sospiri
GONE BUT NOT FORGOTTEN
Thursday 30th April is International Jazz Day and you can read all about it here:- https://jazzday.com/ - need I say more?
Maurice
Maurice
-
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Birmingham Jazz Alive & Well
- Thread starter Shawcross
- Start date
norfolk brummie
gone but not forgotten
norfolk brummie
gone but not forgotten
Maurice,
Reading though the programme, it appears that Paris will be jumping with jazz. So much going on!!
Some of the artistes I have heard of, but many are unknown to me. Not that it matters, I am sure they are all very fine players and singers.
I do know the drummer, Daniel Humair from the sixties, when we both promoted Paiste cymbals. he must be getting on now...like me, I guess!! A very fine drummer.
Eddie.
Reading though the programme, it appears that Paris will be jumping with jazz. So much going on!!
Some of the artistes I have heard of, but many are unknown to me. Not that it matters, I am sure they are all very fine players and singers.
I do know the drummer, Daniel Humair from the sixties, when we both promoted Paiste cymbals. he must be getting on now...like me, I guess!! A very fine drummer.
Eddie.
sospiri
GONE BUT NOT FORGOTTEN
Eddie;
Many unknown to me too, but there was always something going on in Paris and no doubt many of those names are up and coming. There's a day for everything now and it would have been a bit remiss of me not to mention it, even if it is as much of a chat shop as a performance day. Europe is still as good as anywhere if you are looking for a few jazz performances during the summer, though there is much more in France than there is in this neck of the woods. For me it is going to be a bit of a jazzfree year this year as we are not leaving the island in 2015, though I generally manage to pick up a few festival performances on YouTube and elsewhere on the internet.
Maurice
Many unknown to me too, but there was always something going on in Paris and no doubt many of those names are up and coming. There's a day for everything now and it would have been a bit remiss of me not to mention it, even if it is as much of a chat shop as a performance day. Europe is still as good as anywhere if you are looking for a few jazz performances during the summer, though there is much more in France than there is in this neck of the woods. For me it is going to be a bit of a jazzfree year this year as we are not leaving the island in 2015, though I generally manage to pick up a few festival performances on YouTube and elsewhere on the internet.
Maurice
TUNEFUL REMINDERS OF THE JAZZ LEGENDS
Banjo/guitar specialist BRIAN MELLOR is such a familiar figure on stage at Sutton Coldfield Trad Jazz Club that he must have an almost genetic 'feel' for the music that keeps the regulars happy....and that's not always as easy as it sounds.
Birmingham's Brian is frequently at the Walmley Club's Wednesday night gigs as a guest or member of various bands and, from time to time, as was the case last night, he attends as leader of his own band, the Jazz Ramblers. Along the way he's absorbed the need to 'Keep the dancers dancing and the trad purists listening.'
This was achieved almost to perfection with a mixed programme of dreamy old-time 'sentimental journey' ballads and bouncy, upbeat Dixieland, driven by his own crisp banjo beat and punctuated by some of the classics of jazz and swing. Almost inevitably, at any celebration of jazz there has to be a touch of Duke Ellington, and this was achieved with the Ramblers' version of Stevedore Stomp, a Duke composition dating back, I believe, to the famous Cotton Club of the 1920s.
It is truly awe-inspiring the way that the works of the legendary song writers and composers live on a century and more after their beginnings and the works of Hoagy Carmichael (Stardust etcetera) come into this category in surviving to this day. As a reminder, Brian took on the challenge of Carmichael's Old Rockin' Chair's Got me with amusing interventions by Richard Leach.
Richard plays a mean trombone and can be gruff and growling with the best of the blow-and-slide merchants, but this time his vocal support contributed to an entertaining few minutes. Not quite Satchmo and Bing, but pretty darned good.
On a personal note it was terrific to be back after a three weeks absence (undergoing 50% cervical disk decompression, i.e drilling out excess bone growth, at C3/C4 with mass screw fixation, since you ask) and looking forward to more Walmley Wednesday nights like this one ahead.
Banjo/guitar specialist BRIAN MELLOR is such a familiar figure on stage at Sutton Coldfield Trad Jazz Club that he must have an almost genetic 'feel' for the music that keeps the regulars happy....and that's not always as easy as it sounds.
Birmingham's Brian is frequently at the Walmley Club's Wednesday night gigs as a guest or member of various bands and, from time to time, as was the case last night, he attends as leader of his own band, the Jazz Ramblers. Along the way he's absorbed the need to 'Keep the dancers dancing and the trad purists listening.'
This was achieved almost to perfection with a mixed programme of dreamy old-time 'sentimental journey' ballads and bouncy, upbeat Dixieland, driven by his own crisp banjo beat and punctuated by some of the classics of jazz and swing. Almost inevitably, at any celebration of jazz there has to be a touch of Duke Ellington, and this was achieved with the Ramblers' version of Stevedore Stomp, a Duke composition dating back, I believe, to the famous Cotton Club of the 1920s.
It is truly awe-inspiring the way that the works of the legendary song writers and composers live on a century and more after their beginnings and the works of Hoagy Carmichael (Stardust etcetera) come into this category in surviving to this day. As a reminder, Brian took on the challenge of Carmichael's Old Rockin' Chair's Got me with amusing interventions by Richard Leach.
Richard plays a mean trombone and can be gruff and growling with the best of the blow-and-slide merchants, but this time his vocal support contributed to an entertaining few minutes. Not quite Satchmo and Bing, but pretty darned good.
On a personal note it was terrific to be back after a three weeks absence (undergoing 50% cervical disk decompression, i.e drilling out excess bone growth, at C3/C4 with mass screw fixation, since you ask) and looking forward to more Walmley Wednesday nights like this one ahead.
norfolk brummie
gone but not forgotten
Shawcross:
Wonderful review, and delighted that you are back with us.
I believe the musical phrase is "Keep the customers satisfied".
I am aware that you have had a pretty tough few weeks, operation, recuperation wise, and hopefully everything is going according to plan, and your strength is returning.
Duke Ellington, Hoagy Carmichael, wonderful ' tunesmiths', and their music, as you rightly state, is still as evergreen as it was all those years ago.
You cannot keep good music down, or indeed, a sturdy old journalist!!
Eddie
Wonderful review, and delighted that you are back with us.
I believe the musical phrase is "Keep the customers satisfied".
I am aware that you have had a pretty tough few weeks, operation, recuperation wise, and hopefully everything is going according to plan, and your strength is returning.
Duke Ellington, Hoagy Carmichael, wonderful ' tunesmiths', and their music, as you rightly state, is still as evergreen as it was all those years ago.
You cannot keep good music down, or indeed, a sturdy old journalist!!
Eddie
An evening for the 'Trad Jazz' purists at Walmley tomorrow night with Dave Rae's Levee Ramblers New Orleans Jazz Band(formed out of the embers of The Rae Brothers New Orleans Jazz Band following the retirement of founder member Mac Rae).
The nucleus of the band remains the same with Dave Rae as leader on banjo along with John Robinson playing double bass and New Orleans style drummer Paul Bacon in the rhythm section.
Liz Bacon takes the lead playing strong melody on clarinet along with Jim Blenkin punching out a counter melody on trombone.
When available the piano chair is taken up by Ian Wynne, a wonderful young musician and a popular addition to the band. Although there is no regular trumpet player they are often joined by guest trumpeters who play in the New Orleans Style for which the Levee Ramblers are renowned.
WEDNESDAY NIGHT FEVER..!
It is always reassuring when younger generations appear on the vintage jazz scene either as participating musicians or appreciative members of the audience... and last night, at Sutton Coldfield Trad Jazz Club's Wednesday night gig, we had a double dose of it.
The band on stage at The Walmley Club, was Dave Rae's Levee Ramblers, formed from the embers of "The Rae Brothers New Orleans Jazz Band" following the retirement of clarinet & trumpet player and founder member, Mac Rae. Whenever possible Levee Ramblers feature Ian Wynne on keyboards, a young man who could no doubt make a good living around the classical concert halls of the world but prefers to syncopate or boogie like the best of the past jazz piano players.
Among his memorable solos were Kid Thomas Boogie and Ray Charles's Mess Around with a vocal that illustrated the depth of his musical talents. For me these offerings made a welcome add-on to the band's core style of New Orleans ensemble playing, one that ideally fits their line-up.For the mostpart the Levee Ramblers' programme comprised of a relaxed, sauntering, slow foxtrot type of rhythm that tempted dancers to the floor. An example that springs to mind was their version of Careless Love featuring a beautifully-constructed soft clarinet solo by Liz Bacon. It was almost as though she sympathised with the sad sentiment...
Not ALL the music was soft and relaxed though. Not by a long way. On this occasion we were blessed by the attendance of two newcomers, a couple from later generations than ours, but who not only love the great Jazz Age music, but dance to it and hold classes to teach it. When they first hit the floor among the 60/70/80year olds my first silly thought was: "Wow...talk about Saturday Night Fever meets Waiting for God..."
They jived in a manner that was almost an American GI jitterbug in its athleticism, especially from the feline, loose-limbed, energetic young woman, they smiled to each other with sheer pleasure at the fun of it all, and cleared the floor of all others for a version of Tiger Rag that could have opened with the phrase: "Hold that tigress..."
We geriatrics watched in admiration and tried to convince ourselves that we once danced like that and it was great to be reminded of how it used to be. Many of us asked them to come back, and bring some of their students. We hope they do. This wasn't just a fun night out for old fogeys.
It was a fun night out for any age group. That's jazz for you.
It is always reassuring when younger generations appear on the vintage jazz scene either as participating musicians or appreciative members of the audience... and last night, at Sutton Coldfield Trad Jazz Club's Wednesday night gig, we had a double dose of it.
The band on stage at The Walmley Club, was Dave Rae's Levee Ramblers, formed from the embers of "The Rae Brothers New Orleans Jazz Band" following the retirement of clarinet & trumpet player and founder member, Mac Rae. Whenever possible Levee Ramblers feature Ian Wynne on keyboards, a young man who could no doubt make a good living around the classical concert halls of the world but prefers to syncopate or boogie like the best of the past jazz piano players.
Among his memorable solos were Kid Thomas Boogie and Ray Charles's Mess Around with a vocal that illustrated the depth of his musical talents. For me these offerings made a welcome add-on to the band's core style of New Orleans ensemble playing, one that ideally fits their line-up.For the mostpart the Levee Ramblers' programme comprised of a relaxed, sauntering, slow foxtrot type of rhythm that tempted dancers to the floor. An example that springs to mind was their version of Careless Love featuring a beautifully-constructed soft clarinet solo by Liz Bacon. It was almost as though she sympathised with the sad sentiment...
Not ALL the music was soft and relaxed though. Not by a long way. On this occasion we were blessed by the attendance of two newcomers, a couple from later generations than ours, but who not only love the great Jazz Age music, but dance to it and hold classes to teach it. When they first hit the floor among the 60/70/80year olds my first silly thought was: "Wow...talk about Saturday Night Fever meets Waiting for God..."
They jived in a manner that was almost an American GI jitterbug in its athleticism, especially from the feline, loose-limbed, energetic young woman, they smiled to each other with sheer pleasure at the fun of it all, and cleared the floor of all others for a version of Tiger Rag that could have opened with the phrase: "Hold that tigress..."
We geriatrics watched in admiration and tried to convince ourselves that we once danced like that and it was great to be reminded of how it used to be. Many of us asked them to come back, and bring some of their students. We hope they do. This wasn't just a fun night out for old fogeys.
It was a fun night out for any age group. That's jazz for you.
norfolk brummie
gone but not forgotten
Shawcross:
Great review of the evening's music at the Sutton Coldfield Jazz Club, as per your usual high standard.
I was particularly pleased to note that some of our younger generation are not only there for the music, but are able to jitterbug & jive, as we older generation folk once did.
As you quite rightly state, lets hope that they bring along some of their younger friends for future jazz nights. We need the younger generation to appreciate the music that we love, are there to listen to it, and to enjoy their dancing to jazz tunes, from live musicians.
KEEP MUSIC LIVE and keep it happening!
Eddie
Great review of the evening's music at the Sutton Coldfield Jazz Club, as per your usual high standard.
I was particularly pleased to note that some of our younger generation are not only there for the music, but are able to jitterbug & jive, as we older generation folk once did.
As you quite rightly state, lets hope that they bring along some of their younger friends for future jazz nights. We need the younger generation to appreciate the music that we love, are there to listen to it, and to enjoy their dancing to jazz tunes, from live musicians.
KEEP MUSIC LIVE and keep it happening!
Eddie
sospiri
GONE BUT NOT FORGOTTEN
I've just found out that an old friend, sax player Mike Burney, passed away on Thursday 13 November 2014 as a result of cancer. Although principally a jazz player, many more people will remember Mike from his time with Roy Wood's Wizzard - he played the sax solo on "I Wish It Could Be Christmas Every Day". But he also played with the Beach Boys, Sammy Davis, Bob Hope, Chaka Khan and spent 8 years with the Syd Lawrence Orchestra. More recently he will be remembered for his performances at the Birmingham International Jazz Festival. RIP Make
Maurice
Maurice
norfolk brummie
gone but not forgotten
Sad news, Maurice.
As you know I played with Mike in a couple of bands. A great character, and a fine tenor saxophone player. He will be missed around the 'Brum' area.
Eddie
...yes, Maurice...someone at the jazz club told me some time ago that Mike Burney had died...I remember him only as a great stalwart of the Birmingham Jazz Festival. Whenever you looked at the day's schedule he seemed to be on somewhere. I must have seen him several times but have no one great one memory of him....
I went to see the Midland Youth Jazz Orchestra at Solihull School in a wonderful little theatre/auditorium on Friday night....what talent....there was even a Barber's Shop Four in straw hats, a 10/12 year-old band of ten, saxophones only. One of the lads was so small that he made his alto look like a bass saxophone!!
What sticks in my mind most is a trombone solo playing The Nearness of You....a trumpet player of such pure clarity that it could have been Bobby Hackett (his Moonlight in Vermont is one of my favourites) and some tenor solos by a tall, fair-haired young man that would have graced any band....a very reassuring evening for the future of our kind of music...and all as a fund-raiser for Dementia patients. Also I met a former colleague I haven't seen for over 50 years...how the heck did we recognise each other?
Dennis
I went to see the Midland Youth Jazz Orchestra at Solihull School in a wonderful little theatre/auditorium on Friday night....what talent....there was even a Barber's Shop Four in straw hats, a 10/12 year-old band of ten, saxophones only. One of the lads was so small that he made his alto look like a bass saxophone!!
What sticks in my mind most is a trombone solo playing The Nearness of You....a trumpet player of such pure clarity that it could have been Bobby Hackett (his Moonlight in Vermont is one of my favourites) and some tenor solos by a tall, fair-haired young man that would have graced any band....a very reassuring evening for the future of our kind of music...and all as a fund-raiser for Dementia patients. Also I met a former colleague I haven't seen for over 50 years...how the heck did we recognise each other?
Dennis
sospiri
GONE BUT NOT FORGOTTEN
Shawcross,
Last time I saw Mike must have been on a visit to Birmingham in 2013, when he certainly looked very ill and last year's visit to the UK didn't see me come further north than Gloucestershire for various reasons. I did a bit of searching on the internet the other day as I hadn't heard from anyone who was likely to have been in touch with him. I was dismayed, but not surprised, to turn up an ITV regional news report about his death. Prior to a visit in around 2007, I hadn't seen him in well over 40 years.
Both the Midland and the National Youth Jazz Orchestras are very good, as was the Philadelphia Schools Jazz Orchestra when they came to Crete a couple of years ago. The youngsters certainly get good chances to improve their musical skills these days - I just hope that the work will be available for them in the future.
Maurice
Last time I saw Mike must have been on a visit to Birmingham in 2013, when he certainly looked very ill and last year's visit to the UK didn't see me come further north than Gloucestershire for various reasons. I did a bit of searching on the internet the other day as I hadn't heard from anyone who was likely to have been in touch with him. I was dismayed, but not surprised, to turn up an ITV regional news report about his death. Prior to a visit in around 2007, I hadn't seen him in well over 40 years.
Both the Midland and the National Youth Jazz Orchestras are very good, as was the Philadelphia Schools Jazz Orchestra when they came to Crete a couple of years ago. The youngsters certainly get good chances to improve their musical skills these days - I just hope that the work will be available for them in the future.
Maurice
norfolk brummie
gone but not forgotten
Maurice,
As you will see on my posting #3 on the VE BBC celebrations, the young musicians are there, and there are many fine, talented young people playing in all forms of youth bands.
Here in Norfolk, our daughter is the Director for Music, for the County. The Norfolk Schools Symphony Orchestra, the Norfolk Schools Big Band, and the Norfolk County Youth Orchestra produce fine musicians, many of whom graduate to the various music colleges, and universities.
They undertake tours of Europe to obtain the experience needed to further their playing. The talent is always there. As you quite rightly say, there are fewer opportunities. Like everything else in this modern world, there are many young talented musicians chasing very few vacancies.
One thing is for certain, however. Good music, good musicians, and good songs will never die.
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie:
Nice to keep the family in the business! My middle son runs a recording studio, those these days it is becoming more difficult to keep it fully occupied and for much of the time he relies on Electronics Hardware contracts. With everything moving towards software and the gradual disappearance of CDs and DVDs and record shops, the whole music distribution industry is changing. The same applies to many of the large pop & rock concerts. Three years ago O2 used just a keyboard player and a drummer up front for a production with an audience of 10,000 and everything else was pre-recorded and MIDI used to synch the lot together, and it's moving more and more that way I'm afraid.
Symphony orchestras have slimmed down due to economics - I remember a few years ago that Bournemouth Symphony Orchestra was slimmed from 150 members to 110. And like me, you probably remember the BBC Midland Light Orchestra and many like them - all gone! :-(
Trying to predict how things will pan out over the next twenty years is very difficult indeed.
Maurice
Nice to keep the family in the business! My middle son runs a recording studio, those these days it is becoming more difficult to keep it fully occupied and for much of the time he relies on Electronics Hardware contracts. With everything moving towards software and the gradual disappearance of CDs and DVDs and record shops, the whole music distribution industry is changing. The same applies to many of the large pop & rock concerts. Three years ago O2 used just a keyboard player and a drummer up front for a production with an audience of 10,000 and everything else was pre-recorded and MIDI used to synch the lot together, and it's moving more and more that way I'm afraid.
Symphony orchestras have slimmed down due to economics - I remember a few years ago that Bournemouth Symphony Orchestra was slimmed from 150 members to 110. And like me, you probably remember the BBC Midland Light Orchestra and many like them - all gone! :-(
Trying to predict how things will pan out over the next twenty years is very difficult indeed.
Maurice
A Welcome Return for Local Girl, Kiera:
'My role model is Ella'
Talented Walmley vocalist, Kiera Battersby, whose career aim is to model her singing on the late, great Ella Fitzgerald, is to make her second appearance at The Walmley Club on May 27.
Kiera, 17, will join the Apex Jazz and Swing Band with song or two from the great Ella's song book, and in memory of her late grandfather, a singer in the 1940s/50s.
Kiera is a refreshing young lady in an era when the aim of her peers would be to sound like Leona Lewis or the other modern soul singers, Kiera's musical tastes are a nostalgic throwback to the great Jazz Age and the dance band rhythms of up to a century ago.
" I enjoy jazz the most of all music because the songs are so great," she told SCTJC. "I get inspiration from singers such as Ella Fitzgerald, Judy Garland, and Doris Day. I have always preferred a more vintage style of singing. I love Mama Cass and Dionne Warwick, too, but my role model is Ella Fitzgerald, probably the best singer there has ever been. One day I hope to be able to improvise as well as she could. Even though I've tried lots of different styles of music, I feel jazz suits my voice best of all.. Being classically trained has undoubtedly helped with my jazz singing."
Kiera's role model, along with Ella Fitzgerald, continues to be her grandfather, stage name Billy Leroy, with his lyric-based ballads and up tempo tunes. "He sang during World War II in an RAF entertainment band and also sang in many clubs around Derbyshire,"she adds. "We still have his sheet music from when he rehearsed." Kiera can dance and and act, too. Local talent meets local jazz club. An ideal match?
'My role model is Ella'
Talented Walmley vocalist, Kiera Battersby, whose career aim is to model her singing on the late, great Ella Fitzgerald, is to make her second appearance at The Walmley Club on May 27.
Kiera, 17, will join the Apex Jazz and Swing Band with song or two from the great Ella's song book, and in memory of her late grandfather, a singer in the 1940s/50s.
Kiera is a refreshing young lady in an era when the aim of her peers would be to sound like Leona Lewis or the other modern soul singers, Kiera's musical tastes are a nostalgic throwback to the great Jazz Age and the dance band rhythms of up to a century ago.
" I enjoy jazz the most of all music because the songs are so great," she told SCTJC. "I get inspiration from singers such as Ella Fitzgerald, Judy Garland, and Doris Day. I have always preferred a more vintage style of singing. I love Mama Cass and Dionne Warwick, too, but my role model is Ella Fitzgerald, probably the best singer there has ever been. One day I hope to be able to improvise as well as she could. Even though I've tried lots of different styles of music, I feel jazz suits my voice best of all.. Being classically trained has undoubtedly helped with my jazz singing."
Kiera's role model, along with Ella Fitzgerald, continues to be her grandfather, stage name Billy Leroy, with his lyric-based ballads and up tempo tunes. "He sang during World War II in an RAF entertainment band and also sang in many clubs around Derbyshire,"she adds. "We still have his sheet music from when he rehearsed." Kiera can dance and and act, too. Local talent meets local jazz club. An ideal match?
norfolk brummie
gone but not forgotten
Shawcross:
You know, given the chance to sing the 'old standards', there could be some good young singers around.
I have to say that I thought Pixie Lott sang an old standard, with a big band backing, in the BBC VE Day Celebrations, quite well.
Phrasing, breathing and intonation could be improved, but not bad at all. Also Kathrine Jenkins, classically trained, sang with a nice sense of rhythm, and of course, her breathing, phrasing, vibrato and voice are always excellent.
As I have been discussing with Maurice, the problem is. there is not enough opportunities for young singers, or musicians, to find the relevant outlets for their talent.
Good luck to Kiera, and keep the dream alive. We need you for the future of good music.
Eddie
You know, given the chance to sing the 'old standards', there could be some good young singers around.
I have to say that I thought Pixie Lott sang an old standard, with a big band backing, in the BBC VE Day Celebrations, quite well.
Phrasing, breathing and intonation could be improved, but not bad at all. Also Kathrine Jenkins, classically trained, sang with a nice sense of rhythm, and of course, her breathing, phrasing, vibrato and voice are always excellent.
As I have been discussing with Maurice, the problem is. there is not enough opportunities for young singers, or musicians, to find the relevant outlets for their talent.
Good luck to Kiera, and keep the dream alive. We need you for the future of good music.
Eddie
I agree about Pixie Lott..I thought she was really good...and that black guy (Porter is his name?) who wears a funny hat to match his beard...he sang one of our old songs superbly. Afterwards I asked myself whether there is another nation in the world whose wars could be defined by such music? I have a confession to make...I find such shows and the memories they inspire, intensely moving...I was wiping away the tears from start to finish...silly, sentimental old git...
sospiri
GONE BUT NOT FORGOTTEN
Can't beat a bit of sentiment, Shawcross. Most modern films are full of mindless violence or cheap sex and hackneyed story lines. It's nice to look back on how things used to be. Perhaps that's what's missing in the modern generations, but how would another old git know? 
Maurice
Maurice
norfolk brummie
gone but not forgotten
Can't beat a bit of sentiment, Shawcross. Most modern films are full of mindless violence or cheap sex and hackneyed story lines. It's nice to look back on how things used to be. Perhaps that's what's missing in the modern generations, but how would another old git know?
Maurice
That makes three of us!!!
Eddie
Can't beat a bit of sentiment, Shawcross. Most modern films are full of mindless violence or cheap sex and hackneyed story lines. It's nice to look back on how things used to be. Perhaps that's what's missing in the modern generations, but how would another old git know?
Maurice
NEWFRONT LINE...SAME EXCITING SOUNDS
NewOrleans Heat, one of the most popular and well-established bands onthe UK vintage jazz circuit has undergone significant changes in its front line in recent times but, as Sutton Coldfield Trad Jazz regulars have discovered, the new look up front has not metaphorically turned the temperature down.
Dave Vickers (trombone), Richard Church (trumpet) and Roger Bird (reeds) beside the long-serving band leader and keyboards man, Barry Grummett, proved themselves, at the Walmley Club, to be more than able to continue the band's philosophy of "helping to keep realjazz alive".
Such jazz standards as Savoy Blues, At the Jazz Band Balland Buddy Bolden Blues gave them ample opportunity to prove their worth both as ensemble teamplayers and talented soloists. They're an entertaining group of vocalists, too, as they quickly displayed.
Richard Church producesthe smoothest of cornet/trumpet sounds in Beg Your Pardon and followed up with a smooth vocal rendition of the same number.
Last Night on the Back Porch allowed Barry Grummett to air his exciting boogie-woogie style keyboards backed up by an appealing, slightly rough-edged and jazzy tenor saxand vocal by Roger Bird and goose-pimply trombone by DaveVickers.
The dancers enjoyed all this just as much we, the more static admirers did and this particular jazz freak marvelled yet again at the timeless nature of it all when a couple (from a latergeneration than the majority) performed to Savoy Blues with an athletic Lindy Hop. Savoy Blues was composed by Kid Ory for arecording session by the Louis Armstrong Hot Five around a century ago and yet still sounds fresh as the day the great trombonist wrote it.
In contrast, The Lindy Hop, I wrongly assumed, was a late 20[SUP]th[/SUP]century phenomenon. However, a spot of research has taught me that,actually, it was born in Harlem to coincide with what we now call 'trad jazz' and a very similar pedigree. Couldn't be more appropriate for Wednesday nights at Walmley, could it?
What a talent.
What a reassuring message for British jazz.
What a great night's entertainment when Matt Palmer's All-Stars featured 25-year-old BEN HOLDER as guest star at Sutton Coldfield Trad Jazz Club in their weekly Wednesday gig at Walmley Social Club.
Multi-award winning, Midland-based Ben is probably best-known as a Stephane Grapelli-style violinist who has a band call Gypsy Fire.
What this doesn't tell us about this remarkable young man is that his musical repertoire seems to know no bounds. He was, for instance, able to start off a number such I can't give you anything but love at scorching tempo on violin, before moving seamlessly into an upbeat and highly listen-able vocal and then stepping back a couple of paces to his keyboards for a piano recital that was as exciting as his fiddling and singing. He truly could be a one-man show,
Between times he charmed the audience of mainly senior citizens with his confident, Jack-the-laddish on- (and off-) stage persona and illustrated throughout the evening that, though he was classically trained at Birmingham Conservatoire, he found 'our' kind of music more appealing after listening to some of the pioneers of yesteryear. Jazz's gain I would say.
Throughout his 90 minutes or whatever on stage, Ben's body-language oozed enthusiasm. The more sedate souls might feel his restless search for yet more rhythm higher and higher tempo, was a shade OTT. But then, near the end, he had the stage to himself for a tender rendition of A nightingale sang in Berkley Square...and that was eye-wateringly beautiful, to this old codger, anyway.
Thanks Ben. And thanks Matt for introducing him to the Royal Borough (which Holder was visiting for the first time) as guest with your already-highly talented band.
What a reassuring message for British jazz.
What a great night's entertainment when Matt Palmer's All-Stars featured 25-year-old BEN HOLDER as guest star at Sutton Coldfield Trad Jazz Club in their weekly Wednesday gig at Walmley Social Club.
Multi-award winning, Midland-based Ben is probably best-known as a Stephane Grapelli-style violinist who has a band call Gypsy Fire.
What this doesn't tell us about this remarkable young man is that his musical repertoire seems to know no bounds. He was, for instance, able to start off a number such I can't give you anything but love at scorching tempo on violin, before moving seamlessly into an upbeat and highly listen-able vocal and then stepping back a couple of paces to his keyboards for a piano recital that was as exciting as his fiddling and singing. He truly could be a one-man show,
Between times he charmed the audience of mainly senior citizens with his confident, Jack-the-laddish on- (and off-) stage persona and illustrated throughout the evening that, though he was classically trained at Birmingham Conservatoire, he found 'our' kind of music more appealing after listening to some of the pioneers of yesteryear. Jazz's gain I would say.
Throughout his 90 minutes or whatever on stage, Ben's body-language oozed enthusiasm. The more sedate souls might feel his restless search for yet more rhythm higher and higher tempo, was a shade OTT. But then, near the end, he had the stage to himself for a tender rendition of A nightingale sang in Berkley Square...and that was eye-wateringly beautiful, to this old codger, anyway.
Thanks Ben. And thanks Matt for introducing him to the Royal Borough (which Holder was visiting for the first time) as guest with your already-highly talented band.
I Am Nico
master brummie
Four!
A writer on the radio was saying that today's films are all special effects and no plot.
The Newfrontline article sounds wonderful, I include And A Nightingale Sang in my repertoire if I ever get to perform to an audience outside the living room.
My friend's dad gave me some wonderful sheet music books from the 50's and beyond, namely The Fifties by EMI which includes poignant photos of the day, Front Cover Elvis and Marilyn Monroe, A Hatful of Songs by Chappell, Front :Frankie Vaughan, 50 Favourite Songs, Kenneth Baker £1.50! World Standards, Pub Medleys.Kenneth Baker, Nat King Cole's Golden Greats, Real Fun Way!, 18ct Gold, and World Famous Melodies and Marches by Felton Rapley. All written for various types of organ but with Guitar chords. They will keep me busy.
Remember TW3?
That Was The Week That Was?
Millicent Martin singing the signature tune?...well, musically my week has been like that, a bit of a memorable one, too.
Beginning with the marvellously versatile Kevan Grenfell with his Jazz Giants at Coventry's Jazz-a-matazz on Sunday (May 17), Matt Palmer's All-Stars with multi-talented Ben Holder at Sutton Coldfield Trad Jazz Club's regular Wednesday-at-Walmley gig and then Annie Hawkins' Jazzmen at Solihull yesterday (May 24).
Reflecting on that eight-day celebration of popular music as it was between the 1920s and 1960s, for instance, reminded me of one of the benefits of being an octogenarian and not being confined to the popular sounds of today.
OK, so what's brought this on? A private event that was staged on the other side of my garden hedge on Saturday, bringing some of the popular 'music' of today to a few yards from my lounge, featuring a variety of bands, a disco and a karaoke. It sounded as though a great time was had by all, and jolly good luck to them.
It simply made me realise more than ever how lucky we were, and still are, to have the rich variety of sounds, tempos, rhythms, instruments, vocals, sentiments, emotions and sheer natural talent that 'our kind of music' embraced way back then, and still does.
Sunday lunch-time at Solihull was a reminder of all this after some of the one-tone, high-octane, electronic, tuneless thump-thumps of the afternoon/evening/night before. No hard feelings at all neighbours. I just think we old'uns had the better deal musically.
Smile, Darn You, Smile we were advised by Annie and her band, so we did, to be rewarded with a rendition of Smiles as though to confirm that we had complied! There was plenty of classic Dixieland on offer, too, with the likes of Climax Rag and Buddy's Habit along with the sentimental vocals When I Get Too Old to Dream and My Mother's Eyes. It all came to an end with upbeat offerings in Louis Jourdan's Caledonia, Caledonia and finally When the Saints.
I'll take the music of bygone days ahead of today's version for any week of the year. TW3.
That Was The Week That Was?
Millicent Martin singing the signature tune?...well, musically my week has been like that, a bit of a memorable one, too.
Beginning with the marvellously versatile Kevan Grenfell with his Jazz Giants at Coventry's Jazz-a-matazz on Sunday (May 17), Matt Palmer's All-Stars with multi-talented Ben Holder at Sutton Coldfield Trad Jazz Club's regular Wednesday-at-Walmley gig and then Annie Hawkins' Jazzmen at Solihull yesterday (May 24).
Reflecting on that eight-day celebration of popular music as it was between the 1920s and 1960s, for instance, reminded me of one of the benefits of being an octogenarian and not being confined to the popular sounds of today.
OK, so what's brought this on? A private event that was staged on the other side of my garden hedge on Saturday, bringing some of the popular 'music' of today to a few yards from my lounge, featuring a variety of bands, a disco and a karaoke. It sounded as though a great time was had by all, and jolly good luck to them.
It simply made me realise more than ever how lucky we were, and still are, to have the rich variety of sounds, tempos, rhythms, instruments, vocals, sentiments, emotions and sheer natural talent that 'our kind of music' embraced way back then, and still does.
Sunday lunch-time at Solihull was a reminder of all this after some of the one-tone, high-octane, electronic, tuneless thump-thumps of the afternoon/evening/night before. No hard feelings at all neighbours. I just think we old'uns had the better deal musically.
Smile, Darn You, Smile we were advised by Annie and her band, so we did, to be rewarded with a rendition of Smiles as though to confirm that we had complied! There was plenty of classic Dixieland on offer, too, with the likes of Climax Rag and Buddy's Habit along with the sentimental vocals When I Get Too Old to Dream and My Mother's Eyes. It all came to an end with upbeat offerings in Louis Jourdan's Caledonia, Caledonia and finally When the Saints.
I'll take the music of bygone days ahead of today's version for any week of the year. TW3.
norfolk brummie
gone but not forgotten
Great jazz reporting, shawcross;
Your musical writings, the ingredients, and the enthusiasm, is almost as scarce as the music itself!! Great writing, like great music appears to be a rarity these days.
Delighted to read that you are still enjoying great jazz. Sadly now, it appears, in the evening of its years, but good to know that we enjoyed it when it was in its high summer days.
A question: Did Louis Jordan write Caledonia? Without checking, I thought that it was Wood Herman, or perhaps it was just that Herman made it famous.
Eddie
Your musical writings, the ingredients, and the enthusiasm, is almost as scarce as the music itself!! Great writing, like great music appears to be a rarity these days.
Delighted to read that you are still enjoying great jazz. Sadly now, it appears, in the evening of its years, but good to know that we enjoyed it when it was in its high summer days.
A question: Did Louis Jordan write Caledonia? Without checking, I thought that it was Wood Herman, or perhaps it was just that Herman made it famous.
Eddie
I Am Nico
master brummie
You certainly get around Shawcross music is an elixier to you, long may you imbibe. Had my son in law to jam yesterday well mostly we listened to him and his tips how to bend the guitar, BB King and others came up in conversation. We trawled through my recently aquired sheet music. L just Googled Louis Jordan I thought you meant the French actor I see know you don't. It says he did write it and I was treated to a video of him on a double bass.
norfolk brummie
gone but not forgotten
Maurice, as usual, many thanks, Eddie
sospiri
GONE BUT NOT FORGOTTEN
I've just heard of another jazz death. Apparently Ron Crotty, the original bass player with the Dave Brubeck Quartet, passed away a few days ago. He first worked with Brubeck when it was just a trio, having been recommended by vibist Cal Tjader. During the 1970s Ron had persistent problems with alcoholism and amphetamines, but came back into the business more recently and was doing regular Friday & Sunday gigs at the Oakland Museum in California. He was 83 years old. RIP Ron.
Maurice
Maurice
...thanks to you musical mates for your interest and kind comments...I have a compulsion to try to describe things so it's rewarding to hear that someone has read it !!!!! Re-Caledonia, I actually haven't a clue who wrote it...I just associate it with him...come to think of it I seem to recall that it was a Cab Calloway recording, too. What I didn't mention earlier is that the 'music' over hedge was that loud we had to switch off the telly and the Eurovision Song nonsense.That was probably a plus to us but then again millions of people seem to enjoy it so who am I to criticise...I didn't dislike the UK entry, actually, but only 'cos it could be played Dixieland fashion...