Tag Archives: Michael McQuaid

THE LIFE-FORCE, SCORED FOR FIVE MUSICIANS

Some phenomena are so strong or so evident that they make commentary superfluous.  You don’t need The Weather Channel to tell you when it’s snowing, and you don’t need me to explain the next three brief video performances. However, if you plan to watch them on your phone, beware, because the energy contained here might blow your SIM card across the room.

For those who desire explication, there are credits at the end of each video.  (The videos themselves are gorgeous: usually I find most multi-camera shoots more jumpy than required, but here, all praise to the videographers.)

THAT’S NO BARGAIN:

VOODOO:

HIGH FEVER:

Not that there isn’t a place for loose and long renditions of ROYAL GARDEN BLUES in my world, but this band and these performances are very cheering alternatives to much of what is offered as pre-World War Two hot music.

For those who thrive on data, here is the relevant YouTube channel, and here is the band’s website (in all its permutations).  This is the band’s gig schedule for July and August — unfortunately for me, somewhat distant from New York, but perhaps we shall rendez-vous sometime.  And here is what I wrote about the band’s debut CD.

Now, if you’ll excuse me, I’m going to bundle up my computer and take it to Byron and Henry, my very trusted repair-wizards.  It began to tremble during the final video, and that worries me.

May your happiness increase!

“DIASPORA”: MICHAEL McQUAID, ANDREW OLIVER, NICHOLAS D. BALL

A few nights ago, I was sitting in my apartment, entertaining friends (one of them the fine guitarist Larry Scala) and I was playing 78s for them.  After a particularly delightful performance, which may have been the Keynote I WANT TO BE HAPPY with Roy, Emmett Berry, and Joe Thomas, or 46 WEST 52 with Chu Berry, Roy, and Sidney Catlett, I turned to them and quietly said, “Music like this is why some bands that everyone else goes wild about do not appeal to me.  I’ve been spoiled by the best.”

But there are glorious exceptions to my assessment of the present.  One of the shining musicians of this century is  Michael McQuaid — heard on a variety of reeds and cornet, even possibly breaking in to song when it seems right.  I first heard him live in 2010 and admired him powerfully, and although our paths don’t cross often (we meet every few years, not only in Newcastle but also in Chambersburg, Pennsylvania, and in New York City) he remains a model to me of what can be created within and without those venerable musics.  (Full disclosure: he quotes from JAZZ LIVES on his blog, but I simply take that as evidence of his good taste in literature.)

Michael, informally

If you’d like to read a brief biography of Michael, you can do just that here, but I will offer three salient facts: he is Australian by birth; he has been playing professionally for twenty years even though he is a mere 35; he and the lovely Ms. Anna Lyttle will take up residence in London in November 2017.

Michael, feeling the spirit

His newest CD, DIASPORA, is an exceptional pleasure.  It’s a trio CD — Michael’s first as a leader in this format — where he is nobly paired with pianist Andrew Oliver and percussionist Nicholas D. Ball.  When you click on the title above, you can hear selections from the disc, and if so moved, then purchase it from Bandcamp or CDBaby.

But enough commerce.  I’ve found it daunting to review this CD in a hurry, not, I assure you, because I had to dig for adjectives, but because each performance — none of them longer than a 12″ 78 — is so dense with sensation, feeling, and music, that I feel gloriously full and satisfied after each track.  I couldn’t compel myself to listen to this disc, stuffing in track after track at one sitting: too much glorious stuff was going on.  So I promise you that it will not only appeal at the first listening but for many more to come.  Michael, Andrew, and Nicholas D. are strong personalities but willing to merge their egos into a band, which in itself is a deep reward for us.

The music here is nicely contradictory: comforting but full of surprises, aesthetically familiar but never rote.  “Clarinet, piano, and traps,” as they would have written in 1928, lends itself to all sorts of formulae: the Goodman / Dodds / Noone “tribute” album.  Or, more loosely, “Chicago jazz.”  DIASPORA, it is true, nods affectionately to early Benny, Wingy, Leon, the Halfway House boys, Fats, Bud Jacobsen, Charles LaVere, and others, but it is not a series of copies: it’s as if Michael, Andrew, and Nicholas D. have made themselves so familiar with the individual songs and the idioms they came from that they are at ease and can thus speak for themselves.  There is so much shining energy in their playing: nothing seems forced or tense.  And although this would be marketed as “hot jazz,” some of the finest moments in this recital are sweet, rueful, tender: Fats’ CHELSEA, for one.

I asked Michael for his thoughts about the CD, especially because there are no liner notes, and he told me that he wanted to let the music speak for itself, and that DIASPORA has been on his mind for some time: “I wanted to do a project featuring my OWN playing rather than a larger group with a more democratic purpose. I also wanted to record in a very good studio, because I think the clarinet is rarely recorded well . . . it’s just me and my Albert system clarinet! And my colleagues, of course.”  [Note from Michael: the recorded sound is superbly natural.]

The songs Michael chose are admiring homages to various clarinetists without imitating them.  “For instance, ‘Do Something’ was imagined as a hypothetical Don Murray/Arthur Schutt/Vic Berton collaboration; ‘Tiger Rag’ asks ‘what if Rappolo and Jelly Roll made a trio side?’.”

I’d asked Michael about his original compositions.  “‘Black Spur’ takes its name from a treacherous mountain road to the north east of Melbourne, while ‘Diaspora’ is a Beguine/Jazz mix, paying tribute to the musical styles (and peoples) scattered widely throughout the world by the time of the 1920s/30s.  Of course, there’s a link there to the album title as well; an Australian, playing music of American origin (broadly speaking) with an American and a Briton, recorded and mixed in London and mastered in Helsinki!”

I hope all my readers take the opportunity to hear DIASPORA: it’s music that travels well.

May your happiness increase!

ÉLAN VITAL: THE VITALITY 5 ROCKS!

vitality-5

The VITALITY FIVE (and its band-within-a-band, the VITALITY THREE) are the real thing, and the quintet has released its debut CD, which is a complete delight.  They are a hot jazz band; their performances marry ferocious energy and precise delicacy.

Drum roll, please?

THE FAMOUS “VITALITY FIVE” JAZZ BAND of London.
Featuring internationally-renowned Syncopators from three corners of the globe :

Mr. MICHAEL McQUAID : Clarinet, Alto Saxophone & Trumpet.
Mr. DAVID HORNIBLOW : Bass Saxophone & Clarinet.
Mr. MARTIN WHEATLEY : Banjo & Guitar.
Mr. ANDREW OLIVER : Pianoforte.
Mr. NICHOLAS D. BALL : Drums & Percussion.

I know three of these Syncopators in person and will vouch for their Credentials of Hot.  Their biographies can be found here.

But mere words have their limitations, so here is audio-visual evidence:

and a Morton trio:

and some Nichols-Mole-Livingston-Berton modernism:

The repertoire on this CD says a great deal about the players and their overall conception.  Familiar hot tunes: EAST COAST TROT, MOJO STRUT, SMOKE-HOUSE BLUES, SHE’S CRYING FOR ME, WA WA WA — and the less familiar MOTEN STOMP, KANSAS CITY BREAKDOWN (both early Bennie Moten), CLARINETITIS (another Benny), STEAMBOAT STOMP (Boyd Senter), DIXIE (Adrian Rollini, for his wife), the pop tune IF YOU WANT THE RAINBOW, and the never-played DESDEMONA, BLACK RAG, REVERIE, RETOUR AU PAYS, suggesting a deep immersion and erudition about this period of music.  Although the credits say “transcriptions,” it’s easy to see that when you “transcribe” WA WA WA or SMOKE-HOUSE BLUES for this singular ensemble, it is much more a transformation.  And it’s thus a lively reimagining.  JAZZ LIVES viewers with memories will know Michael McQuaid, Nicholas Ball, and Martin Wheatley as peerless musicians; I assure that David Horniblow and Andrew Oliver are nothing short of spectacular.  In fact, the entire ensemble has an appealing looseness precisely because they are honoring the originals and the originators without striving to provide copies of the records.  So this is hot jazz of the middle Twenties that is also aware that it is no longer 1926, which is fine with me.

All I know is that it took an act of will to pry the disc out of the player.  The band’s website is here.  To purchase the CD, visit here.  I can assure you that this quintet superbly lives up to the band’s name.

And thanks to Julio Schwarz Andrade, of course.

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!

HOMAGE TO HUGHES: MENNO DAAMS and his ORCHESTRA at the MIKE DURHAM CLASSIC JAZZ PARTY (Nov. 7, 2015)

Before there was any discussion of “Third Stream Music,” jazz and classical shaking hands congenially, before Gil Evans or Gunther Schuller, there was Patrick “Spike” Hughes — British writer, composer, bassist — who visited the United States in 1933 for a memorable series of recordings that used the Benny Carter orchestra with guest stars Henry “Red” Allen and Coleman Hawkins.

SPIKE HUGHES

John Wright’s wonderfully detailed (and lively) biographical sketch of Spike can be found here.

FIREBIRD

Many of us have marveled at Spike’s 1933 recordings, which blend European compositional ideas with hot solos.  But it waited until 2015 for someone to put together an expert jazz orchestra to play transcriptions of those sides.  That someone is the magnificently talented Menno Daams.  (Bent Persson, Menno’s diligent trumpet colleague, also transcribed the Red Allen solos — as arduous as task as one could imagine).

ARABESQUE

This orchestra offered its tribute to Spike’s 1933 music at the November 2015 Mike Durham Classic Jazz Party, and I was fortunate enough to be sitting in front of this eloquent band.  Here are seven performances from this set: notice the shifting textures behind the soloists, and the soloists themselves.  If these compositions are new to you, notice their charming and surprising mixture of 1933 hot dance music, fervent soloing, and advanced harmonies: before we are a whole chorus into NOCTURNE, for example, we have the sense of a landscape both familiar and unsettling — even when absorbing this music in 2016.  There’s beautiful lyricism and a rocking 4/4 beat, but it’s as if, while you slept, someone has painted the walls of your living room different colors and nailed the kitchen cutlery to the ceiling.

I salute Menno for bringing this modernistic music to us, and the band for rendering it so superbly.  They are: Menno Daams, cornet; Bent Persson, Rico Tomasso, trumpet; Michael McQuaid, Claus Jacobi, Matthias Seuffert, Lars Frank, reeds; Kristoffer Kompen, Alistair Allan, Graham Hughes, trombone; Martin Litton, piano; Spats Langham, guitar / vocal; Henry Lemaire, string bass; Richard Pite, drums.

NOCTURNE:

AIR IN D FLAT:

SWEET SORROW BLUES:

FIREBIRD:

ARABESQUE:

DONEGAL CRADLE SONG:

SOMEONE STOLE GABRIEL’S  HORN (vocal Spats):

A personal note: I first heard the Spike Hughes sides in 1972, and they struck me as beautifully ambitious music.  The impression hasn’t faded.  But viewing and re-hearing Menno’s precise, swinging transcriptions and the band’s playing, I heard aspects of the music I’d not heard before, and even the listener new to this can find a thousand delights that grow more pleasing each time.  I think this set a magnificent accomplishment.  Only at the Mike Durham Classic Jazz Party could such marvelous undertakings find a home and an appreciative audience.  Join me there this November.

May your happiness increase!

“BIX OFF THE RECORD” at the MIKE DURHAM CLASSIC JAZZ PARTY: ANDY SCHUMM, KRISTOFFER KOMPEN, MICHAEL McQUAID, DAVID BOEDDINGHAUS, FRANS SJOSTROM, JOSH DUFFEE (Nov. 8, 2015)

Imagine, if you will, a friendly conversation between Bix Beiderbecke and Hugo Gernsback — rendered without a word, in lovely mysterious music — and you have some idea of what follows.

I don’t care to rank artists — let others create pyramids with The Hero(ine) at the apex — but it fascinates me that the collective grief at the death of Bix is so strong that generations of musicians have energized themselves in homages, exact or imaginative.  It is as if we cannot endure the fact of his death, so musicians invent contexts in which his glowing spirit can be summoned anew. It used to take the form of copying a Bix solo (SINGIN’ THE BLUES might be the most copied one I know) but that had its limits, so musicians began to imagine alternate universes.  What if Bix had played Gershwin?  What if we could know what CLOUDY sounded like?  And, most recently, how might Bix have sounded on songs of his time and place that he never recorded?

In 2014, an expert and heartfelt group assembled after the Whitley Bay Classic Jazz Party — Andy Schumm, cornet; Kristoffer Kompen, trombone; Mauro Porro, reeds; David Boeddinghaus, piano; Frans Sjostrom, bass saxophone; Josh Duffee, drums — to create the CD for Lake Records, called whimsically BIX OFF THE RECORD:

BIX OFF THE RECORD

In 2015, the same players — with Michael McQuaid taking Mauro’s place — played another set: the delightful results below.  Andy provides commentary as needed.

WOLVERINE BLUES:

TELL ME:

CATARACT RAY BLUES:

MY BABY’S ARMS:

DRIFTWOOD:

Beautiful performances of songs that haven’t been overplayed, all in the idiom but expansively imagined.

But wait! There’s more!  Andy, Rico Tomasso, and other nobles have recorded a new CD for Lake Records — WHEN LOUIS MET BIX, celebrating hot nights in 1928 Chicago — with Matthias Seuffert, Alistair Allan, Morten Gunnar Larsen, ‘Spats’ Langham, Malcolm Sked, Nicholas D. Ball.

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; Come On and Stomp, Stomp, Stomp; My Melancholy Baby; When She Came To Me; I’m Just Wild About Harry; The Baltimore.

WHEN LOUIS MET BIX

A copy is winging its way to me through the mail. Details (of a digital sort) here.

Thank you, gentlemen — alive and dead.

May your happiness increase!