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Home , Alex Riel, Andy Panayi, Bad Penny Blues, Benny Green (pianist), Bill Green (musician), Bottle Up and Go

ISSUE 164 SPRING 2021 UK £3.25 CONTENTS

The ’s classic 1959 recording of Time Out is now creating fresh excitement with the issue of Time OutTakes (pages 12-13)

4 NEWS 8 I GET A KICK OUT OF... Award-winning pianist CRAIG MILVERTON answers the questions

9 THAT’S THE NOISE ROGER COTTERRILL on

10 KEITH NICHOLS Remembered by PATTI DURHAM

11 EFFORTLESS MASTERY BRUCE ADAMS on the legacy of EDDIE BLAIR

14 FOR assesses an outstanding pianist

16 THE STATE OF SONG ‘Why no ?’ asks RON SIMPSON 17 AND OTHERS PETER VACHER’s praise for the all-rounder

18 JAZZ CLASS OF 1921 A hundred years from today, with FIND US ON FACEBOOK 20 CD REVIEWS The Jazz Rag now has its own Facebook page. 31 BOOK REVIEW: For news of upcoming festivals, gigs and releases, features from the archives, competitions and who 32 HENRY’S BLUESLETTER knows what else, be sure to ‘like’ us. To find the Looking back with Matchbox Bluesmaster page, simply enter ‘The Jazz Rag’ in the search bar at the top when logged into Facebook. 34 BOOK REVIEW:

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 Normally we would be looking forward to a packed year of jazz festivals: Fax: 0121 454 9996 Southport would just have finished and the road to the Mike Durham Classic Email: [email protected] in November would be filled with a shedload of goodies. This pleasant Web: www.jazzrag.com prospect has, of course, been obscured by the perverse refusal of COVID-19 to go away. Publisher / editor: Jim Simpson News / features: Ron Simpson As we write in February, the situation is complex for festival organisers who have Reviews editor: Nick Hart to balance out the current illegality of such events with the determination not to miss another year if at all possible – and infection rates are falling, though nobody International editor: Yue Yang knows when a safe point will be reached. Commercial Director: Tim Jennings Subscriptions & accounts: Nick Hart So this magazine covers a variety of responses, from the optimistic hope that a Designed by Nerys James festival might make it in April to the confidence (with fingers crossed) that Autumn Printed by Warwick Printing events will go ahead. But Bude Jazz Festival (scheduled for August 31) is probably www.warwickprinting.co.uk correct, if a little , to state on its website that it might go ahead and the decision is out of the organisers’ hands. Most of the summer festivals are rather © 2021 THE JAZZ RAG. All original material including more positive, giving definite dates, but detailed programmes usually have to wait advertising artwork remains the sole copyright of the until the clouds clear. Publisher and may not be reproduced without permission THE JAZZ RAG 3 NEWS NEWS

WHITLEY BAY 2021 The line-up for November A SUMMER’S JAZZ At the time of writing this, the 2021 currently numbers 33 from eight countries: Last year Birmingham, Sandwell time for the virus to subside At the time of writing many July 9-11. The same weekend home page of the Mike Durham the , the United and Westside Jazz Festival went sufficiently for at least a socially festivals are in the same the Burton Agnes Jazz Festival Classic Jazz Party strikes a sad States, , France, , ahead as probably the only jazz distanced festival to operate, but position. Jazz Jurassica (www. (www.burtonagnes.com) note, focusing on the death of , and Sweden. The festival to operate in the last 10 what form will it be allowed to jazzjurassica.co.uk) will returns, with the programme as Keith Nichols, the epitome of the trumpeters on view give a pretty months of 2020. A combination take? And how do you arrange run at Lyme Regis from yet not announced. classic jazz and a regular good indication of the quality of of boldness, flexible planning and it when many of the partner May 28-31. Kirkcudbright and very popular performer at the roster: Enrico Tomasso, Duke the good fortune to land on a businesses (pubs, restaurants, Jazz Festival (www. The Isle of Wight Jazz Weekend Whitley Bay billed to appear Heitger, Andy Schumm, Malo time of relatively mild restrictions etc.) are not even open at the kirkcudbrightjazzfestival. (www.iwjazzweekend.co.uk) again this year. Mazurie, Torstein Kubben and meant that a reduced-scale moment? So we can say that co.uk) has announced the is in a slightly different position, Keith Nichols (front left) with Mike Davis. festival, predominantly live, went the Birmingham, Sandwell and dates June 10-13 and hopes to having decided to move from Thereafter the site is drenched Spats and His Rhythm Boys ahead for ten days in October. Westside Jazz Festival (www. repeat most of the programme June to September this year and in positivity. Last year the Festival The concert themes are always Now Birmingham finds itself in birminghamjazzfestival.com) from the 2020 cancellation. yet to confirm the exact dates delayed cancellation as long as musical, Shuffle Along. Pianist an enterprising mix of the £1,000 plus privileged access to the same position as the majority will run from July 16 to 25, but Swanage Jazz Festival (www. in September. possible, but eventually had to Sam Wooding was one of early popular and the obscure. This the 2021 Classic Jazz Party. of this year’s summer festivals. for the moment that is all we swanagejazzfestival.co.uk) accept the impossibility of going jazz’s great world travellers, year, for instance, a programme Surely a date in July gives enough can say. takes its usual weekend this year ahead in the time of COVID, so employing such top players as But what of 2020? There will be of Henry ‘Red’ Allen 1929-1935 November 5-7, 2021, will see the and two winners of the Young Talent is bound to be a delight, but programme planned for 2020 and putting Russia on his touring Award at the Village Hotel in the eye is taken even more finally take place. schedule in the 1920s. And, as November, with this year’s choice WARNER JAZZ 13), but for a different reason. by some of the less familiar that afore-mentioned monster joined by the 2020 winner, just BREAKS STILL ON Pete Lay is hoping for a near- choices. It’s good to see the The settled format for the aggregation, 27 musicians will announced as Curtis Volp from In the present situation it’s to-normal weekend, with folks great Argentinian guitarist Oscar Mike Durham Classic Jazz Party cram on stage to pay tribute to . He plays and probably best to be positive, back dancing! Dancing or not, Aleman being commemorated probably makes it unique in the ’s Symphonic Jazz! banjo and has toured and but prepared for change. That is they have an impressive line-up and for ingenious programming world of jazz festivals. 30-plus recorded with the Alex Mendham exactly the position of Pete Lay, of bands joining the Gambit A Battle of Jazz and Far Away from of the top musicians in the style So the Classic Jazz Party excels Orchestra. He has depped for drummer/leader of the Gambit Jazzmen. The Tenement Jazz Home take some beating. The from all over the world gather at looking back to the past – his tutor, Martin Wheatley, in the Jazzmen and organiser of the Band makes the long trip from ‘battle’ is sub-titled ‘Fletcher in the Village Hotel, Newcastle, which makes it doubly creditable Vitality 5 at festivals in Europe, Warner Holidays weekend events and is joined by festival Henderson v. The Missourians’, for three long days (plus a pre- that it also looks forward to the and recently recorded an featuring traditional jazz bands. favourites Baby Jools and the presumably a reconstruction of festival concert the day before), future with considerable success. with multi-instrumentalist, Jazzoholics, the New Orleans Jazz some confrontation between each day filled with music from In 2019 the festival inaugurated Michael McQuaid, the title, Duets The norm is to have three a Bandits, Andrew Hall’s Memories Henderson’s band and the one- midday to the early hours, with its Young Talent Award, given in for No Reason at All, echoing year, with five or six bands of New Orleans and the Golden time resident band at the Cotton one substantial break for food. the first instance to a 23-year-old a whimsical title on a trio and sessions throughout the Eagle . Club, later Cab Calloway’s Apart from a late-night jam Texan, Colin Hancock. For this recording by , day broken up by meal-times. www.warnerleisurehotels.co.uk backing band. Far Away from session, the programme consists year’s award musicians in the Frankie Trumbauer and one of Warners have an ambitious Home deals with the music of of single-set themed concerts classic jazz style who are aged Curtis’ main influences, Eddie programme of events of all VENTURING two groundbreaking figures in researched, prepared and between 18 and 23 are invited Lang. He also cites Teddy Bunn different sorts of music and, BOLDLY jazz and musical theatre. Noble It’s good to see that Venture Jazz Band, Richard Leach’s Street concerts throughout the year arranged by one or another of to submit a covering letter and and Lonnie Johnson, so it’s not much to their credit, are clearly Sissle was one of James Reese Away Music Weekends are Band, the Eagle Jazz Band and rather than a time-specific event. the musicians and played mostly a recording to patti_durham@ difficult to work out where he’s determined not to cancel unless Europe’s Hellfighters in World programming jazz and rock & roll Baby Jools and the Jazzaholics. Not all the concerts are aimed at by select small groups – though btinternet.com by June 30th. The coming from! absolutely necessary. So the Jazz War One before co-writing with breaks for this year, though wisely November 8-11 sees the last two the jazz audience, but there are exceptions in the winner will receive a bursary of www.whitleybayjazzfest.com Break at Norton Grange Coastal Eubie Blake the highly influential saving them for later in the year meeting up with New Orleans certainly is: Ian Shaw and Liane occasional monster aggregation! Village (April 23-26) is scheduled Heat, the Dart Valley Stompers Carroll at St. Mary in the Castle to occur as usual, with the when, hopefully, some semblance and John Shillito’s Riviera on April 30. Later concerts Orchestra, and the and ticket sales apparently show Gambit Jazzmen joined by Black of normality has returned. Ramblers in Torquay. include Macy Gray in the De La Allstar 6tet. the British public’s optimism that Cat Jazz, John Maddocks’ Jazzmen, Both jazz weekends are billed www.ventureawaymusicweekends.co.uk Warr Pavilion, Bexhill-on-Sea www.scarboroughspa.co.uk/event/ things will be returning to normal the Savannah Jazz Band and the as farewell appearances by the (June 20) and Incognito in St. scarborough-jazz by then. The Isley Brothers, Sister Sussex Jazz Kings. very popular festival band New RYE GOES AHEAD Mary’s Church (August 28). Sledge, Candy Staton, Brand New The Rye International Jazz and www.ryejazz.com MIXED NEWS FROM Heavies and Nubya Garcia are If fingers are crossed for Norton Orleans Heat. On September Festival is unusual in that UPTON among the bill-toppers. Grange, so they are for Gunton 17-20 the Jazz and Lights Festival it features a series of big name Upton-on-Severn is one of those www.lovesupremefestival.com Hall, Lowestoft (September 10- at the Savoy, , features them alongside the Savannah towns that seems to be a magnet for a variety of festivals, but not MOSTLY GOOD Gambit Jazzmen this year. The Folk (April) and NEWS Blues (July) Festivals have already The Mostly Jazz, Funk and Julian Joseph cancelled, but the good news is Soul Festival in Moseley Park, that the celebrated Jazz Festival Birmingham, has proceeded with SEPTEMBER IN Newcomers this year are is still scheduled for June 25-27, confidence in fixing a full bill the Fergus McCreadie Trio, though Upton Jazz Festival is one for July 9-11. Headliners include SCARBOROUGH of many in the summer months Neneh Cherry, Martha Reeves The 18th Scarborough Jazz Elftet, an 11-piece led by vibist unable for the time being to and the Vandellas, the Fatback Festival resumes the tradition, Johnny Mansfield, Djanco with announce more than the dates. Band, Kenneth Whalum, Julie so rudely interrupted by the Andy Aitchison, and violinist www.uptonjazz.co.uk Dexter and Alicia Gardener virus both last year and in John Pearce, in a duo with Trejo. Tickets are on sale, with the attempted re-scheduling Scarborough favourite Dave LOVE SUPREME appropriate provision for for February, by returning to Newton. The inevitable and TICKETS GOING cancellation on rescheduling. the splendid Spa Complex always welcome appearance by the Octet (with Jazz FAST www.mostlyjazz.co.uk on September 24-26. The The Love Supreme Festival programme is the usual Portraits) is there on the final evening and a sample of the rest at Glynde Place, Sussex, has enterprising mix of newcomers an impressive line-up of and known favourites. of the programme comes up with such names as the Nikki Iles Jazz international stars for July 2-4 4 THE JAZZ RAG THE JAZZ RAG 5 NEWS NEWS

HEADLINERS FIXED tickets for the 2020 Festival and Clare Teal Clark Tracey FOR EDINBURGH to avoid two years of cancellations Edinburgh Jazz Festival (July 16- have produced a rather confusing 25) has not yet announced its situation. It had been hoped to programme, but two headliners carry forward headliners for 2020 from the aborted 2020 festival to 2021, but at the moment only have been rescheduled. Tickets Sari Schorr (April 2) and Noasis are currently on sale for the (5) are scheduled. Support events Jools Holland Rhythm and Blues for the Festival (April 1-5) need the Orchestra (16) and Curtis participation of currently closed Stigers (17). venues. However, the remaining www.edinburghjazzfestival.com headline acts from 2020, including Ruby Turner and Big Country, are NANTWICH now booked in for 2022! www.nantwichjazz.com POSTPONEMENTS Lee Daniels and Andra Day, who one that made a notable effort to The noble efforts of Nantwich LEO GREEN ON STABLES LOOKING plays Billie, hold Diana Ross’ keep touring in Autumn/Winter Jazz, Blues and Music Festival to LINE AHEAD performance in high esteem, 2020: the Nigel Price Quartet keep faith with purchasers of Leo Green has launched Clearly the Stables at Wavendon a 24-hour internet radio has no certainty of when it can they are emphatic that this is not with Vasilis Xenopoulos. They are station (WWW.LGRADIO. reopen, but it has a positive Lady Sings the Blues. According to followed by About Time, a sextet Curtis Stigers ONLINE), a subscription service policy geared to swinging into Daniels, ‘this is not a biopic, but led by Malcolm Strachan (April without commercials. Given action the moment it all becomes a moment of time with a woman 15), the Clark Tracey Sextet (22), his known musical tastes, it’s possible. As we write, the standing up to the country.’ Josephine Dawes’ Satori (May 6), not surprising that jazz figures second week in March seems Adrian Knowles with Spirit of 59 within the programme’s themed to be the time when the Stables Essentially the story is of Harry J. (13), Liam Noble/Seb Rochford/ programmes. In the Groove is a hopes to move from postponing Anslinger, long-time Head of the Tom Herbert (20), Ian Shaw purely jazz programme, while In shows to re-staging previous FBI’s Narcotics Agency and his with Iain Ballamy and Jamie Safir the Mood concentrates on the postponements. On March 11 the obsessive pursuit of . (27), Byron Wallen with Four Great American Songbook, with Jazz Dynamos’ Sunday lunch-time As a fervent anti-narcotics Corners (June 17) and Andrew the likes of Nat ‘King’ Cole, Louis appearance has been moved campaigner and an extreme McCormack solo and trio (24). Armstrong, Peggy Lee, Dinah from the Mancini Forum to the racist, he found the perfect target www.jazzleeds.org.uk Washington and Jim Marshall Auditorium in the in Billie and her song . together with some less jazz- interests of social distancing and In Johann Hari’s recent book on JAZZ IN PERUGIA inclined singers. Listeners of more jazz-related events follow. the worldwide war on drugs, he The line-up for the Umbria a certain generation will be Todd Gordon Sings Sinatra in pinpointed the story of Jimmy Jazz Festival (July 9-18) includes delighted to have the chance to Stage Two on April 13, the Clark Fletcher, the African American main events in the Arena Santa hear archive recordings of Leo’s Tracey Sextet plays the Mancini agent assigned to get close to Giuliana with such big names Available To Order Now much missed father, . Forum on April 18 and Charlie Billie – and the story of their as Tom Jones, Chaplin meets in relationship is also central to the and the Jazz CONCORDE PLANS pianist John Lenehan’s The Roaring film as it plots the path to the Orchestra, , Eastleigh’s Concorde Club is Twenties in the Jim Marshall death of Billie Holiday, handcuffed Redman-Mehldau-McBride-Blade ready to leap into action as soon Auditorium on the afternoon of to her hospital bed, guarded by and Jamie Cullum. www.umbriajazz.it/en DON’T WORRY as restrictions are lifted, with Paul May 2. FBI agents. Jones and Mike D’Abo scheduled www.stables.org AMBITIOUS NORTH SEA DETAILS for April 29 and Naturally 7 for TO FOLLOW May 16. The pace of jazz events BILLIE HOLIDAY PROGRAMME AT JAZZLEEDS (July 9-11) ’BOUT THE BEAR quickens in Summer, with the Jive MOVIE has to date only given details of The inside story of 60 years in the music business Aces on June 26 closely followed According to the planned JazzLeeds’ Jazz Reset programme three big-name, not strictly jazz by Curtis Stigers (July 1) and schedule the film, The United at Seven Arts takes the bold step concerts (by John Legend, Lionel Clare Teal and her Sextet (7). States vs Billie Holiday, should of scheduling near-enough weekly Richie and Alicia Keys), but the full www.theconcordeclub.com have been hitting the cinemas concerts on Thursday evenings ‘…like a breath of fresh air programme will follow in April. about now. Instead it is available from April 8 onwards. Highly www.northseajazz.com/en in a mini heatwave.’ on Sky Cinema. Though director appropriately the first band up is Nic Jones, Jazz Journal SUBSCRIBE TO THE JAZZ RAG ‘Teeming with insight and SIX EDITIONS MAILED DIRECT FOR anecdote about so many names £17.50 TO ANY UK ADDRESS known in so many households’ Overseas rates: Europe £24, Rest of The World £29 Cheques payable to Big Bear Music. Send to: RRP £17.95 AVAILABLE FROM ALL GOOD BOOKSELLERS AND DIRECT FROM BIG BEAR MUSIC Jazz Rag Subscriptions, PO Box 944, Birmingham, England B16 8UT Order your copy from www.bigbearmusic.com / 0121 454 7020 To pay by credit or debit card, visit www.thejazzrag.com Photo by Merlin Daleman or phone 0121 454 7020

6 THE JAZZ RAG THE JAZZ RAG 7 I GET A KICK OUT OF… THAT’S THE NOISE! I GET A KICK OUT OF… THAT’S THE NOISE! Award-winning pianist CRAIG MILVERTON answers the questions ROGER COTTERRELL reminds us of an unjustly forgotten talent.

What track or album turned What was the best jazz awesome band, almost telepathic How many jazz listeners know you on to jazz? performance you’ve in their interplay. Shake Keane’s music now? How Shake Keane (c) with the It was a tape my dad had of ever seen? many even know his name? Quintet Neville Dickie’s boogie woogie I’ve seen many great concerts but Liane Carroll and Roger Carey There is a loyal minority (and recording. I loved his version of I think seeing the great pianist were the other world-class not just jazz people but also Bad Penny Blues - so exciting for a in Germany when act and she is simply stunning lovers of music 7 year old! I was touring with The Terry alongside her brilliant hubby; traditions, as well as of poetry), Lightfoot Band was a particular I can’t praise them enough. but there should be many more. What was the first jazz gig highlight. They did an amazing So blessed to have this venue There are those of us who you went to? medium shuffle version of Georgia in Devon. fondly remember the music of I went to The Drury Lane and I looked across at the band altoist Joe Harriott’s brilliant Theatre with Trevor Walker and everyone was grinning. So in What’s your favourite jazz quintet, in which Shake was when I was 11. He was an older the pocket and a stellar lineup, release (new or reissue) from an absolutely essential part. neighbour and big jazz fan and with , Andy Cleyndert the last 12 months? The iconic quintet of it was a boogie woogie concert and . Wow! I’ve recently purchased Ella the 1960s, Free Form, Abstract, with several stars of that genre Fitzgerald’s Duets and she would be first choice for me. He Movement and High Spirits, can including Sammy Price and What’s the best jazz just confirms to me why she’s my had it all, and I would ask him, still be heard, reissued on CD. . That got me performance you’ve seen in favourite jazz vocalist. A selection ‘Can I have your hands?’ Shake’s wonderful trumpet and seriously hooked. the last 12 months? of some of the finest pianists flugelhorn, powerful and crystal Two come to mind, and both too, but in particular Ellis Larkins Head to page 29 for our clear, is an indispensable voice on What is your favourite jazz at The Ashburton Art Centre. blows me away. review of Nostalgia, Craig all of them. album and why? Firstly, The Nigel Price Quintet Milverton’s new album quintet’s pioneering free form Ultimately he developed links in principles from Coleman’s. For and The Oscar with Vasilis Xenopoulos, Ross If you could meet one jazz recorded with Tricotism. Keane was Joe Harriott’s other music alienated some listeners. Norway, which is where he died one thing it incorporated the Peterson Trio from 1957. It Stanley and Joel Barford. They musician, living or dead, who It’s available to order from musical half – rather like Paul He needed to make money. Shake in 1997, aged 70. piano as a harmony instrument swings so hard, with exceptional have a Hammond in situ there would it be and why? Bandcamp, along with the Desmond to Dave Brubeck, or made lightweight Caribbean- (which Coleman had discarded) Keane’s really prominent musical solos from everyone and Stan and I got to sit in with them I’ve always been a massive Oscar recent digital album from ZZ to . styled recordings, and albums of and it was more varied in career in Britain lasted only Getz is astonishing, particularly jamming a blues with two Peterson fan from when I first Bop also featuring Craig. The Harriott quintet’s bassist pop tunes over which his horns important ways than Coleman’s his stop choruses on Three Little Hammonds being put through heard him as a 13 year old used to say soared sometimes brightly, often about five years. The excellent jazz: it allowed the musicians Words. I must have played it 20 some serious abuse! What an watching his BBC shows, so he that Shake was the musical half-heartedly. jazz recordings he made, to use orthodox harmony times straight off. partner ‘Joe had waited for all his especially with Harriott, but some and rhythms as well as free life.’ Keane was one of the best It’s difficult to know what he with pianist- Michael form elements, in whatever modern jazz trumpeters working thought of those commercial Garrick and a few under his own combination seemed appropriate in Britain, and even better as a efforts. One was called That’s the name, are superb testimony to to the performance. flugelhornist – probably the best Noise. When I asked Coleridge his imagination and originality jazz flugelhorn player in Europe Goode, who knew Shake very as a jazz musician. For Shake, Will Shake eventually get the (equally with ) well, about the title, he laughed undoubtedly it was jazz that wide recognition he deserves? with his burnished, warm tone, and said, ‘When he heard music was ‘the noise’ he best loved, Perhaps his saga will end like that soaring phrases and precise he liked that’s what he would although he could function well of his musical soulmate Harriott. technique at any . bellow out: “Yeah, that’s the in many musical contexts. But it After the altoist’s tragic death in noise!”’ Keane was a big man is our inestimable loss that this 1973, he seemed to become a He arrived in London in 1952 in every way: six feet four and country could not give him the forgotten man. But a biography of from his native St. Vincent, aiming huge. If he hugged you, Coleridge opportunities he felt he needed Joe (along with one of Coleridge to study Literature at London used to say, he smothered you. to flourish as an artist and to be Goode) helped encourage the University and make ends meet He had strong, sometimes sufficiently financially recognised reissue of most of Harriott’s by playing music in whatever volatile emotions; he was warm, at the same time. recordings on CD. Now he has contexts he could find. He was exuberant, ironic and sharply his rightful place among the an ambitious poet too with observant, as can be heard in Plenty of jazz musicians face this British jazz greats. a grandly poetic real name – his poetry. dilemma, of course. But being Ellsworth McGranahan Keane. black almost certainly didn’t help, Maybe something similar will He got his nickname (short for Why isn’t he better recognised? just as it didn’t help Harriott. happen for Shake Keane. Philip ‘Shakespeare’) because of his love Neither the artistic triumphs And they both wanted to make Nanton, a St. Vincent poet and of literature. Over the years he with Harriott nor the money new music, a radical challenge writer living in Barbados, has just published books of strong, often from all the commercial albums for many listeners, creating written the first biography of funny, sometimes bitter poetry. was enough. Keane had decided sounds that were different from Keane. Titled Riff: The Shake Keane Now they are mainly hard to find. by 1965 that he could not make anything heard before. Together, Story, it was published by Papillote But as regards music, crucially, the kind of living he wanted in they tried in Harriott’s quintet Press https://papillotepress.co.uk/ from 1960 until 1965 he was Britain. He accepted a well-paid to invent a new approach to jazz, section/books/ this January. I Harriott’s right-hand man. job in Germany as featured jazz a free form music developed have just ordered my copy and soloist with Kurt Edelhagen’s almost contemporaneously with don’t doubt that it will be a The tragedy is that the orchestra. He never returned ’s innovations good read, spreading the word recognition he needed and to re-settle in Britain. Eventually in America, but entirely about the turbulent life and fine deserved did not come strongly he went back to St Vincent, then independently of Coleman. music of this talented man who enough. Regular work with moved to the States in 1981. But graced Britain’s shores for a brief Harriott did not bring enough he had no green card so could In fact, Harriott’s free form, time and left us a marvellous financial reward, and the work only scuffle for years working or as he called it, ‘abstract’ musical legacy. became more sporadic as the sporadically as a jobbing musician. music worked on very different

8 THE JAZZ RAG THE JAZZ RAG 9 KEITH NICHOLS EFFORTLESS MASTERY KEITH NICHOLS EFFORTLESS MASTERY Remembered by PATTI DURHAM BRUCE ADAMS considers the legacy of EDDIE BLAIR.

Keith Nichols died on January bands, later forming his own band, Fast forward again, this time Hall in Gateshead. The meeting the Heath band wound up regular the album Johnny Keating plus 27 21. I don’t need to tell you the Kobe Stompers). During this to the 2006 festival. By this took place at our home in concerts, it coincided with the Men. I actually had the privilege he was one of the world’s time Mike kept in touch with time Mike was working with Newcastle. 32 musicians were expansion of the London session of playing Eddie’s pad when this finest exponents of , the British jazz scene thanks to larger venues across Tyneside, booked and concert themes scene. Players like Eddie, Ronnie band made a rare appearance stride and other early jazz corresponding regularly with including the recently opened finalised. Sitting round the dining Hughes, Bobby Pratt and Roy about 20 years ago. Eddie had piano styles. He was also an Norman Field at Neovox. Settling Norman Foster-designed Sage room table, it was quite a task Willox, to name just a few, retired by then, but Ronnie accomplished performer on down to life in Newcastle, Mike Gateshead concert hall venue to ensure musicians would be in were ideally situated to take Hughes and Stan Reynolds were soprano , trombone began to check out the local jazz at which Keith acted as MD the right place at the right time their place in the many studio there from the original lineup. and ! As a band leader scene and on forming his own to an ambitious curtain raiser throughout the weekend. and TV sessions. Every light It wasn’t an easy pad, but, when Keith was a mentor to many band, the West Jesmond Rhythm concert titled Gershwin & the entertainment show had a band, Eddie played, it sounded easy. The aspiring musicians and an all- Kings seemed the obvious King of Jazz. He reworked Paul I’ve been looking back at some of even The Sooty Show. mark of a great player. round musical catalyst. He made name – after all, we lived in the Whiteman’s arrangements for a the concerts over the weekend legions of fans all over the world, suburb of West Jesmond! The hand-picked band of international of the first Party. McKinney’s It was the golden age for the To quote Andre Previn, ‘the two including here in the north east WJRKs quickly established a early jazz specialists working Cotton Pickers, Valaida Snow, best players. best places to do studio work of England. reputation on the local scene alongside the region’s renowned John Kirby, the Rhythmic Eight, were Los Angeles and London.’ playing pub residencies and Northern Sinfonia chamber Bix, Benny Moten and a Hot Eddie thrived in this environment. Dave Kerr, a graphic designer by Club set – that was for starters, He had a chameleon-like ability to Because of players like Eddie Blair, building a repertoire. As the orchestra. Pianist Wayne Marshall The passing of Eddie Blair on a week, playing every style of profession and life-long Geordie plus Armstrong, Ellington, King blend seamlessly with his musical Derek Watkins, Tony Fisher, John band’s reputation grew, jazz club and members of the Halle were Boxing Day made me evaluate his popular music. jazz enthusiast, co-founded, with Oliver and Clarence Williams. It surroundings. Apart from his Barclay, Derek Healy and Maurice and festival bookings followed. It drafted in to perform Rhapsody in contribution to music from the Steve Andrews, the Savannah was quite a programme. In the Dankworth and Heath tenures, Murphy and their ability to come was around this time that Mike Blue to a 1700 capacity audience. early 1950’s onwards. This was going to come in useful. Syncopators in the early 1970s. began to think about inviting At the time Keith described how words of one fan. One of the he covered just about everything up with the goods time after from George Chisholm’s time, Hollywood came to London. It was around this time that some of the leading musicians it was when the jazz musicians best weekends of my life! Sitting Eddie’s musical education was I found the range of Eddie’s Gentlemen of Jazz to Joe Harriott Dave first met Keith who was he admired to come up to met up at rehearsals with their in that room listening to the forged playing in dance achievements quite astounding. and John Mayer’s Indo Jazz Suite. Sadly, because of the anonymity in Durham to play a concert of Newcastle to play as guests with classically trained counterparts. finest classic jazz in the world, halls. Glasgow had more dance From arriving on the London He played the beautiful flugel of studio work, a lot of Eddie’s piano duets with Neville Dickie the band. Keith was one of It was like dogs sniffing round I kept asking myself. ‘Is this a halls per square mile than any city scene as a replacement for solo on Bill Conti’s Take Me playing will go uncredited, at the Redhills Hotel. They met those musicians and he returned each other, initially wary, but dream?’ Mike and Keith were on the planet. Before he came with the John Home from the Bond film, For but most of us will have again when Keith returned to frequently to work with the ultimately respectful. already planning for 2012 before to London, Eddie had probably Dankworth Seven, itself no mean Your Eyes Only. He featured on heard and enjoyed his playing. the region as one of four pianists WJRKs. Local jazz fans loved this first Party had finished… amassed ten years invaluable achievement, Eddie moved to the Johnny Keating’s All Stars album He was most definitely the booked to play a Jazz North East Keith’s trombone duets with Bob By the end of the decade Mike ? Chick Webb? The experience of working six nights Band in 1954. When ‘History of ’ concert. King, his duels on reeds with began to think about changing Missourians? Jimmie Noone? Jack alongside Bob Efford and on trumpeter’s trumpeter. Dave discovered that Keith was Derek Fleck, Fats Waller sets and both the format and scheduling Teagarden? ? Lovie booked into a hotel just a couple occasional novelty numbers, all of the festival. This involved Austin’s Blues Serenaders? Red of streets away from his flat. performed in his own inimitable booking individual musicians McKenzie? Eddie Lang and Lonnie Keith had learned about Dave’s style. Highlights were many, not rather than bands, putting them Johnson? Andy Kirk? Charlie new player piano and at the end least Keith’s wonderful repertoire together in various combinations Johnson? There was a veritable of the evening they shared a taxi of stomps, ragtime beauties and to play themed concerts, often treasure trove of classic jazz to back to Dave’s place. Keith played finger-busting numbers like Viper dream projects suggested by be revisited. what amounted to a free player Drag and When Mariuchi Does the the musicians themselves, hence piano concert until a neighbour Hoochie Coochie, complete with the Classic Jazz Party was born. Mike died suddenly in March (in his underpants!) complained the hokey Italian accent and hip- Mike realised additional jazz 2013. Luckily, though, he and about the ‘noise’! Their friendship thrusting dances! brain power would be required Keith had already discussed the led to Keith, on more than one to organise the kind of event he programme for the next festival. occasion, guesting with the Fast forward to the early 1990s had in mind, so Keith got the call! Keith immediately assured Savannah Syncopators. One when Mike became involved in The plan was to present a varied me that we should continue memorable occasion occurred organising the annual Whitley Bay programme ranging from duos with the event as planned. on a cold winter’s night at Jazz Festival. Keith first appeared and trios through to twelve piece Subsequent festivals have been Washington Arts Centre. During at the festival in 1993 as a guest and larger ensembles, covering a major success, thanks to the the concert snow began to fall. At of the West Jesmond Rhythm the classic jazz era, broadly efforts of a dedicated team. the end of the evening Keith and Kings. The festival grew in terms 1920-1935. Sets featuring the Frans Sjostrom, Claus Jacobi and the band were effectively snowed of ambition and financial support music of well-loved favourites Michael McQuaid all came on in. The bar remained open as and Keith rarely missed a year. such as Louis, Jelly and Duke board with Keith, and Jonathan they waited for a snowplough In between sets Mike bounced together with the music of often Holmes has added invaluable IT to arrive and Keith sat down ideas off Keith and this eventually neglected bands and musicians expertise, along with youthful at the piano once again to led to the formation of Spats would become the established enthusiasm for the music. I will entertain everyone! Dave and the and his Rhythm Boys. They talked format - Mike’s original idea. Like- always cherish Keith’s unstinting Syncopators would subsequently often about lovely old tunes that minded musicians from Europe, support after Mike died. I know meet up with Keith and one nobody else played, including a America and beyond were Jazz Party regulars will have of his many bands at festivals couple had sung, booked to appear, all specialists in their own memories and stories at home and abroad including and other neglected gems sung playing early jazz styles. The first of Keith on stage at the Village Breda in Holland, Edinburgh by crooners like Russ Colombo, Classic Jazz Party was scheduled Hotel, his wonderful musicianship and Keswick. Johnnie Marvin, Nick Lucas, Rudy for November 2011. The initial and his inexhaustible supply Vallee and Ike Edwards. Keith planning meeting took place in of jokes, often at the expense In 1983 Mike and I returned to suggested an interesting show January of that year to coincide of his fellow musicians, and Tyneside after living and working could be put together, Mike took with Keith’s annual appearance occasionally himself! abroad for several years (in Japan up the challenge and the band with Dave Kerr’s New Century Mike played trumpet in local jazz was born. Ragtime Orchestra at Caedmon 10 THE JAZZ RAG THE JAZZ RAG 11 OUT OF TIME OUT OF TIME

Chris shares the view that as the mid-20th century, racially Editions planning a whole series and nothing stands in the way of OUT OF TIME the blues choruses are more integrated groups were subject of hidden gems from 70 years future albums of outtakes and interconnected with the rondo to considerable prejudice. The of music? Darius Brubeck alternative takes. The Brubecks, DAVE BRUBECK’s celebrated album, Time Out, is in the news again with a fascinating theme in this version. attempts of bookers and college is cautious: who shared the stage with Dave new perspective on such classics as Take Five and Blue Rondo a la Turk. RON SIMPSON authorities to cancel tours over for thousands of concerts, will Interestingly this preference is an African American bassist, and ‘We’re testing the water with be involved with all new Brubeck investigates the story behind Time OutTakes, the first release on Brubeck Editions. by no means unanimous in the Brubeck’s successful refusal to this. Without doubt Time Editions releases every step of Brubeck circle of family and be cowed, are now well known, OutTakes is the flagship recording, the way - from track selection In December 2020 Dave celebrate Dave’s 90th birthday ‘When a record comes along ‘Dave made a last-minute friends. That, of course, is one of and Chris told a nice story about a great place to start. But we’re to remixing and liner notes. And, Brubeck (who died in 2012) and launched at ’s to that’s the right music with artistic decision,’ says Darius. the joys of an album such as this, the Reagan-Gorbachev summit only just learning to be in says Chris, worldwide recordings would have been 100 years old. coincide with the release of the the right people at the right ‘He realised he had an album of comparing versions of the same in Moscow in 1988. By this time business – we’ve spent all our of Dave Brubeck continue to Many celebrations were planned Clint Eastwood/BBC movie, In time, then that was destined strong originals, so he decided it number, not on any objective Chris was playing bass in the lives making music and leaving the surface. Recently, he received a for his centenary year, though His Own Sweet Way, the Brubecks’ to happen.’ wouldn’t fit in with that context.’ ranking of quality, but on grounds group, but, when Reagan invited business to other people. We’re communication from Australia live performances inevitably Quartet was still going strong of taste and context. Maybe the them to join him in Moscow, not attempting to take everything from the son of an engineer on fell victim to the coronavirus when the world stopped early It’s the most important record So how do the tracks on Time version of Blue Rondo which Dave moved his son to trombone on ourselves. Verve has released local radio who had taped the outbreak. However, two books last year. A tour of Hong Kong in Brubeck’s career, but is it OutTakes differ from the versions sounds so fresh and alive in 2021 and brought back Gene Wright – Lullabies, a 2010 solo album which quartet in action. Meanwhile on Dave Brubeck saw the light was cancelled, but the band Darius’ and Chris’ favourite we all know? Are they sufficiently would have made less impression and Chris is convinced that this Dave Brubeck recorded while Darius points particularly to of day during the year: Dave completed UK and European album by their father? Darius different to justify this album on on the listeners in 1959. Overall, was, at least partly, to wave the on vacation in Florida – he was good quality live tapings of many Brubeck: A Life in Time by Philip dates before Chris and Dan flew is noncommittal: other grounds than just curiosity? it’s fair to say that Time OutTakes flag for integration, to make an reluctant to do it at first, but European concerts. Clark (reviewed in Jazz Rag back home. Almost immediately Darius immediately turns to the sounds less studied than Time Out impact in Russia. agreed to do just one take of 161) and Dave Brubeck’s Time all three brothers went down ‘It’s a matter of horses for iconic drum figure on Take Five – as Darius puts it, more like the each song!’ It looks as if all those Brubeck Out by Stephen Crist. Both of with coronavirus. Chris suffered a courses. It all depends on the (which he claims everyone can quartet in concert on the road. Sadly Chris has no idea whether completists out there will need these writers, researching in the mild attack, but Darius in London mood I’m in. I love the solo piano recognise in three seconds!) Wright heard Time Chris calls this last solo piano to clear space on their shelves in Brubeck archive, came across and Dan in Vancouver were far albums – perfect when I want which is still recognisable, but Perhaps the most unusual OutTakes. He had been moved recording of Dave’s a beautiful the coming years. hitherto unknown outtakes from more seriously affected. Darius to relax.’ tantalisingly different. In fact the feature on the album is the last to a care home in the last two and heartfelt example of Dave’s the ground-breaking 1959 album, was informed on admission to full collection of outtakes, from track, billed as Band Banter, 4 ½ years and contact with the musical wisdom and sensitivity. www.davebrubeck.com Time Out. The Brubeck family has hospital that he had a 50-50 Chris similarly holds to the view which the album tracks have minutes of experiments, fluffs, outside world was reduced become deeply involved in the chance of survival and before that he loves Time Out, but plenty been taken, shows changed decisions, comments by COVID-19. Chris sent him The degree of family ensuing project, but Dave’s pianist he came out on the right side else from the Brubeck oeuvre, gradually evolving the familiar and jokes. Obviously it helps to several copies to hear and to commitment to Time OutTakes son Darius is emphatic that the of the equation he endured 36 too, including , version. Chris similarly dwells show how performances evolved: share, but was he well enough to is remarkable and has resulted credit goes to the academics, one days in hospital, 25 of them in which includes It’s a Raggy Waltz on the variations in playing 5/4 for me personally the biggest play it and enjoy it? Who knows? in an immaculate production. in the UK and one in the States, intensive care, and underwent which is generally regarded as a that Morello went through, as revelation of the outtakes album What is certain is that there for getting it all moving. a tracheotomy. Dan’s case was classic alongside the likes of Take he found unexpected difficulties is that the Brubeck method was Time OutTakes provides Brubeck is no shortage of material for equally dangerous. Five and Blue Rondo. However, with the rhythm, but also points much less academic than I had Editions with a fine first release, future Brubeck Editions releases. Family identity is crucial to Chris clearly has a particular out that these outtakes reveal imagined. For Chris, however, a one that is as likely to appeal to Chris makes the point that, the Brubecks. The detailed Fortunately all have now regard for Bravo Brubeck, the that the famous piano vamp on particular pleasure is the ‘fly on new listeners as much as to Dave though his father’s deal with and helpful liner notes to Time recovered – apparently Dan has 1967 live session on a tour Take Five was not a preconceived the wall’ element of giving a real Brubeck aficianados who can Columbia was not perfect, it OutTakes feature commentaries even been able to play a few of Mexico with two Mexican decision, but Dave’s response sense of what the musicians were look forward to a joyous time had one extremely welcome by no fewer than five Brubeck gigs – and the Time OutTakes musicians interacting with the to Joe and like. There was, he says, a ‘great comparing versions and arguing feature: he kept control of his siblings, Darius, Chris, Dan, Cathy project proceeded unaffected. quartet and introducing a new ‘drifting’, to use Chris’ word. So friendship’ within the group and over preferences. But what next? material. So now the family has and Matt, and Darius’ and Chris’ The obvious question to put element from a different tradition what was intended to it’s good to enjoy again Paul Is this a one-off or are Brubeck access to the Columbia archives wives are also involved in the to Darius and Chris is, ‘Why is into their improvisations. hold the performance together Desmond’s sardonic sense of project. Over the years Dave’s Time Out such a seminal album?’. became one of the most instantly humour and Brubeck’s positivity Time OutTakes has different musical collaboration with his Darius reckons, ‘It’s kind of recognisable musical phrases as cheerleader for the quartet. (l-r) , Joe Morello, Eugene Wright, Dave Brubeck sons was considerable. In the circular – you don’t realise what versions of the first five tracks in jazz. late 1970s, after the death of is going to be a hit album until it from the original album, with This friendship extended alto saxist Paul Desmond, the becomes one. To some extent it one mis-spelling corrected. The track that shows most beyond the quartet to the next New Dave Brubeck Quartet was the right thing at the right Kathy’s Waltz is now, rightly, variation is Blue Rondo a la Turk, generation of family members. In included Darius on electric time.’ However, he has no doubt Cathy’s Waltz. The error having considerably longer than on Time the liner notes this theme recurs, keyboard (as he wryly remarks, that the album owes much to been the fault of the record Out with more improvised blues with Chris going so far as to say expecting a venue to come up Dave’s creative vision, not only company, Cathy Brubeck for a choruses added. Darius explains that Gene Wright referred to with two grand would in the concepts and the inspired time delighted in referring to why he thinks it was not chosen him as his godson. It was a sad have been a bit much), Chris use of different time signatures, Kolumbia Records. No alternative for the original album: coincidence that the bassist died on bass and trombone and Dan but in the conviction that it takes were available for Pick Up in the last days of 2020 at the age on drums. Chris and Dan also would work, despite opposition Sticks and Everybody’s Jumpin’ ‘When there is a choice of of 97. Chris identified him as a featured in other later versions from the record company, as they were achieved in single takes most record producers big influence: of the quartet. Columbia. They didn’t want an takes. Instead there are three will go for the shortest and, in album of originals in all sorts of ‘new’ tracks. Watusi Jam is an the case of a new composition, ‘Though I play an electric In the USA, the Brubeck Brothers weird times (‘Why don’t you improvised trio performance (no the most polished in presenting fretless bass and he played an Quartet with Chris and Dan play tunes from My Fair Lady?’ Paul Desmond) which developed something new.’ upright bass, I learned a lot from Brubeck, Chuck Lamb (piano) is Darius’ sardonic summary of into Pick Up Sticks and the final him, knowing what works and and Mike DeMicco (guitar) has their attitude), refused to finance track consists of banter between It seems logical to want to knowing what to expect. The bass released five CDs and toured the project properly or give it the band members, but the one make clear the form of a new in a sense is the most restricted extensively for 20 years. In any initial hype and surrendered I found most interesting is I’m composition, but, from the instrument in the quartet or, recent years the major musical rights to Brubeck himself – his in a Dancing Mood. It’s a fine perspective of over 60 years to put it another way, the most output from the family in the life and career were transformed. performance, with delightful later, I much prefer the freer supportive, what Gene called UK has been Brubecks Play interplay between different time performance on the outtakes “holding the fort”.’ Brubeck, a quartet with Darius, Chris agrees with the ‘right thing/ signatures, and Columbia wanted album. Darius agrees because Chris and Dan joined by Dave right time’ theory, but takes a standards, so why was it cut from of what he calls ‘the integration When Gene Wright joined the O’Higgins. Formed in 2010 to more cosmic view: the original album? of the head and the solos’. quartet in 1958, it had more than musical significance. Even as late

12 THE JAZZ RAG THE JAZZ RAG 13 FOR BRIAN LEMON… FOR BRIAN LEMON…

you.” I thought: am I in trouble? he said. When the time came the blunt response led to the request chronic osteoarthritis fused his FOR BRIAN LEMON… But when I went to see Benny piano part had disappeared. I had a by our producer that he be fingers together, forcing him, in he just said, “I thought you might sudden memory of noticing a small dismissed from the session half the end, to play (what was still DIGBY FAIRWEATHER explores the talents and personality of another fancy playing Poor Butterfly? So fragment of manuscript floating in way through and his replacement very convincing) ‘one finger great musician from a golden age of British jazz. we played it as a duo!’ Much the toilet bowl of the studio!’ was . Indeed the now piano’ with his right hand. After later on he would record and decidedly mis-named BOBJ his career was over Brian came tour internationally with Charlie Like all of us Brian revered Roy would be one of his final career to hear me in Kent with my in conversation (‘dear boy’ was Watts’ quintet. The Williams’ playing. And once (on stages, and for some reason our quartet and with Ron Russell’s a favourite appellation), Brian’s leisurely recording sessions, a distinguished to late shows at the great Concorde band, lifting his pint with both company was unleavened delight. unceasing flow of money and celebrate the life of the late Don Club down at Eastleigh proved hands, and at last he was in a I began to recognise and enjoy queues around every club and Lusher at London’s Cadogan Hall a milestone to his final nemesis. wheelchair. But we carried on his trademark mannerisms concert hall were all an eye- in, I think, 2006) he explained On two concerts at least we corresponding, notably when we (among them a measured raising opener to Brian; he became close the combination of Roy’s gifts found ourselves pianoless after found a treasure trove of jazz of the right arm and forefinger to friends with Watts and regularly that had turned him into a player he would leave the stage unable reissues on a budget label. I sent signify approval) and Alan Barnes attended Rolling Stones concerts for the world stage. ‘When Roy to complete the session. And on several down to his last home remembers more. ‘He would often as a result. ‘One day’, he told me, plays,’ said Brian, ‘the music the second time (so I was told) with Susan in Bexhill but the last introduce himself as “Lord Lemon ‘I was back in the hospitality area settles.’ Exactly right. his heart had briefly arrested and of them – a double album of Art of Ealing”, usually followed by with Mick and Keith Richards he was only saved by his final Tatum solos - arrived too late. “I’m very rich, you know.” I always who always brought his Dad to Later on in his career Brian faithful and loving partner Susan thought that this fooled nobody the concerts. Charlie saw Mr and I worked together in the Lord who looked after him until I’m sorry, Brian. I wish there until we were both playing in New Richards at the bar, asked him if package show called The Best the end. was more space here to tell York with ’ Tentet. In (l-r) Brian Lemon (centre, with Val Wiseman) and the Lady Sings the Blues band: (l-r) Jim Douglas, he’d like a drink and Mr Richards of British Jazz featuring Lusher everyone about your generosity a bar across the road I asked for and Roy Willox and previously , Al Gay, Roy Williams, Digby Fairweather, Eddie Taylor ordered a double brandy. Charlie When did Brian’s decline begin? (the sending of tapes of great jazz a “large Brandy for Lord Lemon” said, “Be careful, Mr. Richards! Too led by the late great Kenny I believe it was after his beloved music to share with friends); the and the staff were genuinely In the cool, cool cool of the Chisholm, Sandy Brown, Danny the long-forgotten many of those and you could end Baker. Despite the starry mother died in Nottingham; the intense late-night conversations impressed. We had free drinks all lackadaisical lockdown Winter Moss and . One pub-cum-cathedral The Mitre, up looking like your son!”.’ company this was never my chance came to buy her (and his) across the Pizza Express tables night and the evening ended in us evenings when everybody in the central connection was the red- south of the Blackwall Tunnel in most comfortable playing period. old home at advantageous cost with friends to discuss those jazz being photographed with a Korean jazz world is busy doing nothing hot cornetist who, East London. Monty Sunshine Such tales were told – again Replacing Baker was a tough and Brian took out a mortgage. ‘masters’ like Louis, Teagarden rock band!’ (much), I pour myself a large from the 1950s, had been one of had pulled out of his gig and – in considered slow motion, job for any trumpeter, and his Then, very sadly, the deal fell and Prez; the fun and the laughter brandy and think about our my own formative jazz influences landlord Charlie, at six hours’ eyebrows gently raised at show had been a finely designed through but Brian kept the – and of course the music- Brian’s supreme musical talents dear friend, the great jazz pianist and loves on records. notice, had given me Monty’s the punch line to reveal wide and fully routined affair; similar loan, buying a new grand piano, making too. All we can (all) say is as much as his slow charming Brian Lemon. Brian had come down from his considerable fee (around £36.00!) humorous eyes. And Alan Barnes at the time to my own Half cigarettes and more brandy. As ‘thank you’. personal mien also made him an hometown of Nottingham at just to put in a band of my own. remembers more of them: Dozen on which I had lavished his jazz work gradually declined easy target for women admirers Brian loved brandy, and if you twenty years old to work with Booking the great clarinettist notably at more than thirty arrangements and most of my over the years, debts and rent With special thanks to and there were plenty of them offered him a drink at whatever Freddy’s band in 1956 and was Henry Mackenzie (from Ted recording sessions organized by own private musical dreams. Sans became harder to pay, drinking Alan Barnes. after his first marriage had come bar you’d conspired to belly-up, it regularly there when Randall Heath’s orchestra) Sandy Brown Brian’s longterm champion John Baker’s musical choreography, accelerated and in the last years to an end. But sometimes, in his would be his choice. ‘Brandy, dear chose, from time to time, to re- sideman Tony Milliner, bassist Bune for his Zephyr label. ‘Brian however, the group disassembled earlier years, these could also boy!’ was his regular amicable visit the jazz scene; most notably Ron Russell – and Brian Lemon had a long drawn out way of telling into a none-too-remarkable jam – however reprehensibly – be return, eyes widening in the in 1971/2 when it was Brian who – may not have pleased Charlie a joke in the studio. He’d start session format using only a set brief marriages of convenience. semi-slow motion that governed crafted two exquisite albums for who was used to a banjo and telling one to Roy Williams and then of tired jazz standards, regularly On one occasion after a late job much of his body language and his old friend. The first of them, ‘strict’ Traditional music. But perhaps would walk in trotted out for re-rehearsal at Dean Street’s Pizza Express verbal mannerisms. ‘but I’ll leave Freddy Randall and his Famous he paid up and that night I got half way through. “Allan, you would before the show. This puzzled the indefatigable Dave Shepherd the size to your discretion!.’ This Jazz Band, recorded for the to know Brian for the first enjoy this; I’m going to ask Roy’s me until, one evening, Brian came (who also held down a day job for me regularly prompted the budget-label Rediffusion in 1971, time; he accepted a taxi-ride permission to start again!” We’d get to my rescue. ‘Digby,’ he said to in Central London) had offered order of a double measure, but framed him perfectly with simple to Bromley-By-Bow station (to nearly to the end and me quietly, ‘it’s not a jazz band. to run Brian home to Ealing on one occasion (so I hear) his but touching arrangements of pick up the Central line back would come in. “Dave you would You have to realize that. They before driving back east with me, great friend and playing partner both standards and decidedly to his Ealing flat) and we talked, enjoy this, I’m going to ask Roy and can all play jazz – but that’s all.’ and the three of us were joined cornettist Warren Vache bought non-Dixieland tunes like Never amongst other things about the Allan’s permission…” – and so The dismal results were plain by a female fan whose most him a full pint of Courvoisier; a No Lament and Gone with the great Tommy McQuater, his near on.’ The albums, nonetheless are on our one and only recording beauteous days were far behind gesture which, no doubt, made Wind amid stellar company neighbour. ‘Tommy is a master,’ some of the best British (and at Abbey Road where the faults her. Brian followed her into her those eyes open even wider, with including Dave Shepherd and he said gravely; the first – but American) jazz on record, but audibly stood out and nothing flat nonetheless while Dave the brief snort of appreciative Pete Strange. And one year later not the last – time I would hear quite definitely on Brian’s musical worked. By now too, Brian was and I waited in the car for a full laughter which greeted any came the Randall-Shepherd the word. terms. Alan Barnes again. ‘One drinking very heavily indeed half-hour. When Brian emerged such gesture. All Stars, similarly recorded time had been asked to and – to make matters worse to be greeted by our incredulous in-studio for Alan Bates’ Black From then on I worked with arrange Weather Report’s Birdland. – he was to fall out with our protestations Brian looked grave I first became aware of Brian in Lion label where, with Shepherd, Brian whenever I could and it He responded with a superb chart, (admittedly prissy) producer who again. ‘She runs a night-club, you the middle 1960s when it was , Dave Hewitt, Kenny was easy as we moved in many but it was not a tune that interested encouraged us, at one point, to know,’ he said. plain that he was regularly at Baldock and John Richardson, of the same circles; amongst Brian. “Record that at the end,” ‘put more energy into it!’ Brian’s the centre of the music I loved them the great Band Brian’s piano and pen provided What Brian hardly ever talked best, the style that still hovers #2 (when Alex was ill), Dave more perfect settings including, about were his supreme pianistic Val Wiseman has her own memories of Brian from his uncomfortably under the name of Shepherd’s Sextet, Ron Russell’s as a final track, River stay ‘way from abilities and in our conversations time with Lady Sings the Blues, her Billie Holiday tribute. ‘Dixieland’ or maybe ‘Swing’. Able fine band and later, from 1987. my door. This headlong Dixieland such references always turned equally to work with American Big Bear’s jubilant celebration of fantasy dropped a choreographed up as incidental parentheses I was led to believe that Brian didn’t much like singers, but he was a masters such as so-called Billie Holiday called Lady Sings the quote from Riverboat Shuffle rather than exclamation points. joy to work with in the early days of Lady Sings the Blues. He really ‘modernist’ (Brian Blues starring Val Wiseman. So, as into the tune’s bridge and a One such was a tour with Benny brought out the subtle nuances of and I treasure held to himself the term ‘master’ the years went by, I got to know triumphant re-setting of Old Goodman’s all-British band in the fact that his intimate and very personal style is captured in the as a supreme accolade), he – and rejoice in – my new friend Father Thames at the end and the early 1970s. ‘I was in the album of the show back in 1990. By his own admission he had a somehow seemed to revert most as both man and musician. Slow there was love in every note. dressing-room,’ said Brian. ‘when weakness for ladies’ ankles and was partial to his favourite tipple, happily to the kind of musical of speech, admirably reluctant the manager came in and said but he always insisted, quite indignantly, that the glass of wine company that included fellow UK I first met Brian one Friday to offer criticism of fellow- “Mr Goodman wants to see pictured on top of the piano on our album cover was not his! masters like , George evening in (I think) 1973 at players, and gently aristocratic 14 THE JAZZ RAG THE JAZZ RAG 15 THE STATE OF SONG JEFF CLAYTON AND OTHERS THE STATE OF SONG JEFF CLAYTON AND OTHERS RON SIMPSON wonders what American states governments have against jazz. PETER VACHER pays tribute to one of jazz’s great all-rounders.

What makes New Jersey Mud disqualified by being about back to 1615, a Latin hymn by changed. When Covid-19 We’re gradually getting used him heard him live and also on staying for three years. This was This took him to the Basie unique? Well, it’s the only one the river, rather than the state? Melchior Franck called Lauriger closed proceedings, the General to a new kind of jazz musician record, I can only concur with followed by a multiplicity of Orchestra from 1984 to 1986, of the United States not to Horatius, but the real surprise Assembly was about to examine these days. Where once session Grove’s assessment: Clayton was other touring and recording jobs alongside brother John, first have a state song. What went At this point Indignant of Atlanta comes with the words of it again. It amazes me that, at musicians in London more or the real deal. with acts like Willie Bobo, Earth, under the boss himself and wrong, one wonders? Didn’t will be about to pen a furious Maryland My Maryland. a time when a Confederate less held their noses as they Wind & Fire, , The then , and to tour Hoboken’s finest, , letter to the effect that his flag in the Capitol shocks the took on some trivial jingle or For all that, it’s hard to cite Temptations, Patti Labelle, Gladys and record with Frank Sinatra produce anything up to standard? state has a state song written In 1861 Maryland, poised nation and moves against statues pop accompaniment job, in effect Jeff without mentioning John, Knight and the Pips, ‘Always on in 1987 and travel across the Or surely Newark’s Rutgers by Hoagy Carmichael at the between North and South, was of Confederate generals are taking the money and running, that’s to say his bassist brother the road, moving around and world in first class style with the University’s Jazz Archive could prompting of Frank Trumbauer debating whether to secede from not uncommon, just over the and then made for the Bull’s , his elder by some in the studio cutting albums,’ all-star Philip Morris Super Band have suggested something! and first recorded by Hoagy with the Union. In the end the state state line from the District of Head in Barnes to assuage their years and arguably the more he said. in the early 1990s, appearing Bix Beiderbecke. Georgia even remained loyal, but there was Columbia proud Marylanders guilt and play some ‘proper’ jazz, prominent of the two, known unforgettably at the Albert Hall Seriously, it’s quite impressive gave its name to a band in the plenty of pro-Southern sentiment have official state backing for today’s players seem altogether for his six-year period with ‘Then disco came in and I did in London in October 1991 with to find how many official state 1930s led by Britain’s first major there and, when Northern troops singing about Lincoln as a tyrant! less pompous or purist in their and celebrated now that. I saw myself as a studio BB King and . songs draw on country or folk jazz star, ’s Georgians, marched through , riots musical dispositions. as a composer and arranger. musician which was great at the Add to this a heavy commitment or popular music. John Denver following his hit recording of took place with some fatalities. There is a problem with songs Unsurprisingly perhaps, the time, but after doing it for a while to teaching – he was made an figures twice: Rocky Mountain the song with ’s band. Immediately a Confederate of the Old South, but Florida It’s telling to consider the impact brothers Clayton formed a big it has its limitations.’ Working adjunct professor at UCLA High (Colorado) and Take Me Pretty impressive jazz credentials, sympathiser, James Ryder Randall, modified the lyrics of Old Folks at of someone like the late pianist band with drummer as what commentator Michael in 1998. Home Country Roads (West but it is specifically the version penned a longish poem calling on Home and Virginia retired Carry and educator Keith Nichols (who as their co-partner back in 1985, J. West called ‘a journeyman Virginia). Kentucky has a great by (born in Georgia) Maryland to rally to the Southern Me Back to Old Virginny in 1997 – died on 21 January) on today’s and it may be that the activities reeds player’, he handled studio I recall him as a vital and pairing, Stephen Foster’s My Old of the song by Indiana-born cause and soon Randall’s words too much about ‘this old darkey’ RAM students. As Richard Pite and multiple recordings of the assignments for (a energetic soloist, with an Kentucky Home and the state’s Hoagy Carmichael that has been and Franck’s melody proved and ‘old massa’, definitely out put it in his Nichols obituary Clayton-Hamilton Orchestra are Grammy nomination), Natalie engaging personality, his playing bluegrass song, Bill Monroe’s adopted by the state – a great made for each other. of touch with today’s attitudes, for London Jazz News, ‘Keith Jeff Clayton’s most considerable Cole and Whitney Houston, Tony still infused with something of classic Blue Moon of Kentucky. version, but still the jazz tally but to my mind a sentimental introduced many young [RAM] legacy. Their quintet, founded in Bennett too, and was on call Adderley’s fervency, but here’s Ohio comes up with Hang On, stands at nil! The words are fair enough, I song written by a black man, players to a treasure trove that 1977, is also noteworthy, even to work with Ray Charles, Ella what LA’s top writer Kirk Silsbee Sloopy, Woody Guthrie figures for suppose, when written with war James A. Bland, in 1879 is less they had, in many cases, never more so once John’s talented Fitzgerald, , Lionel said of Jeff: ‘He can charm you Washington State, his son Arlo There is, however, one tune imminent by a man who lost a offensive than one calling for explored or heard before…. in son, pianist Gerald Clayton, Hampton and sundry local big with a ballad, take you into the for Massachusetts. Some states intermittently popular as a jazz close friend in the Baltimore armed insurrection to preserve a the UK today there are many joined them. bands whenever needed. That is alley with a blues, pin your ears take these things very seriously. vehicle which has a claim to riots, but it’s incredible that slave society. How can Maryland young players who are well until ‘the studio jobs no longer back on a bopper, and do it all New Mexico’s long list includes being, in some ways, the most Maryland adopted it as the continue to recognise it? versed in all the various periods Jeff was born in Venice, California, rang my bell as a musician and I with an unassuming virtuosity.’ A a state song in Spanish, as it bizarre of state songs. If you take official state song in 1939 with and styles.’ This was illustrated on 16 February 1955, one of looked to jazz in my search for a sad loss, for sure. should, but also a bi-lingual one a stroll through Youtube, you’ll words unchanged. These words Mind you, Maryland My Maryland recently for me on hearing the a family of seven, and grew up new frontier.’ (for those who are not sure what find no shortage of versions describe Abraham Lincoln as a is a rousing tune and I guess Ronnie Scott’s All-Stars tackling in LA, where his mother was of Maryland My Maryland by tyrant, a despot and a vandal, that’s what latched onto a pianist, organist and church they identify as?). Tennessee wins Just A Closer Walk With Thee as an Peter Vacher Collection numerically with 10 state songs traditional jazz bands of various refer to ‘Northern scum’ and use in 1945 when his Creole Jazz exemplar of New Orleans jazz, choir director, who encouraged and also qualitatively with the levels of competence. The jazz- the phrase, sic semper tyrannis, Band recorded it – so rousing, on a festival live-stream. Listening her sons to pursue music. If beautiful Tennessee Waltz (Felice inflected multi-strain version that four years later Marylander in fact, that it also serves for to trumpeter Freddie Gavita, an Cannonball Adderley was Jeff’s and Boudleaux Bryant also on works very well, though clearly John Wilkes Booth shouted when My Michigan, Florida My RAM graduate, playing the stately first inspiration, his teenage its list). Oklahoma, of course, it was not originally a jazz he assassinated Lincoln. Let’s Florida and The Song of ! melody carefully but with feeling, inclinations were also fuelled by plumped for the obvious! piece. What is intriguing is that face it, Lincoln is the last person and then to further reflect on a diet of gospel music, Motown the same sturdy melody does to be vilified: even the former Incidentally, if you’re ever in the his mastery of the bebop lexicon and soul. When I met him for But where is the jazz? Louisiana service for at least three very President, Donald Trump, not American overseas territory of in Alex Webb’s band or to hark an interview in November 1993 could surely have found room different pieces, the other two a man to deflect honour from the Northern Mariana Islands, back to his contemporary while he was here on a short for , though the German carol O Tannenbaum himself, conceded that Lincoln you’d better brush up on the quartet handling modal originals, solo tour, he was keen to praise the state’s choice is beyond and the Communist anthem The might have done more for African words of Gi Talo Gi Halom Tasi! is to recognize the relevance of his first teacher, the reproach, You Are My Sunshine, a Red Flag. Americans than he had! Pite’s words. Gavita can do it all. much-respected multi-reedman terrific song reputedly written Jazz Rag would be delighted And excel. Across the styles and Bill Green (who has since died) in by a future Governor of the In an idle moment I decided At various times between to hear from any readers across the genres, with no hint of these terms, ‘He’s a very upbeat, state, Jimmie Davis. Where are to find out which of these is 1974 and 2019 Maryland’s with suggestions for suitable parody or disparagement. positive man who plays just about Indiana, I’m Coming Virginia and the original. The answer, not General Assembly considered jazz tunes for state songs – every woodwind on the face of 65000 (sorry, that’s surprisingly, is none of them. motions to replace the song or or, indeed, to tell us they’ve Which, somewhat long- the earth. I would pass by his a phone number)? Is More surprisingly, the tune dates modify the words, but nothing found a jazz version of Gi Talo windedly, brings me to another studio after a gig of mine and the Gi Halom Tasi. open-minded all-rounder, the lights would be on at 2.00am. I’d exceptional Los Angeles-based stop and he’d run to the door Ray Charles Nat Gonella US alto saxophonist Jeff Clayton and open it with a piccolo in his who succumbed to kidney cancer hand and he’d say, “Jeff, I’ve been in his home town on December practising that note for an hour 16. He was 65. Thomas Owens and it sounds good, doesn’t it?”’ in the New Grove Dictionary of Jazz described Jeff as ‘one of the When Clayton enrolled at finest alto saxophone soloists California State University - of his generation’, lauding his Northridge in 1973, he opted to tone, intonation and technique. concentrate on clarinet, before He might have added that Jeff adding oboe and cor anglais, played all the , all the doubtless influenced by Green, , all the flutes and other and was then lured by Stevie assorted woodwinds too. Having Wonder in 1976 to join his band, 16 THE JAZZ RAG THE JAZZ RAG 17 THE JAZZ CLASS OF 1921 THE JAZZ CLASS OF 1921

Billy Taylor (1921-2010) – (who missed his 100th birthday THE JAZZ CLASS OF 1921 Jazz has never had a better by 5 1/2 months) was the first to spokesman than the distinguished tune his and he pioneered by Scott Yanow yet down-to-earth Taylor, but the use of several congas; before one should never overlook his that, percussionists only used (1921- leading his own orchestra during versatile and always swinging one at a time. In his long career Humphrey Lyttelton 2008) – Arguably the United 1960-75 and the piano playing. he worked with such notables Kingdom’s most important in the 1970s. as , , trumpeter-bandleader starting John Bunch (1921-2010) – Billy Taylor, , Gene in the late 1940s, Lyttleton had Warren Covington (1921- Bunch was so consistent during Ammons, , Randy the premier classic jazz band 1999) – Another his 55 year career that he was Weston, and Jane Bunnett. of the early 1950s, angering trombonist, Covington worked often taken for granted, but the some of his fans by switching to with Les Brown and . swing pianist was loved by older Chico O’Farrill (1921-2001) mainstream swing later in the During 1957-61 he led the first (1921-2001) – Tal Farlow (1921-98) – When it artists (, Gene – From Cuba and originally a decade but always retaining the ghost band, While Turney was in the Billy came to playing uptempo bebop, Krupa, , , trumpeter, O’Farrill moved to the ability to play early jazz through having a million-seller with Tea Eckstine Orchestra as early as few guitarists could sound as and ) and the U.S. in 1948, arranged for Benny his many decades of performing. For Two Cha Cha. 1945, he found his greatest fame relaxed, fluent and flawless as later generation of swing greats Goodman, Stan Kenton, Machito He was also a noted broadcaster, as ’s successor Farlow, even at raging . A (Warren Vache, Scott Hamilton, (The Afro-Cuban Jazz Suite), Art cartoonist, calligrapher, and the Julius Watkins (1921-1977) – with the Duke Ellington brilliant soloist in the 1950s, in and ) alike. Farmer, Count Basie, and Clark host of the radio game show I’m Among the very first jazz French Orchestra (1969-73), playing alto, the next decade Farlow adopted Terry, and led his own big band Sorry I Haven’t A Clue. horn soloists, Watkins was a flute and tenor. a much lower profile, preferring Harry Babasin (1921-88) – A during 1995-2001. virtuoso who recorded with to work as a sign painter and a solid bassist Freddy Randall (1921-1999) everyone from Wardell Gray (1921-1955) – part-time player in New Jersey who later ran the Jazz Chronicles Jon Hendricks (1921-2017) - A top British Dixieland and and to John Everyone loved Gray’s swinging before returning more regularly label, Babasin was also jazz’s first – The genius of , trad/jazz trumpeter in the Coltrane, , tenor playing including such to the jazz scene. cello soloist, recording solos with Hendricks’ abilities as a lyricist 1950s, Randall survived a lung and . He employers as Benny Goodman, back in 1947. (often writing lyrics to recorded problem that knocked him co-led the Les Jazz Modes with Count Basie, and Mary Osborne (1921-92) – solos) and a scat-singer, along out of action during 1959-63, (1956-59) and Benny Carter. made Highly rated in the 1940s when (1921- with his personality and general making a full comeback and many toured with the Big his Twisted solo famous and she displayed the ability to 82) – Wes’ older brother, philosophy, made him one of Gray’s tenor battles with Dexter play both bop and swing (and, Monk Montgomery was the In 1921, the destructive flu However, all of that is quite rewarding recordings. Band (1959-61). the hippest people in the world. Gordon (including The Chase) are unknown to many, also recorded first electric bassist to record. epidemic of 1918-19 was irrelevant since this article Famous for being in Lambert, still legendary. as a singer), Osborne spent many Amazingly, he did not even start receding into history and would celebrates the centennial of the John Anderson (1921-1974) – (1921-2007) – A Hendricks and Ross during 1957- years semi-retired in Bakersfield, on the string bass until he was rarely be written about again jazz greats who happened to A fine West Coast jazz trumpeter bebop clarinettist with a cool 63, Hendricks had a long and Hans Koller (1921-2003) – The but impressed every listener 30, switching to electric bass the until the recent one. The Roaring be born in 1921, none of whom who is largely forgotten today, tone (check out his playing in successful solo career during his Austrian tenor-saxophonist was during her occasional returns and following year and recording with Twenties were underway and the had anything to do with the Anderson worked with Stan 1950 with on last five decades. based in Germany during his all-too-rare recordings. in 1953. He toured era would soon be dubbed ‘The jazz scene of the 1920s. They Kenton, Count Basie (1959- Ain’t Misbehavin’), Scott had a prime years, holding his own with , was a Connie Haines (1921-2008) – ’. were old enough to be part of 60), , and Benny more laidback style than Buddy with top American players in the (1921-2010) – While co-leader of the Mastersounds While not a jazz vocalist, Connie the last years of the swing era Carter in addition to appearing DeFranco. Always going his own 1950s and ‘60s including Dizzy he was part of the popular Soft with his brother pianist-vibist Haines sang swing songs well While King Oliver, Jelly Roll before having to make the choice on many early R&B records. way, after appearing on many Gillespie, , Benny Winds in the late 1940s, toured Buddy Montgomery, and worked with and Tommy Morton, Bessie Smith, Sidney whether to become part of the rewarding recordings in the Goodman, and with Ella Fitzgerald, and recorded with many groups in the Los Dorsey and had a busy solo Bechet and Louis Armstrong modern jazz/bebop scene of the (1921-1983) – A 1950s, he left both jazz and the , also performing worthy albums of his own, Ellis Angeles area. career as a middle-of-the-road were all active, like most mid-to-late 1940s or become a superb lead trumpeter, Royal was US to become a world traveller with Stan Kenton’s orchestra. will always be most famous as the pop singer. African-American jazz artists, more traditional player. also an inventive if infrequent who played folk music from other guitarist with the (1921-2013) they had yet to make their soloist. He worked with nearly cultures, occasionally reappearing (1921-2008) Trio of 1953-58. – Drummer with the original (1921-2000) – recording debut and had to wait Many made their biggest impact every significant big band of the in the jazz world. – Originally a bebopper who pianoless quartet, Famous as a talk show host until 1923. In fact, despite the in the 1950s and some made it 1950s and ‘60s and was a valuable composed Four Brothers and was Bill DeArango (1921-2005) – Hamilton led his own innovative (including the original Tonight great popularity of the Original into the 21st century, although studio musician for decades. Buddy Collette (1921-2010) a member of the Lighthouse All DeArango created a stir during group, the Chico Show) and ad-libbing comedian, Dixieland Jazz Band back in sadly none are still with us. – A Los Angeles-based reed Stars, Giuffre (on baritone with 1945-47 when his adventurous Hamilton Quintet, which featured Allen always loved jazz and 1917, there was a lot less jazz Incidentally singer Louise Tobin Jimmy Henderson (1921- master who was a pioneering the 1921 band but also skilled guitar playing was quite cellist Fred Katz and such reed featured jazz musicians on his recorded in 1921 than one (born in 1918 and now 102) has 1998) – The trombone section jazz flautist and could play any on clarinet and tenor) formed original and even avant-garde, players as Buddy Collette, Paul shows, including might expect. Mamie Smith was the distinction of being the only of the 1921 band is a bit weak reed (in the 1921 band he is on the Jimmy Giuffre 3 in 1957. They standing apart from that of his Horn, and Charles (who was often his bandleader), riding high from the unexpected jazz artist to record before 1940 in the solo department. Jimmy alto and flute), Collette was an had a hit with The Train and the contemporaries; check out his Lloyd. A subtle and inventive , Lester Young and success of Crazy Blues, leading to (in 1939 with Benny Goodman) Henderson was a valuable original member of the Chico River, became a pianoless and small-group session with Dizzy drummer, Hamilton led groups . Allen also played the beginning of the blues craze who is still alive. section player who worked with Hamilton Quintet and appeared bassless trio with and Gillespie from 1946. DeArango into his nineties. pretty decent piano, recorded that resulted in scores of female the big bands of Hal McIntyre, on a countless number of , and eventually cut short any chance of fame by occasional jazz albums, and wrote singers getting a chance to make The 30-piece Class Of 1921 Big , Tommy Dorsey studio sessions. evolved into a thoughtful moving permanently to Cleveland Johnny Otis (1921-2012) – over 8,500 songs (only This Could a session or two. Band consists of four trumpeters, and even Lawrence Welk before group with Paul Bley and Steve in 1947 where he taught guitar While best-known for his two trombonists, the master of Be the Start of Something Big Swallow. Giuffre never played and ran a music store. work in rhythm and blues as Otherwise, among those who the french horn, five saxophonists caught on). He would definitely Julius Watkins it safe. a bandleader, talent scout and recorded in 1921 were Paul and a clarinettist, five guitarists, love being the leader and emcee Erroll Garner (1921-1977) – , Otis was Whiteman, the Happy Six, the three pianists, two bassists, two of the 1921 Big Band. George Barnes (1921-1977) – The lovable pianist (influenced also a fine jazz drummer and Piccadilly Four, , the drummers, a percussionist, two Five guitarists is a bit excessive, by Art Tatum and ) vibraphonist who loved Count Scott Yanow, who was not Benson Orchestra of , singers, an arranger, and a genial even in a big band, but none of always had his own sound and Basie’s band. In the mid-1940s, born in 1921, has enjoyed , Eubie Blake, host who could play piano when these five should be left out. rarely looked at the piano when Otis recorded with an infinite number of jazz Ladd’s Black Aces (a fine white called upon. Barnes, who played an electrified he played, letting the music run Jacquet and Lester Young and recordings made since that group with trumpeter Phil guitar as early as 1931, was the through him. He was popular for his own bands often utilized time. He can be reached Napoleon), Johnny Dunn, and, So with apologies to those who first electric guitarist to record, decades simply by playing in his jazz musicians. for liner notes, bios, most importantly, pianist James did not make it (most notably on March 1, 1938. He was a solid own distinctive style. press releases and other P. Johnson who waxed his first pianists Tony Aless and Marty swing player throughout his long Candido (1921-2020) – The interesting assignments at version of Carolina Shout. Napoleon), here is the Jazz Class and busy career. masterful Cuban percussionist of 2021. [email protected].

18 THE JAZZ RAG THE JAZZ RAG 19 ON RECORD REVIEWS

pretty Les Neiges d’Antan), the the composer is delighted at overtones, are high points across room from guest musicians as the typical Jazz Rag reader, the The Royal Bopsters CD REVIEWS latter revealing how a unit the outcome of the recent some 56 minutes’ worth of Christian McBride and Steve jazz content will be considered originally patterned on jazz US election! material. Kroon. The spirit of Lambert, to be minimal. convention actually found its Hendricks and Ross keeps watch feet through embracing more Sweet Synergy Suite, McPherson’s RUSSELL CORBETT over the Basie-like Rusty Dusty If Everyone Was Listening, written personal interests. first work composed for the Blues. Two of the guests from the by ’s , San Diego Ballet, closes the first album return, both ending in opens the recording. Other An essential (and generously- album. This is McPherson at his laughter: and, in one numbers are credited to Peter timed) side-bar to the main best. Spanning 33 minutes, its of his last recordings, witty as Gabriel and another Supertramp action of the Rendell/Carr studio six tracks embrace bop, swing, ever, Bob Dorough. And it would colleague, . discs, then. Oh, and if you do small group improvisation and be unreasonable not to mention get a moment to read those top flight solos from McPherson, the excellent accompanying trio: Fran Landesman’s The Ballad of sleeve notes... trumpeter Terell Stafford Steve Schmidt, the Sad Young Men and Victor and pianists Jeb Patton and and Steve Williams. Young’s Father O’Shea make the Randy Porter. cut as the album’s two bonus /IAN RON SIMPSON tracks but the inclusion of CARR QUINTET It shouldn’t be forgotten that THE ROYAL George Butterworth’s setting of the music heard on this album BOPSTERS AE Housman’s The Lads in Their BBC JAZZ CLUB 1965-66 was commissioned by a dance Hundreds reaffirms the view that company. As it happens, the PARTY OF FOUR this Challenge Records’ CD will numbers using West Indian patois, Scott’s where his unique talents Rhythm and Blues Records composer’s daughter, Camille, be of considerably more interest ballads sung in style, were not always appreciated, Motema MTM 0372: 58.42 RANDB 064 79:52 is a dancer with San Diego to the classical/folk aficionado a whole raft of stirring big band especially financially. Although the Ballet. On the CD cover a justly than the 52nd Street/Frith Street tracks, much in the manner of sax colossus did It’s not difficult to tell where the First off, I have to declare an proud Charles McPherson has jazz fan. Buddy Johnson with Wild Bill once ask the audience, ‘Do you Royal Bopsters are coming from. interest in this release, having written the words: inspired by & Davis on organ, Jordan’s buzzy know how good this guy is?’ Their first album featured guest penned its booklet notes. That dedicated to Camille McPherson. RUSSELL CORBETT alto popping in-out, strong blues appearances from five of their said (or rather written), I have vocals, where he phrases like This 2 for 1 CD places the pianist inspirations: Mark Murphy, Bob nothing else vested here save an RUSSELL CORBETT a lighter-toned , in two different settings, quartet Dorough, Jon Hendricks, Annie urge to tell fans of this band – CHARLES novelties, and swingy, down-home and big band. They are re-issues Ross and Sheila Jordan. You’re which has attracted a near-cult MCPHERSON combo R&B. from 50 years ago when they looking at high quality harmony following in recent years – to go were first released. Ronnie Scott singing, ingenious vocalese and and buy this album. JAZZ DANCE SUITES EVER OPEN DOOR With 52 tracks spread over might have said, ‘not released - scat delivered with precision the two CDs, assembled in escaped’. Stan had the misfortune Chazz Mack Music 68:04 and apparent ease, challenging Comprising material originally Challenge Records 73:50 chronological order, this provides of seeing his albums withdrawn, arrangements and (at times) an broadcast by the BBC in 1965 a fascinating picture of the very shortly after release, record In December 2019 Charles exuberant sense of fun. Saxophonist John Helliwell is (It’s Jazz) and 1966 (Jazz Club), ever-hopeful Jordan chasing the companies citing ‘lack of interest’. McPherson went into New perhaps best known for his some of it familiar from the public’s attention by releasing Jersey’s Van Gelder Studios to Sadly Party of Four is the final work with pop-rock band group’s contemporary Columbia singles, first on Decca, then Stan was a musician very far record music written for the album for Holli Ross, the Supertramp. A post-WWII albums, much of it, however, Aladdin, as he tries to stay in ahead of his time, too quirky ballet. The alto saxophonist’s Bopsters’ well-respected alto Yorkshire childhood brought previously obscure, it documents tune with the vagaries of popular for the popular taste, although bebop lineage is well known, his singer, who died in 2020: the piano and recorder lessons, but the Rubicon-crossing that taste. Thoroughly recommended his fellow musicians always work for ballet perhaps less so. album was recorded between it wasn’t until Helliwell spent his THE FIFTIES COLLECTION was pianist Colin Purbrook’s SHAI MAESTRO to those who want to know what held him the highest regard. Jazz Dance Suites comprises three 2017 and 2019. Appropriately savings on a clarinet that the die 1951-58 replacement by . came after Choo Choo Ch-Boogie He, unhesitatingly, named Monk sections - two dance suites and HUMAN enough the opener, But Not for was cast. (which he revives here with a and Ellington as his influences one composition from a suite Me, features her additional lyrics Acrobat ADDCD3353 2 CDs The earlier band was still 1956 studio band) and the rest. and clung tenaciously to these with protest music at its heart. ECM 2688 089 0670 56:18 to Ira Gershwin’s classic original. In his early teens the future 71.44 / 71.48 somewhat stymied by the sources for his inspiration. fashions and rules of Exploding into the glorious verse rock musician performed Song of Songs, McPherson’s In 2018 Israeli pianist Shai Following the success of the PETER VACHER and consequently their tracks at the start, the Bopsters go on with Todmorden Symphony What impacts immediately on third suite written for the San Maestro recorded a first trio West End show Five Guys Named have a Jazz Messengers/Horace to base their solos on a Chet Orchestra. In 1973, now playing listening to these tracks, is the Diego Ballet, opens the album. album for ECM. This follow up Moe, there was a rash of Jordan Silver/Fifties Miles vibe to them. Baker recording. Through the , Helliwell joined huge energy his groups projected Comprising eight tracks, the CD, recorded pre-pandemic in album all four singers are part Supertramp. Ten of millions reissues; after all, the interest aroused by his music in that - sheets of sound comes to Garrick’s entry into the quintet work is inspired by the Old February last year in the south of the creative process. Amy of album sales later, 2020 saw show made it a given. Now mind. The Free in One session in early 1965 heralded a more Testament book of Song of of France, features his regular London and Dylan Pramuk also the release of a solo recording comes this new compilation, features alto saxist , general change of direction; Solomon. The composer is at bass and drums bandmates Jorge contribute lyrics, the sparky project, Ever Open Door. a double-CD special from the a player of galactic powers and, with his wild inventions, a loose pains to point out that it isn’t a Roeder and Ofri Nehemya. arrangements are nearly all by enterprising Acrobat people. together with Stan, one of the rhythm section of Dave Green musical representation of the Pramuk and Pete McGuinness. The principal voices are Helliwell, This time the premise is to look great, though undervalued, names and echoing Ron text, instead it is a collection The trio, augmented by New York tenor saxophone and clarinet, beyond Jordan’s 1940s hits and in jazz (I almost wrote British Carter and Tony Williams, and of impressions. The suite opens based trumpeter Philip Dizack, The album ends as it begins, with and John Ellis, , to see what he was up to in the Jazz but that is too limiting). It both the veteran Rendell and with Love Dance and its musical interprets ten of Maestro’s an uptempo high octane take on accompanied by the Singh String following decade. As is their wont, would be hard to find anything the younger Carr playing with themes recur throughout its 29 compositions alongside an a classic song, My Shining Hour, Quartet. Twelve compositions, there is a substantial booklet more passionate than the Free in increasing abandon, this created minutes’ playing time. inventive take on Ellington’s In a but there’s plenty of variety en described by Helliwell as ‘tear- essay by label producer Paul One track. a new brand of home-grown Sentimental Mood. Sensitivity and route. Pramuk’s beautiful ballad, jerkers’, plus two bonus tracks Reflection on an Election is subtlety are hallmarks of Watts and it follows on a pair of post-bop, one as likely to draw How I Love You, is a wonderful run to a playing time of almost WISDOM IN THE WINGS These albums were recorded McPherson’s response to earlier Acrobat releases covering on literary inspiration as it was fusion of the unlikely: an seventy four minutes. after Tracey had given up his the outcome of the 2016 US Maestro’s playing and his fellow Jordan’s hit-making years. jazz trends. adaptation of Elizabeth Barrett RSJ114 2 CDs 46.13/36.69 Scott residency - the long late presidential election. At just over musicians respond empathetically. Browning’s sonnet and a vocalese The instrumentation could, In effect, Jordan had run out of night bus journeys were too The two 1966 shows heard six minutes, the composition on ’s solo on I perhaps, suggest a blowing hits at the onset of the 1950s, He was like no-one else. The much - and after a few years of here are vital stuff; hard driving stylistically draws on Johnny The title track Human and Love You For Sentimental Reasons. session. Cannonball Adderley but that certainly didn’t reduce aptly named Godfather of British enforced obscurity. When he themes like Hot Rod and Hodges and McPherson’s Hank and Charlie (dedicated to Ross’s version of ’s and Sonny Rollins are stated his appeal or diminish his desire Jazz was shamefully neglected returned to active involvement Torrent contrasting with more one time employer Charles and Charlie Haden), Cuando te Vea is a wild mambo favourites of a youthful Helliwell. to tour. Or record. Jordan-wise, during his life, spending many with a head full of new ideas, he pastoral-sounding pieces (Carr’s Mingus. One can safely assume bristling with gospel and spiritual with terrific work in the engine However, if there is such a beast there’s everything here, comedy years as house pianist at Ronnie hadn’t been idle.

20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

The quartet tracks are fierce the wider jazz community, he , bassist Niels- musicians involved. It is here we Snake Rag. John Mortimer evokes cylinders. Fulton’s vocals, finely thrown in. It is a stimulating and confrontational. King is in was acknowledged elsewhere Henning Ørsted Pedersen and look and find the most jazz- the spirit of Dickie Wells on I’m tuned and versatile, bring depth mix. The Decider, the opening his most explosive form and the with the awards of an O.B.E. drummer Alex Riel, these three infused performances in the Confessing and piles up chorus and sensitivity to ballads This Is track, presages what is a fuel- muscular drumming of Brian and a C.B.E, although, I think, clearly well-versed in Gordon’s whole of the swing canon. after chorus of blues harmonica Always and My Old Flame and charged set. Spring drives the session sets Stan would have preferred ways, their obvious cohesion and on Bula Bula, while groove in a style reminiscent of an uncompromising pace, but more recognition and more ease in each other’s company Benny Goodman’s Trio, with switches to alto sax for some Anita O’Day on Star Eyes and If I This is his latest group recorded it is Stan’s angular phrasing and tangible rewards. an example of ‘how good it Teddy Wilson on piano and elaborate obbligatos on The Gipsy. Should Lose You without losing her in Pasadena last year and contains unorthodox chords that are the sounds when musicians get to Gene Krupa on drums, was own individuality. the best of local Californian dominant features. A Classic. Get it. play together every night’ in formed in July 1935, as legend RON SIMPSON musicians. At the age of 65, the words of bassist Bo Stief’s has it after the great man and Closing on Parker’s composition Clatworthy demonstrates that his The Seven Ages of Man, a JOHN MARTIN booklet note. Wilson discovered, at Mildred Bluebird with some fine solos creative juices haven’t dried up. Shakespearian theme, but with Bailey’s house, the joy of jamming from Hamilton and Fulton scores that have no particular The first thing to say is that this together (her son on drums). The senior, the overall concept The music is aggressive, affinity to that title, is a stage is Gordon on form, relaxed, Quartet, with Lionel Hampton WEST LONDON works brilliantly throughout. questioning and dynamic. Nine of where the pianist was free to playful almost, even vocalizing on vibes, came together in late RHYTHM KINGS Warmly recommended. the eleven titles are Clatworthy air his ideas in a big band setting rather wanly on Big Fat Butterfly 1936 at a time when no one compositions and the tightly-knit REMEMBERING DAVE where his compositional skills before he opens up as if it’s could compare with Goodman’s VAL WISEMAN group pays them due respect EVANS could be given full rein. They are the easiest thing in the world. mesmeric genius and fame as the with fine performances and commitment. His writing skills dynamic and challenging and as He makes the often cheesy King of Swing. Own label: 77.10 quirky as the man himself. Misty into a ballad delight, his display a wide and varied range improvisation unrolling fluently, Acrobat’s three-box set From 1988 to 1995 trumpeter of influences but his basic credo As with the quartet tracks, all the sound nicely rounded, the comprises 71 peerless tracks John Keen led the West London remains hard bop with some eight compositions are Tracey note placements exact. released on the RCA-Victor, Rhythm Kings in weekly sessions CHAMPIAN FULTON Clatworthy tweaks. There is, also, originals and he had the luxury of Columbia and Okeh labels in in two Brentford pubs. The a nod to Ellington’s alter ego, Billy BIRDSONG being able to cherry pick his own DEXTER GORDON The 18-year-old Ørsted Pedersen Swing’s great heyday of 1935- 14 tracks on this album come Strayhorn on In Strayhorn’s Bag. musicians who were familiars and is a wonder to behold, soloing 45. Here we find wonderfully from seven different sessions, MONTMARTRE 1964 Self-released CR003 66.38 This is not a musician in the empathetic to his concepts. That ably on King Neptune and then creative performances from each with a different line-up, twilight of his career. This is music must have pleased him. putting down the kind of swinging , Count Basie, the only common factor being Storyville 1018410 56.29 If ever an album was needed to in progress as it always has been line on Butterfly that would have , John Kirby, Fletcher drummer Dave Evans who is The band was a mixture of ‘old lighten our way out of the gloom, with Clatworthy. had beaming broadly. Henderson and Red Norvo, to commemorated in the title and heads’ and ‘up and comers’ of ’s Jazzhus Champian Fulton’s Birdsong ticks Montoliu is similarly pleasing, list some of the stellar names John Keen’s note. SYSTEM 6 that time, and it tackles the Montmartre was tenorist comping ably and then soloing that Benny attracted and inspired all the boxes. Released in 2020 to JOHN MARTIN Gordon’s regular home-from- mark Charlie Parker’s centennial, BENNIE’S LAMENT complex arrangements with with the sort of keyboard dash as his groups grew in size. The music is robust, frequently home in Denmark and he played this is a refreshing tribute from verve although the dense scores that lifts the spirits, most notably exciting, in a sort of non- there often during his 14-year an artist more than familiar with Skipper Productions SP1034 must have taxed even the most on the 10-minute reading of Incidentally, during the two doctrinaire New Orleans style, accomplished players. Yet Tracey’s European sojourn. Storyville’s Bonfa’s Manha de Carnival. years, from 1939 to 1941, that the music. 79.01 sessions emanate from a lengthy straightforwardly direct, unsubtle writing was never too divorced Gordon does well on the more Charlie Christian was a member sometimes, but never unskilful. from the mainstream of jazz residency in July 1964; the first animated Loose Walk, Ørsted of the sextet, he legitimised The offspring of jazz-loving Anyone who was fortunate four tracks from a live tele- Keen’s note sums up the mix of parents, Fulton was born in enough to catch the various and although free jazz floats Pedersen magnificent in support, the electric guitar as a jazz ambition and modesty when he in and out of the music, the cast, the remaining three titles and on his own Cheese Cake, a instrument. History was being Oklahoma to the sounds of Clatworthy groups in their from a radio broadcast. They comments on ‘reaching for high Charlie Parker with Strings played annual visits to the UK knows arrangements never fail to swing. regular part of his repertoire. made in so many ways; music notes and, with Dave’s urging, My favourites are Wisdom in the are new to release and are fit for a thousand years being on cassette tape by her father, Benn Clatworthy is not a man issued by arrangement with the often finding them.’ There’s plenty jazz trumpeter and educator to stand still. The Londoner Wings and Panto, Panta, but only PETER VACHER recorded while the Third Reich of evidence of Dave’s urging by a short head. Gordon Estate. was crumbling. Stephen Fulton. Her potential who emigrated to America in in the later choruses of such was shaped in childhood by family the early 1980s on the advice numbers as Snake Rag and an Although, he never received his Gordon was backed throughout These small group recordings friends such as and of his mentor and teacher, exhilarating closer, Royal Garden GEORGIA full share of recognition from this Montmartre gig by pianist represent to most discerning and later rewarded Ronnie Scott, has now become Blues, which also benefits from MANCIO & ALAN judges Benny’s best work. They in Downbeat as Rising Star and a permanent fixture on the Los the addition of Freddie Shaw’s BROADBENT provide the priceless opportunity voted by readers of Hot House Angeles scene. cornet to Keen’s lead. Dexter Gordon to hear his virtuosic clarinet in Magazine Pianist and Vocalist QUIET IS THE STAR joyously unrestrained mood, of 2019. The tenorist, originally strongly The band, for the most part, influenced by Coltrane, (and who Roomspin Records 40.14 swinging around the beautiful is the standard six-piece, with and exciting melodies of the day, Here, Fulton applies her isn’t nowadays?) has absorbed banjo and no piano, with frequent considerable skills as pianist and Trane’s influence, moved on, and This is the long-anticipated adding quotes, trading breaks, appearances by clarinettist ripping it up. vocalist in equal measure with found his own voice and vision follow-up to Songbook, the lauded Tony Pike, trombonist Pete an exemplary rhythm team: Hide based on hard bop with splashes 2017 release by this transatlantic Dyer, banjoist Doug Kennedy Benny famously defined swing Tanaka on bass and Fukushi of the avant-garde and free jazz duo, also on Roomspin. As before, BENNY GOODMAN and bassist Terry Knight. Keen as ‘free speech in music’, where Tainaka on drums, complemented himself is excellent, a powerful SMALL BANDS the soloist is at liberty ‘to play by tenor star Scott Hamilton Champian Fulton lead who is prepared to take COLLECTION 1935-45 a chorus in the way he feels and father Stephen Fulton risks, and the band is at its best it’. What joyous life-affirming on flugelhorn. on uptempo numbers, solos Acrobat Music ACTRCD9103 3 swinging music he and his generally short, ensembles CDs 73:50/71:11/74: 18 liberated star-studded line- Opening in waltz time Just building momentum over Dave ups throw off with apparent Friends heads an eclectic mix Evans’ driving drumming. The great swing bands of ease - without any of the of straightahead swingers, the 1930s and 40s featured ballads and Parker-inspired bebop over-complexities (and Various luminaries feature on a celebrated soloists in spaces for themes, notably Yardbird Suite anxieties) he would temporarily single session each. Wally Fawkes extemporisation ‘written’ into and Quasimodo, and there’s an find just around the corner, in is there on three tracks from the the full band arrangements. But impressive All God’s Children Got different company. earliest session, making his mark performances by small groups Rhythm with Fulton’s creative especially in some quirky dynamic were totally improvised by the ANDREW LIDDLE rhythm section firing on all contrasts in an edge-of-the-seat

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Mancio is both lyricist and vocal essentially pure, unhistrionic, thoughtful, often poignant, du Tour (represented also by a Throughout the album Hopkins sets beneath It Could Happen performer, while the US-based sometimes pristine, often certainly elegiac. The effect is rehearsal) the most memorable never loses his sense of To You. Broadbent partners her brilliantly yearning, it’s the rich variety both intimate yet irresistible, of the originals and the one melody, even when he turns as pianist and co-composer, this of the highly-experienced Mancio’s lyrics telling their own that gives most scope to Chet’s on the after-burners. George Fortunately, with this issue time minus the support of bass Broadbent’s keyboard tales as Broadbent edits and distinctive gifts. Washingmachine’s playing you can hear the lot for the and drums, doubtless due to commentaries and compositional varies their rhythmic geometry. is school of Stuff Smith and he price of a couple of high street the exigencies of lockdown, this shapes that also impresses. RON SIMPSON also sings amiably, phrasing with chain coffees. seamless juxtaposition masking Mancio rightly commends impeccable regard to the words. their enforced separation. So, There are moments on When Andy Cleyndert’s production. David Blenkhorn’s guitar and I’ll leave the reader to work no prospective touring or live You’re Gone From Me, an evocation Interestingly, the duo have now Mark Elton’s bass provide the out which will be of more opportunities beckoning, unlike of loss, that are simply lovely, published a book of their songs, necessary rhythmic lift and both lasting stimulation. their earlier association. Broadbent’s keyboard touch and with lyrics and lead sheets, solo impressively, Blenkhorn’s mastery of harmonic variation mustering 33 in all. For now, fine blues choruses on Oscar Classic in every way. Mancio calls these latest pieces quite magical. this exquisite yet potent series WOLFGANG Pettiford’s Blues in the Closet MILES DAVIS ‘beautiful, meaningful songs’ and of reflections on the human LACKERSCHMID/ a highlight. QUINTET SIMON SPILLETT she’s right, but it’s the shared All My Life is similarly lyrical, condition is too good to miss. FOUR CLASSIC ALBUMS understanding between the Mancio again in command as The material is superbly chosen, QUINTET SESSIONS 1979 Broadbent helps to shape and PETER VACHER two artists that makes these mostly a set of wonderful songs Avid Jazz AMSC 1376 direct the outcome. Each song performances so rewarding. Dot Time Legends DT 8018: of a certain vintage including 69:48/82:28 merits attention, invariably If Mancio’s vocal sound is 44.52 several under-performed gems. CHRIS HOPKINS/ ’s Russian Lullaby I’ve lost count of the amount of There is certainly no shortage JAZZ KANGAROOS moves from Bachian violin times I’ve reviewed reissues of of releases and re-releases introduction to the seldom-heard this music, which has, over the CHRIS HOPKINS MEETS of Chet Baker recordings in lyrics to incendiary solos from past decade or so, emerged on THE JAZZ KANGAROOS various parts of Europe with a Hopkins and Washingmachine. all manner of labels in all kinds of LIVE! VOL. 1 miscellany of groups, but Quintet When Lights are Low is as ‘treatments’. Whatever you may Sessions 1979 is somewhat atmospheric as it should be and think of this, yet another release, Echoes of Swing Productions the largely vocal A Hundred Years different. The clue is in the EOSP 4512 2: 54.10 you can’t argue with the subtitle; billing: Wolfgang Lackerschmid from Today laconically affecting. Cookin’, Relaxin’, Workin’ and FÉLIX HUNOT More familiar numbers include a and Chet Baker. This was vibes No envelopes were pushed in Steamin’ are indeed Four Classic FÉLIX HUNOT AND THE player Lackerschmid’s project dreamy Moonlight in Vermont and Albums. Iconic ones too. the making of this album, but the a hard-hitting departure from the JAZZ MUSKETEERS and Chet, in fine form, is required result is pure delight throughout. Songbook material on Django’s Their back story is the stuff of to do more (or sometimes American multi-instrumentalist Self-released 47:30 Swing 42. legend; clearing his contract with less) than reprise his customary Chris Hopkins, based in Germany, (after signing bruised lyricism. here plays piano in the company Malo Mazurié was in need This is the perfect ‘live’ recording. to the major label Columbia), of an Australian trio on a live of a guitarist for a gig in La The remastered Dot Time Sound quality is good, the over two days in the spring and session from Hattingen in 2019. Rochelle. The trumpeter was release adds one alternative track performance has an immediate autumn of 1956, Davis famously The opening Can’t We Be Friends? recommended Félix Hunot. That and one rehearsal track to the freshness and, best of all, there taped enough material for four sets the tone: unpretentiously first meeting brought together original album on Lackerschmid’s is a palpable sense of enjoyment albums, in effect capturing studio- swinging from the start, full of the four musicians heard on Sandra label. As Lackerschmid between players and audience – made equivalents of his nightclub inventive and melodic solos and this album, Hunot’s debut tells it, he and Chet had already which inevitably spreads to the sets of the time. The results are an easy collegiality between first- recording as a bandleader. The made a duo album and wished CD listener. Roll on, Volume 2! as stunning as they are candid. class musicians. Jazz Musketeers’ shared love of to include guitarist Larry Coryell There are fluffs, false starts, RON SIMPSON the repertoire and Belgian beers on a trio album, then Chet’s snatches of dialogue between helped cement friendships and agent insisted on adding a rhythm the trumpeter and producer they perform together as and section, so and Chet Baker , even the odd when their busy schedules allow. Tony Williams joined the group in Coltrane reed squeak. Stuttgart for the recording. Music, not least jazz, knows no But there is magic too, in geographical boundaries, hence the danceable tempos, Davis’ two Frenchmen (Mazurié and Chet is at his most typical patented muted ballad entreaties Hunot), David Lukâcs from in a beautifully poised ballad and, overall, in hearing how a Belgium (clarinet and tenor sax) treatment of Here’s that Rainy band, then regarded as alarmingly and Hungarian bass saxophonist Day, but the trumpeter doesn’t disparate in its make-up, actually Attila Korb demonstrate their dominate proceedings. Of six created a blueprint for so much individual and collective abilities tracks on the original album, five jazz that came after it. on this self-released album. Of are originals, one by each of the 14 tracks all but Korb’s Adrian’s band members, except that Larry Bop, Broadway and blues, Dream will be more than familiar Coryell contributes two, Chet whether a composition by to the listener. none. On the opener, Mr. Biko, Richard Rodgers or Sonny composer Tony Williams sets the Rollins, up-tempo or down, the From Ostrich Walk to Hunot’s mood and, though Chet comes in music on these four albums is solo banjo piece Memories of You with a nicely economical solo, the essential listening. And in its many to a terrific ensemble take on most striking solo voice is the riches, it’s almost impossible to Tiger Rag, the four musketeers ever-articulate Coryell. Coryell’s pick a single set that is ‘better’ exude enthusiasm and no little own compositions are central to than its stablemates. expertise in revisiting Jazz Age the album, The Latin One faded numbers. In addition to playing out after the guitarist changed his However, perhaps Relaxin’ just guitar and banjo Hunot handles mind, but still containing some gets the nod, if only for the most of the vocal duties and lovely playing, and Rue Gregoire delicious groove the album’s one oddity is the 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

bandleader’s solo guitar Ballad This is not the cheery shuffle of Some may question whether this demonstrates, he was equally a Medley R. Wagner, comprising 3 the Bossa Nova made so popular jazz or world music. Some will master of one of the crazes of minutes 37 seconds of Tristan und by Stan Getz and Astrud Gilberto just enjoy it. the time, barrelhouse. JAZZ ON BIG BEAR RECORDS Isolde, Tannhäuser and Lohengrin. back in the 60s. This is ’s Hunot’s self-released album is other psyche. This is music JOHN MARTIN There are those who feel that BIG BEAR RECORDS CD OFFER available from Bandcamp. reflecting pain and sorrow and Peterson’s later performances ALL CDS £8 EACH OR 3 FOR £16 loss... and beauty. and recordings - particularly, RUSSELL CORBETT perhaps, after Tatum’s death in INCLUDING P&P TO ANY UK ADDRESS Keeping in mind that Lins writes 1956 - would often demonstrate songs where the words are as virtuosity for its own sake, important as the music, Daniels the melody, drowned in floods studied the lyrics closely with of arpeggios, drenched by the purpose of keeping them in cascading intros and codas, the forefront of his mind when totally lost in a brouhaha of playing. He, also, wisely, chose the swing, stride, boogie and ragtime flute, instead of his more familiar breakneck extemporisations. clarinet, from his armoury of reeds, as the best instrument to These early relatively simple, JAZZ CITY UK VOLUME 2: THE JAM SESSIONS express the inherent pathos in OSCAR PETERSON tuneful, reflectively rhythmic Lins’ compositions. recordings may win them over. THE EARLY YEARS 1945-50 Lady Sings The Blues Nomy Rosenberg Various Artists Various Artists The group instrumentation is ANDREW LIDDLE Laughing at Life Nomy Rosenberg Trio Jazz City UK Volume 1 Jazz City UK Volume 2 modest: four rotating pianists, Acrobat Music ADDCD3356 2 Six top British jazz musicians Gypsy guitar genius from “Don’t miss this album, it Two legendary Birmingham NIGHT KISSES: A TRIBUTE Josh Nelson, Kuno Schmid, CDs 72:02/71:37 and the remarkable Val Holland – classic Django contains more aesthetic sessions featuring 21 of the TO IVAN LINS Ashmis, Dave Grusin and Bob Wiseman interpret Billie at its best vitamins than Holland finest British Jazz Musicians The Canadian-born colossus of James, all of whom contribute Holiday repertoire & Barratts” – Digby the keyboard was a mere 20 in Resonance Records RCD- 1031 arrangements. Kevin Axt on Fairweather 73.32 bass and Mauricio Zottarelli on 1945 when he cut the first of the drums supply the rhythm and The tracks on this totally captivating Eddie Daniels offers his second Harlem Quartet, a string group, two-CD Acrobat release, tribute to Brazilian add a quasi-classical tonality. announcing to the wider world with this valentine to Ivan Lins that ‘I got rhythm’. - the first salute was Heart of There are 13 songs on display, Brazil spotlighting the songs of all beautiful and reflecting that Actually, Oscar Peterson, who Egberto Gismonti. special seductiveness that we received classical piano lessons associate with the country and from the age of six (some from a DAVE BRUBECK Ivan Lins is one of Brazil’s most the Latin temperament. Lins Hungarian concert pianist taught QUARTET prolific popular songwriters, names Velas Icada as his personal by a pupil of Franz Liszt), was highly regarded in his own favourite but you are sure to find already no stranger to local fame. TIME OUTTAKES country but almost unknown In his late teens he had his own others from this classy album. Bill Allred’s Good Time Duncan Swift Bruce Adams/Alan Bruce Adams/Alan outside of it. Although his songs weekly spot on a Montreal radio Brubeck Editions BECD Jazz Band The Broadwood Concert Barnes Quintet Barnes Quintet have been recorded by Barbra station and was a star performer 20200901: 44.10 The liner notes allude to Lins’ Swing That Music! Possibly the finest Let’s Face The Music Side Steppin’ Streisand, Sarah Vaughan, Michael in the Johnny Holmes Orchestra. many film scores and the music, Red-hot, straight-ahead practitioner of Harlem Storming Bebop to Swing, Landmark debut album for Buble, Jane Monheit and others, The first in what is planned to in parts, has a cinematic ambience jazz from these storming Stride piano the UK has with Brian Dee, Len Skeat tremendous bebop quintet he remains known only to an These 47 tracks, taken from be a series of Dave Brubeck suggesting the lush, sprawling 8 piece Dixielanders from ever produced and Bobby Orr elite few. several recording sessions in the albums on Brubeck Editions, landscapes of Brazil. Orlando, Florida. company of different personnel, Time OutTakes takes us back to are of their time, the late 1940s, probably the most famous and in more ways than one. About influential album by the Dave the standard 78 length of Brubeck Quartet, Time Out, in three minutes, they reflect the 1959. Five of eight tracks are influence of such as Art Tatum, outtakes of numbers on the Teddy Wilson, Nat ‘King’ Cole. original album. My feeling is that they will delight both listeners Like Tatum, in particular, he who have spent their lifetimes had the two-handed bravura hearing Time Out and those technique of the classical maestro who are new to this music. - and the ability to transform The performances make an melody and inject spontaneous impact in their own right and variations across any tempo. have enough differences from & The Tipitina Howard McCrary The Whiskey Brothers It’s tempting to think the jazz the original album to fascinate Biscuit Boys I Wish I Was In New Orleans Moments Like This Bottle Up And Go element owes something to the Brubeck completists. Live At Last Fascinating debut of “Top class rhythm and blues The music of 1930s and lessons he received at the age of Their first live recording Lancashire band performing performed with verve and 1940s American juke joints twelve from Louis Hooper who The excellent booklet, full of since the Ronnie the blues, boogie woogie charm” – Just Jazz – The Whiskey Brothers are had been part of the Harlem short articles by the Brubeck Scotts classic of 1993. and swing of New Orleans. the real deal scene in the 1920s. family, makes the point that, on Another classic. the original release, Columbia He is also playing standards of selected the takes which were the day, often tender ballads most perfect, that had the fewest To order, send a cheque payable to Big Bear Music to PO Box 944, Birmingham B16 8UT given the swing treatment. But mistakes. I can’t say that mistakes To pay by card phone 0121 454 7020 or visit www.bigbearmusic.com/cds and enter the code then, as the frantic Oscar’s Boogie leap out on OutTakes, quite the Oscar Peterson JRLOCKDOWN8 to purchase one CD for £8 or JRLOCKDOWN16 to purchase three for £16 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

The whole package is topped also contributes some delicately In effect, Davis plays back-up to and arranged the material harmonies. There are no fumbles off with a 14 page essay from poised solos. Parker on 45 out of these 49 ranging from Clayton McMichen’s here, no longueurs, just ten our own Simon Spillett. Spillett’s tracks, mostly prized from the Prohibition Blues to Lowe Stokes’ varied tracks marked by empathy, writing is as indispensable as the Avishai Cohen is beyond doubt Savoy and Dial catalogues and Prohibition is a Failure. The former coloured by inspiration and music itself. an excellent trumpeter, with his originally issued under Parker’s is a light-hearted romp from showing an abiding desire to find own style (though with a nod name, the main exception 1919 anticipating the coming new things to say. All-in-all a worthwhile addition to to Miles Davis). Seldom leaving being an agreeable session by alcohol ban which includes the the Ronnie Scott discography. the upper register, he plays with , with Davis line ‘If you drink the bootleg All of which is exemplified on sensitivity, precision and great in the background. If there are ‘shine, you’ll sure have an achin’ the exhilarating Superjet by Tadd ALAN MUSSON purity of tone, slowly unfolding magic moments throughout head’, the latter from 1930 Dameron, no quarter asked, none melody in long notes. this collection, and there are predicting an end to a much- given, at the album’s end. many, it must be said that it is derided episode in American However, though the creation of from Parker himself that they history. Goodbye Booze is likely to PETER VACHER atmosphere is impeccable, mainly emanate. appeal to the fan of Americana I personally would enjoy more as much as, if not more than, the momentum. I find the Big Interesting too to hear Parker jazz fan. Vicious approach most effective playing tenor on the August 1947 where there is a strongly session, Davis more sure-footed. RUSSELL CORBETT appealing melody, as in the two By the sessions, non-originals, Massive Attack’s David had found his direction, Ronnie Scott Quartet Teardrop and Beethoven’s but here he’s feeling his way. Moonlight Sonata (totally Good booklet too, ideal for that opposite, but the whole mood is as two of the three sessions are unexpected, but beautifully done). lockdown study. freer. Blue Rondo a la Turk sets the culled from the BBC archives. The AVISHAI COHEN remaining session comes from RON SIMPSON PETER VACHER tone, two minutes longer than BIG VICIOUS the Time Out take, with extra Manchester’s Free Trade Hall. THE KALEIDOSCOPE blues choruses, grabbing the ECM 2680 0836025: 46.55 attention with its joyful energy There are three slightly different QUINTET versions of the Scott Quartet from the start, fresh-sounding To clear up some of the here, but all including the unique DANCING ON THE EDGE and exploratory. On Take Five mysteries around what remains, talents of Stan Tracey on piano. the drum figure at the start is for me, a perplexing album. This Dot Time DT9097 62:44 Opening with a set from 1965, TRICOTISM quite different and Joe Morello’s is Avishai Cohen the trumpeter, the quartet is completed by long solo more uninhibited. The not Avishai Cohen the bassist; The Deer Head Inn up in the Rick Laird on bass and Ronnie NOSTALGIA other three repeated numbers Big Vicious is the album title, Pocono Mountains lays claim Stephenson at the drums. all have treatments that are but also his band, back in Israel to being America’s oldest, RONNIE SCOTT The material consists of three Nervy CD002 72.22 arguably better than on the after working in ; continuously-running jazz venue. QUARTET tunes, which although not original album, with Three to Rejoicer, listed as co-composer This is a three-way encounter Dancing on the Edge was recorded really standards, nevertheless Get Ready a particular delight: on several of the tracks, is a Tel between guitarist Nigel Price, at the Pennsylvania venue in BBC JAZZ CLUB 1964-1966 were becoming staples of the MILES DAVIS THE JAKE LEG JUG a charming gentle melody with Aviv-based record producer, bassist Sandy Suchodolski and November 2013. jazz repertoire. BAND alternating 3/4 and 4/4, bent by Rhythm & Blues Records though this album was produced THE COLLECTION 1945-48: pianist Craig Milverton in a fast- Paul Desmond, deconstructed by Manfred Eicher in France. Why it has taken so long for RANDB063 76:00 The remaining two sets BEFORE THE COOL GOODBYE BOOZE moving programme of bebop by Brubeck, then brought back, the album to see the light of substitute Freddie Logan and staples and standard songs. They sweetly unchanged, at the end. It’s commonplace to see the A line-up of trumpet (also Acrobat ADDC3363 72.24 / day is something of a mystery. on bass and Bill Green Bullet Records GB2001 say they were inspired by the release of archival recordings synthesiser), two , 70.23 and Dave Liebman Eyden and Jackie Dougan at the 34:10 ‘great Peterson/Pass/Brown Trio’. Then there are the three ‘new’ celebrating the wonderful British one doubling bass, and two were the star attractions and this drums and consist of mostly tracks. I’m in a Dancing Mood can jazz produced during the 1960s. drummers, one also looking Here’s another of Acrobat’s The Jake Leg formed in That may be so, but what they live recording captures them in relatively familiar tunes, all very only have been cut to make the These may be reissues of long- after sampling, might suggest a double-CD tutorials, just right 2012. Bandleader Duncan Wilcox have produced soon transcends blistering form. well played. There is an added album consist totally of originals, deleted classic recordings or, more rhythmic approach than we for these dreary lockdown days. hoped it would still be around any need for comparisons as they bonus of a couple of vocals from because it has similar charms to increasingly, material from the get. Cohen’s own composition, If the Miles Davis story is among in 2020, one hundred years on settle into creative overdrive. Drummer Michael Stephans Mark Murphy on the second Three to Get Ready, the shifting personal collections of both King Kutner, with namesake Aviv the most comprehensively from the implementation of the Each jousts with the others, assembled the quintet to perform BBC session. time signatures returning us, after fans and musicians, often live Cohen’s drumming to the fore, chronicled in all of jazz, with Volstead Act which ushered in Milverton lively in OP fashion, at a book launch event. Bassist assorted adventures, to an almost recordings, sometimes of dubious might pitch us more towards volume after volume of analysis, Tony Marino was on the gig, as Scott’s mastery of the ballad the era of Prohibition across the Price up for it all, combative as dainty statement of the theme. sound quality. rock, but typically – especially on it’s nonetheless salutary to be was Lovano’s partner, vocalist format is evidenced time and United States. ever, as Suchodolski supports The newly named Watusi Jam is the tracks credited to Big Vicious reminded of his beginnings. Judi Silvano, supplying highwire again throughout the album, and solos on equal terms with Brubeck’s Waiting for Benny – it’s With this release we are and Rejoicer – ambient sound The band is indeed still around, wordless vocals on a couple of up-tempo exceptions being Close the others. what you do when the horn guaranteed, at least to some swirls around Cohen’s trumpet, These are Davis’s apprentice although, thanks to the pandemic, tracks. Five tracks (two written Your Eyes and Avalon both of player’s not there, in this case extent, superior audio quality, though guitarist Uzi Ramirez years, mostly spent in the opportunities to commemorate Definitely a case of all for one by Lovano, two by Liebman, which are quite magnificent. an extended drum solo with uplifting company of Charlie the events of a century ago and one for all, with quick- plus the standard There is no piano improvising phrases and Parker. Much is made of Davis’s have been all but non-existent. thinking evident on the title track, Greater Love) run to just over the developing snatches of melody. CHRIS HOPKINS COMPETITION limited capabilities at this point Goodbye Booze is a jolly jaunt a neat piece by Fats Navarro. hour mark. The final track will get a mixed Many thanks to Chris Hopkins of Echoes of Swing for providing TWO copies of his delightful and it’s fair to say that if his through 11 tunes in just over 34 Here Milverton is expansive, reaction: a mixture of takes cut CD with the Jazz Kangaroos for Jazz Rag readers. Just answer the following questions and send to range was modest and his attack minutes making this recording using the locked-hands technique A Lovano-Liebman double-flute short, advice and banter between [email protected] by March 26th, 2021. quite stilted, the opening Billie’s more EP than CD. and building nicely, Price running intro to Topsy Turvy opens the the musicians will not please Bounce and Now’s the Time, by with the ball, piano alongside and set and, as the principals draw all, but I’m sure the Brubecks 1. The band Echoes of Swing last year released an album recorded at Schloss Elmau. Chris Hopkins CP’s Ree-Boppers are taken Wilcox (vocals and double Suchodolski walking purposefully. applause from a supportive included it to emphasise the plays piano on this new release, but what instrument did he play on the Echoes of Swing recording? at a tempo suited to Davis’s bass) leads a core five piece audience, they switch to tenor friendship and collegiality within capabilities. Even so, it’s possible band, variously clarinet, piano, Gershwin’s The Man I Love is like sax and alto sax respectively to the group – and why not? 2. One of several inspired choices of songs on the Hopkins/Kangaroos CD is A Hundred Years from to hear Davis testing himself trombone, violin, washboard and a master class in interplay, each lock horns on Lovano’s muscular Today. Which great jazz singer/trombonist is always associated with the song harmonically, always probing for backing vocals. Neil Hulse (vocals, player sculpting his own pathway composition. Day and Night, Dave RON SIMPSON which he recorded several times between 1933 and 1963, shortly before his death? the distinctive resolution. guitar and spoons) transcribed through these time-honoured Liebman’s fifteen minute plus

28 THE JAZZ RAG THE JAZZ RAG 29 ON RECORD REVIEWS

contrafact of Cole Porter’s Night Thelonius Monk’s Think of One Fitzgerald’s delivery, particularly exciting prospect indeed. and Day, hears the band in full sit comfortably alongside five of on Sunday Kind of Love and BOOK REVIEW flight with Marino’s propulsive Miwa’s original compositions. Sometimes I’m Happy. This is the twenty-fifth album bass lines to the fore. from the Yellowjackets and is a THIS IS BOP: In recent times artists have The album Swingin’ Down celebratory affair. Together the JON HENDRICKS Lovano’s Blackwell’s Message, released singles from albums. Broadway has a much freer two groups reimagine a selection AND THE ART OF saluting Ed Blackwell, weighs in at The assumption is the demand approach with Weston ditching of familiar Yellowjacket tunes 18 minutes. Drummer Blackwell, is there and Miwa followed the the strings and providing dressed up in exciting new big known for his work with Ornette trend by releasing Largo Desolato excellent big band arrangements. band arrangements. Coleman, recorded an album several weeks in advance of These suited Stafford’s innate Equinox Publishing, hardback, with Lovano shortly before his the album launch. During the sense of harmony and rhythm, The repertoire focusses on fan 9 781781 798744, £25.00 death in 1992. pandemic Miwa set herself best demonstrated on Love For favourites including the gospel the task of composing every Sale and and flavoured Revelation. Mintzer Jon Hendricks, the great master This Deer Head Inn performance day. Songs of Joy is the result of Billy May’s arrangement of I Got arranged seven of the ten tunes of vocalese lyrics, first recorded is a fitting tribute. Liebman’s Get her endeavours. it Bad. and Vince Mendoza who also has Me Back to the Apple closes a a long history with the WDR Big in 1953 at the age of 32. The most enjoyable album. Miwa plays the songs without But it’s the final album Jo+Jazz Band provided two arrangements. last premiere of new work by trying to impress. Similarly, Slater directed by Johnny Mandel in Los Band-member Russell Ferrante him, though he was too ill to The title of the final selection and Goulding let the music speak Angeles in 1960 where Stafford contributed an arrangement of actively participate, was given begs the question: after the gig for itself on a fine piano trio excels. With Ellington-inspired his own Coherence. early in the year of his death, did Brooklyn-born Liebman drive album. arrangements, who better than 2017. That’s a long career to the 75 miles or so to New York and Combining more structured summarise, made more difficult City? Answers on a postcard. RUSSELL CORBETT adding zest to Just Squeeze Me arrangements with the freer by Hendricks’ unreliability as a or complementing feel of the quartet comes chronicler of his life, especially RUSSELL CORBETT Stafford’s impeccable with challenges too, yet the dates, and the fact that the interpretation of Midnight Sun? combination works very well. highpoint came so early, the Standout tracks include the crisp 1957 recording of Sing a Song of There are solid swingers S’posin’ and swinging Downtown, the funky Basie, by Lambert, Hendricks and and I’ve Got The World On A String Dewey where the electronics Ross. Thereafter, despite being was one of a number of black constant touring and developing man, he had no compunction in with sumptuous solos from are allowed free range, The Red recognised as a unique talent and soldiers on the end of some addictions. After a time of shipping his young children off to Webster and , a Sea with Mintzer’s EWI strongly touring the world successfully, barbaric racism from white trying replacements for Annie assorted relatives when his first sensual reading of Sy Oliver’s featured and the delightful to some extent he was always soldiers in Epernay. His response Ross ( the best wife left him. His impetuosity Dream Of You with muted brass Coherence. The aforementioned trying to get ‘back on top’. showed his independence of known), Hendricks worked must have made life with him sustains and a bluesy Hodges- Revelation is an ideal set closer mind and leadership qualities largely with family-centred alarming at times, but his second led . Overall, Stafford and is a joyous celebration of all Peter Jones takes an interesting as well as his tendency to go a groups. New projects included marriage, to Judith, was an proves she was equally at home that is good in this music. approach to the problem. The little too far. To simplify the story, his stage musical The Evolution extraordinarily happy partnership. JO STAFFORD in a jazz environment both as a main text is comparatively he led four other soldiers in of the Blues, a success in its own vocalist and musician. This as a nicely produced album short, 166 pages, and is a deserting, taking stolen supplies terms, but a frustration in that His method of lyric writing was YOKO MIWA TRIO FOUR CLASSIC ALBUMS and is a pleasure from start to straightforward narrative, with them, and, having holed up it never reached Broadway. probably unique. He always VAL WISEMAN end. My only slight quibble is that bolstered by meticulous use of in a commandeered hotel, was refused to learn music on the SONGS OF JOY Avid Jazz AMSC1372 2 CDs to these aging eyes, some of the quotations from family, associates eventually captured and served Jones recounts tours and basis that all that was needed 68.00/76.54 text on the back of the CD cover and written sources, with a fair 11 months in a military prison recording sessions efficiently, was to listen – and he took this Ubuntu Music UBU0057 70:53 is a little difficult to read. Get amount of helpful comment, in Marseille. Jones’ narrative but of particular interest is to its logical conclusion with his Many years ago I heard the this album - it will brighten these but essentially chronological. method in this chapter is totally the increasingly contradictory writing. He would listen, often for Yoko Miwa applied to Berklee song Paris in the Spring sung dark winter days. However, the book goes on different from the rest of the figure that Hendricks cuts. Jones days, to the piece he was setting, College of Music on a whim. To deliberately off pitch with razor for about 100 pages: index, book, vivid and dramatic and records without labouring the then finally take paper and write her surprise she was offered sharp accuracy! It was from ALAN MUSSON notes, discography, but also full of invented dialogue. point, clearly admiring his subject the lyric in one flow, seldom a scholarship. the comedy album Jo Stafford three significant appendices. intensely without concealing his needing to make a correction. recorded in 1960 with husband, In jazz terms the most telling faults. A man of principle and a His methods and beliefs are In the late nineties the classically- bandleader Paul Weston, using Jon Hendricks was born in a part of the book is the story of leader enormously popular with developed in appendices on trained pianist left Japan for the pseudonyms Jonathan and small town in Ohio, the son of recording . I his musicians, he often engaged in vocalese and scat, his lyrics and Boston, Massachusetts. More Darlene Edwards in Paris. Theirs a preacher who was known for hadn’t realised how desperate petty financial chicanery, such as his philosophy (often wise and than two decades later she is still was a successful partnership galvanising his congregation and Lambert and Hendricks were his regular habit of not renaming generous, occasionally batty), there, not as a student, rather as and much of their work YELLOWJACKETS & thus was sent to failing churches at this time, Hendricks moving the jazz pieces he added lyrics a fitting end to the book. an associate professor! during the 1950s features in WDR BIG BAND and moved on when he’d revived into Lambert’s apartment, to so that the royalties for the this compilation. them. The family finally settled for Lambert devising ingenious ways earlier instrumental version also RON SIMPSON Songs of Joy is Miwa’s ninth JACKETS XL a few years in Toledo when Jon to shoplift food. The saga that came to him. A devoted family album. It features her regular trio Stafford spent her formative was 11. There he had the decided followed involved disastrous partners Will Slater, bass, and years with vocal group the Pied Mack Avenue MAC1175 69:23 advantage of having the Tatums rehearsals with a 12-piece choir drummer Scott Goulding. Now Pipers in Tommy Dorsey’s band. as neighbours and young Arthur who just didn’t get it and cost JON HENDRICKS COMPETITION signed to Ubuntu Music, Miwa She claimed she developed The common denominator here gave him a grounding in his all ABC-Paramount’s advance, Equinox Publishing is generously providing TWO copies of says of the new recording: ‘The breathing and voice control is saxophonist Bob Mintzer. In concept of melody and harmony the discovery of Annie Ross This is Bop: Jon Hendricks and the Art of Vocal Jazz for Jazz Rag one emotion that unites all the from close study of Dorsey’s 1990 he became a member of – Hendricks always claimed he and of overdubbing, months of readers. Answer the following questions and email to songs is one of JOY.’ trombone technique, but it Yellowjackets, a quartet which wasn’t a singer, but someone who all-night sessions with Creed [email protected] by March 26th, 2021. was the purity of her voice and has enjoyed an almost four- used his voice as an instrument. Taylor in the studio’s dead The 11 tracks are largely upbeat, sensitive interpretation of lyrics decade history, and 2016 saw time – and, ultimately, triumph. 1. One of Hendricks’ best known albums is . opening and closing with two that brought her popular acclaim. him take the helm as director Following this came war service Who originally composed the title track? unlikely selections: Richie Havens’ The earlier albums Jo Stafford of the German big band which and an incident so remarkable Nothing else in the narrative Freedom and Anne Bredon’s and Autumn in New York define has enjoyed a seven-plus-decade that it has been the subject of quite matches that excitement: 2. On the famous Sing a Song of Basie album, Lambert Hendricks Babe I’m Gonna Leave You. In these qualities and I was struck career. A release combining the two film documentaries, one LHR continued until 1962, then and Ross used the Count Basie rhythm section minus Basie between, Billy Preston’s Song of by the uncanny similarities to Ella talents of both groups sounds an French, one German. Hendricks broke up with the pressure of himself. Who replaced him? Joy, ’s No Problem and 30 THE JAZZ RAG THE JAZZ RAG 31 accompaniment, duetting comeback in the 1960s Skip with Bobbie Cadillac (‘a Dallas James needs no introduction HENRY’S BLUES PROFILES woman of some reputation’, to blues fans. Here we have 18 BILLY ‘THE KID’ EMERSON HENRY’S BLUESLETTER according to Paul Oliver) and tracks from 1931, his high- heading up the Dallas String pitched, often plaintive singing For a man known for taking every opportunity to cuss Band with his mandolin – an accompanied either by his out his fellow musicians - and anyone else who would Noted Austrian collector Walter ‘Buddy Boy’ Hawkins, exhilarating Dallas Rag a guitar or his distinctive brand pay heed - for the merest hint of profanity, an off-colour Johnny Parth was tasked with for instance, is so obscure highlight. Jones also connects of barrelhouse piano. A few of comment about a lady or for taking a few too many sips of MASTERS OF BLUES locating the original 78s which the almost nothing is known with the mainstream music the tracks suffer from the poor the old ‘shine, Billy The Kid Emerson did write some slightly he did through his Europe- of his life except for the 12 scene with show tunes such sound quality of the originals outrageous – though excellent - lyrics. Back in the 1980s Saydisc that many of the recordings wide network of contacts. tracks he recorded from 1927 as Ford Dabney’s Shine and (surprisingly rare on these Records in Gloucestershire were made on location, The remastered recordings to 1929, tracks so rare that scatting on Sugar Blues. albums) but the impact is He was responsible for composing and recording more than embarked on the ambitious in hotel lobbies, bars or culminated in the Saydisc the originals sell for between James Cole’s violin features undiminished. Alexander a few songs that you would have thought were, at best, task of collecting together musicians’ homes. Matchbox Bluesmaster series $500 and $1500. His default in a number of bright little was so prolific compared to somewhat indiscreet. The fact that all the guys referred original 78s to document of 42 LP albums of blues position tends to an intense, groups with guitarist Tommie many of the others that this to him as ‘The Preacher’ and that he did finally become the early days of blues, The musicians who got to music originally recorded somewhat monotone vocal Bradley, washboards, jugs is just Volume 1: Volumes a man of the Church - The Reverend William Robert ragtime, and gospel record were often singing between 1924 and 1934, with delivery at dirge-like tempos and kazoos in attendance – 2 and 3 come later in the Emerson - make it all the more curious that he would sing, music that were classified for nickels on street corners a few tracks from 1950. The backed by accomplished there’s no lack of variety in Bluesmaster series. Paul Oliver with conviction, such lyrics as ‘My gal Is Red hot, your girl Red Hot as Race Records, that or entertaining in bars or at series was ground-breaking, guitar work, but on some the collection! stresses that Alexander’s titles ‘aint doodly squat’ – his song . Then there’s one Buzzard Luck is, recordings by black picnics, but the music that exposing the work of largely of the later tracks there’s were ‘blues of the most rural of my favourite blues lyrics, , which starts off performers aimed specifically was recorded formed the unknown blues performers, a jaunty vaudeville feeling, Many of the singers here kind’, yet he often worked inoffensively enough, ‘ain’t nothin’ in my pockets but the at black audiences. Many of backbone of the later Urban work which otherwise might with sprightly ragtime guitar lived their lives in parallel with with surprisingly sophisticated bottom, that’s more than I can say for my shoes’ before the race labels were in fact Blues, Rhythm and Blues have been permanently lost. on Raggin’ the Blues and A better known names – Charley accompanists: here mostly going into ‘I left my little home in Texas, spent three years in subsidiaries of major record and and was Rag Blues, hints of a double Lincoln or Hicks, brother the great Lonnie Johnson Illinois, and when I got home I was disgusted, I had a month companies which had spotted the root of much popular Last summer, taking the act on Snatch It and Grab It of Barbecue Bob, was so (consistently brilliant) and, old baby boy. She took me to court, the judge said boy the opportunity to develop music for very nearly the next opportunity to investigate the and a bizarre pseudo-vent derailed by his brother’s early on four tracks, jazz pianist you’re stuck, and man that’s nothing but buzzard luck’. That Buzzard Luck an additional market. In the 100 years. dark corners of the Saydisc act on Voice Throwin’ Blues. death that he ended his days Eddie Heywood. Oliver claims was from his brilliant which we recorded for American Blues Legends ‘79 early and mid-1920s the archive, they stumbled across Paul Oliver surmises that it’s in prison in Cairo, Georgia, Alexander and Heywood the Big Bear Records album. record industry was fighting Saydisc boss Gef Lucena all the test pressings for the likely that Hawkins was an for murder – but three of the were ill-matched, but it off the challenge of radio, then already had form where the 1980s Bluesmaster releases entertainer on a medicine biggest names in country doesn’t really show – and it’s By no means all of Billy the Kid’s recorded output was near came the dark days of the blues was concerned, with in pristine condition. Nimbus show – I’ll go along with that! blues have a CD apiece – and an unexpected treat to find the knuckle, and he did record some fine songs. Check Every Woman I Know – Is Crazy ‘Bout An Automobile Depression when the record his influential 1968 album, archivist Hans Klement was they don’t disappoint. Leroy Mama, I Heard You Brought out . Blues Like Showers of Rain industry suffered like everyone , put in charge of restoration Obscure doesn’t necessarily Carr is heard on 1928 sessions it Right Back Home sounding Born in Tarpon Springs in Florida, he learned piano in else – the yearly figures for featuring musicians at the and remastering and the result mean lacking in influence. A with his long-time musical like Old Fashioned Love. church, joined the U.S. Navy in 1943, received an athletic record sales plummeted from heart of the emerging UK is a series of seven releases CD of Ragtime Blues Guitar partner, subtle guitarist scholarship at Florida A & M University but quit to enlist in 100 million in 1929 to just 6 country blues movement, on CD and online, each includes William Moore, Scrapper Blackwell. Carr’s Such is the range of this the United States Air Force during the Korean War in 1952. million in 1932. such people as Ian Anderson, consisting of six CDs with the whose songs have been singing and piano playing collection that it’s impossible Stationed in Greenville, Mississippi he joined ’s Jo-Ann Kelly, Dave Kelly, and original 1980s liner notes by covered by a host of later have a sophistication and to cover all the performers, which led to him signing to Sam Phillips’ The heroes of the time were the Missouri Compromise. one of the most respected performers including Stefan control that clearly point the so, with apologies to those Sun Records, where Ike was a talent scout. His first of No Teasing Around the talent scouts who went of all UK blues writers, Grossman and even The way to a later generation of we omitted, let’s give one of many Sun singles was released in 1954. When it Rains through the Southern states Gef fondly refers to that time Paul Oliver. Notting Hillbillies, and Blind performers. Though he sticks them, New Orleans singer/ Billy The Kid’s song was later recorded by Red Hot searching out the often raw as Blues from the Avon Delta, Willie Walker, described to the basic 12-bar blues guitarist Rabbit Brown, the Elvis Presley and his became a hit for Billy Lee and primitive talent who the album being recorded in Competitively priced at £29.99 by Josh White as the best (or 8 bars, as in the case of last word: ‘I done seen better Riley and for Bob Luman. had almost certainly never Bristol on Sunday afternoons for each six-CD boxset, the guitarist he ever heard (‘like his iconic How Long, How days, but I’m putting up Every considered the prospect of before performances at Ian first two sets are now on Art Tatum’) and reputed to Long Blues, repeated several with these.’ He relocated to Chicago, signing to Vee Jay. His Woman I Know going into a recording studio, Anderson’s Folk Blues Bristol release. Three more sets will be the composer of songs times in this collection), he is was covered by Sam The Sham and The although it should be noted and West club. see the light of day during attributed to Reverend Gary anything but primitive. After his A fair summary of the blues! Pharaohs and later by Ry Cooder. He moved to Chess 2021, with the remaining two Davis – for all that, Walker’s Records, known to that town’s bluesmen as Cadillac Records, and had his songs recorded by Buddy Guy, set for Spring and Summer issued recordings consist Billy The Kid Emerson next year. of two takes of one song Junior Wells, Willie Mabon and Wynonie Harris. and one take of another. The first two sets include Moore is a most engaging The late 1970s saw Billy dedicate himself to religion, nine CDs featuring one performer, with his ragtime composing Gospel songs before, taking of the Baptist musician or band: Buddy Boy dance rhythms on his guitar, church in Oak View, Illinois, a Chicago suburb. Ultimately Hawkins, Bo Weavil Jackson, laconic spoken blues and in 2012 he returned home to Florida to found his own Holy Peg Leg Howell and Texas drolly catchy songs such Praise Apostolic Church of Jesus where he preaches fire Alexander on MSESET 1, as Ragtime Millionaire. and brimstone, angrily refuses to talk about Elvis, Sun Skip James, Coley Jones & Walker is something else, Records and The Blues and was reported to be ‘as prickly Tampa Bay Times the Dallas String Band, Leroy a darkly brooding Dupree as a crown of thorns’ by The . Carr, Tommie Bradley/James Blues followed by guitar Cole and Charlie Lincoln on pyrotechnics on two takes of I would like to think that the last album by Eddie C. MSESET 2. The remaining Rag. Campbell, a constant butt of Billy The Kid’s criticism on three CDs are compilations of that American Blues Legends’ 79 tour, is in no way any the work of various bluesmen, A hefty proportion of the reference to his tormentor. The title of Eddie’s 2012 album, Spider many of whom recorded tracks in the first set feature a which was nominated for a Blues Music Award, was Eating Preacher only the handful of tracks single singer/guitarist, but the . included here. In fact the second set takes us into the JIM SIMPSON Bluesmaster series gives a world of string and jug bands. comprehensive picture of the Coley Jones is a one-man Read more of Henry’s Blues Profiles on Henry’s Blueshouse weekly online Bluesletter - Leroy Carr recording careers of most of variety bill, delivering droll to subscribe free of charge email [email protected] the performers. monologues to his own guitar 32 THE JAZZ RAG THE JAZZ RAG 33 BOOK REVIEWS

BOOK REVIEW of the more outre Armstrong steadily through Armstrong’s was the same with black friends offerings, Hawaiian guitars and managerial shifts: from Tommy as with white audiences, even in HEART FULL all, is not always convincing! Rockwell to Johnny Collins private, with his joke books: he OF RHYTHM (who acted like a gangster, but liked some corny old minstrel First and foremost Heart Full wasn’t one) to Joe Glaser (who gags, it’s true, but that’s no RICKY RICCARDI of Rhythm is a meticulously was, but who suited Louis). crime and in performance his researched and chronologically exuberance carried everything. University Press, arranged account of the years Oddly a book filled with A further irritation comes hardback, 978 0 19 from 1929 to 1947, though Armstrong’s sunny personality from the critics who believed 091411 0, £26.99 the final chapter carries the and Riccardi’s unquenchable either that everything after addition ‘and beyond’ and an enthusiasm quite often inspired the Hot Five was worthless Ricky Riccardi, Director of Epilogue gives a brief summary anger in me, for two main commercialism or that the 1940s Research Collections at the Louis of Armstrong’s final years. If reasons: racism and the critics, Armstrong was hopelessly out Armstrong House Museum and Riccardi tells you something, sometimes combined together. of date – of course, opinion is Armstrong obsessive, is probably you have to believe it: 50 pages The 1931 tour of the South will free, but the sense of superiority the world’s top authority on the of notes confirm his research do as an exemplar of racism on and, sometimes, casual racism great man in terms of charting and he constantly quotes the road. Mary Collins (white) infuriate. , and placing his career. Without from contemporary sources, was acting as tour manager eminent though he was, has any particular axe to grind, often absorbing them into and had hired a de luxe bus to never struck me as a man of he is also refreshingly free of his own text, resulting in an take the band to Little Rock. any generosity of spirit and musical snobbery and is happy to occasional clunkiness of style Changing buses at Memphis Riccardi’s accounts of him celebrate Louis as an entertainer balanced by an overwhelming landed the band, handcuffed, in alternately penning spiteful rather than purely a jazzman. sense of authenticity. jail, subjected to violent threats, reviews and buddying up to for such offences as letting a Armstrong (who apparently Riccardi’s first Armstrong Riccardi’s narrative is full of sharp black man sit by a white woman liked him) or insinuating his book, What a Wonderful World, insights. From our perspective and refusing to change to a own piano playing and anaemic by its very title told us that he we too often see Armstrong’s much inferior bus. After they blues compositions onto record respected the sort of thing the career in terms of recordings had finally been released on dates confirmed my prejudices. jazz mafia sneers at. This was (hence the over-emphasis on the Johnny Collins’ intervention, the aimed at re-focussing attention admittedly wonderful Hot Five band played Little Rock, then Heart Full of Rhythm is not on the All Stars years – 1948 tracks), but in the 1930s Louis returned for gigs in Memphis, perfect – the photographs, onwards. Since then he has was a huge star in vaudeville only to find the first five rows interesting in themselves, are realised that the real ‘uncharted and was making his way in films of seats at the Midnight Ramble dully reproduced and the index territory’ is the middle years, (highly praised as a comedian) taken up by wildly applauding looks great until you try to the time between the Hot Five/ – Riccardi’s Prologue has him policemen! With Armstrong use it – but it is indispensable Seven and the All Stars when breaking box office records there’s always a funny side, even for anyone looking to confirm Armstrong became a major star, at Harlem’s Apollo Theatre. to such barbaric events: when his Louis Armstrong’s greatness as mostly fronting big bands, some valet, Sherman Cook, revealed jazz musician and entertainer. mediocre, many stunningly good, The book makes clear the in jail that he had ‘a great big and then began to slide out of changes and developments in joint all neatly wrapped’ and RON SIMPSON fashion. As someone who loves Armstrong’s style in the 1930s, they could be in worse trouble, those warmly authoritative from the exciting (and excitable) he and Armstrong immediately vocal and instrumental high note innovator of the smoked the evidence. statements of classy popular early years through severe lip songs (from Ain’t Misbehavin’ trouble into the more mature, Riccardi effectively disposes of onwards), I found it a joy to broadly melodic, artist – though the accusations of Louis being share Riccardi’s enthusiasm, still with plenty of fire when an Uncle Tom, always an absurd though his defence of some needed. He also works his way idea, by showing that his humour

COMPETITION WINNERS Well done to everyone who responded to our competition in issue 163 with the correct answers.

The song that Louis sang to a horse in Going Places was Jeepers Creepers, while the Panamanian pianist was Luis Russell.

Out of the entries we received, we’re pleased to say that Roy Yates and Colin Middlebrough now have a copy of Heart Full of Rhythm on the way to them.

34 THE JAZZ RAG