Tag Archives: Rolf Marx

REBECCA KILGORE and ECHOES OF SWING: “WINTER DAYS at SCHLOSS ELMAU”

Before writing this post, I was thinking about Rebecca (or Becky or Roo — she has many names, as appropriate to a multi-faceted personality) someone I have been listening to with awe and pleasure since 1994, perhaps beginning with I SAW STARS (Arbors).  As for Echoes of Swing, I got to hear them in person in Germany (in 2007, thanks to Manfred Selchow) and could tell them how I admired them.  It’s one of my dreams to have musicians and groups of musicians I revere play together, and the new CD is just such a dream. . . . one that you and I can hear and re-hear.

The disc also affords us a chance to adjust our perspectives, to shake off some preconceptions.  Some listeners have perched Rebecca on a sunny windowsill in the country of Light, Bright, and Sparkling. Yes, she may prefer PICK YOURSELF UP to GLOOMY SUNDAY, but for me a little darkness will suffice.  Hear her on this disc as she sails through I’VE GOT MY LOVE TO KEEP ME WARM and her reputation as an antidote to darkness is intact.  But only shallow listeners will mistake optimism for shallowness: she has depths of feeling.

Echoes of Swing plus Two: Chris Hopkins, Bernd Lhotzky, Rolf Marx, Oliver Mewes, Henning Gailing, Colin T. Dawson. Photo by Katrin Horn.

Echoes of Swing has also been slightly mis-characterized, praised for their large orchestral sound (the core unit is four players, count them, four — even though on this CD they add a string bass and guitar as well as Rebecca) — as if they were somehow marvelous simply for this magic trick, and critics have heard them as successors to the John Kirby Sextet, which is both plausible and confining.  But on this CD, the players — whom I should name now: Bernd Lhotzky, piano and musical director; Colin T. Dawson, trumpet and flugelhorn; Chris Hopkins, alto saxophone; Oliver Mewes, drums, with Henning Gailing, string bass, and (on four tracks) Rolf Marx, guitar — create such rich varied sounds inside and outside of the arrangements by Bernd and Chris that I felt as if I’d wandered into a universe scored by, let us say, Gil Evans, spacious and resonant.

Other artists have created records and CDs devoted to Winter.  And many of those jolly efforts are avalanches of fake snow from the arts-and-crafts store.  Christmas music looms, no matter how many chairs might be wedged against the studio door, or there’s LET IT SNOW, the now-troublesome BABY, IT’S COLD OUTSIDE, or WINTER WEATHER.  Sweet, certainly, but not always true to the reality of the season, for Winter is a time for introspection as the world becomes colder and darker.  This disc, I assure you, is not a descent into Seasonal Affective Disorder, and there are a few familiar cheery songs on it, but it is not the usual forgettable fluff.

Here’s a wonderful example, the text being the 1931 WINTER WONDERLAND, where the focused purity of Rebecca’s voice balances against a complex, shifting orchestral background:

Bernd’s quirkily cheerful setting of the most famous Robert Frost poem:

Rebecca’s own witty and sweet song:

You’ll have to explore the other surprises for yourself — songs I’d never heard by Frishberg, Berlin, and Jobim, and a few poems set to music by Bernd — performances that are remarkable on the first hearing and grow more so.

The disc is dense — which is not to say difficult or off-putting — but it has levels and levels of musical and emotional pleasure.  Some discs make wonderful background music — the soundtrack for rearranging one’s spice rack — but this one has the delicious resonance of one short story after another.  It’s available in all the old familiar places.  Details here. WINTER DAYS is ambitious, heartfelt, completely rewarding.  You won’t regret it, no matter what the temperature.

May your happiness increase!

WHEN SWING BECOMES BLISS: ADVENTURES WITH ENGELBERT WROBEL and FRIENDS

EngelSax2010

The man smiling at you might not be a familiar sight, but he is a superb reed player named Engelbert Wrobel.  (Ask Dan Barrett about this master of the saxophones and clarinet).  Wrobel is a splendidly swinging player on his own — who also puts together irreplaceably gratifying jazz ensembles.

Before we proceed, how about some evidence?  Here’s LADY BE GOOD — performed a few years ago by Engelbert, clarinet, tenor; Chris Hopkins, piano; Rolf Marx, guitar; Henning Gailing, string bass; Oliver Mewes, drums — with reed guests Antti Sarpila and Frank Roberscheuten.  Thus, THE THREE TENORS OF SWING:

Evocative without being an exact copy — except when the frontline launches into a delightful reading of Lester’s 1936 solo, something I look forward to.

3_tenors_nahga

This group has made one recording for its own Click label (which delightfully duplicates the black-and-white splendor of a 1938 Brunswick 78 label — we care about such things!) and a new one is just out — THE THREE TENORS OF SWING ON STAGE, recorded at two concerts in 2011.  (In the photograph on the left, it’s Antti Sarpila on the left, Frank Roberscheuten in the center, and Engelbert on the right.)

The sound on the CD is wonderful, the musicians delightfully inspired, and the repertoire varied.  I was listening to it for the first time this afternoon, and when the disc was about halfway through, I stopped it, and said to myself, “I have to write about this right now.  It is so good.”  It features Antti Sarpilla, Frank Roberscheuten, and Engelbert on reeds, with a rhythm section of Rolf Marx, guitar; Chris Hopkins, piano; Henning Gailing, string bass; Oliver Mewes, drums.

Three_Tenors_on_Stage__2_

The songs will say a great deal about the variety and range of this group, evoking (but not copying) Lester Young, Coleman Hawkins, Ben Webster, Benny Goodman small groups, the Ellington reed section, the Basie band, Bob Crosby’s Bobcats and more: BEAN STALKING / SHAKE IT AND BREAK IT / BLACK AND TAN FANTASY / THE WORLD IS WAITING FOR THE SUNRISE / ANTTIBERT WROPILLA / JUBILEE STOMP / LA VIE EN ROSE / SOUTH RAMPART STREET PARADE / LESTER’S BOUNCE / SIX CATS AND A PRINCE / THE MOOCHE / I LET A SONG GO OUT OF MY HEART / TILL TOM SPECIAL / MISTY MORNING / WEBSTERITY.

I expected a smooth — but not slick — ensemble sound, with a swinging rhythm section, and I wasn’t disappointed.  What was even better was the writing: not just three horns playing in harmony or in unison, but clever arrangements that made this septet sound full and rich.  And although the repertoire (except for four original compositions) predates 1945, there isn’t the slightest hint of “repertory” stuffiness.  One track seems even more fresh and creative than the last, and it’s amazing that this was recorded in concert, with the energy built in to that situation.  It’s the kind of CD about which I say, “I want to go hear that again right now.”  You will, too.

My involvement with the second CD — featuring the International Hot Jazz Quartet (Engelbert, Duke Heitger, trumpet / vocal; Paolo Alderighi, piano; Bernard Flegar) is more personal.  I had heard, replayed, and much admired the first effort by this group — with Mewes on drums — on the Arbors label.

Some readers may know that I write liner notes for jazz compact discs.  But since my range is admittedly (or proudly) narrow, I don’t get asked to write about music outside my pleasure zone . . . and I won’t write about something I don’t like.

I read on Facebook that Engelbert had completed this disc and, perhaps coyly, sent him a message, “Do you need liner notes for this CD?”  Happily, the answer was yes . . . and the music is even happier.  Here are pictures of the covers and you can, I hope, read what I wrote — with no artificial ingredients.

still havin´ cover 200

Inside . . .

still havin´2

And . . . .

still havin´3

And . . . .

Still havin´4

Finally . . . .

still havin´back 200

Now you have it all — all except the music contained within, which is a thorough pleasure.  (I don’t know why the four members are photographed at school desks — they surely have graduated from any institutions of higher swing learning.  But no matter.)

To purchase this CD or others with Engelbert and friends, visit here.  You’ll be lifted into bliss — or your money back.

May your happiness increase!

HOW I WOULD SPEND MY SUMMER VACATION . . .

If I had what W.C. Fields used to call “the spondulics,” mountains of them, (“bucks,” for the uninitiated), I’d be following these bands around Europe.  I especially pant for the Schloss Elmau Swing Festival, which collects some of the finest musicians I’ve ever seen, many of them who have not made many American tours.  To see the gorgeous hotel, click here:

SCHLOSS ELMAU Swing Festival (“The Musicians’ Party”)

 Musical director: BERND LHOTZKY  

 May 27th – June 4th, 2010

Shaunette Hildabrand (voc), Scott Hamilton (ts), George Washingmachine (vio/voc), Duke Heitger (tp), Menno Daams (tp), Chris Hopkins (p/as), Frank Roberscheuten (cl/sax), John Allred (tb), Howard Alden (g), Bernd Lhotzky (p), Joel Forbes (b), Eddie Metz (dm), Michael Keul (dm).

 27.05.10: “The Grand Opening” | 28.05.10: “Moon Songs” | 29.05.10: “Dancing on the Ceiling – A Caribbean Affair” | 30.05.10: “George Gershwin Night” | 31.05.10: “Scott Hamilton” | 01.06.10: “The Various Talents of Mr. Daams” | 02.06.10: “Frank Roberscheuten’s Hiptett” | 03.06.10: “Metzo Forte” | 04.06.10: “Vive Le Hot Club De France – A Joyful Celebration of Django Reinhardt’s 100st Birthday” |

Information and booking: Schloss Elmau, 82493 Elmau / Bavaria (Germany), Tel.: D – 08823 / 18-0.  http://www.schloss-elmau.de

Special swing festival package – 7 nights // Special short stay saver – 5 nights

ECHOES OF SWING

Colin Dawson, Chris Hopkins, Bernd Lhotzky, Oliver Mewes  >4 Jokers in the Pack – and more!<

Their recent album was awarded the “Grand Prix du Disque de Jazz” du Hot Club de France

19.04.10 (20:30), NL-5691 Son, De Zwaan, NL – 0492 / 599890  //  20.04.10 (19:30), D-51399 Burscheid, Kulturscheune Dierath, D – 02174 / 81 47  // 21.04.10 (19:30), D-46236 Bottrop, Kammermusiksaal, D – 02041 / 3 40 18  // 22.04.10 (20:00), D-33102 Paderborn, Kulturwerkstatt, D – 05251 / 3 17 85 //  23.04.10 (20:30), B-4800 Verviers, Königl. Stadttheater, B – 087 / 64 72 67  //  24.04.10 (20:00), D-48249 Dülmen, Aula des Cl.-Brentano-Gymnasiums, D – 02594 / 12400  //  25.04.10 (11:00), D-42699 Solingen, Rheinisches Industriemuseum, D – 0212 / 23 24 1-12  //  26.04.10 (20:00), D-90523 Wendelstein, Jegelscheune, D – 09129 / 90 97 87  //  27.04.10 (19:30), D-97877 Wertheim, Arkadensaal im Rathaus, D – 09342 / 219 11  //  08.05.10 (19:30), D-86911 Dießen/Ammersee, Theatersaal im Augustinum, D – 08807 / 70115  //  09.05.10 (20:00), D-85591 Vaterstetten, Rathaus, D – 089 / 90 90 11 86  //  26.05.10 (20:00), A-6840 Götzis (Voralberg), Kulturbühne Ambach, A – 05523 / 54949  //  18.06.10, D-45127 Essen, Kulturpfadfest, Lichtburg, D – 0201 / 88 45045  //  27.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-0  //  28.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-029.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-0  //  30.06.10, D-82493 Elmau, Schloss Elmau, D – 08823 / 18-0  //  08.08.10 (11:00), D-65343 Eltville am Rhein, Schloss Reinhartshausen, D – 01805 / 74 34  //  30.09.10 (20:30), D-86156 Augsburg, Spectrum Club, D – 0821 / 257 28-28  //  01.10.10 (20:00), D-84508 Burgkirchen, Bürgerzentrum, D – 08679 / 91503-210  //  14.10.10 (19:30), D-81375 München, Theatersaal im Augustinum, D – 089 / 1893799-24  //  15.10.10 (20:00), D-82380 Peißenberg, Tiefstollenhalle, D – 08803 / 63 23 03  //  16.10.10 (20:00), D-82229 Seefeld, Schloss Seefeld, D – 08152 / 98 08 97  //  29.10.10 (20:00), D-53925 Kall, Kulturraum der KEV, D – 02441 / 82300  //  30.10.10 (20:30), D-55218 Ingelheim am Rhein, Weiterbildungszentrum, D – 06132 / 89 71 24  //  04.11.10 (20:00), D-49716 Meppen, Theater im Windthorst-Gymnasium, D – 05931 / 15 33 78  //  05.11.10 (20:30), D-26871 Papenburg, Forum Alte Werft, D – 04961 / 82337  //  06.11.10 (20:00), D-24306 Plön, Aula am Schiffsthal, D – 04522 / 8187  //  04.12.10 (20:30), D-63322 Rödermark, Jazzclub Rödermark, D – 06074 / 93200  //  06.12.10 (20:00), D-47051 Duisburg, Theater ‘Die Säule’, D – 0203 / 20125  //   

David Lukács – Menno Daams Orchestra feat. Frank Roberscheuten, Chris Hopkins a.o.

28.04.10 (20:00), NL-1018 Amsterdam, Hermitage Amsterdam, NL – 020 / 530 87 51

The THREE TENORS OF SWING feat. Antti Sarpila, Frank Roberscheuten, Engelbert Wrobel   

24.04.10 (14:00), NL-4201 Gorinchem, Jazzfestival, NL – 0183 / 62 52 58  //  25.04.10 (18:00), D-53111 Bonn, Collegium Leoninum, D – 0228 / 94 92 6-0  //  26.11.10 (20:30), D-73257 Köngen, Schloss Köngen, D – 07024 / 86730  // 

INTERNATIONAL STRIDE PIANO SUMMIT  >virtuoso classic jazz performed on two grand pianos<   

feat. Chris Hopkins, Louis Mazetier, Bernd Lhotzky & Paolo Alderighi:

10.06.10 (20:00), D-59439 Holzwickede, Wasserburg Haus Opherdicke, D – 02303 / 27 25 41   

feat. Bernd Lhotzky, Paolo Alderighi, Ehud Asherie, Chris Hopkins:

21.10.10 (20:00), D-85045 Ingolstadt, Audi Forum, D – 08431 / 4 12 33

feat. Ehud Asherie, Bernd Lhotzky, Rossano Sportiello, Chris Hopkins, Louis Mazetier, Stephanie Trick & Nicki Parrott (bass):

23.10.10 (19:00), CH-5623 Boswil (Zürich), Alte Kirche, CH – 056 / 634 31 32

24.10.10 (17:00), CH-5623 Boswil (Zürich), Alte Kirche, CH – 056 / 634 31 32

Engelbert Wrobel’s Swing Society feat. Chris Hopkins, Rolf Marx, Henning Gailing, Oliver Mewes   

04.07.10 (11:30), D-45964 Gladbeck, Mathias-Jakobs-Stadthalle, D – 02043 / 2 26 74

25.07.10 (11:00), D-53113 Bonn, Bundeskunsthalle, D – 0228 / 66 88-242

21.09.10 (20:00), D-59348 Lüdinghausen, Burg Lüdinghausen, D – 02591 / 926 176

26.09.10 (11:30), D-40764 Langenfeld (Rheinland), Stadthalle Langenfeld, D – 02173 / 794 926

05.10.10 (19:30), D-58511 Lüdenscheid, Kulturhaus Lüdenscheid, D – 02351 / 171 299

07.11.10 (19:00), D-51379 Leverkusen, Scala, D – 02171 / 76 79 59

JAZZIN’ JULY WORKHOP July 5th – 11th, 2010

NL-5595 LEENDE (Nähe Eindhoven), Golden Tulip Jagershorst, Valkenswaardweg 44

Teachers: Shaunette Hildabrand (vocal), Colin Dawson (trumpet), Dan Barrett (trombone), Frank Roberscheuten (saxophone/clarinet), Engelbert Wrobel (clarinet/saxophone), Chris Hopkins (piano/saxophone), Bernd Lhotzky (piano), Howard Alden (guitar/banjo), Karel Algoed (bass), Oliver Mewes (drums).

Information & Booking: +32-11-515326 (Frank Roberscheuten, director)   

More Info: http://www.swingcats.nl/workshop2010

Flyer-Download: JazzinJulyWorkshop2010

Chris Hopkins meets his Piano Friends: Louis Mazetier (Paris)

>virtuoso classic jazz performed on two grand pianos<

16.09.10 (19:00), D-53229 Bonn, Klavierhaus Klavins, D – 0228 / 94 92 6-0

17.09.10 (19:30), D-44869 Bochum, Kunstwerkstatt am Hellweg, D – 01805 / 00 18 12  (14 Ct./Min.)

18.09.10 (20:00), D-58332 Schwelm, Kulturfabrik Ibach-Haus, D – 02336 / 990 540

19.09.10 (16:00), D-44869 Bochum, Kunstwerkstatt am Hellweg, D – 01805 / 00 18 12  (14 Ct./Min.)

For more Information please  visit these websites.

info@hopkins.de

http://www.hopkins.de

info@EchoesOfSwing.com

http://www.EchoesOfSwing.com

ENGELBERT WROBEL’S SWING SOCIETY: 20 YEARS

Here’s a new, quite extraordinary compact disc: 

ENGELBERT WROBEL’S  SWING SOCIETY featuring Dan Barrett: 20 Years

Click Records (Recorded 11.08.09 – 12.08.09 in Bonn, Germany) 

Engelbert Wrobel – Clarinet, Soprano, and Tenor / Chris Hopkins – Piano / Rolf Marx – Guitar / Ingmar Heller – Bass /

Oliver Mewes – Drums.  Special Guest: Dan Barrett: Trombone, Cornet (Titles 1, 2, 5, 8, 10, 13)

Titles 4, 10 & 14 plus String Quartet (arranged by Dan Barrett): Nathalie Streichardt (violin), Maria Suwelack (violin), Martina Horesji (viola), Ulrike Zavelberg (cello)

 Wang Wang Blues / Blues For Ben / Pick Yourself Up / Estrellita / Long Live The King / Opus 3 /4 / Cachita / Medley: Take Me In Your Arms – And The Angels Swing / After You’ve Gone / Serenade in Blue / Tricotism / It Might As Well Be Spring / Way Down Yonder In New Orleans / Danny Boy 61:01.

Those are the facts.  What distinguishes this disc from twenty others by living jazz musicians considering many aspects of an older style?

Expertise, originality, passion, and precision for starters. 

I don’t ordinarily comment on the cover pictures of compact discs, but this one is a good guide to what’s inside.  My discerning readers will notice that it places he band, smartly dressed, with their instruments, in an older color picture.  And the blending is seamless, which isn’t a tribute to someone’s mastery of Photoshop, but an indication of how beautifully this small group melds the eternal Present and the hallowed Past.  That Past, in jazz terms, is the Benny Goodman small groups, the Keynote Records sessions created by Harry Lim, the Kansas City Six [Lester Young, Buck Clayton, Eddie Durham, freddie Green, Walter Page, Jo Jones], the Lucky Thompson – Oscar Pettiford –  Skeeter Best trio, and more. 

But this CD isn’t a repertory exercise: the Swing Society would think it an impiety to copy recorded solos off the records.  And although the musicians in this band admire and revere Benny Goodman, Dave Tough, Sidney Catlett, Charlie Christian, Johnny Guarneri, Teddy Wilson, Vic Dickenson, Shorty Baker . . . and on.  But they don’t imitate.  The closest they come is an occasional note or gesture, beautifully executed, in a solo of their own.  So, listening to the swinging drummer Oliver Mewes, I would say, “Damn, that Chinese cymbal of his sure sounds as if he admires Dave Tough,” but you know it’s Mewes making his own delighted way upstream. 

In fact, the whole rhythm section works together in a way that would surely guarantee them a long run on Fifty-Second Street if Swing Street were still musically thriving.  Listen to their seductively nudging playing behind Barrett on TAKE ME IN YOUR ARMS — at the kind of medium-tempo most bands find it hard to sustain for long.  In fact, it would be both instructive and uplifting to listen to this whole CD just for the rhythm section — their groove, their sonorities.  The padding momentum of Mewes’ brushes; the togetherness of Marx and Heller, their ringing solo lines; the just-right accompaniment and romping solos of Hopkins.

But to listen only to the rhythm section would be to ignore Barrett and Wrobel.  For me, Barrett’s name on a disc is a guarantee of swing, wit, and taste.  His trombone sound — so creatively varied — is beautifully captured here, and his trumpet playing (one of the wonders of the age, I think) is as well — although only on WAY DOWN YONDER IN NEW ORLEANS.  When will someone get Dan into a studio with just his cornet or trumpet and a sympathetic pianist?  I’m waiting.  His string-quartet arrangements are a revelation: who knew?  And there’s the famous Barrett sly wit, as in the interpolation of A BLUES SERENADE into SERENADE IN BLUE.  Dan also contributes delightful arrangements and a tribute to Benny — LONG LIVE THE KING — that improvises on some of Mr. Goodman’s favorite chord changes. 

That fanous name brings us to the brilliant intelligence of Engelbert Wrobel, who has absorbed the whole reed-playing jazz tradition, digested it, and made it his own.  He is a marvelous player with more than enough technique, but he’s never swallowed up by his own abilities.  Many clarinetists who revere BG spend their lives tossing off one calculated phrase after another, often at a high volume and with a shrill tone.  Not Wrobel: his tone glistens, his fingers fly, but you immediately listen to the music he’s making, the beautiful phrase-shapes and how they add up to cohesive statements.  And he’s a compelling yet understated soprano player (on CACHITA), too; turning to the tenor with great effect on TRICOTISM.

The sum of these parts is a band, mellow and rich — on a compact disc that glides from one rewarding performance to another, with a few surprises along the way.  It’s a wonderful musical banquet.

To purchase it, you can visit http://www.engelbertwrobel.de/html/cdshop.html or http://www.echoes-of-swing.de/.