Steve said:
From the very first notes of the gig last night at Fleece Jazz, I knew we were in for a treat as Chris Ingham and his quartet skilfully and passionately revealed the musical legacy of the legendary songwriter, pianist and singer (as well as actor and radio personality) that was Hoagy Carmichael.
For cynics and sceptics, of which I am one, our reservations evaporated when Chris wryly informed us that the promise of “Modern Jazz every fortnight” would be an empty one for this evening!
Despite this, what we had was a journey through a wealth of well-crafted, witty, charming and unashamedly romantic songs from a bygone era performed with love and feeling from a quartet of talented musicians. Chris Ingham, pianist, raconteur and storyteller extraordinaire held the attention of the audience throughout the gig, relating the biographical details in an accessible and light-hearted manner while showing respect for his subject.
The gig opened with the first bars of the gorgeous “Stardust”, before segueing effortlessly into “Jubilee”, a joyous piece betraying Hoagy’s hot jazz roots most evident in Paul Higgs’ delivery on trumpet. Jazz musicians apparently say of Hoagy that his songs are “so well sculpted, you don’t need to do anything with them”, but the quartet sure did make the whole experience heartwarming, amusing and uplifting. This is echoed in the steady, easy-going nature of the music and the musical delivery – the plaintive, often muted trumpet of Paul Higgs, the plangent, lower register of Simon Thorpe’s double bass and the talking drums of George Double.
It would be careless and crass to overlook Chris Ingham’s delivery on piano as well as his role of presenter. His style on piano is sophisticated yet delightfully swinging. He makes it seem effortless, but he worked so hard for the whole performance – singing, playing and talking. Chris’ singing is easy-on-the-ear and a close approximation of Carmichael’s own conversational style.
There were so many highlights to pick from the 20 plus songs over the two sets. The second set opens with the full version of “Stardust”, its full, unabashed romanticism steeped in Higg’s keening trumpet followed by another gem in “Georgia on My Mind” with Chris’s expressive vocals leading into a calm and reflective solo from Simon Thorpe on double bass. George Double’s percussion on “Hong Kong Blues” was a wonder: he had unscrewed and laid a cymbal on top of a drumskin and by hitting and deadening the reverberations produced an authentic Chinese percussive effect which drew a roar of approval. “Small Fry”, a song for all parents concerned about their kids straying into delinquency, was delivered off mike with Ingham gently strumming an acoustic guitar, Higgs simply playing his trumpet mouthpiece and Double adding vocals to Ingham’s lead was a delight. Who knew that George could sing so beautifully? “Winter Moon” was as close to Modern Jazz as it got all evening, cast in minor-mode hues, with Paul Higgs switching to flugelhorn for this one occasion to produce a haunting tone, showing a darker, bleaker side to Carmichael’s songwriting. “Billy-a Dick” was more uptempo with George Double on snare drum before the last number, the whimsical “My Resistance is Low”.
Dave said:
We knew this was going to be a gig in which the lyric was the thing. Chris gave us the opportunity to listen to an extended instrumental beginning, with “Stardust/Jubilee”. We were immediately in great hands, strings, sticks and horn as the band gave us a beautiful overture for a lovely evening.
And the lyric was indeed the thing. Chris had thought clearly about how to emphasise the words with his arrangements of the music. His knowledge of Carmichael was extensive and fascinating. Paul’s green trumpet and collection of mutes rang clear, played soft, sang high, depending on the number. George sang too (who knew?) in the lovely a capella “Small Fry”. He is a consummate drummer. Simon’s bass playing is both absolutely reliable and always interesting and new.
Our next gig brings back the wonderful Roger Beaujolais whose vibes (in both senses) will echo the great Milt Jackson. It was the Modern Jazz Quartet that brought me into jazz as a teenager. Do join us.
Take care,
Dave
THE CHRIS INGHAM QUARTET: HOAGY II
SETLIST, FLEECE JAZZ 25/9/24
- Stardust/Jubilee (Carmichael, Parish / Carmichael, Adams)
- (Up A) Lazy River (Carmichael, Arodin)
- In The Cool, Cool, Cool of The Evening (Carmichael, Mercer) as sung by Bing Crosby and Jane Wyman in the film Here Comes The Groom
- Lazybones (Carmichael, Mercer)
- The Old Music Master (Carmichael, Mercer) described by Chris Ingham as the Jazz equivalent of Roll Over Beethoven, a belligerent riposte to the musical status quo
- I Walk with Music (Carmichael, Mercer)
- Rockin’ Chair (Carmichael) immortalised by Louis Armstrong and a vocalist such as the trombonist, Jack Teagarden, in which Louis responds to the lines in his characteristic impish manner.
- Ain’t There Anyone Here for Love (Carmichael/Adamson) sung by Jane Russell in the film Gentleman Prefer Blondes
- Down, Boy (Carmichael/Adamson) sung by Marilyn Monroe in the film Gentleman Prefer Blondes
* * * * * * *
- 10.Stardust (Carmichael, Parish)
- 11.Georgia On My Mind (Carmichael, Gorrell)
- Don’t Forget to Say No, Baby (Carmichael, Johnson, Victor)
- Hong Kong Blues (Carmichael) featured in the film, To Have and Have Not.
- Heart and Soul (Carmichael, Loesser) featuring a chord progression familiar to beginner piano students as a repeating I-vi-IV-V progression.
- Small Fry (Carmichael, Loesser)
- The Nearness of You (Carmichael, Washington)
- The Monkey Song (Carmichael) featured in the film, The Las Vegas Story.
- Winter Moon (Carmichael/Adamson) from the album Hoagy sings Carmichael, which features his last significant recordings.
- Billy-a-Dick (Carmichael/Webster)
- My Resistance Is Low (Carmichael/Adamson) featured in the film, The Las Vegas Story.
- Encore: Ole Buttermilk Sky (Carmichael/Brooks)