Tag Archives: Tomas Ornberg

THE WEATHERBIRDS FLY BY AGAIN

Seasonal Hot migrations: the Weatherbird Jazz Band has just paid us another welcome visit.  (I’ve posted perhaps two dozen of their performances, which are both gratifying and easy to find.)

Here are six more beautiful performances, mostly celebrating the 1925-28 sides that Louis Armstrong and friends created in Chicago, with celebratory glances at Jelly Roll Morton, Clarence Williams, and the NORK.

The Weatherbirds, for these sessions, are Bent Persson, trumpet or cornet; Kaj Sifvert, trombone; Tomas Ornberg, clarinet or soprano saxophone; Ulf Johansson Werre, piano; Goran Lind, string bass; Goran Eriksson, banjo or alto saxophone; Sigge Dellert, drums.  You’ll notice that I refrain from explaining and explicating: this music needs no subtitles, just listeners open to joy.

MY MONDAY DATE:

SOMEDAY SWEETHEART:

TIN ROOF BLUES:

BLACK BOTTOM STOMP (today is Mr. Morton’s birthday):

SWEET EMMALINA:

and I CAN’T GIVE YOU ANYTHING BUT LOVE:

May your happiness increase!

THEY’RE BACK! (THE WEATHERBIRD JAZZ BAND: BENT PERSSON, KAJ SIFVERT, TOMAS ORNBERG, ULF JOHANSSON WERRE, GORAN LIND, GORAN ERIKSSON, SIGGE DELLERT)

The Weatherbird Jazz Band is slightly mysterious — where did they come from? where are they off to now?  But I know two things: they have had a regular migratory pattern: twice in April, once in May, in June, and they’re back!

The marvelous players are Bent Persson, trumpet or cornet; Kaj Sifvert, trombone; Tomas Ornberg, clarinet or soprano saxophone; Ulf Johansson Werre, piano; Goran Lind, string bass; Goran Eriksson, banjo or alto saxophone; Sigge Dellert, drums.  And here are four more beauties — compact, hot, intense and pensive, in love with the tradition but seriously personal.

Hes’s the hottest man in town, you know:

I’ll have you to remember:

A blues with many titles, such as THOSE DRAFTIN’ BLUES and STORYVILLE BLUES, with associations to Art Hickman and Bunk Johnson:

and a helpful suggestion about how to get through 2020:

The Weatherbirds will be back soon.  I will watch the skies.

May your happiness increase!

THE RETURN OF THE WEATHERBIRD JAZZ BAND

I don’t know anything about migratory patterns between suburban New York and Sweden, but when the Weatherbird Jazz Band flies by, our spirits lift.  Sightings earlier this year were here and here and here.

So here they are with more hot music: intense, focused, playful, exact, and delicate.  You can invent your own words of praise as you listen. And the marvelous players and occasional singers are Bent Persson, trumpet or cornet; Kaj Sifvert, trombone; Tomas Ornberg, clarinet or soprano saxophone; Ulf Johansson Werre, piano; Goran Lind, string bass; Goran Eriksson, banjo or alto saxophone; Sigge Dellert, drums.

The Weatherbirds are eager to please, even when technology arbitrarily subdivides the impulse in two:

and more, because it would be cruel to leave us there (and Goran’s rolling-and-tumbling alto solo is worth hearing twice):

a gorgeously somber 1928 BASIN STREET BLUES with the appropriate vocals:

Mister Morton’s THE CHANT with some (perhaps) early-Thirties touches:

a too-brief trip to CHINATOWN by the band-within-a-band:

SOME OF THESE DAYS, with the verse in the middle — it’s only right:

HIGH SOCIETY, based on a Hot Chorus, a thrilling duet for trumpet and piano:

and, to close this offering, a delightful CHICAGO BREAKDOWN:

I guarantee they’ll be back.

May your happiness increase!

“KNEE DROPS” and OTHER MOOD-ENHANCERS: WEATHERBIRD JAZZ BAND (BENT PERSSON, KAJ SIFVERT, TOMAS ORNBERG, ULF JOHANSSON WERRE, GORAN LIND, GORAN ERIKSSON, SIGGE DELLERT)

Everyone I know, and I include myself, is slightly unhinged these days: you can name the emotions, so drastic measures are needed.  I can’t send homemade soup through the ether, so here’s another infusion of warmth and energy from the Weatherbird Jazz Band, featuring Bent Persson, trumpet and cornet; Kaj Sifvert, trombone; Tomas Ornberg, clarinet and soprano saxophone; Ulf Johansson Werre, piano, vocal; Goran Lind, string bass; Goran Eriksson, banjo and alto saxophone; Sigge Dellert, drums.

AFTER YOU’VE GONE starts in a pensive mood, and then heats up:

Look out — it’s the WILD MAN!

Only a short leap from WILD MAN to Bechet’s brightly-colored WILD CAT BLUES, featuring Tomas:

I hope your ROAD isn’t LONESOME:

I’ve posted other videos by another edition of the Weatherbirds here and here  — for your dining and dancing pleasure.  And Christophe from Lugano suggests that the supply is not yet depleted, so hold on tight.

May your happiness increase!

HOT SOUNDS (Part Two) FROM THE WEATHERBIRD JAZZ BAND (BENT PERSSON, JESSE LINDGREN, TOMAS ORNBERG, ULF JOHANSSON WERRE, GORAN LIND, GORAN STACHEWSKY)

For the moment, it has stopped raining where I am, but skies worldwide still need to be brightened.  Music is one of the best ways I know.  Hot music.

You can read more about how these videos came to me (thanks to Kriss) and hear a wonderful WOLVERINE BLUES here.

For these performances, the Birds are Bent Persson, trumpet / cornet; Goran Stachewsky, banjo; Goran Lind, string bass; Ulf Johansson Werre, piano; Tomas Ornberg, reeds; Jens “Jesse” Lindgren, trombone.

Today, a quartet of songs / performances associated with Louis in his late Twenties cosmology.  And please listen closely to Bent, who has spent years in study and performance of the Louis Hot Choruses / Hot Breaks book from 1927: an ascending break can be heard late in NEW ORLEANS STOMP, and a whole chorus in JIMTOWN BLUES, a song Louis never recorded.  And the Weatherbirds romp . . . if birds can be said to romp!  (Perhaps another verb for jubilation?  No matter.)

NEW ORLEANS STOMP:

SAVE IT, PRETTY MAMA, with a Hines-chorus from Ulf and an evocative vocal by Jesse, while Tomas imagines Bechet joining Louis in the OKeh studios:

WILLIE THE WEEPER — so much swing in under three minutes:

JIMTOWN BLUES:

Kriss has promised me more, as these wonderful Birds fly over . . .

May your happiness increase!

“WOLVERINE BLUES”: WEATHERBIRD JAZZ BAND (BENT PERSSON, KAJ SIFVERT, TOMAS ORNBERG, ULF JOHANSSON WERRE, GORAN LIND, GORAN ERIKSSON, SIGGE DELLERT)

My dear jazz friend Christophe from Lugano, who happily answers to the sobriquet “Swiss Kriss” just sent me a present, a video-performance by the Weatherbird Jazz Band of Mister Morton’s WOLVERINE BLUES, which he asks that I share with you, as an antidote to isolation.  (The photograph below is from the cover of their Stomp Off Records lp, which may still be available through that company.  Inquire here.

The Weatherbirds (named for that famous Louis-Earl duet) flourished about forty years ago, but many of their members are thriving and continuing to make music — chief of them being Bent Persson, trumpet, who is also a Louis scholar making black marks on the page come alive.  You’ll hear it in his second solo chorus, which is his interpretation of a chorus Louis played that was notated in 1927 for the “Fifty Hot Choruses” folio.

But here’s some hot music!  The other Birds are Sigge Dellert, drums; Goran Eriksson, banjo; Goran Lind, string bass; Ulf Johansson Werre, piano; Tomas Ornberg, reeds; Kaj Sifvert, trombone.  And here they are, making music and raising our collective spirits:

This post is also for Laura Wyman, who knows all about being a Wolverine.  And there will be more music from this terrific band to come.

May your happiness increase!

BOB AND RUTH BYLER + CAMERA = HOURS OF GOOD MUSIC

Bob and Ruth Byler

Bob and Ruth Byler

I first became aware of Bob Byler — writer, photographer, videographer — when we both wrote for THE MISSISSIPPI RAG, but with the demise of that wonderful journalistic effusion (we still miss Leslie Johnson, I assure you) I had not kept track of him.  But he hasn’t gone away, and he is now providing jazz viewers with hours of pleasure.

“Spill, Brother Michael!” shouts a hoarse voice from the back of the room.

As you can see in the photograph above, Bob has always loved capturing the music — and, in this case, in still photographs.  But in 1984, he bought a video camera.  In fact, he bought several in varying media: eight-millimeter tape, VHS, and even mini-DVDs, and he took them to jazz concerts wherever he could. Now, when he shares the videos, edits them, revisits them, he says, “I’m so visual-oriented, it’s like being at a jazz festival again without the crowd.  It’s a lot of fun.”  Bob told me that he shot over two thousand hours of video and now has uploaded about four hundred hours to YouTube.

Here is his flickr.com site, full of memorable closeups of players and singers. AND the site begins with a neatly organized list of videos . . .

Bob and his late wife Ruth had gone to jazz festivals all over the world — and a few cruises — and he had taken a video camera with him long before I ever had the notion.  AND he has put some four hundred hours of jazz video on YouTube on the aptly named Bob and Ruth Byler Archival Jazz Videos channel. His filming perspective was sometimes far back from the stage (appropriate for large groups) so a video that’s thirty years old might take a moment to get used to. But Bob has provided us with one time capsule after another.  And unlike the ladies and gents of 2016, who record one-minute videos on their smartphones, Bob captured whole sets, entire concerts.  Most of his videos are nearly two hours long, and there are more than seventy of them now up — for our dining and dancing pleasure.  Many of the players are recognizable, but I haven’t yet sat down and gone through forty or a hundred hours of video, so that is part of the fun — recognizing old friends and heroes.  Because (and I say this sadly) many of the musicians on Bob’s videos have made the transition, which makes this video archive, generously offered, so precious.

Here is Bob’s own introduction to the collection, which tells more than I could:

Here are the “West Coast Stars,” performing at the Elkhart Jazz Party, July 1990:

an Art Hodes quartet, also from Elkhart, from 1988:

What might have been one of Zoot Sims’ last performances, in Toledo, in 1985:

a compilation of performances featuring Spiegle Willcox (with five different bands) from 1991-1997, a tribute  Bob is particularly proud of:

from the 1988 Elkhart, a video combining a Count Basie tribute (I recognize Bucky Pizzarelli, Milt Hinton, Joe Ascione, and Doc Cheatham!) and a set by the West End Jazz Band:

a Des Moines performance by Jim Beebe’s Chicago Jazz Band featuring Judi K, Connie Jones, and Spiegle:

and a particular favorite, two sets also from Elkhart, July 1988, a Condon memorial tribute featuring (collectively) Wild Bill Davison, Tommy Saunders, Chuck Hedges, George Masso, Dave McKenna, Marty Grosz, Milt Hinton, Rusty Jones, John Bany, Wayne Jones, in two sets:

Here are some other musicians you’ll see and hear: Bent Persson, Bob Barnard, Bob Havens, the Mighty Aphrodite group, the Cakewalkin’ Jazz Band, the Mills Brothers, Pete Fountain, Dick Hyman, Peter Appleyard, Don Goldie, Tomas Ornberg, Jim Cullum, Jim Galloway, Chuck Hedges, Dave McKenna, Max Collie, the Salty Dogs, Ken Peplowski, Randy Sandke, Howard Alden, Butch Thompson, Hal Smith, the Climax Jazz Band, Ernie Carson, Dan Barrett, Banu Gibson, Tommy Saunders, Jean Kittrell, Danny Barker, Duke Heitger, John Gill, Chris Tyle, Bob Wilber, Gene Mayl, Ed Polcer, Jacques Gauthe, Brooks Tegler, Rex Allen, Bill Dunham and the Grove Street Stompers, Jim Dapogny’s Chicago Jazz Band, the Harlem Jazz Camels, and so much more, more than I can type.

Many musicians look out into the audience and see people (like myself) with video cameras and sigh: their work is being recorded without reimbursement or without their ability to control what becomes public forever.  I understand this and it has made me a more polite videographer.  However, when such treasures like this collection surface, I am glad that people as devoted as Bob and Ruth Byler were there.  These videos — and more to come — testify to the music and to the love and generosity of two of its ardent supporters.

May your happiness increase!

ONE MORE FROM THE JAZZ TREASURE CHEST: MIKE POINTON, TOMAS ORNBERG, BENT PERSSON: ASKERSUND JAZZ FESTIVAL (July 1994)

Thanks to Franz Hoffmann!

From June 18, 1994, at the Askersund, Sweden Jazz Festival: Bent Persson, cornet; Mike Pointon, trombone, vocal; Tomas Ornberg, clarinet, alto sax; possibly Ray Smith, piano; Tom Stuip, banjo; unknown (perhaps Bo Juhlin?), brass bass.

Flying all the way, they do HEEBIE JEEBIES — a very funny version for those who know the “original story”; a rousing CHATTANOOGA STOMP from the Creole Jazz Band book — with great Mortonish emphatic playing from the pianist; a loose and easy FOUR OR FIVE TIMES.

And thanks to Mister Strong, who lives on in this music.

“CHINATOWN” 1988 — KENNY DAVERN, BENT PERSSON, TOMAS ORNBERG, JAMES DAPOGNY, STEVE JORDAN, JOHNNY WILLIAMS, and DICK PROCTOR

I cannot remember where I was on November 26, 1988 — unfortunately, it wasn’t at the Manassas Jazz Festival (in Virginia) listening to Kenny Davern, Bent Persson, Tomas Ornberg, James Dapogny, Steve Jordan, Johnny Williams, and Dick Proctor improvise on CHINATOWN, MY CHINATOWN:

The performance has the cheeful shirtsleeved feel of a group of all-stars who have assembled for a common purpose — to have a good time!

Not too slow, not too fast.

Once the band assembles itself, everything rocks — the horns soar and the rhythm section transcends the poorly tuned piano — played energetically by Dapogny, who is beautifully supported by veterans Jordan and Williams locking in.  And the exchanges at the end are a lovely entlightened conversation among friends — with Eddie, Pee Wee, Fats, Louis, and Lips laughing softly in appreciation, standing in the shades.

Blessings on J.S. for recording, keeping, preserving, and sharing this performance!

“ACHIN’ HEARTED BLUES,” 1999

When I saw that “jazze1947” had uncovered another video by the Swedish Jazz Kings from 1999 (at the Akersunds Jazz Festival) featuring Bent Persson, cornet; Tom Baker, trombone; Tomas Ornberg, soprano sax; Martin Litton, piano; Bo Juhlin, tuba; Olle Nyman, banjo, I was excited. But then I saw the title ACHIN’ HEARTED BLUES and thought the video might be five minutes of slow-drag melancholy. 

Obviously I need to take a remedial semester in early Sidney Bechet and Clarence Williams, because both the song and the performance fly.  Not in tempo but in intensity.  This is particularly evident in Litton’s solo — two choruses of Hines-fireworks, in the second choruses by Bent and Tom, and the way Tomas flies around in the closing ensemble.  If ever a song seemed to have the wrong title, this is it:

In my country, we say, “Wow!”

SWEDISH JAZZ KINGS 1999 (Tom Baker, Bent Persson, Martin Litton, Joep Peeters, Tomas Ornberg, Olle Nyman, Bo Juhlin)!

 These videos by the Swedish Jazz Kings were recorded at the 1999 Akersunds Jazz Festival.  And they are, as they used to say, just my thing.  Thanks to “jazze1947” for posting them on YouTube: I became an instant subscriber!

That’s Bent Persson on trumpet or cornet; Tom Baker on trombone, tenor sax, and vocal; Tomas Ornberg and Joep Peeters on reeds; Martin Litton on piano; Olle Nyman, banjo and guitar; Bo Juhlin, tuba.  I could write a good deal about the passionate intensity of the soloists, their individualized reflections of Earl Hines, Louis Armstrong, Sidney Bechet, and more – – – but I’d rather let my readers skip the analysis and jump in neck-deep into the music.  What music it is!

Here’s APEX BLUES.  Sometimes long performances become wearisome, but I think six-and-a-half minutes of this wasn’t enough:

MANDY LEE BLUES:

Here’s KNEE DROPS (which I assume refers to a dance move — but, more importantly, refers to Louis and Earl in 1928):

And the theme song of our century, MONEY BLUES (with the verse as only Bent can do it):

and something tender: a duet on STARDUST by Tom Baker (now on tenor — in a Webster vein) with Martin Litton:

Thanks to jazz scholar Bill Haessler from Australia, I now know that the next song is “What Makes Me Love You So?”:

Here’s a lovely OLD FASHIONED LOVE, which is regrettably incomplete (just when Tom is singing so beautifully):

And a concert-ending performance of PAPA DIP (thanks to Bill Lowden for telling me this!):

Thanks to the musicians, the promoter, the videographer, “jazze1947,” and more.  Wow!