A weblog in English and Dutch about jazz and related music, record collecting and other music projects originally created by Hans Koert.|Een webblog in het Engels en het Nederlands over jazz, jazz-verwante muziek, platen verzamelen en verrassende projecten, oorspronkelijk opgezet door Hans Koert.
Today the phenomenal Danish jazz violinist, Svend Asmussen, can celebrate his 100th birthday. The Keep(it)swinging blog likes to mark this great day by inserting some examples of music by Svend Asmussen from a career that spans more than 80 years of artistic activity at an absolute toplevel by international standards. A short career profile in English is available here.
Always attentive (photo in public domain)
Svend Asmussen debuted in 1933 with his own quartet - inspired by Joe Venuti's Blue Four. In 1935 he recorded his first record under his own name Tiger Rag / My Blue Heaven with a sextet - Here is Tiger Rag
In 1940, Svend Asmussen recorded the initial version of June Night, which has become his signature tune, in a trio setting. Asmussen contributes the lead vocal and plays violin as well as vibraphone
Svend Asmussen's orchestra - most often a quintet with changing sidemen - had great success in Denmark during the 1940s. Denmark was occupied by the German Nazi regime 1940 - 45, which cut off the opportunities of an international career for artists like Svend Asmussen. Nevertheless, some of his best recordings were made in those years, unfortunately mostly unknown outside Scandinavia until much later. Below some highlights recorded in 1940 are inserted to mark this important period of Asmussen's recording career. - Here is first Honeysuckle Rose
Also from 1940, Asmussen and his quintet recorded Some of These Days 18.08.40, the leader again contributes the vocal and great violin playing
Another great recording from this period is the quintet's version of After You've Gone, recorded 11.09.40
Svend Asmussen's career has been rich in facets as a musician, but also as an actor and entertainer. He has appeared in a number of Danish music films and revues 1943-57, where he performed with the siblings Gerda and Ulrik Neumann (1943-45).Cooperation with the latter led to the establishment of the successful trio Swe-Danes (1958-61) with the Swedish singer Alice Babs. - Here I'll mark this corner of Asmussen's career by inserting two examples of musical entertainment at the highest artistic level, first a TV performance by Asmussen and his companion Ulrik Neumann presented in Dutch TV 1961
Together with Swedish singer Alice Babs, Svend Asmussen and Ulrik Neumann had success internationally as the Swe-Danes, here is a short TV performance of the trio's signature tune, Scandinavian Shuffle
Svend Asmussen has made a number of recordings with internationally acclaimed artists including Duke Ellington, pianists John Lewis, Jan Johansson and Kenny Drew and instrument colleagues Stephane Grappelliand Stuff Smith. - Here's an example from Asmussen's cooperation with Duke Ellington in 1963, Don't Get Around Much Anymore, from Ellington's jazzviolin sessions feat. Stephane Grappelli and Ray Nance besides Asmussen, who is playing the viola
Svend Asmussen stands out as one of the greatest Danish jazz musicians ever. He has enriched the 1900s and the beginning of a new century with a wide range of timeless recordings, ranging from the Swing era of the 1930s and 1940s to seriously balanced cooperation with the best musicians of a younger generation. - To mark the succesfull years of Asmussen's later career with his jazz quartet feat. excellent Danish sidemen including Jacob Fischer on guitar, here's a recording by this ensemble performing Stardust
Let's end this small musical portrait of Svend Asmussen's long and succesfull career enjoying his signature tune, June Night, one more time and this way express our best wishes for a Happy 100th Birthday!
Storyville Records has just released a box-set of 5 CDs + 1 DVD of recordings by Svend Asmussen - more info to be found here
Georg Lankester has collected info about the
legendary Gypsy swing ensemble WASO
and shares the story in two parts. Below follows the second part, the first
part is available here
WASO Further in the Eighties
By now
WASO frequently was a welcome guest
in the jazz scene of the Benelux and France although Fapy sometimes also was
invited to play in England. There he joined other musicians and occasionally
performed with Koen. NOTE: It is a fact that
the British were always very fond of Django’s and Stéphane’s performances and that
their swing style is appreciated up to the present day.
WASO Quartet (courtesy decauterfam.be)
In
1983, two special events are worthwhile to be reported.
Due to
WASO’s continuing successes “Munich Records” made again studio recordings in March,
which shortly afterwards, were issued on the album Gipsy Swing Vol. 5
This record
includes 13 tracks and it is striking that again a great variety in the
repertoire is shown. Django themes, French ‘chansons’ and compositions of Koen
and Fapy, all of these can be found on this fine long play record. Just a few
examples: Sweet chorus, Waso, (composed by Koen) Django’s tiger, Minor swing and Fapy’s composition Aurore !
Again
recordings which belong to the gems of my collection.
Hot Club de France - Holland
The
spring of 1983 had seen the birth of a Django society in the Netherlands. On my
ininitiative and in close cooperation with some jazz friends I founded such a
society in order to keep the Hot Club Music alive.
At
the end of that particular year, my society invited WASO for a club concert in Utrecht. I had heard them before in the city-theatre
of Haarlem and was most impressed. Here was an opportunity to show this ensemble
to the members of our society with - among them - many guitarists. During an
unforgettable evening concert we could experience one set where Fapy was
playing violin while Koen took his guitar for accompaniment and solos..- A
rare photo shows their unique performances that particular night (10 November
1983).
WASO in live performance (Utrecht, 1983)
After
a few more years playing in the usual line-up, the end of this formation was
now approaching. Towards the end of 1985
a change within the quartet would follow. Fapy, who then had some health
problems, considered to leave the formation. He was thinking of a new career
and had received a few offers. So early 1986 the WASO line-up fell apart after abtout 11 years of existence.
I
happened to be present at their very last concert which took place in a jazz
café in the town of Haarlem. In a cosy ‘ambiance’ the four musicians - for the
very last time - created a gypsy swing in which those present could taste the
unforgettable sounds of the past. As far
as I remember this must have been early 1986. My story ends here.
For those
who never were aware of this extraordinary Gypsy Jazz formation, I would strongly
recommend to listen tracks on the
Internet, or try to obtain some of their
vinly albums or cds. You will enjoy listening to one of the best Django groups Europe
has had.
Koen’s
WASO quartet would continue with
different musicians, thereby often performing with great jazzmen and producing
more jazz albums (more info, here). Since
2003 the latest formation (WASO 7) includes several of Koen’s children (all
experienced in gypsy swing, jazz and French chansons).
Young Koen and Fapy, 1969 (courtesy petrus53.com)
Some caracteristics on the leading WASO men (1975 –
1986)
Fapy Lafertin, 1984
Fapy Lafertin (born in March 1950). Growing
up in a very musical environmentthis
talented Romani son concentrated on all kinds of instruments, but in particular
the guitar. As he once told me, he studied very seriously to get control over
this string instrument and he indeed managed to master the Django technique
completely, however, always adding to his improvisations his own interpretation.
Fapy
can be considered as the guitarist who comes the nearest to Django. He produces
a beautiful liquid tone in charming melodies and has a strong but fluid rhythm.
He can play ten instruments, among which also the guitarra (Fado guitar).
Apart
from WASO he played with great
jazzmen in the UK and USA and formed several own formations, which is
illustrated by lots of cds.. He is a highly respected jazz improvisator.
Koen de Cauter, 1983
Koen de Cauter (born in 1950). Was
already as a boy fascinated by music, especially Flamenco guitar. Became a
pupil of masters such as Manitas de Plata
and Manolo Sanlucar. Very interested
in gypsymusic he started (at early age)
to play with Fapy Lafertin, Vivi Limberger and many others.
Became
a singer and multi-instrumentalist, capable to play (next to guitar): banjo,
violin, clarinet, soprano- alto- and tenor sax. Is active in gypsy swing, jazz
eg. New Orleans and also Musette. Performs with his children in a family band
and is moreover an excellent interpreter
of George Brassens. He can
be considered as one of the best Belgian artists.
Koen and Fapy (courtesy decauterfam.be)
February 2016 – with thanks to my Belgian
friend Jef Van Gool for very useful information
Georg Lankesterhas collected info about the
legendary Belgian Gypsy swing ensemble WASO
and shares the story in two parts. Below is published the first part, the
second part will follow here.
One
of The Greatest Django Interpreters of The Benelux
We
have to go back to the year 1975 when Koen de Cautertook
the initiative to form, together with his
friend Fapy Lafertin, a
quartet in the Hot Club de France
style, which was created about 40 years earlier in France by Django Reinhardt and Stéphane Grappelli.
l-r: Fapy Lafertin and Koen de Cauter (courtesy petrus53.com)
There
is a certain parallel with the original French quintet. The new formation also
had two great soloists because Fapy and Koen were both acknowledged musicians
in Belgium.
The Origins of the Gypsy Jazz
The original Hot Club quintet was founded in 1934
and received international reputation due to the unparalleled playing of Manouche guitarist Django Reinhardt and
the great jazz violinist Stéphane Grappelli, backed up by a three-men rhythm
section.
Quintette du Hot Club de France (1937)
These
five musicians formed the first jazz string quintet the world had ever seen and
which surprised jazz fans all over Europe and even in the USA. The
many records of this French quintet -in
particular those released between 1934 and ’39 - are still available everywhere,
even today. These show marvellous guitar and violin improvisations in a unique
swing rhythm– a new kind of jazz, but now
created in Europe. When
the secondWorld War broke out the
cooperation between the two giants suddenly ended. During five years Stéphane
stayed in England whereas Django lived in Paris, now playing with
clarinettistHubert Rostaing. - It is probably the latter formation which has
inspired Fapy and Koen afterlistening
to the records of the Forties of last century.
Quintette du Hot Club de France (1940s)
The First Years of WASO
WASO quartet - early 1970s
In
the early days of the formation WASO included: Fapy Lafertin solo guitar with Jeff
C. Wickle rhythm guitar, Koen de
Cauter clarinet/sax, violin & vocals and Michel Verstraeten double bass. - As
far as I know this Django-formation of the Seventies was one of the first in the
authentic line-up of the war time, in which the focus was on guitar and a reed instrument. Several
Django compositions formed part of the group’s repertoire, sometimes re-arranged
by Fapy or Koen and it also included American jazz standards and some own
compositions.
Koen with Sammy Rimington
During
the first year WASO made a tour in Belgium with the British soprano saxophonist
Sammy Rimington. They often
performed in Gent and one of their
‘live’ concerts was recorded in April 1976, later released on an LP titled WASO ‘live’ at Gringo’s.
WASO - Live at Gringo's, LP (1976) (info, click here)
The
album reveals interesting recordings which show ‘Django guitarist’ ’Fapy Lafertin
in all tracks and the versatility of Koen on soprano- and alto
sax, violin and in vocals. Remarkable is a certain New Orleans influence in
Koen’s clarinet playing. - Some
titles: Hot lips, Running wild, Swing ’41, Tears and the
first recording of Fapy’s beautiful composition Fleur de lavande.
In
the course of 1976 rhythm guitarist Jeff went back to the USA and was replaced
by Vivi Limberger (member of a well-known gypsy family in the Benelux). Vivi
formed part of the “Piottos” and his strong rhythm on guitar (and vocals) could
from now on be heard giving the right
swing to the WASO quartet.
WASO - late 1970s
Increasing Popularity
The
performances of the reformed WASO group
were more and more noticed and the formation was invited in the UK,
Scandinavia, Holland, Germany, Switzerland and France, where they played in jazz clubs and in all
kinds of theatres.
In
1977, a second WASO album was released
called Rommageson which the musicians in several tracks could be
heard with singer Jacques Mercier –
born in the French Ardennes and called Valentin.
The recordings were made in Belgium,
probably partly in the preceeding year. Some of the 12 titles are: Une petite amie, Tu restes, Credo and, of
course, Rommages (an homage to the
Romani). In the cover text Fapy’s name
gets special attention.
That
same year Didier Geerts joined the
group for a short time on drums.
In
the late Seventies WASO got a Dutch
impressario (Elly Joosten) and as a result the band had more bookings in
Holland. The musicians could now be heard at big Jazz Festivals eg. in Maastricht
and Breda as well as in jazzclubs throughout the country.
Later,
when the Django society for Holland was founded, I invited them as well (see
further on in this review).
More Albums And a (Recorded) Radio
Broadcast
At
the end of 1979 “Munich Records”in Heelsum (Holland) arranged – on the initiative
of WASO’s management - recordings for a
new LP record. The producer was Job Zomer, an enthusiastic jazz specialist and
his engineers were experienced in recording small groups as well. The result
was an album with 12 fine jazz tracks with Django themes such as Si tu savais and Cavalerie, the Hawkins theme Mop
Mop and Summertime.
The
different titles offer again a lot of variety because – next to Koen’s clarinet
and sax playing - he can be heard on guitar and in vocals. Fapy’s guitar solos
are charming and show his own
interpretation of Django Reinhardt’s playing in the Thirties/Forties.
One
year later, in August, a radio broadcast was made from a popular jazz café in
Laren (not far from Amsterdam) where jazz sessionsfrequently took place. Their
‘live’ concert that evening was recorded by Polydor and later released on an
album called WASO live in Laren. It is a great and historical album also because
of the enthousiastic audience which created a real jazzy atmosphere,
The
formation was in top form and one can now hear the announcements which Koen usually
made and some of his special vocals. Beautiful ballads as well as up-tempo themes demonstrate the quality of
the group as a unit, but also in the individual improvisations of Fapy and
Koen. Some titles: Douce ambiance, Si tu savais, It had to”be you and the unforgettable Le danseur de Charleston with Koen’s special vocal and announcement.
In June
1979 a festival in Belgium named “Folk
aan Zee” took place where a friend of mine played with his group .During
this festival WASO was also present
with a real gypsy repertoire. My friend remembers that he heard great gypsy themes which they produced like Tu djaial and a beautiful execution by Fapy of the waltz La Gitane (composed by Tchan-Tchou). Koen
also played violin and Vivi was singing as well.
WASO feat. Denis Vereeckeren (1978)
Both
in 1979 and 1980 WASO occasionally had Denis
Vereecken as a guest player on guitar.(here shown on a rare picture above).
Streetview, West 52nd street, NYC (1947) (William P. Gottlieb collection)
The Onyx Club was a jazz club located on West 52nd Street in New York City. The Onyx Club opened in 1927 at 35 West 52nd Street as a speakeasy. In February of 1934, after the end of prohibition, the Onyx Club became an authorized club in a new location — 72 West 52nd Street. The Onyx featured musicians that included the Spirits of Rhythm and Art Tatum, who then was the regular intermission pianist. It burned down in 1935, but was rebuilt and reopened July 13, 1935 with Red McKenzie, Stuff Smith, Jonah Jones, John Kirby, Maxine Sullivan, and others. (info excerpted from Wikipedia)
Stuff Smith outside the Onyx Club (YouTube still photo)
Violinist and vocalist Stuff Smithhad come to New York early 1930s after having toured and recorded with the Texas based Alphonso Trent and his Orchestra. In 1935, he was discovered by saxophonist and empresario Dick Stabile, who booked Smith to play at the Onyx Club with his regular ensemble. In 1936, Smith signed a contract with Vocalion that labeled the band as Stuff Smith and his Onyx Club Boys.
Stuff Smith a.h. Onyx Club Boys (1936)
The initial formation of The Onyx Club Boys consisted of: Stuff Smith (v,voc), Jonah Jones (tp), Raymond Smith (p), Bobby Bennett (g), Mack Walker (b) and John Washington (d). This sextet recorded four sides for Vocalion on February 11, 1936, among them was Smith's I'se A Muggin'
I'se A Muggin' was in two parts, the inserted audio video only covers the first. The text is non-sense, if you are unfamiliar with the slang and jive talking associated with Harlem's 'tea parties', another word for social gatherings involving the consume of narcotics, i.e. marihuana (reefer), a customary habit among jazz musicians at the time. There was in fact a whole catalog of songs at the time associated with the consume of narcotics, often referred to as reefer songs, and Stuff Smith and his Onyx Club Boys also contributed to this catalog with another song, You'se A Viper that was a hit with the reefer smoking public
A viper is another word for a person addicted to smoking reefer (a marijuana cigarette). As mentioned, the song became a hit for The Onyx Club Boys, it was recorded at the second session for Vocalion on March 13, 1936. The sextet had now a change of personnel, as Raymond Smith was replaced by James Sherman (p) and John Washington was replaced by Cozy Cole (d). This formation of The Onyx Club Boys recorded twelve sides for Vocalion at four sessions from March to August 1936. The flip-side of You'se A Viper also recorded March 13, 1936 was the sextet's version of the standard After You've Gone - a tune, which Smith had recorded with Alphonso Trent and his Orchestra in 1930 (- Trent's version is available here)
On July 1st 1936 the Onyx Club Boys and Stuff Smith recorded three tunes, among them was a version of It Ain't Right
Also from the July 1st session was a recording of yet another popular song, Old Joe's Hittin' The Jug
On August 21 1936 The Onyx Club Boys recorded another song associated with the catalog of reefer songs - Here Comes The Man With The Jive
There were no new recordings by the ensemble until May 1937. Now the sextet had been extended to a septet by adding Buster Bailey (cl); piano player James Sherman further was replaced by Clyde Hart. This formation of The Onyx Club Boys recorded four sides for Brunswick/Decca on May 4, 1937, among them the instrumental Upstairs - a hot swinging tune featuring great solos by Jones, Hart and Smith
Another tune recorded at the same session, which in fact was the last session labeled as Stuff Smith and his Onyx Club Boys, was dedicated to the Onyx Club. The title of the tune was Onyx Club Spree, which was recorded in two versions (takes)
The recordings of Stuff Smith and His Onyx Club Boys1936-37 belong to the core of small band swing contributions of the 1930s, the leader's violin playing was among the foremost examples of swing violin at the same high level as i.e. Stephane Grappelli. Later Stuff Smith would continue his career in other combinations, but that's another story.
Later this month - the 28th of February - Danish jazz fiddler supreme Svend Asmussen can celebrate his 100th anniversary. On the occasion of this great day there has already been initiated several events to mark the centennial of the remarkable and world famous Danish jazz musician, a.o. a new book recollecting Asmussen's life and career was released in Denmark last year and a collection of poetry in English and Danish celebrating Svend Asmussen as a person written by his wife, Ellen Bick Asmussen, has also been published. Last year also presented the music of Svend Asmussen in a new constellation by the Mads Tolling Quartet feat. Jacob Fischer in a series of concerts around Denmark and Sweden. Now this ensemble has just released the above shown CD recorded October 2015 featuring some of the music presented at the concert tour appropriately titled Celebrating Svend Asmussen.
Mads Tolling (photo courtesy madstolling.com)
Mads Tolling(b 1980) is an internationally renowned violinist and composer conducting a successful career worldwide. He grew up in Copenhagen and moved to the USA at age 20 to pursue jazz studies and graduated summa cum laude from Berkelee College of Music in 2003. While still attending Berklee, the renowned jazz violinist Jean-Luc Ponty recommended him to join Stanley Clarke’s band. Since then, Tolling has performed more than one hundred concerts with Clarke worldwide, including the Newport Jazz Festival. In 2007 Mads Tolling started his own trio and recorded the album Speed of Light. The following year the trio expanded to a quartet. With this quartet Mads Tolling released a live CD album in 2012 celebrating Jean-Luc Ponty, another CD
titled The Playmaker released in 2009 featured Stanley Clarke, Russell Ferrante and Stefon Harris. More about Mads Tolling's international career and recordings at the official website, here
The Mads Tolling Quartet presented at the new CD has Mads Tolling playing violin in a repertoire of music known from Asmussen's own quartet live performances and recordings during the 1990s and 2000s. Besides Tolling this quartet has Scandinavian sidemen. Danish jazz guitar ace Jacob Fischerwas a mainstay with Asmussen's quartet for 15 years and shares solo spots with Tolling, and they are accompanied by two very competent rhythm players, Kasper Tagelon double bass and Snorre Kirkon drums.
There are eleven tracks at the new CD, four of them feature compositions by Asmussen - Take Off Blues, Hambo Om Bakfoten, Nadja and Scandinavian Shuffle. Also featued are two Gershwin tunes - Someone To Watch Over Me and I Got Rhythm, further two jazz standards in a duo performance by Tolling and Fischer - After You've Gone and Honeysuckle Rose. Two latin pieces are also presented - Piazzolla's Libertango and Jacob Fischer's Latino, and finally Asmussen's well known signature tune June Night.
The arrangements of the featured tunes are excellent and so is the performance of the music, all members of the quartet contribute to the impression of a solid, swinging record. The interplay between the musicians is great and well tested through several live performances at the time when the CD was recorded. Mads Tolling has the lead voice in all tracks and his touch at the violin resembles Asmussen's, a trained ear may also be able to trace other influences in Tolling's tone and approach, however, his versions of the featured tunes are great and leave plenty of space for his personal improvisation that gives renewed life and intensity to well-known tunes from Asmussen's book. It is hard to pick out highlights of the CD, all eleven tracks keep the attention of this listener at an intense level. Should I nevertheless point out a few highlights, then it must be the two duet recordings by Tolling and Fischer. Both men have ample opportunity to display their individual capacity as excellent improvisers and attentive musicians, especially the duo's version of Honeysuckle Rose marvels with inventive improvisation by both musicians. As mentioned, the rhythm section in the remaining tracks is competent and also gets solo spots a couple of times which generates a varied impression of the music when listening to the CD.
- I highly recommend the CD as a splendid homage to the musical legacy of Svend Asmussen and not the least as an opportunity to celebrate his centennial while listening to the music.
The CD is released by Gateway Music and is available for purchase here and here.
- If you are in Scandinavia this month, there are plenty of opportunities to attend a live performance by Mads Tolling Quartet featuring Jacob Fischer, a tour schedule is available at Tolling's website, here, or check out local media to keep updated on concert dates and locations.
To end this small review of the Quartet's celebration of Svend Asmussen, I'll insert a couple of uploaded videos of live performances from the quartet's concert tour in 2014. - Here is first a performance of It Don't Mean A Thing ...
Mads Tolling (v) and Jacob Fischer (g) - press photo
From another location, here is Tolling and Fischer's live duet performance of Honeysuckle Rose
Finally, here is the Quartet in a live performance of Asmussen's Scandinavian Shuffle
