“The latest album from Hot Fingers, led by the wizardly Spats Langham, presents 22 period pieces, not all by
any means familiar, in ingenious arrangements made the more so through versatile instrumentation. For that
Langham himself takes much credit, wielding the banjo, ukulele, and guitar, but it's Danny Blyth who wins
the award for multi-instrumentalist par excellence in this set, given that he varies things through the use
of guitar, mandolin, clarinet, bass clarinet, and harmonica. Malcolm Sked is his usual tower of strength and
the singer is Emily Campbell not, as one might have supposed, Debbie Arthurs, who often sings with this
groups and others like it.
The spirit of the peppy 20s is immediately summoned up and reprised throughout. Nothing - or few things -
could be as evocative of time and place as Vo Do Do De O Blues. Unlike his confrere Martin Wheatley, Spats
Langham is partial to Django Reinhardt and Oscar Alemain as he shows in a slow and respectful version of
Chaplin's Smile. Even more of this can be savoured in the Gypsy-Jazz La Gitane. Indeed this is not a
stylistically hermetic group, and likes to chance its arm once in a while, as it does when mining the
Leadbelly Songbook in In The Pines, complete with harmonica and Country Blues ethos. Emily Campbell may well
have been listening to Beryl Davis when singing Undecided as there's a genial, girlish lilt to the thing,
even with Campbell's vestigial classically-trained vibrato.
How interesting to hear the Kinks' Ray Davies jazzed-up in Mr Pleasant though Spats soon dons his
Bing-meets-Al chops for the immortal Brother, Can You Spare A Dime? The instrumental I enjoyed most was the
splendid version of Shanghai Shuffle in which the group sounds much bigger - the biggest little band in the
land - through its cultivation of rich ensemble and instrumental plenitude. Spats loves his Ukelele Ike and
is a purveyor of period double-entendre ('filth' to the righteous), as he shows in If You Can't Land Her On
The Old Verandah. Well, indeed.
It's reflective of a wide-ranging disc, not just one trading on novelty and 20s gestures. The envoi is a
finger-snapping On The Sunny Side Of The Street which summons up Fats in his genial pomp and bids adieu in a
delightfully glass half-full spirit. Kudos too to the warm recording engineered via Paul Adams's ribbon
microphones.
— Jonathan Woolf
musicweb-international reviewYears ago I used to pop to my local pub (anyone remember those?) and be 'entertained' by artists the calibre
of Bill Posters Will Be Band and Bob Kerr's Whoopee Band. Well, they're becoming a rare breed these days so
it's refreshing to find a CD from those nice folks at Lake Records (more commonly known to you and me as
Paul Adams at Fellside Records) with a group of artists capturing that lazy Sunday afternoon feeling. A real
'Festival' pleaser, you can prime yourselves with a glass of Pimms, put on your straw hat and sun-glasses as
you bask in the fruity tones of Hot Fingers.
Led by the effervescent Spats Langham on Banjo, Guitar, Ukulele and Vocals, Malcolm Sked (Double Bass/Tuba),
Emily Campbell (Vocals/Triangle) and multi-instrumentalist Danny Blythe on Guitar, Mandolin, Clarinet, Bass
Clarinet and Harmonica this quartet certainly know how to cook. They even dress for the occasion with their
sartorially snappy suits and cocktail dress looking every inch the 'dandies' they more than likely are. I
must admit to not knowing a majority of their repertoire with the exception of Can't Help Lovin' That Man
Of Mine, Albert Ketelbey's In A Persian Market and a couple of others but who cares when you've got 23
bright and breezy tracks to choose from? If you long for the days of Acker Bilk and Kenny Ball check this CD
out...you won't be disappointed.
I often jokingly tell Red Lick customers that I listen to a lot of awful music so they don't have to! There
is sadly some truth in this as, far too often, eager anticipation of a potential new-found gem of a CD soon
gives way boredom and annoyance. However, when little gems do turn up, it all seems to be worthwhile, and
here I now am, the proverbial kitten that has found some cream.
This 23 track CD is a corker, incorporating vintage American acoustic string music such as hot jazz, 1930s
swing, gypsy jazz, early blues, American songbook crooning and so much more, all thrown together in just
about the most playing-est amalgam possible, always respectful but not overly reverential.
The core trio is led by multi-instrumentalist Spats Langham, ably supported by Malcolm Sked and Danny Blyth.
Veterans of the UK jazz scene, between them they play everything from guitar, banjo, mandolin, harmonica,
clarinet, tuba, even triangle and energetically apply it across a bewildering canvas of musical styles -
from the lively gypsy jazz opener of Swing Gitane, through classic period songs of Kern and Hammerstein,
George and Ira Gershwin and Irving Berlin, taking in Greig's Norwegian Dance (Op35 No 2), even ending the
set with a sprightly version of Louis Prima's Oh, Marie. This is clearly music made and played to be
enjoyed.
The sheer diversity of the album works in its favour and I love it all, but special mention must go to the
laugh-out loud versions of songs such as South American Joe, Hard Hearted Hannah and, especially,
Skirts.
If you liked the recent Ken & Bob CD on Grass Skirt and have enjoyed the likes of CW Stoneking and Pokey
LaFarge over recent years, turn your ear to this!
Thomas “Spats” Langham is no stranger to Jazz Clubs in the North West, or indeed to any club or festival in
the land, having been a professional musician for more than twenty years. From the early days as the banjo
and guitar player in the rhythm section of many an ensemble, he has an unquestionable devotion to the
musical fashions (and attire!) of the 1920's and 1930's, with all the knowledge about the highs and lows of
performers and song-writers on both sides of the Atlantic! His verbal introduction to the next song draws
you into that era of entertainment, from the night-clubs and theatres into the world of recorded sound and
the wireless, scenes of the 'talkies', and even the glamour of Astaire & Rogers musicals.
The Hot Fingers ensemble with Danny Blyth and Malcolm Sked is not so well known due to Spats' continuing
and deserved popularity with other musicians and promoters both here and abroad, but since these three live
within just a few miles of each other (“near enough to hear the banjo,” jokes Danny), with a regular gig at
the Crown & Trumpet at Broadway in the Cotswolds (if you should go there be sure to book in advance!), and
additionally very sought-after on their 'home patch,' one realises how, in just a few years, they have
perfected their style and an enormous repertoire. The first half opened with Shanghai Shuffle, with Danny
playing Clarinet. The Old Man of the Mountains followed, with Spats doing the Al Bowlly vocal. With Danny
on bass clarinet, and Malcolm on tuba, it almost defined the Roy Fox recording from 1931! An instrumental
tribute to Django next with Douce ambience and Norwegian Dance (yes,the one by Grieg!) with Spats
leading on guitar, Danny on rhythm guitar, Malcolm on double bass.
Then more from the British Dance Band days — firstly South American Joe — the 'Ambrose' sound replicated by
Spats on ukulele and vocal, Danny on mandolin, and Malcolm on tuba. Secondly, from the Savoy Orpheans, a
song that captured the 'sexuality' of the '30's — “Masculine women, feminine men, which is the rooster,
which is the hen?” with Spats on banjo and vocal after Danny's clarinet, followed by an excellent 'solo
chorus' on bass clarinet from Danny.
A tribute to Fred Astaire followed, with Spats' account of the movie story-line that preceded the song,
leading to a super vocal rendition of Change Partners, with guitars and double bass.
Tico Tico was the next instrumental — a tribute to Argentinian guitarist Oscar Aleman, who worked with
Josephine Baker in Paris until returning to Buenos Aires in 1941. Spats explained how Oscar and Django were
booked to make a recording together, but Django (who was apparently in awe of Oscar's playing) failed to
show up! The French connection was then extended by a delightful Parisian waltz from the 30's, titled
Misteriose (I hope that's the correct spelling). Next another vocal from Spats — Good little bad little
you — (with ukulele, guitar, and double bass) after Spats' account of the ups and downs of the career of
'Ukelele Ike'!
The first half closed with a blistering up-tempo version of Nagasaki, Spats on vocal, and banjo solo,
Danny on clarinet.
The trio opened the second half with some more “Hot Club”-style favourites with the two guitars and double
bass. Russian Lullaby and Besame Mucho both had Spats on vocals. After recounting his experience at
aSamois sur Seine 'Django' festival (when Spats suggested Eddie Lang was the better guitarist!) a stunning
instrumental version of Swing Gitane followed!
More from the 'Ukelele Ike' song-book — Night Owl (also the title of their recent CD) — an interesting 'major
to minor' sequence — with a guitar solo from Danny that showed his mastery of harmonics on the guitar
strings! Then a vocal number called Walking Stick (Irving Berlin) with the novelty of Danny playing
castanets before another delightful clarinet chorus.
Back to the Dance Band Days with Billy Cotton's Skirts, more banjo and clarinet, and a fine display of
'slap' bass playing from Malcolm. On my Persian Rug demonstrated a 30's fascination with the rhythms of
the 'mystical East' (eg, diddy-bomp,diddy-bomp!) well suited to the instrumentation of mandolin, banjo and
double bass!
Then in complete contrast, a stunning version of Sonny Terry and Brownie McGhee's Country Blues with not
only remarkably similar guitar picking from Spats but also 'blues' Harmonica from Danny!
Could there be possibly be any other 'evocative' material left in the repertoire? Oh yes there was! The
Harry Lime theme (with 'cuckoo' echo!). Spats and Danny then recreated two tunes recorded by guitarists
Lonnie Johnson and Eddie Lang (the latter disguised on the record label by a pseudonym due to racial
intolerance) — Jet Black blues and Hot Fingers (so that's where the name came from!) Dance band days again
with “Lena from Palestina and a tuneful tuba solo! By a Waterfall called for some (willing) audience
participation along with some great 'fours' (i.e. alternating solos each of four bar duration) between the
ukulele and tuba.
The final number was Buena Sera (in true Louis Prima style). But, even after a performance of more than
double the number of tunes usually played at the Club, the audience called for more! So it was... Goodnight
Sweetheart. Nothing else could have been more appropriate.
Presentation, musicianship,entertainment, and rapport with an audience, often outweigh considerations about
personal preferences in Jazz music. Hot Fingers have mastered those skills, and the audience went home
feeling very happy. There's nothing else left to say!
Spats made a welcome return to Pershore, this time with his Hot Combination and some complimentary words for
our 'new' venue (we were in Number 8 when he was last here). And what a combination it was, every
permutation of the instruments on hand blending into the band's unique acoustic sound of the 1920s complete
with Spats's 78rpm vocals.
The evening was filled with a range of numbers played with passion and conviction from that period of jazz
so dear to the hearts of the band. Admiration for Cliff Edwards aka 'Ukulele Ike' was apparent with Spats'
ukulele and high pitched scat singing on 'He's the Hottest Man in Town' and more ukulele gymnastics on Good
Little Bad Little You. More names appeared like a roll call from the 'golden age' — Got a Date with an
Angel, made famous by Al Bowlly, nice bass and sax from Malcolm and Norman. Melancholia and the very South
American Besame Mucho from the Oscar Aleman repertoire. Jack Hylton's Shepherd of the Hills featured a
tuba solo from Malcolm and Norman's C-melody sax. Spats and Danny on guitars delighted us with Guitar
Blues and Jet Black Blues from the days of the Lonnie Johnson-Eddie Lang band and reproduced a realistic
zither sound for the Harry Lime Theme from The Third Man. Norman's clarinet and C-melody sax brought the
dancers out with Take Me to the Land of Jazz and then Danny took to mandolin for Sing Song Girl. The
Ghost of St Louis Blues featured a creepy horror introduction and before My Sweet Virginia, Spats related
another horror story involving Tommy Burton's beer and Nat Gonella's false teeth! There was such lot of the
evening to remember with numbers like Singin' in the Bathtub with Norman on bass clarinet, the eastern
style banjo and clarinet on Leena from Palestina, and the gentle Just Like a Melody from out of the Sky.
So many tunes, so much history. No wonder Humphrey Lyttleton called them 'jazz archaeologists'. Thanks to
the Hot Combination for a wonderful evening of nostalgia from the more relaxed, vintage years of jazz.
Dressed like Bogie but sounding like an Edward Hopper. The Bogart aspirant is Spats Langham and the title of
his new album has that Hopper ring. It's not how I think of Tom Langham, that pre-War recidivist, whom I
imagine driving an open-topped British Racing Green tourer to Shuttleworth, a picnic basket clinging
precariously to a boot full of champagne, and a Flapper giggling in the passenger seat. Maybe a portable HMV
gramophone somewhere about the place as well, with some Eddie Lang and Lew Stone ready to receive the thorn
needle.
Actually it turns out that Langham drives a 1931 Austin Seven and wears Harris Tweed. The man is an
incorrigible throwback. He and his Hot Combination, with some guest stars, have carved out just shy of an
hour's worth of good honest pleasure in this Hopperesquely titled disc. The song selection satellites around
things by Ukelele Ike, a special favourite of Langham, Emmett Miller and a number of tunes that won't be
over-familiar to listeners. Astute song selection ensures interest is maintained and choice arrangements
similarly ensure that aural fatigue is kept splendidly at bay.
Kudos to Malcolm Sked, who pumps away so splendidly throughout, not least in the opener where Danny Blyth's
rhythm guitar keeps things springy and swingy. Norman Field multi-tasks on clarinet and saxophone and Spats
takes the vocal and a solo strong on vitality.
Keith Nichols, piano meister, guests on trombone on Got A Date With An Angel and elsewhere. Another guest,
Langham's guitar confrere Martin Wheatley, lays out some Hawaiian guitar wares on Gotta Getta Girl.
Chinoiserie vogue haunts Sing Song Girl whilst Bonzo's Tango is a Langham composition, a sinewy affair, full
of shining teeth and hips. I reckon Maurice Elwin and the Rhythmic Eight are the inspiration for this
version of Mysterious Mose - a good tune that should be heard more often despite the period vocal. Most
certainly though Al Bowlly and Roy Fox resonate behind My Sweet Virginia, though it's just possible that an
archivist extraordinaire such as Langham has had access to Bowlly's rare recording of the song with Arthur
Lally on Durium; the result in any case is exciting and highly effective.
Talking of which, the rhythmic brio and panache that launches It All Belongs To Me is searing; what a punch
is packed by the chaps, not least by Wheatley sitting in again, and by Spats's excited vocals. Debbie
Arthurs lends her vocals to Moanin' Low and her pure Annette Hanshaw voice is, as ever, a splendid asset,
and so too her skill behind the drum kit, as she displays throughout. Good on the band for revivifying the
Halfway House's 1925 New Orleans Shuffle. (If they came to the song by another route, good on them anyway.)
Langham admits that the song long associated with Argentinean jazz guitarist Oscar Aleman, Melancolia, is
'dangerously modern' for the early 1940s but it's good he has graciously crept over the boundary rope
separating darkness from light to revive it. Langham and Wheatley both share admiration for Aleman but
neither, I suspect, much goes for Django. Chaps, for shame!
The hot quintet of like minded confreres — Langham, Blyth, Field, Sked and Arthurs — produces a splendidly
authentic ensemble sound. The music is vibrant, swinging, and investigates reportorial byways well worth
exploring. Nighthawk or not Langham proves a fearless and finger-sure revivifier of true accomplishment.
— Jonathan Woolf, The Northern Echo - August 13, 2009