Fergus McCreadie Trio en tournée
Le jeune pianiste écossais Fergus McCreadie accompagne son trio sur la route en avril et mai, donnant des concerts à Londres et à Nottingham, ainsi que des concerts en Écosse, en Suède, en Norvège, en Lituanie et en Estonie. McCreadie, 21 ans, finaliste du concours BBC Young Jazz Musician en novembre, ayant déjà remporté le prix du meilleur instrumentiste aux Scottish Jazz Awards 2018, a obtenu son diplôme du cours de jazz du Royal Conservatoire of Scotland en juin dernier. Il a sorti son premier album, Turas, alors qu’il était encore étudiant au RCS et avait célébré le début de sa carrière de musicien professionnel à plein temps en se produisant, avec son trio, aux festivals de jazz de Glasgow, Edimbourg et Oslo.
La musique de McCreadie, influencée notamment par McCoy Tyner, Keith Jarrett et Brad Mehldau, ainsi que par la musique de cornemuse qu'il a jouée avant de jouer au piano, a attiré l'attention du principal festival hivernal écossais, le Celtic Connections de Glasgow, où est apparu au cours des deux dernières années. Le trio, qui mettra en vedette d'autres diplômés de RCS, le bassiste David Bowden et le batteur Stephen Henderson, a fait ses débuts avec Ronnie Scott en janvier. Cliquez ici pour connaître les dates et les lieux de la tournée (le chargement peut prendre un certain temps).
Blue Note Records – Au-delà des notes
Je doute que vous trouviez ce film dans les principaux complexes multi-écrans, mais ce film très acclamé est actuellement dans les cinémas. Blue Note Records: Au-delà des notes '…. explore la vision unique de cet emblématique label de jazz. À travers des images d'archives rares, enregistrement en cours sessions et conversations avec des artistes Blue Note, le film révèle une mission puissante et illumine les liens vitaux entre le jazz et le hip hop. Blue Note Records, l’un des labels les plus importants de l’histoire du jazz – et par extension de la musique américaine – a accueilli des artistes aussi révolutionnaires que Miles Davis, Thelonious Monk, John Coltrane, Bud Powell et Art Blakey. ainsi que des personnalités telles que Robert Glasper, Ambrose Akinmusire et Norah Jones. Fondée à New York en 1939 par les réfugiés juifs allemands Alfred Lion et Francis Wolff, l'histoire de Blue Note Records va au-delà des enregistrements historiques. Elle englobe la recherche de la liberté musicale, le conflit entre l'art et le commerce et l'idée de la musique en tant que transformation force révolutionnaire. Grâce à des images d'archives rares, à des sessions d'enregistrement en cours et à des conversations avec les icônes du jazz Herbie Hancock, Wayne Shorter et les musiciens révolutionnaires de Blue Note, Blue Note Records: Au-delà des notes révèle une mission puissante et illumine les liens vitaux entre le jazz et le hip hop '.
Dans The Guardian, Leslie Felperin qualifie le film de "documentaire musical sacrément presque immaculé" et attribue 4 étoiles au film. Il poursuit en affirmant que "… cela ne ressemble pas à un exercice subtil de promotion personnelle. Au lieu de cela, Huber (la réalisatrice Sophie Huber) crée une histoire respectueuse et racontée avec précision, tirant d’enregistrements originaux, de conversations audio et de discussions en studio d'époque et d'entretiens avec des têtes parlantes ….. Certains téléspectateurs souhaiteront une analyse plus détaillée de la musique, tandis que d'autres noteront la quasi-absence de femmes, hormis la chanteuse Norah Jones. Mais sinon, cela frappe chaque note de musique-doc avec une clarté exceptionnelle ».
Cliquez ici pour plus d'informations sur le film. Cliquez ici pour la bande-annonce du film.
L'UE soutient une loi controversée sur le droit d'auteur
Le 26 mars, des rapports ont annoncé que l'Union européenne soutenait les propositions relatives à de nouvelles règles rendant les entreprises de technologie responsables du matériel affiché sans autorisation par le droit d'auteur. Un rapport de la BBC dit: 'Le droit d'auteur est le droit légal qui permet à un artiste de protéger la manière dont son travail original est utilisé. Les entreprises de technologie ont fait valoir que les artistes sont déjà payés équitablement dans le système actuel. Google a déclaré que cela "nuirait aux industries créatives et numériques de l'Europe". De nombreux musiciens et créateurs disent que la législation indemnisera les artistes équitablement – mais d'autres affirment qu'ils vont détruire le contenu généré par les utilisateurs ».
«Les deux clauses qui suscitent le plus de controverse sont les articles 11 et 13.
- L'article 11 stipule que les moteurs de recherche et les plates-formes agrégées d'actualités doivent payer pour utiliser les liens de sites Web d'informations.
- L’article 13 tient les grandes entreprises technologiques responsables du matériel publié sans licence de droit d’auteur. Les entreprises technologiques suppriment déjà la musique et les vidéos protégées par le droit d'auteur, mais en vertu des nouvelles lois, elles seront davantage responsables du contenu protégé par le droit d'auteur.
'Cela signifie qu'ils devront appliquer des filtres au contenu avant son téléchargement. L'article 13 n'inclut pas les services de stockage en nuage et il existe déjà des exemptions, notamment la parodie, qui inclut par exemple les mèmes. C'est l'article 13 qui a suscité des craintes quant à l'avenir des mèmes et des GIF (images fixes, animées ou clips vidéo qui deviennent viraux), car ils reposent principalement sur des scènes protégées de la télévision et des films. Les critiques ont affirmé que l'article 13 aurait rendu presque impossible le téléchargement de la plus petite partie d'une œuvre protégée par le droit d'auteur sur Facebook, YouTube ou tout autre site. Cependant, des ajustements spécifiques apportés à la loi au début de cette année ont rendu les mèmes sûrs "aux fins de citations, critiques, critiques, caricatures, parodies et pastiche". Le Parlement européen a déclaré que les membres de la commission seraient "spécifiquement exclus" de la directive, bien qu'il ne soit pas clair comment les entreprises de haute technologie pourraient appliquer cette règle avec un filtre général ".
"Il a fallu plusieurs révisions pour que la législation actuelle, qui avait été soutenue par 348 députés européens, avec 274 contre, pour parvenir à sa forme finale. Il appartient maintenant aux États membres d’approuver la décision. S'ils le font, ils auront deux ans pour le mettre en œuvre une fois qu'il sera officiellement publié ».
Cliquez ici pour le rapport complet de la BBC.
Les enregistrements optimistes apportent 504 enregistrements
Liz Biddle, de Upbeat Recordings, a annoncé que la compagnie avait reçu le jazz Dine-a-Mite Jazz il y a quelques semaines. Ce label appartenait autrefois à 504 Records de Mike Dine. À l’avenir, 504 Records ne voulait que du jazz américain sur son label "et nous avons donc eu le plaisir de continuer." les albums britanniques vivants en achetant cette petite mais super étiquette. Nous pensons que le jazz britannique est fabuleux! Nous avons renommé le label Upbeat Dynamite Jazz ", explique Liz.
Upbeat est une société de vente par correspondance spécialisée dans le jazz et la nostalgie. La directrice fondatrice, Liz Biddle, a étudié la musique à l'Université Aberystwyth. Elle a ensuite obtenu une maîtrise en études de la performance à la Guildhall School of Music and Drama. Musicienne accomplie, elle joue du basson, du piano et de la guitare. Elle a fondé Upbeat Recordings en 1989 pour enregistrer certains des artistes gérés – et Upbeat est maintenant un label établi pour le jazz au Royaume-Uni.
Cliquez ici pour leur site web.
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April's Video Juke Box
*Cliquez sur l'image pour regarder la vidéo
le Matt Carmichael Quartet joue la composition récente de Matt Safari – Matt Carmichael (saxophone ténor / compositeur); Fergus McCreadie (piano); Ali Watson (contrebasse); Tom Potter (batterie). Matt Carmichael est un jeune saxophoniste des Highlands écossaises. Il étudie actuellement au Conservatoire royal d'Ecosse et se produit régulièrement en Ecosse avec des groupes tels que le Tommy Smith Youth Jazz Orchestra, le National Youth Jazz Orchestra of Scotland, le Mark Hendry Octet, Fat Suit et bien d'autres. Le groupe a sorti son premier EP en avril dernier.
Vidéo d'introduction pour batteur, compositeur et chef d'orchestre Marton Juhaszl'album de Découverte avec une formation internationale incluant Yumi Ito (voix, texte,): Sergio Wagner (trompette, bugle); Paco Andreo (trombone à valve); Enrique Oliver (saxophone ténor); Szymon Mika (guitare); Olga Konkova (piano, aile Rhodes); Danny Ziemann (contrebasse). Marton parle du fond de l'album dans l'article du Full Focus de ce mois-ci sur la mélodie Petite prière (cliquez ici).
Bessie Smith chante le St Louis Blues. Apparemment, c'est la seule apparition de film de Bessie. Bien que le métrage soit plutôt "grésillant", il ne s'agit pas seulement d'un repère, car il contient la seule apparition connue de Bessie Smith, mais il s'agit également de l'un des tout premiers talkies jamais réalisés. C’est le film complet (presque 16 minutes) avec Jimmy Mordecai dans le rôle de son petit ami gigolo. Ce film est tombé dans le domaine public en 1958 en raison du manque de renouvellement du droit d'auteur '. Créé en 1929, l'IMDB indique que le pianiste est James P Johnson et que W C Handy est le co-producteur et l'un des arrangeurs de musique. Malheureusement, le reste du groupe et le danseur semblent être inconnus.
Gabriel Latchin parle de son nouvel album très engageant, Trio La lune et moi avec Dario Di Lecce (basse); Josh Morrison (batterie) et nous donne un avant-goût de certains morceaux (voir la section Nouveautés pour plus de détails).
Voici Nichols rouges et ses cinq sous spectacle du réveillon du nouvel an de Lawrence Welk, le samedi 29 décembre 1956, dans le Louisiane, Fidgety Feet et Chiffon feuille d'érable. Le groupe: Red Nichols (cornet), Bill Wood (clarinette), Al Stevenson (piano), Joe Rushton (basse sax), King Jackson (trombone), Rollie Culver (batterie). C’est, bien sûr, beaucoup plus tard que les premiers morceaux de Red Nichols dont la plupart des gens se souviennent, mais je pense que son style est toujours bien visible dans Louisiane.
2007 et tromboniste Nils Landgren joue cette belle version de Voie silencieuse avec le NDR Big Band dirigé par Magnus Lindgren. Nils Landgren est également membre de «4 Wheel Drive», le groupe dont Howard Lawes a parlé du travail de ce mois-ci – cliquez ici.
Cliquez ici pour consulter les choix de Juke Box vidéo des six derniers mois.
Poésie et Jazz
Premier concert de Ben Webster au Danemark
par Robin Kidson
[Vousêtesautoriséàlireetàémettredesnotesdelecturedecetarticlesansquitterlapage[Vousêtesautoriséàlireetàémettredesnotesdelecturedecetarticlesansquitterlapage[Youareabletolistentothemusicatthesametimeasreadingthisarticleandwithoutleavingthepageifyou[Youareabletolistentothemusicatthesametimeasreadingthisarticleandwithoutleavingthepageifyoucliquez ici (conseillé). Cela vous mènera à l'article sur une autre page de notre site Web où certains ordinateurs pourraient vous demander d'autoriser la lecture de la musique sur la page. Vous pouvez également trouver des liens vers la musique sur YouTube, etc. dans l'article ci-dessous].
Ben Webster n’a pas aimé voler, en particulier sur de grandes étendues d’eau comme l’Atlantique. C’est pourquoi il n’est venu en Europe qu’en décembre 1964, alors qu’il était dans la cinquantaine. Il a commencé sa tournée européenne en jouant plusieurs dates à Londres, dont un passage chez Ronnie Scott’s. En janvier 1965, il partit pour Copenhague. Le label danois, Storyville Records, a récemment publié un enregistrement de son premier concert dans cette ville appelé, de manière appropriée, Premier concert de Ben Webster au Danemark. Le concert a eu une certaine signification parce que Webster a finalement élu domicile au Danemark.
Ben Webster est né en 1909 dans ce creuset de jazz, Kansas City. Il a appris à jouer du violon, puis du piano, avant de finalement s'installer au saxophone. Il a joué avec plusieurs grands groupes avant de rejoindre Duke Ellington en 1940. Son ton distinctif et son style de jeu – complet, respirant et grand, parfois assez dur – l'ont amené à devenir l'un des meilleurs saxophonistes ténors de son époque avec un penchant particulier pour les ballades. . Whitney Balliett a décrit le ton de Webster sur les ballades comme «doux et énorme… il est enclin à commencer ses phrases par des frottis sourds qui donnent l’impression d’être soudainement repris par un marteau-pilon et emportés doucement vers le rivage….[he] emploie des silhouettes longues et sereines qui… aboutissent souvent à une qualité palpitante – son vibrato large se dissout souvent en une respiration résonnante et fantomatique ».
Écoutez un enregistrement audio de Webster en forme de belle ballade poussière d'étoiles vivre avec le duc en 1940 (cliquez ici).
Webster quitta le groupe d’Ellington en 1944 après une dispute avec le Duke, puis travailla principalement comme joueur indépendant en collaborant avec des artistes tels que Oscar Peterson, Coleman Hawkins, Art Tatum et Gerry Mulligan. Il joue ici avec Mulligan au Dinah Shore Show en 1962 (cliquez ici). Ils jouent deux chiffres – Rentrer chez soi et Qui a le rythme. Cet ensemble est une bonne illustration du style de Webster sur les numéros de tempo très différent de son traitement des ballades. Un grondement rauque et rauque entre dans son jeu, ce qui peut être extrêmement efficace et excitant, mais, il faut le dire, n’est pas du goût de tout le monde.
Et puis vint son voyage à Londres en 1964. Ici il joue Une nuit en tunisie avec Ronnie Scott et Stan Tracey à peu près au moment de sa visite (cliquez ici).
Quelques semaines plus tard, Ben Webster donnait ce premier concert au Danemark avant de se produire dans d'autres pays européens. Il a tellement aimé l'Europe qu'il a décidé de s'y installer, d'abord à Amsterdam, puis à Copenhague. Copenhague était devenue un pôle d'attraction pour les expatriés. Musiciens de jazz américains. Stan Getz, Oscar Pettiford, Benny Carter, Dexter Gordon, Ernie Wilkins, Kenny Clarke, Bud Powell, Kenny Drew et Thad Jones faisaient partie des personnes qui y ont vécu à diverses époques à partir des années 50. Une scène de jazz en plein essor a vu le jour, comprenant des musiciens danois, le plus célèbre d'entre eux étant probablement le bassiste, Niels-Henning Orsted Pedersen (NHOP en abrégé).
Niels-Henning Orsted Pedersen
L'un des attraits de Copenhague pour les musiciens noirs était le manque de discrimination par rapport aux États-Unis. Il y avait un style de vie plus détendu et libéral dans la ville qui attirait autant les noirs que les blancs; et un plus grand respect pour le jazz et les musiciens de jazz. Les expatriés pourraient également être des poissons plus gros dans un étang plus petit qu'à New York. Le pianiste Kenny Drew a déclaré que «vivant à Copenhague et voyageant de là-bas, j’ai probablement travaillé dans des contextes plus différents que si j’avais séjourné à New York, où j’aurais peut-être été enfermé musicalement avec un groupe de musiciens. De cette façon, j'ai pu garder mes antennes musicales en forme, tout en ayant plus de temps pour étudier et approfondir mes propres projets.”.
L’un des attraits de Ben Webster était qu’il n’avait pas à survoler ce grand océan et qu’il n’était jamais retourné aux États-Unis pour le reste de sa vie. Il a fait de nombreuses tournées en Europe, capable de se rendre dans la plupart des endroits en train ou en bateau. Il est décédé alors qu'il était en tournée à Amsterdam en septembre 1973, à l'âge de 64 ans. Son corps a été ramené à Copenhague, incinéré, et ses cendres ont été inhumées dans le cimetière Assistens. Une rue du sud de Copenhague porte son nom, Ben Websters Vej. Une fondation Ben Webster a été créée pour encourager le jazz au Danemark et un prix Ben Webster est décerné chaque année à un jeune musicien prometteur.
Et tout cela a commencé avec le premier concert de Ben Webster au Danemark le 10 janvier 1965. Le concert a eu lieu dans la Danish Radio Concert Hall et a été retransmis en direct à la radio danoise. Webster était accompagné d'une section rythmique qui jouait régulièrement ensemble dans l'un des principaux lieux de jazz de Copenhague, le Café Montmartre. Expat Kenny Drew jouait du piano, Alex Riel était le batteur et Niels-Henning Orsted Pedersen (NHOP) était à la basse dans les premiers stades de ce qui s’est révélé être une brillante carrière internationale.
Bien qu’il s’agisse d’un enregistrement live réalisé il ya plus de 50 ans, la reproduction du son sur Premier concert de Ben Webster au Danemark c'est superbe. Tous les musiciens sont au top de leur forme et sont dirigés par un public enthousiaste. L’album commence par une vérification du son qui n’a vraisemblablement pas été incluse dans le programme radiophonique original. Webster joue un refrain de Duke Ellington Dans un mellotone au piano (montrant, incidemment, quel excellent pianiste il était). Il joue ensuite un deuxième refrain à un tempo plus rapide afin que le producteur puisse déterminer son minutage: le programme radiophonique devait durer une heure. Webster parle tout le temps et fredonne, clairement, dans un commandement complet et confiant.
Le programme proprement dit commence par Pennies From Heaven. Webster a parfois été accusé dans la dernière partie de sa carrière de «passer à l'action», mais ici, bien qu'il utilise un minimum de notes, il se balance gentiment, essayant clairement de faire chanter et de revivre la vieille chanson. Tous les musiciens sont parfaitement synchronisés et toute la pièce s’emboîte parfaitement.
Ceci est suivi par une version époustouflante de Ellington Blues en si bémol. (L’affrontement avec le duc ne semble pas avoir affecté le respect de Webster pour lui en tant que compositeur: trois des six morceaux de l’album sont des airs d’Ellington). Les improvisations de Webster sont imaginatives et absorbantes et il s’engage sur un rythme poussé par les autres musiciens et le public. Les autres musiciens prennent des solos avec Kenny Drew étant particulièrement impressionnant. Cliquez ici pour écouter le titre.
La prochaine piste voit Webster en mode ballade sur la chanson de Rodgers and Hart, Mon roman. Son jeu est dépourvu mais sincère et touchant, montrant pourquoi il était si vénéré en tant que maître de la ballade. Une version complète, balançante et au pied de Dans un mellotone est la prochaine étape, avec la section rythmique en vol conduisant à nouveau Webster vers des hauteurs toujours plus grandes.
La dernière piste complète est Au-dessus de l'arc-en-ciel, une autre ballade. Webster est cité dans les notes de la manche comme disant une fois: «Souvenez-vous, il n’ya que trois tempos dans le jazz: lent, moyen et lent». Bien, Au-dessus de l'arc-en-ciel ici est pris à un quatrième tempo, très lent. Même dans ce cas, Webster a le chic pour jouer cet air comme s’il n’avait jamais été joué auparavant. La mélodie usée est dépouillée de son schmaltz, révélant quelle belle pièce de musique il est vraiment. Cliquez ici pour une vidéo de Webster en train de jouer Au-dessus de l'arc-en-ciel vivre avec Stan Tracey au piano.
Malgré les vérifications préliminaires, le concert a dépassé le temps imparti et nous n'entendons qu'un bref extrait d'un autre air d'Ellington, Queue de coton. Comme l'indiquent les notes de la manche, «il a fallu que la nouvelle s'introduise».
L’enregistrement d’un programme radiophonique vieux de 54 ans peut sembler à première vue un réservé aux plus complets des réalisateurs de Ben Webster, mais Premier concert de Ben Webster au Danemark est un bon morceau de musique à part entière qui affiche le saxophoniste à la hauteur de ses forces.
Pour plus de détails, y compris des échantillons et comment obtenir l'album, cliquez ici.
Ce mois-ci, nous vous donnons des indices tirés des paroles de chansons pour les identités de quinze personnes: pouvez-vous déterminer qui ils sont?
Qui était 'le plus dur, le plus dur et le plus dur Mais vous aviez un coeur gros comme une baleine?
Cliquez ici pour le Quiz Jazz.
Cela faisait longtemps que je n'étais pas allé à un salon Hi-Fi, mais fin mars, j'ai eu la fin d'un spectacle de trois jours à l'hôtel Marriott de Bristol. Je suis allé voir ce qui pourrait être "Nouveau dans le monde de la haute fidélité". Certaines choses étaient à peu près les mêmes qu’il ya des années: salles de démonstration avec rangées de sièges où les hommes écoutaient attentivement les grands orateurs; En fait, comme par le passé, il y avait très peu de femmes autour. Je me demandais comment les audiophiles semblent être à prédominance masculine?
Je voulais voir s’il y avait plus de platines de disques exposées reflétant l’apparente réapparition du vinyle, et c’est le cas. La plupart des entreprises affichant des équipements les avaient dans leurs présentoirs et certaines étaient spécialisées. Comme on pouvait s'y attendre lors d'un festival audiophile, le prix des platines était compris entre environ 350 £ et plusieurs milliers de livres.
J'ai parlé à un représentant du stand de Linn, cette société écossaise, toujours familiale, qui a bien fait sa réputation au fil des ans. Linn libère également le vinyle. On m'a dit que leurs ventes de disques étaient restées stables sans croissance significative, mais que leurs travaux actuels de recherche et de développement visaient principalement à améliorer la qualité de la musique en streaming – c'était ce qui semblait être l'intérêt général.
Ce que je n’avais jamais vu auparavant étaient les stands, quatre d’entre eux, qui faisaient la promotion d’équipements de nettoyage de disques qui pourraient non seulement reconstituer votre vinyle ou votre gomme laque, mais aussi les rendre plus sains que lorsqu’ils étaient neufs. Dans trois cas, les disques ont été suspendus verticalement dans une solution, filés (à la main ou automatiquement), traités et séchés.
Un exemple est le système Juno à 69,30 £. La description du produit indique: 'Avec l'unité standard Spin-Cleanr MKII et les accessoires fournis, vous êtes prêt à commencer à éliminer la saleté de vos rainures. Bien qu'il existe des brosses de nettoyage de disque moins chères sur le marché, le système de nettoyage de disque Spin Clean Record est de loin le meilleur en termes de suppression de la poussière, des empreintes digitales et de l'électricité statique de vos disques LP. Le kit comprend un bain de fluide, une bouteille de liquide de nettoyage de 4 oz, des chiffons de séchage non pelucheux, 1 paire de brosses, 1 paire de rouleaux et un manuel d'instructions. Le système de nettoyage de disque Spin Clean Record Mk II confère au pouvoir de nettoyage des disques une puissance étonnamment efficace grâce au liquide de nettoyage spécial qui retient la saleté et le fait couler jusqu'au fond du réservoir de liquide, garantissant ainsi que vos disques ne sont pas contaminés pendant le processus de nettoyage. Les deux côtés du disque sont nettoyés en même temps par le système de lavage de disques Record Clean Mk II.
«Le processus de nettoyage est le suivant: remplissez le bain avec du liquide de nettoyage, faites tourner le disque trois fois, puis séchez-le avec un chiffon non pelucheux. Simple et efficace Il n’ya pas d’alimentation requise pour le système de lavage Spin Clean Record Mk II '
Un homme en blouse blanche m'a montré le nettoyeur de disques Kirmassaudio. Il nettoie 45 tours, 78 tours et les disques à environ £ 900. Le stand a suggéré que des groupes de personnes souhaitent acheter le kit à partager. Leurs mots disent: «Peu importe la façon dont vous stockez et utilisez vos dossiers, ils nécessiteront inévitablement un entretien. Lors de la lecture de disques, des particules de poussière et des contaminants s'accumulent toujours sur le stylet lorsque le bras de lecture passe à travers le disque. Cette accumulation sur l'aiguille «atténue» également le son. L’émergence des «sons audibles» et des «sons craquants» tant redoutés est causée par la saleté, la crasse et les particules logées dans les sillons du disque eux-mêmes frappés par l’aiguille, ainsi que par des décharges statiques amplifiées par la cartouche. Tous sont agaçants! Même les pressages les plus récents et les plus récents sont soumis aux mêmes conditions que votre ancienne collection. Les agents de démoulage sont retrouvés dans le dossier en tant que résidus du processus de pressage et doivent être éliminés avant leur utilisation, sinon ils attirent à un taux alarmant les poussières et autres contaminants en suspension dans l'air. La chaleur générée par le contact du stylet avec le disque verra les micro-poussières se loger dans les rainures. En ce qui concerne les agents de démoulage eux-mêmes comme explication, il n’ya pas de spray appliqué sur la surface de la presse. Plutôt, lorsque le PVC avec plastifiants ajouté au mélange utilisé pour le pressage du disque est chauffé, il se forme un acide scillique et pendant le processus de pressage à la chaleur, ce phénomène bouillonne jusqu'aux extrémités et à la surface du disque, ce qui facilite le pressage. Il est recommandé de supprimer ce résidu avant la lecture d’un nouvel enregistrement. Des nettoyages réguliers sont recommandés pour l'entretien et le soin continus de vos disques, ce qui réduira les sons indésirables et augmentera votre plaisir d'écoute. Le nettoyage NE SUPPRIMERA PAS les sons indésirables causés par des égratignures sur la surface du disque et en fonction de l'âge et de l'état du disque; même des nettoyages répétés peuvent restaurer ou non le disque à l'état neuf ….. '
Le Keith Monks discOveryOne Redux … est une version compacte de la machine classique de nettoyage de disques Keith Monks dans un prix abordable. Fonctionnement ultra-simple également: appliquez le fluide directement sur le disque à l’aide du porte-balais intégré à la pompe à main intégrée Mini Cooper, puis déplacez le bras d’aspiration. Le Redux fait le reste, calmement, efficacement et s’arrête même une fois terminé. Nettoie les deux côtés d'un disque en moins de trois minutes. … 'Des fabricants de la première machine de nettoyage de disques électrique au monde. Conçues et développées à l’origine avec des ingénieurs de la BBC, et jouissant de la confiance de la British Library National Sound Archive, de la US Library of Congress et de la plupart des grandes bibliothèques et archives du monde entier ».
Bien sûr, il existe d'autres produits similaires et je ne suis pas en mesure de vous recommander l'un des produits ci-dessus car je n'en ai pas. J’ai bien dit à l’homme en blouse blanche sur le stand de Kirmussaudio que je me souviens que mon père, décédé, recommandait d’améliorer le son des vieux disques shellac à 78 tours en y appliquant un cirage noir avant de les jouer avec une aiguille en acier. Je ne pense pas qu'il était impressionné!
Pour information, Marcia, de la société Thebestturntable.com, m'a également contacté. (Meilleur tourne-disque et platine vinyle: Guide de l'acheteur). Ils semblent être une société américaine? (les prix sont indiqués en dollars). Je ne sais rien d'eux, mais voici leur lien si vous souhaitez les consulter – http://thebestturntable.com/
Île galloise colorée
(Cliquez sur l'image)
Cliquez ici pour plus de définitions alternatives.
Amazing Grace – Documentaire Aretha Franklin
Un autre film d’intérêt est Amazing Grace, devrait être dans les cinémas en mai. Il s’agit d’un documentaire présentant la chorale à Aretha Franklin à la New Bethel Baptist Church de Watts, Los Angeles, en janvier 1972. Le film n’a été dévoilé que récemment.
Pierre roulante dit: 'Le film de concert Aretha Franklin longtemps échoué Amazing Grace Le film de 1972 a finalement été dévoilé au festival DOC NYC avant son passage qualificatif aux Oscars à Los Angeles et à New York. Le distributeur immobilier et film de Franklin, Neon, a annoncé la signature d’un accord concernant la sortie en Amérique du Nord de Amazing Grace, qui montre Franklin, alors âgé de 29 ans, qui fait équipe avec la chorale de la New Bethel Baptist Church à Watts, Los Angeles. “Amazing Grace est le cœur et l’âme d’Aretha Franklin », a déclaré dans un communiqué Sabrina Owens, nièce de Franklin et représentante personnelle du domaine Aretha Franklin. «Ce film est authentique et constitue ma tante à la base. Notre famille ne pourrait pas être plus enthousiasmée par le public à expérimenter le génie de son travail et son esprit à travers ce film. "
Cliquez ici pour la bande-annonce du film.
Poésie et Jazz
Voix de jazz
Photographie de Brian O'Connor, Images of Jazz
Liane Carroll est l'une des chanteuses de jazz les plus respectées et les plus populaires du Royaume-Uni. Elle est née à Londres et a grandi dans la ville côtière de Hastings, dans le Sussex – comme en témoigne son superbe album de 2015 Bord de meret à Londres. Elle a commencé à apprendre le piano à l'âge de trois ans, elle a commencé à composer à l'âge de huit ans et elle est chanteuse, pianiste et compositrice professionnelle depuis l'âge de 15 ans. Elle est devenue chanteuse de session avec divers groupes et a travaillé avec de nombreux artistes de Sir Paul McCartney, Gerry Rafferty, Ladysmith Black Mambazo, Ian Shaw, et tant d’autres. Elle joue régulièrement dans les meilleurs clubs de jazz du Royaume-Uni et participe à divers projets.
Sa série de nominations et de récompenses en dit long sur l'estime où elle est tenue. Ils incluent: Gagnant: meilleur chanteur et meilleur du jazz – BBC Jazz Awards 2005; Lauréat: Musicien de l'année – British Parliament Jazz Awards 2008; Gagnant: Meilleur album de jazz de l'année – Parliament Jazz Awards 2012; Nominé: Meilleur chanteur britannique de 2012 – Jazz FM Awards 2013; Lauréat: Meilleur chanteur britannique – British Jazz Awards 2013; Lauréat: Meilleur nouveau CD – British Jazz Awards 2015 (Seaside); Nominé: Album jazz de l'année – Prix du jazz au Parlement 2016 (Seaside); Nominé: Chanteur de l'année 2016 – Jazz FM Awards 2016; Lauréat: Meilleur chanteur de jazz britannique – British Jazz Awards 2016; Prix BASCA Gold Badge pour services rendus à la musique – 2016.
Sur YouTube, vous pourrez écouter de nombreuses vidéos de studio solo (par exemple, Alouette de son album 2017 Le droit d'aimer), des duos avec le chanteur Ian Shaw et d’autres vidéos avec divers groupes. Il y a beaucoup de choix – j'ai choisi cette vidéo de Liane avec le Sligo Project Big Band en juillet 2018 et l'arrangement de Malcolm Edmonstone avec Donald Fagan Le regard d'au revoir (de son Mouche nocturne album). Les solistes incluent Linley Hamilton (trompette), Ciaran Wilde (saxophone alto), Mick Marshall et Paul Frost (trombones) – cliquez ici.
Cliquez ici pour le site Web de Liane où vous trouverez des détails sur ses concerts au Royaume-Uni cette année.
Cliquez ici pour notre page Jazz Voices.
Si un arbre tombe
De l'album La ballade du futur Joe
Lorsque vous écoutez de la musique, vous créez parfois des images dans votre esprit. Notre série Jazz As Art vous invite à écouter un morceau de jazz et, pendant qu'il joue, à faire défiler la page et à voir laquelle des œuvres d'art que j'ai choisies se rapproche le plus des images de votre esprit. J'espère que cela vous présentera des enregistrements et des œuvres d'art avec lesquels vous n'auriez peut-être pas passé de temps auparavant. Vous devez aller sur une autre page pour jouer de la musique et voir les images – cliquez ici. (Je pense que cela ne fonctionne vraiment que si vous passez du temps avec chaque peinture)
Le guitariste, compositeur et chef d'orchestre Kevin MacKenzie vit en Écosse. Kevin travaille dans le monde de la musique depuis plusieurs années maintenant. Sa passion pour le jazz et la musique écossaise traditionnelle remonte à son enfance où son père, bien que physicien de profession, jouait du saxophone alto, de la clarinette, des sifflets, de la mandoline, de la guitare et des pipes. Pour Kevin, l'instrument auquel il était le plus attiré était la guitare. "On m'a envoyé au cours de guitare classique avec John Williams (pas celui-là) dans le sous-sol du magasin de musique de Gordon Simpson", a-t-il déclaré. "Et puis, quand j'étais à la Broughton High School, j'étais actif dans le département de musique et utilisais la de nouvelles installations (chaîne stéréo à bobine à pas variable) pour transcrire une partie de la musique qui m'intéressait ".
Lors d'une soirée, Kevin a rencontré Colin Steele, un autre élève de Broughton, qui a commencé à parler de jazz et à organiser des concerts à Édimbourg. De retour dans les sous-sols du magasin de musique de Gordon Simpson, Kevin étudie Jazz Harmony, Improvisation et Bach Chorale avec le professeur de guitare Neil Munro.
En 1987, Kevin a remporté le prix du «Meilleur jeune musicien» au Edinburgh Jazz Festival. Il a ensuite rejoint le groupe John Rae Collective, formé de Brian Kellock, Phil Bancroft, Colin Steele, Kenny Ellis et John Rae, et s'est inscrit au Leeds College of Music. Quelques années occupées suivi; il a effectué une tournée en Tchécoslovaquie et au Canada avec le John Rae Collective et a commencé à travailler avec l'orchestre de Tom Bancroft. En 1990, il a obtenu un diplôme de troisième cycle en "jazz avancé" à la Guildhall School of Music et Drama avant de former le Kevin MacKenzie Quartet, mettant en vedette Julian Argüelles au saxophone.
In 1991, Kevin moved to New York where he played with many up and coming and established players while also studying briefly with John Abercrombie; went to Barry Harris's Jazz workshops and started a residency at 'The Rooster' Bar'.
Kevin MacKenzie Trio in performance at the Edinburgh International Festival.
On his return to Scotland in 1992 he resumed work with his quartet and received an “SAC” grant for rehearsal and development of the band. Kevin’s interest in traditional folk music led to the formation of 'The Giant Stepping Stones' band playing traditional Scottish music. Most of the band were best known as jazz musicians but were all keen to developed their traditional playing.
Over the following years, Kevin was part of a variety of bands including the Scottish National Jazz Orchestra and then in 2001 Kevin received the prestigious ‘Creative Scotland Award’. The award brought £25,000 which Kevin used to write and record music for his nine-piece band ‘Kevin MacKenzie’s Vital Signs’. The album received rave reviews including ‘album of the month’ in The Observer and CD of the week in The Guardian. Since then, Kevin has played, toured and recorded in the UK and internationally.
Kevin teaches guitar privately as well as being a regular tutor at the Tolbooth in Stirling; at the faculty on the Royal Conservatoire of Scotland’s Jazz Degree course; on the Scottish Music degree cours at Strathclyde University; has been working at the Royal Conservatoire of Scotland since 2006 and is a lecturer on the Jazz Degree and Masters course set up by Tommy Smith since its first year. He has also been teaching Harmony and Composition classes on the Scottish Music course with the view of sharing his experience and knowledge gained from working in many traditional and cross genre projects. Much more can be found about Kevin MacKenzie on his website (click here).
Kevin’s most recent album The Ballad of Future Joe was released on the 1st March with Mario Caribe (bass) and Alyn Cosker (drums).
Kevin explains the intriguing title: "My son Finlay, who is a constant source of inspiration, knew a boy called Joe in his class. Joe had shoulder length blonde curly hair. One day a few years ago while walking home an older boy with similar hair walked past us. Finlay tugged my arm and said “Daddy .. that’s Joe… from the future”.
With our thanks to Kevin, here we share the track If A Tree Falls from the album. The title is something of an enigma. All music brings a personal reaction from the listener – what does this track bring to you? – for Kevin, he comments that he has trouble with social media – “If a tree falls and nobody likes it on Facebook, does it really exist and is it socially relevant”.
Go to our Jazz As Art page, play the tune and scroll slowly down through the pictures I have chosen to go with the music (I think this only works if you spend time with each painting). See what you think.
Click here for the Jazz as Art page.
The Weimar Jazz Database
Saxophonist and writer Howard Lawes draws our attention to this database created in Weimar, Germany:
Musicologists Klaus Frieler, Frank Höger and Martin Pﬂeiderer from the Institute for Musicology, University of Music “Franz Liszt”, Weimar, Germany and Simon Dixon from the Centre for Digital Music, Queen Mary University of London, UK recently presented a paper at the 19th International Society for Music Information Retrieval Conference, Paris, France, 2018 entitled Two Web Applications For Exploring Melodic Patterns in Jazz Solos.
'Musicology' is described as 'the academic analysis of music from various points of view with computational analysis being one. With each note having a defined pitch and each tune in the simplest of terms being a series of notes with defined intervals between notes, it is possible to record and define any piece of music mathematically and use computers to process the information'.
In the introduction to the paper the authors state – "This paper presents two novel user interfaces for investigating the pattern content in monophonic jazz solos and exempliﬁes how these interfaces could be used for research on jazz improvisation. In jazz improvisation, patterns are of particular interest for the analysis of improvisation styles, the oral transmission of musical language, the practice of improvisation, and the psychology of creative processes.
"The ongoing project “DigThatLick” is devoted to addressing these questions with the help of a large database of jazz solo transcriptions generated by automated melody extraction algorithms. To expose these transcriptions to jazz researchers, two prototypes of user interfaces were designed that work currently with the 456 manually transcribed jazz solos of the Weimar Jazz Database".
For those of us who are not musicologists there is still a wealth of interest in the Weimar Jazz Database. Use this link (click here) which takes you to the Jazzomat Research Project web page which is jam-packed with goodies for everybody from computer specialists to jazz fans. The second line in the list of contents is a link to Weimar Jazz Database (WJazzD), by clicking on this you get three links one of which is Database Content, which in turn provides a list of 456 examples of the greatest ever jazz and with each you get a transcription in C, Bflat or Eflat so you can play it yourself on your chosen instrument. Alternatively if you click on JazzTube you get any available links to YouTube videos of your chosen artist.
The element of the project called 'Dig That Lick' is accessed here. This facility allows you to search the whole database for short musical phrases or motifs which you can either describe numerically or play on a virtual keyboard.
As Frieler et al say, these applications are aimed on the one hand at an expert audience of jazz researchers to facilitate generating and testing hypotheses about patterns in jazz improvisation, but on the other hand at a wider audience of jazz teachers, students, and fans. They also have a Facebook page here.
Jazz 625 Returns At Cheltenham Jazz Festival
Jazz and TV history will be made in May when the iconic 1960’s BBC show Jazz 625 returns for one night only on BBC Four, broadcasting live from the 2019 Cheltenham Jazz Festival. The show will feature a house band led by acclaimed British pianist Robert Mitchell, with special guests including Grammy-winning vocalist Gregory Porter, US saxophonists Joshua Redman and Jean Toussaint, rising star jazz guitarist Shirley Tetteh, and singer Jacqui Dankworth. There will also be an exclusive recorded performance from Rolling Stones drummer Charlie Watts, showing off his jazz-chops in a quartet with saxophonist Scott Hamilton, and a new interview with Dame Cleo Laine reflecting on her performance on a classic edition of Jazz 625.
Jazz 625 broadcast on BBC 2 from 1964 to 1966, and featured classic performances from the likes of Duke Ellington, Thelonious Monk, Dizzy Gillespie, Ronnie Scott and Dave Brubeck. This one-night revival will feature selections from the archive and live music from the house band, with guests paying tribute to those who performed in the original series.
Presented by popular TV chef and radio broadcaster Andi Oliver, the programme will also include interviews and features with some of those who appeared and worked on the original Jazz 625, as well as those who have been influenced by the series and the vintage jazz era it captured.
In tribute to the original series, the programme will air in black and white, marking the first live black and white BBC TV show since 1974. Jazz 625 will broadcast live on BBC Four at 9pm on Friday 3rd May. Click here for more information.
A display celebrating Jazz 625 will run at Cheltenham’s Parabola Arts Centre from Friday 3rd to Sunday 5th May.
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Sam Rapley started playing piano when he was seven and clarinet when he was at Manchester Grammar School. His piano teacher was jazz pianist Robin Joiner and by the time Sam was fourteen, he wanted to join the school jazz band, but as there was only a saxophone vacancy, he turned to the tenor sax, picking it up quite quickly and soon preferring it to his other instruments. He played with the Wigan Youth Jazz Orchestra and the Andy Schofield/Jo McCallum Big Band and went on to establish a quintet with trumpet player Adam Chatterton.
After a gap year, he went to London’s Royal Academy of Music in 2010 and after graduation remained in London working with a number of bands. In 2013 he was commissioned to write a piece for the Cheshire Youth Big Band as part of an Arts Council funded project that also saw compositions from eleven other jazz musicians including Gwilym Simcock, Stan Sulzmann and Mike Gibbs.
The piece was subsequently recorded and the score released for youth bands nationwide. In 2014, Sam wrote the score for the independent film, Duet, written and directed by Irina Nedelcu, which was accepted into Cannes Film Festival’s ‘Short Film Corner’.
Sam set up his band ‘Fabled’ in 2014 with Matt Robinson (piano), Alex Munk (guitar), Conor Chaplin (bass) and Will Glaser (drums) and their EP was released in 2015.
I remember writing of the 'talented Mr Rapley' at the time: 'Sam formed the band Fabled in 2014 from a group of friends who themselves are each playing regularly on the UK jazz scene. Sam says: 'We have found a unified and unique way of interacting with each other, born through the years of collaborative music making. Taking inspiration from Debussy, Tom Jobin, Sarah Vaughan and Bon Iver, the group explores the wealth of textures, harmonies and grooves available in the traditional quintet setting.'
'This might only be a four-track EP, but it is worth every minute and puts down a strong marker for reeds player Sam Rapley'.
Alongside his work with Fabled, Sam is busy on a variety of projects. He is in demand as a sideman, playing regularly with the Misha Mullov-Abbado Group, Troykestra, Maria Chiara Argiro Quintet, Waaju and Ralph Wyld’s Mosaic and has performed extensively across the UK including performances at London Jazz Festival, King’s Place, Wigmore Hall, Ronnie Scott’s, Olympic Park, Lovebox Festival and The Vortex, as well as touring to Germany, Italy, France, Switzerland, Poland, Brazil and Mexico.
As a composer, Sam has recently finished scoring his second short film, Prince Harming, and the new album by Fabled called Short Stories came out at the end of 2018. It is good to see that the band personnel has remained the same as with the EP.
[ClickhereforavideoofFabledplayingSam'scomposition[ClickhereforavideoofFabledplayingSam'scomposition[ClickhereforavideoofFabledplayingSam’scomposition[ClickhereforavideoofFabledplayingSam’scompositionH.G. at The Lescar Jazz Club in October 2018]
Sam is a busy musician but he dropped in for a tea break:
Hi Sam, thanks for stopping by – can I get you a tea or coffee?
Milk and sugar?
No thanks, just black.
How have things been going with the album? I saw that the notes you put out with it described the album as a collection of short stories told through music and taking influence from literature, life, love, death, and anything else anyone writes about’ and that the joy of storytelling is that each individual will interpret these stories and mean something different to each person’. Have you had any feedback that people generally have been able to do that?
Things have been going great with the album, we’ve had a lot of lovely feedback about both the album and the gigs we did on our tour. It’s been so rewarding to hear that the music has affected people in some way, it makes all the hard work worthwhile. It was great doing the tour and having the chance to chat to people after the gigs and see what the music meant to them, like I say on the liner notes, each track means something to me but it can be nice not to let the listener in on that and to let them decide what it means to them. It was really interesting hearing different people’s interpretations of the tunes.
I noticed that two people particularly have been inspired to write stories to two tracks – H.G. et The Picture House. Let’s take a minute to listen to The Picture House [click here] and see what inspired Matthew Herd to write 'Outside' – people can read the whole piece here, but let's just share a part of it:
We'd go to the pictures, or up we'd be singing old songs at yours and me,
I'd gaze blindly onto those eyes, so full and frail. And everything cries from
within. To me, without.
I fear, we didn't. But, in my mind you'll play, for emerald me still swims
beneath. Consecutive sentences. Back to back. And all of this gush and dwell
will flood me, just to hear your name, only the first, on a rainy Sunday by the
Holloway Road. Then, as I climb the steps of the tilting 91, perching myself
atop the deck – a donkey ride down Brighton pier – I see our smitten selves,
sat two rows in front.
Do you think there is a link between you writing for film and the idea of stories for the album?
Yes in some ways. With both disciplines, you have a strong sense of trying to build a narrative and create distinctive moods. I suppose with writing for picture, the music needs to work alongside and not take focus from what’s happening on screen, whereas when you’re writing music for an album, the whole picture needs to be present in the music. I think definitely my music has become more cinematic over the years and writing for film is something I’m hoping to develop more in the coming years.
Oh, there are some biscuits here if you fancy some Hob Nob, Bourbon, Garibaldi, chocolate digestives ….?
Can’t say no to a Hob Nob!
Good choice! Speaking of films, what were Duet et Prince Harming about? How did you get involved and how did you approach writing the music for them?
They came about through my friend Irina Nedelcu, who is a fantastic Romanian writer. The processes for each film were quite different. Duet was the first film and it’s about a woman who thinks she hears a piano being played in the flat next to hers and wants to interact by playing a Duet with it. As the piece is so integral to the film, I wrote the music just in response to reading the script, before anything had been filmed.
That's a beautiful piece of music. What about Prince Harming?
Prince Harming, a dark comedy, was much more conventional in how we did the music, once everything had been filmed I was sent an edit and talked with Irina about main themes and what mood needed to come across and where, etc. then composed from there. It was really interesting trying different approaches on both films and I think the results are quite different.
You were touring with Misha’s group in March – did you get a good turn out and response?
Yes, it’s been fantastic. We had 6 gigs across the UK and had great turn-outs for all of them. We’ve been playing some new music on this run of gigs that we’re hoping to record later this year.
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Fabled has a gig booked in Eastcote on 11th May, and another in Scarborough in September – will you be playing music from the album?
Absolutely, we loved developing the music from the album on our tour last winter and we don’t feel we’re done with it yet. The best thing about playing in Fabled is that everyone in the band are real improvisers and each night really is different from the last, so we’re looking forward to seeing what else we can do with the album tunes. I’m also in the process of writing some new music that we’re going to be playing on those gigs.
If you could invite a past musician to sit in with the band, who would it be and what tune would you want to play? I know Stan Getz was originally an influence, would it be him or someone else?
That’s a very tough one! You’re right Stan Getz is a favourite of mine, although I think if he were playing in my band, I wouldn’t want to play, I’d be too busy just listening. I’m not really sure how she’d fit with Fabled but Sarah Vaughan is one of my favourite musicians ever and I would have loved to have played next to her.
Have you heard Sarah Vaughan sang The Boy From Ipenema? As you would expect it is different to the version by Stan Getz and Joao Gilberto.
[Click here for the video of Sarah Vaughan in Sweden with Bob James (piano), Herbie Mickman (bass) and Omar Clay (drums) in 1967]
What else have you got coming up this year?
As you mentioned before, some more gigs coming up with Fabled; we have some new videos coming out very soon which we’re excited about and we’re starting to develop new material and thinking about album number two. And then there's lots happening with other bands I’m in – we’re recording a second album with Waaju in June, hoping to record a third album with Misha Mullov-Abbado later this year and releasing new albums with Maria Chiara Argiro and Teotima. And plenty of gigs around the country with all these different bands, so lots to look forward to!
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Who else have you heard recently that we should listen out for?
I've been enjoying checking out Rosie Frater-Taylor recently, really great singer songwriter.
She's also a great guitar player. I see she launched her album On My Mind at Kansas Smitty's last year and it is nice to see vocalist Luca Manning in the band too – I really enjoy his work.
[Click here for a video with a selection of music from the launch of On My Mind]
Let’s play another track from the album and see if we can imagine a short story to go with it – how about Dove Stone? Another coffee?
Go on then.
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Poetry and Jazz
The ACT Label With 4 Wheel Drive
by Howard Lawes
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In pop music a super-group, a new grouping of musicians who have previously excelled either in solo careers or as members of other groups, is quite rare since musicians changing to a new group often presages the break-up of another. In jazz however musicians are rather more peripatetic and typically play in several bands without any repercussions.
The musicians playing on the album 4 Wheel Drive – from Sweden: Nils Landgren (trombone and vocals) and Lars Danielsson (bass and cello), from Germany: Michael Wollny (piano), and Wolfgang Haffner (drums) – have certainly all had illustrious careers, and in some cases have participated in previous super-groups (Michael Wollny was involved in Out Of Land with Emile Parisien, Vincent Peirani and Andreas Schaerer; Lars Danilelsson joined with Tigran Hamasyan, Magnus Öström, Arve Henriksen and John Parricelli on Liberetto).
Click here for Lars Danielsson playing on the video album trailer for Liberetto.
In fact, three of the four have played together quite a lot as in 2002 when Sentimental Journey featured Landgren, Danielsson and Haffner with Anders Widmark on piano while Eternal Beauty featured Landgren, Wollny and Danielsson with Johan Norberg on guitar and Rasmus Kihlberg on drums – so perhaps the term 'super-group' is not entirely appropriate. All of these albums were released on the ACT label.
In 2003, Landgren (vocal and trombone), Danielsson (bass) and Haffner (percussion) played together in this videod version of James Taylor's Don't Let Me Be Lonely Tonight at Jazz Baltica with Esbjörn Svensson (piano) Pat Metheny (guitar) and Michael Brecker (tenor sax) – click here.
4 Wheel Drive is also released by ACT records, a company founded in 1992 by ex Warner International executive Siggi Loch. le company has gone on to release more than 350 albums. Quoting Siggi Loch, ACT records has been a project providing “music for people with open ears and an open mind”.
ACT have long had a policy of facilitating new groupings of musicians from their stable and 4 Wheel Drive is surely a result of this policy, and with artists such as Nguyên Lê, Esbjörn Svensson, Nils Landgren, Michael Wollny, Viktoria Tolstoy, Lars Danielsson, Wolfgang Haffner and Youn Sun Nah there have been many "magic moments" from musicians introduced to each other by Loch. Loch describes the success of his label as playing a major part in the process by which European jazz became a major force in the world of music and testament to this is the fact that ACT has been voted 'Jazz Label of the Year' at the German ECHO Awards in 2010, 2011, 2012 and 2013.
Siegfried 'Siggi' Loch
Early on, a critically acclaimed ACT success was the jazz symphony of Europeana which combines the rich tradition of European music with the language of jazz. This 1995 release was written by the English composer and arranger Michael Gibbs and won the annual German Record Critics’ Award. The album featured Joachim Kühn, Jean-François Jenny-Clark, Jon Christensen, Django Bates, Klaus Doldinger, Richard Galliano, Christof Lauer, Albert Mangelsdorff and Markus Stockhausen – the cream of contemporary European improvised music, and was accompanied by the Hannover NDR Radio Philharmonic Orchestra.
But one of Siggi Loch's greatest successes must surely be the Esbjörn Svensson Trio or EST as they came to be known. Svensson was the keyboard player in Nils Landgren's band called Funk Unit and EST went on to record Live in Hamburg which became a modern milestone and was chosen as the best jazz album of the decade by the London Fois in 2009. EST regularly topped pop as well as jazz album sales charts and became the first band from Europe to make the front cover of the illustrious US jazz journal Downbeat. ACT's greatest commercial success was Bugge Wesseltoft’s It’s Snowing On My Piano, an album of traditional Christmas songs played on solo piano, which perhaps highlights another part of the ACT business model which is to release music which while intellectual, is accessible to a wide audience.
Click here to listen to EST with Where We Used To Live du Live In Hamburg album.
le 4 Wheel Drive album is firmly in the 'accessible' category with eight tracks of compositions originally by Phil Collins, John Lennon and Paul McCartney, Billy Joel and Sting, most of which feature vocals by Nils Landgren. There are also four tracks of 'new' jazz, one composed by each of the four musicians in the band, hence the title of the album.
Nils Landgren is well known both for his red trombone and his vocals, which feature often in his band Funk Unit, and he is undeniably popular both in his native Sweden and in the wider world. His voice is rather tender and he often mixes the vocals with trombone; the versions of Billy Joel songs with Michael Wollny on piano, She's Always A Woman et Just The Way You Are are particularly well interpreted.
The other songs are Another Day In Paradise, Shadows In The Rain, Maybe I'm Amazed et If You Love Somebody Set Them Free, tandis que Lady Madonna et That's All are played as a jazz instrumentals on trombone and piano without a vocal, and with both Landgren and Wollny improvising.
4 Wheel Drive
The new jazz compositions are all too short, Polygon by Michael Wollny is a lively, rocking number which just takes off and flies and Lobito by Wolfgang Haffner is a lovely samba style piece. Le Chat Sur Toit (The Cat On The Roof) by Nils Landgren seems to be telling a story in which the normal routine as represented by melodic ensemble playing is suddenly shattered by Haffner's trombone solo, but after this interjection runs its course, life returns to normal and 4WD by Lars Danielsson is a great up-tempo piece which you just wish had gone on for longer. It is good news that we shall be able to hear more from Lars Danielsson when he comes with his group to the 2019 EFG London Jazz Festival.
Click here for a brief video introduction to the album.
Throughout the album the standard of musicianship and ensemble playing is, as one would expect from such experienced and accomplished musicians, excellent.
Although some jazz purists may be put off by so many cover versions of modern popular songs this album is definitely worth a listen – musicians of this quality can quite frankly turn their hand to anything and make it sound great!
Click here for details of the album and samples of the tracks.
Further details are on the ACT site – click here.
On A Night Like This, The Story Is Told ….
'Mom was unhappy about me living all alone in a little apartment on 104th Street ….She was lonely without me ….She didn't know I had Joe Guy on the string then and I didn't tell her …..I tried to tell Mama she had the dog, Rajah Ravoy, to take care of her. Rajah was a skinny run-down mutt when Dr Carrington, a West Indian doctor friend of mine, had brought him to me to take care of … I didn't have time to take care of him so I took him to Mom.
Sometimes when I was working at Café Society I used to take him to work with me. …. This dog was amazing, he was so smart. In the morning Mom would leave the Bronx and take the bus to 99th Street and Columbus to open her restaurant. Rajah would stand by until she got on the bus, then he'd take off. When she got to the restaurant, there he was, waiting at the door to be fed.
Sometimes he would bark and raise hell and try to keep Mom from going to work in the morning. She knew he was trying to tell her she shouldn't open up that day. And that dog knew what he was doing. She'd stay home and, sure enough, the Board of Health or somebody would be around to make trouble and there was nobody there.
Billie Holiday and her Mom
Rajah would go off by himself without any damn leash and go in Central Park lake to take a bath. The cops and the SPCA people would try to catch him, but he could outwit them any time and come highballing to the apartment, up the stairs. He could do everything, almost ring the bell. He could even make it all the way from the Bronx to my place on 104th Street. We could have thrown away our telephones, Mom and me. With Rajah we didn't need them. Mom loved that dog. And the day he died Mom said he was all she had to live for and she wouldn't last long after. And she was so right.
After Joe Guy and I had been together a while we tied up professionally too. We decided I would have my own band and Joe would be the leader ……'
De Lady Sings The Blues by Billie Holiday with William Dufty
[ClickheartolistentoBillieHolidaysinging[ClickheartolistentoBillieHolidaysinging[ClickheartolistentoBillieHolidaysinging[ClickheartolistentoBillieHolidaysingingEasy Living in 1947 with Joe Guy (trumpet) in her band]
Billie Holiday went on to have a dog named 'Mister' and Amy Novesky's book Mister And Lady Day describes Billie's relationships with the various dogs in her life.
The book is illustrated by Vaness Newton and this is one of the illustrations.
Click here for more information about the book.
“This introduction to the jazz great has tons of kid appeal." —School Library Journal
"True to Billie Holiday's life and music, the rhythmic free verse and bright pictures mix joy and melancholy in this picture-book introduction to the great blues singer, known as Lady Day." –Booklist
"By highlighting Lady Day's affectionate relationship with Mister, Novesky and Newton invite readers to admire the illustrious singer in a sparkling new light." –Kirkus
Poetry and Jazz
by Marton Juhasz
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'Full Focus' is a series where musicians talk about a track from an album in detail. The idea is that you are able to listen to the track that is discussed as you read about it (click here). This month, drummer, composer and bandleader Marton Juhasz writes about the track Little Prayer from his album Découverte that was released in January 2019.
Marton Juhasz’s career began in 2005 when he won national first prize for solo percussion in Hungary. In 2006 he studied at Drumtech, London where he was awarded the prize for top overall student. In 2007 he was accepted at Berklee College of Music, Boston and graduated summa cum laude in 2011. In 2010 he was the recipient of the Foundation for Hungarian Percussion Culture’s yearly award. After returning from the United States in 2012 Marton has been active in Europe and has had the opportunity to work with musicians such as Lionel Loueke, Wolfgang Muthspiel, Byron Wallen, Peter King, Mike Gotthard, Rob Luft, and Alan Benzie amongst many others. In 2014 and 2015 Marton was voted ‘Drummer of the Year’in the JazzMa online readers’ poll. In 2017 Pannon Blue featuring Lionel Loueke won ‘Best Hungarian Jazz Album’ in the Gramofon Awards. In 2017 Marton became the first person to hold the drum chair of the prestigious Focusyear Ensemble directed by Wolfgang Muthspiel. During the one year program the band received intensive coaching from some of the most respected names in contemporary jazz. In 2018 the Alan Benzie Trio’s second album Little Mysteries won the ‘Best Album’ prize at the Scottish Jazz Awards. Starting in 2019 Marton will perform with Christian Muthspiel’s Orjazztra Project.
Marton Juhasz's debut album Découverte was released in January 2019 with Marton Juhasz (drums, composition); Yumi Ito (vocals); Sergio Wagner (trumpet, flugelhorn); Paco Andreo (valve trombone); Enrique Oliver (tenor saxophone); Szymon Mika (guitar); Olga Konkova (piano) and Danny Ziemann (upright bass).
…… Marton writes about the background to the recording and the track Little Prayer from the album. Play the track as Marton describes and discusses it below:
In September 2017 I moved to Basel, Switzerland to take part in a newly created artistic diploma programme called 'Focusyear'. The idea behind the programme was to create an ensemble of international musicians who would then rehearse and perform together for a year under the tutelage of about a dozen of visiting artists, an incredible opportunity to develop musically and artistically. The final octet chosen for the program was truly international, featuring musicians from the USA, Argentina, Spain, France, Hungary, Switzerland, Poland and Norway.
Typically we would learn a new concert repertoire every two weeks and then perform the music with the visiting coaches at the hosting school's club at Jazzcampus, Basel. Since we were rehearsing and performing almost every day, the connection within the ensemble was developing very fast. I’ve played in many bands before, but I’ve never had luxury of getting to know the other musicians on such a deep level. I saw that this would be probably a once in a lifetime opportunity to record with such a tightly knit group.
A couple of months into the programme I decided to go for it and asked my bandmates to play my music. This recording became ‘Discovery’, my debut as a composer and the track I choose for this article is called ‘Little Prayer’ (click here).
I wrote the original sketch of this song back in 2011, just after I finished my Bachelor studies, so this gives you an idea of how long I dwell on pieces before I’m comfortable releasing them. The idea for the piece came to me as I found myself stuck in a traffic jam and becoming increasingly frustrated. At one point I thought to myself: “I should perhaps consider some of the beauty around me and try to acknowledge the Mystical – that would surely put my situation into context.” I thought this was a worthwhile idea so I went about creating some kind of musical expression of it.
During that time I was listening to a lot of music from Africa, and the opening motif of the tune is definitely directly inspired by kora music, especially this beautiful father and son recording by Toumani Diabaté & Sidiki Diabaté: click here.
One of the aspects of African music that I really enjoy is a kind of harmonic ambiguity where you can never be quite sure if a bass note is a tonic or subdominant function, both interpretations could be correct. This duality gives the music a characteristic floating feeling. I tried to replicate this in Little Prayer. The repeating motif could be analysed in the key of A minor but by repeatedly placing a different bass note at an accented place in the bar I also get a sense of a modal F lydian harmony.
The first melodic statement is at 0:13. I wanted to write something that a small child would sing, something fragile and vulnerable. This melodic fragment is quite short, then we are back with the opening riff. I intentionally used four repetitions here to establish the pacing for the song – some patience is required (alluding to the traffic jam situation).
After a repeat of the first melody we hear the counter-melody at 0:49. This is written in a way to obscure the time signature of the piece (7/4) and introduce the tonality of the upcoming chorus at 1:00. The texture of the chorus is slightly different: Danny's bass is playing double stops for added weight and I switch to a more active double time beat on the drums. Again the melody is written to counter the rhythm of the accompaniment.
At 1:24 there is a shift in tonality – we arrive in an open space in B minor for a freely improvised vocal and bass duo from Yumi and Danny. Over the months we were playing together with the octet I had a lot of chances to hear the individual musicians in different contexts and get a good idea of their character. So when it came time to write and arrange the music for the album I was trying my best to make sure that everyone would be comfortable with their roles and that the end recording would sound as natural as possible. The vocal and bass improvisation that happens here came out of these observations – I was sure that it would work very well for the song.
After the duo comes to a rest, the opening riff is reintroduced with a saxophone solo on top. Olga's piano comping only starts at 3:11 to lift the energy in the middle of the solo.
At 4:08 we have the recap of the melody but this time when we return to the opening riff it is reinforced by Paco's trombone and Enrique's tenor saxophone. The last chorus at 4:56 is repeated and Szymon's guitar takes a solo over the last section. Interestingly Szymon chooses to play most of his phrases in a triplet rhythm, which gives another layer of rhythmic counterpoint to the finale.
It is so gratifying to hear my musical ideas performed by these wonderful musicians. I’m very happy to have had the chance to record the beautiful interplay that we developed over the months and to be able to share it with the world.
Each track from the Marton Jahusz's Découverte album is available to hear online click here and although you can listen to individual tracks as we have here, there are benefits from listening to the creative way this album has been produced and arranged as a complete work. The tracks are of very different length, some of the shorter tracks crafting atmospheric soundscapes – for example the opening Sea Of Uncertainty where bell-like voice notes introduce the album, or the final track Run which builds around a repeated theme. There is variety here too, try Industry where the music clearly reflects the title, or the gentle Spellbound. I really enjoy this album, its arrangements and in particular the way that Yumi Ito's voice is used in conjunction with other instruments – try the track Stino.
Click here for purchase details and samples for Découverte. Click here for the recording by Toumani Diabaté & Sidiki Diabaté mentioned in Marton's article.
Bass player Steve Swallow was at the Jazz Standard in New York City on March 20th when he was photographed by JazzTrail photographer Clara Pereira. Steve was playing with pianist Carla Bley and saxophonist Andy Sheppard and Clara's images from the occasion are outstanding (click here).
Filipe Freitas from JazzTrail writes: 'This was a rare opportunity to see Bley playing live some of her catchier tunes, whose sophistication and authenticity remain untouchable. Moreover, they (the band) presented a couple of brand new pieces, and it was exactly with one of them, the long, four-part “Life Goes On”, that they started off the second set of the night. The first part of the tune shares the same title as the full-length composition, leaning on a 12-bar blues set in motion on the lower octaves of Bley’s keyboard. Swallow plays the melody on a higher register, alternating a few bars with Sheppard, who occasionally establishes unisons with the bassist…..
'The other new composition, “Beautiful Telephones” featured the emotionally charged pianism of Bley, who elucidated the audience about the title. She found quite interesting that Donald Trump had first noticed the beautiful telephones when he first entered the oval office, rounding off the explanation with: ‘this is a new piece, and if we make mistakes it’s because of him!’ No mistakes were perceptible…..
'With the luxuriant ballad “Lawns” directing its touching melody straight to our hearts, the concert couldn’t have come to a better close. It was a beauty of a piece topping off one hour of precious music'.
Click here for the full JazzTrail review and other photographs of the gig.
Do You Have A Birthday In April?
for April Birthdays
Aries (The Ram)
21st March- 20th April
Last month, the Sun entered your sign. Like the Sun, now is a time for you to shine. Think 'Sun and Stars' as there is a star quality about you. Aries usually have self-confidence and if you are the exception, you can be like the others this month.
Venus enters your sign on the 20th, it had previously been in Pisces, your 12th house. Now in your sign and with that self-confidence, you should be in a good position with regard to relationships and finances.
But don't neglect your health, and don't take everything for granted, physical exercise – in whatever form suits you – needs to go alongside a respect for your situation.
For you, click here for a video of Martin Taylor and Stephane Grappelli with You Are The Sunshine Of My Life.
Taurus (The Bull)
21st April – 20th May
The planets look as though they are going to be kind to you this month. With the exception of the moon, occasionally, there are no planets in stressful aspects with you. Planetary momentum is forwards this month, a sign that you could see progress in your goals..
Your spiritual house remains strong until the 20th and it might be a good idea to use this time to look inside yourself and think about your direction. A Taurus is usually 'in the world', but there can be benefit in taking time to step back from the daily routine. Added to this, watch out for Venus in solstice from the 22nd to the 25th. She changes direction in her latitudinal orbit at this time and this particularly could be a good time to pause and take stock.
Staying with the 'spiritual', Mars, your spiritual planet, is in your money house this month, and Mercury will be in your spiritual 12th house from the 17th. This is a positive indication for your finances, especially if you use your spiritual intuition in making decisions.
For you, click here for a video of the Joe Henderson 6tet playing Charlie Parker's Relaxin' At Camarillo with Joe Henderson (tenor sax); John Scofield (guitar); Tommy Flanagan (piano); Conrad Herwig (trombone); George Mraz (bass) and Bill Stewart (drums).
Drumming is done in the body,
It can be counted, divided a beat behind,
skipped and triple tripped over, missed
and put to the pacemaker as if the hit is
Rolled over to riddle down into the slap until
each beat gets in front of the core and
is given away; even.
Drumming is done in the blood.
Pricked out and shaken into different
timeline heartbeat patterns. j'ai
struck the pulse of my own matter. Each Limb
separate song. Dancing paradiddle to invisible
beats-to-a-bar, like a percussive libretto of
Thanks to writer and Blazing Flame bandleader Steve Day for letting us share this poem from his new anthology Curving Sentences. Curving Sentences is Steve's second book of poetry and it is a substantial paperback book of 121 poems taking in a variety of subjects. One section, Harmolodic, particularly reflects the author's interest in music with reflections on Miles Davis, Thelonious Monk, Ray Charles, Ornette Coleman, Wadada Leo Smith and a personal tribute to Steve's friend Keith Tippett Blueprint For Keith, written for the pianist and composer's birthday.
Other poems include a lovely story about Ol' Coffers, a track across the Mendip hills where Edith Urr finds an old bronze coin and 'keeps her single piece of billion in a sow's ear her grandaddy gave her when he still kept pigs out in the orchard'; and the wonderfully descriptive The Nut Seller who 'lives frugally in Montsion, Palma …… his eyes as hard as husks, yellow and red where they should be brown'. There are of course, many other curving sentences drawn from a wide variety of influences. Steve Day leads the band Blazing Flame Quintet / 6 which released the album Wrecked Chateau on the Leo label in February where Steve presents his writings with a formidable band of improvising musicians (see Recent Releases). Click here for more about the anthology Curving Sentences.
Two Ears Three Eyes
Photographer Brian O'Connor took his camera to gigs recently. Here are some of his images from gigs with the Marc Copland Quartet at the Watermill Jazz Club, Dorking, Surrey on 12th March 2019:
Marc Copland Quartet
Gerard Sands who was at the gig writes:
'We regulars are frequently spoiled by the roster of talent brought to us at the Watermill Jazz Club, with many musicians who I would not normally have expected to see at a regional venue of this size, but in the latest batch of gigs there was one name that particularly stood out for me. I’ve been an admirer of drummer Joey Baron ever since discovering him on CD as part of John Zorn’s Masada group but this was my first opportunity to see him live. And judging by the number of drummers in tonight’s audience I’m not his only fan.
However Baron was not the only star name appearing tonight, pianist Marc Copland and bassist Drew Gress are also very well known at the more progressive end of the New York jazz scene, and all have extensive experience playing with a variety of other musicians. They have also often worked together as a trio and have recorded several albums under that configuration.
Tonight’s other star, Stan Sulzmann is perhaps not such a rare catch, living just a few miles from the venue and appearing at the club with welcome regularity, but he is equally talented as a musician. I had been a little curious how his more mainstream approach would fit with the others, but reading up before the gig I learned that Sulzmann and Copland have a working relationship going back some years, even having recorded an album as a duo, and their styles melded seamlessly on the night.
The two generous sets included material from Cole Porter, Duke Ellington, Miles Davis and Copland’s one-time employer John Abercrombie as well as several compositions from within the group, played mostly with a post-bop feel and with elongated solos. Copland’s piano playing was gently probing, Sulzmann was explorative but melodic, and on bass Gress was warm, woody and solid. Baron was a bundle of exuberance, driving and occasionally explosive and seemingly loving every minute as much as I did.
An absolute treat.
Pictures © Brian O'Connor, Images Of Jazz. Brian O'Connor's hard back book, packed with hundreds of photographs is now available. It can be obtained from Brian at: Brian O’Connor, 48 Sarel Way, Horley, Surrey RH6 8EW. Tel: 01293 774171. Email: firstname.lastname@example.org. The book is priced at £25 plus £4.95 post and packing (UK).
Poetry and Jazz
by Jeff Duck
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We are now seven days into March of 2019 and I find myself receiving an e-mail that reminds me this article is due, unfortunately as age creeps upon us all, I too need reminding these days. So onwards and upwards as we say, our subject for this Musical Missive should by rights have been as much of a household name as Ambrose, Jack Hylton and Henry Hall if not more so. With some confusion about the place and year of birth one would expect James Edward Wilbur to be a mystery but fortunately there is plenty of information about this UK bandleader available (although some is conflicting). One can make one’s own decision as to which you choose.
According to a number of sources, James Edward Wilbur, popularly known as 'Jay Wilbur', was born in 1898 (although one would expect this to be earlier given some of the documented history). Some say he was born in Bournemouth, Hampshire and others that it was Leamington Spa, Warwickshire. His mother was a wardrobe mistress and she and Jay's pianist/violinist father both worked for the Carl Rosa Opera Company. Now the opera company was based in London with many of its performances taking place in London and its surrounding towns so one would expect that Jay was born in Bournemouth rather than Leamington Spa as it is geographically closer to London, and taking into account that there were good transport links from the south coast to London.
Jay started singing at a young age and along with taking up piano at the age of eleven, soon held his own position in the local church choir as well as singing in a few of the opera company’s productions. At this stage of his career Jay was also involved with a variety act called “Casey’s Court”. Part of their performance required that Jay be wheeled on stage in a soap box. It is recorded that the lad pushing the soap box was Charlie Chaplin, if this is so (and I have no reason to dispute this) it could not have been later than 1910 as this is when Charlie went to the USA, with this in mind it would mean that Jay was just twelve years old at this point, hence the confusion over Jay’s year of birth.
The H2G2 website tells us: ‘Many people are familiar with the term 'Casey's Court', used to describe a gathering of unruly children. However, it is almost certain that those who use this term are completely unaware of its music hall origins. 'It's what my mum or dad used to say' is the common response when a person using this turn of phrase is asked exactly what they mean by that expression. … the origins of Casey's Court are rooted firmly in the main form of entertainment before the advent of the silver screen, in the twilight years of the music halls in early 20th-Century Britain. For it was here that the music hall star Will Murray chose to launch his twice nightly crazy show 'Casey's Court' on an unsuspecting public. The style of Casey's Court was similar to the popular 'gang show' … The cast was made up predominantly of children, with Murray dressed in drag and failing to keep them in order as his character 'Mrs Casey'. … At various times the promotion posters would be for 'Casey's Court Circus', the 'Will Murray Gang' and finally 'the Casey Circus (prop Harry Cardle)'.
The young stage-struck Jay was both geographically and talent-wise well positioned and open to a wide range of opportunities from variety to straight theatre roles and as a boy soprano who could also accompany himself. Jay was in big demand. With his voice breaking at the age of sixteen Jay decided to concentrate on piano, it was also at this time that the movie business was fast producing silent movies and as a result these movie theatres required a pianist or even an orchestra to accompany the films. It was 1912 and at just 14 years old, Jay was chosen as pianist in some of London’s early movie houses and went on to form one of the first movie house orchestras, developing an early system of cue sheets to ensure that the musical score was consistent with the action of the movie. Without continually disputing Jay’s year of birth (and / or talent) this is another reason to suspect that Jay’s birth was earlier than documented.
Holding the position of movie house pianist, and having to concentrate on the bad quality pictures, led to Jay developing bad eyesight. In 1916 Jay would have been 18 years old and conscription to the war had started. Due to his bad eye sight, Jay was graded as 'C3' which meant that he was only suitable for non-combat service. Although conscripted into service and having to give up the position of movie house pianist/orchestra leader he was able to continue playing at various restaurants and private parties in the evenings.
In 1919, Jay formed his own dance band working on the continent for approximately three years. When he returned to England he became musical director of the Ashton and Mitchells Agency supplying dance bands for various venues around the UK. It was after a meeting with Edward, Prince of Wales at a high society venue that Jay was invited to play with his band at Buckingham Palace on a number of occasions. The position at The Ashton and Mitchells Agency came to an end in September 1923 when Jay joined the Emlyn Thomas London Band for their first recording session. Jay soon reformed his own band, and after various gigs at some of London’s high society venues including the Savoy and Piccadilly hotels, he returned to the continent including the Hotel Bristol in Oslo and the Casino in Spa, Belgium. Interestingly, it was from this town that the word 'spa' originates as it has become famous for its several mineral springs and the company 'Spa' that exported the mineral water across the world.
Emlyn Thomas London Band
The players so far identified in the photo from mgthomas Dance Band Encyclopaedia are:
Back Row: Fred North (trombone); unknown (drums); Fred Cooke (piano); unknown (tuba); Emlyn Thomas (violin/leader); 2 unknown french horn players.
Front Row: Billy Bell (banjo); 2 unidentified trumpet players, one of which is probably Jay Elms; Jay Wilbur (piano); George Clarkson (sax); Nat Star (sax); unknown (sax).
After this tour Jay was asked to form an orchestra to play on a cruise to the West Indies. During the cruise the ship took a short stop over at New York. Jay ventured into the city and met with many of the local bandleaders including Paul Whiteman. It was as a result of these meetings that Jay realised the importance of proper and full orchestration in making a dance band to successful.
March 1926 marked the start of Jay making various recordings with Leon Van Straten’s Orchestra; if my research serves me correctly most if not all of these recordings were issued on the card-based Duophone label and they seem to have sold very well making the band quite popular. Almost a full year later, Jay reformed his own band to play in London at the Tricity Restaurant in the Strand. He was there until 1928 when he left to become musical director of the new Dominion Gramophone Records Ltd, the orchestra Jay formed for the company featured some of the UK’s best musicians, notably Max Goldberg, Tony Thorpe and Billy Thorburn. It seems that to make the company look bigger than it was, almost all the recordings were issued under various band names.
Click here for I'd Rather Cry Over You from 1928.
The orchestra also made various recordings backing some of the day's popular vocalists such as Amy Brunton (a pseudonym for Elsie Carlisle). After much work and effort by all involved the Dominion Gramophone Records company was barely established by the time of the Wall Street crash, and it became a victim of the Great Depression.
Click here for a recording of Deep In The Hollow Of A Hill with Jay Wilbur and his Band from 1929.
Not hanging around and marking the start of a thirteen year association, Jay soon became musical director for the Crystalate Gramophone Manufacturing Company Ltd which as producers of the cut-price Victory and Imperial labels was much better established and placed to survive the hard times of the Great Depression. They were also keen on growing their British dance band output so as not to become dependent on the America market. To mark the new era for the company, the colour of the Imperial label was changed from mauve to red. The last of the Victory label issues was cut in 1931 with the label being superseded by the red and gold Eclipse label. Jay’s recordings for the Imperial label were issued under his own name but his recordings for the Victory and new Eclipse recordings were issued under various pseudonyms such as The Hottentots, The Biltmore Players, The Ambassadors Twelve, The Connecticut Collegians and The Radio Serenaders, to name but a few.
One of Jay’s early Imperial recordings, Adeline, was in-fact issued twice in two different versions – the first a vocal version featuring Al Bowlly the second an instrumental version. Radio was not a new medium to Jay as he had played various shows in 1927 for the new BBC public corporation (before 1927 the BBC was a private organisation). During his time with Crystalate he had secured his own radio programme and he continued to broadcast on both the Music While You Work et Hi Gang radio shows.
Click here to listen to Adeline from 1930 with Al Bowlly taking the vocal refrain.
In 1932 with the Imperial label becoming dedicated to Jack Payne, Jay’s recordings ceased for Imperial and he concentrated on recordings for the new Eclipse label. The new “King of Records”, the Rex label was also to feature many of Jay’s recordings under his own name and various pseudonyms. Some of Jay’s recordings were also featured under his own name on a few of the Broadcast 4-in-1 sides. 1935 saw the Eclipse label reach one-thousand issues and the label ceased production being replaced by the new Crown label. Jay’s work never ceased and his recordings for Crown were issued under his own name and again various pseudonyms. One of the pseudonyms used to cover some of Jay’s recordings for Crown was the exotic Manuel Espinosa and his Rumba Band. The Crystalate Gramophone Manufacturing Company was acquired by Decca in 1937 and the Crown label was discontinued.
Click here to listen to Miss Otis Regrets from 1934. The singer is Sam Browne who had become a regular vocalist with Jay Wilbur. One YouTube comment says: 'I bought this record as a second hand 78 in 1966 in Manchester. It was very popular amongst my fellow students especially the Jew's Harp solos'.
With the arrival of 1942 Jay and his band started a tour of service camps as part of the war effort. As a result, his recording sessions with his Hi Gang Orchestra dwindled and by September 1943 had stopped completely. The war had a profound effect on Jay (as with almost everyone). He lost his son, an aerial photographer for the RAF, at the age of twenty-one and along with an unforgiving work schedule this led to a fall in Jay’s health. He was told to rest and take it easy. When Jay returned to work he was faced with many changes to the music scene, but in his inimitable way he adapted very quickly by carving out a new career in light orchestral music. He left England in 1946 for New Zealand and then resettled in Australia in 1948 where he began broadcasting regularly with an eighteen-piece band. In 1958, Jay relocated to Cape Town, South Africa where he broadcast with his band 'The Firestone Strings' on the then popular Springbok Radio. Jay sadly passed away in 1968 while in Cape Town.
It was with the publication in 1987 of the Rust and Forbes British Dance Bands On Record book that collectors were finally able to appreciate the full works of Jay Wilbur whether published in his own name or as a pseudonym. A large portion of Jay’s recordings were issued on cut-price labels such as the seven inch Victory, eight inch Eclipse and the nine inch Crown labels. As most of these mentioned releases were sold for around sixpence in Woolworths one would expect the quality to be low, but this could not be further from the truth. As a collector I understand that these recorded sides are still sought after and when found are still of reasonable quality, even after being extensively played. As a studio director Jay had access to many of the day’s top players and a lot of his recordings were issued under different names – perhaps this was why he has never qiite been remembered as a prominent name in the industry?
…. and finally, click here for Jay Wilbur and his Band playing Glenn Miller's hit Dans l'humeur in 1940 – the vocalists are The Greene Sisters. Does anyone know anything about the Greeen Sisters? I don't think they are the American Soul group?
Alan Bond in Somerset writes: 'I was chatting to an old mate of mine a week or two back and the name of trombonist Jim Shepherd cropped up. Now I haven't seen Jim since before we moved down here in 1999 and I am curious to know if he is still around? I do know that it is his birthday in March and he would be about 83 if he is still going. We had a shared interest in that he is (or was) the owner of a vintage (pre 1930) Talbot 110 tourer. We had many a chat about Talbots because my late father was an apprentice at Talbot's works in Barlby Road, Kensington when he left school in 1927 at the age of 14. When I first knew Jim, his father was still around and I wanted to get the two of them together but sadly it didn't happen. It would have been doubly interesting in that dad was also a jazz fan, having bought his first record out of his very first pay packet. That record (St Louis Blues & My Mamma's in Town by Ted Lewis & His Orchestra on an 80 rpm Columbia) is still extant and in the safe keeping of a jazz friend of mine who lives in Rutland (NOT Leicestershire as he always insists) and who is custodian of the 78 collection that I inherited from my father. At least it still gets played'.
If anyone knows of Jim Shepherd please contact us.
Traditional Jazz in the San Francisco Bay Area
John Westwood sends us details of the Charles N. Huggins Project that explores the history of Traditional Jazz in the San Francisco Bay Area from the Barbary Coast to the 1980s through historic images, recorded sound, articles, scores and film. Charles N. Huggins, a key player and founding member of the San Francisco Traditional Jazz Foundation (SFTJF), led the effort to expand the Collection to its present size. He supported numerous concert performances, educational outreach programs, and radio broadcast series to bring classical forms of jazz to large audiences nationwide. In light of his outstanding service, the SFTJF Board of Directors moved to recognize Mr. Huggins by naming this online exhibit, The Charles N. Huggins Project.
On the website you can 'jump right into the materials and films using a 'Browse' tab; Click on 'The Collection' tab to read illustrated feature articles; Explore Turk Murphy's scrapbooks, or use the main chapter links by clicking on the thumbnail images.
Click here for the San Francisco Traditional Jazz Collection at Stanford Libraries.
Sandy Brown Jazz Facebook and Mailing List
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Edinburgh Queen's Hall 40th Birthday Celebration
Rob Adams reports: 'Saxophonist Tommy Smith is to give four concerts this year as part of the Queen’s Hall in Edinburgh’s fortieth anniversary celebrations. Smith, who was appointed OBE for services to jazz and education in this year’s New Year Honours List, is revisiting his much-acclaimed Glasgow Jazz Festival 1996 commission and subsequently successful recording, Beasts of Scotland to open the series on Thursday 18th April. Featuring a sextet comprising Smith and Andy Panayi (saxophones), James Copus (trumpet), Peter Johnstone and Calum Gourley from Smith’s ‘Coltrane’ quartet on piano and bass respectively, plus BBC Big Band drummer Tom Gordon, Beasts of Scotland will be linked by Scottish actor Tam Dean Burn reading the poems by the late Edwin Morgan that originally inspired Smith’s set of compositions.
The Queen’s Hall, a former church on Edinburgh’s south side, opened as a music venue in 1979 and quickly became associated with top line jazz attractions, initially through the Platform organisation and latterly by hosting Edinburgh Jazz Festival and Scottish National Jazz Orchestra concerts as well as its own in-house promotions. Among the many significant musicians who have appeared there are Sonny Rollins, Nina Simone, George Russell, a young Wynton Marsalis and the Gil Evans Orchestra. Smith, who grew up in Edinburgh, has appeared many times at the Queen’s Hall – singer Kurt Elling remembers going to see him play there when he was studying at the University of Edinburgh in the 1980s – and he celebrated his twenty-first birthday there with a concert featuring him alongside Chick Corea and Gary Burton.
Following the Beasts of Scotland concert, Smith will feature in his duo with pianist Brian Kellock, with special guest, leading Gaelic singer Kathleen MacInnes on 13th June. His widely acclaimed ‘Coltrane’ quartet, Embodying the Light, appears on 19th September and he gives a solo saxophone concert on 19th December. All concerts feature support by groups and musicians who have come through Smith’s youth orchestra and the jazz course he initiated at the Royal Conservatoire of Scotland in Glasgow.
"The Queen's Hall has been a regular venue for me throughout my career," says Smith. "I can remember aspiring to play there as a young musician and it's been a pleasure to work there with the Scottish National Jazz Orchestra's many guests – Randy Brecker, Mike Stern, Benny Golson et al – as well as my own bands and with Arild Andersen's trio."
Amsterdam-based trio, the Nordanian,s lead the latest influx of musicians from the Netherlands for the Going Dutch programme when they appear at Widcome Social Club in Bath on Tuesday 30th April. The group, which features violist Oene van Geel, guitarist Mark Tuinstra and tablas virtuoso Niti Ranjan Biswas, go on to play concerts in York (The Basement, 1st May) and Nottingham (Bonington Theatre, 2nd May) before going over to Limerick to play Dolan’s on 3rd May.
They’re followed by the popular jazz-funk band Tristan, who celebrate the release of their new album, The Spice of Five with gigs at Swansea Jazzland (22nd May), Hampstead Jazz Club (23rd May) and Harrow Arts Centre (24th May).
Going Dutch also has a strong profile at Manchester Jazz Festival, where vocalist and electronics specialist Sanem Kalfa and guitarist-violist George Dumitriu explore their Turkish and Romanian roots, harmonica player Hermine Duerloo and pianist Rembrandt Frerichs lead their quartet, and singer, pianist and trombonist Nani-Noam Vazana collaborates with local musicians.
Going Dutch, which is organised by the Jazz Promotion Network with support from Dutch Performing Arts, also welcomes back Scottish-Dutch sextet LoLanders and the spontaneous music trio Under the Surface for concerts in England and Scotland during June.
Jazz Festivals 2019
As we mentioned last month, the season of Jazz Festivals is underway, some small, some larger, working their way towards the London Jazz Festival in November. There is likely to be a festival of some sort not far from you –
Click here for a list of 2019 Jazz Festival dates for the UK. Some still have to give details of their programme.
Festival booking scams: A number of festivals have discovered scams in which fake booking agents have been inviting musicians to play at festivals under false pretences. Cheltenham Jazz Festival website, for example, carries this notice:
'We’ve recently been made aware of an attempted email phishing scam to jazz musicians in the United States claiming to be from Cheltenham Jazz Festival. The emails claim to be an invitation from Ian George (Director of Festivals) to perform at the Festival, conditional on the artists paying for visa costs. It includes information cut and pasted from the Festival website and offers a generous fee for multiple performances plus flights, accommodation and other benefits. It seems these emails are primarily being sent to databases of musicians in the USA. The emails are sent from various Gmail addresses and include an American phone number. All genuine festival offer emails are sent from cheltenhamfestivals.com email addresses, and our offices are based in the UK….. If you have received an email fitting this description, do not enter into correspondence and please do not make any payments ….' (Click here for the full text).
Information has arrived about the following musicians or people connected to jazz who have passed through the 'Departure Lounge' since our last update. Click on their names to read their obituaries where we have them.
Mart Roger – UK clarinettist and bandleader from Greater Manchester. In the 1950s he led the Mart Roger Jazz Aces, the Hounds Of Sound (with John Mayall) and then joined the Zenith Six. Other bands followed including various groups with Mike Pembroke and Bill Smith. In 1984 Mart formed Mart Roger Manchester Jazz with Pete Staples and with various personnel changes and guests, they toured the UK and abroad. Click here for a video of Mart with his Manchester Jazz playing I Believe In Rainbows.
Jacques Loussier – French pianist and composer well known for his jazz interpretations, arranged for trio, of many of the works of Johann Sebastian Bach. Founded in 1959, played more than 3,000 concerts and sold more than 7 million recordings. In the mid 1970s, the trio was dissolved and Loussier set up his own recording studio, Studio Miraval, which opened in 1977, where he worked on compositions for acoustic and electric instruments and recorded with musicians such as Pink Floyd and Elton John. He reformed the jazz trio in 1985, the tricentenary year of Bach's birth, and they recorded interpretations of compositions by other classical composers including Handel, Scarlatti, Mozart and Chopin. Loussier's last albums, My Personal Favorites et Beyond Bach, Other Composers I Adore, were released in 2014, on the occasion of his 80th birthday. Click here for Jacques' Bach To Bach Trio playing the Toccata And Fugue in D Minor.
James Dapogny – American jazz musicologist, pianist and bandleader, active principally in the traditional jazz revival scene. Dapogny led an ensemble called the Chicago Jazz Band, founded in 1975, and made many appearances on Prairie Home Companion. He earned a Ph.D in composition, and taught at the University of Michigan beginning in 1966. Dapogny wrote extensively about Jelly Roll Morton, including liner notes for the release of his Library of Congress recordings. He also edited Jazz Masterworks Editions, a series initiated by Oberlin College and the Smithsonian Institute. Click here for a video of James Dupogny and Butch Thompson playing Fats Waller's Viper Drag.
Not all jazz musicians who pass through the Departure Lounge are reported in the national press, so if you know of anyone's passing that we should mention, please contact us with a few words about them, or a local obituary if one is available.
Kevin Mackenzie -The Ballad Of Future Joe
(Laundry Room Music) – Released: 1st March 2019
Kevin Mackenzie (guitar); Mario Caribé (bass); Alyn Cosker (drums)
'A contemporary, interactive and dynamic trio featuring three of Scotland's most respected jazz musicians. The CD consists of 9 original compositions and a version of Django Reinhardt's 'Nuages'. Kevin Mackenzie lives in Scotland. He has toured extensively and has recorded on many albums in a variety of styles. His groups have been featured along side guitarist Robben Fords power trio, Bob Berg and Mike Stern, the Crusaders and Seminal Jazz figure Ornette Coleman. In 2001 Kevin received the prestigious Creative Scotland Award , which he used to write and record music for his nine-piece band Kevin Mackenzie s Vital Signs. The CD gathered great reviews including album of the month in The Observer and CD of the week in The Guardian. Some musicians he has performed with include Boris Kozlov, Pete King, Benny Carter, Kenny Wheeler, Tommy Smith, Joe Locke, Bobby Wellins, Jim Mullen, David Berkman, Reid Anderson, Ari Hoenig ,Pettre Wettre. Jenna Reid, Alyth McCormack, John McCusker, Fiddlers Bid, Marie Fielding, Maggie Macinness, Sunhoney, Finlay Macdoald Band, Keep It Up, Karen Tweed, Brian Finegan, Gino Lupari, Loren Stillman, Peter Erskine, Randy Brecker , Kurt Elling and many others' (album notes).
Details and Samples : Listen to the Title Track : Visit our 'Jazz As Art' page and listen to If A Tree Falls : Kevin Mackenzie's Website :
Gabriel Latchin Trio – The Moon And I
(Alys Jazz) – Released: 5th April 2019
Gabriel Latchin (piano); Dario Di Lecce (bass); Josh Morrison (drums)
'Pianist, composer and bandleader, Gabriel Latchin has made a name for himself as one of the UK’s finest musicians, praised by critics and world renowned musicians alike. Known for his effortlessly swinging feel, deep repertoire and compelling performances, Jazzwise recently described his playing as “impeccable… the clarity of his lines evoking something of Hank Jones or Tommy Flanagan”. 2019 sees the release of The Moon and I, his second album as leader of the Gabriel Latchin Trio. Featuring a first-call London rhythm section – Dario Di Lecce and Josh Morrison on double bass and drums respectively – the set demonstrates the great strides taken both by Latchin as an individual and the trio as a whole since the release of his 2017 debut record Introducing. Of the number-one-selling CD, Renée Fleming said “Kudos to the Gabriel Latchin Trio for this first release. Elegant, tasteful and swinging!” Gabriel Latchin will be touring the music from his new release The Moon and I this spring. Taken from a lyric in Hubbell and Golden’s 'Poor Butterfly', the title is a tip of the hat to the opening tune he performed recently at Wigmore Hall with Christian McBride and Renée Fleming. Continuing with the trio format for his second album as leader, Latchin is supported by a first-call London rhythm section – Dario Di Lecce and Josh Morrison on double bass and drums respectively. Long-time collaborators, the trio have developed a unique sound: a hard-swinging 1950s aesthetic married with the contemporary vision of Latchin’s compositions. The Moon and I captures a moment in time from the composer’s evolving life. As a new father, his writing is inspired by his growing family: Arthur Go; Pippy’s Delight; Brigi, My Dear. Even the title of his Art Blakey tribute, Peek a Bu, has a childlike twist. These four originals are accompanied by seven unique arrangements of well known jazz standards in his inimitable style' (album notes).
Details : Introductory Video : Gabriel Latchin's website :
Trish Clowes – Ninety Degrees Gravity
(Basho Records) – Released: 26th April 2019
Trish Clowes (saxophones and vocals); Chris Montague (guitar); Ross Stanley (Hammond organ and piano); James Maddren (drums)
'Ninety Degrees Gravity, Trish Clowes' fifth album for Basho Records (and second with her current band My Iris), is inspired by the idea of a universal language and the images in Denis Villeneuve's acclaimed sci-fi film 'Arrival'. The album title is drawn from the scene in the film where the main characters enter the alien pod for the first time, forever changing their perception of reality – akin to the ongoing moments of revelation in the life of a musician. A music video to accompany the track 'Abbott & Costello' will also explore these themes. The notion of the vastness of space also inspires the track 'Dustlings' ("we are stardust" from Joni Mitchell's 'Woodstock'), with taking time out to contemplate the cosmos enabling us to liberate ourselves from the everyday. 'I.F.' celebrates new life by being dedicated to the sons of Ross Stanley and Chris Montague respectively. Initially developed through the activities of Emulsion VI (Clowes' ongoing cross-genre music festival), the recorded version incorporates samples of her band members' babies. Other compositions on the album have roots in musical influences or ideas. 'Eric's Tune' is dedicated to Eric Gravatt, drummer with Weather Report between 1972 and 1974. Some of the rhythmic ideas for this piece, and also some of the other music on the album, were inspired by the Live In Tokyo 1973 album. 'Lightning Les', included here in a dynamic live recording, explores some of the musical ideas Clowes and the bandmembers were working on at the time of writing, including saxophone multiphonics and 'western swing' on the guitar. With its title referencing the fast setting on the Hammond organ Leslie tremolo unit, it also seeks to reclaim the organ sound from the cliched seaside perception as a means of creating atmosphere and texture in creative, improvised music. 'Free To Fall', in which Clowes incorporates lyrics, was written after the band's successful 2017 tour, speaking to the trust between musicians and a nod to the Wayne Shorter Quartet and their album 'Without A Net'. 'Ninety Degrees Gravity' finds Trish Clowes exploring new musical settings, creating compelling atmospheres and using music to explore a range of wider concepts and ideas. It also captures My Iris continuing to evolve as a band (album notes).
Details and Samples when available :
Pete Oxley and Nicolas Meier – The Alluring Ascent
(MGP Records) – Released: March 2019
Pete Oxley, Nicolas Meier (guitars); Raph Mizraki (acoustic & electric basses, darbuka on track 6); Paul Cavaciuti (drums); Keith Fairbairn (percussion on tracks 2,3,5,7,8)
'The Oxley-Meier Guitar Project has continued to be highly productive: following nearly 100 concerts on the back of their 2017 album, ‘The Colours Of Time’, they have now recorded an album of brand-new, original pieces in their quartet format, but also featuring the great multi-percussionist, Keith Fairbairn. As ever, all of the pieces have been arranged so that they can be performed live in either duo or quartet line-ups. On the album, Pete and Nick have continued to use many varying types of guitars: Fretless 11-string (Glissentar), acoustic and electric 12-strings, slide, 7-string nylon, sitar guitar, fretless guitar, jazz guitars etc. The Oxley – Meier Guitar project began working in earnest, following their second release in 2015, ‘Chasing Tales’, which was supported by three tours, totaling 90 dates. Pete and Nick then toured the UK and Europe a further three times, promoting ‘The Colours of Time’, also performing at several major jazz festivals over this time. Expect a dazzling display of contemporary fare, ranging from Turkish panache to soundscapes of latin America to English pastoralism. Hear this played on nylon string, steel string, electric, 12 string, fretless, slide, guitar-synth, glissentar guitars and more! (album notes).
Details and Samples (scroll down the page) and Tour Dates 2019 : Introduction to the album :
Blazing Flame Quintet/6 – Wrecked Chateau
(Leo Records) – Released: February 2019
Steve Day (voice, hand-percussion); Peter Evans (electric 5 string violin); Mark Langford (tenor saxophone, bass clrinet); David Mowat (trumpet); Julian Dale (double bass, cello, voice); Marco Anderson (drums, percussion)
'This new line-up of Blazing Flame exudes quality. Wrecked Chateau is an exploratory album containing eight tracks harbouring words of targeted power – "…so roams the wolf pack through the Landfill of Eden"; instrumentally this is structured improvising of a high order. Mark Langford's tenor break on Flaming Gershwin is a precise instant signature running abstraction very deep. The UK has a unique six piece quintet; part basking in non intentional 'jazz-rock', yet at the same time imploding such a description by delivering cutting edge song/poetry. In its own way, a breakthrough revelation.' (album notes). 'A Wrecked Chateau is open to the elements. The cover photograph captures a moment of temporary residence in France. This old habitat has access to the sky. Ruin is not always the end of the road. There are many journeys within these songs, as well as in the improvisations that describe them …. Global travel over long distance creates wreckage. Money trails carbon without counting the environmental fallout. People with little money trek continents to find shelter in an attempt to build a safe haven, whether long term or an interim encampment. Sometimes we wreck the best of what we have. The title song has a line that reads: Light up the world with what you see. It is possible to find hope within the rubble' (Steve Day). ''The thoughtful notes of the bass clarinet accompanied by the double bass played with the bow introduce Snap Shots of the Boy…… In the middle of engaging solos, comes the violin entwined with the trumpet played with a mute, then the verses of a poet who truly has so much to say within the current contemporary music scene' (Music Zoom, Italy).
Details and Sample : Listen to He's Crazy : Website :
Kate Westbrook – Granite
(Westbrook Records) – Released: 27th July 2018
Kate Westbrook (vocals); Roz Harding (saxophone); Mike Westbrook (piano); Jesse Molins, Matthew North (guitar); Billie Bottle (bass); Coach York (drums).
'Kate Westbrook's album 'Granite', a soliloquy with lyrics by Kate Westbrook and music by Mike Westbrook – was inspired by her love of Dartmoor and its granite quarries, is a unique concept, brilliantly produced by Jay Auborn. Kate's astonishing vocal range, and strikingly original lyrics are matched by Mike Westbrook's genre-busting score and the outstanding and inventive playing of Kate's new group The Granite Band' (album notes). '….. This is a voice for winter, exile, anger. Mike Westbrook's settings leave that voice unrelentingly in our presence while the addition of found sounds reflecting from granite surfaces further propels the ritualistic patterns of these songs into mythic proportions …' (Andy Robson in Jazzwise ****)
Details and Samples : Introductory Video : Listen to Tracks Of Desire :
Sarah Tandy – Infection In The Sentence
(Jazz re:freshed) – Released: 8th March 2019 [Download and Vinyl]
Sarah Tandy (piano, Fender Rhodes); Binker Golding (saxophone); Sheila Maurice-Grey (trumpet); MutaleChashi (bass); Femi Koleoso (drums)
'Swiftly rising to become one of the most in-demand players of her generation, Sarah Tandy has performed on keys for Jazz Jamaica, Nu Civilisation Orchestra, Maisha, Where Pathways Meet, Camilla George, Nubya Garcia, Nerija, Daniel Casimir, Binker Golding, Clark Tracey and many more. She is also a member of Ronnie Scott's House Band, the W3 Collective. On 'Infection in the Sentence', Tandy's technical virtuosity and rhapsodic playing showcase a fearless approach to her own individual brand of piano-led jazz. 'The music developed gradually through many years playing on London's underground music scene, and immersing myself in the myriad musical languages surrounding me. In the album I'm seeking to find a continuum between the jazz music which I grew up listening to, and the multi-faceted, genre-melting sounds of present day London', she says. A finalist in BBC Young Musician of the Year, she also held a residency at Servant Jazz Quarters in Dalston where she met band members Femi Koleoso (Ezra Collective, Jorja Smith), Mutale Chashi (Kokoroko, Jorga Smith), and Binker Golding (Binker & Moses), who were pivotal to her development. The inimitable Sheila Maurice-Grey plays trumpet in the band. Tandy has performed at Love Supreme, Berlin Jazz Festival, and twice with her her trio at Ronnie Scott's International Piano Trio Festival supporting Robert Glasper. In an earlier incarnation, she has also appeared as a classical soloist with the BBC Symphony Orchestra' (album notes). '…. This debut doesn't, though, shake off Tandy's devotion to Hancock and co. Instead, it encourages the London scene's own engrained hard-bop schooling …… It's on Fender Rhodes, where she was also outstanding on SEED Collective's debut, that Tandy truly draws you in …' (Nick Hasted in Jazzwise ***)
Details and Samples : Listen to Nursery Rhyme : Listen to Timelord :
We are indebted to Filipe Freitas for details of many American and some other releases. Filipe and photographer Clara Pereira (see the 'Lens America' article in What's New) run JazzTrail in New York City. They feature album and concert coverage, press releases and press kits, album covers and biographies. They are valued contacts for Sandy Brown Jazz in the United States. You can read more about Filipe and Clara in their 'Tea Break' item with us if you click here.
Nate Wooley – Columbia Icefield
(Northern Spy Records ) – Released: 22nd February 2019
Nate Wooley (trumpet); Mary Halvorson (guitar); Susan Alcorn (pedal steel); Ryan Sawyer (drums).
'The Columbia Icefield is an imposing behemoth, the largest icefield in the Rocky Mountains. Its alien, unapproachable, and yet, somehow, a striking metaphor for man's relationship to nature. On Nate Wooleys soaring, Columbia Icefield, the Pacific Northwest bred trumpeter tries to reckon with his relation to the Icefield and humanity in the face of the unapproachable. But this alien entity is laced with contradiction and imposes itself onto Wooleys music in a magnificent way. This record really came down to trying to build structures that have a feeling of being really large and slightly disturbing, but also, natural, Wooley explains, before adding, its earthbound, it comes from a natural place; its not an attack on our senses. We understand it. And this became the chief task for Wooley and his superlative band Mary Halvorson on guitar, Susan Alcorn on pedal steel, and Ryan Sawyer on drums namely, how to express what is most natural and most foreign to us simultaneously?' (album notes). 'American trumpeter-improviser Nate Wooley writes cleverly configured music for a new experimental ensemble featuring guitarist Mary Halvorson, pedal steel guitarist Susan Alcorn, and drummer Ryan Sawyer, who doubles on vocals. All three compositions on Columbia Icefield.. run between 10 and 20 minutes. The quirky quartet builds structural blocks according to Wooley’s arrangements, in a demonstration of versatility and imagination. The bandleader pictures the inaccessible ice field as a metaphor of man’s relationship to nature, many times suggesting sonic mystery. “Lionel Trilling” starts off with concurrent guitar ostinatos filled with acerbic atonal intervals and subtle chromatic shifts, a relentless cadence sustained by a sort of obsessive thrust. As the tune progresses, surprising rhythms erupt, bringing Sawyer’s unpredictable drumming to the forefront. You must wait around for controlled moments of chaos as well as intervals of reflective stillness. Both invite us to picture vast hyperborean landscapes in our minds. Rasping, vibrating slides on the guitar and vocal effects help to magnify the milieu, which, near the final, shapes into a waltzing, electronic-like passage with rhythmic patterns atop. Refraining the dynamics, the group embraces a certain languidness for most of the duration of “Seven in the Wood” … The music orchestrated by Wooley might not move a mountain, but has the power to shake it (JazzTrail)
Details: Listen to Lionel Trilling : Listen to Seven In the Woods : Full JazzTrail Review :
Russ Lossing – Motian Music
(Sunnyside Records) – Released: 22nd February 2019
Russ Lossing (piano); Masa Kamaguchi (bass); Billy Mintz (drums).
'Drummer/composer Paul Motian was brilliant at creating subtle, singable melodies and rhythmically ambiguous, floating forms. Former Motian collaborator and pianist Russ Lossing chose to honor Motian and his work by recording Motian Music, a collection of Motian's idiosyncratic pieces played by Lossing's trio' (album notes). 'Pianist Russ Lossing dabbles in the fascinating musical universe of Paul Motian, an artist he knew very well. For 12 years, they were friends and collaborators, and Lossing decided this was the time to honor the late genius whose tunes fall somewhere between the lyrical and the abstract. Paraphrasing the pianist: “this music plays itself.” On Motian Music, his debut on Sunnyside, he teams up with longtime associates bassist Masa Kamaguchi and drummer Billy Mintz, a pair of creative minds with an elevated rhythmic sensibility. The first couple of pieces, “Asia" et "Abacus”, date from the late ’70s, but their shapes are unlike. The former, carrying some folk connotations and emotional grandeur, mirrors the splendor of this piano trio; in turn, the latter comes enveloped by a magnetic abstraction and instigates free exploration. During the first minutes, Mintz offers us tonality, having the round, somewhat pinched bass notes from Kamaguchi dancing at his side as well as Lossing’s resolute, if perplexing, melodic lines ……The recording couldn’t have ended in a better way, with the seraphic “Psalm” expressing a levitating simplicity that touches the sublime. Without subverting the art of Motian, Lossing puts a personal touch in this startlingly intimate album. The results are more than satisfactory and fans of the drummer will instantly relate to the music' (JazzTrail)
Details and Samples : Full JazzTrail Review :
Ehud Asherie Trio – Wild Man Blues
(Capri Records) – Released: 15 March 2019
Ehud Asherie (piano); Peter Washington (bass); Rodney Green (drums)
'The New Yorker calls Ehud Asherie 'A master of stride and swing' and his latest recording 'Wild Man Blues' showcases his mastery of these styles. You can hear the influences of James P Johnson, Fats Waller and Bud Powell in his playing. Joining him are Peter Washington on bass and Rodney Green on drums. Asherie imbues his performances with musical surprises and a sense of humor as he weaves through music from all eras of jazz, from Louis Armstrong to Charlie Parker. Also included are two pieces influenced by time spent living in Brazil. Asherie is a first call pianist for many New York musicians for both recordings and gigs (album notes).
Details : Listen to the Title Track : Video of Wild Man Blues live with Ehud Asherie and different personnel :
Norman Johnson – The Art Of Life
(Pacific Coast Jazz) – Released: 21st January 2019
Norman Johnson (guitar, bass, piano, vocal); Chris Herbert, John Mastroianni (sax); Bill Holloman (horns); Jeff Holmes (trumpet); Steve Davis (trombone); Matt Dwonszyk (bass); Grayson Hugh, June Bisantz, Atla DeChamplain, Poller Messer, Lisa Marien (vocals); Mitch Chakour (piano and organ); Alex Nakhimovsky (piano)
'Norman Johnson's The Art of Life is a beautifully crafted recording. Featuring five songs penned by Johnson and one written by his longtime friends and music companions, Alex Nakhimovsky and June Bisantz. We are given groove, beauty, and a message. Changing directions from projects of the past, Johnson has included in this recording, two vocal songs which show a different side of his writing and playing. Johnson always keeps it smooth and this recording is no exception. Slide is a slick, groove-oriented song which features Chris Herbert on alto sax. Moving to a different sound for Johnson is his song Sing On, which features the wonderful vocals of Grayson Hugh. In what has always been a troubled world, this song is Johnson's message of hopefulness for all of us. Old Skool brings a 70's vibe with a modern sound. It's totally guitar driven swing. The title cut, The Art of Life, was inspired by Stewart Stephenson's painting Sassy Wildflowers. It is amazing how visual art and music can elicit the same emotions. The song is a picture in sound and includes the beautiful background vocals of Atla DeChamplain. It's You is sung by Johnson's longtime friend, June Bisantz. When Johnson first heard the song, he knew that it had to be included on his next recording. It's infectious. This song offers so much – a latin groove with Bisantz's lush vocal and Johnson's sweet guitar. Summer Dance is what the title says, a song that just makes you think of warmth and movement. Johnson says I wrote this song in the summer of 2016 while on vacation in Florida. Driving along the coast in Sarasota and heading over the bridge to St. Armands Island, the view was so beautiful. This melody came to me that day. Art and music, sight and sound, The Art of Life is for all of your senses. This recording brings a variety of sounds to your aural palette and like a good painting, can make you think, imagine, and maybe, smile (album notes).
Details and Samples : Listen to the Title Track : Listen to Old Skool :
Jeremy Pelt – Jeremy Pelt The Artist
(HighNote Records) – Released: 8th February 2019
Jeremy Pelt (trumpet); Victor Gould (piano); Frank LoCrasto (Fender Rhodes, effects); Chien Chien Lu (vibraphone, marimba); Vicente Archer (bass); Allan Mednard (drums); Ismel Wignall (percussion).
'Composing music inspired by painting dates back as far as the 12th century (Hildegard of Bingen) and, in Jazz, Duke Ellington's "Degas Suite" comes to mind along with Branford Marsalis's "Romare Bearden Revealed." But on his new album, Jeremy Pelt may be the first jazz artist to examine the relationship between music and sculpture. The five-movement "Rodin Suite" muses not only on works the French sculptor August Rodin left us, but how his art might have evolved if he were still with us today. Added to Victor Gould, Vicente Archer and a few other of his "regs," Pelt has added the guitar of Alex Wintz, the vibes and marimba of Chien Chien Lu and the exotic percussion of Ismel Wignall for an ensemble sound capable of delicacy and color as well as full-on modern jazz shouts. A thoughtful and thought-provoking recording from, you guessed it, Jeremy Pelt, the artist' (album notes). 'Jeremy Pelt is a terrific trumpet player and bandleader whose records offer enough consistency to make us search for new material. He is also an extremely reliable sideman with important contributions in projects by Vincent Herring, Ralph Peterson Jr., Wayne Escoffery, and more recently, bassist Ben Allison. His new outing, Jeremy Pelt The Artist, finds him fronting a dynamic group with Victor Gould on piano, Frank LoCrasto on Fender Rhodes and effects, Chien Chien Lu on vibraphone and marimba, Vicente Archer on bass, Allan Mednard on drums, and Ismel Wignall on percussion. The album’s first five tracks constitute The Rodin Suite, a compositional effort inspired by the work of French sculptor Auguste Rodin. Like the sculptor himself, Pelt doesn’t rebel against the past, but arrange everything in a clever way, introducing new elements that shape the music with a winsome modern feel. …… This is deftly composed material put in practice with taste by a sophisticated new group that works pretty well together' (JazzTrail).
Details and Samples : Full JazzTrail Review : Listen to Feito : Listen to The Rodin Suite :
Europe And Elsewhere
Marton Juhasz – Discovery
(Marton Juhasz) – Released: 25th January 2019
Marton Juhasz (drums, composition); Yumi Ito (vocals, text, track 8): Sergio Wagner (trumpet, flugelhorn); Paco Andreo (valve trombone); Enrique Oliver (tenor saxophone); Szymon Mika (guitar); Olga Konkova (piano, fender Rhodes); Danny Ziemann (upright bass)
'Award-winning drummer Marton Juhasz presents Discovery, his debut album as a bandleader. Featuring 8 musicians from 4 continents, the record is the result of a year of rehearsing and performing as part of Wolfgang Muthspiel’s pioneering Focusyear Program in Switzerland. Under the tutelage of some of the most respected names in jazz including Django Bates, Kurt Rosenwinkel, Avishai Cohen and Joshua Redman, the musicians spent 12 months together, focused on developing both individually and as an ensemble. The result: this beautiful, daring album of originals, inspired by the artist’s search for a more personal compositional voice and an effort to make sense of the dissonance that is part of human existence' (album notes). 'In September 2017 I moved to Basel, Switzerland to take part in a newly created artistic diploma program called 'Focusyear'. The idea behind the programme was to create an ensemble of international musicians who would then rehearse and perform together for a year under the tutelage of about a dozen of visiting artists, an incredible opportunity to develop musically and artistically. The final octet chosen for the program was truly international, featuring musicians from the USA, Argentina, Spain, France, Hungary, Switzerland, Poland and Norway. Typically we would learn a new concert repertoire every two weeks and then perform the music with the visiting coaches at the hosting school's club at Jazzcampus, Basel. Since we were rehearsing and performing almost every day, the connection within the ensemble was developing very fast. I’ve played in many bands before, but I’ve never had luxury of getting to know the other musicians on such a deep level. I saw that this would be probably a once in a lifetime opportunity to record with such a tightly knit group. A couple of months into the program I decided to go for it and asked my bandmates to play my music. This recording became ‘Discovery’, my debut as a composer (Marton Juhasz).
Details and Samples : Introductory Video : Listen to Run : Marton Juhasz's Full Focus article for Sandy Brown Jazz on the tune Little Prayer : Marton Juhasz's website :
Marilyn Mazur – Shamania
(Rare Noise Records) – Released: 22nd February 2019
Marilyn Mazur (percussion, balaphone, kalimba); Lotte Anker (saxophone); Josefine Cronholm (voice, percussion); Sissel Vera Pettersen (saxophone and vocals); Hildegunn Oiseth (trumpet, goat horn); Lis Wessberg (trombone); Makiko Hirabayashi (keyboards); Ellen Andrea Wang (bass); Anna Lund (drums); Lisbeth Diers (percussion).
'In 1978, Danish percussion master Marilyn Mazur founded the bold, innovative Primi Band, an all-female music-theater ensemble that drew from a deep well of primal energy and experimental audacity. Four decades later, Mazur reinvents the core concepts in an adventurous new fashion with Shamania, a gathering of ten of Scandinavia's most inventive and respected female musicians. Whereas Primi Band culled its members from risk-taking but nonprofessional musicians, Shamania comprises ten highly respected (but equally daring) artists from the Danish, Swedish and Norwegian avant-jazz scenes. Their stunning debut album is a vivid combination of primeval forces and virtuosic musicianship, fiercely original imaginings and deeply organic emotions, communal energies and singular voices (album notes). 'Percussion mastermind Marilyn Mazur gathers a 10-piece ensemble composed of female Scandinavian musicians and amazes us with 16 tremendously rhythmic numbers in her new project, Shamania. A former collaborator of Miles Davis and Jan Garbarek, Mazur alludes to instinctive, primitive rituals in a buoyant session that establishes eclecticism as a priority. The power of women in jazz is reflected here, and saxophonist Lotte Anker just confirms it through fiery exteriorizations full of timbral color on the opening and closing tunes, “New Secret" et "Space Entry Dance”, respectively. The impeccable voice of Josefine Cronholm invites us to an Eastern litany on “Rytmeritual”, a liberating free-verse poem denoting the entrancing rhythm as a fundamental agent. Beautiful exotic sounds also emerge from “Shabalasa" et "Kalimbaprimis”, ecstatic Afro-style celebrations that bring Mazur to the center …… Shamania made me travel many miles through a colorful folklore that appeals to multiculturalism. It’s an important exertion that celebrates music in its entire dimension' (JazzTrail).
Details and Samples : Full JazzTrail Review : Listen to Crawl Out & Shine :
Scopes – Scopes
(Whirlwind Recordings) – Released: 29th March 2019
Ben van Gelder (alto saxophone); Tony Tixier (piano); Tom Berkmann (double bass); Mathias Ruppnig (drums)
'The contemporary sound is strong in this sparkling, eponymous debut from new European quartet Scopes, led by Austrian drummer Mathias Ruppnig and German bassist Tom Berkmann. Originally meeting up when based in New York for several years, performing there in various projects with French pianist/keyboardist Tony Tixier, they created the basis of a striking collaboration completed by acclaimed Dutch alto saxophonist Ben van Gelder. Their roots in jazz tradition are evident, yet Scopes' quest for a "sense for the pulse time" has shaped a young, sleek sound world incorporating wider influences – a melting pot of original, melodic composition and improvisation infused with textural synthscapes and liquescent sax. It's a confidently joyous partnership, Tom Berkmann describing their band name as "a frame inside which we can be endlessly creative – a 'musical playground' where we are able to open up in different ways." The freshness of Ruppnig's "Echo of Their Own Prejudices" is a great indicator of the environments which the band inhabit, an ebullient groove underpinning van Gelder's characteristically mellow, tumbling tones, complemented by Tixier's portamento synth lines and rapid piano runs. Other tracks include the almost Weather Reportian sax-and-synth pairing in eager "Balance". The analogous swan-like atmospheres in "Whistle" find Ruppnig providing its percussively busy undercurrent as synth auras glide over, contrasted by the seductive samba-swing of "Alter Ego". (album notes). 'SCOPES is an European jazz ensemble rooted in Berlin, Paris and Amsterdam. The group consists of Ben van Gelder – alto saxophone, Tony Tixier – piano, Tom Berkmann – bass and Mathias Ruppnig – drums who met in New York, where they each spent several years and developing their individual musical style. These four individual composers have joined to form a whole and create a distinct band-sound. While their music is deeply grounded in the jazz tradition, their songs serve as a platform to explore new realms through improvisation. Like a kaleidoscope, their music evolves through each concert and creates a unique experience for the listener. The acoustic quartet produces a transparent, modern sound that stands out from the classic line up of alto saxophone, piano, double bass and drums' (Whirlwind Recordings).
Details : Introductory Video : Listen to Équilibre :
Pat Metheny – Watercolours
(ECM Touchstone) – Released: 18th January 2019
Pat Metheny (6 and 12 string guitars, harp guitar); Lyle Mays (piano); Eberhard Weber (bass); Danny Gottlieb (drums)
"Metheny's compositions are perfect vehicles for his guitar, which blends smoothly with the breathtaking ensemble work." The recording is the first of Pat's albums to feature Lyle Mays, an important partner for the work ahead: "You can hear them reaching toward the sound that would burst forth a year later on the Pat Metheny Group album", Down Beat would later note. And with Danny Gottlieb on drums, three quarters of the Metheny Group is present here. The personnel of Watercolors is completed by Eberhard Weber, with whom Metheny had already collaborated creatively in Gary Burton's band. "Guitar wonder Metheny has made an astoundingly tasteful and free flowing record here" the Massachusetts Valley Advocate declared. (album notes). '….. refreshing to hear Mays on piano before synths took hold … Those choirs of different-voiced guitars are also there …. And, of course, there's his love of a feel good 'let's all be chums' melody …. a typically unfussy ECM reissue: no extras: but that's what you get from Metheny of the time: lyrically fresh and unburdened' (Andy Robson in Jazzwise ****).
Details and Sample :
Django Reinhardt – Diminishing Blackness: The Compositions Of Django Reinhardt
(ACME / El) – Released: 25th January 2019 [3 CD box set]
Django Reinhardt (guitar) with other various personnel
"Like Ravel or Berlioz, Django was truly a composer who imagined a composition down to its smallest detail. If he was above the other musicians he played with, it's precisely because he thought like a composer. When he went into the studio to accompany, say, Jean Sablon, he didn't merely play specific chords or notes, but an orchestral structure. The key to his style was that he was an orchestra in reduction." Stephane Grappelli..A three CD box set comprising more than 60 pieces that represent the broad spectrum of Django Reinhardt's compositional skill; whether as a solo guitarist, in the context of the famed Quintet of the Hot Club of France, in later aggregations perhaps under the increasing influence of be-bop, or during the years of maturity when Django's playing found an extraordinary new depth of expression. .From the swing classics of the Hot Club to such masterpieces of sensuality as Nuages, Manoir de mes reves, Troublant Bolero and Anouman, to the long melodic lines of the highly attractive, perfectly logical musical sculptures that are the Improvisations, the presentation seeks to illustrate the scale of Django's musical ambition. To appreciate him as a significant composer and a wonderful guitarist. The music from Django's own timeless sessions is complimented by Gypsy guitarist Matelo Ferret's splendid interpretations of the waltzes (which were not recorded by Django himself), and other fine recordings made in homage to Django in the decade after his death; by his close friend Henri Crolla, and by four more virtuoso guitarists from very different musical fields in Julian Bream, Pierre "Baro" Ferret leading Trio Ferret, Chet Atkins and the young Sacha Distel. And by Milt Jackson, both solo and accompanying the French saxophonist Barney Wilen. The anthology is completed by John Lewis' eternal tribute 'Django' performed by the Modern Jazz Quartet' (album notes). '….. it is welcome to have a box with a different perspective, homing in on Django the composer …. The first two records of the three are chronological … The third finishes the chronological sequence, but then becomes truly fascinating with interpretations of Django's writing by other instrumentalist … to be reminded that Reinhardt's music is a body of standards, easily equivalent to the American Songbook writers, and fertile ground for jazz improvisation, just listen to (Barney) Wilen's magisterial take on 'Vamp' or 'Nuages' and marvel' (Alyn Shipton in Jazzwise ****)
Keith Jarrett – Standards Vol.1
(ECM Touchstone) – Released 25th January 2019
Keith Jarrett (piano); Gary Peacock (bass); Jack De Johnette (drums)
'The protagonists had already recorded together on Gary Peacock's Tales of Another in 1977, but Jarrett's Standards project, with its dedication to the Great American Songbook, proposed a new sphere of operation, one that would make this trio among the best-loved bands in all of jazz. This New York Power Station recording from January 1983 established the simple blueprint: honour the standards as compositions and discover where the material can lead a creative improviser. There is fabulous playing here, including a wildly inventive "All The Things You Are", and heart-rending versions of "Meaning of the Blues" and "It Never Entered My Mind" (album notes). 'This is part one of a trilogy of album recorded in January 1983 … the others being Standards Vol 2 and Changes. The comprise the opening chapter of what would become known as Jarrett's 'Sytandards Trio' …(they approached) the American Popular Song repertoire … from a contemporary improvisational perspective …. creating chemistry based on mutual respect and trust that stood the test of time ….' (Stuart Nicholson in Jazzwise ****)
Details and Samples :
Helen Merrill – Four Classic Albums
(Avid Jazz) – Released: 5th April 2019 [2 CDs]
Helen Merrill (vocals) with various musicians
'AVID Jazz continues with its Classic Album series with a re-mastered 2CD release from Helen Merrill, complete with original artwork, liner notes and personnel details 'Helen Merrill'; 'Dream Of You'; 'You've Got A Date With The Blues' and 'The Nearness Of You' We got another live one! We music fans at AVID are delighted to present our tribute to one of the greats, perhaps slightly and unjustly unsung greats of the jazz vocal world. Miss Helen Merrill born 1930, just 89 years old and by all accounts, remarkably and wonderfully, still touring and performing. Miss Merrill, we are honoured to present four of your greatest albums for our listener's pleasure. Noted for her emotional and sensual performances, Helen began her singing career at the tender age of 14 years in 1944 when she began singing in jazz clubs in the Bronx. It is surely a great testament to her wonderful talent that for her debut album 'Helen Merrill' she was accompanied by none other than The Clifford Brown Sextet. And if that weren't enough for her second outing 'Dream Of You' she was joined as arranger and producer by the legendary Gil Evans who would soon be moving on to produce and arrange the legendary Miles Davis classic Kind Of Blue. Just a few other great names heard here on Helen's fine quartet of albums include Quincy Jones, Barry Galbraith, Oscar Pettiford, Bill Evans, Jerome Richardson, Hank Jones, Art Farmer, Frank Wess, Kenny Dorham and Bobby Jaspar. The sound of Helen Merrill is admirably described in the liner notes of her fourth release 'You've Got A Date With The Blues'… 'Every performance by Helen Merrill whether in an intimate East Side night club or in a recording studio is charged with a full heated surging emotional content that communicates immediately to every sensitive listener'. (album notes).
Paul Bley – Ballads
(ECM Touchstone) – Released: 25th January 2019
Paul Bley (piano); Gary Peacock, Mark Levinson (bass); Barry Altschul (drums)
'First released in the spring of 1971, these historic recordings from March and July 1967 capture the sound of a genre being born in the free ballads of Annette Peacock, played with extraordinary sensitivity by Paul Bley's trio. Annette Peacock: "Critics introduced new terms, describing this music as sparse, understated, minimal, radically lyrical. The free ballad captured the imagination of listeners for ECM and became requisite for the transformation of accomplished players." (album notes). ' …..despite the considerable activity of Altschul and the theoretically discordant piano gestures. it's all taken very slow and indeed out-of-tempo. So the net reult is easy to listen to, alhough definately not 'easy listening' (Brian Priestley in Jazzwise ***)
Details and Sample :
Harold Land – Four Classic Albums
(Avid Jazz) – Released: 1st March 2019 [2 CDs]
Harold Land (tenor saxophone) with various musicians.
'… a re-mastered 2CD release from Harold Land, complete with original artwork, liner notes and personnel details 'Harold In The Land Of Jazz'; 'The Fox' 'West Coast Blues' and 'Eastward Ho! Harold In New York' AVID jazz continues its mission to re-instate some of the lesser known or perhaps under-appreciated jazz musicians from the golden age of jazz. Here we feature tenor sax giant, Harold Land who started his musical career as a fiercely hard be-bop player with the Clifford Brown / Max Roach quintet of the early 1950s. Moving out to the west coast he hooked up with bassist Curtis Counce for a series of Counce led albums in the late 1950s (AMSC1196). He can also be heard as sideman alongside such names as Elmo Hope, Herb Geller, Gerald Wilson, Gerald Wiggins, Victor Feldman, Shorty Rogers and Thelonious Monk. Our featured 'Land-mark' albums come from his late 1950s, early 1960s period and include such fine jazz players as Elmo Hope, Leroy Vinnegar, Frank Butler, Carl Perkins, Wes Montgomery, Louis Hayes, Joe Gordon, Kenny Dorham and another fine trumpet player, the rarely heard and enigmatic Dupree Bolton' (album notes).
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Jazz Talks: Surrey, Buckinghamshire and Norwich Areas
Surrey and around:
Mike Forbes is a member of the Woking Area U3A and active in the Jazz Appreciation Group. He ha’s given presentations to other groups and is willing to travel in Surrey and surrounding areas to give his talks, which consist of music tracks with commentaries. Rather than focus on a particular jazz group or soloist he takes a theme and follows it chronologically from early to modern jazz. Topics include: Women in Jazz; Is There Less Improvisation In Jazz Than We Think?; Twelve Bars; Time After Time; Best of Buddies; and, as an exception to the rule, Unexpected Satchmo. No payment required although a little towards cost of travel would be appreciated. Just a CD player (and PA if it’s a very big room) is all that’s needed.
Dr Bob Moore has contacted us saying:'I am a member of the U3A (University of the Third Age) Jazz appreciation section. I now have given four talks to them on each of the following: Louis Armstrong, US swing bands of the 40's, Modern Jazz Quartet and Stan Kenton. I should say that I am not a profession speaker but I have reasonable knowledge of the subject. À présent that I have given the talks, it is most probable that they will gather dust in a cupboard but if anyone local to me in High Wycombe is interested, I would be prepared to repeat the talk for free with possible expenses for petrol if far away.'' The talks mainly simply require a good audio system plus someone to put on the CD's but the Kenton talk does included some excerpts from Youtube on the internet but these could be edited out. Si I use the Internet it would require screen plus associated equipment. The talks take about 90 min and the usual format is general background on the artist or group followed by tracks from CD's.'
If anyone would like to take up Bob's offer, you can email him at email@example.com
Similarly, Roy Headland who gives occasional talks to Norwich Jazz and Blues Record Club is offering to give talks with music to other groups in the Norwich area. A recent talk 'A Jazz Tour of Norwich and Norfolk' to an audience of 60 had the organiser saying: "Thank you for giving us such an informative and enjoyable evening,full of musical stars.The feedback was good and we hope to see you back with part 2." Other talks Roy has given include: Condon Jam Sessions; Clarinet Kings of Swing; Tommy Ladnier -"Mandeville to New York "; and a talk to Rotary on "The Winter Solstice" (their request) on Dec 21st which I managed to link in with Artie Shaw and called "The Shawtest Day"!
Roy's email address is: firstname.lastname@example.org.
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