Tag Archives: Enrico Tomasso
Remembering Alex Welsh, Spiegeltent St Andrew Square ****
For the second consecutive year, the evening slot on the last day of the jazz festival– or as bandleader John Burgess called it “the fag-end of the festival” – became a jovial celebration of the music of the much-loved Scottish trumpeter and legend of British jazz who died, aged 52, in 1982.
Sunday’s concert reunited the line-up from last year, and was led by the afore-mentioned clarinettist/saxophonist and amiable host Burgess whose jokey patter added to the festive atmosphere. Indeed, from the energy expended by the entire seven-piece band in the opening number, it seemed as if the musicians had started the party without us: they were already on fire when they launched into a rousing Rose Room – there was no gradual build-up. No sooner had a clarinet-wielding Burgess played along with the front line on the melody of Rose Room than he was blowing the sax on the first solo. This was a high-octane concert from the get-go.
Particularly impressive – as ever – was the human dynamo Enrico Tomasso, who, at his best is an irrepressible bundle of musical energy when he’s playing this sort of Chicago-style jazz – and whose solos seemed to explode out of him, notably on an exhilarating After You’ve Gone. Burgess was being facetious when he described him as “quite simply the finest in his price range” but Tomasso is undoubtedly the best when it comes to contemporary trumpeters with the Louis Armstrong influence to the fore.
And, of course, there were also terrific contributions from the great, ever-nimble and ever-lyrical trombonist Roy Williams, who, as a veteran of Welsh’s band, brought the stamp of authenticity to the proceedings.
Remembering Alex Welsh, Tron Kirk ****
Anyone who knew Alex Welsh, the Edinburgh-born trumpet star who died in 1982, and who was at Sunday evening’s tribute concert, will have been heartened by how well he is still remembered and how he inspired arguably the best concert of the final days of this year’s jazz festival.
Of course it helped that the septet comprised two members of Welsh’s famous band – the English trombone star Roy Williams and guitarist/banjoist Jim Douglas. The eloquent Williams, an old favourite of Edinburgh audiences, in his introduction to a gorgeous Cole Porter rarity entitled You Are Everything I Love, told the packed house: “It’s wonderful to be doing this – and quite emotional too, because we had some great times. You may have noticed that we were five minutes late starting the gig – that was a tradition of the Alex Welsh band!”
Explaining that it’s only recently that he has come to appreciate how good the band sounded, Williams described the day-to-day reality of playing the same tunes with the same guys every night. Trumpeter Enrico Tomasso, who was just 11 when he met Welsh, paid verbal and musical homage in style: a veritable jazz dynamo, he was in tremendous form throughout – as was the rest of the front line, which included ringmaster John Burgess (clarinet/saxophone) and which made even the oldest of old warhorses sound fresh, energetic and exciting.
Burgess may not have had the firsthand experience of encountering Alex Welsh – he didn’t say – but it was clear that it was his love of the band’s recordings which prompted this project, and so much fun was had by all that we can undoubtedly expect a reunion in the not-too-distant.
* First published in The Herald on Monday, July 27th
Ken Mathieson Classic Jazz Orchestra – Hot Horns, George Square Spiegeltent ***
A performance by Ken Mathieson’s Classic Jazz Orchestra at the Spiegeltent has become an annual event at the Edinburgh Jazz & Blues Festival, and it is usually accompanied by this reviewer sitting on the edge of her seat as she thrills to the lesser-played Bix or Ellington tune being lovingly and energetically recreated by the gentlemen of the band.
On Saturday evening, however, the thrills were fewer and further between than usual – despite the participation of English trumpeter Enrico Tomasso as guest star. One of the ways in which the CJO normally gets the spines a-tingling is through the terrific unison playing of members of the top-notch front line, but for much of Saturday’s concert, the ensemble playing just didn’t have the usual pizazz and was actually a bit on the raggedy side. More loose like this than tight like that, as Louis Armstrong might have said.
Nevertheless, the CJO on a slightly off day is still preferable to most alternatives, and there were treats scattered here and there through the concert, among them Dick Lee’s impish clarinet breaks and Phil O’Malley’s eloquent ones on Wild Man Blues, Lee’s funky penny whistle solo on Savoy Blues and Konrad Wiszniewski’s dynamic tenor solo on Swedish Schnapps.
As for Tomasso, he demonstrated once again that when it comes to emulating the style and sound of Louis Armstrong, he is the leader of the pack. No-one Else But You was the first of a run of tunes which burst into life as soon as he came in on trumpet.
* First published in The Herald on Monday, July 27th
The Norwich Jazz Party strikes just the right balance between the completely informal, thrown-together, “jam” sets and arranged sets which have a rehearsal and charts and more esoteric material. I love both – and both formats produced some magic last weekend. Such as? Well, that first track came from the opening night’s jam session. Or try this Drop Me Off in Harlem, which combusted into action so spontaneously that I didn’t even have the camera ready. And, no, that’s not Robert Redford on the soprano sax: it’s Bob Wilber, who, having hit 84, now seems to be rewinding towards his sprightly seventies…Another number which I was delighted to have captured on camera was this funky take on No Moon At All by singer Rebecca Kilgore with Craig Milverton (piano), Harry Allen (tenor sax) and Eddie Erickson (guitar) all featured. Of the sets featuring arrangements, my favourites were undoubtedly the Benny Carter set, led by Ken Peplowski, and Alan Barnes’s Ellington set – of which this sublime Sultry Sunset, featuring the national treasure that is Mr Barnes, was a stand-out.
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.
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..