Norwich Jazz Party 2011: Monday evening

The last night of the Norwich jazz jamboree started in what has become its traditional style: with Jim Galloway’s Sandy Brown set. One of the joys of this jazz event for me personally – and one which I always remind myself about during the hellish seven-hour train journey from Glasgow – is the chance to hear Galloway and assorted British and American stars execute with panache the very distinctive music written by the late, great Scottish clarinettist.

This was the third Sandy Brown set in as many years and, as usual, the quirky and catchy Brown originals were a delight to hear – Blues-A and Own Up proved to be the ideal tunes for getting the night’s party started. Galloway takes great care to avoid duplication of numbers played in previous years so I finally got to hear the evocative Harlem Fats and, for this outing of the Sandy Brown songbook, he also included some of the arrangements that Brown played from the musical Hair. Personally, I could listen to the Brown repertoire all night – and would have welcomed the chance to hear such previously played numbers as Go Ghana and Africa Blues again.

This year’s Sandy line-up bore a close resemblance to the 2009 version: the wonderful Rossano Sportiello again proving to be the perfect pianist for this witty music, and drummer Chuck Riggs and trombonist Ian Bateman both similarly reprising their parts. Stepping into what have been Bucky Pizzarelli’s shoes in previous years, guitarist Dave Cliff did a terrific job. Each year there has been a different trumpeter – we’ve had Jon-Erik Kellso, Randy Reinhart and this time Duke Heitger who certainly measured up to the previous incumbents despite being unfamiliar with Brown and his music.

One trumpeter who always makes a point of listening to some of the Sandy Brown set but who hasn’t yet had a chance to get stuck into Jim Galloway’s uplifting arrangements is Warren Vache. He was partnered with tenor saxophonist Houston Person for his final appearance of the Jazz Party, and it was a heavenly match, especially when it came to the set’s two ballads, Once in a While and These Foolish Things, both of which were played as lovely, relaxed duets.

And speaking of ballads, tenor saxophonist  Scott Hamilton – another great master of the genre – produced some magical moments on Monday, most memorably a dreamy take on the rarely played Spring Can Really Hang You Up the Most.

It was, however, the clarinettists – Alan Barnes, Bob Wilber, Ken Peplowski, Dan Block and Scott Robinson – who dominated the closing set of the 2011 Norwich Jazz Party. And, in a superb set, one number stood out above all others: Pee Wee’s Blues, written by Pee Wee Russell, who was described by Alan Barnes as “possibly the most technically brilliant clarinet player who ever lived”.

Not only did it boast a terrific, Pee Wee-esque solo from the great Bob Wilber but it will also be remembered for Scott Robinson’s masterstroke: by way of homage to the slightly oddball Russell sound, he hummed the first part of his solo into his horn – with wonderfully lyrical results.

Norwich Jazz Party 2011: Monday afternoon

The last day of the Norwich Jazz Party got off to a rousing start. If ever there was a set guaranteed to wake you up it was the one which launched the sensational new CD by Alan Barnes and Warren Vache – The London Session (Woodville Records). I have to confess to feeling a sort of  motherly pride as they began playing the music which was already very familiar to me as I wrote the liner notes for the record, and had interviewed them extensively in the process.

So, hearing the very distinctive and stylish arrangements of such numbers as My Funny Valentine and, especially, a hangover-blasting Molasses played live was a particular treat. And, since not all of the Woodville All-Stars, with whom Barnes and Vache recorded the CD, were at the party, they were replaced by the likes of trombonist John Allred, and multi-instrumentalist Scott Robinson, adding a different flavour to the tunes.

Barnes himself farmed out his baritone sax duties to Karen Sharp (who turned in a gorgeous extended solo on Sophisticated Lady), and was able to devote himself to some ace alto solo work instead, notably on an uptempo Love For Sale – a number which also had him playing bass clarinet.

For Sharp, The London Session er, session was an excellent warm-up for her own set of Gerry Mulligan-associated music later in the afternoon. It was interesting to note how many of the musicians made a point of listening to her set – the same thing happened with pianist Rossano Sportiello’s solo session later that night. And no wonder: both are lovely, lyrical players who grabbed the audience’s attention and kept them spellbound.

In fact, having your attention grabbed and then being bound to your seat are the risks you run if you attend a jazz party like this. The fear of missing what might turn out to be THE set of the weekend leads to marathon bouts of sitting still (some of the audience members looked as if they should be checked over for DVT), and, frankly, after a while the music just starts to wash over you. (I was completely jazz-lagged by Sunday afternoon.)

My leg is still bruised from the kicking I gave myself for missing most of the Basie set led by Rossano Sportiello on Sunday at lunchtime – the self-abuse began almost as soon as Scott Hamilton wrapped his horn around a sumptuous Blue and Sentimental… At least I got to hear him and Sportiello again – this time in a duo, playing some glorious music from their recent CD – on Monday afternoon. Among the many highlights was a high speed This Can’t Be Love – featuring a rollicking solo from Sportiello and Hamilton working up a head of steam on tenor – and the poignant ballad A Garden in the Rain which highlighted the tenderness and gentleness of Sportiello’s piano playing in particular.

Of course, there’s just no way I would ever risk missing the Ken ‘n’ Marty show – sadly only 20 minutes long this year but one for the history books as it featured this longstanding double act’s first onstage kiss, midway through Ken Peplowski’s sung serenade to Marty Grosz (pictured above) of When Did You Leave Heaven? Amidst the hilarity there was some lovely music – for the serenade they were joined by John Pearce (piano),  Alec Dankworth (bass) and John Allred whose mellow obbligato work behind Peplowski’s vocals was a delight. Peplowski himself was on great form, notably on a speed limit-breaking version of Walter Donaldson’s You, an old favourite of this duo. And Grosz, who has enjoyed better health this year than before last year’s Norwich expedition, was in similarly fine fettle, and evidently relishing the musical and comedy antics.

Other stand-out moments of the afternoon? Pianist Tardo Hammer’s elegant and funky set which revealed the great rapport he’s established with British drum whiz Steve Brown, Dan Block’s set of colourful and complex, John Kirby-style arrangements of Fats Waller songs, and Jim Galloway’s serene tribute to Pee Wee Russell – I’d Climb the Highest Mountain. When the young Galloway complimented Russell on his handling of the tune, he was told that he liked to play it “because it was a favourite of Bix’s”.

CD Recommendations

John Sheridan’s Dream Band: Hooray for Christmas! (Arbors Records) 

Yup, it’s an early Christmas album – and an early Christmas gift for anyone who likes to keep the music swinging through the “holiday season”. Pianist/bandleader Sheridan has compiled a lovely selection of off-the-beaten-track festive songs, several of which originate in movies set at Christmas time, and assembled a terrific band to play them. Among the individual stars in this 12-piece outfit are sunny-voiced singer Rebecca Kilgore; cornettists Warren Vache and Randy Reinhart, and clarinettist/saxophonists Dan Block and Scott Robinson.

Chet Baker: It Could Happen to You (OJC Remasters) 

This classic 1958 album is one of my all-time favourites, and it’s just been reissued with two more alternate takes than when it last came out on CD. The great trumpeter and singer Chet Baker interprets a superb collection of songs in his unique, wistful way, showcasing a vocal style which is plaintive-sounding even on the uptempo tracks. Unlike the other Chet Baker vocal albums, this one features scatting – which sounds like trumpet solos without the horn.. Ace singer-trumpeter, ace quartet; a must for anyone interested in jazz.

Ehud Asherie: Welcome to New York (Arbors Records) 

Asherie is a young Israeli-born, New York-based pianist who has soaked up influence from the great Harlem stride pianists as well from the bop masters. On this beautiful solo album, he reveals the most delicate, Waller-like of touches and a lyrical style which lends itself elegantly to the 13 Manhattan-themed tracks. Highlights include the rarely heard Lovers in New York (from Breakfast at Tiffany’s) and Manhattan Serenade, a theme used on everything from the 1936 comedy My Man Godfrey to the Tom and Jerry classic Mouse in Manhattan.

Stewart Forbes: High Five (Birnam CD) 

Scottish alto saxophonist Stewart Forbes’s memorable duo gig with pianist David Newton at the 2009 Glasgow Jazz Festival was undoubtedly the inspiration for this CD which finds him reunited with Newton, and playing duets with four other pianists – Mira Opalinska, Alan Benzie, David Patrick and Richard Michael. Forbes’s alto is forthright and feisty-sounding and, on the two Ellington numbers, he evokes beautifully the majesty of the great Johnny Hodges. The mix of pianists and moods works well, as does a two-track switch to soprano sax.

Sometimes there’s a CD …

We interrupt this year’s Edinburgh Jazz Festival coverage to tell you about a CD. Usually, I listen to a CD for review, write the review and then the disc enters a big pile of CDs to be filed away. But, to use Lebowski-speak, sometimes there’s a CD …

Sometimes there’s a CD which you just can’t set aside even though you know it’s time to move on to the next one for review. It just will not leave your brain – and it most certainly will not leave your CD player. Most recently, this has happened to me with an album sent to me by the New York-based clarinettist and saxophonist Dan Block.

I can’t recommend his CD, From His World to Mine – Dan Block Plays the Music of Duke Ellington (Miles High Records), highly enough. It features Block on clarinet, bass clarinet, alto and tenor sax, and is one of the best Ellington albums I’ve heard.

As the title suggests, it’s a very personal take on the Ellington back cataglogue, and it’s also undoubtedly been a labour of love. So much so that the cover was painted by Block’s 17-year-old daughter, Emma. (I have to confess that her picture reminds me of a similar one I did, for my own dad, of the same band when I was at school.)

The highlights are many. There’s the funky take on Billy Strayhorn’s Kissing Bug which opens the CD and sets out Block’s stall as an original thinker when it comes to presenting familiar tunes. Great play is made of Mark Sherman’s vibes, Renato Thomas’s percussion and Brian Grice’s drums on this number  – and on Mt Harrissa, which has the same line-up and is also particularly funky. Its vibes-led opening reminds me, every time without fail, of the “porn party” scene in The Big Lebowski when the Dude visits porn magnate Ben Gazzara.

New York Blues is a favourite, thanks to its lovely laidback and sultry feel and Block’s wistful tenor playing (and the gorgeous opening passage in which he plays unaccompanied). Then there’s almost cinematic The Beautiful Indians on which Block multi-tracks, playing two clarinets, bass clarinet and basset horn.

Other stand-outs include the sublime Billy Strayhorn Ballad Medley (All Heart and Change My Ways) on which Block, first on clarinet and then on alto, is accompanied by pianist Mike Kanan, and my personal number one, Portrait of Bert Williams. This catchy, quirky and slightly poignant number is a gem; Block’s bluesy bass clarinet beautifully offset by the trio of James Chirillo (guitar), Lee Hudson (bass) and Pat O’Leary (cello).

Yup, sometimes there’s a CD …

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 ..