Tag Archives: Martin Wheatley

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

FOUR FOR ARTIE: RICHARD PITE’S CHAMBER JAZZ at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 7, 2015)

Shaw Granercy 5

When we think of the great small bands of the Swing Era, early and late, Artie Shaw’s Gramercy Five is both memorable and overshadowed . . . perhaps because (unlike the Goodman small groups, the Crosby Bobcats, and others I can’t call to mind) it was a studio aggregation, so we don’t have a large history of live performances in concert or recorded off the radio.  (I’ve seen a photograph of the 1945 group with Roy Eldridge and Dodo Marmarosa, apparently performing as part of the Shaw big band presentation, but I don’t think the 1941 group existed outside the Victor studios.)

It was a superb — and quirky — group, with an affectionate kinship to the Raymond Scott and Alec Wilder small bands.  Its instrumentation accounted for much of that — pianist Johnny Guarnieri on harpsichord — but its very tight arrangements were also remarkable.  Al Hendrickson was an excellent electric guitarist — in the dawn of that era; Billy Butterfield, Nick Fatool, and Jud deNaut were also brilliant.

I was delighted to see and capture this four-song evocation at the 2015. Mike Durham Classic Jazz Party, where such heartfelt expertise is the main dish.  Led by the masterful drummer Richard Pite, this new Gramercy 5 — what would that be on your smartphone? — soared and rocked.  The noble participants: the brilliant clarinetist Lars Frank, Martin Litton, harpsichord; Rico Tomasso, trumpet; Martin Wheatley, electric guitar; Henry Lemaire, string bass.  And they perform four classics: SUMMIT RIDGE DRIVE, KEEPIN’ MYSELF FOR YOU, SCUTTLEBUTT, and SPECIAL DELIVERY STOMP.  A quarter-hour of compact pleasure:

Hot modernism in its own way, and it hasn’t aged.  Try to make your way to the 2016 Mike Durham Classic Jazz Party — where such good surprises proliferate.

May your happiness increase!

ELOQUENT, THEN RIOTOUS: MENNO DAAMS, MATTHIAS SEUFFERT, KEITH NICHOLS, MARTIN WHEATLEY, HENRY LEMAIRE, RICHARD PITE at the MIKE DURHAM CLASSIC JAZZ PARTY (November 7, 2015)

Menno Daams

Menno Daams

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.

Matthias Seuffert

Matthias Seuffert

First, the Benny Carter classic — so evocative of Louis — ONCE UPON A TIME:

Then, an incendiary romp through Tyers’ PANAMA:

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.

May your happiness increase!

AN ORDER OF HOT CLUB FOR FOUR, PLEASE: EMMA FISK, SPATS LANGHAM, MARTIN WHEATLEY, HENRY LEMAIRE (Mike Durham Classic Jazz Party, Nov. 6, 2015)

Emma Fisk

Emma Fisk is a deep-rooted jazz violinist.  Here, from her website, is the story of how she became one.

I first encountered Emma at the Whitley Bay Classic Jazz Party, where in the past three years she has been called upon to honor Eddie South, Stuff Smith, Stephane Grappelly, Joe Venuti, and others — see her in action here and here. (Emma pops up here and there on my most recent videos from the Mike Durham Classic Jazz Party, and she’s always welcome.)  Then I heard the CD, featuring Emma, as part of the splendid small group aptly calling itself DJANGOLOGIE.

Fast forward to November 6, 2015, where Emma was leading a stellar quartet that she whimsically called “the Hot Club of Whitley Bay,” herself on violin, Martin Wheatley, Spats Langham, guitar; Henry Lemaire, string bass.  Here are the delights they offered us.

DINAH:

J’ATTENDRAI:

DOUCE AMBIANCE:

NUAGES:

MINOR SWING:

A sidelight: Emma is giggling through some of this set, and there’s good reason, if you see a youngish man sitting on the floor right in front of the band.  That’s no Quintette-obsessed fan, but the fine guitarist / banjoist Jacob Ullberger.  Emma told me, “I was laughing at Jacob coming to sit under a table to listen at the start of one of the songs. He looked like a little boy sitting cross-legged in the school hall, which tickled my funny bone. He told me afterwards that he wanted to come and hear the acoustic sound of the music.”

And quite rightly so.

Follow Emma (as we say in this century) on Facebook, where she is Emma Fisk Jazz Violin.

May your happiness increase!

WHAT YOU’LL HEAR WHEN YOU’RE THERE: THE MIKE DURHAM CLASSIC JAZZ PARTY (November 5 – 8, 2015)

TWO DEUCES! Bent Persson and Enrico Tomasso at the 2014 Whitley Bay Classic Jazz Party

TWO DEUCES! Bent Persson and Enrico Tomasso at the 2014 Whitley Bay Classic Jazz Party

“Fine! Wonderful! Perfect!” to quote Fats.  I’m referring to the Mike Durham Classic Jazz Party — coming soon to the Village Hotel Newcastle in the UK.

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!

HOT.

SWEET.

It’s a musical feast.  Don’t miss out on this Party.

May your happiness increase!

JANICE DAY IS OPTIMISTIC AND RIGHTLY SO

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.

May your happiness increase!

THE JOHNNY DODDS JUBILEE, PART TWO at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 8, 2014)

This is the final portion of an ecstatic set of music devoted to the clarinet master Johnny Dodds — as created on November 8, 2014, at the Whitley Bay Classic Jazz Party.  The participants: Thomas Winteler, Matthias Seuffert, Claus Jacobi, reeds; Rico Tomasso, cornet; Emma Fisk, violin; Martin Litton, piano; Malcolm Sked, string bass; Martin Wheatley, Spats Langham, Jacob Ullberger, banjo; Nick Ball, washboard.  The other postings from this set can be found here and here.

MELANCHOLY (featuring Martin Litton, piano; Claus Jacobi, reeds, Matthias Seuffert, clarinet; Malcolm Sked, bass; Thomas Winteler, clarinet; Rico Tomasso, cornet; Martin Wheatley, banjo):

MY BABY (add Nick Ball*, washboard; Spats Langham, banjo, replaces Martin Wheatley):

HEN PARTY BLUES (add Emma Fisk, violin):

MEMPHIS SHAKE (as HEN PARTY):

Frank Melrose’s FORTY AND TIGHT (tout ensemble, posted once, but it should be posted evermore):

These hot ecstasies have been a hallmark of the Whitley Bay Classic Jazz Party for decades; now renamed the Mike Durham Classic Jazz Party in honor of its beloved founder. This year it will be held from November 6-8, and it will be delightful.  (*If you want to know my feelings about being there, you have only to watch Nick’s face — joy and surprise tumbling on one another constantly.)

May your happiness increase!

THE JOHNNY DODDS JUBILEE, PART ONE: WHITLEY BAY CLASSIC JAZZ PARTY (November 8, 2014)

This was a truly delightful set, balancing neatly between uproarious riot and precise tribute, where the participants paid tribute to New Orleans / Chicago clarinetist Johnny Dodds by evoking some of his less famous recordings.  Those expert participants were Claus Jacobi, reeds; Matthias Seuffert and Thomas Winteler, clarinet; Rico Tomasso, cornet; Martin Litton, piano; Spats Langham, Jacob Ullberger, Martin Wheatley, banjo; Malcolm Sked, bass; Nicholas Ball, washboard. (That’s the collective personnel: you’ll see / hear who is playing on each number.)

Here’s the first part, as captured at the Whitley Bay Classic Jazz Party on November 8, 2014.

I note with pleasure how happy the musicians look — and that’s no stage joke. The most accurate emotional barometer on this little stage is the visage of one Nick Ball, percussionist supreme: he looks as if he’s going to explode with rhythmic joy.  You can imagine how happy I was from behind my camera.

IDLE HOUR SPECIAL (with an unexpected cameo by a t-shirted jazz fan at 4:00, who momentarily blocked the view but thankfully not the sound — I knew he was a “jazz fan” because it was written on his shirt, thus saving me the need to speculate):

ORIENTAL MAN:

39TH AND DEARBORN:

CARPET ALLEY BREAKDOWN:

More to come.  And you might want to investigate this year’s Mike Durham Classic Jazz Party.  It’s a place where such things happen — beautifully — throughout a long weekend.

May your happiness increase!

 

 

 

“TWO DEUCES”: ENRICO TOMASSO, BENT PERSSON, JEAN-FRANCOIS BONNEL, CLAUS JACOBI, MAURO PORRO, ALISTAIR ALLAN, DAVID BOEDDINGHAUS, MARTIN WHEATLEY, HENRI LEMAIRE, NICK BALL at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 9, 2014)

TWO DEUCES

I thought, “What could I give the JAZZ LIVES audience for Christmas 2014?”

I am not in the habit of giving holiday presents, but I thought this would do the trick: a wonderfully sustained six-minute exploration of the 1928 classic TWO DEUCES (summoning up Louis Armstrong and Earl Hines in their youth) by some of Gabriel’s boys: Enrico Tomasso and Bent Persson, trumpets; Jean-Francois Bonnel, Mauro Porro (grinning), Claus Jacobi, reeds; Alistair Allan, trombone; David Boeddinghaus (brilliantly Hinesian), piano; Martin Wheatley, banjo / guitar; Henri Lemaire, string bass; Nick Ball, drums.  Recorded on November 9, 2014, at the Whitley Bay Classic Jazz Party:

This music embodies joy for all.  It won’t be stale on December 26.  And if you would allow me to send the Official JAZZ LIVES Holiday Message, it would be just six words and a few punctuation marks:

Be kind.

Spread joy.

Study Louis.

May your happiness increase!

DAAMS-SMITH, INCORPORATED (WHITLEY BAY JAZZ PARTY 2014)

My title summons up memories of the October 1936 record date for Lester Young, Carl Smith, Count Basie, Walter Page, Jo Jones, and Jimmy Rushing — but the little band that appeared at the November 2014 Whitley Bay Classic Jazz Party evoked music from an earlier generation: trumpeter Jabbo Smith’s Aces of Rhythm, a ferociously hot small band that was promoted by a rival record label as a virtuosic competitor for Louis Armstrong.

Trumpeter / scholar Peter Ecklund wrote of Jabbo, “[He] picked up on a style that Louis Armstrong was playing a couple of years back in the 20s — the hot stomp, two-beat style . . . Jabbo was playing brilliantly, but carelessly.  Very exciting — frequently right on the edge of being out of control.”

Menno Daams, the twenty-first century evocation of Jabbo seen here, isn’t “on the edge” in any way; he handles the acrobatic (even exhibitionistic) rapid-fire turns of phrase masterfully.  He is matched by Jean-Francois Bonnel (taking the Omer Simeon part) on clarinet and alto, Keith Nichols on piano and vocal; Martin Wheatley on banjo; Phil Rutherford, brass bass.

BAND BOX STOMP:

GOT BUTTER ON IT (vocal Keith):

LINA BLUES (vocal Keith):

LITTLE WILLIE BLUES (I know that the US character “Little Willie” and the UK description “Little willy” are two different things.  Do you?):

SAU SHA STOMP:

Isn’t this brave hot music?  Congratulations to the 2014 Aces of Rhythm, led so nobly by Menno Daams.

May your happiness increase!

“FORTY AND TIGHT”: THE JOHNNY DODDS JUBILEE at the WHITLEY BAY CLASSIC JAZZ PARTY (November 8, 2014)

I present to you — with pride and gratitude — one of the many ecstatic moments of the 2014 Whitley Bay Classic Jazz Party — the finale to the Johnny Dodds tribute set, which featured an astonishing assemblage: cornet, three reeds, three banjos, washboard, piano, string bass, hot violin . . . without ever getting messy.

The song is FORTY AND TIGHT (for once I will leave the etymological questions* to others) and the players Rico Tomasso, cornet; Claus Jacobi, alto; Matthias Seuffert, Thomas Winteler, clarinet; Martin Litton, piano; Malcolm Sked, bass; Emma Fisk, violin; Nick Ball, washboard; Martin Wheatley, Spats Langham, Jacob Ullberger, banjo.

I love this.

Exact and abandoned at the same time, and a triumph of community — notice the musicians’ smiles and tapping feet as well as their common language of signs and experience: a nudge or a shoulder-lean that says “You take the next break,” the circling motion that indicates “let’s conclude this with an ensemble chorus — the language of brothers and sisters who know the tribal signs for joy — people who embody joy as well as understanding it. Look at the happiness on the face of one Nicholas D. Ball, percussionist, to feel that emotion.

Two afterthoughts.  FORTY AND TIGHT was obviously a way of signifying the highest level of approval.  Whether the unspoken references were to physical attributes that gave erotic pleasure or something else I do not know.  Was “forty” in the Chicago Twenties the equivalent of a more recent “a perfect ten”?  In-group dialogue, cherished and partially submerged, hidden from us.

And something technical.  To watch my videos in the best visual fidelity (preferably on a screen even larger than your iPhone 6!) find a tiny icon of a gear  — a toothed wheel — at the bottom right of the YouTube screen.  Click on it and raise the number displayed to the very highest, 1080, for the clearest image.  I also encourage viewers to watch this in “full screen,” preferably on a monitor the size of the living-room wall, but that last bit may not be possible.

Can you see and hear from this video what a wonderful time we had at the 2014 Whitley Bay Classic Jazz Party?  (A purely rhetorical question, I assure you.) And there will a 2015 Party . . . let joy be unconfined!

May your happiness increase!

PILGRIMAGES TO BEAUTY

I urge anyone who loves the music to experience it live.  For some, that isn’t possible because of cost or one’s health.  But even though I am proud of my video recordings, they are not the same thing as being on the spot while beauty is created.  And jazz festivals, parties, clubs, concerts can only go on if there are people in attendance.

My readers know all this.  But the trick is to make the great leap from an intellectual awareness (“I should go hear some live jazz . . . someday.”) to action. All of us who have said, “I’ll go to hear Hot Lips Ferguson some other Sunday . . . those gigs will go on forever!” know the sadder reality.)

End of sermon.

I cannot attend this year’s Steamboat Stomp in New Orleans, but my absence means there’s another seat for you.  It begins Friday evening, November 14, and ends Sunday afternoon, the 16th.  In  between I count nineteen one-hour sets of music, in addition to a presentation about the Historic New Orleans Collection, four steam calliope concerts by Debbie Fagnano.  Much of the music will be performed on the two decks of the steamboat Natchez, gliding up and down the Mississippi River.  The artists include Duke Heitger, Don Vappie, Evan Christopher, the Yerba Buena Stompers, Dukes of Dixieland, Tim Laughlin, David Boeddinghaus, Hal Smith, Banu Gibson, Solid Harmony, Jon-Erik Kellso, John Gill, Kevin Dorn, Clint Baker, Tom Bartlett, Conal Fowkes, Orange Kellin, Leon Oakley, Steve Pistorius, and another dozen.

I was able to attend in 2013, and had a wonderful time.  Some evidence!

SWEET LOVIN’ MAN by Duke and the Steamboat Stompers:

Steve Pistorius considers the deep relationship between music, memory, and love in A DOLLAR FOR A DIME:

Banu Gibson, as always, shows us her heart, and it’s full of RHYTHM:

and the Yerba Buena Stompers play a later King Oliver piece, EDNA:

INSERT FOUR-BAR MODULATION HERE.

I returned last night from the 2014 Whitley Bay Classic Jazz Party, exhausted and uplifted.  The exhaustion will wear off (it always does) after a day or two of treating myself like an invalid, nut the joy is permanent.  It comes from seeing people make friends through music.  The music began with rehearsals at 9 AM on Thursday and ended sometime late Monday morning (I heard the jam session at the pub as I was going up the stairs around 1 AM).  The texts for those mellow sermons were based on the teachings of Johnny Dodds, Count Basie, Louis Armstrong, Duke Ellington, Charlie Johnson’s Paradise Orchestra, Jabbo Smith, Jean Goldkette, Bix Beiderbecke, Red Nichols, Chu Berry, Paul Whiteman, Cootie Williams, Adrian Rollini, Jimmy Dorsey, Joe Venuti, Eddie Lang, Johnny Dunn, Luis Russell, Bing Crosby, Helen Morgan, Jimmie Lunceford, Benny Carter, Don Byas, Willie Lewis, Sidney Bechet, Al Bowlly, Cliff Edwards, Eubie Blake, James P. Johnson, Chick Webb, Jelly Roll Morton . . . you get the idea.

And the performers!  Rico Tomasso, Duke Heitger, Menno Daams, Andy Schumm, Bent Persson, Claus Jacobi, Thomas Winteler, Matthias Seuffert, David Boeddinghaus, Graham Hughes, Alistair Allan, Martin Litton, Janice Day, Morten Gunnar Larsen, Keith Nichols, Richard Pite, Malcolm Sked, Phil Rutherford, Spats Langham, Emma Fisk, Frans Sjostrom, Josh Duffee, Nick Ball, Mauro Porro, Henri Lemaire, Kristoffer Kompen, Lars Frank, Martin Wheatley, Jean-Francois Bonnel. . . and sitters-in at the Pub, including Torstein Kubban.  (If I’ve omitted anyone’s name, it is because yesterday was nearly twenty hours of travel, which does terrible things to cognition.)

And the friends!  Everyone who was there will have a mental list, but I think we all start with Patti Durham — then I think of Bob Cox, Bobbi Cox, Derek Coller, Veronica Perrin, Chris Perrin, the young woman clarinetist, so intent, Jonathan David Holmes, Julio Schwarz Andrade, Andrew Wittenborn — and many more.

If you are wondering, the answer is Yes, I did bring my video cameras.  Plural. Safety first.

And I shot video of all the sets, one jam session / concert in the Victory Pub, and many of the rehearsals — several hundred performances.  It takes some time to upload and download, so I have nothing from this last weekend to share with you at the moment.  But I will.

While you are thinking, “How could I start putting money away for the 2015 WHITLEY BAY CLASSIC JAZZ PARTY?” (for that will indeed happen), I invite you to revel in this, recorded at a rehearsal at the 2012 Party:

All over the quite comfortable Village Hotel in Newcastle (with a very solicitous staff) are signs and photographs advertising the pleasures to be found there, all sharing a lower case “v.” at the start, both to show an intensity of feeling (“very!”) as well as remind you of the hotel chain’s identifying logo.  In the mechanism that takes you from one floor to another (I called it an elevator and was reminded that it was a “lift,” because I was in the  United Kingdom now) was a photograph of three pillows reading “v. snuggly” “v. cheeky” and “v.lazy.”

All I will say here, as a bow to the Party and to the Village Hotel and to my heroes and friends, is that I am “v.joyous.”

May your happiness increase!

SPLENDID SWING: THE BASIN STREET BRAWLERS, “IT’S TIGHT LIKE THAT”

I encounter a number of youthful players who have formed improvising bands. Many of these small orchestras, to my delight, attempt to bring their own personalities — ferocious or tender — to the great repertoire of the last century. But few of them succeed so consistently as a new British group, THE BASIN STREET BRAWLERS.  Their debut CD, IT’S TIGHT LIKE THAT, is a recent issue — a limited edition of 500 copies — and I encourage you to investigate both the band and the disc.

BRAWLERS

Here’s their “showreel,” a collection of samples from their live performances:

You’ll notice certain things from this video tasting menu: the band has a light, easy bounce; trumpeter Peter Horsfall is a concise, lyrical player and an especially fine singer.  (Imagine if Bob Howard or Louis Prima had been born in London — swinging, impassioned, but never overstated.)  The rest of the band is equally convincing, never trying too hard, but gently leaning into the swing winds: trombonist / vocalist Malcolm Earle-Smith and guitar master Martin Wheatley (whom I’ve seen and admired often at Whitley Bay) are the official representatives from a slightly older generation, but they fit right in with clarinetist / saxophonist Ewan Bleach, pianist Colin Good, string bassist Dave O’Brien, and drummer Mez Clough.

The repertoire on this CD — structured with a beginning, middle, and end — says a great deal about this band’s love and expertise — with small evocations of Teddy Wilson, Louis, Jack Teagarden, Goodman small groups, and more: A SMOOTH ONE (Intro) / IF DREAMS COME TRUE / JUST ONE OF THOSE THINGS / IF ONLY YOU KNEW (an original hinting at Hodges and Strayhorn) / ALL MY LIFE / HOW AM I TO KNOW? / STARS FELL ON ALABAMA / ONCE IN A WHILE / IT’S TIGHT LIKE THAT! / SWING THAT MUSIC / A SMOOTH ONE (Outro) / LOTUS BLOSSOM (Bonus track).  There’s even two very brief but pleasing appearances by one Natty Bo as “guest M.C.”

It’s beautifully recorded at the renowned Porcupine Studios, and the CD is a consistent pleasure.

(I didn’t have to do any mind-editing: “Oh, this would be wonderful if only _____ didn’t do this,” which dogs some of the new CDs I am asked to comment on.)

If you’d like to purchase the CD — an indication of sound judgment, I think, the best place is the “SHOP” section of the band’s website. For those who can’t wait for a physical disc, they can be satisfied by a download here. Candidly, as engaging as the “showreel” is, the CD is even more rewarding.

Once I heard the music, I became both advocate and fan. But I had one quibble — with the band’s chosen appellation. I admired the alliteration, but asked Peter if he was fully aware of the connotations of “brawlers.” (Yes, Yeats referred to a sparrow making that noise in the eaves, but I somehow thought this was not an avian swing group.) Peter’s answer was charmingly candid: “Brawlers  – came really from my understanding of the roots of this music. Trying to give a little light hearted reference to the bar brawls and whorehouses that hot jazz accompanied!”

I couldn’t argue with that.  And I assure any timorous listeners that neither the band or the CD will ruin your furniture, behave badly, or irritate the neighbors.

And the BSB has or have a Facebook page, with a gig schedule — crucial in these busy days and nights.

May your happiness increase!

THREE VARIETIES OF JAZZ EXPERIENCE at the 2012 WHITLEY BAY CLASSIC JAZZ PARTY (October 26, 2012)

Three delights, previously unseen, from the 2012 Whitley Bay Classic Jazz Party:

MY HONEY’S LOVIN’ ARMS, by Keith Nichols, piano / vocal; Norman Field, clarinet / vocal; Emma Fisk, violin, Frans Sjostrom, bass saxophone; Spats Langham, guitar:

STOMP YOUR STUFF (with a Louis Hot Chorus at 3:24) by Bent Persson, cornet; Jean-Francois Bonnel, Rene Hagmann, Thomas Winteler, reeds; Jens Lindgren, trombone; Frans Sjostrom, bass saxophone; Martin Seck, piano; Josh Duffee, drums; Martin Wheatley, banjo / guitar; Phil Rutherford, brass bass:

LOUISE (where are Bing and the Rhythm Boys?) with Andy Schumm, cornet; Spats Langham, banjo; Keith Nichols, piano; Michael McQuaid, C-melody saxophone; Norman Field, clarinet; Alistair Allan, trombone; Frans Sjostrom, bass saxophone; Phil Rutherford, brass bass; Richard Pite, drums:

See you at the Village Newcastle in November 2014. Details here.

And I just learned about the pre-Party opening jam session, featuring the Union Rhythm Kings on Thursday, November 6: that’s Bent Persson (trumpet), Lars Frank (clarinet and saxophone), Kristoffer Kompen (trombone); Jacob Ullberger (banjo & guitar); Frans Sjostrom (bass saxophone); Morten Gunnar Larsen (piano).  They are a wonderful band.

May your happiness increase!

TWO HOT, ONE WISTFUL: UNSEEN MUSICAL TREASURES FROM THE 2012 WHITLEY BAY CLASSIC JAZZ PARTY

Three New Beauties from the Whitley Bay Classic Jazz Party — recorded on October 26 and 27, 2012 — living advertisements of what the musicians and the Party-givers do so superbly.

Part of a rousing tribute to the power behind the throne, Lil Hardin Armstrong (pianist, composer, bandleader, inspiration) — a song named for her young husband, PAPA DIP.  It’s performed here by Bent Persson, cornet; Stephane Gillot, alto saxophone; Matthias Seuffert, clarinet; Jens Lindgren, trombone; Martin Seck, piano; Martin Wheatley, banjo; Malcolm Sked, string bass.

YOU RASCAL YOU has serious Armstrongian associations, although the performance here takes its impetus from the magnificent series of 1932-33 recordings by the “Rhythmakers,” ostensibly led by Billy Banks or Jack Bland — but really driven by Henry “Red” Allen, Pee Wee Russell, Jimmy Lord, Tommy Dorsey, Joe Sullivan, Fats Waller, Pops Foster, Eddie Condon, Zutty Singleton and other luminaries.  At the Classic Jazz Party, the New Rhythmakers kept things hot — Andy Schumm, cornet; Jens Lindgren, trombone; Norman Field, clarinet; Jean-Francois Bonnel, tenor; Martin Seck, piano; Emma Fisk, violin; Spats Langham, banjo; Frans Sjostrom, bass saxophone; Josh Duffee, drums. This video also contains a sweet, sad memento: the voice and right hand of our much-missed Mike Durham introducing the band and cracking wise (as was his habit).  Thank you, Mike, for everything:

After all that violent heat, something rueful seems just right, so here is Cecile McLorin Salvant’s melancholy reading of the Willard Robison song A COTTAGE FOR SALE, with the empathic assistance of Norman Field, clarinet; Duke Heitger, trumpet; Spats Langham, guitar; Alistair Allan, trombone; Emma Fisk, violin; Martin Litton, piano; Henri Lemaire, string bass; Richard Pite, drums:

We don’t have to end on a wistful note.  I have three more 2012 delights to post and many more from 2013 . . . and (with a Nick Ward drum roll) the 2014 Party is happening this November 7 through 9 — details here.

You can learn all about it — the accomodations, pricing, concert themes . . . I’ll content myself my lingering over the list of musicians who will be there:

Trumpets: Bent Persson (Sweden), Duke Heitger (USA), Andy Schumm (USA), Ben Cummings (UK), Enrico Tomasso (UK) / Trombones: Kristoffer Kompen (Norway), Alistair Allan (UK), Graham Hughes (UK) / Reeds: Jean-François Bonnel (France), Mauro Porro (Italy), Claus Jacobi (Germany), Matthias Seuffert (Germany), Lars Frank (Norway), Thomas Winteler, (Switzerland) / Piano: Keith Nichols (UK), Martin Litton, (UK), Morten Gunnar Larsen (Norway), David Boeddinghaus (USA) / Banjo/Guitar: Spats Langham (UK), Henry Lemaire (France), Jacob Ullberger (Sweden), Martin Wheatley (UK) / String Bass: Richard Pite (UK), Henry Lemaire (France) / Brass Bass: Phil Rutherford (UK), Malcolm Sked (UK) / Drums: Josh Duffee (USA), Richard Pite (UK), Debbie Arthurs (UK) / Bass Sax: Frans Sjöström (Sweden) / Violin: Emma Fisk (UK) / Vocals: Janice Day (UK), Debbie Arthurs, (UK), Spats Langham (UK).

May your happiness increase!

“FEELIN’ NO PAIN”: A RED NICHOLS TRIBUTE at the 2012 WHITLEY BAY CLASSIC JAZZ PARTY

“Feeling no pain” was a Twenties slang expression that meant one was sufficiently intoxicated to be numb.  Without the final G, it was also the title of several 1927 Red Nichols recordings of Fud Livingston’s composition — here evoked expertly in the twenty-first century by a group of nimble Hot Adventurers at the 2012 Whitley Bay Classic Jazz Party.

The obstacle-course masters here are Andy Schumm, cornet; Rico Tomasso, trumpet; Michael McQuaid, reeds; Alistair Allan, trombone; Keith Nichols, piano; Martin Wheatley, guitar; Nick Ward, drums:

This is the sort of lively musical evocation that happens all the time at the Whitley Bay Classic Jazz Party — and it will happen again in November 2014.  Details here.  And here is the list of musicians who will be appearing — that’s a plenty!

Trumpets: Bent Persson (Sweden), Duke Heitger (USA), Andy Schumm (USA), Ben Cummings (UK), Enrico Tomasso (UK); trombones: Kristoffer Kompen (Norway), Alistair Allan (UK), Graham Hughes (UK); reeds: Jean-François Bonnel (France), Mauro Porro (Italy), Claus Jacobi (Germany) , Matthias Seuffert (Germany), Lars Frank (Norway), Thomas Winteler, (Switzerland); piano: Keith Nichols (UK), Martin Litton, (UK), Morten Gunnar Larsen (Norway), David Boeddinghaus (USA); banjo/guitar: Spats Langham (UK), Henry Lemaire (France), Jacob Ullberger (Sweden), Martin Wheatley (UK); string bass: Richard Pite (UK), Henry Lemaire (France); brass bass: Phil Rutherford (UK), Malcolm Sked (UK); frums: Josh Duffee (USA), Richard Pite (UK), Debbie Arthurs (UK); bass sax: Frans Sjöström (Sweden); violin: Emma Fisk (UK); vocals: Janice Day (UK), Debbie Arthurs, (UK), Spats Langham (UK).  And there might be other surprises.

I know that the title (Livingston’s idea?) was meant whimsically, but I take it seriously: may all beings be free from pain — and they don’t have to read this blog or hear this music to feel this wish.

May your happiness increase!

FEELIN’ THE SPIRIT: MEMORIES OF THE WHITLEY BAY CLASSIC JAZZ PARTY 2012

I’ve had a great deal of hot jazz pleasure and enlightenment in my annual trips to Whitley Bay for the late Mike Durham’s International Jazz Festival and Classic Jazz Parties.  And another one is on the way for November 7-9, 2014, thanks to Patti Durham and diligent friends.

I don’t mean to rush away the time until then, but I offer five more previously unseen delights from the 2012 Whitley Bay Classic Jazz Party (recorded October 27-28) — honoring King Oliver, Benny Carter, Louis and Bechet, McKinney’s Cotton Pickers, Graeme Bell, and the magnificent contemporary / traditional jazz musicians at work here.

WA WA WA, a tribute to the Oliver Dixie Syncopators of the second half of the Twenties, led by Keith Nichols (piano), with Duke Heitger (trumpet), Andy Schumm (cornet); Kristoffer Kompen (trombone); Gavin Lee, Matthias Seuffert, Rene Hagmann, (reeds); Martin Wheatley (banjo); Phil Rutherford (brass bass), Josh Duffee (drums):

I’M IN THE MOOD FOR SWING, Matthias Seuffert’s buoyant embodiment of the spirit and music of Benny Carter, with Matthias (alto); Rene Hagmann (cornet); Alistair Allan (trombone); Martin Litton (piano); Spats Langham (guitar); Henru Lemaire (string bass); Richard Pite (drums):

DOWN IN HONKY TONK TOWN, for Louis and Sidney, in whichever incarnation you prefer (1924-5 or 1940), with Bent Persson (cornet); Thomas Winteler (soprano saxophone); Stephane Gillot (baritone saxophone); Jens Lindgren (trombone); Martin Seck (piano); Henri Lemaire (banjo / string bass):

ZONKY, from drummer Josh Duffee’s ambitious evocation of McKinney’s Cotton Pickers, with Rico Tomasso, Rene Hagmann, Andy Schumm (trumpet / cornet); Kristoffer Kompen (trombone); Matthias Seuffert, Gavin Lee, Jean-Francois Bonnel, Michael McQuaid (reeds); Keith Nichols (piano / vocal); Martin Wheatley (banjo / guitar); Richard Pite (string bass); Josh (drums / leader):

UGLY DUCKLING, a hidden treasure from the Graeme Bell repertoire, here served up beautifully by multi-instrumentalist Michael McQuaid, and Duke Heitger, Bent Persson (trumpets); Kristoffer Kompen (trombone); Michael, Stephane Gillot, Thomas Winteler (reeds); Martin Seck (piano); Henri Lemaire (banjo / guitar); Malcolm Sked (brass bass / string bass [off-camera but indispensable]); Nick Ward (drums):

The Classic Jazz Party site hasn’t offered a full roster for the November 7-9 party, which will be held, once again, at the Village Hotel Newcastle, but here is the contact information, and I will post details as they emerge.

As Josh Duffee says, “It’s like Christmas to us.” I don’t believe in Santa Claus, but I do believe in the Whitley Bay Classic Jazz Party.

May your happiness increase!

THE BACKBONE OF JAZZ: MATTHIAS SEUFFERT and FRIENDS at WHITLEY BAY 2012 (October 28, 2012)

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Count Basie and his musicians taught us so much by their example.

Swing is at the heart of everything.  Jazz is music for dancers, and it has to have an intense but light rhythmic impulse, an irresistible flowing motion. The blues are essential.  Simplicity is key even to the most elaborate improvisations.  Fewer notes have greater effect.  You can improvise on I GOT RHYTHM until the end of time.  Music, like its players and singers, has to have a living, breathing pulse.

(The grammarians in my audience will note I am using the present tense, intentionally.  Basie’s truths are still truths.)

The superb reedman / composer / arranger Matthias Seuffert put together a small band for the 2012 Whitley Bay Jazz Party and offered us his evocative originals in the style of / paying tribute to the great figures of jazz — Bix, Louis, Duke, Benny, Hawkins, and a few others: click here to enjoy these brilliant tributes.

I saved his homage to Basie, BACKBONE BASIE, for last — accomplished with the inestimable aid of Martin Litton, piano; Martin Wheatley, guitar; Manu Hagmann, string bass; Josh Duffee, drums; Matthias and Jean-Francois Bonnel, reeds; Kristoffer Kompen, trombone; Enrico Tomasso, trumpet:

Thank you, Matthias and friends, and thank you, Mike Durham.  As always!

May your happiness increase! 

SIXTEEN WORDS TO GENTLY NUDGE THE HESITANT TOWARDS PLEASURE, THE 2013 WHITLEY BAY CLASSIC JAZZ PARTY

SIXTEEN SEATS REMAIN for the 2013 WBCJP.  

Hesitate and miss something special.  

There’s nothing like it. 

(My title is also sixteen words long; I hope the numerologically-minded will admire this.)

Some words in a slightly more expansive vein.  Last year’s party sold out and people were turned away, with “wailing and gnashing of teeth.”  Tickets can be ordered at whitleybay.

Quite simply, the Whitley Bay Classic Jazz Party — the creation of the much-missed Mike Durham — continues to strive for musical authenticity while making sure everyone has a good time.  The players and singers do a wonderful job of hot time-travel, taking us to musical stages and situations we’ve only dreamed of.

The musicians invited for the 2013 party include:

Trumpets: Bent Persson (Sweden), Enrico Tomasso (UK), Andy Schumm (USA), Ben Cummings (UK), Andy Woon (UK)

Trombones: Kristoffer Kompen (Norway), Alistair Allan (UK), Graham Hughes (UK)

Reeds: Aurélie Tropez (France), Stéphane Gillot (France), Claus Jacobi (Germany) , Matthias Seuffert (Germany), Lars Frank (Norway), Mauro Porro (Italy)

Piano: Keith Nichols (UK), Jeff Barnhart (USA), Morten Gunnar Larssen (Norway), Martin Seck (Germany)

Banjo/Guitar: Spats Langham (UK), Henry Lemaire (France), Martin Wheatley (UK), Jacob Ullberger (Sweden), Keith Stephen (UK)

String Bass: Richard Pite (UK), Henry Lemaire (France), Malcolm Sked (UK)

Brass Bass: Phil Rutherford (UK), Jean-Philippe Palma (France)

Drums: Josh Duffee (USA), Richard Pite (UK), Julien Richard (France), Nick Ward (UK)

Bass Sax: Frans Sjöström (Sweden)

Violin: Mike Piggott (UK)

Vocals: Daryl Sherman (USA), Caroline Irwin (UK), Spats Langham (UK)

Obviously, a trip to Newcastle might be beyond the resources of many of my United States readers.  But if you can get there, you won’t regret it.  Here’s just one sample of what happened last year:

I think you’d have to be deeply ECCENTRIC to not feel those good vibrations!

May your happiness increase!

“CLAYTONIA” IN BLOSSOM: THE BUCK CLAYTON LEGACY BAND

Claytonia-sibirica

I’m serious.  Rarely have I had a CD that made me so earnestly want to turn up the volume and dance around the kitchen — with the Beloved or solo.  It’s amazing music.

CLAYTONIA cover

I shall stop dancing (even metaphorically) and explain.  CLAYTONIA is the first disc issued by the UK-based Buck Clayton Legacy Band.

When I was a young jazz record collector, I sought out every record Buck played on, and I don’t remember ever being disappointed.  His Columbia JAM SESSIONS are (to me) among the most gratifying musical experiences ever put on record.  By the time I began to see jazz performances live, Buck had stopped playing — although I saw him once in a “comeback” concert tribute to Billie. But he was resilient, and channeled his energies into writing, arranging, and directing a small big band for the rest of his life — a wonderful unit in which some of my friends and heroes played.

There the story might have ended if it hadn’t been for the very special British writer, string bassist, and jazz broadcaster Alyn Shipton.  You might know Alyn in any of his roles, but I first encountered him as someone helping Buck finish and expand BUCK CLAYTON’S JAZZ WORLD — a very rewarding book, Buck’s candid and charming autobiography, written with Nancy Miller Elliott.  In his notes, Alyn recalls, “Just after Buck died in 1991, Nancy Miller Elliott contacted me, and handed over a box of his music, with a message from Buck saying, ‘You kept my memory alive with the book, maybe you can do the same with my music?'”

In 2004 Alyn and the brilliant reedman / arranger / composer Matthias Seuffert assembled this great band, and CLAYTONIA was recorded during their first British tour in 2011.

It’s a humming band — these fellows know deep in their souls how to swing, and the easeful yet intense performances tick along like well-tuned engines, hinting at great strength but never relying on volume to get their point across. Alyn and Matthias (tenor saxophone, clarinet, arrangements) are co-leaders; Norman Emberson, drums; Martin Wheatley, acoustic guitar; Martin Litton, piano, make up a splendid rhythm section — nothing artificial, nothing self-consciously “old school,” just hitting on all cylinders with sweet style.  There are no efforts to imitate anyone: they simply Rock.  And Wheatley’s single-string solos are delicious interludes . . . rather like finding a clump of ripe blackberries on your morning walk.  The rest of the band is equally stellar: soloists who have something to say but know how to say it concisely / great supportive ensemble players: Menno Daams and Ian Smith, trumpet; Adrian Fry, trombone; Alan Barnes, alto saxophone, clarinet.

CLAYTONIA has none of the “all-star” nature of some recorded gatherings, where you feel the impatience of Soloist 4 while Soloist 3 is playing.  This, dearly beloved children of all ages, sounds like a working band — and is there anything better?

And they play Buck’s compositions — which have a built-in momentum: OUTER DRIVE (memorable from the SONGS FOR SWINGERS album and 1961 live performances); I’LL MAKE BELIEVE (a priceless rhythm ballad); PARTY TIME; HORN OF PLENTY; SCORPIO; CLAYTONIA (a gritty blues, first recorded by Buck and friends for Vanguard); SMOOTHIE; SIR HUMPHREY (for Buck’s dear friend and trumpet colleague Humph).

And the sound is great, too — recorded at The Sage Gateshead by Hywel Jones for BBC 3.

CLAYTONIA is an irresistible musical offering.  You can follow the band and buy the CD here.  And the flowers at the top?  They’re Claytonia, too.

May your happiness increase! 

“LIVE SPORT”: A JAM SESSION AFTER HOURS IN THE VICTORY PUB, NEWCASTLE (Oct. 28-29, 2012) with the STARS of THE WHITLEY BAY CLASSIC JAZZ PARTY

Once more . . . if “Mister Mike” isn’t someone recognizable to you, would you kindly take a minute and read this?  It would mean a great deal to many people, and, to paraphrase Dizzy Gillespie, “No him, no this.”

“This” turns out to be my video record of the closing notes of the 2012 Whitley Bay Classic Jazz Party — a jam session on Sunday night held in the Victory Pub of the Village Newcastle.  Some of the details are indistinct — I would have made a very bad spy — because a video camera, even on a tripod, is an ungainly dance partner.  I wrote down personnels on the back of two JAZZ LIVES cards, which have now vanished into that place where Things That Vanish go.  So if I’ve left out the name of a noble participant, email me at swingyoucats@gmail.com. and tell me.

Or you can simply observe musicians brilliantly at play in the dark.

LONESOME BLUES (from the Hot Five book) Thomas Winteler, soprano saxophone; Frans Sjostrom, bass saxophone; Martin Litton, keyboard — he deserves a grand piano! — ; Roly Veitch, guitar; Josh Duffee, drums):

AFTER YOU’VE GONE (Thomas Winteler, soprano saxophone; Rico Tomasso, trumpet; Frans Sjostrom, bass saxophone; Martin Litton, keyboard; Martin Wheatley, guitar; Josh Duffee, drums):

I NEVER KNEW Andy Schumm, cornet; Rico Tomasso, trumpet; Jens Lindgren, trombone; Thomas Winteler, Michael McQuaid, Norman Field, reeds; Martin Wheatley, guitar; Frans Sjostrom, bass saxophone, and others):   

ONCE IN A WHILE (for Louis and the Hot Five — performed by Rico Tomasso, trumpet; Jens Lindgren, trombone; Thomas Winteler, Michael McQuaid, Norman Field, reeds; Spats Langham, guitar; Manu Hagmann, bass; Josh Duffee, drums, and others):

MY MELANCHOLY BABY (traditionally the dreaded request by inebriated patrons in the bar, but Spats Langham turns it into a masterpiece of tender swing here, aided by Andy Schumm, cornet; Kristoffer Kompen, trombone; Henri Lemaire, string bass; Matthias Seuffert, tenor saxophone; Michael McQuaid, alto saxophone, Josh Duffee, drums. The admiring watchers include Frans Sjostrom, Martin Wheatley, Stephane Gillot):

I SAW STARS (which I associate with the 1934 debut of Django and Stephane on Ultraphone — here rendered with sweet fervor by Roly Veitch, guitar / vocal; Rico Tomasso, trumpet; Matthias Seuffert, Michael McQuaid, reeds; Alistair Allan, trombone; Henri Lemaire, string bass; Josh Duffee, drums):

Then, as if by magic, the scene shifted . . . suddenly it was 1941; we were at Minton’s (or someplace north of 125th Street in Harlem, New York City; I had turned into Jerry Newman, recording swing-to-bop for posterity . . . you’ll hear what I mean.

LESTER LEAPS IN (Martin Litton, keyboard; Michael McQuaid, alto saxophone; Rico Tomasso, Andy Schumm, trumpet; Matthias Seuffert, tenor saxophone; Alistair Allan, trombone; Martin Wheatley, Roly Veitch, guitar; Manu Hagmann, string bass; Josh Duffee, drums):

TOPSY (Martin Litton, keyboard; Michael McQuaid, alto saxophone; Rico Tomasso, trumpet; Matthias Seuffert, tenor saxophone; Alistair Allan, trombone; Martin Wheatley, Roly Veitch, guitar; Manu Hagmann, string bass; Josh Duffee, drums):

After those last notes had stopped echoing, I (and some others) made our weary, happy way to bed . . . rocking gently on what we had heard, dreaming sweetly of the 2013 Party.

For Mister Mike.

And, as always, tickets are on sale to the 2013 Party, the best-organized high-spirited living jazz museum, here.

May your happiness increase.

“SHAKE IT AND BREAK IT”: THE RETURN OF THE DIXIE SYNCOPATORS at the WHITLEY BAY CLASSIC JAZZ PARTY (October 28, 2012)

A hot band is good to find.  And this splendid evocation of romping big band jazz is a special treat — led by pianist / scholar Keith Nichols at the 2012 Whitley Bay Classic Jazz Party on October 28, 2012, it evokes King Oliver’s Dixie Syncopators, a particular favorite of the guiding genius of the Classic Jazz Party, Mike Durham.

Alongside Keith, there are Duke Heitger (trumpet, vocal), Andy Schumm (cornet); Kristoffer Kompen (trombone); Gavin Lee, Matthias Seuffert, Rene Hagmann, reeds, with a guest appearance from Norman Field; Martin Wheatley (banjo); Phil Rutherford (brass bass), Josh Duffee (drums).

TOO BAD:

DEEP HENDERSON (the reference in the title is to a river, not to Fletcher or Horace):

SNAG IT (with vocal refrain by Mr. Heitger):

SOMEDAY SWEETHEART (with a guest appearance by Mr. Field as Mr. Dodds):

DOCTOR JAZZ:

WANG WANG BLUES:

SUGAR FOOT STOMP:

SHAKE IT AND BREAK IT:

For Mister Mike.  And, as always, tickets are on sale to the 2013 Party, the garden of delights, here.

May your happiness increase.