Tag Archives: Morten Gunnar Larsen

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!

IN THE SACRED NAME OF LOUIS: THE NORWEGIAN JAZZ KINGS “Live at Stortorvets Gjæstgiveri, Oslo, February 17, 2018”

I think of the deliriously pleasurable precedent established by Bent Persson and friends some forty years ago — that of understanding Louis Armstrong and colleagues so deeply and expertly that they could move in and out of his music, embellishing a characteristic phrase here or there, reminding us gently of a particularly memorable invention, but ultimately, going for themselves.  Bent and colleagues are still playing beautifully, but here are some slightly younger players from Norway, having the most wonderful time with Louis’ music.  These three performances were recorded at Stortorvets Gjæstgiveri, Oslo, on February 17, 2018, and they are made available to us through reed virtuoso Lars Frank’s YouTube channel.

They are the Norwegian Jazz Kings, and I am not going to argue with a single letter of that band-title.  On trumpet and cornet, Torstein Kubban; on clarinet and saxophone, Lars Frank; playing the bass saxophone and sousaphone, Christian Frank; piano, Morten Gunnar Larsen; banjo and guitar, Børre Frydenlund.  I have a particularly warm feeling for Torstein, Lars, and Morten, because I met and spoke with them several times at the jazz party formerly known as the Whitley Bay Jazz Party.  Christian and Børre I know from recordings, and admire them deeply as well.  (Incidentally, the gentleman sitting right in front of the sousaphone is friend-of-jazz, patron-of-the-arts, and record producer Trygve Hernaes, whom I also know from visits to Newcastle.)

These three videos honor the exalted period of Louis’ life when he was working with Earl Hines, Johnny Dodds, Baby Dodds, and Zutty Singleton.  Certainly regal even if not Norwegian.

I don’t know the order in which these pieces were performed, but let’s begin this blogpost with the lyrical and majestic TWO DEUCES, by Miss Lil:

Here’s a riotous but precise frolic on COME ON AND STOMP STOMP STOMP.  I had to play it several times because I couldn’t believe it.  I’m amazed that the fire marshals were not called in.  (I adore the translated title on the Dodds record.  Don’t you?):

And for me what is the piece de reistance, POTATO HEAD BLUES.  In case of historical quibbling, just remember Louis’ words, “Cat had a head shaped like a potato”:

As befits any person or organization in this century, the Norwegian Jazz Kings have a Facebook page.  Those in the know will immediately go there and do the fashionable act of “liking” it.  And since the wonders of cyberspace are limitless, here you can read the menu of the Stortorvets Gjæstgiveri, an Oslo landmark since the 1700s.  It made me hungry and wistful at the same time.

What a band, balancing elegance and focused power.  I wish them well and look forward to more marvels.

May your happiness increase!

“AN ORDER OF HOT, PLEASE, SIR!”: NOTES FROM THE VICTORY PUB, NEWCASTLE, UK (October 26, 2017)

“Chris and Chris” at the 2015 Steamboat Stomp in New Orleans. Photograph by Bess Wade.

I couldn’t make it to this year’s Mike Durham Classic Jazz Party, but my place as videographer has been filed nobly by a number of people, which is reassuring.  You can find their works on YouTube, but here is one performance so glorious that I wanted to share it with you.  The video is the work of my comrade Chris Jonsson — he’s half of the friendly team of “Chris and Chris,” the other half being Anne-Christine Persson (both snappy dressers as well who make all the hot festivals).  Chris Jonsson carries a video camera — low and unobtrusive — and has a YouTube channel called CANDCJ.

One of the highlights of the Party is the nightly jam sessions in the Victory Pub, where this year, they managed to get a small piano in, making the music even more true-to-life.  Chris captured hours of the “formal” sets, but the five selections he recorded in the Pub seem — to me, at least — even more thrilling. Here’s ONCE IN A WHILE, the Hot Five classic, played with immense energy and joy by some people I admire greatly: Kristoffer Kompen, trombone; Torstein Kubban, cornet; Lars Frank, reeds; Phil Rutherford, tuba; Jacob Ullberger, banjo; Morten Gunnar Larsen, piano.  And how fiercely they swing!

Thanks to five musicians and one gifted archivist.  And to Louis, of course.  An aside: proven morale-boosters and mood-enhancers (pick your jargon) for me are the company of people I love, caffeine, and anything associated with Louis.  I hope you feel better, too.

And a postscript.  This performance is hot enough to have ignited something, which reminded me that at the 2014 Party there was a fire in the Victory Pub, and we had to leave the hotel for a time.  The music that resulted when we returned is one of my favorite memories: you can see it here.

May your happiness increase!

DELIGHT IN DURANGO: BRIAN HOLLAND, DANNY COOTS, MARC CAPARONE, EVAN ARNTZEN, STEVE PIKAL, JUDY MULDAWER (March 24-26, 2017)

Imagine — a new band, five versatile creative players who obviously delight in the music and in the joyous collaboration.  At the moment, it’s called the Holland – Coots Quintet, with a more elaborate name to follow.  We’re fortunate to have an abundance of evidence about how good this band sounds, recorded by musician and archivist Judy Muldawer at the 5th annual Durango (Colorado) Ragtime and Early Jazz Festival, March 24-26, 2017.  The link to see the videos is http://www.banjojudy.com/2017/03/durango-ragtime-and-early-jazz-festival-2017-videos/.

The HCQ is Brian Holland, piano; Danny Coots, drums; Evan Arntzen, clarinet / tenor saxophone; Steve Pikal, string bass; Marc Caparone, trumpet.  Also at the festival were Carl Sonny Leyland, Morten Gunnar Larsen, and Adam Swanson. Here are brief biographies of all the players.

Judy’s YouTube channel is here, and it’s full of delights (I subscribed as soon as the first video emerged).  She also maintains a flourishing website with audio recordings from this and other festivals: for more video links and the audio files from the 2017 festival, visit http://banjojudy.com.  The key word in the search engine is “durango”.

and something sweet by James P., sung by Evan:

Doctor Caparone prescribes:

Judy has uploaded to YouTube more than fifty videos from this festival, and her own website has what seems like hours of audio, as if she’d stayed in her seat as a devoted archivist would.

And reliable sources have told me that this band — the HCQ — will be making a CD this summer.  I look forward to it.

May your happiness increase!

MAGGIE FEELS THE HEAT (November 8, 2015)

MAGGIE Swing label

SWING indeed.  It gets very hot in Newcastle during the long weekend when the Mike Durham Classic Jazz Party gently but firmly occupies the Village Hotel in Newcastle, England.

Nick Ball and Graham Hughes at the 2015 Mike Durham Classic Jazz Party. Photograph by Emrah Erken.

Nick Ball and Graham Hughes at the 2015 Mike Durham Classic Jazz Party. Photograph by Emrah Erken.

This year, the Party begins with a jam session on Thursday, November 3 . . . and runs almost without a letup until late Sunday (really, early Monday morning) — either November 6 or 7, depending on what your watch or smartphone tells you.

I’ve posted links to the Party site below, but before you venture into the land of Clicks, how about some hot music?  This rousing performance (from November 8, 2015) was part of a set led by Thomas Winteler paying tribute to the 1938-41 recordings Bechet made for Victor Records.

The heroes onstage are Thomas Winteler, soprano saxophone; Bent Persson, trumpet; Graham Hughes, trombone; Morten Gunnar Larsen, piano; Jacob Ullberger, guitar; Henry Lemaire, string bass; Nicholas Ball, drums.

Visit the Party’s Facebook page here.

To see who’s playing, click here.  And to book your seat, click here.

The Party’s webpage has a number of delightful videos, so prepare to spend some happy (hot) minutes.  I’ve posted a substantial number myself from 2009 on, on this site, too.  Maybe we’ll see each other there this November.

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!

“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!

 

WHEN SURRENDER IS TRIUMPH (BENT PERSSON and DUKE HEITGER, 2015)

I SURRENDER, DEAR, is truly a forlorn love song.  Not “You left me: where did you go?” but “Without you I can’t make my way,” which is a more abject surrender to love unfulfilled.

surrender1

And here’s Bing, both in 1931 and 1939 — so you can hear the intense yearning in the words and music:

A very mature version (with John Scott Trotter):

(There are several more Bing-versions of this song, for those willing to immerse themselves in YouTube, including a 1971 performance on the Flip Wilson Show where one line of the lyrics is . . . altered.)

But now to Mister Strong.

On November 6, 2015, this glorious group of musicians — Bent Persson, Rico Tomasso, Menno Daams, Kristoffer Kompen, Lars Frank, Robert Fowler, Michael McQuaid, Morten Gunnar Larsen, Malcolm Sked, Nick Ball, Spats Langham did the holy work of evoking Louis Armstrong at the 2015 Mike Durham Classic Jazz Party.  Here’s my video of this wonderful song — sung and played by the heroic Bent Persson:

Here, for the cinematographers in the viewing audience, is Flemming Thorbye’s video of the same performance — which is much better than mine!

And about two months earlier, Duke Heitger, trumpet; Rossano Sportiello, piano; Nicki Parrott, string bass; Ricky Malichi, drums, gave this beautiful song a treatment that reminds me a little of Benny Carter and Teddy Wilson, not bad antecedents at all:

We associate surrender with defeat, with failure.  If love requires the surrender of the armored ego, that’s a triumph.  And the creation of beauty out of painful yearning, another triumph.  Incidentally, the Cleveland Classic Jazz Party takes place in September; the Mike Durham Classic Jazz Party in November.  So no reason for conflict.

May your happiness increase!

“SECOND REUNION”: THE UNION RHYTHM KINGS ON DISC and LIVE

The Union Rhythm Kings at the 2013 Whitley Bay Classic Jazz Party

The Union Rhythm Kings at the 2013 Whitley Bay Classic Jazz Party

The debut CD of this wonderful hot band, A HOT REUNION, on Herman Records, came out in 2009.  So the second one is long overdue, and I am happy to report that it is here, and as delightful as its predecessor.  (I am grateful to Trygve Hernaes, the band’s enthusiastic guide and supporter, for enabling me to hear them on disc before I’d met them all in person.)

The band, the Union Rhythm Kings, is a wonderful hot hybrid of Norwegian and Swedish musicians — Kristoffer Kompen, trombone; Bent Persson, trumpet; Lars Frank, reeds; Morten Gunnar Larsen, piano, Frans Sjostrom, bass saxophone; Jacob Ullberger, banjo / guitar.  For the geographers keeping score, Kris, Lars, and Morten are from Norway; Bent, Frans, and Jacob from Sweden. The band even has its own Wikipedia page.

What sets the URK apart (and above) many other “traditional” jazz bands is the excellence of their solo and ensemble work, expert and impassioned, and free from cliche.  They are inspired by the original recordings and arrangements, but they bring their own energy to the repertoire.  They’ve broken free of the Jazz Museum.

On this disc, much of that repertoire is comfortable Morton, Ellington, Armstrong, Luis Russell, and Beiderbecke — but the URK takes pleasure in Jack Purvis and obscure Morton. Thus, CLARINET MARMALADE, CROCODILE CRADLE, DAVENPORT BLUES, SARATOGA SHOUT, HUMPTY DUMPTY, WHEN YOU’RE FEELING BLUE, I DIDN’T KNOW, I AIN’T GOT NOBODY, MILENBERG JOYS, RIVERBOAT SHUFFLE, WHAT’S THE USE OF CRYIN’, BABY, SANTA CLAUS BLUES, BLUES OF THE VAGABOND, SOMEBODY STOLE MY GAL, DUSKY STEVEDORE.

I’ve listened to them with great pleasure at their recent annual appearances at the Mike Durham Classic Jazz Party, and I have some performance video from November 5-8 to share with you — which will embody the band’s virtues better than paragraphs of enthusiastic prose.  The great young drummer Nick Ball helps out on all these performances.

Here are four from their Sunday-evening concert:

DAVENPORT BLUES:

BLUES OF THE VAGABOND:

HUMPTY DUMPTY:

CLARINET MARMALADE:

and four from the Thursday-night pub session:

In honor of the Luis Russell band, SARATOGA SHOUT:

For solitaries everywhere, I AIN’T GOT NOBODY:

and these last two (with Bix in mind), with Thomas Winteler sitting in for Lars:

SORRY:

JAZZ ME BLUES:

The URK discs (beautifully recorded), can be obtained from Sonor Records AS,
Postboks 4275, NO 7436 Trondheim, Norway.  Information at email: sonoras@online.no.  Price: NOK 200 or USD 25, packing and postage included. Payment via Paypal, to the email address above.

May your happiness increase!

A SERENADE TO THE GODDESS OF GOOD FORTUNE: THOMAS WINTELER, MORTEN GUNNAR LARSEN, JACOB ULLBERGER, HENRY LEMAIRE at MIKE DURHAM’S WHITLEY BAY CLASSIC JAZZ PARTY (November 8, 2015)

MAMIE SMITH LADY LUCK BLUES

This song — new to me although almost a century old — made a powerful impression on me when Thomas Winteler, the great soprano saxophonist (and clarinetist) performed it at Mike Durham’s Whitley Bay Classic Jazz  Party on November 8, 2015.  Accompanying him were Morten Gunnar Larsen, piano; Jacob Ullberger, guitar; Henry Lemaire, string bass.  It’s a passionate performance:

Here’s the original 1923 recording, with Mamie Smith’s powerful penetrating voice matched by Bechet’s soaring soprano (and Buddy Christian, banjo):

And the first, even more convincing recording, that same year, by Bessie Smith and Fletcher Henderson:

And a 1935 instrumental version with Williams, Cecil Scott, Ed Allen, Jimmy McLin, Cyrus St. Clair, and Willie Williams:

I hope the Goddess smiles on your efforts.

May your happiness increase!

BEHIND THE SCENES: BENT PERSSON, THOMAS WINTELER, GRAHAM HUGHES, MORTEN GUNNAR LARSEN, MALCOLM SKED, HENRI LEMAIRE, NICK BALL (Whitley Bay Classic Jazz Party, Nov. 8, 2014)

“How do they do it?” is the question, uttered or thought, that we all ask when we hear our admired jazz musicians sing or play as part of an ensemble.  “How do they know where to go?  Even when they have music in front of them, how are there no collisions?”

WB 2014 photo for rehearsal

The answers are deep and not easy to put into words.  Professionalism is part of it, a common language, experience with hours of practice (solo and with others), the great gift to improvise.  It’s deeply intuitive, and the only analogy for non-musicians might be, “How do we know what to say — if, in fact, we do — when among people we don’t know?  How do we know how to be part of a conversation, how to follow the general threads of thought and feeling?”

One of the great pleasures of what is now called the Mike Durham Classic Jazz Party (colloquially known to its friends as “Whitley Bay”) is that, because the music can be complicated, and the musicians don’t all play with one another regularly, there are hours of open rehearsals.  People like myself can sit in the Village Hotel ballroom and watch and listen for hours.  I do it with my camera, because once in a great while a band catches fire are plays gloriously, as if the musicians were in a back room in a Chicago nightspot.

Late last year, after the 2014 Party was over, I’d sent one of the rehearsal videos to trumpeter Bent Persson — it was a Bechet tribute with Thomas Winteler on clarinet and soprano saxophone, Graham Hughes, trombone; Morten Gunnar Larsen, piano; Henri Lemaire, guitar and banjo; Malcolm Sked, brass and string bass; Nick Ball, drums — and asked him if he thought it could be shared with the public.  The song was ACHIN’ HEARTED BLUES, which contains a labyrinth of instrumental breaks.  This year, Bent said I could go ahead and post it.

It is, of course, a rehearsal.  So there are long pauses.  Questions are asked. Some of this will be curious to non-musicians.  But it is a wonderful opportunity, I think, to see how — without words, magically — a performance comes together. And the rocking complete version of ACHIN’ HEARTED BLUES is, for me, magical:

Words would not be terribly useful to explain what happens here — part knowledge, part empathy, part wizardry.  But I see and hear something new each time I revisit the video.

In case you need more encouragement to get yourself to this year’s Party — which starts November 5 and ends November 8 or perhaps in the early hours of the 9th — here is a list of the musicians who will be there.  Astounding, in short. I’ve left my comfortable New York nest every year since 2009 to be there, and the rewards are huge.

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!

HOMAGE TO ADRIAN: FRANS SJOSTROM’S NEW YORK GANG: DUKE HEITGER, LARS FRANK, KRISTOFFER KOMPEN, MORTEN GUNNAR LARSEN, JACOB ULLBERGER, NICK BALL (Whitley Bay Classic Jazz Party, November 7, 2014)

From the JAZZ LIVES Collection (currently on display in the JAZZ LIVES kitchen)

From the JAZZ LIVES Collection (currently on display in the JAZZ LIVES kitchen)

I’d love to have this Gang in my neighborhood: paying tribute to Adrian Rollini, they make beauty, not violence.  This session took place at the 2014 Whitley Bay Classic Jazz Party, and the “New York Gang” evoked five classic recordings with connections to Rollini from 1928 to 1934.  They were Frans Sjostrom, bass sax / leader; Morten Gunnar Larsen, piano; Jacob Ullberger, guitar; Nick Ball, drums; Duke Heitger, trumpet; Lars Frank, tenor saxophone; Kristoffer Kompen, trombone.

IF I HAD YOU (if memory serves, the 1928 arrangement from a Sam Lanin record featuring one Bing Crosby, vocal):

DAVENPORT BLUES by our man from that town:

SOMEBODY LOVES ME:

SUGAR:

RIVERBOAT SHUFFLE:

Such sessions have been the hallmarks of every Whitley Bay Classic Jazz Party since before my time — my first was in 2009.  Notice, please, the enchanting mix of expertise and casualness, while great recordings and great performers are evoked, more than imitated.  It’s a wonderful party — now renamed the Mike Durham Classic Jazz Party — and this year’s version begins with a jam session by the Union Rhythm Kings, a glorious band, on November 5, and the party goes until November 8, or perhaps the early hours of November 9.

You’ll be more than satisfied.

May your happiness increase!

DON’T GET MAD, GET HOT! CLAUS JACOBI, MORTEN GUNNAR LARSEN, MAURO PORRO, ANDY SCHUMM SPATS LANGHAM, JOSH DUFFEE, PHIL RUTHERFORD, ALISTAIR ALLAN at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 8, 2014)

At the 2014 Whitley Bay Classic Jazz Party, someone titled this band and this set “The Freshmen,” but it’s clear the players were well beyond post-doctoral studies. Claus Jacobi, Mauro Porro, reeds; Alistair Allan, trombone; Andy Schumm, cornet; Morten Gunnar Larsen, piano; Spats Langham, banjo; Phil Rutherford, bass; Josh Duffee, drums.

First, two from the collaboration of the New Orleans Rhythm Kings and Jelly Roll Morton:

MAD:

MILENBERG JOYS:

And from the Wolverines book —

SUSIE (she was from the Islands, if I recall.  Which ones?):

LAZY DADDY:

If you feel like visiting the real thing in its native element, I can’t urge you too much to investigate an actual pilgrimage to the Mike Durham Classic Jazz Party which will happen Nov. 6-8, 2015.  I know from past experience that tickets and seats are quickly getting snapped up.  And it’s never to early to make plans to get hot.

Before the band starts MILENBERG JOYS, Claus asks, gently, “Wonderful, isn’t it?”  I would change the question to an affirmation.

May your happiness increase!

THE LATE MISTER MORTON: BENT PERSSON, MORTEN GUNNAR LARSEN, THOMAS WINTELER, JEAN-FRANCOIS BONNEL, GRAHAM HUGHES, JACOB ULLBERGER, HENRI LEMAIRE, NICK BALL at the 2014 WHITLEY BAY CLASSIC JAZZ PARTY (November 7, 2014)

Cornetist / trumpeter / scholar Bent Persson loves Jelly Roll Morton.  Here, he assembled a cohesive little band for a set at the Whitley Bay Classic Jazz Party (on November 7, 2014)  that took as its text Morton’s last recordings, from 1940 and 1941.  Bent’s colleagues are Nick Ball, drums; Henri Lemaire, string bass; Jacob Ullberger, guitar; Morten Gunnar Larsen, piano; Thomas Winteler, Jean-Francois Bonnel, reeds; Graham Hughes.

In the full-band titles, most of which featured Henry “Red” Allen, one of Bent’s (and my) heroes, one hears an approach different from the Victor Red Hot Peppers — sometimes as if Morton was adapting conventions of Swing Era arranging for his own purposes, with great effectiveness.

Here are five selections, each rewarding and full of small surprises.

MY HOME IS IN A SOUTHERN TOWN, which rollicks along:

WININ’ BOY BLUES, without a vocal but with double-time passages:

KING PORTER STOMP in its original form as a piano solo, which — after decades of hearing it scored for brass and reeds — sounds novel, almost startling.  Talk about “orchestral piano”!

FROG-I-MORE RAG, as imagined for the trio of Thomas, Morten, and a very happy Nick:

SWEET SUBSTITUTE, for full band, echoing the powerful General recording:

I’ll be at the 2015 Mike Durham Classic Jazz Party.  These videos, and others I’ve posted, should answer the question “Why?” neatly.  At least they do for me.

May your happiness increase!

THE MANY LIVES OF SIDNEY BECHET: THOMAS WINTELER, BENT PERSSON, GRAHAM HUGHES, MORTEN GUNNAR LARSEN, HENRI LEMAIRE, MALCOLM SKED, NICK BALL at WHITLEY BAY (Nov. 8, 2014)

The very great Sidney Bechet was an assertive soloist early in the history of jazz, a swaggering melodic improviser who pointed the way for many players. Sometimes his legacy gets compressed into SUMMERTIME (which is an offering in the presentation below) but his legacy was much more expansive than one operatic performance.

BECHET

Here, at the 2014 Whitley Bay Classic Jazz Party, reed virtuoso Thomas Winteler and friends Bent Persson, trumpet and vocal; Graham Hughes, trombone; Morten Gunnar Larsen, piano; Henri Lemaire, banjo / guitar; Malcolm Sked, bass; Nick Ball, drums, offer a wide-ranging portrait of Monsieur Bechet from the very early Twenties to the mid-Forties, with familiar songs taking a back seat to less-played ones, including a pair of unrecorded Bechet originals.

OH, DADDY:

SHREVEPORT BLUES:

Forward more than fifteen years, to his version of Victor Herbert’s lovely INDIAN SUMMER:

From the Decca date with Louis (here Bent sings the blues), 2:19 BLUES:

OLD FASHIONED LOVE:

SUMMERTIME:

Two Bechet originals, never recorded — SWEET LOUISIANA / I’LL BE PROUD OF YOU:

GEORGIA CABIN:

A memory of the 1945 Blue Note date with Bunk Johnson, PORTO RICO:

This happens only at the Whitley Bay Classic Jazz Party, now called the Mike Durham Classic Jazz Party in honor of its beloved founder, and it will happen again on November 5-8, 2015.

May your happiness increase!

SWEET LIKE THIS: SPATS LANGHAM, LARS FRANK, MORTEN GUNNAR LARSEN, PHIL RUTHERFORD, JOSH DUFFEE at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 7, 2014)

Thomas “Spats” Langham is one of the great romantic singers of our time.  Every year at the Whitley  Bay Classic Jazz Party he moves me to tears.  I do not write those words lightly.  He can perform his deep emotional magic on a love song like GUILTY (you can find it here) but his wizardry is not restricted to amorous crooning.  No, it’s even deeper and less conventional, as he demonstrated on the evening of November 7, 2014, in his performance of a song associated with Cliff Edwards, “Ukulele Ike” to those on close terms.

NIGHT OWL is a captivating song — music and lyrics by Herman Hupfeld — with a melody that, once heard, refuses to leave, and lyrics that move from the poetic wordplay of “I make light of the darkness” to the time-filling repetition of “hooting” . . . but it casts its own spell, verse and chorus.

I think Mr. Langham’s mastery comes from a double sensibility.  You can see him give himself utterly to the song and its romance, yet, at the same time, there is a hint of amusement: “These are the most important words in the world and I must make sure that you feel them deeply but I also know they are just a touch silly . . . and I love them for both reasons.”  Imagine a huge heart and the slightest hint of a grin, simultaneously. His approach is subtle — not the let’s-have-a-ball ebullience of Fats Waller, nor the lush wooing of Russ Columbo, but it is its own splendid personal amalgam.  There’s no one like him, and we are blessed that he exists.

Lester Young told Francois Postif, speaking about the music he was searching for, “It’s got to be sweetness, man, you dig?”  Lester would have enjoyed Spats Langham immensely.  As do we:

Postscript:  Some YouTube viewers are impatient creatures, so they will want to know that the musical part of this performance begins at 2:10, but if you skip forward you will miss Mr. Langham’s narrative about the intriguing-looking, rare and precious musical instrument he is holding (and playing expertly).  It’s a novella in itself.

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!

MARMALADE. YES, PLEASE. (Nov. 3, 2013)

Not this.

Marmalade jar

Or these.

Marmalade kittens

You’re getting warmer.

Marmalade ODJB

Almost there.

Marmalade Bix

But what follows is nothing historical, and it exists in the twenty-first century: CLARINET MARMALADE, played with exuberant Bix-and-Tram-and-Rollini brilliance at a jam session.

To me, this performance is so hot that it should have CAUTION! in its title — near the end of the 2013 Whitley Bay Classic Jazz Party, a hot session in the Victory Pub of the Village Hotel Newcastle, featuring Torstein Kubban, cornet; Kristoffer Kompen, trombone; Andy Schumm, C-melody saxophone; Lars Frank, clarinet; Claus Jacobi, bass sax [the one and only belonging to Frans Sjostrom], Morten Gunnar Larsen, keyboard; Jacob Ullberger, banjo; Josh Duffee, drums; various unidentified dancers and pedestrians.

Recorded on November 3 or perhaps the morning of November 4, 2013 — I cn no longer remember!

I know that this exuberance will happen again at this year’s Party — which is coming around the corner in fourth gear — as it has happened every year I’ve been there. (It begins on the evening of Thursday, November 6, 2014, which is a week away.  I should begin to pack now.)

Since absurdity appeals to me almost as much as does hot jazz, I have to tell JAZZ LIVES readers that when I was documenting this video on YouTube, various helpful terms appeared at the bottom of the page to be considered as tags.  One of them (understandably) was “fruit preserves.”  Indeed.

See you in the Victory Pub, I hope.

And for another three minutes of Torstein, Lars, and Kris, here’s this lovely hot too-brief interlude on MELANCHOLY (with a serenely self-absorbed still photographer to bring the fun to an abrupt close):

May your happiness increase!

RAGS, STOMPS, BLUES, JOYS, and a CRADLE: MORTEN GUNNAR LARSEN’S RED HOT PEPPERS at the WHITLEY BAY CLASSIC JAZZ PARTY (Nov. 2, 2013)

Care for some Jelly Roll?  I certainly do.

Both as pianist and scholar, Morten Gunnar Larsen knows his Jelly Roll Morton, and his knowledge and love show in his playing.

This Morton tribute comes from the 2013 Whitley Bay Classic Jazz Party, and it is an especially rewarding one because it gently and effectively combines a reverent approach to the originals with on-the-spot improvisation.  So what you experience is more than a series of scroll Victor 78s played live

Morten was able to assemble a fine band: Josh Duffee, drums; Frans Sjostrom, bass saxophone; Jacob Ullberger, banjo; Lars Frank, clarinet / soprano; Kristoffer Kompen, trombone; Bent Persson, cornet; guest star Aurelie Tropez*, clarinet.

THE SUPERIOR RAG:

MILENBERG JOYS*:

DEAD MAN BLUES*:

WOLVERINE BLUES* (a quartet of Morten, Lars, Aurelie, and Josh):

KANSAS CITY STOMPS:

Another previously unknown Morton composition, a “SLOW STOMP” called CROCODILE CRADLE:

BLACK BOTTOM STOMP:

Morten plays Morton.  What could be nicer?

And to make the point I have been making throughout this year: at the 2014 Whitley Bay Classic Jazz Party, starting on Thursday, November 6, sessions like this are the rule, not the exception.

May your happiness increase!

BECOMING ENLIGHTENED: CECILE McLORIN SALVANT and DARYL SHERMAN SING ELLINGTON at WHITLEY BAY (Nov. 3, 2013)

Here’s an energized romantic song, a Forties Ellington hit, performed by two “hip chicks” and a swinging band (unfortunately off-camera) at the 2013 Whitley Bay Classic Jazz Party.

They are Daryl Sherman (in mauve) next to Cecile McLorin Salvant, and the band is Richard Pite, drums; Malcolm Sked, string bass; Jacob Ullberger, guitar; Morten Gunnar Larsen, piano; Duke Heitger, trumpet; Kristoffer Kompen, trombone; Matthias Seuffert, reeds.

I’m posting this not only because of its delightful savor, but because I can count the days (about fourteen) until the next Whitley Bay Classic Jazz Party. It begins on the evening of Thursday, November 6, and runs until late Sunday night, November 9 . . . possibly into Monday morning.  Tickets may still be available: you can check here. It might be costly for those not close to Newcastle, UK, to attend, but it is eminently worth the trip. There’s no festival like it, nor (in my decade of serious study of the matter) has there ever been.  In the ancient dialect of the area, “Get thee hence, if thou canst.”

May your happiness increase!

WITH BIX IN MIND: WHITLEY BAY CLASSIC JAZZ PARTY (ANDY SCHUMM, BENT PERSSON, ANDY WOON, GRAHAM HUGHES, MORTEN GUNNAR LARSEN, FRANS SJOSTROM, JOSH DUFFEE: NOVEMBER 3, 2013)

At the Whitley Bay Classic Jazz Party, held in the Village Hotel, Newcastle, UK, the musicians work hard at creating the fabled jazz ensembles of the past — Henderson, Morton, Ellington, great British hot dance bands, and more — with sheaves of manuscript paper and splendid results.

To balance all of this, there are jam sessions in the hotel’s Victory Pub where no arrangements are to be found, but the same devotion to the heroes of the past is evident. But the music is more loose-limbed, and the evocations more playful. Here are four samples — recorded late Sunday night, November 3, 2013 (or was it Monday morning by then?) after the closing set of the party. The man on everyone’s mind was “the dear boy” from Davenport, Iowa — honored by Andy Schumm, Bent Persson, and Andy Woon, cornet; Graham Hughes, trombone (appearing on all but the first, and singing cheerfully on MARGIE), Morten Gunnar Larsen, keyboard; Frans Sjostrom, bass saxophone; Josh Duffee, drums.

AT THE JAZZ BAND BALL:

LOVE NEST:

TODDLIN’ BLUES:

MARGIE:

A Jazz Band Ball, indeed.

See you at the Whitley Bay Classic Jazz Party this November, where this music will blossom, in the light or in the darkness.

May your happiness increase!