Tag Archives: Malo Mazurié

SWEET CREATIONS: “DREAM CITY”: DAVID LUKÁCS, MALO MAZURIÉ, ATTILA KORB, FÉLIX HUNOT, JOEP LUMEIJ

David Lukács dreams in lyrical swing.  His most recent CD is evidence that I do not exaggerate.  Now, I know that some of my American readers might furrow their brows and say, “Who are these people?  I don’t know their names!” but I urge them to listen and watch.

To quote the lyrics from SAY IT SIMPLE (I hear Jack Teagarden’s voice in my head as I type), “If that don’t get it, well, forget it right now.”

Here you can hear the music, download it, purchase a disc.

The sweet-natured magicians are David Lukacs, clarinet, tenor saxophone, arrangements; Malo Mazurie, cornet, trumpet; Attila Korb, bass saxophone*, trombone; Felix Hunot, guitar, banjo; Joep Lumeij: string bass.  The songs are DREAM CITY / A GOOD MAN IS HARD TO FIND / OLD MAN BLUES / MORE THAN YOU KNOW / THAT OLD BLACK MAGIC / MOONLIGHT ON THE GANGES / I HAD IT BUT IT’S ALL GONE NOW / HALLELUJAH! / BLUE PRELUDE / MANDY, MAKE UP YOUR MIND / THEN SOMEONE’S IN LOVE / LOUISIANA / CLARINET MARMALADE / MANOIR DE MES REVES.  The liner notes are by Scott Robinson.

David told me that this CD is inspired by his father’s record collection (obviously the Lukacs lineage has taste and discernment) but his vision is even larger: “With this album I created my own city, my Dream City, where there’s Bix and Tram’s music in one club, Duke is playing in the theatre beside, and you might hear Django’s music around the corner.”

That transcends the time-machine cliche, and each track is a dreamy vision of a heard past made real for us in 2019. The dreaminess is most charming, because this disc isn’t simply a series of recreations of recordings.  Occasionally the band follows the outlines of a famous disc closely — as in A GOOD MAN IS HARD TO FIND — but each song becomes a sweet playground for these (sometimes shoeless) dear geniuses to roam in.

Here’s another video tour, with snippets of the title tune, OLD MAN BLUES, MOONLIGHT ON THE GANGES, MANOIR DE MES REVES (and comments from Scott, who knows):

Readers who feel this music as I do won’t need any more explanation — but a few lines are in order.  I first heard David on record with Menno Daams (check out the latter’s PLAYGROUND) — two musicians who have deep lyrical intelligence, but DREAM CITY is an astonishing combination of the hallowed past and true contemporary liveliness.  David told me that he has been inspired not only by the old records, but by the music Marty Grosz and others made, using those sounds as a basis.  I hear echoes of the Ruby Braff-George Barnes Quartet and the small-group sessions that were so prolific and gratifying on the Arbors label.

DREAM CITY offers us glorious yet understated solo work and — perhaps even better — delicious ensemble playing and gratifying arrangements.  The inspirations are also the Kansas City Six, the Ellington, Basie, and Wilson small bands, and more.  You can draw your own family tree with chalk on the sidewalk.  The “unusual” instrumentation also allows a great flexibility in voicings — this is no formulaic band that plays each song in the same way, simply varying tempo and key — and this CD is not a series of solos-with-rhythm.  Each selection, none longer than a 12″ 78, is a short story in sounds.

If you care to, go back to the video of DREAM CITY — which begins, if I am correct, with a line on the chords of BYE BYE BLUES and then changes key into a medium-bounce blues — and admire not only the soloing, so tersely expert, so full of feeling without self-consciousness — but the arrangement itself: the quiet effective way horns hum behind a soloist, the use of stop-time and a Chicago “flare,” the echoes of Bix and Tram without tying the whole endeavor to a 1927 skeleton . . . worth study, deserving of admiration.

All of the players impress me tremendously, but Attila gets his own * (and that is not the title of a children’s book) because I’d not known of his bass saxophone playing: he is a master of that horn, handling it with elegance and grace, sometimes giving it a limber ease I would associate with the bass clarinet, although he never hurries.  (I also discovered Attila’s 2017 TAP ROOM SWING, a tribute to Adrian Rollini, which I hope to write about in future.)

I plan to continue blissfully dreaming to DREAM CITY, an ethereal soundtrack, so rewarding.

May your happiness increase!

WHEN BEING “MAD” IS PLEASURE (1924, 1938, and 2017)

Our subjects today are the overlap of “madness” and “pleasure.”  Please be prepared to take notes.

“But first, this,” as they used to say on public radio.

PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren’t issued, except for this one.  Did the record company find it too direct to be acceptable?  Here’s Ethel Waters’ version, clear as a bell:

Perhaps the song continued to be performed with those lyrics, but I don’t have any evidence.  However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O’Neil Spencer:

There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?

While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks!  12 pounds!) to share with you.  A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham’s International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.

Here are three samples, videoed by me, songs and personnels named:

and

and

I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience.  The Party continues to do its special magic splendidly, a magic that videos only partially convey.  This year it’s November 1-3, and details can be found here.  And if you search JAZZ LIVES for “Whitley Bay” or “Durham,” you will find a deluge of posts and videos.

But this post isn’t exactly about the Party as such, nor is it about my videos.  Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling.  It’s called PLEASURE MAD: ‘LIVE RECORDINGS FROM MIKE DURHAM’S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007).  As I wrote above, 36 live performances in beautiful sound.

And the sound is worth noting, with delight.  At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could.  But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years.  Torstein is a phenomenal player, so I may be permitted this digression:

He’s got it, for sure.  And his recordings are wonderful.

Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie “the Lion” Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:

And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle.  If I’ve left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.

I think it’s taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay.  A few highlights, deeply subjective: Martin Litton’s sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham’s NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis’ WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN’ BLUES with layers and textures as rich as great architecture.  You will find your own favorites; those are mine of the moment.

My advice?  If you can, get thee to the Party, where seats are going fast.  Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades.  If you can’t get to the UK, you can still purchase the set, which I urge you to do.

The CD is obtainable from website: https://whitleybayjazzfest.com
email:wbjazzfest@btinternet.comFor more information, contact patti_durham1@btinternet.com.

And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, “Well, Officers, I’m PLEASURE MAD!  Would you like to come in?” And all will be well.

May your happiness increase!

THE FORTUNATE ISLAND, FOUND!

To the most erudite readers, those who consult Geoffrey of Monmouth more than Facebook, the legendary island of Avalon is deeply significant in Arthurian legend: the Fortunate Island, the Island of Apples, the place where King Arthur’s sword Excalibur was forged and where Arthur went to die but remained immortal.  The best guess — only a guess — places the island somewhere near Wales.

Al_Jolson_Avalon_cover (1)

To others, AVALON is a hit popular song of 1920, composer credit going to Al Jolson, Buddy DeSylva, and Vincent Rose, yet its opening motif so close to a Puccini aria that the composer sued for plagiarism and won. (Knowing Jolson’s habit of cutting himself in on songs — that is, “Put my name on it as co-composer and thus give me one-third of the royalties, and I will sing it, making it a hit” — I think the song’s credit goes only to the other two writers. (Why only Rose and Jolson are credited on this cover is mysterious.)

Still others, and I am one of them, associate this song with unforgettable jazz performances by Red Nichols, Benny Goodman, Coleman Hawkins, Louis Armstrong and the Dukes of Dixieland, and many others.  The Goodman Quartet version has its own conventions: a descending riff near the end accented by a drummer — originally the Blessed Eugene Krupa — playing the pattern on the wood rim of the snare.  Charlie Parker recorded his own improvisations over the Quartet version, and the song continued to be immensely durable: ask Al Haig, Ted Brown, Lester Young, Art Pepper, Elmo Hope, Eddie Condon, Mel Powell, and Don Byas.

But back to myth and evidence.

Recent archaeological research now suggests that the Fortunate Island is located near or in Kecskemét, Hungary.  I could fill pages with the documentary evidence, but offer this video as proof.  This musical evocation of AVALON is so vividly alive here that I am convinced.  The researchers — a gallant international team — assembled at the 24th International Bohém Ragtime & Jazz Festival held in Kecskemét, Hungary, March 27-29, 2015.  The team had an informal name, but it will make sense once you understand the video revelations — Attila’s International All Stars, and they are Malo Mazurié (France) – trumpet, Evan Arntzen (Canada/USA) – clarinet, tenor sax, Attila Korb (Hungary) – trombone, Dave Blenkhorn (Australia/France) – guitar, Sebastien Girardot (Australia/France) – string bass, Guillaume Nouaux (France) – drums.

As a reward for patiently reading (or scrolling down through) my japes, here is a wondrously swinging AVALON by a band worthy of Arthurian legend:

I am especially delighted to see Attila Korb appropriately adorned, but that IS a stage joke.

You may order the festival DVD (in English) here.  And for more information about the festival, visit here.  All of this is thanks to the Producer,Tamás Ittzés, Kecskemét Jazz Foundation, who is a splendid musician himself, and to the legendary musicians who transport us to AVALON.

If you are ideologically fierce, hewing to your conviction that only people born in a certain nation or with a certain ethnicity or racial background can play “America’s classical music,” I propose an intensive course of aesthetic rehabilitation: listening to this video, eyes closed, for as many times as it takes to loosen the death-grip of those beliefs.

May your happiness increase!