....no, Nico, to confirm that the No Regrets tune sung at Walmley last Wedy night was not the Edith Piaff song (Je ne regrette rien) which the great French singer translated to English as No, No Regrets. This other purely English/American song was, I read, recorded by all manner of leading vocalists including the likes of Doris day and Dionne Warwick and many more.
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Birmingham Jazz Alive & Well
- Thread starter Shawcross
- Start date
I Am Nico
master brummie
I will have to look that one up, I look at the name of a song, and get nothing then I here the tune, ah that's it (slap of the thigh etc). I have 2 acoustic song books they both only provide (I say only,) the lyrics and the chords you have to know the melody, and one book that gives about 3 bars of the melody.
I am struggling to find the chords to Harry Belafonte's Skin To Skin, there is another Bruce Springsteen song with the same title. I found some You Tube offerings with HB duetting with Jennifer Warnes, a Diana Reeves and a Sharon Brookes, my preferred rendition is HB with Nana Mouskouri where she shows her more earthy side. Your post proves that everybody loves music, any sort of music. My other sort of son in law is coming on Sunday, he usually sings for his supper, Sunday lunch in this case. We are looking forward to that. I will tell the other one to ask for more money when they play.A Fantastic original post Shawcross.
I am struggling to find the chords to Harry Belafonte's Skin To Skin, there is another Bruce Springsteen song with the same title. I found some You Tube offerings with HB duetting with Jennifer Warnes, a Diana Reeves and a Sharon Brookes, my preferred rendition is HB with Nana Mouskouri where she shows her more earthy side. Your post proves that everybody loves music, any sort of music. My other sort of son in law is coming on Sunday, he usually sings for his supper, Sunday lunch in this case. We are looking forward to that. I will tell the other one to ask for more money when they play.A Fantastic original post Shawcross.
sospiri
GONE BUT NOT FORGOTTEN
I've just noticed that French horn player, flute player, arranger & composer Gunther Schuller died on 21st June 2015 at the age of 89 years. His parents were German and his father was a violinist with the New York Philharmonic. Schuller stopped performing in 1959, when he was 34, to concentrate on composing and arranging and worked with many of the modern jazz musicians of the 1950s and 1960s, including my favourite Bill Evans, Dizzie Gillespie, Ornette Coleman, pianist John Lewis of the MJQ, and sax player Eric Dolphy. Since that era he has held many positions as director of musical festivals, including Tanglewood, and has been active in all areas of musical education. He leaves two sons, one a jazz percussionist and the other a bass player. His performing ability was never in doubt as he was for several years the principal French horn player in the Cincinnati Symphony Orchestra.
Maurice
Maurice
Well, I've enjoyed some special jazz recitals in my latter years (catching up on some that I maybe missed out on earlier, due to life's other mutiple priorities), but few better than lunchtime today(9/8/15) at Jazz-a-Mattaz, Coventry.
The Martinique Band had enlisted a guest reeds man for the gig...who proved to be one Dutch Lewis whom I can only describe as a virtuoso instrumentalist who could more quickly list those he doesn't play than those he does, some 20 it seems.
Today he 'restricted' himself to solos on a mere six instruments, namely clarinet, bass clarinet, alto, tenor and baritone saxophones and flute, though not all at the same time, of course.
Not surprisingly, since his skill seems to know no bounds, he also sings a jazzy song or two.
Dutch Lewis, I'm assured, was a star turn around the Birmingham area dance band scene in the early post-way years and then spread his wings to wider afield in this country and abroad.
As ateenager he became the compere, saxophone player and vocalist for the Cosmopolitans, an international show band formed to entertain the NATO Forces across Europe. He later settled first in Holland and then Germany where he worked with many visiting Americans, including Duke Ellington, later moving on to a wide show-business career with stars such as Matt Munro, Shirley Bassey and George Chisholm.
Believe it or not we got him, surrounded by more outstanding musicians, for a couple of hours of tremendous entertainment featuring many popular numbers from the past played in a classical jazz format.
You know the sort of thing: Maybe I'm Wrong, 'S'Wonderful, A Kiss to Build a Dream on, Baby Won't You Please Come Home along with great more authentic pre-war jazz standards such as Basin Street Blues, Apex Blues and suchlike. Did I say 'S'Wonderful?
They sure were...
The Martinique Band had enlisted a guest reeds man for the gig...who proved to be one Dutch Lewis whom I can only describe as a virtuoso instrumentalist who could more quickly list those he doesn't play than those he does, some 20 it seems.
Today he 'restricted' himself to solos on a mere six instruments, namely clarinet, bass clarinet, alto, tenor and baritone saxophones and flute, though not all at the same time, of course.
Not surprisingly, since his skill seems to know no bounds, he also sings a jazzy song or two.
Dutch Lewis, I'm assured, was a star turn around the Birmingham area dance band scene in the early post-way years and then spread his wings to wider afield in this country and abroad.
As ateenager he became the compere, saxophone player and vocalist for the Cosmopolitans, an international show band formed to entertain the NATO Forces across Europe. He later settled first in Holland and then Germany where he worked with many visiting Americans, including Duke Ellington, later moving on to a wide show-business career with stars such as Matt Munro, Shirley Bassey and George Chisholm.
Believe it or not we got him, surrounded by more outstanding musicians, for a couple of hours of tremendous entertainment featuring many popular numbers from the past played in a classical jazz format.
You know the sort of thing: Maybe I'm Wrong, 'S'Wonderful, A Kiss to Build a Dream on, Baby Won't You Please Come Home along with great more authentic pre-war jazz standards such as Basin Street Blues, Apex Blues and suchlike. Did I say 'S'Wonderful?
They sure were...
sospiri
GONE BUT NOT FORGOTTEN
The name seems vaguely familiar, Shawcross, but names that I wasn't well acquainted with in the 1950s are now filed away under "Dim distant memory"! George Chisholm I've backed once, also quite a few years ago and he was renowned for his comical personality as well as his great trombone playing.
Maurice
Maurice
'Best musicians in the business...'
They blasted in with a breathless, almost breathtaking, rendition of Running Wild, signed off sadly with After You're Gone and in between we had jazz, swing, comedy and wide-ranging musicianship par excellence.
Walmley Social Club was populated near to capacity by the attraction of Matt Palmer's All-Stars, and rightly so. To get six such maestros either harmonising or sometimes going it alone,in such comfortable, stylish surrounds, for a mere fiver, has to be too good a chance to miss.
Matt introduced his band as among is favourite jazz men in the UK and nobody there would dispute his expansive accolade.
The treasures that linger in my mind include Richard Leach's trombone and Matt's alto in Old Fashioned Love, Simon Banks's peerless boogie piano in Pine Top Blues, a kind of old-fashioned, tongue-in-cheek vaudeville duet by Kevin Grenfell and Matt with When You Wore a Big Red Rose...and they were just from the first of three sets.
Later, for those who love the deeply soulful early jazz of America's deep south, St James Infirmary Blues, with vocal and muted trombone by Richard, succeeded in dredging up the mood and ambience of it. From the same archive, I loved Royal Garden Blues and Sean Moyses'banjo wizardry at its heart. Sean, Simon Banks and Baby Jools (drums) were more than a mere rhythm section engine room. Very much solo artists in their own right, more like and, as the band leader had announced earlier, they're plucked from among the best in the business.
Sean is described in evening's band line-ups as 'a string-plucking wizard'and he's certainly that. His Grandfather Clock is surely a masterpiece, with its intro of a metalic ticking clock that gradually opens out to the old, familer tune. Wonderful.
And finally: we had the presence of a young lass, Emily, on her 12th birthday, hardly her first choice of treats, one imagines.For her they played the Jungle Book theme, if it wasn't the best ever version it was certainly one of the funniest and most entertaining. As the main vocalist, Simon Banks had to chide them half-way through the sundry animal sounds:'Look we're supposed to be a jungle not a farmyard...' Great fun.
They blasted in with a breathless, almost breathtaking, rendition of Running Wild, signed off sadly with After You're Gone and in between we had jazz, swing, comedy and wide-ranging musicianship par excellence.
Walmley Social Club was populated near to capacity by the attraction of Matt Palmer's All-Stars, and rightly so. To get six such maestros either harmonising or sometimes going it alone,in such comfortable, stylish surrounds, for a mere fiver, has to be too good a chance to miss.
Matt introduced his band as among is favourite jazz men in the UK and nobody there would dispute his expansive accolade.
The treasures that linger in my mind include Richard Leach's trombone and Matt's alto in Old Fashioned Love, Simon Banks's peerless boogie piano in Pine Top Blues, a kind of old-fashioned, tongue-in-cheek vaudeville duet by Kevin Grenfell and Matt with When You Wore a Big Red Rose...and they were just from the first of three sets.
Later, for those who love the deeply soulful early jazz of America's deep south, St James Infirmary Blues, with vocal and muted trombone by Richard, succeeded in dredging up the mood and ambience of it. From the same archive, I loved Royal Garden Blues and Sean Moyses'banjo wizardry at its heart. Sean, Simon Banks and Baby Jools (drums) were more than a mere rhythm section engine room. Very much solo artists in their own right, more like and, as the band leader had announced earlier, they're plucked from among the best in the business.
Sean is described in evening's band line-ups as 'a string-plucking wizard'and he's certainly that. His Grandfather Clock is surely a masterpiece, with its intro of a metalic ticking clock that gradually opens out to the old, familer tune. Wonderful.
And finally: we had the presence of a young lass, Emily, on her 12th birthday, hardly her first choice of treats, one imagines.For her they played the Jungle Book theme, if it wasn't the best ever version it was certainly one of the funniest and most entertaining. As the main vocalist, Simon Banks had to chide them half-way through the sundry animal sounds:'Look we're supposed to be a jungle not a farmyard...' Great fun.
norfolk brummie
gone but not forgotten
As usual, very good stuff. Lovely reading, and very pleased to read that the Sutton Coldfield Jazz Club was "near to capacity".
I think your excellent reviews, and the factal reports that the club is playing good music, may have something to do with that
Keep 'em a comin', shawcross..
Eddie
I think your excellent reviews, and the factal reports that the club is playing good music, may have something to do with that
Keep 'em a comin', shawcross..
Eddie
When a jazz bonus walked in on Sutton Jazz Kings
Even by their own hard-earned standards the Jazz Kings from Sussex were excelling themselves with the entertaining range and quality of their programme, when in walked a bonus on two legs carrying his trusty trombone.
Dave Stradwick and his courtiers didn't really need the unexpected guest appearance of Mike Owen to confirm their place among UK trad royalty but they got him for two show-stopping tracks and no one was complaining, least of all the one hundred-plus gathering of appreciative regulars.
The SJK have a trombone maestro of their own in Iain McAulay and as the rest of the front line handed over the limelight to them they gave us a rare taste of what a duo of slide specialists can do in Royal Garden Blues followed by The Preacher. And it truly was a blast from the past that was just as relevant for the present...yes, and the future.
But it certainly wasn't just the trombonists who were in fine fettle. The evergreen leader and trumpeter, Dave, had a superb night playing in muted mode on several occasions including in the Duke Ellington numbers Saratoga Swing and Creole Love Call, (when he, presumably, had Cootie Williams in mind as his role model) and the 'wishful thinking' number, Everybody loves my Baby( but my baby don't love nobody but me...I hope)
We had a tribute to Ken Colyer with the sauntering Sweet Fields, a bit of romantic nostalgia with Apple Blossom Time, a jazzy version of the old cowboy prairie song Red River Valley as the front line led the girls on parade with their pretty, twirling brollies then a chance for the Sousaphone to oompah its way through a solo in Big Butter and Egg Man.
Also in the something-for-everyone mix there was another super trumpet solo by Dave in Dr Jazz. ( I should have been playing THAT one, surely? I wish....). And now, I keep on saying it, but it's nonetheless true:" Another lovely night out as SCTJC presented its latest jazz night@The Walmley Club.)
Even by their own hard-earned standards the Jazz Kings from Sussex were excelling themselves with the entertaining range and quality of their programme, when in walked a bonus on two legs carrying his trusty trombone.
Dave Stradwick and his courtiers didn't really need the unexpected guest appearance of Mike Owen to confirm their place among UK trad royalty but they got him for two show-stopping tracks and no one was complaining, least of all the one hundred-plus gathering of appreciative regulars.
The SJK have a trombone maestro of their own in Iain McAulay and as the rest of the front line handed over the limelight to them they gave us a rare taste of what a duo of slide specialists can do in Royal Garden Blues followed by The Preacher. And it truly was a blast from the past that was just as relevant for the present...yes, and the future.
But it certainly wasn't just the trombonists who were in fine fettle. The evergreen leader and trumpeter, Dave, had a superb night playing in muted mode on several occasions including in the Duke Ellington numbers Saratoga Swing and Creole Love Call, (when he, presumably, had Cootie Williams in mind as his role model) and the 'wishful thinking' number, Everybody loves my Baby( but my baby don't love nobody but me...I hope)
We had a tribute to Ken Colyer with the sauntering Sweet Fields, a bit of romantic nostalgia with Apple Blossom Time, a jazzy version of the old cowboy prairie song Red River Valley as the front line led the girls on parade with their pretty, twirling brollies then a chance for the Sousaphone to oompah its way through a solo in Big Butter and Egg Man.
Also in the something-for-everyone mix there was another super trumpet solo by Dave in Dr Jazz. ( I should have been playing THAT one, surely? I wish....). And now, I keep on saying it, but it's nonetheless true:" Another lovely night out as SCTJC presented its latest jazz night@The Walmley Club.)
Giving Whirligig's Gig a Whirl
On Washington Whirligig's first visit to SCTJC, leader David Hepworth began with complimentary comments about The Walmley Club... and well before their debut gig was over the feeling was entirely mutual.
Although comparitively new, having been launched three years ago, here is a band that satisfies the inevitable hunger for trad while stepping outside the constraints of that particular box with a varied programme that seems to say 'who needs labels anyway'!
Their programme for a most enjoyable evening was based on albums recorded by the two Alex Welsh Bands, the first one founded in the heart of the 1940s/50s trad boom and the second one in the 1960s when jazz was experiencing new influences.
With no trombone in their line-up, reeds man Hepworth playing mostly tenor sax, trumpeter Will Robinson often on flugelhorn and banjo man Andy Bramall doubling up on a most tuneful guitar, this was clearly not your average trad jazz band. And, (from this observer's perspective anyway) they were all the better for their jazz sans frontiere approach.
Whirligigs have plenty going for them. Younger average age than most of their ilk and well-blessed with vocalists, including David's wife, bass player Liz, they clearly love what they do, as illustrated by their collective enthusiasm. Their objective is 'enjoyment for all' and this they seemed to me to achieve throughout.
Liz's first offering was Exactly Like You enhanced by a romatic tenor sax solo by here husband. Long-haired Will Robinson then gave us a deep-south-bluesy vocal with Lazy River, again with Dave's haunting tenor providing an authentic background sound.
Nothing if not versatile, Whirligig are able, also, to produce what could almost be described as a 'big band sound'. This was exemplified by their version of Serenade in Blue, a standard from yesteryear performed by the likes of Glenn Miller and Frank Sinatra, among many.
A vocal duet was added to the menu with Will and Andy having fun with Dapper Dan, that boastful 1920s ladies' man who reckoned to have girlfriends all over the USA. Original, too, was their version of Creole Love Call . This, David informed us, usually includes a 'call and answer' spell between trumpet and trombone but - since they have no trombonist, it was 'call and answer' betrween trumpet and banjo. It sounds a touch eccentric but it actually worked rather well. We were sent off to the strains of Home, better known as When Shadows Fall, with a vocal by Will.
I, for one, probably among many, was rather sad when those shadows had to fall...
norfolk brummie
gone but not forgotten
Sounds like another great 'gig' at your temple of traditional jazz, shawcross.
As you say, a bit of an unusual line up.
Love the electronic double bass of Liz. Authentic fingerboard, but much lighter than the full size 'bass fiddle'. Obviously much easier to transport.
One small gripe. You never mentioned the drummer, but then, I am a drummer! Otherwise another super review of a great night of music.
Eddie
As you say, a bit of an unusual line up.
Love the electronic double bass of Liz. Authentic fingerboard, but much lighter than the full size 'bass fiddle'. Obviously much easier to transport.
One small gripe. You never mentioned the drummer, but then, I am a drummer! Otherwise another super review of a great night of music.
Eddie
September 9: Rich Bennett Band
Without carrying out an organised poll, this would be impossible to confirm, but the impression left by the Rich Bennett Band's latest visit is that despite enforced personnel changes over the last year or so they remain right up there among the hottest favourites of the regulars.
A major factor for this popularity is the contribution of the two brothers, trumpeter Rich and trombonist Russell. Rich is simply a superb all-round jazz man, brilliant trumpeter, singer with a genuine feel for the music and lyrics and relaxed announcer. The zany, extrovert Russ is maybe not everybody's cup of tea (nor even their pint of lager), since he clowns his way through the proceedings as the joker in the pack while grunting and growling his trombone sounds like no other.
What Russ's antics can't conceal though is, that like his brother, and their father Martin, he has jazz embedded in his genes and does what the genre dictates, namely improvises in his own slightly eccentric but hugely entertaining manner.
This particular gig emerged from some background dramatics about their possible line-up. Having lost banjo/vocalist Dorine de Witt some time ago and reeds man Karl Hird more recently they had resident bass player Jim Swinnerton stuck on the M6 miles away and Rich beavering away behind the scenes to fill empty seats. Despite this they were able to launch into their opening number You Always Hurt the One you Love with their usual gusto (and only slightly late!) with deputies Terry Roberts on Reeds and Brian Lawrence (bass)in place. A great job they did, too.
A number that summed up (for this observer) their multiple talents was Some of These Days Days, featuring a sizzling trumpet solo by Rich, a rousing rasping trombone by Russ, an upbeat Brian Mellor banjo, sensitive reeds support from Terry and pounding team work by Baby Jools on drums and Brian's bass. Great stuff.
Other highlights, in a night of no lowlights, included a lovely soprano sax solo in Sleepy Time Gal, with the brothers 'talking' to each other musically alongside Terry Roberts, and a nicely mellow guitar solo.
Then there was an almost frantic version of Shine with Jools' astonishing drum stick speed and co-ordination, a surprisingly gentle vocal with Lazy Bones by Russ and, maybe for sheer class the performance of a smashing night out, Rich's solo in the Hoagy Carmichael evergreen, Stardust. Star quality that, Rich.
For full details of Sutton Coldfield Trad Jazz Club click onto the link:
https://www.suttoncoldfieldtradjazzclub.com
Without carrying out an organised poll, this would be impossible to confirm, but the impression left by the Rich Bennett Band's latest visit is that despite enforced personnel changes over the last year or so they remain right up there among the hottest favourites of the regulars.
A major factor for this popularity is the contribution of the two brothers, trumpeter Rich and trombonist Russell. Rich is simply a superb all-round jazz man, brilliant trumpeter, singer with a genuine feel for the music and lyrics and relaxed announcer. The zany, extrovert Russ is maybe not everybody's cup of tea (nor even their pint of lager), since he clowns his way through the proceedings as the joker in the pack while grunting and growling his trombone sounds like no other.
What Russ's antics can't conceal though is, that like his brother, and their father Martin, he has jazz embedded in his genes and does what the genre dictates, namely improvises in his own slightly eccentric but hugely entertaining manner.
This particular gig emerged from some background dramatics about their possible line-up. Having lost banjo/vocalist Dorine de Witt some time ago and reeds man Karl Hird more recently they had resident bass player Jim Swinnerton stuck on the M6 miles away and Rich beavering away behind the scenes to fill empty seats. Despite this they were able to launch into their opening number You Always Hurt the One you Love with their usual gusto (and only slightly late!) with deputies Terry Roberts on Reeds and Brian Lawrence (bass)in place. A great job they did, too.
A number that summed up (for this observer) their multiple talents was Some of These Days Days, featuring a sizzling trumpet solo by Rich, a rousing rasping trombone by Russ, an upbeat Brian Mellor banjo, sensitive reeds support from Terry and pounding team work by Baby Jools on drums and Brian's bass. Great stuff.
Other highlights, in a night of no lowlights, included a lovely soprano sax solo in Sleepy Time Gal, with the brothers 'talking' to each other musically alongside Terry Roberts, and a nicely mellow guitar solo.
Then there was an almost frantic version of Shine with Jools' astonishing drum stick speed and co-ordination, a surprisingly gentle vocal with Lazy Bones by Russ and, maybe for sheer class the performance of a smashing night out, Rich's solo in the Hoagy Carmichael evergreen, Stardust. Star quality that, Rich.
For full details of Sutton Coldfield Trad Jazz Club click onto the link:
https://www.suttoncoldfieldtradjazzclub.com
A Jazz-in with Chicago Teddy Bears
While all of the bands at our Wednesday night jazz-ins are worth double the entrance fee, some have that extra-special ingredient best described as 'personality-plus'. On their latest of many visits, the Teddy Bears, smartly turned out in matching tuxedos, proved themselves to be in this exclusive category.
Much of this comes from their leader Ray Owens, usually the bass player, but currently covering for their injured banjo player, Tony Ormesher, while Paul McGee guested on bass. Ray has that hint of a scouser accent so ideal for the banter and repartee that is part of their entertaining programme, namely two hours of mostly New Orleans-based dixieland but often advancing into wider 'Chicago' territory as their name suggests.
To this enthralled observer they are are a lucky band, indeed, to have that highly-talented reeds man John Hallam in their front line, armed with clarinet, tenor and alto saxophones. John's mellow clarinet solo on that haunting Duke Ellington classic, Creole Love Call gave us a taste of what was to come, aided by Jon Critchley's smooth muted trumpet and Andrew Mackenzie's mwa-mwa trombone.
Tin Roof Blues was another standard from the jazz archives with a lovely alto sound from Hallam and a Critchley trumpet that could have come from Kenny Ball's post-war recording of it. We had some Fats Waller memories, too, with Ain't Misabehavin' and Honeysuckle Rose plus plenty of jazzed-up popular songs some of them sung with a hint of George Melly by Ray Owens.
It's a Sin to Tell a Lie, was one of them while Andrw Mackenzie - good-natured butt of much of his leader's banter - proved to have a fine singing voice (along with his trombone expertise) with his renditions of Deed I do and Everybody Loves my Baby.
The vocal duties were also shared by the excellent drummer Brian Singleton with Crazy 'bout My Baby and late on, as closing time beckoned, Ray Owens gave us a chance to join in a sing-along as he performed a George Formby imitation with Leaning on a Lampost and a deep-throated Johnny Cash-style vocal with When I'm Cleaning Windows.
All great listening and great fun, an intoxicating brew. Come back soon you Teddy Bears...
click here for jazz web site:
www.suttoncoldfieldtradjazzclub.com
While all of the bands at our Wednesday night jazz-ins are worth double the entrance fee, some have that extra-special ingredient best described as 'personality-plus'. On their latest of many visits, the Teddy Bears, smartly turned out in matching tuxedos, proved themselves to be in this exclusive category.
Much of this comes from their leader Ray Owens, usually the bass player, but currently covering for their injured banjo player, Tony Ormesher, while Paul McGee guested on bass. Ray has that hint of a scouser accent so ideal for the banter and repartee that is part of their entertaining programme, namely two hours of mostly New Orleans-based dixieland but often advancing into wider 'Chicago' territory as their name suggests.
To this enthralled observer they are are a lucky band, indeed, to have that highly-talented reeds man John Hallam in their front line, armed with clarinet, tenor and alto saxophones. John's mellow clarinet solo on that haunting Duke Ellington classic, Creole Love Call gave us a taste of what was to come, aided by Jon Critchley's smooth muted trumpet and Andrew Mackenzie's mwa-mwa trombone.
Tin Roof Blues was another standard from the jazz archives with a lovely alto sound from Hallam and a Critchley trumpet that could have come from Kenny Ball's post-war recording of it. We had some Fats Waller memories, too, with Ain't Misabehavin' and Honeysuckle Rose plus plenty of jazzed-up popular songs some of them sung with a hint of George Melly by Ray Owens.
It's a Sin to Tell a Lie, was one of them while Andrw Mackenzie - good-natured butt of much of his leader's banter - proved to have a fine singing voice (along with his trombone expertise) with his renditions of Deed I do and Everybody Loves my Baby.
The vocal duties were also shared by the excellent drummer Brian Singleton with Crazy 'bout My Baby and late on, as closing time beckoned, Ray Owens gave us a chance to join in a sing-along as he performed a George Formby imitation with Leaning on a Lampost and a deep-throated Johnny Cash-style vocal with When I'm Cleaning Windows.
All great listening and great fun, an intoxicating brew. Come back soon you Teddy Bears...
click here for jazz web site:
www.suttoncoldfieldtradjazzclub.com
sospiri
GONE BUT NOT FORGOTTEN
Sounds like another great night, Shawcross, and an excellent write-up. Sorry I haven't been on BHF much lately, but September has been a busy month here in Crete and the people who normally organise some of our events have scarpered off to the UK and having a break in Italy on the way back so yours truly has been lumbered!
Maurice
Maurice
norfolk brummie
gone but not forgotten
Reading you review almost makes me feel I was in the audience with you, shawcross.
Not just your description of the evenings event, but your knowledge of the jazz era, that you so obviously enjoy, gives the reviews that extra interesting ingredient. . Many thanks.
Eddie
Not just your description of the evenings event, but your knowledge of the jazz era, that you so obviously enjoy, gives the reviews that extra interesting ingredient. . Many thanks.
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Pedigree Jazz Band (Tribute to Trad)
The Marstons Brewery-sponsored band adhered strictly to their 'Tribute to Trad' theme with a tuneful trawl through the repertoires of the Acker Bilk, Chris Barber, Kenny Ball, Ken Colyer, & the other early post-war set of revivalists who put New Orleans jazz firmly on the map in the UK and Europe.
Many of us were schoolchildren or teenagers back then so here was reminder after reminder of the popular music of the day and those war-ravaged years when we were young and jazz was our new, peace-time escape from true austerity.
And, to add to the sense of nostalgia, most numbers were preceded by a potted background to the upcoming treat, probably a recording we had heard again and again on such radio shows as Family Favourites or on Radio Luxembourg.
None of us will ever forget Stranger on the Shore, The Green Leaves of Summer, Samantha, Midnight in Moscow, Sukiyaki, Buena Serra for example. Yes, we were treated to them all. And more...Chimes Blues, Livery Stable Blues, Blaze Away, Hiawatha Rag, Whistling Rufus etcera, etcetera.
Difficult though it is to pick favourites from such a tray of goodies but up there at the top end of the enjoyment list was Sweet Georgia Brown, as the well-disciplined band truly let rip and co-leader Roger Marks excelled with his Chris Barber-style trombone solo.
Going Home (to New Orleans), we were informed, was written by Ken Colyer, and very listenable it was, too. Its melodious strains filled the dance floor, inspired a foot-tapping banjo background from Ken Ames and a vocal by trumpeter Graham Trevarton, whose muted playing throughout the evening fitted the mood to perfection. Drummer Colin Larn is, we were told, one of the best there is and few would doubt that after his remarkable solo when allowed to let rip.
Co-leaders Marks and clarinetist Chris Walker and the band, with its steady background beat by Tony Mann on bass, are doing a fine job in taking their well-researched programme around the UK with all its precious memories of yesteryear.
The Marstons Brewery-sponsored band adhered strictly to their 'Tribute to Trad' theme with a tuneful trawl through the repertoires of the Acker Bilk, Chris Barber, Kenny Ball, Ken Colyer, & the other early post-war set of revivalists who put New Orleans jazz firmly on the map in the UK and Europe.
Many of us were schoolchildren or teenagers back then so here was reminder after reminder of the popular music of the day and those war-ravaged years when we were young and jazz was our new, peace-time escape from true austerity.
And, to add to the sense of nostalgia, most numbers were preceded by a potted background to the upcoming treat, probably a recording we had heard again and again on such radio shows as Family Favourites or on Radio Luxembourg.
None of us will ever forget Stranger on the Shore, The Green Leaves of Summer, Samantha, Midnight in Moscow, Sukiyaki, Buena Serra for example. Yes, we were treated to them all. And more...Chimes Blues, Livery Stable Blues, Blaze Away, Hiawatha Rag, Whistling Rufus etcera, etcetera.
Difficult though it is to pick favourites from such a tray of goodies but up there at the top end of the enjoyment list was Sweet Georgia Brown, as the well-disciplined band truly let rip and co-leader Roger Marks excelled with his Chris Barber-style trombone solo.
Going Home (to New Orleans), we were informed, was written by Ken Colyer, and very listenable it was, too. Its melodious strains filled the dance floor, inspired a foot-tapping banjo background from Ken Ames and a vocal by trumpeter Graham Trevarton, whose muted playing throughout the evening fitted the mood to perfection. Drummer Colin Larn is, we were told, one of the best there is and few would doubt that after his remarkable solo when allowed to let rip.
Co-leaders Marks and clarinetist Chris Walker and the band, with its steady background beat by Tony Mann on bass, are doing a fine job in taking their well-researched programme around the UK with all its precious memories of yesteryear.
norfolk brummie
gone but not forgotten
norfolk brummie
gone but not forgotten
Would love to have heard their version of BLAZE AWAY. Never considered that as part of the jazz repertoire. Always thought of it as a marching band tune. I suppose if they can swing St. Louis Blues, then they can do it to Blaze Away. Thanks Dennis for another great review.
Eddie
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
Yes, Phil was lead alto with Quincy Jones for several years and I think that was when I first heard him. More recently with his own Quintet - The American Song Book was one - with Bill Charlap on piano and a guy called Bill Goodwin on drums, whom I don't know, but it is a lovely album with nice tight arrangements, well worth a listen. I've never seen him in the flesh, but I could always guarantee that if Phil was on a recording it was a good one.
Actually Quincy himself had a health scare two weeks ago - taken into hospital with breathing difficulties - and one newspaper even reported his death. I couldn't find any details, but hours later he was discharged and he said he was as fit as a fiddle! The day after he was back in the studio.
Maurice
Yes, Phil was lead alto with Quincy Jones for several years and I think that was when I first heard him. More recently with his own Quintet - The American Song Book was one - with Bill Charlap on piano and a guy called Bill Goodwin on drums, whom I don't know, but it is a lovely album with nice tight arrangements, well worth a listen. I've never seen him in the flesh, but I could always guarantee that if Phil was on a recording it was a good one.
Actually Quincy himself had a health scare two weeks ago - taken into hospital with breathing difficulties - and one newspaper even reported his death. I couldn't find any details, but hours later he was discharged and he said he was as fit as a fiddle! The day after he was back in the studio.
Maurice
Doc's Danish Tasties Beat the Big Bake-Off
On the night that the final of The Great British Bake Off was screened those of us who chose live jazz ahead of televised cake-making were treated to a whole showcase of Danish Tasties at Sutton Coldfield Trad Jazz Club's Wednesday night gig.
There were plenty of us, too, with the largest turn-out for many a week, well over a hundred, enjoying all the necessary ingredients for we Wednesday Nighters to enjoy our weekly fix.Doc Houlind Revival All Stars, a seven-piece touring band, gave us a nice continental touch with their recipe of melody, harmony, individual excellence and ensemble togetherness that was to prove an ideal mix for either filling the dance floor or simply watching and listening.
We got plenty for our fiver, too, with a front line of clarinet, trumpet and trombone, backed by piano, banjo, bass and drums and found very quickly, in Some of These Days, that here were a sweetly mellow and rounded clarinetist(Jesper Larsen), a nimble-fingered and expressive trumpet player and a stirring, staccato and extrovert trombonist (Peter Goetz).
Trumpeter Soren 'Doc' Houlind , following up with vocals in June Night and Do You Know What it Means to Miss New Orleans, proved himself, in my eyes anyway, to be a true jazz man, quite clearly inspired by Louis Armstrong, with a gruff by tuneful singing voice, casual delivery and even a touch of scat here and there.
At the risking of upsetting a few purists I must confess here that I sometimes find clarinetists a touch high-pitched and squeaky, but Jesper Larsen was not one of them. This super slim reeds man has a lovely, mellow tone as illustrated many times but outstandingly in Lonesome and Sorry,a number near the end when the musicians were truly settled in to new territory and ready to give it a real blast up to closing time. They sounded neither 'lonesome' nor 'sorry' to me!
Having a keyboards is always a plus and in this case the key-tinkling was done with a feminine touch by Lis Kroyer, notably on Do You Know What it Means, Cecilia and Kid Thomas Boogie but always helping the quality of the melodies. We don't see many, if any, better bands than this. I'm sure theirs will be a popular and successful tour. They certainly gave us another enjoyable jazz night at Walmley.
On the night that the final of The Great British Bake Off was screened those of us who chose live jazz ahead of televised cake-making were treated to a whole showcase of Danish Tasties at Sutton Coldfield Trad Jazz Club's Wednesday night gig.
There were plenty of us, too, with the largest turn-out for many a week, well over a hundred, enjoying all the necessary ingredients for we Wednesday Nighters to enjoy our weekly fix.Doc Houlind Revival All Stars, a seven-piece touring band, gave us a nice continental touch with their recipe of melody, harmony, individual excellence and ensemble togetherness that was to prove an ideal mix for either filling the dance floor or simply watching and listening.
We got plenty for our fiver, too, with a front line of clarinet, trumpet and trombone, backed by piano, banjo, bass and drums and found very quickly, in Some of These Days, that here were a sweetly mellow and rounded clarinetist(Jesper Larsen), a nimble-fingered and expressive trumpet player and a stirring, staccato and extrovert trombonist (Peter Goetz).
Trumpeter Soren 'Doc' Houlind , following up with vocals in June Night and Do You Know What it Means to Miss New Orleans, proved himself, in my eyes anyway, to be a true jazz man, quite clearly inspired by Louis Armstrong, with a gruff by tuneful singing voice, casual delivery and even a touch of scat here and there.
At the risking of upsetting a few purists I must confess here that I sometimes find clarinetists a touch high-pitched and squeaky, but Jesper Larsen was not one of them. This super slim reeds man has a lovely, mellow tone as illustrated many times but outstandingly in Lonesome and Sorry,a number near the end when the musicians were truly settled in to new territory and ready to give it a real blast up to closing time. They sounded neither 'lonesome' nor 'sorry' to me!
Having a keyboards is always a plus and in this case the key-tinkling was done with a feminine touch by Lis Kroyer, notably on Do You Know What it Means, Cecilia and Kid Thomas Boogie but always helping the quality of the melodies. We don't see many, if any, better bands than this. I'm sure theirs will be a popular and successful tour. They certainly gave us another enjoyable jazz night at Walmley.
norfolk brummie
gone but not forgotten
Another great night, Dennis, and a full house by the sound of it. Your hard work appears to be paying off.
Keep it up, old friend. Birmingham jazz is SO important for the city..
Eddie
Keep it up, old friend. Birmingham jazz is SO important for the city..
Eddie
SHEER JAZZ MAGIC...
Bill Smith...trumpeter, vocalist and harmonica to tingle the spine.
Wonderful...superb...excellent: these were the superlatives to be heard at Savannah's latest visit to Sutton Coldfield Trad Jazz Club , but this was not the Wednesday Nighters praising the band. It was the other way around!
This was, indeed, a night when SCTJC was out in force, numbers well into three figures boosted by severaL 'new' and 'fairly new' faces, helping to create an atmospheric background for this popular band to make it an evening of mutual admiration.
No exaggeration: they, also, were wonderful...superb...excellent.
These gentlemen of advanced years, matching most of the audience's vintage, possess talents that some of the young Johnny-Come-Latelies of today's repetitive pop sounds, could only dream about. And here we saw what to many of us was a 'first' in the shape of trombonist Brian 'Sam' Ellis doubling up on keyboards. Previously, (as leader John Meehan, expained to me), he could only do his two-instrument act at those venues where there was an existing instrument. Now he has his own 'travelling' keyboards and we enjoyed the bonus.
OLD FASHIONED LOVE SONGS
We were given an immediate statement of intent as they hit the ground running with Carolina Moon, no cobwebs to blow away, apparently. Old Fshioned Love, was next up with a strong vocal by banjo player, Chris Marney, and tuneful trombone that stirred the dancers to their feet as it came all over romantic for a spell of yesteryear's love songs. OK, we're all knocking on a bit now, but we have our memories of Drifting and Dreaming, Girl of My Dreams, When my Dreamboat Comes Home and Sleepy Time Gal.
Brian Ellis demonstrated his keyboard skills previously hidden to some of us, with a rousing rendition of Old Rugged Cross, and then came the number that, when played Savannah style, never fails to tingle the spine, namely Nothing Blues. Here Bill Smith manages to blow a bluesey horn, switch to fitting vocal, magic a harmonica from his pocket to growl away with a sound that can't be described in mere words before returning to his trumpet. Sheer jazz magic. If THAT don't get to you, I humbly suggest, then you don't get jazz...
Bill Smith produced the old mouth organ again later in Stormy Monday and reeds man Roger Myerscough, backed by a surging trombone and Tony Pollitt's engine-room bass, reminded us all of the old standard, Dinah. What a shame it had to come to an end...appropriately, though, to the strains of Going Home.
Bill Smith...trumpeter, vocalist and harmonica to tingle the spine.Wonderful...superb...excellent: these were the superlatives to be heard at Savannah's latest visit to Sutton Coldfield Trad Jazz Club , but this was not the Wednesday Nighters praising the band. It was the other way around!
This was, indeed, a night when SCTJC was out in force, numbers well into three figures boosted by severaL 'new' and 'fairly new' faces, helping to create an atmospheric background for this popular band to make it an evening of mutual admiration.
No exaggeration: they, also, were wonderful...superb...excellent.
These gentlemen of advanced years, matching most of the audience's vintage, possess talents that some of the young Johnny-Come-Latelies of today's repetitive pop sounds, could only dream about. And here we saw what to many of us was a 'first' in the shape of trombonist Brian 'Sam' Ellis doubling up on keyboards. Previously, (as leader John Meehan, expained to me), he could only do his two-instrument act at those venues where there was an existing instrument. Now he has his own 'travelling' keyboards and we enjoyed the bonus.
OLD FASHIONED LOVE SONGS
We were given an immediate statement of intent as they hit the ground running with Carolina Moon, no cobwebs to blow away, apparently. Old Fshioned Love, was next up with a strong vocal by banjo player, Chris Marney, and tuneful trombone that stirred the dancers to their feet as it came all over romantic for a spell of yesteryear's love songs. OK, we're all knocking on a bit now, but we have our memories of Drifting and Dreaming, Girl of My Dreams, When my Dreamboat Comes Home and Sleepy Time Gal.
Brian Ellis demonstrated his keyboard skills previously hidden to some of us, with a rousing rendition of Old Rugged Cross, and then came the number that, when played Savannah style, never fails to tingle the spine, namely Nothing Blues. Here Bill Smith manages to blow a bluesey horn, switch to fitting vocal, magic a harmonica from his pocket to growl away with a sound that can't be described in mere words before returning to his trumpet. Sheer jazz magic. If THAT don't get to you, I humbly suggest, then you don't get jazz...
Bill Smith produced the old mouth organ again later in Stormy Monday and reeds man Roger Myerscough, backed by a surging trombone and Tony Pollitt's engine-room bass, reminded us all of the old standard, Dinah. What a shame it had to come to an end...appropriately, though, to the strains of Going Home.
October 21: Sutton Coldfield Trad Jazz Club @ The Walmley Club:
Baby Jools' Jazzaholics
How the show went on: 'It's what Russ Bennett would have wanted.'
The atmosphere before the music began felt a little like a case of 'The Show Must Go On'. A popular friend and respected colleague of Baby Jools and the boys, one who had spent countless hours entertaining we Wednesday Nighters, had died suddenly, in his early forties, only four days earlier.
Russ Bennett, from his brother Rich Bennett's Band, has died.
WHAT...?
That's how it felt. The shock and sadness were still raw. The jazz community of musicans is a fairly tightly-knit one.
But the show went on OK, starting off with There's an Old Spinning Wheel in the Corner in which this band of almost boundless talent sounded off with a solo each and tuneful ensemble. Then Matt Palmer paraded his growing status among reeds men with a soaring clarinet solo in Algiers Strut followed by a honking tenor sax in The Buckets Got a Hole in it, described by trombonist Mike Owen, (serving as Baby Jools' front man), as a Country and Western number, recorded by Hank Williams.
Mike was soon weaving his trombonbe magic with the century-old jazz standard Tishomingo Blues and then again with the Louis Armstrong Hot 5 classic Hotter Than That, with trumpeter Denny Ilett strutting his stuff in the Satchmo role in both.
By now this onlooker was wondering if the week's awful news was to be unmentioned, maybe awful enough to be unmentionable when onlookers had paid for entertainment not grief? But that wasn't the case at all. Mike Owen answered the unspoken query ideally by announcing his intention to play Baby Won't You Please Come Home 'in Russ Bennett's own inimitable fashion'. And so he did...with an imitation of the growling, grumbling, muted, staccato style that was immediately recognisible as the late Russ's legacy. Though, as Mike himself admitted, his vocal didn't really fit the Russ Bennett singing mould...well, how could anyone else act so upbeat and sound so heartbroken when he begged his baby to p-l-e-a-s-e come home? Nor could Mike copy the Russ stock-in-trade clowning. Well, who could?
On the same number Danny Ilett played an exquisite, low, whispering, muted trumpet solo designed, presumably to fit the sombre mood of the moment. It would be an exaggeration to say that 'there wasn't a dry eye in the house' but I can personally testify that there were certainly some moist ones.
Plenty of goodies were to follow from this truly excellent band with their genuine jazz/blues feel as Jim Swinnerton (bass), Jools (drums) and Brian Mellor banjo/guitar helped to ensure that the show went on as scheduled despite the dreadful loss of their mate. It's what Russ Bennett would have wanted.
Baby Jools' Jazzaholics
How the show went on: 'It's what Russ Bennett would have wanted.'
The atmosphere before the music began felt a little like a case of 'The Show Must Go On'. A popular friend and respected colleague of Baby Jools and the boys, one who had spent countless hours entertaining we Wednesday Nighters, had died suddenly, in his early forties, only four days earlier.
Russ Bennett, from his brother Rich Bennett's Band, has died.
WHAT...?
That's how it felt. The shock and sadness were still raw. The jazz community of musicans is a fairly tightly-knit one.
But the show went on OK, starting off with There's an Old Spinning Wheel in the Corner in which this band of almost boundless talent sounded off with a solo each and tuneful ensemble. Then Matt Palmer paraded his growing status among reeds men with a soaring clarinet solo in Algiers Strut followed by a honking tenor sax in The Buckets Got a Hole in it, described by trombonist Mike Owen, (serving as Baby Jools' front man), as a Country and Western number, recorded by Hank Williams.
Mike was soon weaving his trombonbe magic with the century-old jazz standard Tishomingo Blues and then again with the Louis Armstrong Hot 5 classic Hotter Than That, with trumpeter Denny Ilett strutting his stuff in the Satchmo role in both.
By now this onlooker was wondering if the week's awful news was to be unmentioned, maybe awful enough to be unmentionable when onlookers had paid for entertainment not grief? But that wasn't the case at all. Mike Owen answered the unspoken query ideally by announcing his intention to play Baby Won't You Please Come Home 'in Russ Bennett's own inimitable fashion'. And so he did...with an imitation of the growling, grumbling, muted, staccato style that was immediately recognisible as the late Russ's legacy. Though, as Mike himself admitted, his vocal didn't really fit the Russ Bennett singing mould...well, how could anyone else act so upbeat and sound so heartbroken when he begged his baby to p-l-e-a-s-e come home? Nor could Mike copy the Russ stock-in-trade clowning. Well, who could?
On the same number Danny Ilett played an exquisite, low, whispering, muted trumpet solo designed, presumably to fit the sombre mood of the moment. It would be an exaggeration to say that 'there wasn't a dry eye in the house' but I can personally testify that there were certainly some moist ones.
Plenty of goodies were to follow from this truly excellent band with their genuine jazz/blues feel as Jim Swinnerton (bass), Jools (drums) and Brian Mellor banjo/guitar helped to ensure that the show went on as scheduled despite the dreadful loss of their mate. It's what Russ Bennett would have wanted.
norfolk brummie
gone but not forgotten
Dennis. That is the way musicians like to be remembered. That their contribution is not forgotten. We entertain, we pass on, and we hope that somewhere along the line, we have given enjoyment and happiness to a few, as well as ourselves.
Excellent tribute review.
Eddie
Excellent tribute review.
Eddie
Millennium Eagle 'Spicy with a dash of humour'
By cherry-picking titles from a wide and diverse set of sources the Eagles gave Sutton Coldfield Trad Jazz Club an equally wide and diverse programme of entertainment spiced up here and there with a welcome dash of humour at The Walmley Club.
On offer was music either written by, or featured by, the likes of Lil Hardin, Scott Joplin, Pee Wee Hunt, Louis Prima and Duke Ellington and if that was not 'wide and diverse' enough for us, how about from Mozart to Betty Hutton?
True, neither of those last two names sound much like a night of trad jazz but Good Night Sweet Prince we were told, was from a Mozart piece, while Ole Man Mose was a favourite of actress and 'Red Hot Momma' style singer and film star, Betty Hutton.
In a more traditional jazz mode, we had Gatemouth, penned by Louis Armstrong's second wife, pianist Lil Hardin while Pee Wee Hunt's recording of Twelfth Street Rag, now 101 years old, was top of the UK charts in 1948 when it sold more than three million copies as a 78rpm single. Matt and the boys gave us a lovely, tongue-in-cheek (not literally, of course!) version of that early post-way smash hit with the doo-wacka-doos firmly in place.
The Louis Prima number was Buona Sera Signorina,(didn't Kenny Ball have a hit with that, too?), sung here by Matt who also added a honking sax solo to complete the mood. Although the greatest big band supremo of all, the legendry Duke Ellington's work often finds its way into our Wednesday night small band music and this time it was with The Mooch as the versatile musicians managed to conjure up the necessary bluesy feel.
The history books tell us that America's deep south music was 'blues' and 'ragtime' long before it became our 'trad jazz' . One of the pioneers of the latter was Afro-American pianist/composer, Scott Joplin and, from his repertoire, we were treated to Maple Leaf Rag.
There's a heck of a lot of team work gone into this band's fine tuning as the engine room of Brian Lawrence (bass), Baby Jools (drums), and Brian Mellor (banjo and guitar) keep the rhythm in sinc with the melodies. We sometimes take that for granted, don't we?
Also, I love the way the front line of Terry Williams, Pete Brown and Matt provide constant vocals of the old-time favourites, harmonising sometimes in a jokey 'barber shop' fashion....other numbers that stick in my mind for their sheer tuneful appeal are Maggie, Memories of You and Putting in the Ritz, along with It Ain't What You Do, featuring two trombones and vocal. Then, of course, there was the piece de resistance sign-off with Tiger Rag,featuring Terry on sticky tape. Yes, you've read that correctly. (see
www.suttoncoldfieldtradjazzclub.com (Media & More page)
By cherry-picking titles from a wide and diverse set of sources the Eagles gave Sutton Coldfield Trad Jazz Club an equally wide and diverse programme of entertainment spiced up here and there with a welcome dash of humour at The Walmley Club.
On offer was music either written by, or featured by, the likes of Lil Hardin, Scott Joplin, Pee Wee Hunt, Louis Prima and Duke Ellington and if that was not 'wide and diverse' enough for us, how about from Mozart to Betty Hutton?
True, neither of those last two names sound much like a night of trad jazz but Good Night Sweet Prince we were told, was from a Mozart piece, while Ole Man Mose was a favourite of actress and 'Red Hot Momma' style singer and film star, Betty Hutton.
In a more traditional jazz mode, we had Gatemouth, penned by Louis Armstrong's second wife, pianist Lil Hardin while Pee Wee Hunt's recording of Twelfth Street Rag, now 101 years old, was top of the UK charts in 1948 when it sold more than three million copies as a 78rpm single. Matt and the boys gave us a lovely, tongue-in-cheek (not literally, of course!) version of that early post-way smash hit with the doo-wacka-doos firmly in place.
The Louis Prima number was Buona Sera Signorina,(didn't Kenny Ball have a hit with that, too?), sung here by Matt who also added a honking sax solo to complete the mood. Although the greatest big band supremo of all, the legendry Duke Ellington's work often finds its way into our Wednesday night small band music and this time it was with The Mooch as the versatile musicians managed to conjure up the necessary bluesy feel.
The history books tell us that America's deep south music was 'blues' and 'ragtime' long before it became our 'trad jazz' . One of the pioneers of the latter was Afro-American pianist/composer, Scott Joplin and, from his repertoire, we were treated to Maple Leaf Rag.
There's a heck of a lot of team work gone into this band's fine tuning as the engine room of Brian Lawrence (bass), Baby Jools (drums), and Brian Mellor (banjo and guitar) keep the rhythm in sinc with the melodies. We sometimes take that for granted, don't we?
Also, I love the way the front line of Terry Williams, Pete Brown and Matt provide constant vocals of the old-time favourites, harmonising sometimes in a jokey 'barber shop' fashion....other numbers that stick in my mind for their sheer tuneful appeal are Maggie, Memories of You and Putting in the Ritz, along with It Ain't What You Do, featuring two trombones and vocal. Then, of course, there was the piece de resistance sign-off with Tiger Rag,featuring Terry on sticky tape. Yes, you've read that correctly. (see
www.suttoncoldfieldtradjazzclub.com (Media & More page)
