Tag Archives: Fapy Lafertin

Edinburgh Jazz Fest Memories: Roy Percy

Edinburgh Jazz Festival - Roy Percy on bass, 2017,& Dave Blenkhorn (guitar) 2

Roy Percy & Dave Blenkhorn, Edinburgh Jazz Festival, July 2017 (c) Alison Kerr

Scottish bass player Roy Percy was a student when he first became involved with the jazz festival; these days he can usually be seen in different line-ups throughout the event, and he’s kept busy the rest of the year as one third of the acclaimed Tim Kliphuis Trio and one quarter of the popular Swing 2018 band. He says:

“My earliest attendance of the jazz festival was in August 1984, when my school band was supposed to take part in the youth competition at the King James Hotel in the now Edinburgh Jazz Festival - Milt Hinton & Buddy Tate, 1986.jpg 2demolished St James Shopping Centre. We didn’t play in the end (no-one can remember why!) but we attended and watched the bands and lots of speeches.

“I first played the festival in 1986 with John Elliot’s Dixieland Band. We won the youth band award that year. It was sponsored by Avis car rentals. The award had their motto on it – ‘We Try Harder,’ which we thought was very funny, everything considered.

“The bands were only allowed one older member (over 25, I think) and in our case that was banjoist Bev Knight, who now plays for Jim Petrie in the Diplomats of Jazz. Everyone in the band was at the Edinburgh Uni except for me. I was a proud Stevenson College boy!

“My first big thrill of the jazz festival was that first year – I was a festival volunteer and one evening I filled in for Milt Hinton’s driver. I carried his bass into Meadowbank for him. He was nice – chatty and friendly – but I was a bit shy of asking him too many questions. I loved hearing him play. He slapped the bass a little too, which I hadn’t expected him to be doing. Fantastic!

“The following year, I played at the festival in Swing ’87 – with Dick Lee on clarinet, and John Russell and Martin Leys on guitars. (I joined in November 1986.) We had Fapy Lafertin join us that year. In his prime, he was the best of the gypsy guitarists, and still Edinburgh Jazz Festival - Al Casey (guitar), Ronnie Rae (bass), Roy Williams (trombone) Fingers Bar, 1987not surpassed by anyone since.

“That same year, I drove Al Casey to Pollock Halls of Residence (where he was staying, almost unbelievably!) in my 1964 Rover P4. I took the longest route I could think of so I could chat to him, as he was friendly and happy to chat. He kept asking:  ‘Is this a Rolls Royce?’

“At the halls, I made him a hot chocolate in the shared kitchenette and asked him about Fats Waller. ‘Best fun, strongest pianist I ever knew. So inventive too. I was a kid and learned so much, so quickly too. I gotta pee now.’ And that was it. Afterwards he went back to asking me about my car!”

Next: Fiona Alexander

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Edinburgh Jazz Festival 2013: Fapy Lafertin Trio

Fapy Lafertin Trio, Palazzo Spiegeltent, Edinburgh, Saturday July 20th ****

Even if he wasn’t arguably the best gypsy guitarist in the world, Fapy Lafertin would have enormous appeal since he plays with such a passionate, authentic – and sexy – style. Indeed, it’s little wonder there is always a high quota of ladies of a certain age in the Lafertin audience: not only does his music have sex appeal, but from a distance he has the appearance of a 1920s movie swashbuckler. The fact that he seldom speaks just adds to the mystery.

On Saturday, in one of the long, continuous early evening gigs that the jazz festival is staging in the Spiegeltent, the seductive aspect was very much to the fore on a number of his own compositions (notably on the gypsy waltz Butterfly) and, most strikingly of all, on Astor Piazzolla’s Oblivion, a quiet ballad with the occasional dramatic crescendo and glimpse of fiery passion.

The  sublime ballad Time on My Hands, on which Lafertin was at his most romantically persuasive, was one of several stand-out tunes selected from the less well-thumbed pages of the Great American Songbook; another highlight, at the end of the concert, was Two Cigarettes in the Dark which featured the lovely playing of young violinist Hannah Biernert who joined Lafertin, rhythm guitarist Dave Kelbie and swinging bassist Sebastien Girardot.

And the spirit of Django, while not the dominant theme of the evening by any means, was also in evidence; a high speed Django’s Tiger prompted a roar from the audience.

First published in The Scotsman, Monday July 22nd

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Nairn Jazz Festival 2002, Part 1

Published in The Herald, Thursday August 8, 2002

This year’s Nairn International Jazz Festival must have some sort of jinx on it, if its catalogue of problems to date is anything to go by. First, there was the Nairn accommodation crisis – caused by double bookings and the fact that since so many jazz fans had booked rooms, there were few left for the performers – which was resolved by putting most of the musicians in Elgin.

Then there was the nightmare journeys faced by anyone travelling on public transport at the weekend. (One musician endured a ten-hour train and bus trip from Edinburgh.) And yesterday came the announcement that festival organiser Ken Ramage’s personal piece de resistance – the debut of American crooner Steve Tyrell on Saturday night – had been cancelled by Tyrell himself. As if that wasn’t enough, Ramage’s mobile phone has gone AWOL …

Despite all this, the festival swung into action as if nothing was wrong. There is a ramshackle, everybody-pitches-in, quality about this festival, but the bottom line is that everything always works out in the end – and that the music always comes first. Which is presumably why musicians love to come here.

One musician who left, yesterday morning, looking as if he had had the time of his life was Bob Wilber, the American clarinettist and saxophonist who was lured out of semi-retirement by two tempting reunions – with the clarinettist Kenny Davern on Monday night, and with the Hot Club de France-style band fronted by Belgian guitar maestro Fapy Lafertin on Tuesday evening.

Wilber and Davern gave a sensational concert at the stiflingly hot Universal Hall in Findhorn. These virtuoso musicians have known each other for decades and they clearly thrive on opportunities to play together. Their duetting style, formed during the heyday of their group, Soprano Summit, is thrilling whether they’re both playing clarinet or whether Wilber has switched to soprano sax. These guys know each other’s styles so well, and are so experienced, that they produce spine-tingling harmonies as a matter of course.

For the most part they steered clear of standard fare on Monday night, and instead offered such lesser-played numbers a Smiles, Jazz Me Blues and The World is Waiting for the Sunrise.

However, it was during an old Fats Waller warhorse, Honeysuckle Rose, that the camaraderie onstage reached its high point, with Wilber (on soprano sax) and Davern jabbing and jousting to exhilarating effect as they traded breaks. And they were buoyed by the accompaniment of a peerless band featuring the lyrical guitarist James Chirillo, Britain’s top bass player Dave Green, the impressive young drummer Steve Brown and the super elegant American pianist John Bunch who, at 80, is as nimble and stylish a player as ever.

Wilber’s next appearance was in civvies – as a member of the audience at Davern’s lunchtime gig at the The Newton Hotel, Nairn, on Tuesday. This was a wonderfully relaxed session featuring the clarinettist in charge – and at his best. And it was a treat to hear him playing such rarities as Then You’ve Never Been Blue (which he learned from an old George Raft movie) and My Gal Sal, the first few bars of which featured unsolicited audience participation.

What really put the smile on Wilber’s face was his second and last concert as a player – on Tuesday night at Findhorn, with Fapy Lafertin’s Quartet. Before he went onstage, Wilber was enthusing about Lafertin being the world’s leading exponent of the “gypsy” jazz style of guitar playing made famous by Django Reinhardt, and reminiscing about his own face-to-face meeting with Reinhardt in Nice in the late 1940s. He obviously loves the Hot Club’s music and to play it with such a class act was clearly a great treat.

And the Lafertin outfit – two guitars, bass and violin (played by the fiendishly talented Dutchman Tim Kliphuis) – was just as delighted to have the chance to renew its acquaintance with Wilber, with whom they last worked in 1996. The results were a knockout, with Wilber absolutely in his element – hunched over his horn and dancing about as if he was in a New Orleans parade – and egged on by the dazzling, though far from flamboyant, virtuosity of Lafertin.

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Edinburgh Jazz Festival 2011: Lollo Meier & Tcha Limberger Quartet

Lollo Meier & Tcha Limberger Quartet, Spiegeltent, Edinburgh           ****

A death in the family – no, Amy Winehouse was no relation – meant that the great gypsy guitarist Fapy Lafertin, a musician who has performed at the Edinburgh Jazz Festival at regular intervals in its 33-year history, had to cancel his appearance on Saturday night, but the concert he was headlining went ahead nevertheless.

It may have lacked the swagger and star quality that the charismatic Lafertin brings to proceedings, but there was still plenty of that gypsy passion and colour in evidence in the form of his guitarist cousin, Lollo Meier, and, especially, the young, blind violinist Tcha Limberger. This band, including Lafertin, is often billed as “gyspy jazz royalty” and it on Saturday it was easy to see why: there’s a real sense of history and authenticity about these players who grew up in a similar culture to their musical – and gypsy – forefather, Django Reinhardt.

Although Meier – who looked, from halfway back the Spiegeltent, like Errol Flynn (appropriately enough: his cousin looks like George Brent) – produced dazzling solos, especially on a finger-busting Japanese Sandman, it was Limberger who held centre stage and had most opportunity to impress the audience with his lyrical, loose and virtuosic violin playing.

His vocals were a different matter – I Surrender Dear started out promisingly, with Limberger singing quietly, violin still tucked under his chin, in a manner reminiscent of Chet Baker. But as he began imitating a trumpet and veering from very loud to very soft, the initial charm wore off – and the effect, though enthusiastically received by much of the audience, was a bit like a deranged hyaena singing the blues.

(First published in The Herald, Monday, July 25th)


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Edinburgh Jazz Festival: Fapy Lafertin/Swing 2010

FAPY LAFERTIN & SWING 2010, THE HUB
****
Many guitarists try to play like the legendary Django Reinhardt, but the great Fapy Lafertin, who shares a Belgian gypsy background with his hero, is probably the only one who sounds exactly like him – and sounds like him in a completely natural and unforced way.
For Sunday afternoon’s performance, Lafertin – whose one-time swashbuckling look has been replaced with a more avuncular appearance – was reunited with the Edinburgh band which – as its leader, John Russell, explained – was formed 30 years ago as a direct result of Lafertin’s sensational performance at the Edinburgh Jazz Festival.
Which accounts for the laid-back rapport between Russell and Lafertin. The band’s usual solo guitarist, Stephen Coutts, had to make way for the guest star – which made for a slightly solo-heavy opener, Djangology, as both were featured. But thereafter, everything worked as if they had been playing together for years. The dependably excellent clarinettist Dick Lee seemed particularly inspired by the presence of Lafertin, and their unison playing at the start of many of the faster numbers was terrific. By the time they got to the thrillingly fast encore, China Boy, the energetic Lee was practically bouncing off the walls.
However, it was the ballads which brought the house down. “Oh, wow!” exclaimed one woman, unaware that she was thinking out loud, as Lafertin brought the dreamy ballad Manoir de mes reves, to a spectacular climax. She was only echoing the thoughts of most of the audience, though, which was blown away by Lafertin’s uncanny musical resemblance, in every way (from the notes he chose to the manner in which he played) them) to one of the giants of jazz.

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