The 10th Kirkcudbright Jazz Festival
Two very long standing traditional jazz fans, namely Georgina and I, travelled from Inverness in the Highlands at the pleasure of the Scottish Parliament all the way down to attend the 10th Kirkcudbright Jazz Festival, an artists town situated in the Lowlands - getting there with comparative grace and sensibility of beauty.
We stayed at the Selkirk Arms Hotel in the High Street once an Inn made famous by Robert Burns, Scotland’s famous Bard in days of yore. The Hotel staged two jazz concerts, of a different genre, the Mike Daly’s Rhythm Kings that turned out to be up my street, and the other one, with a special dinner laid on, the Maria Speight Quintet, a vocalist who featured with the Sulwath Syncopators as the sole gospel singer at the Parish Church Service conducted by the Rev Frank Glendining.
After a stopover at the Station Hotel in the ancient historic town of Dumfries, we were on our way to Kirkcudbright to attend their 10th year of staging a traditional jazz festival. We arrived there at noon down by the harbour bus station of this not well known little town of culture that stands at the end of the river Dee where it meets the sea, precisely built at the core of a Bay of the same name of this artists town, situated among several other Bays of various breadths along the Solway Firth of the South West of Scotland's coastline on the border with England.
It was a dull, lowery, overcast sky that Thursday the 14th of June 2007 but we managed to seek out most of the twelve venues that were to hold the numerous jazz bands and artistes – Castle Restaurant; Church Hall; Gordon House Hotel; Greyfriars Church; Johnston School; Kirkpatrick’s Restaurant; Moat Brae for the Brolly Parade; Royal Hotel; Town Hall; Selkirk Arms Hotel and the Steam Packet Inn. There were six of them along one main route through the town which is called St Mary Street, the remainder are all close at hand in a circle off it.
As it happened, we were not able to fit in the whole programme but met long standing, and made many new friends.
As the first concert of the festival was not due until the evening the day was taken up in getting to know something about the community so, among other things, we popped into the Steam Packet Inn for a drink and a chat with the locals.
See photo left taken next evening during a dry spell following the day’s drenching incessant rain that came that Friday.The other pub that I entered without listening to the jazz noted on the programme but solely to have a drink, alone and meet the local people, was the Gordon House Hotel as can be seen on the photo to the right, which was taken from the coloured print of the programme booklet seen at the head of this review. All other coloured photos are taken by KJR - me.
I wonder how painter Lowry mirroring working class life in its environment, or, today’s photographer Philip Dunn would have thought or think about the talk going around over taking photos of the way people are living in their natural communities without the fear of them being snooped upon - sad. In talking to those I met outwith the jazz fraternity, I found the Kirkcudbright people to be exceedingly amiable.
It was in the evening of Thursday the 14th of June at both the Church Hall and Royal Hotel that the opening of the jazz programme events took place. We chose the former as it was the nearer to where we were staying, in effect just around the corner.
West Jesmond Rhythm Kings
at the Church Hall
Lead by trumpeter Mike Durham of the West Jesmond Rhythm Kings, it started off the jazz festival for us in inspiring fashion, always a demanding roll to play. The presentation of the group was immaculate in particular his knowledgeable and humorous commentary on the history of the numbers he was introducing that led to the greater pleasure of the evening. Tunes from the Clarence Williams (Wild Cat) Blue Five, also, ones that were made famous by Louis Armstrong, Kid Ory, Sidney Bechet, Bix Beiderbecke, and spotlights on his sidemen were all there.
Struts – oriental and barbecues; Songs - Lillie Delk Christian hot fours; Blues – the melancholy and moaner kinds, all beautifully played. Out of the wonderful evening, including the dancing comes revealingly to mind was the Bix Beiderbecke trumpet solo on Davenport Blues setting the mood to what was to become a memorable Kirkcudbright jazz festival. The festival booklet at £1 gives photos and names of the members of the bands.
All of the jazz festival bands had CDs for sale, which for more than one reason is a good thing, and naturally I would have liked to have bought one from each group, but for a reason not to mention, I came away with but the one as shown on the left. It has a lovely tempo theme throughout making it a much sought after listenable LAKE LACD173 album featuring pianist Keith Nichols.
It appeared to have rained all night, and it did so the very next day, Friday the 15th of June - right up until 1pm when the first band of the day was due to play. It was a fine opportunity for me to visit The Stewartry Museum, the purpose-built late Victorian structure in St Mary Street just round the corner from the Selkirk Arms. The Museum opened in 1893 displaying artefacts relating to the natural history of the area, specimens of the sea and of the air, including works of Jessie M King and other artists named famous to Kirkcudbright.
In effect praise would pass to the jazz festival organisers simply by reading this review of and past this second day, but, I must add credit to them for staging the Eagles group at the Royal Hotel in line with the WJRK at the Church Hall yesterday, both inspiring jazz bands in their own unique way to open this the Kirkcudbright Jazz Festival, thus fitting in for us just as we planned being able to hear each group at the same venue closest to our base at the Selkirk Arms Hotel, timely over the opening two stormy wet and damp,
non-mud-bathed, jazz-absorbing, thrillingly, sensational days.
When I entered the Church Hall with umbrella to hear the Eagles it was already full. Having sampled the Hall tea and confectionary the previous evening, I immediately partook in their ample display of midday none alcoholic refreshments. This Millennium Eagle Jazz Band obviously had been popular the previous night at the Royal for following their two consecutive tunes introduction they chose to catch up with over-run requests. The youthful Julyan “Baby Jools” Aldridge, (see photo left) was featured on an exciting drum solo, and at aged only nineteen, his skills at mastering this kind of jazz music are truly remarkable.
With the tunes Wabash Blues recorded by both Harry Roy and Sid Phillips in 40s London, Buddy’s Habits; Magnolia Wedding Day; Dapper Dan, all heard beautifully played was of stirring stuff - a performance loved by the audience. For me the Sidney Bechet number Petite Fleur made popular by Monty Sunshine, here played by clarinettist Matt Palmer, and, appropriately I Get The Blues When It Rain that was also inclusive in song were my pick - bearing in mind that in my mind, the blues are of the riband kind.
We saw the first set of the Louisiana Ragtime Band led by banjoist, guitarist Bill Salmond at his 7pm Town Hall programme as a prelude to our dinner booking with Mike Daly’s Rhythm Kings at the Selkirk Arms Hotel. As Bill’s Ragtimers were not able to play the following day – Saturday the 16th of June because of very damp conditions on Moat Brae where the Brolly Parade ended, we heard them instead again at the Town Hall – tunes like Bogalousa Strut on tenor, Blue Heaven with piano opening, I want A Little Girl; One Sweet Letter from You, together could be collective for It’s The Loveliest Night Of The Year truly top class entertainment.
When in conversation with a young member of The Red Stripe Band due to play next at 9.15pm, he gave me their promotional DVD, which cast my mind back to the Stage Door Canteen era when the jitterbugging Yanks were over here and, my pale-green Zoot Suit days. The standard of their jive styled music on it is far in excess - much more professional that the Shake, Shake twisting displays of their dancers, thus these musicians have the potential for creating a turning point for the current youth culture becoming the futuristic jazz wizards irrespective whether it will be the current aging Classic Jazz musicians or their fans who are first to fade away.
Yes, we’re into Friday evening after a freshening up. We are first in the cue for a table to listen to the Mike Daly’s Rhythm Kings at the Selkirk Arms so taking one for two closest to the band – it was an excellent choice. The beautiful tone of the Daly cornet was simply out of this world, which added greatly to the stylist setting full of dedicated diners lapping up the Rhythm Kings jazz music at its very best – see photos.
The opening song was Lady Be Good - she was – and not because it was recorded in 1934 by a famous French five-piece. Do You Know What It Means To Miss New Orleans, Strutting With Some Barbecue, do you like it? Indeed I Do, all Marvellous and all skilfully played to the extent for a Kiss To Build A Dream On.
The vocal talents of trombonist Jack Murray full of humour was infectious, with a first class rhythm section of professionals playing a vital roll in creating its unique special sound.
Whilst living in France for a year in the late 40s, I became interested in the style of jazz music performed by guitarist Django Reinhardt as leader with Stephan Grappelli of the Quintette du Hot Club de France, and I was delighted when the guitarist John Fenner with the Mike Daly’s (five-piece) Rhythm Kings gave a beautiful solo performance on Nuages another of the finest of the Belgian’s numbers during 1940 - the year he recorded it.
The skies cleared as we were waiting under the trees at the crossroads where the Royal Hotel stands. We noticed the police starting to control the traffic, and so we were not disappointed to hear the band coming down St Mary Street and then turn to the right entering into the St Cuthbert one so followed by a very large second line this spectacular formation of people-folk, not persons, entered in stomp style through a gateway close to MacCellan’s Castle ruins, and then onwards, upwards of the Moat Brae to there assemble. The music and dancing continued for a period.
Only part of the parade band is shown in the photo as it made a circle around the Brolly holders where the mound was full of second-liners, all mostly looking on and listening joyously to their kind of jazz on this a tree lined hillock overlooking the harbour.
The Mart Rodger Manchester Jazz was well into their programme when we entered the Church Hall that Saturday afternoon.
Over the ages the styles of dancing have been varied and widespread. I can recall at a very young age dancing to the Scottish set pieces at
the Brig ‘O’ Turk style, through the ballroom style phase at Aberdeen both in Scotland, and on down to Hammersmith and Streatham in North and South London respectively, progressing non-stop on to the beginning of the 60s Trad boom in Croydon, Surrey, England.
It is well known that New Orleans, Dixieland and Traditional jazz are all styles of music that foot-tapping comes intuitive to most people who follow their choice jazzbands. However, not all of our kind of jazz music jazzbands is of the dancing types – the Whoopee and the Temperance Seven comes to mind, whose specialities are naturally of the humorous kind, showing top class musical skills, in the main, for the listener - not the dancer.
Pairs invariably stick to their own style of dancing together, others take the odd experimental step, mostly all are familiar with the jazz melody of the tunes, and have learned how each band interprets them, thus a fellow portrays his lady to her best advantage with the pair gaining both sensational joy and intense satisfaction together after fashioning a relatively good performance.
Having sat down with great excitement and a sound, pounding heartbeat of pride and fulfilment pleasure, for she really was a delightful dancer, whom I felt that there was much more on the floor that we could have learnt from each other. Naturally, without the Mart Rodger Manchester Jazz
in setting their tempi, the outcome may not have been achieved with so much delightful relish - her name, well not today - to say.
The voice of Maria Speight for me took on a glorious joyous uplift from the one I had listened to on Saturday night, setting it neatly
among the very fine gospel singers that I’ve heard sing in past days. Down By The Riverside; a solo by her on Just A Closer Walk With Thee; The Old Rugged Cross; Just A Little While To Stay Here and others. It was an emotional service, with His Eye Is On The Sparrow sung as was composed, other than from the way I recall it being played many years back by a favourite jazzband - was enlightening.
The music was played by the Sulwath Syncopators a local group whose banjoist is Leon McCraig who is also the Vice-Chairman of
the Jazz Festival Committee. Sulwath is the name of a brewery in King Street, Castle Douglas.
Sketch of the Parish Church is from the programme.
The Service was arranged and conducted by the Rev Frank Glendining whose sense of humour with
I believe a Newcastle accent, made it a most enjoyable one.
A traditional jazz festival is nearly always at its best when there is a greater amount of events than a jazz fan can possibility cover. Judging from what I heard during the four days 10th Kirkcudbright Jazz Festival coming from the Gordon House Hotel, I’m sure that the other events on the fringe that I was unable to attend can be classed as being missed opportunities to hear.
The three photos of the bands that I heard on Sunday the final day are L/R Dave Kerr Hot Five, at the Church Hall and at the Royal Hotel,
the Chicago Teddybear Society Jazzband and Climax Jazz Band, plus Hokum, which I waited to hear for a couple of numbers
not intended following the Society band.
END
Kings Jazz Review
27th June 2007