(Review by Russell)
The morning after the night before the book and CD stall was open for business at 10:00am. Friday night's jam session attendees couldn't have had much sleep - five hours max - before they were up and about for breakfast ahead of making a further purchase of reading material (books, magazines, sheet music) and audio-visual 'must-haves' (CDs, DVDs, vinyl).
Noon, Saturday. Michael McQuaid's New Orleans Owls welcomed the early birds - just about everyone - to day two. Aussie McQuaid in the role of Benjie White (clarinet, alto sax) led yet another fine ensemble. Mike Davis in penguin suit attire (he doesn't do other on the stand), Ewan Bleach, pianist Morten Gunnar Larsen, Martin Wheatley, banjo, the busy Malcolm Sked finding just enough headroom for his tuba and, just like his fellow countryman trumpeter Mike Davis, drummer Josh Duffee resplendent in a tux. White's band recorded 18 sides for Columbia between 1925-27 giving McQuaid sufficient material to work with.
Tiny Parham 2 afforded Claus Jacobi, a man with a droll sense of humour, a further opportunity to choose a few numbers associated with pianist Hartzell Strathdene Parham, universally known as 'Tiny' Parham. Working out of Kansas City then Chicago, Parham's arrangements were painstakingly transcribed by Jacobi for his set featuring Andy Schumm, cornet, Norwegian pianist Morten Gunnar Larsen and Britain's answer to the aforementioned sartorial Americans, Mr Nicholas D Ball, drums.
Pineapple Rag opened Morten Gunnar Larsen's Ophelia Ragtime Orchestra set. Formed in 1977, the Gunnar Larsen ensemble's claim to fame is that on one occasion it was on the same bill as Eubie Blake. MGL spoke of his pride in shaking the hand of Blake, a man who had, in turn, shaken the hand of Scott Joplin. A blues medley from 1915, Chevy Chase (Blake's first published rag from 1914) and Fascinating Rhythm helped illustrate what MGL's project was all about. Once again the region's finest stepped up to the plate, this time in the form of Emma Fisk, violin, and first-time CJP participant, cellist Penny Callow.
At two o'clock the hall was packed, and little wonder. Keith Nichols presented the intriguingly titled set What would Buddy Bolden's Band sound like? In the role of Bolden, Andy Schumm, and on valve trombone, taking the part of Willie Cornish, Graham Hughes. Funky Butt, better known as Buddy Bolden's Blues, formed the centrepiece, alongside a pre-WWI march and polka, of a fascinating half hour.
A non-stop jazz festival poses the question: When to take a break? Well, not yet, as Matthias Seuffert was about to present his Ellington set - Duke's Tales. Trombonist Adrian Fry, another making a CJP debut, joined the affable Seuffert in a small band setting. With Martin Litton as Duke, the performance included I Let a Song Go Out of My Heart played as a trio (Seuffert, tenor, and Fry joining the Ducal Litton) and, augmented by Lemaire, guitar, Hughes, string bass and drummer Pite, Echoes of Harlem. An all too short set concluded with Ring Dem Bells.
Time to duck out? Yes? No? The decision to stay rooted to the spot proved to be a good one. Martin Wheatley's Hawaiians turned out to be one of the sets of the weekend. Lap steel guitar anyone? Wheatley plays Hawaiian music gigs and bringing this labour of love to the Village Hotel was a masterstroke. Wheatley ensured band members were wearing brightly coloured Hawaiian-style garlands (see photos) to play music by the likes of Andy Iona, Lani McIntire and Harry Owens.
Rather appropriately Lani McIntire's Hawaiian Hospitality opened the show. The One Rose (That's Left in My Heart), a song recorded by Bing Crosby, featured Spat's Langham's vocal (ukulele in hand). The Hula Blues (a standard, apparently) featured the clarinet trio of Ewan Bleach, the excellent Richard Exall and the equally excellent Lars Frank. Harry Owens' Hula Breeze, described by Wheatley as: Hot, big band kitsch, featured the anything-but-kitsch vocals of Joan Viskant, herself garlanded. A marvellous set.
A Coon-Sanders Nighthawks Radio Show concluded the afternoon's entertainment. This was a big, set-piece occasion. Keith Nichols as 'producer', Josh Duffee as 'announcer' and a first-rate Classic Jazz Party orchestra recreated the Carlton Coon-Joe Sanders' 'Original Nighthawks Orchestra' direct from Kansas City's Muehlebach Hotel.
Nichols, the studio producer, wandered to and fro raising his APPLAUSE signboard, and, right on cue, the audience responded with tumultuous applause. In an instant, our producer turned his signboard to show STOP, and again, the Village Hotel/Muelebach Hotel obliged with applause cut short. Nichols was impressed! We were impressed with the music; a duo spot for Emma Fisk and Spats Langham - Black and Blue Bottom, and Darktown Strutters' Ball two of many highlights. It had been quite an afternoon.
Russell
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