Tag Archives: Norman Field

“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!

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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

THE BEAUTY OF IT HOT: AFTER HOURS IN THE VICTORY PUB, with JEFF BARNHART, BENT PERSSON, ANDY SCHUMM, TORSTEIN KUBBAN, KRISTOFFER KOMPEN, GRAHAM HUGHES, NORMAN FIELD, MATTHIAS SEUFFERT, FRANS SJOSTROM, LARS FRANK, JACOB ULLBERGER, JOSH DUFFEE — AT THE 2013 WHITLEY BAY CLASSIC JAZZ PARTY (November 1, 2013)

Collectively and joyously, Jeff Barnhart, keyboard / vocals; Bent Persson, Torstein Kubban, Andy Schumm, cornet; Graham Hughes, trombone; Kristoffer Kompen, valve-trombone; Lars Frank, tenor sax; Norman Field, clarinet; Matthias Seuffert, reeds; Jacob Ullberger, banjo; Frans Sjostrom, bass saxophone; Josh Duffee, drums.

Recorded on November 1, 2013, in the Victory Pub at the 2013 Whitley Bay Classic Jazz Party in Newcastle, England.

THEM THERE EYES:

NOBODY’S SWEETHEART NOW:

LULU’S BACK IN TOWN:

A fellow named Andy Schumm came by . . . and so did Josh Duffee:

MARGIE:

COME ON AND STOMP, STOMP, STOMP:

Because it is difficult to manage a camera, a tripod, a sheet of paper, and a pen, under these circumstances, I could be slightly inexact about who was playing what, when. (No doubt my precise readers will let me know my lapses.) It could have become November 2, 2013, while I was videoing. And if you think, “I can’t see the musicians,” I agree with you.

What matters is the liveliness of the music. These are the moments we remember all our lives — when improvisers, united by common love, memory, and knowledge, give us everything they have spent their lives experiencing — for the pure joy of it.

By the way, there’s more from this and another November 2013 jam session.  But the best way to experience such marvels is by being there. Consider this seriously if you can.

May your happiness increase!

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

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

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

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

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

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

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

May your happiness increase!

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

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

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

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

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

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

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

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

May your happiness increase!

MORE LIGHTNING IN THE DARK: JAMMING AT WHITLEY BAY 2013 (Part One)

I don’t quite know what it is like when the music isn’t being created there, but the Victory Pub in the Village Hotel Newcastle (UK) has become a small shrine for Hot music when the Whitley Bay Classic Jazz Party is in session — a once-yearly transformation into a place where dreams come true.

Here’s the second half of WASHBOARD WIGGLES, with Jeff Barnhart, keyboard / vocals; Bent Persson, Torstein Kubban, cornet; Graham Hughes, trombone; Lars Frank, reeds; Jacob Ullberger, banjo; Frans Sjostrom, bass saxophone:

Then, the Master stopped in — Norman Field and his clarinet — for a romp on LITTLE GIRL (with the verse and a characteristically buoyant Jeff Barnhart vocal):

We don’t like to talk about Buddy behind his back, but we must — BUDDY’S HABITS:

More of the good stuff — The Good Stuff — is on the way. And a cinematographic postscript: if you can, while watching on YouTube, boost the settings (where the little gear or toothed wheel is) to the highest — 1o80 — and watch full screen. That way you will find, no matter what Gertrude Stein said, there is a there there!

May your happiness increase!

THIS ONE’S FOR PATTI: SWEET MUSIC FROM THE 2012 WHITLEY BAY CLASSIC JAZZ PARTY

If you know anything about the Whitley Bay Classic Jazz Party (formerly known as the Whitley Bay International Jazz Festival) you can’t help being fond of and admiring Patti Durham.  She continues to be a loving presence, a truly dear friend to many people.  So “this one’s for Patti”: one of her favorite songs, performed at the 2012 Party.

GUILTY is one of those pretty, emotive early-Thirties ballads associated with Al Bowlly.  Here, it’s performed by the emotionally compelling (and always swinging) Spats Langham, vocal and guitar; Rico Tomasso, trumpet; Jens Lindgren, trombone; Emma Fisk, violin; Norman Field, reeds; Martin Litton, piano;  Manu Hagmann, string bass; Richard Pite, drums.  And as the performance goes along, I always imagine a meeting of Bowlly with a mid-Thirties Teddy Wilson band . . . an alternate universe in the Brunswick studios, where sweet meets swing:

Thank you, dear Patti, for inspiring us in so many ways.

May your happiness increase!