Tag Archives: Malcolm Sked

JELLY ROLL MARTIN: LITTON PLAYS MORTON at the MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)

litton

I don’t think there’s such a thing as too much Morton, especially when it’s played as expertly as this — and from some unusual corners of the canon.  Here are Duke Heitger, trumpet; Graham Hughes, trombone, Jean-Francois Bonnel, Robert Fowler, reeds; Martin Litton, piano, transcriptions, arrangements; Martin Wheatley, banjo, guitar; Malcolm Sked, bass; Nick Ball, drums, at the Mike Durham Classic Jazz Party on November 4, 2016. “Sweet, soft, plenty rhythm” is at the foundation — these performances never rush or shout — but there is a good deal of rollicking energy here.  No doubt.

TRY ME OUT:

DEEP CREEK:

GAMBLING JACK:

ELITE SYNCOPATIONS:

May your happiness increase!

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“THE DUKE STEPS OUT”: DUKE HEITGER, ALISTAIR ALLAN, LARS FRANK, DAVID BOEDDINGHAUS, HENRY LEMAIRE, MALCOLM SKED, JOSH DUFFEE at the MIKE DURHAM CLASSIC JAZZ PARTY (November 6, 2016)

odjb-label

If we believed in the narratives forced on us by advertisers, we would know that NEW is best, NEW AND IMPROVED better still, and anything OLD is to be discarded.  I present joyous evidence to the contrary.  Here’s a tune all the musicians like to jam.  And even though it is nearly a hundred years old, no one worries about having to dust it.

This performance was created on November 6, 2016, at the Mike Durham Classic Jazz Party in Newcastle upon Tyne, England.  The band was originally called DUKE HEITGER’S RHYTHMAGICIANS, a name Duke politely disavowed, but I hope he doesn’t mind my retitling this group his JOYMAKERS, because that is truth in advertising.  This performance speeds my heart rate in the most healthy ways.

odjb-one-step

The Romping Masters here are Duke Heitger, trumpet; Alistair Allan, trombone; Lars Frank, reeds; David Boeddinghaus, piano; Henry Lemaire, banjo; Malcolm Sked, string bass; Josh Duffee, drums.  Please notice Duke’s little Louis-flourish at 3:20 onwards and the immense wisdom of his putting an ensemble chorus at 4:38, in the middle of the performance, to keep it rollin’.  Also, riffs, backgrounds. a drum solo with stop-time accents. These fellows are my heroes and I hope yours too.

Once you’ve caught your breath, you may read on.

For the past eight years, I’ve attended the Mike Durham Classic Jazz Party with great pleasure, and I’ve come home with a basketful of videos, which the musicians allowed me to disperse for free.  This was generous of them, and it took a good deal of labor for me to create and distribute them.

This year, a variety of difficulties — technical and logistical — got in the way of my being an unpaid Jazz Cornucopia.  There will be videos, but perhaps two dozen rather than four times that.  I wish it were otherwise, but not everything is within my control.

I write this in sadness, but also with a point.

Several jazz fans, who I am convinced are good people who love the music as I do, came to me during the weekend and were unhappy with my news: “This is not good for us!” said one to me in the hallway.

I am sorry to have let the imagined Team down, but I am not a natural resource like the sun, and I cannot reproduce an entire event for public consumption, nor do I want to.  Let these words be a reminder that not everything is for free, nor can it be, and let these sentences act as encouragement for people to slowly and carefully — those who can! — get out of their chairs in front of their computers and GO SOMEWHERE in front of the actual musicians rather than expecting it all to be given to us.

I hope this doesn’t sound excessively rancorous, but it is the truth, at least what the man behind the camera perceives it to be.  And I plan to be very selective about posting comments, pro and con, on this point.  (To paraphrase Lesley Gore, “It’s MY blog and I’ll post if I want to.”)  Exultant praise of Duke and his band is, as always, welcome.

And to mute any bad feelings, or to attempt to, here are Duke and his Joymakers again.  I could watch and listen to this a dozen times and not stop marveling:

Thanks to CineDevine for rescuing me so graciously from some of the technical problems: without him, this video would not be shared with JAZZ LIVES.

May your happiness increase!

MORE SEAGOONERY, BY POPULAR REQUEST (MIKE DURHAM CLASSIC JAZZ PARTY, November 8, 2015)

IF I GIVE UP THE SAXOPHONE

Several audience members and a musician-friend wrote in after yesterday’s post featuring 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.

See you there.

May your happiness increase!

“THE MOOCHE”: THE SEAGOON SERENADERS at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 8, 2015)

MOOCHE

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 Party on 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.

May your happiness increase!

“HOW HIGH THE YELLOW MOON”: SPATS LANGHAM AND HIS HOT COMBINATION (November 6, 2015)

yellow moon

It’s always a pleasure to observe Thomas “Spats” Langham — singer, vaudevillian, string virtuoso — and he always surprises in the nicest ways.  One of his specialties is bringing “new” (as in unheard or rarely-heard) song treasures to us.  In this case — at the 2015 Mike Durham Classic Jazz Party, the song was SLEEPY HEAD, written by Banjo Ikey Robinson.  As far as I can tell, the only official recordings of this song have been by Spats and Jeff Barnhart, individually and as a duo.  (There are several other songs with that title, the one I know being a tender Thirties lullaby that Bobby Hackett used as his closing theme on his 1949 broadcasts from Nick’s in Greenwich Village.)

In this performance, Spats is joined by Robert Fowler, reeds; Martin Litton, piano; Malcolm Sked, brass bass.

What I find delightful here is not simply the song itself, or the vocal, or the instrumental interludes, but the blend — that seems so right — between the sad lyrics and the swinging tempo, something that musicians in the late  Twenties and Thirties brought to a high art: the lyrics are frankly sad, but the dancers wanted to swing.  As they would here.

Thank you, Spats, Robert, Martin, and Malcolm, for making beauty out of sadness.

More of this — the “beauty” part more than the “sadness” — will be offered generously at the 2016 Mike Durham Classic Jazz Party — one of the most rewarding weekends I could imagine.  And I won’t have to imagine it.  See you there, I hope.

May your happiness increase!

“WHEN LOUIS MET BIX”: ANDY SCHUMM, ENRICO TOMASSO, MATTHIAS SEUFFERT, ALISTAIR ALLAN, SPATS LANGHAM, MORTEN GUNNAR LARSEN, MALCOLM SKED, NICK BALL (LAKE RECORDS)

A wise philosopher — Gladys Bentley or Blanche Calloway — once said, “There are a thousand ways to do something wrong, but only four or five ways to do it right.”  One of the most eagerly-awaited CDs of recent memory, WHEN LOUIS MET BIX,  on Lake Records, is a shining example of beautiful imaginations at work.

WHEN LOUIS MET BIX two

The assertive cover photograph is slightly misleading, suggesting that we might be getting ready for one of those Battle of the Valves scenes so beloved of film directors.  I offer as evidence one of the most musical (having seen this scene from THE FIVE PENNIES when I was perhaps eleven, it made a deep impression):

Beautiful as it is, that scene is all about mastery and power: the unknown challenger coming out of the shadows (the club dramatically silenced) to claim territory for himself, and being accepted by the gracious King, who makes space for him on the regal bandstand.  It might be satisfying but we know it’s not the way things happen.

And this myth isn’t the story of WHEN LOUIS MET BIX, either historically or in this evocative CD.  Consider this fraternal conversation, instead:

Immediately, the ear understands that this CD succeeds at being more than a recreation of a 1927 or 1928 after-hours jam session or cutting contest.  The music on this disc, even when it is searing hot, is carried along by a fundamental gentleness of spirit, an aura of brotherly love and deep admiration.  No skirmishes, no high notes except as they would logically occur.

As I mentioned at the start, there would have been many ways to make this noble idea turn into a leaden result.  One would have been to hew strictly to factoids: to use only songs that we knew Bix and Louis played or recorded, and perhaps narrow the repertoire to a choking narrowness by sticking to compositions both of them had done.  (By this time, certain well-played songs are reassuring to the audience but must feel like too-tight clothing to the musicians, restricting free movement.)  Another would have been to envision the music as competitive: the Bix of BARNACLE BILL pitted against the Louis of POTATO HEAD BLUES.  Nay, nay, to quote the Sage of Corona.

Instead, the repertoire is spacious — Louis and Bix loved melodies — and it offers Broadway show music by Rodgers and Blake next to pop classics of the time, alongside “jazz standards” and obscurities by Morton, Chris Smith, Fats Waller — and one evocative original by Andy Schumm.  And rather than simply say to the noble players in the studio, “All right.  MILENBERG JOYS, and find your own way home,” or “Meet you at the end,” the performances on this disc are delicately yet effectively shaped so that each seems a complete musical expression.  There are small arrangements on each track, and rather than that being an impiety (affront to the Goddess of Hot, who supposedly loathes anything worked out — although we know better) these little sketches make the performances even more satisfying.  Split choruses, four-bar trades, modulations, duet interludes, balanced conversations where X plays the melody and Y improvises around it, stop-time choruses . . . the wonders that musicians had and have accessible to them instead of the possible monotony of ensemble-solo-ensemble.

On that score, one of the reasons it has taken me longer than usual to review this worthy disc is that I kept falling in love with one track so that I wanted to play it all the way to work and all the way home.  By definition, CDs are economy-sized packages of music, and I think I would have been happier (although weighed down) if this Lake Records CD could have been sold as eight 12″ 78 discs in a heavy cardboard binder, to be listened to deeply one at a time, on and on.  But longing for the past, although understandable, has its limits.  And the imagined 78s would have warped in my car.

For the record, and what a record! –the songs are OL’ MAN RIVER / MILENBERG JOYS / CHLOE / MANDY, MAKE UP YOUR MIND / WHO’S IT / PUT ‘EM DOWN BLUES / WHISPERING / MANHATTAN / SKID-DAT-DE-DAT / BESSIE COULDN’T HELP IT (the one Louis-Bix recording overlap) / COME ON AND STOMP, STOMP, STOMP / MY MELANCHOLY BABY / WHEN SHE CAME TO ME/ I’M JUST WILD ABOUT HARRY / THE BALTIMORE.

And the players.  Rico (Louis) and Andy (Bix) are joined by absolutely stellar folk.  And since neither Bix nor Louis tried to take up all the space on a recording, democracy prevails; thus we hear beautiful work from Alistair Allan, trombone; Matthias Seuffert, reeds; Morten Gunnar Larsen, piano; Spats Langham, banjo and guitar; Malcolm Sked, string bass; Nicholas D. Ball, drums.

More evidence:

Through this CD, we are able to travel to an alternate universe, where glorious improvised music evokes and summons up the Great Departed.  And unlike actually attending the after-hour jam session at the Sunset Cafe or the Savoy Ballroom and thinking, “Where is all this beauty going?” we can have this dramatic evocation to visit over and over again (without our clothes smelling of smoke, spilled whiskey, or beer).

Incidentally, may I urge you to do the most venerable thing and purchase the actual physical disc (from Amazon US or UK or elsewhere).  Not only does the glorious sound Paul Adams got through his vintage microphones deserve to be reproduced in the highest fidelity (as opposed to mp3s played through earbuds on a noisy train in the common fashion) but you’ll miss out on wonderfully detailed but light-hearted liner notes by scholar-producer Julio Schwarz Andrade and many wonderful photographs that convey the joy that reigned at this session.

My hope is that Lake Records will continue this series of mystical voyages that make an imagined past into tangible present reality.  I’m sure that Julio, Paul, and the fellows have even more thrilling ideas for us in future.  And I hope that there is an on-the-spot Louis / Bix meeting at the 2016 Mike Durham Classic Jazz Party so that we can marvel again.

Thanks to all the participants for making a visit to the alternate universe possible and so joyous. . . . a world where lyricism, abandon, passion, and expertise shape the music.

May your happiness increase!

PARADISE FOR STRINGS: MARTIN WHEATLEY’S IMAGINATIVE WORLDS

Photograph by Andrew Wittenborn, 2015

Photograph by Andrew Wittenborn, 2015

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.

May your happiness increase!

 

LUCKY STAR