Tag Archives: Nick Ward

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!

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“AFTER YOU’VE GONE”: BEN COHEN’S HOT SEVEN at BUDE, 2000

Ben Cohen Hot 7 at Bude 1998, courtesy of Alex Revell. L-R: Nick Ward, Terry McGrath, Alex Revell, Mick Clift, Ben Cohen, Geoff Over, Jon Penn.

I came very late to this particular party, but happily the party still rocks on in cyberspace.  Let me explain.  The searing yet also lyrical cornet player, singer, and bandleader Ben Cohen moved to another neighborhood in 2002, when he was 73.  I didn’t take notice of his work until last year, when I heard him on a record featuring the late clarinetist Pierre Atlan, which also starred Humphrey Lyttelton — but one side of the disc was a 1987 session showcasing Ben, whose KNEE DROPS astonished me with its hot fluency and mastery.  I regret that I can’t share this music, but the record is on eBay, like so much else (including two CDs featuring Ben, posthumously).

I contented myself with playing the record many times, then browsing through my shelves, where I found him appearing with Jean Francois Bonnel and Wally Fawkes, among other luminaries.  I looked in Tom Lord’s discography and found that Ben had recorded widely from 1950 to 2000, a very long time to be in one’s prime.

And there the matter would have remained, were it not for the gracious fellow who calls himself JazzVideoMike on YouTube — the link will lead you to his channel, where you will find yourself enchanted.  In real life, he answers to Mike Stevens.

I asked Mike to tell me something of his involvement with Ben, and Mike graciously wrote:

Ben Cohen played in Brian White’s Magna Jazz Band for many years right up to his passing. The Magna played weekly and from about 1990 I went weekly and got to know Ben. I started videoing jazz when I went to the French Quarter Festival in 1995 and bought my first camcorder on Canal Street. I then started going to the Bude and Keswick UK jazz festivals and making videos whenever possible, which I have continued right up to now.

I met Ben at these festivals and found that his style of playing with his Hot 5 & 7 was much more to my taste than his style with the Magna band. His early Louis style playing caused quite a stir, and admiration from many musicians. After 2000 Ben suffered several strokes, but he refused to stop playing and it was a more serious stroke which eventually brought him down.

Ben was a lovely man and greatly admired by many. [Sarah Spencer, below, says that Kenny Davern loved Ben.]  Brian White still says he was the best trumpeter he ever had in his bands. Ben and Alex Revell were the front line along with Chris Barber in his amateur band before Chris made it a full time professional band. Ben was an engineer with his own business and remained a part time musician throughout his career. Alex was a also a noted engineer and designer, and they played together again in Ben’s Hot 5 & 7. Jon Penn was the pianist, and Nick Ward the drummer, both now at Whitley Bay every year.

And here is Mike’s splendid video (let us praise the man behind the camera!) of a ninety-minute plus live session at the Bude Jazz Festival:

Now for a rare treat – a new Ben Cohen Hot Five Seven concert never before published – Launched in 1993, Ben’s Hot Five caused an immediate sensation at the Bude festival that year, since when they have starred at major festivals all over the country. 1994 saw the launch of an even more exciting Hot Seven. Ben Cohen, hailed by Humphrey Lyttleton as today’s finest trumpeter in the “early Louis” style, leads Alex Revell (clarinet), Mick Clift (trombone), Jon Penn (piano), Geoff Over (banjo), and they are joined in the Hot Seven by Terry McGarth (sousaphone), and Nick Ward (drums) with special guest Norman Field (reeds).

Ben Cohen is one of the legendary backroom boys of British Traditional Jazz. He first came to notice in Chris Barber’s amateur band in 1950. He based his style on that of early Louis Armstrong and over the years developed a reputation as a powerful lead player in any band he was in. He stuck religiously to playing the cornet rather than the trumpet and was only ever semi-professional throughout his career. Ben was a popular figure on the UK Jazz scene and for many years led his Armstrong inspired Hot 5.

A brief guided tour: YOU MADE ME LOVE YOU (Ben, vocal); PAPA DIP; GULLY LOW BLUES (Ben, vocal); EAST COAST TROT (featuring Alex and Norman); NO ONE ELSE BUT YOU (Alex, vocal); TAKE YOUR PICK (featuring   Geoff Over); an interlude where the band removed their jackets; MABEL’S DREAM; WEARY BLUES; SOME OF THESE DAYS (Ben, vocal); WILLIE THE WEEPER (Geoff Cole, vocal); I CAN’T SAY (Alex and Norman); ONCE IN A WHILE; ROCKIN’ CHAIR (Ben, vocal); BIG FAT MA AND SKINNY PA (Alex, vocal); KNEE DROPS; AFTER YOU’VE GONE (closing theme).

The band is marvelous.  But I keep returning to Ben, who is — in the words of his friend and bandmate Sarah Spencer — “hot as heck.”

I am sorry that I never got to hear him in person, and — even more — tell him how much his music moves me.  But here is evidence of gorgeous nimble heat in the best Louis manner.  Thank you, Ben Cohen.

May your happiness increase!

“THAT BUNDLE OF STYLE AND GRACE”: SPATS LANGHAM’S HOT COMBINATION (October 27, 2018)

Thomas “Spats” Langham by George Coupe

Thomas “Spats” Langham is unmatched at what he does — and he does so many things superbly that it’s always a pleasure to encounter him.  His energies, his sharp wit, his swing, his lyricism, his delightful acting: there are no blank spaces to fill in.  I first met him at Mike Durham’s Classic Jazz Party in 2009, and he was a joy every year. So it’s a great happy surprise to see these four video performances from the Classic Jazz Concert Club in Sassenheim, the Netherlands, on October 27, 2018.

Mister Langham can be heard and seen here on guitar, banjo, ukulele, and vocals.  He is joined by the delightful singer Emily Campbell; guitarist Danny Blyth; string bassist / sousaphonist Malcolm Sked; reed star Robert Fowler; percussion superhero Nick Ward.

TAKE ANOTHER GUESS was a hit in 1936 for Ella Fitzgerald and Helen Ward; here there are delightful vocal interpolations from the Combination:

Spats takes us on a wild romp through the song associated with Ukulele Ike, IT ALL BELONGS TO ME:

Emily comes back for BEI MIR BIS DU SCHOEN (with the verse, of course) — which is its own bowl of Swing borscht before long, with hints of SING SING SING in the clarinet-drums exploration:

Continuing the Asiatic nature of things, Spats sings EVER SINCE I KISSED HER ON THE VOLGA . . . make of that title what you will.  I haven’t found out anything about this novelty, except to wonder what patrons at the back of the theater thought they heard of the title:

What a wonderful band.  How rich an unexpected gift.

May your happiness increase!

LANGHAM’S LIZARDS, MASTERS OF THE ART: SPATS LANGHAM, RICO TOMASSO, MATTHIAS SEUFFERT, JOEP LUMEIJ, NICK WARD (Nov. 19, 2016, Sassenheim)

Sassenheim Hoofdstraat 197 01

Thanks to the Classic Jazz Concert Club of Sassenheim, we can immerse ourselves in wonderful music created by Thomas “Spats” Langham and Friends. I do not think of Mister Langham as a Lizard, although if he chose the alliterative title, I will bow low respectfully. Rather, I think of Mister Langham (vocal, banjo, guitar, repartee) as a Master of the Art — that wonderful art of surprising and reassuring us simultaneously, making us remember that joy is possible and Things aren’t So Bad.  Here he is joined by string bassist Joep Lumeij (whom I know — through video and recordings), trumpeter  and vocalist Enrico Tomasso, clarinetist / saxophonist Matthias Seuffert, and percussionist Nick Ward — all of them legendary regal figures, and I do not exaggerate.  That we live in a time where such things are possible is uplifting.

TRAV’LIN’ ALL ALONE (with thoughts of Ethel Waters, McKinney’s Cotton Pickers, and Billie Holiday):

SMOOTH SAILING (thanks to Henry “Red” Allen):

THE GYPSY (Spats and his Masters in full Thirties ballad mode — think Bill Kenny and Al Bowlly — with all deference to Louis and Bird.  Pay special attention to the gorgeous Langham / Tomasso duet later in the performance):

SWANEE RIVER (which begins with a trumpet fanfare that I last heard in BACH GOES TO TOWN):

WAITING AT THE END OF THE ROAD (Mister Berlin, with echoes of Bing and the Whiteman Orchestra):

and finally, a bit of theatre — Spats’ divine reading of NIGHT OWL (beloved of Cliff Edwards) in the dark, with an explication of bass-drum heads:

I do not know if these performances happened in this order, so I hope I will be forgiven by archivists of all kinds.  However, I thank the CJCC for putting on this concert and offering us videos, with rather pleasing multi-camera work and fine sound as well.

May your happiness increase!

PARADISE FOR STRINGS: MARTIN WHEATLEY’S IMAGINATIVE WORLDS

Photograph by Andrew Wittenborn, 2015

Photograph by Andrew Wittenborn, 2015

I know Martin Wheatley as an astonishingly talented player of the guitar, banjo, electric guitar, ukulele.  I’ve heard him on a variety of recordings as a wonderful rhythm player and striking soloist, and had the good fortune to see him in person at the Whitley Bay Classic Jazz Party (now the Mike Durham Classic Jazz Party) from 2009 to 2015.

One facet of his talent is as a virtuosic ukulele player (and arranger for that instrument): a 2010 solo performance of THE STARS AND STRIPES FOREVER:

Here’s Martin on electric guitar from the November 2015 Party in a salute to Artie Shaw’s Gramercy Five, with Lars Frank, Martin Litton, Enrico Tomasso, Richard Pite, Henry Lemaire:

From that same weekend, here are Emma Fisk, Spats Langham, Henry Lemaire, and Martin doing their own evocation of the Quintette of the Hot Club of France on J’ATTENDRAI:

Here’s Martin on banjo in 2010 with the Chalumeau Serenaders — Matthias Seuffert, Norman Field, Nick Ward, Keith Nichols, Malcolm Sked — performing A PRETTY GIRL IS LIKE A MELODY:

And there’s more.  But the point of this blogpost is to let you know that Martin has made a truly imaginative CD under his own name, called LUCKY STAR — a musical sample below:

Martin says of LUCKY STAR, “Quite a mixture of things, lots of my own compositions and some standards.  Some solos –  plenty of overdub extravaganzas.  All me apart from Tom Wheatley (one of Martin’s sons) on bass.”

Solo efforts that have a good deal of overdubbing might suffer from sameness, because of the strength of the soloist’s personality, but not this CD: Martin is seriously and playfully imaginative.  And when you open the disc and read the instruments he plays, you know the disc is expansive, not constricted: guitar, tenor guitar, Hawaiian guitar, lap steel guitar, soprano / tenor / baritone ukulele; tenor / five-string / fretless banjo; moonlute, mandolin, octophone, percussion, keyboard, vocals.

The five standards are IF DREAMS COME TRUE, ALL GOD’S CHILLUN GOT RHYTHM, YOU ARE MY LUCKY STAR, MY ONE AND ONLY LOVE, and MY SWEET.  I couldn’t tell absolutely which instruments Martin is playing on any track, but I can say that DREAMS sounds like a one-man Spirits of Rhythm, with a swinging bass interlude by Tom after Martin’s absolutely charming vocal (think Bowlly crossed with McKenzie, Decca sunburst edition); CHILLUN is Pizzarelli-style with more of the same swing crooning intermingled with virtuosic playing — but no notes are smudged or harmed, and there’s a cameo for Hawaiian guitar at a rocking tempo.  LUCKY STAR begins with harp-like ukulele chords and Martin picks up the never-heard verse, turning the corner into the sweet chorus in the most light-hearted sincere way, and MY ONE AND ONLY LOVE follows — a quiet instrumental masterpiece, a hymn to secular devotion. MY SWEET — beloved of Louis and Django — begins with serene chiming notes picking out the melody delicately and then builds into a rocking vocal / guitar production worthy of the QHCF — ending with waves rhythmically yet gently coming up the beach.

I’ve given these details because if I had heard one of those tracks I would want to know who the fine singer and the fine guitarists were, and I would buy the CD. They are that delightful.

But that survey would leave out the majority of the disc, Martin’s original compositions: STARGAZING / ON THE BANKS OF THE WINDRUSH, FAR AWAY / EPPING FOREST / GOLDEN HILL / THE OTTER / BRUNTCLIFFE / FOUND & LOST / COLONEL FAWCETT’S UKULELE / IN THE MERRY LAND OF UZ / X.  They aren’t easy to describe, much less categorize.  I hear lullabies, rhapsodies, inquiries, echoes of Hawaii, of Weill and Broadway shows, of Bach and modern classical, Forties film soundtracks, harp choirs, Scottish folk music, bluegrass, birdsong and forest sounds — all immaculately and warmly played.  Words fail me here, but the journey through this CD is rather like reading short stories or being shown a series of watercolors — nothing harsh, but everything evocative.

Martin told me, “Over the last seven or eight years I’ve returned to writing music and wanted it to have an outlet, which it wouldn’t get on gigs.  Although jazz is what I do, I have other musical interests and have played other sorts of music in the past. Without making any self-conscious attempts at ‘fusions’ I’ve tried to allow it all to come out – English folk tunes, Psychedelia, classical music – especially English 20th century, Hawaiian music, doubtless others. I don’t know how evident any of those is but they’re in there somewhere!

It probably is evident that most of it is romantic – Bruntcliffe, for example, I wrote as an organ piece to be played as entrance music for my wedding to Lindsay in 2011.  Most of it is less specific.  One piece with something of a programme is Colonel Fawcett’s Ukulele. Aside from punning on Captain Corelli’s Mandolin, it was inspired by reading about Colonel Percy Fawcett and his habit of playing his ukulele to the natives he encountered in the Amazon.  What he played and how they reacted is unrecorded.  It’s an amazing tale.  The obvious conclusion is that he was deluded in his belief in the Lost City of Z and its civilization from which we could learn; however, we know that with no more certainty than we know what he played on his ukulele.”

A technical note: “Overdubs were done usually to a guide track which is not heard on the final mix (pulling up the ladder after climbing up!).  This allows for a steady pulse and changes in tempo when required.  Wayne McIntyre, the sound engineer, did a terrific job.”

“If anyone would like a copy please contact me. £10 incl p&. Hope you like it!”

Find Martin on Facebook here.  If it’s not evident, I recommend this disc fervently.  It’s original yet melodic, lyrical, sweet and rocking.

May your happiness increase!

 

LUCKY STAR

YOU’LL BE INTRODUCED TO GLORY!

Fats Waller and Alex Hill wrote one of the most irresistibly encouraging songs I know, a sweet spiritual paean to optimism, KEEP A SONG IN YOUR SOUL.  I thought it would be fitting to let you hear as many versions of it as I could find.

SONG IN YOUR SOUL cover

Ellington, with a friendly vocal by Chick Bullock (1931):

Fletcher Henderson, arrangement by Benny Carter (1930):

Red Nichols with Jack Teagarden and Benny Goodman:

Mamie Smith:

Lou Gold and His Orchestra:

SONG IN YOUR SOUL inside

Now, for some of my favorite intersections — living hot musicians playing beautiful swing classics:

Marty Grosz and his Optimists:

Jeff Barnhart and friends at the 2013 Whitley Bay Classic Jazz Party:

Michael Hashim with Claudio Roditi:

Bohem Ragtime Jazz Band with Viktoria Vizin:

Howard Alden and Warren Vache:

Rebecca Kilgore with Hal Smith’s Rhythmakers, featuring Marc Caparone, Bobby Gordon, Chris Dawson:

Another version from Jeff Barnhart and a British band with Nick Ward:

And an earlier version from Marty Grosz and his Philosophers:

SONG IN YOUR SOUL Brunswick Bill Robinson

There is a wonderful 1931 recording of Bill Robinson, singing and tapping.  Here is Bojangles as a marionette, invented and manipulated in the most extraordinary way by Bob Baker.  Initially it might seem perverse, but I came to marvel at it.  If you see this as demeaning, Robinson’s wife liked this and encouraged Baker to keep it in his show:

I was excited to see that so many versions are accessible to us, and perhaps I got carried away.  But I love this song, its message that music can make everything right, and I love the ways that the music itself blossoms in so many contexts.

May your happiness increase!

CHICAGO RHYTHMS: MICHAEL McQUAID and his LATE HOUR BOYS (October 31, 2015)

01 Michael Mc Quaid and his Late Hour Boys

Michael McQuaid, alto saxophone, clarinet; Mauro Porro, trumpet, clarinet, tenor saxophone, piano; Spats Langham, banjo, vocal; Nick Ward, drums, Joep Lumey, string bass.  Recorded on October 31, 2015 at the Classic Jazz Concert Club in Sassenheim, Holland.

Spats, Michael, Mauro in Holland 2015

Spats, Michael, Mauro in Holland 2015

EVERY EVENING (with a vocal by Spats and a wonderful alto solo):

A rollicking LET ME CALL YOU SWEETHEART, with the rarely-heard verse and thrilling drumming from Nick Ward, as always:

TRAV’LIN ALL ALONE — sung poignantly by Spats:

A searing CHICAGO RHYTHM, a performance full of surprises:

I write this in January 2016 with temperatures properly wintry and a much-publicized blizzard announced: were I to play this music loudly through my open windows, it would turn bleak cold into balmy April: salutary global warming through expert heartfelt hot jazz.

Subscribe here and you can see wonderful performances by Bent Persson, Thomas Winteler, Les Red Hot Reedwarmers, and more.  And here is Michael’s website and Facebook page.

May your happiness increase!