You never know what you find when you look. And I hope it’s not a stray piece of carrot on the floor or checks that you should have cashed more than 180 days ago and are now invalid. Sometimes the results of the most aimless search are uplifting.
I went prowling through the archives of videos I’ve shot and not shared (many for reasons that have nothing to do with musical performance) and found this incendiary bit of music. It comes from the first set at the 2016 Mike Durham Classic Jazz Party, held at the Village Hotel in Newcastle, UK. (It’s now Mike Durham’s International Classic Jazz Party and the pleasing news is that it is scheduled for November 5-7, 2021: see the site for details.)
The premise of the set was a tribute to the much-missed Mike, trumpeter, singer, and man with plans — a really admirable man with more than one vision — who had not only thought of this jazz party but had made it work, year after year. You can hear from Spats Langham’s address to the audience how much Mike was missed and is admired.
Another reason to share this with you is because Keith Nichols, at the piano, is no longer with us, and although he is not miked as well as he might have been, his ebullient presence is all there. Here’s the band: Enrico Tomasso, trumpet; Alistair Allan, trombone; Thomas Winteler, soprano saxophone; Keith, piano and vocal; Spats, banjo; Phil Rutherford, sousaphone; Richard Pite, drums, storming through a brief but heated tribute to Louis and Bechet as well as Mike, CAKE WALKING BABIES FROM HOME:
2016 was the last year I was able to attend the Party, which happily and resiliently continued on until the pandemic. I hope, and I know I am not alone, that it goes on heatedly in November, with everyone safe and well.
And — just to keep you all comfortably warm, here are two other numbers I did post from that set of hot music:
I’m going to allow myself the freedom of not writing the history of this song, nor posting all the versions, but simply offering a few that please me immensely. This post is in honor of Doctor J, who knows why it is.
A little introduction (2006) by the Manhattan Ragtime Orchestra, who closed sets with it: Jon-Erik Kellso, Brad Shigeta, Orange Kellin, Morten Gunnar Larsen, John Gill, Skye Steele, Conal Fowkes, Rob Garcia:
Louis gets to introduce his own performance:
and here’s the lovely 1930 version, with magnificent Louis (yes, I know that’s redundant) and his “Rhythm Boys” drawn from the Luis Russell band, starring J.C. Higginbotham and Pops Foster. Apparently Paul Barbarin plays vibraphone and the band’s valet plays drums: he swings!
Count Basie, slightly less than a decade later, with Buck Clayton, Lester Young, and the rest of the Hawaiians (the trumpets make wonderful derisive noises at the end of Lester’s solo — why? I don’t know, but it’s just splendid):
And a more contemporary version I treasure because it seems to convey decades of vernacular music performance, making the transition from waltz-time to quietly majestic rocking (yes, Louis is standing in the wings, very happy). I imagine the opening choruses as a tea-dance or perhaps a summer band concert in a gazebo in the town park, and then the band takes on restorative color and swing, never aggressively but with sweet eloquence. The group is the 1987 Red Roseland Cornpickers, featuring Bent Persson, Claus Jacobi, and Keith Nichols, and this is taken from my prized “long-playing record” on the Stomp Off label:
Details for those who crave data: Bent Persson (tp-2,vcl) Folker Siegert (tb-3,vcl) Claus Jacobi (as-4,ts-5,cl-6,vcl) Engelhard Schatz (cl-7,sop-8,ts-9,vcl) Lothar Kohn (as-10,g-11,vcl) Joachim Muller (bassax-13,cl-14,as-15) Keith Nichols (p,vcl) Gunter Russel (bj-12,vcl) Ulf-Carsten Gottges (d) Gottingen, January 4 & 5, 1987. SONG OF THE ISLANDS: (2,3,4,6,7,9,12,13,14,15, Bent, Folker, Claus, Engelhard, Lothar, and Keith, vocal).
In these stressful times, this music evokes warm days, cool nights, tropical beaches, and fresh pineapple.
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.
I now have an opportunity to share with you some wonderful videos of the amazing musician Tom Baker (1952-2001) who lives on.
Below is a picture of our benefactor and generous friend, Enrico Borsetti, who took a video camera to the 2000 Ascona Jazz Festival and recorded treasures — some of which I have already posted, featuring Dan Barrett, Jeff Hamilton, Ray Sherman, Jon-Erik Kellso, Brian Oglivie, John Smith, Eddie Erickson, Joel Forbes, and Rebecca Kilgore.
Another magnificent band, led by pianist / singer Keith Nichols, was called The Blue Rhythm Makers — and here on YouTube you can see two incarnations with different personnel. The one I share today features the immensely talented and much-missed Tom Baker (trumpet, trombone, reeds, vocal, and more I am probably leaving out), my friend-heroes Matthias Seuffert, Martin Wheatley, Frans Sjostrom.
Here you can learn more / see more about Tom, who made the transition at 49.
Here’s Tom’s very touching reading of ANNIE LAURIE, which I think unforgettable, especially thinking of such a brilliant man who is no longer with us:
and a searing I KNOW THAT YOU KNOW:
and a radiant version of Benny Carter’s ONCE UPON A TIME:
Since I believe that “the dead” KNOW, I send tears and reverent admiration to Tom Baker. And let us not forget the living, to whom I send gratitude.
Anointed by Louis in 1968, Enrico Tomasso is a glowing force of nature: he never lets us down. I’ve been able to hear and admire him a few times in Newcastle, England — which is the source of the performance below — but Rico and his charming family (that’s Debbie, his wife, and Analucia, their daughter) also visited New York City for a few delightful days earlier this month. Thanks to Ricky Riccardi, I was able to be on the scene. Yes, I had my camera. More about that soon.
At the 2016 Mike Durham Classic Jazz Party, Rico was one of the stars of a set of orchestral jazz devoted to what was happening in Los Angeles. And Louis visited the West Coast in 1930, so we had the immense privilege of hearing and seeing Rico play and sing a few of Louis’ great specialties, SHINE, I’M A DING DONG DADDY, and ONE HOUR. I’d posted the first and last songs already, but thought it wouldn’t bother anyone if they were all here, at once, in their passionate finery. The band is Keith Nichols, piano; Andy Schumm, trumpet; Alistair Allan, trombone; Claus Jacobi, Richard Exall, Jean-Francois Bonnel, reeds; Emma Fisk, violin; Martin Wheatley, banjo and guitar; Phil Rutherford, bass; Nick Ball, drums.
I’M A DING DONG DADDY:
And should you fall into the trap of reflexively assuming that any song called SHINE must be racist, please read this and learn the truth.
Thanks again to Eric Devine for invaluable technical expertise!
The Mike Durham Classic Jazz Party will take place October 27-29 this year. I can’t be there and Rico has other commitments, but it will still be great fun.
The dashing fellow above (from a 2009 photograph) is the jazz scholar-devotee Enrico Borsetti. I know him as a fine fellow, although we have never met in person. His generosity is remarkable, but this is a new example: Enrico’s video-recording of music from the 2002 Ascona Jazz Festival, specifically this wonderful band, the Blue Rhythm Makers. For this date, they were Keith Nichols, piano and vocal; René Hagmann, cornet, reeds; Matthias Seuffert, reeds; Christoph Wackerbarth, trombone; Martin Wheatley, guitar;
Frans Sjostrom, bass sax, with guest appearances by Andy Stein, violin; Jon-Erik Kellso, trumpet. This music was created at the Ristorante Tamaro, Ascona, on Sunday, July 7, 2002.
WHEN DAY IS DONE and POISON:
THE MAN FROM THE SOUTH and I WISH I WERE TWINS:
with guest star Andy Stein, violin, DOIN’ THE NEW LOW DOWN:
And the poignant I’LL NEVER BE THE SAME:
ONE HOUR (Keith sings the lovely verse):
Jon-Erik raises the temperature, even for July, with a rousing SWING THAT MUSIC:
and Andy returns to close the first half of this performance with THAT’S A PLENTY, certainly an accurate description of these wonderful videos.
(Incidentally, I am pleased and amused to note that Enrico’s world is much like mine in the matter of videos: umbrellas and people with cameras obscuring the view, crashing dishes and more — but the sound blazes right at us, and these videos are true gifts.) Here‘s Enrico’s YouTube channel, where all varieties of beauties blossom.
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.
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.)
Sometimes the old songs still have surprising life in them, no matter how many decades of playing and singing they have gathered on themselves. This performance is in honor of Mike Durham, the much-missed founder of what is now the Mike Durham Classic Jazz Party: it’s the venerable SWEET GEORGIA BROWN, performed by Keith Nichols, piano / vocal; Spats Langham, banjo / vocal; Phil Rutherford, sousaphone; Richard Pite, drums; Thomas Winteler, soprano Saxophone; Alistair Allan, trombone; Enrico Tomasso, trumpet.
Mike Durham (left) and Rene Hagmann, pensive, at Whitley Bay, probably 2010. Photo by Michael Steinman
Jazz and fun are intertwined here — from the conversational scat duet by Keith and Spats to the hot ensemble playing and the tidy soaring solos. Nothing but lively creative music, which has always been a hallmark of the Classic Jazz Party:
The 2017 Party will take place in the last weekend of October at the Village Hotel Newcastle. You really should check it out here. It’s never too early to plan for such things.
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.
Several audience members and a musician-friend wrote in after yesterday’s postfeaturing Keith Nichols and the Seagoon Serenaders, asking if I would post more. Happy to oblige!
Here you can find out more about Keith’s inspiration, THE GOON SHOW, a radio series from 1951-60.
The Serenaders are Keith, piano; Emma Fisk, violin; Frans Sjostrom, bass saxophone; Spats Langham, guitar; Nick Ball, drums; Malcolm Sked, bass; Lars Frank, Thomas Winteler, Michael McQuaid, reeds (Michael doubling cornet). Dance music of the highest order.
The first song of the set is the old Chicago standard, SOMEDAY SWEETHEART, with an explanation of the group’s inspiration by Keith as well as a vocal:
IF I GIVE UP THE SAXOPHONE (WILL YOU COME BACK TO ME?) was a hit for Eddie Cantor in the 1929 film WHOOPEE — written by Irving Kahal, Sammy Fain, and Willie Raskin. I suspect that the song is an outgrowth of the instrument’s popularity early in the decade and the large number of amateur players:
I don’t know how much Goonery there will be at the 2016 Mike Durham Classic Jazz Party(November 3-6) but there will be some. Musicians are often great comic improvisers, and they honor the guiding spirit of the party: Mike was both witty, sometimes dangerously so, and he had a stockpile of jokes that was astonishing.
What happens when vestiges of THE GOON SHOW meet early jazz, under the benignly unsettling leadership of Keith Nichols? I present a brilliant example below. Keith’s presentation, mixing satire and Hot, was called THE SEAGOON SERENADERS, and it came alive at the Mike Durham Classic Jazz Partyon November 8, 2015:
Once when we get past the hilarity, the Serenaders launch into a very delightful performance of Ellington’s THE MOOCHE (named, I am told, for a contemporary dance), complete with clarinet trio and hot cornet chorus. That’s Keith, piano; Emma Fisk, violin; Frans Sjostrom, bass saxophone; Spats Langham, guitar; Nick Ball, drums; Malcolm Sked, bass; Lars Frank, Thomas Winteler, Michael McQuaid, reeds (Michael doubling cornet on this performance). Dance music of the highest order.
A nice mixture of hot jazz, occasionally leavened with comedy, can be found this November 3-6. Details here.
I know Martin Wheatley as an astonishingly talented player of the guitar, banjo, electric guitar, ukulele. I’ve heard him on a variety of recordings as a wonderful rhythm player and striking soloist, and had the good fortune to see him in person at the Whitley Bay Classic Jazz Party (now the Mike Durham Classic Jazz Party) from 2009 to 2015.
One facet of his talent is as a virtuosic ukulele player (and arranger for that instrument): a 2010 solo performance of THE STARS AND STRIPES FOREVER:
Here’s Martin on electric guitar from the November 2015 Party in a salute to Artie Shaw’s Gramercy Five, with Lars Frank, Martin Litton, Enrico Tomasso, Richard Pite, Henry Lemaire:
From that same weekend, here are Emma Fisk, Spats Langham, Henry Lemaire, and Martin doing their own evocation of the Quintette of the Hot Club of France on J’ATTENDRAI:
Here’s Martin on banjo in 2010 with the Chalumeau Serenaders — Matthias Seuffert, Norman Field, Nick Ward, Keith Nichols, Malcolm Sked — performing A PRETTY GIRL IS LIKE A MELODY:
And there’s more. But the point of this blogpost is to let you know that Martin has made a truly imaginative CD under his own name, called LUCKY STAR — a musical sample below:
Martin says of LUCKY STAR, “Quite a mixture of things, lots of my own compositions and some standards. Some solos – plenty of overdub extravaganzas. All me apart from Tom Wheatley (one of Martin’s sons) on bass.”
Solo efforts that have a good deal of overdubbing might suffer from sameness, because of the strength of the soloist’s personality, but not this CD: Martin is seriously and playfully imaginative. And when you open the disc and read the instruments he plays, you know the disc is expansive, not constricted: guitar, tenor guitar, Hawaiian guitar, lap steel guitar, soprano / tenor / baritone ukulele; tenor / five-string / fretless banjo; moonlute, mandolin, octophone, percussion, keyboard, vocals.
The five standards are IF DREAMS COME TRUE, ALL GOD’S CHILLUN GOT RHYTHM, YOU ARE MY LUCKY STAR, MY ONE AND ONLY LOVE, and MY SWEET. I couldn’t tell absolutely which instruments Martin is playing on any track, but I can say that DREAMS sounds like a one-man Spirits of Rhythm, with a swinging bass interlude by Tom after Martin’s absolutely charming vocal (think Bowlly crossed with McKenzie, Decca sunburst edition); CHILLUN is Pizzarelli-style with more of the same swing crooning intermingled with virtuosic playing — but no notes are smudged or harmed, and there’s a cameo for Hawaiian guitar at a rocking tempo. LUCKY STAR begins with harp-like ukulele chords and Martin picks up the never-heard verse, turning the corner into the sweet chorus in the most light-hearted sincere way, and MY ONE AND ONLY LOVE follows — a quiet instrumental masterpiece, a hymn to secular devotion. MY SWEET — beloved of Louis and Django — begins with serene chiming notes picking out the melody delicately and then builds into a rocking vocal / guitar production worthy of the QHCF — ending with waves rhythmically yet gently coming up the beach.
I’ve given these details because if I had heard one of those tracks I would want to know who the fine singer and the fine guitarists were, and I would buy the CD. They are that delightful.
But that survey would leave out the majority of the disc, Martin’s original compositions: STARGAZING / ON THE BANKS OF THE WINDRUSH, FAR AWAY / EPPING FOREST / GOLDEN HILL / THE OTTER / BRUNTCLIFFE / FOUND & LOST / COLONEL FAWCETT’S UKULELE / IN THE MERRY LAND OF UZ / X. They aren’t easy to describe, much less categorize. I hear lullabies, rhapsodies, inquiries, echoes of Hawaii, of Weill and Broadway shows, of Bach and modern classical, Forties film soundtracks, harp choirs, Scottish folk music, bluegrass, birdsong and forest sounds — all immaculately and warmly played. Words fail me here, but the journey through this CD is rather like reading short stories or being shown a series of watercolors — nothing harsh, but everything evocative.
Martin told me, “Over the last seven or eight years I’ve returned to writing music and wanted it to have an outlet, which it wouldn’t get on gigs. Although jazz is what I do, I have other musical interests and have played other sorts of music in the past. Without making any self-conscious attempts at ‘fusions’ I’ve tried to allow it all to come out – English folk tunes, Psychedelia, classical music – especially English 20th century, Hawaiian music, doubtless others. I don’t know how evident any of those is but they’re in there somewhere!
It probably is evident that most of it is romantic – Bruntcliffe, for example, I wrote as an organ piece to be played as entrance music for my wedding to Lindsay in 2011. Most of it is less specific. One piece with something of a programme is Colonel Fawcett’s Ukulele. Aside from punning on Captain Corelli’s Mandolin, it was inspired by reading about Colonel Percy Fawcett and his habit of playing his ukulele to the natives he encountered in the Amazon. What he played and how they reacted is unrecorded. It’s an amazing tale. The obvious conclusion is that he was deluded in his belief in the Lost City of Z and its civilization from which we could learn; however, we know that with no more certainty than we know what he played on his ukulele.”
A technical note: “Overdubs were done usually to a guide track which is not heard on the final mix (pulling up the ladder after climbing up!). This allows for a steady pulse and changes in tempo when required. Wayne McIntyre, the sound engineer, did a terrific job.”
“If anyone would like a copy please contact me. £10 incl p&. Hope you like it!”
Find Martin on Facebook here. If it’s not evident, I recommend this disc fervently. It’s original yet melodic, lyrical, sweet and rocking.
Here are two glorious performances from the 2015 Mike Durham Classic Jazz Party, held in the Village Hotel Newcastle (Whitley Bay) — on November 7 of that year. The creators are Menno Daams, trumpet; Matthias Seuffert, clarinet / tenor saxophone; Keith Nichols, piano; Martin Wheatley, guitar / banjo; Henry Lemaire, string bass; Richard Pite, drums.
First, the Benny Carter classic — so evocative of Louis — ONCE UPON A TIME:
Then, an incendiary romp through Tyers’ PANAMA:
Want more? Be sure to join us at the 2016 Party(November 4-6) with an opening concert / jam session featuring the Union Rhythm Kings, and enjoy an overflowing weekend of music and pleasures. Details http://www.whitleybayjazzfest.org/ as always.
I’ve been back in New York for eleven months now, and it does move at a fast pace now and again. I still don’t walk at a proper Manhattanite tempo, but I’m getting back into tempo. So when I was at the Mike Durham Classic Jazz Party on November 7 of this year and heard Thomas Winteler announce the next song as EAST COAST TROT, I thought, “They’re playing my song.”
Originally, it was an etude for two clarinets (Johnny Dodds and Junie Cobb), piano (Tiny Parham) and the irreplaceable Eustern Woodfork, banjo. This session offers a splendidly enhanced ensemble: Thomas Winteler and Matthias Seuffert, clarinet; Duke Heitger, trumpet; Keith Nichols, piano; Jacob Ullberger, banjo; Phil Rutherford, brass bass; Nicholas D. Ball, washboard.
And just to show the phenomenal emotional range of this group, I would point readers to the performance that took place just before the TROT — an immensely soulful reading of BLUES IN THIRDS.
Great things happen at the Mike Durham Classic Jazz Party, and will happen again in November 2016 . . . from the 4th to the 6th. Details to come.
Let us begin at the beginning: Earl Hines’ composition, called CAUTION BLUES, offered as a piano solo in 1928:
and the next evocation, a 1940 trio of Hines, Sidney Bechet, and Baby Dodds for Victor. Hines remembered Bechet as being “evil” that day yet repeating, “I want to play Hines’ tune,” which he did, by then titled BLUES IN THIRDS:
Both those performances — one for solo piano, the other for a trio — are full of variations: improvisations on the theme, variations in timbre and dynamics, and an impressive compositional variety. So, in its own way, is this magical performance from our century — November 7, 2015 — at the Mike Durham Classic Jazz Party held in Newcastle, England, not a month ago. The inspired participants are Thomas Winteler, clarinet / leader; Matthias Seuffert, clarinet; Keith Nichols, piano; Duke Heitger, trumpet; Jacob Ullberger, guitar; Phil Rutherford, brass bass; Nicholas Ball, spoons. Yes, spoons — and since Nick is a beautifully imaginative percussionist, hear the variety of sounds and effects he obtains from what we take for granted in the silverware drawer. Notice, please, how no one chorus is exactly like the one before or after it, and how this performance — without getting louder or faster — builds and ascends to something like true majesty:
A glorious performance — the sort of thing that has happened regularly at this party and its predecessors. And I guarantee it will happen again in 2016. Details to follow. And, this just in! The next Party will take place at the comfortable Village Hotel Newcastle, Friday, November 4 to Sunday the 6th.
One of the real pleasures of the 2014 and 2015 Mike Durham Classic Jazz Party is getting to hear the delightful song stylist Janice Day at length. She has her own style, and that’s a very good thing: a kind of delicate intensity that harks back to the girlish singers of the Twenties without being a copy of their most recognizable gestures. She’s instantly appealing — without trying too hard.
Here’s a sweet vignette from this year’s Party — with Janice in front of a small band: solos by Matthias Seuffert and Duke Heitger, over a rhythm section of Keith Nichols, Henry Lemaire, Richard Pite, and Nicholas Ball. The song is a 1938 pop hit by Johnny Burke and James V. Monaco, who wrote consistently for Bing Crosby’s films, ON THE SENTIMENTAL SIDE:
I think that Billie Holiday’s version has made the deepest impression, but for a song to have been recorded by Bing, Billie, and Louis (his version at a much brisker tempo) in the same year says something about its tender qualities. Here’s Janice’s sweet exploration — under three minutes, but she gets her sentimental message across with ease and clarity. Beneath the glamour, there’s a deeply engaging artist:
I will be sharing more of Janice’s music in the weeks to come — but you can also visit her Facebook pageand the website devoted to her collaborations with the wonderful pianist Martin Litton, here. On that site, you can see a number of charming videos of Janice and Martin in performance — several of which I was fortunate enough to record. More to come!
For Part One of these delights, please click here.
Trumpeter / singer / bandleader / composer Enrico Tomasso, “Rico” to the legions of people whom he’s adopted and vice versa, is an endearing human being (fully embodying the spirit of Louis) and stellar musician. What might not be immediately apparent is that he is also a superhuman trumpet player. What you will see and hear below is the final performance of a four-day marathon party (Thursday through Sunday) where Rico had often been playing lead trumpet in front of large ensembles. And he ended the Mike Durham Classic Jazz Party on a high note, no a series of high notes, with his rendition of Louis’ 1938 Decca recording of STRUTTIN’ WITH SOME BARBECUE.
I will leave the discussion of the song’s authorship to others, and merely point out that the title is then-contemporary slang for walking proudly down the street with one’s stunning woman partner, not eating a dripping meat sandwich on the run. And the arrangement you’ll hear is by the brilliant Chappie Willet, whose work has been extensively explored by John Wriggle — and is the subject of John’s forthcoming book.
But to the music.
Rico is joined by and supported by Duke Heitger, Andy Schumm, Kristoffer Kompen, Alistair Allan, Michael McQuaid, Lars Frank, Matthias Seuffert, Robert Fowler, Keith Nichols, Spats Langham, Malcolm Sked, Josh Duffee:
That’s superhuman but also delicately beautiful. Thank you, Rico, and friends. And as I said in my previous post, the Mike Durham Classic Jazz Party is scheduled once again for 2016, but it would be terribly nice if you were there. Since all human enterprises are finite, do what you can to attend this fiesta of music while it’s accessible, rather than saying, “Oh, I’ll get there some day!” and then saying, “I wish I had gone.” It can be done. Class dismissed.
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!
It’s a musical feast. Don’t miss out on this Party.
And in a few seconds more than three minutes — the length of a 78 — she makes us all feel more optimistic. Janice can affect us in many ways, but at her core is a gentle winsomeness, which comes through so easily here.
This performance of LAUGHING AT LIFE — at its 1930 tempo — comes from the 2014 Whitley Bay Classic Jazz Party, and Janice’s accompanists are Keith Nichols, piano; Menno Daams, cornet; Graham Hughes, trombone; Mauro Porro, reeds; Martin Wheatley, guitar /banjo; Malcolm Sked, bass; Emma Fisk, violin; Richard Pite, drums:
“Why not grin?” indeed. We have Janice Day and Her Gang to inspire us. And this November, there will be another Party — celebrating a quarter-century of the best hot music, November 6-8, 2015.
As a child, Enrico (“Rico”) Tomasso was full of music, a young member of the family band, someone whose epiphany through Louis Armstrong was a life-changing experience — a lightning-stroke of joy.
He had the immense good fortune to play his trumpet for Louis when the great man visited Britain. Louis was enthralled by young Rico, and they remained dear friends.
When I first heard Rico at the Whitley Bay Classic Jazz Party, I was moved to happy tears, and when I caught up with him later, I beamed at him and said, “The spirit of Louis shines through you,” words that pleased him.
A day ago Rico celebrated a birthday, but he is the kind of fellow who doesn’t stand with his hand out for his gift. Rather, he is a generous giver all the time — so here is his tribute to Louis and my tribute to both of them. It is a glorious evocation. Look carefully behind and to the right of Rico, and you will see Duke Heitger, who knows his Louis deeply, smiling and nodding while Rico plays and sings.
The ensemble behind our man is Menno Daams, Duke Heitger, Kristoffer Kompen, Lars Frank, Claus Jacobi, Matthias Seuffert, Keith Nichols, Spats Langham, Emma Fisk, Malcolm Sked, Richard Pite, and other luminaries, including Josh Duffee as entering master of ceremonies.
Happy birthday, dear Rico. Thank you for being born. We’re always in the market for you.
If you wonder what happens when the last official notes are played or sung, when the audience and musicians have gone to sleep, to the restaurant, or the bar — sometimes remarkable things happen. Here are two performances by the very sensitive and swinging pair, Janice Day and Martin Litton, recorded on November 9, 2014, after the conclusion of the Whitley Bay Classic Jazz Party — no audience, just the three of us, delighting in the relaxed solitude.
WHEN A WOMAN LOVES A MAN:
Janice calls herself an “entertainer,” which is certainly true: she is an actress, comedienne, writer, musical comedy performer, but she is a genuine singer, at ease with all kinds of material, emotive without overacting, gently swinging and improvising while staying true to the song. Her art is subtle but she hides its complexities. I had heard her on recordings — with Keith Nichols and others — where she was expertly summoned up a Twenties girlishness, but when I heard her singing as herself at the 2014 Whitley Bay Classic Jazz Party, I was delighted and moved. You can find out more about her hereor politely petition to be her Facebook friend here.
The reserved-looking man at the piano may be better known to jazz fans for his Jelly Roll Morton scholarship-in-action with his own Red Hot Peppers, his swinging evocations of Fats, Teddy, and Tatum, his recordings with Kenny Davern, Wally Fawkes, Humphrey Lyttelton, and other notables. But Martin Litton is so much more than a channel to the past. Listen closely as he performs the often selfless task of accompanying Janice, as if spreading tapestries for her to walk on in music. And when he solos, he is offering so much more than a pastiche of the great recordings of the past.
I look forward to seeing this pair in performance again at the 2015 Mike Durham Classic Jazz Party (November 6-8; details here) but UK fans can enjoy Martin’s work even sooner, at the Jennings Keswick Jazz Festival(May 4-10). I know they also do a variety of gigs — unfortunately so far none in the US — so look for them.