Tag Archives: Quintette of the Hot Club of France

THESE COZY VIRTUOSI: EMMA FISK, JACOB ULLBERGER, SPATS LANGHAM, HENRY LEMAIRE at the MIKE DURHAM CLASSIC JAZZ PARTY (November 4, 2016)

Violinist Emma Fisk — with a lovely dark tone, a romantic conception to match her fine technique — never disappoints and is always swinging.  Here she is with three of the best — Spats Langham on the right and Jacob Ullberger on the left, guitars, and Henry Lemaire, string bass — in a session celebrating Django, Stephane, and their work together both as the Quintette of the Hot Club of France and later.

This delight took place at the 2016 Mike Durham Classic Jazz Party, held in Whitley Bay, England: this set comes from November 4, 2016.We begin with an incomplete performance — my fault — but I thought the remainder was too good to ignore.

COQUETTE:

I’M CONFESSIN’:

BELLEVILLE:

IF YOU ONLY KNEW (HOW MUCH I LOVE YOU):

DARK EYES:

As you can hear, Emma is a superb violinist, one not restricted to this particular genre.  She and guitarist James Birkett have formed a duo devoted to the music of Eddie Lang and Joe Venuti, and the delightful evidence — audio and video — can be found here.  I’ve heard rustlings that a new CD by the duo is on the way as well.  Emma and friends — what friends! — will be back for the 2017 Party, held in late October: visit here for details, videos, and more.  I won’t be there, but that will leave more room for you and yours.

May your happiness increase!

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

Emma Fisk

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

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

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

DINAH:

J’ATTENDRAI:

DOUCE AMBIANCE:

NUAGES:

MINOR SWING:

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

And quite rightly so.

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

May your happiness increase!

GENTLY BUT FIRMLY: HOT CLUB PACIFIC: “JIVE AT FIVE”

HCP front

Looking at the sleeve, one could underrate this sweet session from a group of West Coast players as just another “Hot Club” effort.  But the listener who goes within the cardboard has pleasant surprises in store.

For one thing, the HCP is not bowing low to the Quintette of the Hot Club of France in its most famous — and most imitated — Thirties incarnation, with one solo guitar, two rhythm, one violin, one string bass.

Rather, it emulates in its instrumentation the later Reinhardt – Rostaing efforts, clarinet instead of violin. And the group eschews some of the more limiting aspects of “Gypsy jazz,” especially the note-laden guitar solos at searing tempos.

No, this Hot Club leans more towards a Basie / Charlie Christian aesthetic, which is fine with me. The prime movers here are Marc Schwartz (lead guitar), Jack Fields (rhythm guitar), Dale Mills (clarinet), Nat Johnson, Bill Bosch, or Matt Bohn (bass), Olaf Schipiacasse (drums).  And you’ll see from the tune list below that they have neatly sidestepped some of the most overplayed numbers in the G.S. repertoire, for which relief much thanks.

HCP back

I know what follows next might seem like faint praise, but as I was listening to JIVE AT FIVE, I kept noting those corners and musical niches where lesser players might have stuffed in familiar quotes, phrases taken from famous records — in short, cliches.  And each time the band went its own happy swinging way, which is always reassuring.

Here is the HCP Facebook page, and here is what I wrote about them a few years back — with convincing videos.

The HCF has regular gigs in the Santa Cruz / Monterey area, best checked on the Facebook page.  But for pictures of the band and booking information, there’s no better place than here.

The CD is a limited edition, so don’t wait too long to snap up a copy — or else you will be fishing around on eBay.  And if you don’t feel that my endorsement is sufficient proof, how about this: guitar maestri Paul Mehling, Howard Alden, and Larry Coryell have visited and sat in during the band’s ten-year run.  That’s good enough for me.

 May your happiness increase!

DELICATELY INTENSE: TAMAR KORN and FRIENDS in CONCERT: PART ONE (August 4, 2012)

I’ve been listening, entranced, to Tamar Korn four almost four years now, and I first recorded her in November 2008, at the East Village bar, Banjo Jim’s.  She was then a charter member of the Cangelosi Cards, a group that mixed Twenties hot jazz, Quintette of the Hot Club of France, Fats Waller, Jimmie Rodgers, and what I think of as barn-dance music.  It is possible that the first time I heard her was at the end of a Sunday night at The Ear Inn, where everyone was entranced by her singing.  Later, she has appeared with Dennis Lichtman’s Brain Cloud, Gordon Au’s Grand Street Stompers, and with small groups of her own.

Tamar was not merely a singer who had chosen to mimic an assortment of unusual vocal breaks and yodels, adding to this a muted trumpet simulation that would have won the hearts of the Mills Brothers, and an air-violin that was both another way to get to the heart of the melody and a loving evocation of her father, an expert violinist.  Her background was originally in theatre, so she delighted in experimenting with the possibilities of her voice, a remarkable instrument in itself.  Her approach is deceptively delicate but intense, and she makes each song into a small drama, arching from quiet expositions to near-operatic climaxes, her improvisations becoming more and more brave.  But she always swings.

I usually saw and recorded Tamar in places where people were chatting, drinking, laughing . . . understandable but distracting.  So when I had the chance to capture her and the Cards at the Shambhala Meditation Center in New York City (February 27, 2010), it was a cherished experience.  (Thanks to Paul Wegener!)  Here is one segment of that evening.

I thought that the concert at the Shambhala would be the only time I would be able to see and hear Tamar and friends in such a peaceful place.

But I am happy to report that through the good offices of all the musicians and the Varshavsky family, I was able to bring my video camera to the Porto Franco Art Center at 953 Valencia Street in San Francisco . . . and share the divine music with you.

Tamar was joined by her New York friends Gordon Au, trumpet; Dennis Lichtman, clarinet and violin; Rob Adkins, string bass, and SF’s remarkable Craig Ventresco, guitar and banjo.

LAZY RIVER:

A fast SOMEDAY SWEETHEART:

I’VE GOT A FEELIN’ I’M FALLIN’:

IF YOU WANT THE RAINBOW (You Must Have The Rain):

ANNIVERSARY WALTZ:

WHEN YOU WORE A TULIP:

Miss Korn is amazing.  But so are Messrs. Au, Lichtman, Adkins, and Ventresco, each of them a sweet explorer, searching deep into the music.

Another set awaits.

May your happiness increase.

JUST DANDY: THE JOHN REYNOLDS TRIO

Do you like your swing intimate but hot?  How about some echoes of Bing and Eddie Lang, of Django and Louis Vola, of Joe Marsala, Carmen Mastren, and Wellman Braud?

I could go on naming names and posing rhetorical questions, but I’d rather direct you to these three YouTube videos — hot from the press! — recorded beautifully by Katie Cavera (string bass and video camera), Larry Wright (clarinet and other surprises), and John Reynolds (National steel guitar, singing, and whistling).  And in an ear where everyone looks as if they’re dressed for mountain climbing or dog grooming, those crisp outfits are an extra added attraction.

How about AFTER YOU’VE GONE?

Something more romantic — dim the lights and take your Beloved for a tender spin around the kitchen while the trio plays and sings and whistles OUT OF NOWHERE:

And to close off this delightful little presentation, SOMEBODY STOLE MY GAL, where Larry breaks out his ocarina and then his alto saxophone:

I can’t wait — there must be more!  When’s the CD release party?  And I hear that this group has four new features in the Paramount picture, THE BIG BROADCAST OF 2012. . . . coming soon to a multiplex near you!

And there’s more fun — musical and cinematic — to be found on Katie’s YouTube channel, kcavera

MEET THE ROYAL GARDEN TRIO

The Royal Garden Trio's new CD (2010)

I have to come out with it: the seventy-five minute span of a compact disc is often too much for me.  So when I loaded the first of three discs by the Royal Garden Trio into the car player, I expected the outcome to be the same: restlessness halfway through.  No, the Beloved and I (she’s a stern critic herself) played the three discs nonstop during a six-hour drive.

They’re that good.

On these CDs, the RGT is made up of Mike Karoub (cello and string bass); Tom Bogardus (tenor guitar and clarinet), Brian Delaney (acoustic and electric 6-string guitars).  And they have eminent guest stars: Jon-Erik Kellso (trumpet); James Dapogny (piano); Bess Bonnier (piano, heard on JITTERBUG WALTZ below); Chris Smith (sousaphone), Louis Caponecchia (ukulele / vocal); Jo Serrapere, Paul King, Melissa Brady (vocals); Gian Paulo (string bass), Rod McDonald (guitar), Donn Deniston (drums). 

What makes the Royal Garden Trio so delightful is their own restrained eloquence.  The world is full of enthusiastic Hot Club spinoffs — very capable musicians, inspired by Django and Stephane.  But often the result is “note for note,” which is amazing technically but less so aesthetically, or an overabundance . . . many notes, many choruses, fast tempos, dalling string virtuosity.  One part of the brain admires; the other portion asks (in Lester Young’s words) to be told a story. 

The members of the RGT have beautiful stories to tell.  They are virtuosic as well, but they know that too much is not a good thing.  So their solos are thoughtful speech, not diatribes; their notes ring and resound in the air.  Each player creates compelling melodies, and they work together like a swing version of the Budapest Quartet. 

Since I often find the heirs to Grappelli are given to excessive sweetness and high drama, I am thrilled by Karoub’s cello: earnest, dark yet lithe.  Mike’s conception is never overblown, but his solos can be majestic.  Delaney’s guitar is part Lang, part Lonnie Johnson.  Bogardus romps on his guitar and his clarinet playing is easy, fervent, balancing Dodds and klezmer.  And the trio works together to create something beautiful, varied, and cheering.  Their performances are marvelous vignettes, the guitarists switching lead and rhythm, Bogardus playing a chorus on clarinet; Karoub bowing and then plucking in a propulsive manner (across bar lines) that recalls Steve Brown.

And they swing — without even trying hard. 

Although much of the repertoire is familiar, the trio’s approach lifts it up: I never found myself saying, “Oh, another ST. LOUIS BLUES,” but was excited by what this band can do.  And the CDs offer some less-played material as well: Ellington’s SATURDAY NIGHT FUNCTION, LOUISIANA FAIRY TALE (for the home-improvement minded among us, but this time with the verse), THERE’LL COME A TIME, RAGGIN’ THE SCALE, I’M FOREVER BLOWING BUBBLES, GO INTO YOUR DANCE, a hidden track of APRIL KISSES, and some winding originals that sound like theme music for mid-Thirties screwball comedy films.

The RGT's debut CD, 2002

But you can hear and see the Trio for yourself courtesy of YouTube:   

HOW DEEP IS THE OCEAN? (which Mike Karoub informs me was Moe Howard’s favorite song, a valuable fact):

JITTERBUG WALTZ (with the legendary Bess Bonnier on piano):

The RGT's second CD, 2005

To find out more, visit the Trio’s website: http://www.theroyalgardentrio.com/sched.html.  And if you feel moved to purchase all three discs (I recommend this) ask for the JAZZ LIVES discount.  These players (and their nimble friends) will bring joy, in or out of the car.

SWING OUT WITH PAYPAL!  ALL MONEY COLLECTED GOES TO THE MUSICIANS:

https://.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQASwww

NOW WE KNOW! — THE CANGELOSI CARDS

Although the Cangelosi Cards have a well-earned and devoted following, I think that sometimes they have been hard to find for people who weren’t, as we say, in the know.  This situation has just improved.  Thanks to Eve of Avalon Jazz, I found this listing of the places the Cards play on a weekly basis.  Being of an anxious disposition, I would still check with the respective clubs before saddling up for a Cards gig, but this is more information than we’ve been used to in the past. 

And did I mention that the Cards are the closest thing to an unclassifiable melding of a hoedown, a jam session, a fiddle convention, a wondrous interstellar excursion, a mix of Minton’s 1941, the Quintette of the Hot Club of France, old-timey music seventy years ago, the Savoy Ballroom, ecstatic rituals and more?  I did?  Well, it bears saying again — especially since my musical sage and scout, Jim Balantic, whispered to me that Tamar Korn was trying out some Boswell Sisters repertoire with a small group.  Short of the reincarnation of the entire 1938 Basie band, I can’t think of anything better. 

Impatient readers will want to scroll to the bottom of the page, where the elegant homespun calligraphy will greet you.  Others, more prudent, will find themselves attracted by all the information about Eli Smith’s Down Home Radio Show.  Whichever type of information-gatherer you are, you’ll find this schedule invaluable:

Cangelosi Cards



9:30 PM – 1:00 AM

banjojims.com

9:00 PM – 1:00 AM

telebar.com

9:30 PM – 12:30 AM

cafe-moto.com

5:00 PM – 9:00 PM

8:00 PM – 11:00 PM

Autumn Swing Dance
Friday, October 31st – Saturday, November 1st
Monroe Arts Center in Monroe, Wisconsin
For details go to autumnswing.com


 

“The Cangelosi Cards are one of the best bands I’ve seen anywhere. They have a great live show, perfect for dancing! I envy any one who has not yet seen them because you now have the chance to see them for the first time! They keep it strictly real, playing traditional New Orleans style jazz, but continue to see at as a living tradition- and as such bring in influences from outside the cannon, such as country, blues, and early popular music. The level of musicianship is brilliant, bring your dancing shoes.”

Eli Smith – Producer/Host Down Home Radio