New Orleans Delight
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New Orleans Delight
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Klik på billedet for at se det i en større gengivelse.
What a pleasure it was to record this CD with New Orleans Delight. It brought me back to the 1960’s, when I met and recorded with the creators of this wonderfulmusic called New Orleans Jazz. Back then it was Jim Robinson, Louis Nelson, Kid Thomas Valentine, George Lewis, George Guesnon, Slow Drag Pavageau, Albert Burbank, and others. In Copenhagen it was Kjeld Brandt, Bengt Hansson, Erling Lindhardt, Stefan Kärfve, Claus Lindhardt, and Erling Rasmussen, but the music had that same, authentic ‘New Orleans’ sound. The tightness of the rhythm section, the energy level, the drive, the spontaneity, just as it was nearly 50 years ago in New Orleans. And while I had the pleasure of meeting and working with Kjeld Brandt before with JP Alessi’s fabulous French Preservation New Orleans Jazz Band, this was my first exposure to New Orleans Delight, and I must say it was absolutely delightful. Musically it was as if we had worked together for many years. It all just seemed to fit together so nicely. What’s more, these New Orleans Delight musicians are true gentlemen, and a pleasure to be around. Whether it was playing some hot jazz at the Long John Jazz Club or relaxing to a delicious meal at a Copenhagen restaurant, these musicians know how to have a good time, and they made my wife, Linda, and me feel quite at home. And isn’t that what good New Orleans Jazz is really all about? Communicating musically with people you enjoy being with and working with. It’s what got the early New Orleans musicians through the day, indeed it got them through life. Yes, this was truly a very special experience for me, and I’m so happy that it’s all captured here on this CD for all to enjoy. Of course it’s even more special now, in light of Stefan Kärfve’s passing on Feb. 18, 2012. I met Stefan for the first time on this session. Little did I know it would be the last time. His steady bass line gave us the support we needed to propel the music to exhilarating highs. I’m so grateful to have shared this wonderful musical experience with Stefan, and that the sounds we created together will live on forever. And so, with sadness that Stefan has passed, but also with gratitude that we created something wonderful together, may Stefan rest in peace and may the music continue to soothe our souls.
Fred Vigorito
Every traditional jazz fan who is familiar with the New Orleans Delight band – and there cannot be too many today who are not – knows that they are essentially a sixpiece New Orleans-style band who engage guest trumpet or cornet players from time to time. In this case, Fred Vigorito from the U.S., leader of the Galvanized Jazz Band, was asked to join the band for a tour last year (2011), and this CD results from one of the last performances on that tour. Fred needs no introduction to aficionados of the music in his homeland, having established his credentials long ago, but for those who are unfamiliar with him until now, there is a brief autobiographical piece elsewhere in this booklet.
As Fred says there, he and New Orleans Delight blended immediately, resulting in his sounding as if he had always been with the group, rather than merely guesting. The result was a very successful tour, a very successful concert on this occasion, and a very successful CD, as you will hear.
The CD opens with In the Good Old Summertime, a Tin Pan Alley song published in 1902. It was composed by George Evans with lyrics by Ren Shields and initially attracted no takers among the publishers as, given its topic, they believed it would fade out after the season. However, at the urging of a friend of Evans, it was added to the 1902 musical comedy in which she was appearing, The Defender, and from the opening night was a big hit, the audience even joining in singing the chorus thereafter. Since then it has been a standard and is frequently revived, as it is here. After a couple of times through with the ensemble during which Fred lays down a few Kid Thomas licks, he delivers the vocal which is so well-known.
Next up is a more recent composition, What Am I Living For, written by Art Harris and Fred Jay for the blues singer Chuck Willis, who died the same year it became a huge hit, 1958. It was covered by many other singers, and lately it has been taken up by quite a few jazz bands. Erling Rasmussen opens it up with a four bar piano intro, followed by a couple of ensemble choruses. Then Erling R. (to distinguish between the two Erlings) provides the vocal, followed by a clarinet solo from Kjeld. Following that, the ensemble plays it through a couple times, Erling R. again taking it out with a vocal on the last half chorus.
Increasing the tempo just a little, Kjeld leads into the hymn In the Sweet Bye And Bye. Composed by Joseph Philbrick Webster in 1867, the hymn had words added by Sanford Fillmore Bennett that same year or the next. (This hymn is not to be confused with another song, not a hymn, with the same title that was written in 1902 by Harry Von Tilzer and Vincent Bryan.) In the Sweet Bye and Bye has long been a favorite of traditional jazz bands, one of the earliest recordings being made in 1945 by Bill Russell of Bunk Johnson’s Brass Band titled ”Bunk's Brass Band and Dance Band” (reissued on American Music AMCD 6). After his run through, Kjeld is joined by the rest of the front line for a couple of ensemble choruses, followed by a contemplative cornet solo, Stefan laying down some sympathetic arco bass behind it along with piano and drums. The rhythm section then takes the spotlight, followed by the ensemble taking the out choruses, making for a very successful outing for this hymn.
In 1935 the movie Shipmates Forever, starring Dick Powell and Ruby Keeler, was released. Despite the two leads, the movie is not a big song-and-dance musical in a military setting, but it does have a couple of musical moments, one being the song Don’t Give Up the Ship, commissioned for the movie. The music was composed by the prolific songwriter Harry Warren (some 800 plus songs in his career from 1918 to 1981), and the words provided by Al Dubin. While the movie may not be a classic, the song has become one of sorts, being taken up by many jazz bands. Fred opens with a short bugle call, and after a couple of ensemble choruses to start, he takes a solo, followed by Erling R. on piano. Claus Lindhart then is given a drum solo, and a tasty one it is, concentrating on snare punctuated with rimshots. Then comes a nice display of dynamics as Fred leads in the ensemble very softly. As it enters the coda, the volume gradually increases, and, led by a Thomas-like flare from Fred, the band raises the level of intensity and builds to the climax.
The tempo slows down a bit with the next number, Somebody Else Is Taking My Place. This tune dates from 1937 and was a joint effort of a pair of composers, Dick Howard and Bob Ellsworth, the words supplied by Russ Morgan. After an eight-bar piano intro, Fred leads the ensemble up to a vocal by Erling R. Then comes a clarinet solo backed by the rest of the band, followed by Bengt on trombone, who begins somewhat tentatively but almost immediately settles into a tasteful solo in which each note matters. The ensemble then takes over, leading up to the vocal out chorus.
Next up is the spiritual His Eye Is On The Sparrow, a tune associated in many, if not most, people’s minds with actresssinger Ethel Waters, who sang it in the Broadway production of Member of the Wedding in 1950 and also used it as the title of her autobiography in 1951. The song was originally written, however, in 1905 by two white songwriters, lyricist Civilla D. Martin and composer Charles H. Gabriel. Kjeld opens rubato with the verse, accompanied by Erling R., and then drops into tempo as the ensemble joins in. The lead then is handed around until Fred and Kjeld come in, very softly, the volume gradually increasing as the musicians move into the coda and its ritard. Altogether a very satisfying rendition.
The next selection is a curious one, being given a “double” title: Dummy Song / Washington and Lee Swing. The tune is, of course, Washington and Lee Swing, composed by Thornton W. Allen and M. W. Sheafe with lyrics by Thornton W. Allen & C. A. Robbins, dating from 1910. The Dummy Song portion of the title here relates to the comic lyrics that Fred sings. No one seems to know who wrote them, but they have been recorded by a multitude of singers, including no less than Satchmo himself, Louis Armstrong, who recorded it as a single for Decca along with Jack Pleiss' Orchestra in 1953, in New York. It appears on no fewer than eighteen Armstrong compilation CD’s, and he included it in several broadcasts in 1954, so obviously he enjoyed it for a time, at least. Fred clearly enjoyed it, too, as his vocal on this cut shows. After the two vocal choruses, Kjeld takes it on clarinet, followed by Erling R. on piano. Then Fred leads the ensemble back in at a low volume and gradually increases it as they move to the coda.
The Curse of an Aching Heart, which follows, is something of a standard nowadays. It was composed by Al Piantadosi with lyrics by Henry Fink and published in 1913, but it was not recorded, however, until 1936 when Fats Waller and His Rhythm made it for Victor. Fred takes the vocal here.
Following his vocal is a melodious solo from Bengt on trombone and then one from Erling on piano, the ensemble, led by Fred in Kid Thomas mode, taking it out. Also from the thirties is All I Do Is Dream of You. It was written for the 1934 movie Sadie McKee, music by Nacio Herb Brown, lyrics by Arthur Freed. It is taken at a jaunty tempo that works well. After a couple of ensembles and several solos comes a fine drum solo, where one can “hear” the melody, leading into the ensemble out-choruses. The coda raises the intensity level as the volume gradually increases, punctuated by the offbeats on the snare drum and finally the four bar drum break.
The next two tunes are Kid Thomas Valentine compositions, both dating from the 1950’s, the first being Algiers Waltz – its original title, Dreamy Moon Of Indiana, also being given (nothing being left to chance here!) – and the second Kid Thomas’ Boogie. Both of these are well-known to Thomas fans as they figured often in his recording sessions. Algiers Waltz is a gentle little tune, taken here in 3/4 time all the way through – a reminder that New Orleans music was, in the beginning, dance music, not concert music. In the background can be heard Stefan’s beautiful arco bass work, and there is a seldom-heard solo from Erling L. on banjo – both highlights of the track. On Kid Thomas’ Boogie, Erling R. starts things off with a shuffle boogie rhythm and then is joined by the rest, Fred laying down all the Kid Thomas trademark flares, smears, and growls. Thomas would have nodded in approval, I am sure. Erling R. comes back in on piano, followed by Fred with some “talking” horn work, some more piano choruses, then the ride out.
Bengt leads in to the last track, Brahms’ Cradle Song (perhaps more often called Brahms’ Lullaby), originally written by Johannes Brahms in 1868. Fred then takes over the lead, followed by Erling R. picking it up. A nice duet of cornet and clarinet follows, gradually diminishing in volume with each chorus, as befits a lullaby, ending softly with a ritard. I have heard a number of bands’ versions of this tune, but none better than this one.
The band gave an excellent performance at this concert, as I am sure the reader will agree after hearing the disc – one which will further burnish the reputation that New Orleans Delight has built over the years. It is hard to believe that this is their eighteenth CD (not including the compilation albums to which they have contrubuted). Sadly it is the last on which Stefan Kärfve will play as he passed away a few weeks ago, leaving a huge hole in the rhythm section, which had been together for many years. It will take a superb bass player to fill it.
Bert Thompson
Orinda, California
March, 2012
Læs her hvordan I bestiller CD'en og får den tilsendt så snart den er i landet!
Posted at 02:35 PM | Permalink | Comments (0) | TrackBack (0)
Søndag d. 1. april blev igen en af disse uforglemmelige oplevelser på Charles Dickens i Helsingborg. Fyldt med søde mennesker der virkelig holder af den musik New Orleans Delight leverer. Og Derek Winters er "back on the track". Dejligt. Han spillede virkelig hot og godt. Björn Franzen på bas var et dejligt bekendtskab - både som menneske og bassist.
Vi blev engageret til et nyt job i november. Det glæder vi os til.
Derek Winters og Sheila Collier er gode, gamle venner, og vi havde fornøjelsen at Sheila sang to numre med os.
Dear Kjeld, thank you for a wonderful session at Charles Dickens Helsingborg yesterday. I just love singing with a real good New Orleans Band! And to meet up again with my dear friend Derik Winters. It was a really great afternoon, and thanks also for the photos.
Our very best to you and the band,
Sheila and Lasse
Sonja fra Bornholm var med til koncerterne i både Blovstrød og Helsingborg.
Tak til Ann-Lis Schrøder for fine billeder.
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Nyhetsbrev om Gladjazz i Nordvästskåne – 12/2012
Utges av Lennart Denne – [email protected] 25/3 – 1/4
HELSINGBORG. Det blir gladjazz av bästa sort på Charles Dickens söndagen den 1 april. Då spelar nämligen det skickliga och härligt svängande New Orleans Delight. Som gästtrumpetare har bandet ingen mindre än Derek Winters!
Bandet bildades 1996 och har mycket uppbokat på ett stort antal i Danmark, Sverige, England, Tyskland, Holland, Belgien, Finland, och inte minst på Bourbon Street i jazzens födelsestad, New Orleans.
New Orleans Delight spelar en renodlad New Orleans-jazz såsom den spelades i det gamla New Orleans, alltifrån ”Parade Music”, ragtime, karibiske rytmer, ”dance hall”-melodier, blues och boogie till medryckande hymner och spirituals.
Bandet har ingen egen fast trumpetare, men ofta utökas bandet med Derek Winters <http://www.new-orleans-delight.dk/solister/Winters.html> , en av Europas bedste New Orleans trumpetare.
New Orleans Delight har gjort sig känt för att låna in högklassiga solister från hela världen och turnera med dessa Skandinavien, bland andra Gregg Stafford <http://www.new-orleans-delight.dk/kalender/Gregg%20Stafford/Gregg%20Stafford%20.html> , trumpet direkt från Preservation Hall i New Orleans, Brian Towers <http://www.new-orleans-delight.dk/Brian%20Towers%20DK.html> , trombon från Toronto Canada, Lee Gunness <http://www.new-orleans-delight.dk/kalender/Lee%20Gunness/Lee%20Gunness%20.html> , sång från Australien och Marilyn Keller <http://www.new-orleans-delight.dk/solister/Marilyn%20Keller.html> , en fantastisk gospelsångerska från Portland USA.
New Orleans Delight har gett ut nio olika cd-skivor med utländska gästsolister.
Bandets fasta sättning består av: Kjeld Brandt <http://www.new-orleans-delight.dk/musiker-portraetterne/6%20musikerporttraet.html> , klarinett, Hans Pedersen <http://www.new-orleans-delight.dk/musiker-portraetterne/4%20musiker-porttraet.html> ,
piano, Erling Lindhardt <http://www.new-orleans-delight.dk/musiker-portraetterne/5%20musiker-porttraet.html> , banjo och Claus Lindhardt <http://www.new-orleans-delight.dk/musiker-portraetterne/3%20musiker-porttraet.html> , trummor, alla från
Danmark samt från Sverige Bengt Hansson <http://www.new-orleans-delight.dk/musiker-portraetterne/7%20musikerporttraet.html> på trombon.
Den tidigare basisten Stefan Kärfve dog nyligen, efter en tids sjukdom. Vid konserten på Charles Dickens får publiken höra Björn Franzén på bas.
– Han är en god vän och var medlem i Stefan Kärfves första orkester. Vi gläder oss att få spela med honom, säger Kjeld Brandt, klarinettist i New Orleans Delight.
Derek Winters är välkänd för jazzälskarna i Nordvästskåne, då han spelat här flera gånger med New Orleans Delight. Redan i unga år samlade han jazzskivor, besökte jazzklubbar o Londonområdet och spelade i lokala band i västra London. År 1973 gjorde han sin första resa till New Orleans för att lyssna på några av hans idoler. Under resan träffade han klarinettisten Brian Carrick, med vilken han bildade The Heritage Stompers. Med detta spelade de ihop i över fem år. I bandet spelade flera stora gästartister,
såsom: Alton Purnell, Kid Thomas, Thomas Jefferson, Kid Sheik, Sammy Rimmington och Ken Colyer.
Derek Winters har till en följd av sin musikkarriär levt och verkat i olika delar av Storbritannien. Han har bland annat spelat med The Dave Donohoe Band i Manchester I mer än sex år, The Chris Blount band i Derby. Dessutom tillbringade Derek Winters många måndagkvällar under några år på The Bell Inn i Nottingham som medlem i Omega Jazz Band. Sedan han flyttat till Cornwall I sydvästra England återknöt han samarbetet med Brian Carrick och tillsammans tillbringade de fem år med att turnéra i England, Sverige, Tyskland och Holland med deras band Algiers Stompers.
Konserten, börjar klockan 15 och pågår till 18. Entré: 70 kronor.
Bordsbokning: Telefon: 042-13 51 00.
För mera information: http://charlesdickens.nu/jazzinfos
http://www.new-orleans-delight.dk/ <http://www.new-orleans-delight.dk/>
Posted at 09:43 AM | Permalink | Comments (0) | TrackBack (0)
Dette var det sidste billede vi fik af Stefan Kärfve. Se resten af Mette Kramer Kristensen's fine billeder fra koncerten i Søborg Kirke 22. januar her.
Posted at 04:49 PM | Permalink | Comments (0) | TrackBack (0)
New Orleans Delight spiller med Derek Winters ved Mindeankeret i Nyhavn for Copenhagen Harbour Jazz fredag d. 6. juli fra 15:00 til 17:30.
Lørdag d. 7. spiller vi traditionen tro i Hugo's Gaard i Køge fra 11:30 til 14:30, før vi - også som de sidste mange år - drager til Bornholm i uge 28. Her gælder det naturligvis Allinge Jazzfestival og kirkekoncerter i både Nexø og Hasle.
Det bliver en herlig tid, og der er bestilt godt vejr. Håber vi ses!
Posted at 10:52 AM | Permalink | Comments (0) | TrackBack (0)
Foto: Robert Coles
En av Skandinaviens bästa jazz-basister finns inte längre ibland oss. Hans namn var Stefan Kärfve och jag var hans lärling.
Han var en god vän, en väldigt stor influens samt en stor inspirationskälla. Jag träffade honom på hot jazz-jammen på Mattssons Musikpub i Malmö, dit jag brukade gå för att studera hans basspel och diskutera olika basister och spel-tekniker. När jag såg honom första gången, för fyra år sedan, hade jag nyligen upptäckt "Pops" Foster och Stefans basspel gjorde djupt intryck på mig. Han spelade slap-bas av den gamla skolan, i stil med Steve Brown, Bill Johnson, Wellman Braud, Al Morgan – och just ”Pops” Foster. Istället för att, som många basister ur den nyare skolan, utveckla komplicerade slap-tekniker, koncentrerade sig Stefan på att framställa vackra fraser. Han såg sig mer som en konsertbasist än som en estradbasist. Jag minns att innan vi diskuterat stilen mer ingående, tycktes hans solon för mig liksom mystiska, oförutsägbara, matematiska formler. Någon sa att Stefan var professor och det stämde perfekt ihop med mitt intryck av honom. Han var extremt kunnig och levererade sin kunskap med en självsäkerhet och en pondus som gjorde att allt han sa lät som en självklarhet. Det var alltid väldigt givande att prata med Stefan och han höll aldrig inne med sin kunskap, utan var generös och kunde entusiastiskt prata hur länge som helst om sådant som intresserade honom. Jag hade turen att träffa Stefan och även hinna bjuda hem honom ett par gånger för att snacka musik och få lära mig en del fundamental musikteori och spelteknik av honom.
Han var för mig också en viktig länk till det Malmö min familj växte upp i; han var 1963 med och startade jazzklubben Logen, där många av den tidens stora jazzband spelade och som hela den generationens musikintresserade ungdomar i Malmö verkar ha besökt, han var bandbokare på Hot House och spelade i diverse band som mina föräldrar brukade gå och se. Han började spela banjo och sousafon i skolband och gjorde sina första live-framträdanden redan under det sena femtiotalet. Under tidiga sextiotalet hade han redan fasta spelningar med sitt band Fazola & His Rhythm Kings, vilka öppnade för Louis Armstrong i Malmös Folkets Park 1965. Armstrong hade då en stor hit med låten ”Hello Dolly” och publiksiffran uppskattades till 15.000 besökare. Stefan spelade under 70- och 80-talet i legendariska Scaniazz, som spelade in fyra LP-skivor och – utöver sina många konserter i Europa – spelade bl.a. i just New Orleans. Han spelade även med Absalon Orchestra, Hot House Jazzmen, Traditional Feetwarmers, Heliotrope Bouquet, Boulevard Sextet, Storyville Jazzband, Dansk-Svensk Jazzforsyning, Swing Guitars, Brede Big Band, Kärfves Trio och New Orleans Delight. Vid mitten av åttiotalet kunde Stefan av skäl som hängde ihop med hans sjukdom inte längre fortsätta att spela sousafon och började då istället spela kontrabas, vilket sedan dess var hans huvudsakliga instrument.
Stefan diagnostiserades i 20-års åldern med Crohns sjukdom, men lät inte det hindra honom från att från början till slut satsa på det han trodde på. När jag pratade med honom sista gångerna, veckorna innan han dog, var han under behandling för njurproblem han haft sedan 70-talet och hade bieffekter som gjorde att han knappt kunde få på sig strumpor och skor för att benen och fötterna var så svullna. Ändå var han ute och spelade och genomförde en spelning med sin trio så sent som några dagar innan sin död. Han inspirerade med sin entusiasm, sin expertis och anda av att aldrig ge upp.
Han skulle ringa mig så fort saker och ting hade lugnat ner sig lite så att vi kunde träffas och snacka i lugn och ro. Då skulle han visa mig några tekniska saker jag gått och funderat på samt ge mig några utskrifter av Steve Browns solon. Jag fick inte chansen att träffa honom igen och det är jag förfärligt ledsen för. Inte för vad jag inte hann lära mig av honom, utan för hur mycket jag tyckte om hans sällskap. Jag kan fortfarande inte förstå att han aldrig kommer att stå framför mig igen. Men Stefan fick i alla fall dö medan han levde, något de flesta brukar önska sig.
Stefan Kärfve blev 69 år.
Mats Rehle
Publiceras i tidskriften Nya Upplagan Nr. 66.
Posted at 11:50 AM | Permalink | Comments (0) | TrackBack (0)
Så har Lars Ole Christiansen lagt det første nummer fra mindekoncerten for Stefan Kärfve på YouTube. Det er ”Blues For Stefan” hvor New Orleans Delight er forstærket af Stefan’s meget gode ven og tidligere medlem af orkesteret – Kim Menzer. Se den her.
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Ovenstående smukke portræt af Marilyn Keller er taget af superdygtige Mette Kramer Kristensen under koncerten i Søborg Kirke ved Gilleleje d. 22. januar i år.
Anledningen til at bringe det, er at Henrik Wilche's flotte liveoptagelser fra koncerten nu også er lagt på YouTube. Klik på titlerne under skærmdump, så er der direkte link.
If I Could Hear My Mother Pray Again
Og så kan I glæde jer til at der snart kommer flere af Mette Kramer Kristensen's fine billeder her på Bloggen.
Posted at 07:28 PM | Permalink | Comments (0) | TrackBack (0)