feeling as always.  As is Spats:

WILL YOU, WON’T YOU BE MY BABY comes from the rare 1934 French Polydor session, and the song from the book of McKinney’s Cotton Pickers.  No vocal here, just romping solos by Bonnel and Seuffert:

Bent concluded the first half of the concert with a luxuriant evocation of the French Polydor ON THE SUNNY SIDE OF THE STREET, originally a six-minute two-sided 78 disc.  Here Ludvig takes care of the vocal refrain:

The second half (from Louis’s Decca days) will appear soon. . . . till then, keep muggin’ lightly!

BENT PERSSON PLAYS LOUIS, Part One

One of the highlights of the 2009 Whitley Bay International Jazz Festival (July 12, 2009) was the two-hour concert given by Swedish trumpeter / cornetist / Louis Armstrong scholar Bent Persson — leading an all-star big band in tribute to the music Louis made in the Thirties.  The band was genuinely “all-star,” including Nick Ward (drums), John Carstairs Hallam (bass), Martin Litton (piano), Jacob Ullberger (banjo / guitar), Jean-Francois Bonnel, Matthias Seuffert (reeds), Paul Munnery (trombone), Beat Clerc (trumpet), Michael McQuaid (trumpet / reeds), Ludvig Carlson, Spats Langham, Elena P. Paynes, and Bent himself (vocal), and one of two musicians whose names I didn’t catch or write down — being busy clutching my video camera like a man on a mission.  Which I was! 

If you’ve never heard Bent, something wonderful awaits.  And seeing him play Louis’s solos (and variations on them) you realize once again how majestic Louis’s accomplishments were — and are.  And the band got the spirit, swinging out in the best Thirties way, with no “repertory” stiffness. 

The flexibility of this big band was due to several factors — first, the musicians’ deep familiarity with the repertoire and their professionalism, but also the two extended rehearsals Bent called, on Saturday and Sunday mornings, to run through the arrangements.  He didn’t spare himself, playing the difficult solos without avoiding the high notes.  Non-musicians aren’t usually invited to watch the band rehearse, but Bent generously invited me in advance.  I brought my video camera (telling him that it would be good material for the documentary someone was bound to do on him) as well as my notebook. 

Here are some things I saw and heard:

Before the full band arrived, the trumpets and saxophones were ready, and Bent said, “Maybe we should start with something that is going to be difficult for the saxes, like – – – – ?” and he named a song.  One of the saxes said quietly, “I’d be just as glad to wait.” 

When rehearsals started, Bent showed himself to be the very oppposite of the stereotypical bandleader.  Nothing ruffled him; he was cheerful and generous with praise.  One of the musicians was late, and Bent asked, “Did they get X?” to which the answer You may play louder on that.  Don’t be too careful!” 

When Bent announced that the next song would be BODY AND SOUL, I heard one musician say, deadpan.  “Great tune.  I think I know this.” 

At the second rehearsal, Bent walked in, saw me setting up my camera, grinned, and made the musicians’ joke that was new to me: “Shoot!  The enemy will appear at any moment!” 

Later, when the band was working through THE SKELETON IN THE CLOSET (which is really a full-scale dramatic piece), Bent pointed out that the introduction had to be properly spooky: “It says very loud and horrible in the music.”  And, when the band — hard workers all — had concluded the beautiful WHEN IT’S SLEEPY TIME DOWN SOUTH, Bent said, happily, “Very nice!  Lovely!  First take!”

Here are the first selections from this Sunday afternoon concert:

I GOT RHYTHM served to introduce the band; it’s modeled on Louis’ Chicago OKeh recording, with that comic ending (Bent says it was based on a radio theme: does anyone know the name of the closing motif?):

I’M IN THE MARKET FOR YOU was a very appealing song (I saw Ray Nance do it once, and it was marvelously touching.  Spats Langham has the right spirit here.).  But what puzzles me is that it was a film song (from “High Society Blues”) presumably stressing how love was more important than the stock market, a sentiment worth remembering today.  But how any songwriters could have thought to make the stock market a subject for pop song in the post-Crash world amazes me.  Would we know this song if Louis hadn’t taken it up?

I’M A DING DONG DADDY (From Dumas) is another 1931 oddity, written by Phil Baxter, if I remember correctly.  Once you hear the written lyrics, complete with treacherous “p”‘s for a singer to pop, you’ll understand why Louis chose to scat his way through the verbal thickets:

INDIAN CRADLE SONG never emerged from its obscurity, although it’s quite a tender melody — one of the early Thirties ventures into native Americana, going back LAND OF THE SKY BLUE WATER and, earlier, to RED WING.  Bent sings it sweetly:

BODY AND SOUL, complete with awkward lyrics — which the Beloved always remarks on as syntactically part-Yiddish — “My life a hell (wreck) you’re making” could have been a conversational lament straight from Second Avenue:

YOU’RE DRIVING ME CRAZY, complete with rocking verse to start and the closing modulation, as well as a loose, swinging vocal by Ludvig Carlson:

Finally (for this post), JUST A GIGOLO, which Louis must have heard and loved from Bing’s recording:

More to come!

PORTRAITS: WHITLEY BAY, 2009

Whose honey are you?  In the hotel breakfast bar, Billie oversees the butter, buttery spread, jam, and honey

Whose honey are you? In the hotel breakfast bar, Billie oversees the butter, buttery spread, jam, and honey

I’ve just returned from the nineteenth Whitley Bay International Jazz Festival, which was delightful.  I didn’t take as many still pictures as I should have, perhaps because I had my video camera glued to my eye . . . the results will, I hope, emerge soon.  But here are some portraits from the three days of elation and emotion:

Mike Durham's bass sax waits for true fulfillment -- to be played majestically by Frans Sjostrom

Mike Durham's bass sax waits for true fulfillment -- to be played majestically by Frans Sjostrom

Warming up before a rehearsal

Warming up before a rehearsal

Warming up with long tones

Warming up with long tones

Bent Persson listens

Bent Persson listens

Martin Litton

Martin Litton

Elena P. Paynes, vocalist with the Chicago Stompers, at rehearsal

Elena P. Paynes, vocalist with the Chicago Stompers, at rehearsal

Nick Ward, having a ball

Nick Ward, having a ball

John Carstairs Hallam, thinking it through

John Carstairs Hallam, thinking it through

In the brass section

In the brass section

Cousin Bob

Cousin Bob

Cousin John

Cousin John

On Bent Persson's music stand

On Bent Persson's music stand

Mike Durham (left) and Rene Hagmann listen intently to jazz erudition from an off-camera Norman Field

Mike Durham (left) and Rene Hagmann listen intently to jazz erudition from an off-camera Norman Field

Elena, onstage

Elena, onstage

Elena, successfully wooing the crowd

Elena, successfully wooing the crowd

Once more!

Once more!

Anna Lyttle (trumpet), Michael McQuaid (reeds)

Anna Lyttle (trumpet), Michael McQuaid (reeds)