Tag Archives: Norwich Jazz Party

Norwich Jazz Party 2011: Saturday

This was my favourite moment in the first night of the 2011 Norwich Jazz Party. Midway through an all-star closing set headed by Toronto-based soprano saxophonist Jim Galloway, the stage emptied leaving just the leader, plus trumpeter Duke Heitger, guitarist Dave Cliff and bassist Giorgos Antoniou. And what did they serve up? An exquisite Sweet Lorraine – perfectly seasoned. Not too sugary, not too fast; just a gentle, laid-back conversational handling of the old standard. The way that Galloway, the impish charmer of sinewy soprano sax melody, and the mellow-toned Heitger gently batted the melody back and forth reminded this listener of a memorable night in Nairn when Ruby Braff struck up a similar musical dialogue with Scott Hamilton and Jon Wheatley. The set ended with what seemed like a nod to my Glasgow granny (and probably Galloway’s too): a hugely enjoyable tout ensemble (11 players) version of Show Me the Way to Go Home.

Earlier in the night, the Japanese clarinettist Eiji Kitamura and tenor man Scott Hamilton had only really hit their stride by the time they were on the closing numbers of their 45 minute set: a classy take on These Foolish Things, which – unlike some of the earlier tunes – seemed to benefit from Kitamura’s restrained style, and a super-fast Lover Come Back to Me which boasted a classic Hamilton filibuster solo.

Marty Grosz can always be relied on to do his homework, and his arrangements for his set entitled Songs You Thought You’d Never Hear – or Gold for Mouldies were typically colourful and catchy, and it was a treat to hear this superb eight-piece band playing them. Highlights included Cincinnati, which featured some superb solo work by the dynamic duo of Ken Peplowski (clarinet) and Enrico Tomasso (trumpet).

Since Warren Vache and Bill Charlap’s cornet-piano duet version of What’ll I Do has ruined me for any other, I guess Houston Person didn’t stand a chance. But he made sure of it by playing it at break-neck speed during his late-night set.. Luckily, the ballad to which he introduced me two tunes later more than made up for it: Why Did I Choose You? was the perfect showcase for his spare balladeering style and rich sound.

1 Comment

Filed under Concert reviews

News and Blues

….. Top Scots jazz singer Carol Kidd and her ace guitarist Nigel Clark release their first duo album next month. Tell Me Once Again (Linn) is an exquisite collection of ballads, bossa novas (including one by Stevie Wonder) and a Buble-inspired R ‘n’ B classic. Oh, and you might recognise the name of the writer who wrote the liner notes …

….. Carol Kidd’s onetime pianist David Newton returns to his native Glasgow on March 24 to
play a quartet gig, also featuring saxophonist Stewart Forbes, at the Glasgow Art Club – the newest old venue on the Glasgow scene. The concert is part of Bridge Jazz’s new season. Visit www.bridgejazz.co.uk for details of this and other forthcoming concerts…

…..The Norwich Jazz Party runs from April 30-May 2 this year. Among those offering the ideal alternative to the inevitable wall-to-wall coverage of a certain event on April 29 are: Marty Grosz, Ken Peplowski, Warren Vache, Alan Barnes, Howard Alden, Duke Heitger, Daryl Sherman, Bob Wilber (pictured, above, in Nairn with Andrew Cleyndert on bass), Dan Block, Rossano Sportiello, Roy Williams, Scott Hamilton, Jim Galloway and Karen Sharp.

…. The Keswick Jazz Festival runs from May 12-15 this year, and as if there wasn’t enough jazz crammed into that weekend in the shape of my favourite classic jazz band – The Hot Antic Jazz Band, from France – and such top British and American names as Alan Barnes, Karen Sharp, John Hallam, Jeff Barnhart, Wendell Brunious, Enrico Tomasso and Keith Nichols, there are also going to be some pre-festival gigs by some of them, plus the Big Chris Barber Band and the Tim Kliphuis Trio (both on May 9).

Leave a comment

Filed under Concert reviews, Uncategorized

Norwich Jazz Party 2010: Swingin’ the Dream 2

I promised more photos from the all-singing, all-dancing Swingin’ the Dream set .. so here goes. You’ve been warned.

Leave a comment

Filed under Concert reviews

Norwich Jazz Party 2010: Swingin’ the Dream

No, your eyes do not deceive you: this photo shows “Brother” Marty Grosz preaching while Ken Peplowski plays clarinet (and tries to suppress his laughter).

This was the scene two-thirds of the way through one of the most unusual sets of the Norwich Jazz Party – a costume-free, eight-man recreation of Swingin’ the Dream, an ill-fated, 1939, Broadway show that had a cast of over 150 as well as three bands. Not to mention Louis Armstrong and Maxine Sullivan in starring roles.

Like Ken Peplowski, who had organised this celebration of Swingin’ the Dream, I’ve long been fascinated by this little-documented show which may have been short on success but was loaded with talent. A musical re-imagining of A Midsummer Night’s Dream, set in 19th century New Orleans, it was, said Peplowski, partly a disaster because of its bloated budget.  “It ran for 13 performances – and we’re going to show you why,” said Peplowski, by way of self-deprecating introduction.

With only 30 minutes to evoke the presumed spirit of the show, Peplowski’s septet served up a delightful mix of numbers, kicking off with numbers which Louis Armstrong and Benny Goodman might well have performed. Moonglow was a particular highlight, thanks to the combination of Paolo Alderighi’s lovely piano solo, Enrico Tomasso’s laidback trumpet and Peplowski’s hot and sweet clarinet.

For the show’s enduring hit, Darn That Dream (one of the songs contributed, at the last minute, by Jimmy Van Heusen and Eddie de Lange), Peplowski switched to tenor sax. Hearing the verse – played by just Peplowski and Alderighi – was a rare treat, and the rest of the number was equally beautifully executed; the musicians gently passing the melody amongst themselves.

Another song written for the show and still surviving is Love’s a Riddle, penned by Alec Wilder who was the musical’s original composer. A quirky, peppy number, it reminded me of the much more successful swinging Shakespeare project – Sullivan, Shakespeare, Hyman – the classic album of jazz settings of Shakespeare songs which Dick Hyman recorded with Swingin’ the Dream’s Maxine Sullivan in the 1970s.

The set culminated in two more songs written for the show by Van Heusen and de Lange – and for these, Peplowski brought on his secret weapon: Marty Grosz. On Peace, Brother – introduced as ” a message/gospelly number of the era”, Grosz threw himself into the part, waving his arms in the air as he recited the lyrics in a spoken style that was more Rex Ingram than Rex Harrison.

Grosz was back on vocals duty for the catchy title number which provided the all-singing, all-dancing (by Marty and Ken anyway) finale to the set. Featuring terrific solos by Peplowski (on clarinet) and guitarist  Howard Alden, it was one of the standouts of a hugely enjoyable session which Peplowski will no doubt have regarded as a trial run for the full Swingin’ the Dream concert which he’s staging at the Oregon Festival of American Music in July.

* Watch out for more photos of Brother Marty feeling the spirit coming soon..

1 Comment

Filed under Concert reviews

Norwich Jazz Party 2010: Django & Sandy

Two jazz legends were celebrated in sets featuring the delightful soprano saxophonist Jim Galloway and the grand old guitarist Bucky Pizzarelli at this year’s Norwich Jazz Party.

First up was Djangology, a Howard Alden-led tribute to the ever-popular guitarist Django Reinhardt. As you’d expect from a Djangly set, this was a joy from start to finish – and it gave all the front-liners in the sextet a chance to shine, not least Alden himself who dazzled on such finger-busters as Nagasaki and Rose Room.

Tenor saxophonist Dan Block contributed a sublime and sultry bossa nova version of Insensiblement (which he’d never played before), while Bucky Pizzarelli’s  take on Nuages was a tour-de-force performance. Swaying from side to side and looking like the Pied Piper as he played his soprano sax, Jim Galloway entranced with his exquisite solo on the languorous Manoir de Mes Reves.

Galloway took centre stage the next night for his sequel to last year’s Sandy Brown set. The 2010 Sandy Brown tribute set was every bit as thrilling as the 2009 one. Galloway was in his element, and no wonder: Brown’s music is nothing if not uplifting.

It was a treat to hear such unusual, rousing melodies as Africa Blues and Everybody Loves Saturday Night being played live, and with such style and good humour. And Galloway did a great job of sounding like himself while evoking the quirkiness and spikiness of the late clarinettist’s playing.

He was undoubtedly spurred on by the enthusiasm and talent of the rest of the band. Randy Reinhart was superb on trumpet duties; his hot but unfussy style of playing perfectly suited to the Brown sound. Bucky Pizzarelli resumed his role from last year, while trombonist Roy Williams brought an authentic British touch to the band and seemed – like everyone else in the room – to be having great fun with the material.

God, I wish someone had recorded it for YouTube.  Surely it’s time Galloway got to record this stuff with one – or both – of his Norwich line-ups. Bagsy a seat in the recording studio ..

Leave a comment

Filed under Concert reviews

Norwich Jazz Party 2010: Warren Vache

Cornettist Warren Vache was kept busy in Annie Ross’s band over the Norwich weekend and although he was well featured in her sets, I’m sure I wasn’t the only punter who was especially looking forward to the last day. Why? Because it offered two opportunities to hear Vache in co-leader mode – and both quite different.

Last year, I arrived too late for Vache’s duo set with guitarist Howard Alden and my shin had only just recovered from the kicking I’d given it by the time I got to this year’s event …. So I was thrilled to get a chance to hear them on Monday – and it was certainly worth the wait (not to mention the bruises).

Vache was in superb form, at his most delicate and sensitive on a beautiful version of Ill Wind which highlighted the great rapport between him and Alden and culminated in a laid-back, conversational exchange.The bossa nova Felicidad was breezily seductive and played so quietly and gently that you could have heard a pin drop – on the carpeted floor – during Alden’s elegant solo.

But the outstanding number in this outstanding set was the utterly sublime My One and Only Love. A gorgeous tune in its own right, it became heartbreakingly exquisite in the hands of Alden and, especially, Vache, who treated it with the utmost tenderness and gentleness.  Few musicians have such a bewitching way with a ballad as Vache – and the duo setting is the perfect showcase for his softer side.

Later in the day, he had a chance to break out in bop mode, with the quintet he co-leads with ace trombonist John Allred. Their set was essentially a preview of their forthcoming album, Top Shelf, and it went down a storm.  This is a tight, hard-swinging band – Tardo Hammer (piano) and Nicki Parrott (bass) are regulars; only British drummer Steve Brown isn’t on the new CD.

Vache and Allred have both waxed lyrical to me about their musical rapport; indeed, Vache has enthused about the affinity he and Allred feel – both for material (a shared love of the music of trumpeter Blue Mitchell provided the foundation on top of which the new CD was created) and in the way they play it. And it was certainly in evidence on Monday, especially in the freewheeling climax to They Can’t Take That Away From Me when the two horns let rip with an unaccompanied bit of improvisation which underlined the similarities in the way their minds work.

A further touch of class was added by their pianist, Tardo Hammer, whose elegance and wit shone through on the playful Sweet Pumpkin and on his beguiling solo take on I Surrender, Dear.

Leave a comment

Filed under Concert reviews

Norwich Jazz Party 2010: The Ken ‘n’ Marty Show

Among the many highlights of this year’s Norwich Jazz Party was the return, to British shores anyway, of “The Ken ‘n’  Marty Show”.

Over the last 12 or so years, whenever Ken Peplowski (clarinet & tenor sax) and Marty Grosz (guitar & vocals) have been teamed together at a jazz festival or party, there has been as much mirth as music on the bandstand.

With their hilarious repartee, these two are like the Matthau and Lemmon of the jazz world; they love nothing better than to trade often surreal, and always very funny, insults with each other. And they clearly also relish the chance to play together.

Grosz wasn’t at last year’s party, and the last time I was supposed to hear him and Peplowski – in Nairn in 2007 – the gig was cancelled at the last minute due to travel problems.  So it was a treat to be able to hear them several times over the weekend.

I missed the sextet set they performed in on Saturday afternoon, but was glued to my seat for their eagerly anticipated duo session on Sunday night. As off-the-wall experiences go, it was right up there. Where else in the world could you hear references to Horace Gerlach, Some Like It Hot (the Bob Hope movie), Mervyn Peake’s Gormenghast, Red Allen and Fats Waller compressed into a 30-minute period?

And the music was pretty bloody good too, from the dynamic take on You with which they opened their set, to the jaunty swing of The Lady’s In Love With You, this was a vintage Ken ‘n’ Marty set; both players apparently energised by the other’s playing. Grosz may have had not one but two bouts of pneumonia – one on each side of his recent 80th birthday – but there was no evidence of him flagging even as he and Peplowski powered through their closing number, the hot and fiercely swinging Nagasaki.

“I didn’t get my joke book this month,” quipped Grosz, but it certainly didn’t seem to do the double act any harm. “It’s a big tradition in Norwich to go to the local Italian restaurant on a Sunday, but it was closed today. Someone stole their table cloth,” announced Peplowski, giving Grosz’s vivid checkedshirt a sideways glance.  “The funny thing is, Bucky [Pizzarelli] ate off him today..”

The joshing continued on Monday night during Grosz’s solo set. He was halfway through a typically convoluted explanation of the background to his next song, when Peplowski appeared with a large brush and began sweeping the stage. “Marty, just turn the lights out when you’re done,” he told an unruffled Grosz.

All good fun, and for their grand finale, they shared the results of their “judge the audience”  deliberations. “The audience got nine marks out of ten for punctuality,” said Peplowski, “and one out of ten for hygiene…” Which begged just one last question from Grosz: “And how’re they doing on hair loss?’

Leave a comment

Filed under Concert reviews