[Dixielandjazz] Hot Club de Norvege in Israel

[Marek Boym]

Last Wednesday we defied President Bush and went to Jerusalem to hear
Hot Club de Norvege [Jon Larsen (guitar), Finn Hauge (violin and
harmonica), Per Frydenlund (guitar) and Svein Aarbostad (bass)].  No,
President Bush has nothing against Hot Club de Norvege, but, because
of his visit, an hour long trip took two hours, and we had to listen
on empty stomach!  Because of the presidential visit, Jerusalem was
under siege, the main entrance being closed, as were many other
streets in the city centre.  I assume that the hall was not full
because prudent people decided to stay home rather than face the
impossible traffic.  But it was worth it!  I'm not saying that
everything they played was great, I was not too keen on the harmonica,
which the violinist played in addition to the fiddle, or on the
musical sow (but then, the entertainment value of that venerable
instrument was great, as proven by the tumultuous applause); in case
you've been wondering - he used a different bow for the sow.  And some
of the slower numbers, for example- the waltz "Hommage a Grappelly"
might not have been up to par.
As the show was labeled a celebration of Stephane Grappelly's 100th
anniversary, there were numerous references thereto, and although most
tunes played were originally from the Qintette de hot Club de France
book, some were from the WWII period, when Grappelly lived in England.
For the most part, Jon Larsen was the soloist, while Per Frydenlund
provided rhythm, but he had some solos as well.  And he sang
"Honeysucle Rose," a song in Danish (which, were were told, got them
off the street, where they were playing until then, and into halls),
and "I Can't Give you Anything but Love," on which he interpolated
"Just a Gigolo" after "you'll find;"  Hilarious!
Towards the end of the concert the band was joined by the Israeli
Swing de Gitanes; now, I have long known that they were good, but did
not realize how good (oh, the things familiarity breeds)!  It was only
when they played with the better known musicians that I realized they
matched the Norwegians (a reviewer who attended the concert in
Tel-Aviv thought the Israelis were better, as did a good friend of
mine who has a jazz programme on our radio).  As both bands have
basists, they kept changing while playing, the transition being very
smooth.  Yo my ears, Oren Saggy (the Israeli basist) had an edge over
the Norwegian one, but both were excellent.
The next day we went to the concert in Tel-Aviv.  The (much larger)
hall was full, and the great playing was justly rewarded with
ovations.  In the first part of the concert only two songs were
repeated from the previous night's one; after the intermission (the
concert in Jerusalem was unbroken), more numbers were repeated.  After
the Israelis joined, they repeated another number "I Can't Give
You...," but with four guitars rather than two, and without a vocal,
it could not count as repetition.
In all, time and money well spent, and, being high on music, we didn't
really mind havinbg dinner at 11:30PM  (after the Jerusalem show)
rather than 8, as planned.

A few words about the audience.
In Jerusalem, there was a considerable military contingent; with
conscription service, taht means that these people were between 18 and
21 years of age.  In Tel-Aviv, too, the ages ranged from kids in their
mid-teens (some of whom played in the lobby before the concert -
hardly OKOM, though) to gray heads, and everybody had a ball.  You
should have seen ant heard the kids' applause!
Cheers, and SUPPORT LIVE JAZZ!