Joining us in the Hot Club for the first time will be the dynamic Bryan Thomas on double bass!
Sunday, September 27, 2015
Eric Seddon's Hot Club Live @ BLU Jazz +
We're excited to be making our debut at one of the top new nightclubs in Northeast Ohio--Akron's BLU Jazz +
Joining us in the Hot Club for the first time will be the dynamic Bryan Thomas on double bass!
Joining us in the Hot Club for the first time will be the dynamic Bryan Thomas on double bass!
Friday, September 18, 2015
Eric Seddon's Hot Club Live at the Music Box Supper Club
Here's a clip from our debut at the Music Box Supper Club! Thanks to everyone who turned out--it was a swingin' time!
Thursday, September 17, 2015
Tonight!
Be there for the debut of my band at one of the hottest night clubs in Cleveland--the Music Box Supper Club:
Tuesday, September 15, 2015
Wednesday, September 2, 2015
Eric Seddon's Hot Club @ The Music Box Supper Club
Attention Hot Club fans--we're happy to be playing the Music Box Supper Club on Thursday, September 17th at 7pm. The Box is one of the truly great nightclubs in Cleveland: perfect retro vibe, great food, great drinks, and one of the finest views of the city skyline anywhere.
Be there when we set the river on fire with hot jazz!
Tuesday, July 21, 2015
Mr. Acker Bilk and His Paramount Jazz Band * The Seven Ages of Acker * 1959
In a Persian Market (Ketelby)
I'm Going Home (Bilk)
Ory's Creole Trombone (Ory)
Summer Set (Bilk)
The Light from the Lighthouse (Traditional)
The Gay Hussar (Lincke)
Tiger Ray (LaRocca/DeCoste/Shields)
Lucky Rock (Rainey)
Cushion Foot Stomp (Williams)
Run Come See Jerusalem (Blake)
Old Comrades March (Teike)
Columbia - 33SX 1205
Mr. Acker Bilk * clarinet, vocals
Mr. J. Mortimer * trombone
Mr. K. Sims * trumpet
Mr. R. McKay * traps, background vocal on "The Light from the Lighthouse"
Mr. E. Price * double bass
Mr. R. James * tenor banjo
Mr. D. Collett * piano on "Summer Set"
Technological advance, methodical and relentless use of resources, constant innovation understood as a virtue, commercialism as a way of life, gratuitous competition as a means of marketing: these are aspects of the American psyche which tend to spill over from economics and industry into the rest of our culture as well. Jazz history has been no exception. Sometimes this mindset has produced explosively creative results; at other times the inability of the American mind to cease its restless, insatiable consumerism seems to get ahead of itself and leave little ground unscorched before it could be properly developed.
Comparing jazz history to European concert music history reveals this compression--whereas Functional Tonality took centuries to develop, and stylistic epochs in classical music history stretched sometimes for multiple generations, Jazz went from polyphony to an early 'gallant' style to high romanticism to full fledged modernism in about four decades. Some of this was simply a result of the interaction of jazz with modern European music, but certainly much of it had to do with the restless, voracious, and nervous American muse. Because of this, we've often depended upon other cultures to maintain, value, and support styles invented here and abandoned before they've even reached full fruition. France, England, and Japan have often, since the mid-20th century, been more supportive of American jazz musicians than their native country. Because of this, the spread of jazz has not necessarily followed the trajectory abroad that it has at home -- "Trad Jazz" is not only celebrated on other continents, but it has produced heirs from other cultures who have added their particular voice and ethnic flavor to the music.
One of the strongest of these Trad Jazz currents flowed through Great Britain in the 1950s and '60s, and a major focal point was the fascinating and soulful music of clarinetist Acker Bilk. Bilk's contribution is beyond that of being a curator of New Orleans style tunes abroad--he actually advanced the art of jazz in ways that have yet to be fully appreciated on this side of the pond.
First, perhaps, a discussion of his sound is necessary. It's an interesting coincidence of history that the traditionally broad, mellow, full sound of English clarinetists has more in common with early New Orleans style clarinet than the 'American School' of classical clarinetistry. As such there was a natural sympathy between Bilk and New Orleans players such as George Lewis, Albert Nicholas, and Raymond Burke. It would be a mistake to think of Bilk as an English copy of New Orleans sound, though--there were many differences. His chalumeau, while strong and expressive, didn't have the typical New Orleans richness, and while his clarion register could hold with the best of the NOLA crowd, it's his altissimo that is so striking: Bilk's altissimo was actually much stronger than most Crescent City traditionalists, making him able to sustain lines with strength and clarity in unique ways. His intonation was also quite good--and while he always honored George Lewis and other foundational New Orleans players, he didn't fall into the trap of playing too flat so often (which seems to plague many NOLA style traditionalists). All in all, he took the style and brought strength, clarity, and a certain amount of virtuosity (though never descending into mere flashiness).
The Seven Ages of Acker likewise takes New Orleans style as a point of departure, applying it broadly, not only by playing standards (such as Tiger Rag and Ory's Creole Trombone), but in terms of repertoire. In it, Bilk expanded the base of traditional jazz, integrating light music that was popular with British audiences in the early 20th century such as Ketebey's "In a Persian Market," and Lincke's "The Gay Hussar." Significantly, this music was the direct precursor of British Invasion rock (several Brit Rock bands and players of the following decade cut their teeth in trad-jazz groups of the '50s). Like those bands' backbeats, which were based upon American Rhythm & Blues, but didn't really sound or feel like it, there is a distinctive English quality to the way Acker Bilk's Paramount Jazz Band swings--a quality that Americans ought to take more seriously, because to dismiss it is only to lose the creativity and subtle innovative quality that this music offers. The more you listen to English Trad Jazz, the more you hear the long history of the British brass band and light music blending into the New Orleans style. That it is such a good fit is both fascinating and enjoyable. As with so much English music, there's always an admirable emphasis on soul and real emotion rather than mere technique. That's wasn't always the case with American jazz since the bop era, and can serve as quite an antidote to self-conscious modernism.
It's noteworthy that a Bilk original from this album, "Summer Set", was a top ten hit on the UK charts, setting the stage for his biggest: 1961's "Stranger on the Shore"-- the first British tune to hit number one on the American Billboard charts (predating Beatlemania). "Summer Set" is a very simple tune, but the bright sincerity of it serves as foreshadowing to the lighter, optimistic hits of Paul McCartney during his Beatle days.
This band, and this album, is one of the most intriguing of the Trad Jazz contributions from the British heyday of the '50s and '60s. They didn't just serve as a cover band, but as a creative, innovative group in their own genuine and humorous way. There is still much to be learned from what those English traddies did, and for those who haven't yet delved into it, this album is highly recommended.
The Seven Ages of Acker gets The Jazz Clarinet's highest rating: Five Good Reeds, for the command Bilk shows on clarinet (especially his masterful altissimo) while expanding and moving the music forward. While Americans had by 1959 largely abandoned the New Orleans model, Bilk & Co added to it, showing there was still much work to do, and that the style can be developed continuously.
I'm Going Home (Bilk)
Ory's Creole Trombone (Ory)
Summer Set (Bilk)
The Light from the Lighthouse (Traditional)
The Gay Hussar (Lincke)
Tiger Ray (LaRocca/DeCoste/Shields)
Lucky Rock (Rainey)
Cushion Foot Stomp (Williams)
Run Come See Jerusalem (Blake)
Old Comrades March (Teike)
Columbia - 33SX 1205
Mr. Acker Bilk * clarinet, vocals
Mr. J. Mortimer * trombone
Mr. K. Sims * trumpet
Mr. R. McKay * traps, background vocal on "The Light from the Lighthouse"
Mr. E. Price * double bass
Mr. R. James * tenor banjo
Mr. D. Collett * piano on "Summer Set"
Technological advance, methodical and relentless use of resources, constant innovation understood as a virtue, commercialism as a way of life, gratuitous competition as a means of marketing: these are aspects of the American psyche which tend to spill over from economics and industry into the rest of our culture as well. Jazz history has been no exception. Sometimes this mindset has produced explosively creative results; at other times the inability of the American mind to cease its restless, insatiable consumerism seems to get ahead of itself and leave little ground unscorched before it could be properly developed.
Comparing jazz history to European concert music history reveals this compression--whereas Functional Tonality took centuries to develop, and stylistic epochs in classical music history stretched sometimes for multiple generations, Jazz went from polyphony to an early 'gallant' style to high romanticism to full fledged modernism in about four decades. Some of this was simply a result of the interaction of jazz with modern European music, but certainly much of it had to do with the restless, voracious, and nervous American muse. Because of this, we've often depended upon other cultures to maintain, value, and support styles invented here and abandoned before they've even reached full fruition. France, England, and Japan have often, since the mid-20th century, been more supportive of American jazz musicians than their native country. Because of this, the spread of jazz has not necessarily followed the trajectory abroad that it has at home -- "Trad Jazz" is not only celebrated on other continents, but it has produced heirs from other cultures who have added their particular voice and ethnic flavor to the music.
One of the strongest of these Trad Jazz currents flowed through Great Britain in the 1950s and '60s, and a major focal point was the fascinating and soulful music of clarinetist Acker Bilk. Bilk's contribution is beyond that of being a curator of New Orleans style tunes abroad--he actually advanced the art of jazz in ways that have yet to be fully appreciated on this side of the pond.
First, perhaps, a discussion of his sound is necessary. It's an interesting coincidence of history that the traditionally broad, mellow, full sound of English clarinetists has more in common with early New Orleans style clarinet than the 'American School' of classical clarinetistry. As such there was a natural sympathy between Bilk and New Orleans players such as George Lewis, Albert Nicholas, and Raymond Burke. It would be a mistake to think of Bilk as an English copy of New Orleans sound, though--there were many differences. His chalumeau, while strong and expressive, didn't have the typical New Orleans richness, and while his clarion register could hold with the best of the NOLA crowd, it's his altissimo that is so striking: Bilk's altissimo was actually much stronger than most Crescent City traditionalists, making him able to sustain lines with strength and clarity in unique ways. His intonation was also quite good--and while he always honored George Lewis and other foundational New Orleans players, he didn't fall into the trap of playing too flat so often (which seems to plague many NOLA style traditionalists). All in all, he took the style and brought strength, clarity, and a certain amount of virtuosity (though never descending into mere flashiness).
The Seven Ages of Acker likewise takes New Orleans style as a point of departure, applying it broadly, not only by playing standards (such as Tiger Rag and Ory's Creole Trombone), but in terms of repertoire. In it, Bilk expanded the base of traditional jazz, integrating light music that was popular with British audiences in the early 20th century such as Ketebey's "In a Persian Market," and Lincke's "The Gay Hussar." Significantly, this music was the direct precursor of British Invasion rock (several Brit Rock bands and players of the following decade cut their teeth in trad-jazz groups of the '50s). Like those bands' backbeats, which were based upon American Rhythm & Blues, but didn't really sound or feel like it, there is a distinctive English quality to the way Acker Bilk's Paramount Jazz Band swings--a quality that Americans ought to take more seriously, because to dismiss it is only to lose the creativity and subtle innovative quality that this music offers. The more you listen to English Trad Jazz, the more you hear the long history of the British brass band and light music blending into the New Orleans style. That it is such a good fit is both fascinating and enjoyable. As with so much English music, there's always an admirable emphasis on soul and real emotion rather than mere technique. That's wasn't always the case with American jazz since the bop era, and can serve as quite an antidote to self-conscious modernism.
It's noteworthy that a Bilk original from this album, "Summer Set", was a top ten hit on the UK charts, setting the stage for his biggest: 1961's "Stranger on the Shore"-- the first British tune to hit number one on the American Billboard charts (predating Beatlemania). "Summer Set" is a very simple tune, but the bright sincerity of it serves as foreshadowing to the lighter, optimistic hits of Paul McCartney during his Beatle days.
This band, and this album, is one of the most intriguing of the Trad Jazz contributions from the British heyday of the '50s and '60s. They didn't just serve as a cover band, but as a creative, innovative group in their own genuine and humorous way. There is still much to be learned from what those English traddies did, and for those who haven't yet delved into it, this album is highly recommended.
The Seven Ages of Acker gets The Jazz Clarinet's highest rating: Five Good Reeds, for the command Bilk shows on clarinet (especially his masterful altissimo) while expanding and moving the music forward. While Americans had by 1959 largely abandoned the New Orleans model, Bilk & Co added to it, showing there was still much work to do, and that the style can be developed continuously.
How to become a Jazz Clarinetist
Several times over the last few years I've been asked the best way to become a jazz clarinetist. Well, that's a tough one, as there really is no best way, and perhaps there isn't even a good way. I don't recommend trying it unless you have to, and if you have to, you tend to find your own way of doing it. Having said that, here are some steps that I've noticed are pretty common. By posting them, I'm not endorsing them. Just saying they tend to be the way to go about it. Please drink responsibly.
1. Quit your day job.
2. Go to New Orleans.
3. Eat blackened fish at the Gumbo Shop.
4. Play on the street or anywhere they'll let you sit in.
5. Acquire tremendous technique.
6. Learn everything you can about scales and chords.
7. Put on your headphones (or somebody else's if you can't afford your own anymore) and listen to Sidney Bechet, Leon Roppolo, Omer Simeon, Johnny Dodds, Jimmie Noone, Irving Fazola, and Pete Fountain.
8. Play Pete's solo to "St James Infirmary" in retrograde, only to realize it sounds better played forward.
9. Go to Chicago.
10. Drink vast quantities of bad alcohol. (Optional, but too well documented to leave off the list).
11. Shout Frank Teschemacher solos loudly and somewhat angrily while sauntering around the Loop.
12. Repent early and often.
13. Stare at the ceiling of your hotel room for several hours in the afternoon while running through Benny Goodman solos in your mind.
14. Smile softly to yourself, knowingly.
15. Drive to Shekomeko, NY, in the middle of the night, so as to arrive in early morning.
16. Imbibe the air.
17. Stand in the middle of Route 82 or 83 and contemplate the scenery while mentally noting the perfections of Shaw's solo on his last recording of "Don't Take Your Love from Me."
18. Call, email, or text her, saying it's not her fault and you're trying to set things right.
19. Pick up your horn.
20. Let the blues out before they kill you.
21. Lose technique to make rent ("Make friends for yourselves with dishonest wealth.")
22. Forget everything you learned, but forget it in the right way (or else all your learning will go to waste).
23. Play 'A Closer Walk With Thee.' The right way this time.
1. Quit your day job.
2. Go to New Orleans.
3. Eat blackened fish at the Gumbo Shop.
4. Play on the street or anywhere they'll let you sit in.
5. Acquire tremendous technique.
6. Learn everything you can about scales and chords.
7. Put on your headphones (or somebody else's if you can't afford your own anymore) and listen to Sidney Bechet, Leon Roppolo, Omer Simeon, Johnny Dodds, Jimmie Noone, Irving Fazola, and Pete Fountain.
8. Play Pete's solo to "St James Infirmary" in retrograde, only to realize it sounds better played forward.
9. Go to Chicago.
10. Drink vast quantities of bad alcohol. (Optional, but too well documented to leave off the list).
11. Shout Frank Teschemacher solos loudly and somewhat angrily while sauntering around the Loop.
12. Repent early and often.
13. Stare at the ceiling of your hotel room for several hours in the afternoon while running through Benny Goodman solos in your mind.
14. Smile softly to yourself, knowingly.
15. Drive to Shekomeko, NY, in the middle of the night, so as to arrive in early morning.
16. Imbibe the air.
17. Stand in the middle of Route 82 or 83 and contemplate the scenery while mentally noting the perfections of Shaw's solo on his last recording of "Don't Take Your Love from Me."
18. Call, email, or text her, saying it's not her fault and you're trying to set things right.
19. Pick up your horn.
20. Let the blues out before they kill you.
21. Lose technique to make rent ("Make friends for yourselves with dishonest wealth.")
22. Forget everything you learned, but forget it in the right way (or else all your learning will go to waste).
23. Play 'A Closer Walk With Thee.' The right way this time.
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