Harlem Hot Stompers - Jazz on a Sunday

Photo: Valerie Bracken

Harlem Hot Stompers Jazz

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Always a popular visitor to Jazz on a Sunday, the Harlem Hot Stompers produced another fine performance of the best of Jazz.

Led by reedsman Tony Foulkes the band set the gig in motion by giving pianist John Reade his head in the relaxed ‘Papa Dip’, followed by Handy’s ‘Memphis Blues’ with Foulkes’ sax to the fore.

‘Curse of an Aching Heart’ brought Foulkes’ vocal into play to contrast with the brass bass of Dave Parr in ‘Storeyville Blues’.

Bechet’s ‘Coffee Grinder’ was given the smooth treatment by Foulkes’ clarinet, whilst Barber’s ‘Whistling Rufus’ was left to the wiles of Reade’s piano.

Bill Smith’s ‘Angry’ vocal brought the set to a close.

Always full of innovation and professionalism, trombonist John Ronan’s slant on ‘Yama Yama Man’ got set two off to a crescendo, changing to the slow arrangement of ‘Mama’s Gone Bye Bye’ featuring a duo for clarinet and brass bass.

Veteran drummer Dave Berry always pops up for a vocal or two as he offered ‘Some Day You’ll Be Sorry’. Smith’s novelty number ‘Beedle-um-bum’ always brings a smile - it’s actually a sweet treat from the deep south USA.

‘Perdido Street Blues’ for clarinet excited and the popular ‘Froggie More’ had the bar tills ringing.

Into the last ‘half’, with ‘Chimes Blues’ and Reade’s piano given the chimes honour and it wouldn’t be Harlem without Smith’s party piece as his harmonica complements his trumpet in ‘Sweet Afton’.

Ian McCann’s banjo was given the opportunity to direct ‘Sweet Georgia Brown’. ‘Flat Foot’ encourages the anything but flat foot Catharine to show her paces.

Sandy Brown’s ‘Nothing Blues’ had the band in swing mode with Smith’s vocal and harmonica driving the tune until his ‘slow train stopping’ finish, ably backed by Barrel House piano and fine arrangement.

Berry’s drumming and vocal came to the fore in a rousing version of ‘Bourbon Street Parade’ slowing to the band playing out with ‘Going Home’, and the fans departed.