Tuesday, September 4, 2018

Time To Say Goodbye

Hans Koert 
Before Hans Koert (June 1st, 1951 - September 04, 2014) passed away on this date four years ago, I had promised him to keep some of his web domain updated, more precisely the keepitswinging blogspot, the oscar-aleman blogspot, the choromusic blogspot - all three blogs I have had access to as a co-editor and regular contributor of entries from the start of this part of Hans Koert's web activity. I made an agreement with Hans' widow to publish regular updates for four years and now the time has come to say goodbye. However, Hans' work will still be accessible in the version you find at the various sites assosiated with the keepitswinging domain which also applies for the online Oscar Alemán discography.

The Dutch Royal Library has saved a copy of everything accessible at Hans Koert's website and blogs, I'll quote from the message I had earlier this year:

"As part of the initiative of the Royal Library (KB) to save a selection of Dutch websites for future research, we also want to archive your site and keep them for the long term. It is the website and any subdomains that are accessible via the following URL (s): 
http://keepitswinging.blogspot.nl/ http://keepswinging.blogspot.nl/ 

As a national library, the KB is legally responsible for collecting, describing and storing in the Netherlands publications, electronic or not. The KB sees it as its task to keep websites durable and kept consulted for future generations and to preserve them for loss including technological obsolescence. (-) Therefore archive the KB websites which collections are representative of the Dutch culture, history and society on the Internet. (-) Your website will be archived and stored for this purpose durable. (-) The archive versions are to consult within our own building. They will also be made available to the general public via the KB website as soon as legally possible." 

For further information regarding the KB web archiving, please contact: 

Peter Bode, Web archiving KB 
PO Box 90407, 2509 LK Den Haag 

I thank readers and visitors of Hans Koert's webdomain for your support and I also thank Hans Koert's widow, Corrie Koert, and his brother Peter Koert for the opportunity to continue part of Hans' webactivity publishing new entries to keep the above mentioned blogs updated. Also a great thank you to friends and followers who have contributed with material and information published at the blogs I have had access to.

Update April 2019

The exclusion of the name of 'Hans Koert' as editor of the blog in the sidemenu is not a deliberate choice by the present editor (Jo), but is a result of the change of policy by Blogger and Google. From April 2019 the Google+ accounts and profiles have been disabled, Hans Koert's editorial account was associated a Google+ account and this means that his name no longer is visible in the sidemenu as editor of the blog. I have tried to fix the problem, but Blogger unfortunately denies to change 'unknown' into the name of 'Hans Koert'

Update February 2020

Unexpectedly the Google account used by Hans Koert as his administrator access to the uploaded weblogs containing material from his private collection of photos and illustrations a.o. has been deleted by accident. This means that photos, illustrations and videos uploaded by Hans are no longer accessible at this and other blogs. Moreover, some blogs which only Hans have had administrator rights to handle are also no longer accessible. However, readers and visitors of the sites and blogs uploaded by Hans have an opportunity to use the Wayback Machine (WM) facility to get access to material not visible/accessible using the normal procedure. Below I'll insert links to the latest saved version of material at WM.

The original Keep Swinging blog is accessible from Wayback Machine by using this link
The Keep(it)Swinging weblog at Wayback Machine is accessible here
The Oscar Alemán blogspot at Wayback Machine is accessible here 
The Choro Music blogspot at Wayback Machine is accessible here 
The Hit of the Week blogspot at Wayback Machine is accessible here
The Flexible Records blogspot at Wayback Machine is accessible here
The Keepitswinging Jazzlinks blogspot at Wayback Machine is accessible here
The Slik op de Weg blogspot in Dutch only is accessible at Wayback Machine here

I cannot guarantee that all internal as well as external links will work in the pages listed at WM, but this is the only available option that I can present as the current editor-in-charge. I hope this helps some of the problem of missing photos and blogs on Hans' uploaded pages.

If you have comments or questions, please contact me at jrgnlarsen5@gmail.com

Wednesday, August 15, 2018

Dexter Payne Quintet - Jazz For All (Jazz Forró)

Dexter Payne (YouTube still)
Some time ago I wrote a small review of clarinettist Dexter Payne's  first CD release by his quintet entitled Pra Vocé (Dexofon Records, 2014) devoted to Brazilian music rooted in choro and samba here updated in the quintet's magnificent interpretations of classics from the gafieira (ballroom) tradition a.o. (- the review is still accessible, here).  Now a new CD by Dexter Payne Quintet has been released earlier this year entitled Jazz For All (Dexofon, 2018)
Dexter Payne Quintet- Jazz For All (Jazz Forró) (Dexofon, 2018)
Dexter Payne's Quintet include Dave Willey (accordion), Bill Kopper (6 and 7 string guitar), Victor Mestas Perez (piano, Rhodes), Raoul Rossiter (drums, percussion) besides Dexter Payne (clarinet), and the new CD has guest performance by vocalist Elena Camerin Young in a single track. The title of the CD contains a wordplay outlined in the sub-title Jazz Forró which points to the influence of both American jazz and Brazilian forró in the featured music at the disc.
A traditional forró trio feat. accordion, triangel and zabumba (drum)
Forró is a traditional music genre originated in Northeastern Brazil that encompasses various dance styles as well as a number of different musical beats. This music genre has gained widespread popularity in all regions of Brazil thanks to musicians like accordionist Luiz Gonzaga and percussionist Jackson do Pandeiro, who are considered pioneers, and modern followers like accordionists Dominguinhos and Sivuca and i.e. multi instrumentalist Hermeto Pascoal  a.o.  - The word 'forró' is probably a derivative of forrobodó, meaning "great party" or "commotion", another explanation often heard is that the word forró is a derivative of the English expression "for all" and that it originated in the early 1900s. English engineers on the Great Western Railway of Brazil near Recife would throw balls on weekends and classify them as either only for railroad personnel or for the general populace ("for all"). (info excerpted from Wikipedia)
(l-r): Dave Willey (acc), Elena Camerin Young (voc), Roul Rossiter (dm, perc.), Dexter Payne (cl), Bill Kopper (g), Victor Mestas Perez (piano, keys)
The CD has 10 tracks, nine of them are compositions by Brazilians and one by the quintet's guitarist Bill Kopper, who penned Forrozinho - a great and humorous contribution with hints to traditional Forró including an intro of triangel and accordion searching for the right key and groove before the clarinet and ensemble continue in a danceable theme and several repeated turn-around end tags. The Brazilian repertoire includes various styles, even an updated version of (part of) Villa Lobos' Bachianas Brasileiras no. 2 with lyrics by the poet Ferreira Gullar entitled Trenzinho do Caipira sung by Elena Camerin Young. This was performed live by the quintet and vocalist in a concert earlier this year, inserted here to give you an impression of this modern interpretation of Villa Lobos' music

Two tracks have compositions by Brazilian multi instrumentalist Arismar do Espirito Santo, Vestido Longo and Dia Santo - the first mentioned was performed by Dexter Payne Quintet in a live concert June 2017, inserted below

Two tracks have modern choro compositions by Brazilian guiar virtuoso Alessandro Penezzi, Ao Mestre and Sempre Que Posso - the first mentioned was performed live by Dexter Payne Quintet in the same concert that featured vocalist Elena Camerin Young

The remaining four tracks have compositions by Moacir Santos, Coisa No. 10, Coração Latino by Antonio Mello, Dominguinhos' De Leve and Xote de Saudade by Dom Salvador - together with the above mentioned this repertoire draws a multicolored picture of the featured music at the Jazz For All CD. The mixture of various Brazilian sources mainly rooted in different Northeastern styles with the collective term Forró and modern American jazz improvisation creates a synergy effect, where the whole constitutes more than the parts that are included. The performance of the tunes is flawless and excellent throughout, the musicians know each other in and out from years of coorperation, all involved contribute to a successfull album of great music, highly recommended. The CD is available for purchase at Bandcamp, here or here

Sunday, July 29, 2018

Licks To Riffs At The Guitar Course - Jazz Edition

Ton Van Bergeijk
Some months ago I pointed you to a DVD based Guidebook entitled Licks to Riffs by the Dutch guitarist Ton Van Bergeijk . This course was the first part of a scheduled two-part guitar instruction guide with focus on the blues style and how to adapt any lick to any chord changes at the guitar aiming to generate versatile riffs. Now the second part of this guide for guitarists has just been released with focus on how to continue the excersises in jazz and jazz-blues. Ton explains it further in the promotional video uploaded at You Tube

Ton stated in the video, quote: ”Once you’ve gone through the additional concepts in the first part of this course, you’ll be able to adapt your licks to any song you may encounter. We'll then study 9 essential licks and turn them into riffs; each on a jazz-blues and rhythm changes. We'll put them to work over two jazz Standards, using the progressions of Sunny Side of The Street and Indiana.” - The used licks in this course range from a New Orleans style pianistic background a la James Booker, to licks used by horn sections in the great Riff Orchestras, to licks composed by the great Jazz guitarist George Van Eps. - Further info about the course and how to get a copy is available here.
DVD guidebook (TrueFire, 2018)

Monday, July 23, 2018

Paris Gadjo Club - Swinging The Choro

CD front, Café du Brésil, Frémeaux & Associés (FA 8549)
Choro is a genuine Brazilian music genre which emerged in Rio de Janeiro during the late decades of the 19th century. Like jazz, that emerged in New Orleans from various sources and as a mixture of African, Creole and popular music of the time (i.e. ragtime) on the threshold of the 20th century, choro music originated as a local music style in Rio de Janeiro but soon spread all over Brazil with the emergence of radio networks early 1920s. One of the first choro musicians to be featured in radio live broadcast was Pixinguinha, who together with his band Os Oito Batutas was featured in the first nation wide broadcast in 1922. The same year Pixinguinha and his band was offered an engagement in Paris, France for some months, which became a great success with the Parisian audience. Pixinguinha and his band were the first native musicians to introduce choro, maxixe and related Brazilian music outside Brazil, and Paris, France was the first location abroad where the public had a chance to experience live performance of this music. The Parisian audience has always been open minded to influence from music outside France, another notable example is the embrace of jazz as performed by Django Reinhardt, the Belgian gypsy, who founded the European branch of hot jazz and swing. Django lived and performed in Paris most of his life and he was a success with the Parisian audience throughout his career, his legacy has since spread world wide and today Django and his gypsy style of jazz (Manouche) is more often than not associated with Paris in the 1930s and 1940s, its café culture and impromptu live music performances. This tradition is kept well alive by musicians, gypsies as well as non-gypsies (gadjos), even today. A new CD by a quartet named Paris Gadjo Club reflects this tradition, but instead of performing jazz standards the quartet plays music originally composed or performed by Brazilian choro musicians adding the unmistakable gypsy conception and interpretation of the music associated with Django Reinhardt and his followers. The result is most enjoyable and well worth lending your ears, I think.
Paris Gadjo Club (l-r): Pierre-Louis Cas (cl,as), Laurent Vanhée (b), Stan Laferrière (rh g), Christophe Davot (lead g,bj) (photo by Michel Bonnet)
The CD has 13 tracks and the repertoire is chosen among popular compositions by famous Brazilian choro musicians and composers like Jacob do Bandolim, Ernesto Nazareth and Pixinguinha a.o.. The rhythm section of the quartet is in the hands of Stan Laferriìere (rh g) and Laurent Vanhée (b) while Pierre-Louis Cas (cl,as) and Christophe Davot (lead g, bj) share solo spots playing melody and improvisation. Below I'll insert a couple of examples of the featured music from live performances uploaded at YouTube, and to give you an impression of similarities and differences between choro and gypsy/gadjo swing jazz I'll also insert a couple of examples of the Brazilian original recordings which may have inspired the Paris Gadjo Club. - Here is first Jacob do Bandolim's interpretation of Ernesto Nazareth's famous tune Odeon

From a live performance recorded 2016, here is the same tune as played by Paris Gadjo Club

This year choro communities celebrate the centennial of Jacob do Bandolim, the famous Brazilian master of choro mandolin, who is just as popular in Rio as Django Reinhardt still is in Paris, and from Jacob's most popular LP album here is his interpretation of Juventino Maciel's choro Cadéncia

And here is the same tune as performed by Paris Gadjo Club in a TV live program earlier this year

If these appetizers have caught your interest, more info (-in French) is available here, and the CD is for purchase here

Tuesday, July 3, 2018

Hyena Stomp

Hyena Stomp_Victor 20772-A
On June 4th 1927, Jelly Roll Morton's Red Hot Peppers recorded the 6th session for Victor in Chicago. Hyena Stomp, Billy Goat Stomp, Wild Man Blues and Jungle Blues were recorded in this memorable session featuring the extraordinary vocal cotributions by Lew La Mar imitating a laughing hyena or a stubborn goat! According to available info (here), Louis August La Mar (Lew La Mar) was a French Canadian, born in Quebec on 11th December 1873. He migrated to the U.S. with his parents prior to 1894. He was white — not African-American. He registered for the WWI draft on 12th September 1918. The draft card records his occupation as a Theatrical Actor for the Western Vaudeville Association, Majestic Theatre Building, Chicago, the same vaudeville group that employed Bill Johnson. On 4th June 1927 Lew La Mar joined Jelly-Roll Morton’s Red Hot Peppers in Chicago to participate in the mentioned Victor recording session.  He is featured on Hyena Stomp and Billy Goat Stomp. Other members of the band include George Mitchell (c); Gerald Reeves (tb); Johnny Dodds (cl); Paul “Stump” Evans (as); Jelly Roll Morton (p-dialogue); Bud Scott (g); Quinn Wilson (bb); Warren “Baby” Dodds (d)

The reason for setting focus on Hyena Stomp here is to point you to another great performance of the tune just released today on You Tube as part of The Complete Morton Project  initiated by pianist Andrew Oliver and reed player David Horniblow (- learn more at Andrew Oliver's website, here). The project has now reached halfway through the 104 compositions by Morton, thus Hyena Stomp and the other tune released today, Dixie Knows, are milestones of this terrific and very uplifting project. The jubilee is further marked by the fact that the duo of Oliver and Horniblow is extended to a quartet with two guest performers in the performance of Hyena StompMichael McQuaid (clarinet/alto) and Nick Ball (laughing & drums), both members of Oliver's Vitality Five ensemble (- more info here )

The second tune of the Complete Morton Project released today is as mentioned above Dixie Knows, a tune Morton published and co-wrote with Mel Stitzel in 1930 but never recorded according to Oliver's notes (here). I remember a version of this tune for finger style guitar played by Swedish guitarist Lasse Johansson (- you can listen to it at Spotify, here ), however, the version by Oliver and Horniblow is different and performed as a stomp in the usual duo setting of piano and clarinet. Enjoy it below and be sure to follow the Complete Morton Project on You Tube every Tuesday through the remain of 2018!


Wednesday, June 6, 2018

June Night

Original sheet music (1924)
June Night (Just Give Me a June Night) is a popular song written by Abel Baer (music) and Cliff Friend (lyrics) and published in 1924. The song was a successful hit for Ted Lewis (Columbia 157-D); and Fred Waring and His Pennsylvanians (Victor 19380) came with their version of the song at # 7 on the US charts.
Original sheet music with photo of Ted Lewis

Waring's Pennsylvanians_June Night_ Victor 19380-A

Cliff Edwards (Ukulele Ike)
Cliff Edwards (Ukulele Ike) also had a hit with June Night in 1924

Svend Asmussen
Jazz fiddler supreme, Svend Asmussen made June Night his signature tune, the initial version of the song was recorded in 1940 by Svend Asmussen's Skandia Trio for Odeon
Odeon D-396

June Night is a great vehicle for jazz improvisation, here's a live recorded example from Swedish television 1995 featuring Svend Asmussen's Quartet

Another live jazz interpretation of June Night was performed by Ralf Norton & His Varsity Ramblers in March 2017, inserted below to end this small presentation of a great tune


Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Sunday, May 13, 2018

One Morning in May

Victor 24505-A (1933)
Hoagy Carmichael composed One Morning in May and Mitchell Parish wrote the lyrics. However, Carmichael's initial version of the song had its debut at the shown Victor disc recorded October 10, 1933 as an instrumental performed by the composer at the piano featuring a swinging combo

Vocalist Marion Harris
Other artists and orchestras of the time seem to have favoured the song performed with the lyrics by Mitchell Parish changing the music into a ballad, an example is the version recorded by Marion Harris in April 1934

One Morning in May was adopted by jazz musicians and later versions comprise both vocal and instrumenal versions of the song. Here I'll concentrate on some instrumental examples uploaded at You Tube. Firstly, Benny Carter and his orchestra recorded a swinging version in 1958, inserted below

Dusko Goykovich (photo by OhWeh, 2010 - Wikimedia)
Jazz trumpeter Dusko Goykovich recorded a great instrumental version of One Morning in May at his 2001 CD entitled In My Dreams

Another contemporary instrumental issue of One Morning in May was recorded by pianist Bill Charlap in a trio setting at his 2001 album entitled Stardust

Vibraphonist Lars Erstrand (You Tube)
The last example here of a contemporary instrumental version of One Morning in May was recorded by Swedish vibraphonist Lars Erstrand with Finish clarinetist Antti Sarpila in 2004 at the album entitled We've Got a Heartful of Music


Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Wednesday, May 2, 2018

Hamilton de Holanda Trio Celebrates The Music Of Jacob do Bandolim

Jacob do Bandolim (14.02.1918 - 13.08.1969)
This year Brazil celebrates the Centennial of Jacob do Bandolim, the great master of choro mandolin. Some official events have already been settled and more will follow during 2018 paying homage to the musical legacy of Jacob do Bandolim. Among other musicians, who lead the legacy of Jacob further, is Hamilton de Holanda Hamilton de Holanda has just released a set of 12 recordings celebrating the music of Jacob do Bandolim, issued by the Brazilian Deckdisc label as digital download and in the vinil LP format
Hamilton de Holanda Trio - Jacob 10ZZ (Deckdisc, 2018)
Hamilton is accompanied by Guto Wirtti (acoustic bass) and Thiago da Serrinha (percussion), and the title of the disc refers to the 10 string bandolim used by Hamilton as well as the word jazz. Hamilton explains further in the notes published at his blog, quote "I looked for a title with few letters and a direct sound that could give meaning to the conception of this work. It's Jacob's choro with a hint of jazz. Not necessarily all tracks are of this genre, but they have this way of playing, which uses a lot of improvisation and solos created at the time of recording. The name summed up the spirit of the album well" - The disc has 12 tracks, ten of them featuring compositions by Jacob do Bandolim and the remaining two are a composition by Jacob's son, Sérgio Bittencourt, who wrote the tune titled Naquela Mesa following Jacob's death in 1969, and Hamilton's own Serenata Jacarepaguá composed in studio during recording of the disc, a homage to the location in Rio da Janeiro where Jacob lived and opened his house for the famous choro meetings which helped this music to evolve and survive during a difficult time in Brazil. The twelve recordings have all been uploaded by Deckdisc at YouTube in the audiovideo format, below I'll insert some examples to give you an impression of this great project production, which will be followed by more later this year according the info at Hamilton's blog. Hamilton uses Jacob's unique 10 stringed bandolim in all tracks, it's the first time this instrument has been recorded.
Hamilton de Holanda with Jacob's 10 string bandolim (photo by revistadachoro.com)
The recorded repertoire of tunes by Jaob do Bandolim comprises both well known compositions like Remelexo, Alvorada, Assanhado and Mágoas, a.o. and lesser known tunes, even some of which Jacob did not record himself (Saracoteando). Here is first Hamilton de Holanda trio performing Alvorada

Next is a rendition of Jacob's Assanhado, a tune attributed the term choro-jazz by many critics, Hamilton convincingly demonstrates inspiration from modern jazz improvisation in this recording of the tune

Another up-tempo composition by Jacob do Bandolim is Bole-Bole, a samba-choro first recorded on a 78 rpm by Jacob in 1951. Here is the version recorded by Hamilton de Holanda trio

As mentioned above the twelve recordings by the Hamilton de Holanda trio are the first in a series of recordings featuring the music of Jacob do Bandolim in a contemporary interpretation by one of Brazil's greatest bandolim players. You have the opportunity to listen to all tracks at YouTube, here or at streaming audio services like Spotify a.o. - the vinil version has not yet been released outside Brazil, I think. - To end this small presentation of the project, here is Hamilton's Serenata Jacarepaguá 


Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Saturday, April 21, 2018

Goodson Records - A Special Request

Goodson Records (collection: Gene)
Stephen Coates, who is researching flexible records, would like to contact Gene from Sevastopol (Ukraine) who contacted Hans Koert around March 2012 with images of some unusual Goodson type Russian records. Hans posted them on the Flexible Record blog on 17 March 2012. here is the link
If Gene reads this, Stephen would be very appreciative, if he could get in touch.

Stephen Coates can be contacted using the keepitswinging.domain@gmail.com, all notifications regarding the issue in focus here will be forwarded to Mr. Coates.


Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Thursday, March 29, 2018

Picking The Guitar

Nick Lucas (1897 - 1982) (source: Wikipedia)
Dominic Nicholas Anthony Lucanese (August 22, 1897 – July 28, 1982), known professionally as Nick Lucas, was the first jazz guitarist to record as a soloist. Lucas played banjo with various dance bands in the early 1920s, and in July of 1922, he made his debut recordings for Pathé with Picking the Guitar and Teasin’ the Frets, both guitar solos.  He re-recorded both sides for Brunswick the next year (and again in 1932, electrically).  Before long, he was making vocal records for Brunswick as the Crooning Troubadour accompanied by his own guitar, sometimes with a piano or orchestra. In 1929, Lucas appeared in the talking picture Gold Diggers of Broadway, introducing Tip-Toe Thru The Tulips with Me, which he also made a hit on record. In 1930 and ’31, he recorded with his own band, the Crooning Troubadours, and the following year he made some recordings for Hit of the Week.  Lucas’ fame faded in the 1930s, but he continued to perform. In the 1940s he made a few Soundies, followed by some Snader Telescriptions in 1951.  Lucas experienced a resurgence in popularity late 1960s after he had appeared on the Tonight Show Starring Johnny Carson in 1969, and in 1974 he performed several songs for the soundtrack of The Great Gatsby movie.  After enjoying a career that spanned more than half a century, Nick Lucas died of pneumonia in 1982. (excerpted info from this source)
Nick Lucas picking the guitar (YouTube still)
Here I'll set focus on Nick Lucas' guitar playing and leave the singing troubadour to others (- learn more about Lucas' career at the official website, here). As mentioned above, Lucas had his recording debut featuring two guitar solos in July, 1922. I'll insert both solos below, as they are considered the first ever recorded jazz guitar solos. Eddie Lang may be the Father of Jazz Guitar, but Nick Lucas then may be the Grandfather of Jazz Guitar, as he preceded Lang as a recording guitar player with at least three years (- if you count Lang's 1925 guitar work with McKenzie's Candy Kids  in  Best Black (Vocalion, A 14978) as his registered first jazz guitar solo). - Here is first Nick Lucas' Picking The Guitar as recorded for Pathé Actuelle in July 1922

The flip-side of the 1922 Pathe Actuelle Record 020794 had Lucas' recording of Teasing The Frets

Today it's hard to recognize Nick Lucas' two initial guitar solos as jazz guitar playing, nevertheless Lucas was an influental figure in the development of the plectrum guitar picking technique which helped early jazz guitar pioneers like Eddie Lang to switch from tenor banjo to the guitar. Besides recording as the singing troubadour Nick Lucas also wrote several guitar method folios that inspired other musicians to take up the plectrum guitar
Nick Lucas Guitar Method Vol. 1
A contemporary guitarist, Jake Sanders, has arranged some of Nick Lucas' guitar pieces which were not recorded by Lucas himself, but are included in one or more of his published guitar method folios. There are four Nick Lucas arrangements included in Jake Sanders' recently issued CD album, shown below
Jake Sanders, Estrellas de Radio (Jalopy Records, JRCD003, 2018)
Learn more about Jake Sanders and the shown CD here. - To end this small review of Nick Lucas the guitar player, here is Jake Sanders' version of Lucas' Picking The Guitar (- not included at the shown CD) from a live gig performance featuring Jake Sanders in a trio setting


Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Friday, March 9, 2018

From Licks To Riffs At The Guitar

Notation of a simple guitar lick
In popular music genres such as blues, jazz or rock music, a lick is a stock pattern or phrase consisting of a short series of notes used in solos and melodic lines and accompaniment. In a jazz band, a lick may be performed during an improvised solo, either during an accompanied solo chorus or during an unaccompanied solo break. Jazz licks are usually original short phrases which can be altered so they can be used over a song's changing harmonic progressions. A lick is different from the related concept of a riff, as riffs can include repeated chord progressions. Licks are more often associated with single-note melodic lines than with chord progressions. Riffs can be as simple as a tenor saxophone honking a simple, catchy rhythmic figure, or as complex as the riff-based variations in the head arrangements played by the Count Basie Orchestra.  However, like riffs, licks can be the basis of an entire song. For musicians, learning a lick is usually a form of imitation. Imitating style is as important as learning the appropriate scale over a given chord. By imitating, musicians understand and analyze what others have done, allowing them to build a vocabulary of their own. (info excerpted from Wikipedia, here)

Ton Van Bergeijk
So many words to announce a new course by Dutch master guitarist, Ton Van Bergeijk, who has just released a DVD based guidebook entitled Licks to Riffs with focus on the blues style and how to adapt any lick to any chord changes at the guitar. Ton explains the project more precisely in the video below

In the video Ton stated, quote: ”I've always found that licks played on other instruments are a great source of inspiration for guitarists. Pianists like Jimmy Yancey or James Booker are at the top of my personal list. For stronger riffs, I look at the great riff orchestras: Count Basie, Al Cooper, and then there's T-Bone Walker, Louis Jordan, Allen Toussaint…musical sources for “riff-spiration” is virtually endless. (-) Of course, we can translate the lick to guitar, and then play the lick exactly as it was played, over the same chord or chord changes. But if we change just one or more notes, we can create new licks that can be used over other chords and chord changes. I’ll show you how to do that in this Licks To Riffs Guidebook.”
DVD course (TrueFire, 2018)
According to the inserted video and further info at the website offering the course for purchase, Ton has organized the course into two sections. In the first section, you’ll learn how to make a lick fit over the three chords in a standard blues progression. Ton will show you how to "barbershop" a lick and turn it into a riff. Then, he'll demonstrate how easy it is to make changes to that lick for a jazzier blues. In the second section, Ton will teach a selection of his own favorite licks that he has transformed into versatile riffs.  Learning how to get the most of any lick is the key objective of this course to generate  “riff-spiration” for other guitarists. - More info about the DVD course and how to purchase a copy, here

Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Saturday, February 24, 2018

Lammy Bruyns Combo - Swing Musette & Chansons, Live CD

CD front: Lammy Bruyns Combo - Swing Musette & Chansons (live, 2017)
Lammy Bruyns is an acknowledged accordionist in Holland known for her virtuosity in the Parisian Musette music as well as for her singing. About five years ago Lammy met Georg Lankester, guitarist in the gypsy-swing style, who had published a book about Django Reinhardt’s influence on the Musette-rhythm. During their first meeting Lammy, Georg and some friends spontaneously played a bit together and then Lammy suggested to form a combo. The Lammy Bruyns Combo is a quartet consisting of Lammy Bruyns (accordion and vocal), Georg Lankester ((solo) guitar), Arthur Siero (guitar) and Jan Miedendorp de Bie (double bass). The repertoire of this quartet includes original Musette waltzes, (music in which Lammy is an expert) - and all these backed up in a highly swinging rhythm like it was played in the 1930s and 1940s' Paris. Moreover some American popular songs are added as well as famous French chansons and own compositions.
Lammy Bruyns Combo in performance
In October 2017 the combo gave a concert in the Northern part of Holland which was recorded for an enthousiastic audience. From this concert a selection of the recordings was chosen in order to present a variety of the repertoire by the Lammy Bruyns Combo in a just released CD, shown above. The CD includes original French Musette waltzes, some ballads as well as examples of Django swing from the 1930s and 1940s. Tracklist: Style Musette / September Song / Indifférence / It had to be you / Vous et Moi / Lady be Good / Ma première Guitare / Mr. Sandman / Pour Jo / Chez Jacquet / You made me love you / Les yeux noirs. - A couple of audio clippings from the CD are inserted in the video below

Next to live performances in Holland – starting from 2017 – the Combo also gives concerts in Germany.
Lammy Bruyns Combo in Germany
The music of the Lammy Bruyns Combo with a French touch will bring listeners back to the Parisian cabarets of the 1930s and 1940s and certainly invites to dancing as well as a cozy atmosphere in good company.

For any information, send an e-mail to:  georglankester@gmail.com

Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Monday, February 19, 2018

Announcement of Importance for Researchers/Collectors of Hit of The Week/Flexible Records Material

Hans Koert, who passed away in September 2014, was a passionated jazz collector and the author of the Hit of the Week and Durium Discography.

This entry is to inform you that Hans Koert's collection and archives of the HoW/Flexible Records now have been handed over to the files of the Doctor Jazz Foundation in The Netherlands.

For interested researchers/collectors it is possible to contact the Doctor Jazz Foundation for further information using the following link

Tuesday, February 13, 2018

Spanish Swat - Morton's Music Revitalized In A Duo Setting

Jelly Roll Morton
Jelly Roll Morton emphazised the importance of the 'Spanish tinge' as an inevitable ingredient in jazz referring to the influence of the habanera and the Caribbean tango in the rhythm pattern of compositions worthy of the term jazz. Morton's solo piano renditions of compositions of his own like i.e. 'New Orleans Joys', 'Mamanita', 'Creepy Feeling' and not least the perhaps best know example: 'The Crave' are all elaborated pieces of music which demonstrate his conception of the Spanish tinge. The legendary 1938 Library of Congress recordings contain some examples which Morton did not record commercially, among them 'Spanish Swat' in focus here to announce a great contemporary project initiated by pianist Andrew Oliver and reed player David Horniblow. The duo has started a project to play all of Morton's compositions in a duo setting and record the performance in a video format to be uploaded at You Tube; here's the duo's rendition of Morton's 'Spanish Swat' - from the latest update of the project uploaded earlier today

As mentioned, the duo intends to play and record all of Morton's compositions in this setting - the project estimates to have two new compositions uploaded every week this year. You can read more about the project at Andrew Oliver's website, and subscribe to the videos at the You Tube channel devoted to the project, here. Up till now 12 videos have already been uploaded - and what a thrill to have free access to these contemporary renditions of Morton's music, revitalized by two great musicians. Do not hesitate to subscribe to the video channel and learn more about the duo at Andrew Oliver's website

I'll insert another example of the duo's fine video performance to end this, here's Andrew Oliver and David Horniblow's rendition of Morton's 'Mamanita'


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