CHICKENBONE JOHN ISSUE 166 SUMMER 2021 UK £3.25

Photo by Merlin Daleman CONTENTS

CHICKENBONE JOHN, The Godfather of the Cigar Box Guitar, featured in HENRY’S BLUESLETTER (pages 32-33)

4 NEWS 6 UPCOMING EVENTS 6 I GET A KICK OUT OF... LIZ BIDDLE of Upbeat Records features

7 EXTRA DAYS FOR COVID The Festival that expanded in the pandemic

8 JAZZ IN LOCKDOWN Top jazzers share their experience

10 CROSSING THE OCEAN RON SIMPSON interviews FAPY LAFERTIN

12 BENNY MEETS DIZZY MEETS THE DUKE The endlessly versatile PETE LONG

14 50 JAZZ VIBRAPHONISTS SCOTT YANOW counts them in 16 BIG TOURS AND STRONG OPINIONS The ever-busy NIGEL PRICE

Photo by 18 REMEMBERING FREDDY RANDALL Merlin Daleman DIGBY FAIRWEATHER recalls a cornet great FIND US ON FACEBOOK 21 CD REVIEWS The Jazz Rag now has its own Facebook page. For news of upcoming festivals, gigs and releases, 32 PRACTISE, MAN, PRACTISE... features from the archives, competitions and who RON SIMPSON has a look at Carnegie Hall knows what else, be sure to ‘like’ us. To find the 34 BOOK REVIEW page, simply enter ‘The Jazz Rag’ in the search bar Digby Fairweather’s Ace of Clubs at the top when logged into Facebook.

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 Decca Records recently proudly announced that an auction would be held on July Fax: 0121 454 9996 6 to raise funds for Decca Bursary. So far, so estimable! Decca Bursary has already Email: [email protected] supported many schools and individuals in making their way in music. Web: www.jazzrag.com However, jazz fans – ever-ready to take note of real or imagined prejudice Publisher / editor: Jim Simpson against jazz, probably because so often it is real – were shocked to find that such News / features: Ron Simpson items as 11 original test pressings of Tubby Hayes albums were to be auctioned Reviews editors: Charlie Moore off to help fund ‘young artists overcoming difficulties when entering the classical world’. Jazz sold off to fund classical music (which gets much more funding International editor: Yue Yang anyway), ran the cry! Commercial Director: Tim Jennings Subscriptions & accounts: Charlie Moore Actually, it’s not as simple as that. Other items are classically-based or related Designed by Nerys James to no particular style of music (a day in Universal Studios, for instance), but Printed by Warwick Printing the simple question remains: it is admirable to fund struggling young classical www.warwickprinting.co.uk musicians, but why only classical? Jazz musicians have at least as many difficulties to overcome and are equally valuable to the music community. © 2021 THE JAZZ RAG. All original material including advertising artwork remains the sole copyright of the Publisher and may not be reproduced without permission THE JAZZ RAG 3 NEWS NEWS

return of course, with Alan 2-5. Four days of top-class jazz Photo by Barnes resuming his Lancashire Jay Phelps Simon Spillett includes an album launch with the Merlin Daleman NEWS comedian role as MC as well Jazz Defenders and three or four FESTIVAL DOUBLE as closing the Festival with his nicely contrasted high-quality acts FOR NEWCASTLE Octet playing Jazz Portraits. A each of the four days. Sampling the In the space of six weeks mere three days packs in a host bill comes up with Liane Carroll, Newcastle-on-Tyne boasts two of top groups and musicians: Adrian Cox, Pee Wee Ellis/Ian jazz festivals. The Newcastle Jazz Hans Koller’s Bird Migration Shaw, Dennis Rollins’ Funky Funk Festival (August 13-15) has Jay Big Band (not likely to be a and the Electric Lady Big Band. Phelps and Dennis Rollins as conventional Charlie Parker at www.bristoljazzandbluesfest.com headliners, while the Newcastle 100 tribute), Tony Kofi’s Portrait Festival of Jazz and Improvised of Cannonball, Zoe Gilby, Nikki KIRKCUDBRIGHT Music (September 30-October Iles’ Jazz Orchestra, the Julian JAZZ 3) features such names as Fergus Joseph Trio and many more. Among different stratagems McCreadie, Zoe Rahman and Pat www.scarboroughspa.co.uk/ adopted by jazz festivals to Thomas. event/scarborough-jazz-festival- make sure they can still operate, www.newcastlejazzfestival.co.uk september-2021 excellent programme of top ONWARD AND the 23rd Kirkcudbright Jazz www.newcastlefestivalof British bands and musicians UPWARD AT Festival opted for a four-month jazzandimprovisedmusic.com VENTURING in single-set concerts, with TEIGNMOUTH – postponement. So the good AWAY TO JAZZ such names as Dave Newton, IN 2022! news is that this celebration of REVIEW OF JAZZ Venture Away Music Weekends Art Themen, Gilad Atzmon, Trad, New Orleans, Dixieland IN ENGLAND The popular West Country event, have two tempting jazz Nikki Iles/Stan Sulzmann and the Teignmouth Jazz Festival, has and Swing Jazz on the beautiful Following a delay caused by – programmes on offer this year, John Etheridge with Vasilis fallen victim to the pandemic Solway Firth will go ahead on what else – the Covid pandemic, both three nights in top-class Xenopoulos. in a slightly different way. This October 14-17, with The Big Easy the All Party Jazz Appreciation seaside hotels with five traditional www.hertsjazzfestival.co.uk year’s festival has been cancelled (Cadogan Hall), Vijay Iyer/Linda plus an extra Sunday lunch with Jimmie Noone, King Oliver, and The Red Hot Rhythmakers Group launched a Review of Jazz jazz bands. Blackpool Jazz not because of social distancing May Han Oh/Tyshawn Sorey, The Golden Eagle Jazz Band (29). Bing Crosby, Sam Wooding, Red among bands already announced. in England on May 28. The review and Lights at the Savoy Hotel VARIED regulations, but because the main London Sinfonietta and Laura Jurd Already booked for September Nichols, Oscar Aleman and www.kirkcudbrightjazzfestival.co.uk is being undertaken by APPJAG’s (September 17-20) features New PROGRAMME AT venue has been converted into and Nu Civilisation Orchestra (all are the Scott Hamilton Quartet Fletcher Henderson. secretary, Chris Hodgkins, and Orleans Heat, Baby Jools and the RONNIE’S flats during lockdown and because Queen Elizabeth Hall), Cleveland (1), Georgie Fame & Sons (8) www.whitleybayjazzfest.com CROWDFUNDING an expert advisory panel. The Jazzaholics, the Eagle Jazz Band and In the absence of imported talent, the festival is, unaccountably, not Watkiss and Django Bates and the and the Swing Unlimited Big MARSDEN deadline for responding to this the Savannah Jazz Band, while the Ronnie Scott’s has put together eligible for the recovery fund. Average White Band (both Royal Band (29), with Louisa Revolta’s SEPTEMBER The popular and well-established review has been extended to first three bands return for the an excellent programme of top The organisers are currently Festival Hall) and Kandace Springs Celebration of Ella Fitzgerald IN THE PARK festival at Marsden in the Pennines August 1 and details, briefing Torquay Jazz Weekend (November British players, with more one- negotiating a deal with the local (Alexandra Palace Theatre). (6) and Martin Taylor and Ulf Jazz festivals have taken many is faced with additional expenses papers and questionnaires can be 5-8), together with the Dart and two-nighters than usual and Yacht Club which, if successful, www.efglondonjazzfestival.org.uk Wakenius (20) lined up for different approaches to dealing in the wake of Covid. To ensure found on www.appjag.org/review- Valley Stompers and the Riviera fewer week runs. Apart from will make it, in the words of the October, plus another Thursday with the Covid pandemic and for the festival goes ahead in October, of-jazz-in-england. Ramblers Hot Rhythm Band. performances by the various organisers, ‘the swankiest jazz club SLIGHT DELAY night special with King Pleasure Bristol Jazz and Blues Festival the the Festival needs £10,000 which www.ventureawaymusicweekends.co.uk house bands, a sampling of the AT TJCUK admirable solution has been to it hopes to raise by crowdfunding. JAZZ AT THE SPA in the region worthy of the icons and the Biscuit Boys (7). next two months’ calendar of 40s New York and Chicago’. The Jazz Centre UK had www.theconcordeclub.com follow several individual events www.crowdfunder.co.uk/help-bring- Where once Max Jaffa ruled RETURN OF comes up with the James Taylor So, with funds built up again and announced that it would reopen with a September Festival in marsden-jazz-festival-back-in-2021 supreme in the Palm Court, HERTS FEST Quartet (July 12-14), Liane a classy new venue, Teignmouth on June 26 with new exhibits. The WHITLEY BAY Lakota Gardens on September Scarborough Spa, is now host to The 10th Herts Jazz Festival has Carroll (17-18), James Pearson 2022 promises much! look and feel of its Walkthrough CLASSICS the always excellent Scarborough been able to retain much of the with a portrait of Dudley Moore History of Jazz is re-modelled Mike Durham’s International Darius Brubeck Jazz Festival every September line-up from last year’s cancelled (21), John Etheridge’s Sweet EFG LONDON and new exhibits celebrate British Classic Jazz Party, aka the Whitley – not quite every September, of festival and comes back stronger Chorus (22), Alex Garnett’s FESTIVAL GOES jazz artists and the history of the Bay Jazz Festival, has been course, as 2020 was inevitably than ever. The festival at South London Supersax Project (30), AHEAD! 100 Club, also also the subject providing classic jazz on Tyneside postponed, with much of Mill Arts in Bishops Stortford Polly Gibbons (August 4), James The EFG London Jazz Festival of a new book edited by Digby since 1990. This year’s festival, the programme transferred has a full-length concert each Copus (5), Laurence Cottle with returns on November 12 to Fairweather. Unfortunately, at the Village Hotel, Silverlink to September 24-26, 2021. of three evenings, headlined by the Music of Jaco Pistorius (6), 20. Already arranged for the reopening has been delayed for North on North Tyneside on Newcomers to Scarborough the Darius Brubeck Quartet Omar Puente Cuban Sextet festival are the regular opener, possibly a month. The good news November 5-7, is somewhat include pianist Fergus McCreadie, (October 15), Liane Carroll (13), Jim Mullen’s Volunteers (16), Jazz Voice, at the Royal Festival is that the jazz centre will have a overshadowed by the sad death violinist John Pearce (in duo with (16) and the Simon Spillett Big Martin Taylor (17) and Adrian Hall, and a programme including splendid new floor after work on of popular Festival stalwart Keith Dave Newton) and gypsy jazz Band (17). Saturday and Sunday Cox and his Quartet (22). Dave Holland and John Scofield the plumbing of its home at the Nichols, but the programme group Djanco. Old favourites daytimes are stuffed with an www.ronniescotts.co.uk Beecroft Art Gallery, Southend- will serve as a suitable tribute on-Sea. to a fine pianist with a keen www.thejazzcentreuk.co.ukn appreciation of classic jazz. The Jazz Party assembles over 30 SUBSCRIBE TO THE JAZZ RAG CONCORDE international soloists in a packed CLUB JAZZ programme of themed single- Wednesday is again the chosen set concerts. It’s difficult to do SIX EDITIONS MAILED DIRECT FOR day for jazz at the Concorde justice to the Whitley Bay line-up, Club, Eastleigh, with the Ben but the reeds alone consist of £17.50 TO ANY UK ADDRESS Holder Quartet (July 14), the Brits Richard Exall and David John Maddocks Jazzmen (21) Horniblow alongside Germany’s Overseas rates: Europe £29, Rest of The World £36 and Bix, Bunny & Billy with Claus Jacobi, Australia’s Michael Enrico Tomasso (28). YolanDa McQuaid, Norway’s Lars Frost, Brown (29) appears on a special France’s Jean-Francois Bonnel Cheques payable to Big Bear Music. Send to: Thursday evening concert. August and Italy’s Mauro Porro. As for Jazz Rag Subscriptions, PO Box 944, Birmingham, England B16 8UT is given over to traditional jazz, the concert themes, again too with the Solent City Jazzmen Photo by Merlin Daleman numerous to list, there are To pay by credit or debit card, visit www.thejazzrag.com (11), the Sussex Jazz Kings (18) tributes, among many others, to or phone 0121 454 7020 and John Maddocks Jazzmen (25), Henry ‘Red’ Allen, Muggsy Spanier,

4 THE JAZZ RAG THE JAZZ RAG 5 UPCOMING EVENTS / I GET A KICK OUT OF… EXTRA DAYS FOR COVID UPCOMING EVENTS EXTRA DAYS FOR COVID The upcoming programme for the October is the month for jazz It’s an interesting question: at a time when all music festivals are finding it difficult to operate Stables, Wavendon, takes a healthy and jazz-related events at the swing towards jazz in August and Sage Gateshead: Jamie Cullum at full capacity because of Covid restrictions, why should a jazz festival suddenly decide to add September. After Ronnie Scott’s (2), Nikki Iles Jazz Orchestra (9), seven days to its programme? In the end it’s all quite logical, if still a little strange! All Star Band (August 7), Clare Triptych with visual artist Lisa Teal (21) and the Darius Brubeck Delarny (16), Michael Feinstein The Birmingham, Sandwell and sketching and taking photographs with Janice Day. Occasional And nearly all the off-beat events Quartet (25) complete the (22) and GoGo Penguin (23) Westside Jazz Festival has settled were still on the agenda. Then the visitors in the past, Spats are in place, together with an month’s programme. The Pasadena www.sagegateshead.com into a successful and popular date for relaxing lockdown moved Langham’s Hot Fingers is another unprecedented number of Book Roof Orchestra (8) kick off the format: 10 days mid-late July, well from June 21 to July 19, cutting group guaranteed to blow the Signings and Meet the Author September programme, followed The 17-month hiatus in the over 200 events, the vast majority across the first weekend of the Covid blues away! sessions, with Digby’s book on by Ma Bessie and her Blues monthly Friday lunch-time free, in nearly 100 different Festival. Now there’s no objection the 100 Club top of the list. Troupe (15), Shakatak (18), Joanna sessions of the Brian Rutland venues, a shrewd eye for young to having a jazz event with social Eden and Enrico Tomasso with an Band at the Tattershall Castle European groups who soon distancing – one or two jazzers, Spats Langham’s Hot Fingers Ella and Louis tribute (19 – 11.30 on the Thames comes to an end become Festival favourites, a such as Miles Davis, even practised am) and Eduardo Niebla (19). on September 3. Guest star is Jamie Cullum programme that takes in jitterbug it – but bar owners hoping for a www.stables.org Alan Barnes. classes, photography projects, big turn-out were not always keen Playing the music of Art Tatum is Graham Brook’s Tuesday Night harmonica workshops, ukulele on the idea. With Festival cancellations Jazz North’s Back to Live not easy at the best of times, but Jazz at Wilmslow Conservative sessions and much else. continuing and foreign bookings scheme works with northern So that’s when the first 17-day twice in one day! The Joe Webb Club resumes in August, with, impossible for the moment, King venues to bring musicians back This year’s festival scheduled for Birmingham Jazz Festival was Trio are the brave musicians on as usual, many of the sessions Pleasure and the Biscuit Boys are to audiences. The activities July 16 to 25 was bound to have created. Some of the events of August 20: at the Lit and Phil featuring a top-class saxist with still managing to get back on the involve rehearsals, photoshoots some differences from usual. the first weekend were moved to in Newcastle (1.00 pm) and an excellent rhythm section, road. Upcoming dates includes and development sessions, plus The Continental connection July 30-August 1 and the Monday- Saltburn Arts (7.30 pm). Saltburn often led by Andrzej Baranek. The Powder Monkey, Gosport performing for a live audience. was broken, possibly by Brexit, Thursday of July 26-29 became Arts also hosts Abbie Finn’s Liam Byrne starts the ball rolling (August 14), Twinwood Festival The launch of the project was certainly temporarily by Covid, part of the Festival, though with Finntet on September 3. (with guitarist Tony Ormesher (27), 45 Live, Kidderminster (29), in Morecambe and Birkenhead so there was no place for few events. also on board) on August 3 and Astor Theatre, Deal (September in early June and the next event Spain’s Potato Head Jazz Band North East theatres hosting jazz Alan Barnes (17), Frank Griffith 11), Aberystwyth Arts Centre is at the Crescent, York, with or The Jim Dandies from Italy, So, even if 30-event days are events include the Gala Theatre, (31) and Alex Clarke (September (October 6), The Concorde Jemma Freese and SogoRock on for instance, or the regular not on the menu, the 37th Durham – Zoe Gilby Quartet, 7) follow suit. Exceptions are the Club, Eastleigh (7) and The Regal July 17 and 18. appearance of a group from Birmingham, Sandwell and August 27, 1.00 pm, and Gosforth Lucy Lockwood Quartet (10) and Theatre, Tenbury Wells (29). www.jazznorth.org Lithuania. The Festival depends Westside Festival (July 16-August Civic Theatre – Martin Taylor and singer Sheila Waterfield (24). www.bigbearmusic.com on the involvement of countless 1) has plenty to offer. Regular Martin Simpson, October 7. www.grahambrookjazz.co.uk bars, pubs and restaurants, and favourites such as Festival Patron that number was certain to Digby Fairweather, Art Themen, reduce: sadly the pandemic has Bruce Adams, Alan Barnes, Tipitina, driven many hospitality venues Alex Clarke, Roy Forbes, Simon I GET A KICK OUT OF… out of business and others were Spillett, The Whiskey Brothers wary of committing at this time. and The Shufflepack (among many LIZ BIDDLE, of the popular and successful Upbeat label, answers the questions… Occasional novelties such as others) return, together with Barber Shop Quartets were ruled some notable first-timers. What was the first jazz gig What’s the best jazz Louis and Lil Armstrong. Louis out – that’s an awful lot of people you went to? performance you’ve seen in had such an amazing upbringing close together singing loudly! The award-winning Cajun I was very much into classical the last 12 months? and I do think Lil is much and Zydeco band, The Cajun music in my youth and I guess Nothing ‘live’ of course due to underrated – I’d just like to have However, within these limits, a Roosters, The Old Jelly Rollers, the first gig, after launching The Covid, but I have been looking a drink and just chill with them festival that was recognisably with the vibrant music of New Temperance Seven’s album, was to at T J Johnson’s Zoom events – I and learn more about their lives typical of Birmingham emerged: Orleans, and Old Baby Mackerel’s see Terry Lightfoot and his band. just love his playing – and he’s first-hand. 135 events may be much less traditional bluegrass are all really worked hard during the than 2019’s 235, but it’s still making their Birmingham Festival What is your favourite jazz lockdowns to keep on bringing How is Upbeat faring in a lot of festival. Jitterbugging, debuts, as is the classic jazz album and why? his music to his many fans. these difficult times? playing harmonicas and ukuleles, pianist Martin Litton, appearing Having produced over 200 albums, Even though I am being told that that is such a difficult question What’s your favourite jazz the audience is dwindling, Upbeat Old Baby Mackerel to answer as when I’m in the release (new or reissue) from Mail Order continues to thrive middle of a release, it’s always my the last 12 months? and our customers continue to What track or album turned favourite one at the time! It has to be a choice of two - our be loyal and grow in numbers – you on to jazz? release of The Dynamic Valaida which is terrific. Long may it last. Actually it wasn’t a track as such, What was the best jazz Snow– such fab music and what it was at the start of my days performance you’ve ever a sassy lady! And also the Ron The photograph is the one at Upbeat Management when I seen? Russell and Digby Fairweather from my Upbeat Recordings was managing The Temperance I think I would have to say most double album we released earlier Facebook Page with me and Seven. As their manager, I tried memorable rather than best – and this year – The Ron Russell Legacy the first day I met my dog hard to get them an album deal that was going to see Humph with – such lovely music and I do so of a lifetime – Jasmine – Jas with a major label and eventually the wonderful John Griffith – at love working with Digs. for short – my beautiful decided to branch out on my the Bull at Barnes - and when German Shepherd Cross own –and record them myself Humph finished the first set he If you could meet one jazz that I rescued from Spain. – with a lot of help from Ted said, ‘I didn’t know the trumpet musician, living or dead, who Sadly I had to say goodbye Taylor of Porcupine Studios - and was so hard to play!’ Wonderful would it be and why? last November but she will Upbeat Recordings was born – man and much missed! I think it would have to be two - always be my mascot. March 1989 – last century!! 6 THE JAZZ RAG THE JAZZ RAG 7

JAZZ IN LOCKDOWN JAZZ IN LOCKDOWN

with, appropriately enough, his I work really well together and JAZZ IN LOCKDOWN longest and most satisfying solo he has a brilliant set up in his Claire Martin on Morgan’s Manor, dedicated to attic in his house in South East So how was it for you? In the hope that the current hints of returning normality will be bassist Paul Morgan. London. I’m proud to say that continued, we invited various musicians to reflect on the last 15 months: our new company Soup to Nuts Roan’s six compositions are Productions has produced two genuinely melodic, nicely contrasted albums so far since launching: It’s been a tough struggle, but a any gigs until normality returns. and, rather charmingly, mostly Jenny Green’s Always and Forever Bruce Adams big thanks goes to the MU, PRS In the meantime payments from related to friends in the business, and Wilma Baan’s debut So Nice. and PPL who really helped out the government and the likes of promoters and suchlike – one way We have another three albums in the early days of lockdown, the Arts Council and PRS are of maintaining human contact in lined up for the rest of this year together with a handful of oil a lifeline for the industry. The February 2021. Roan’s musicianship and we are currently writing painting commissions that came reality is many lives have been is shown in the way he makes some ambient meditation music my way. Luckily, I had the luxury lost, many more grieved and Latin Exchange – a kind of for a friend who will come of my family, our continued good the sacrifice we musicians have African-Caribbean number – sound and record her spoken word health, a lovely garden and plenty made was necessary, and the only just right on vibes, piano, bass meditations over the top. It’s of glorious weather. Lockdown course for a loving society. My and drums, though I rather fancy been really interesting and I’ve gave me chance to take stock, hope is the world when it opens hearing it in its original form for learnt so much from Chris. It really appreciate the importance up will recognise this sacrifice orchestral timpani, baritone sax and was a natural progression for of all those things and endless and happily return the love. My guitar! me as I do have a lot of studio creative time to write a new fellow musicians that remain at experience and I am really keen album and a book of what’s best the other end, with our skills Photo by www.roankearseylawson. to help all singers really make the described as poetic fumblings. and faculties mostly intact, live Merlin Daleman co.uk/144records-shop most of their studio time, which in hope, we await our campaign can be quite stressful unless well I’ve missed live music, the medals and pay rises with great Bruce Adams: younger jazz players who haven’t R.S. organised. As a Virgo, I live for camaraderie of my band mates anticipation! Enrico Tomasso: However, an unforeseen positive Due to prophetic powers handed even got a healthy commercial organisation so it’s working well! down to me by my Irish great sector to seek refuge in, or the and the friends we make at gigs. Alan Barnes: I initiated a weekly livestream was a formation of an online Like Superman, I can’t wait to slip During lockdown Roan seized the at the start of lockdown. community of people looking grandmother or my Welsh great likelihood of good work in the Finding myself with more free https://souptonuts.productions/ grannie – the jury‘s out on who EU which I was fortunate to have back into the blue suit and fly opportunity of creating a rather time than I’ve had for years, The main benefit for me was forward each week not only to high once again. unusual album… was the best with the tea leaves for many years prior to Brexit. I I decided to put together Clark Tracey: getting the horn out every checking out the music, but to – I initially decided, as the gigs have musician friends in France Copperfield, a new suite for my I was lucky enough to have week to play alongside pre- chatting to each other via the Digby Fairweather: If you need to observe social haemorrhaged from my diary, to who were given immediate octet based on the Dickens novel. a teaching job throughout recorded accompaniments that Facebook comment feature. I am Despite the restrictions, distancing, what better than making be positive and treat this blip as a substantial help and continue to The book and my band both the lockdown, so that helped I organised every week with still hearing new comments from lockdown hasn’t been all bad an album where you play all the sabbatical. I reckoned we’d be in receive it. In the U.K. this type feature larger than life characters financially. I also had half a many talented pianists and people saying how the show was for me. For one thing it enabled instruments and act as recording for a tough year so I could practise of support is unlikely, and will so it was a real pleasure to dozen well paid live streams, guitarists from over the world. a ray of light during bleak times. me to finish our newest Jazz engineer. Roan Kearsey-Lawson’s a lot of things I felt I should do undoubtedly lead to the loss of write. Mark Nightingale checked but of course none of this has Centre UK project celebrating contribution to lockdown culture better. Having worked for 58 years some fine talent. over the scores via Zoom in a provided a decent income. I the 100 Club and produce our is an assured and consistently Art Themen Photo by up to the beginning of lockdown, series of calls that amounted started a quiz show called Jazz Merlin Daleman book about its history called enjoyable album, Mostly Me, I’d seen just about everything. If Some promoters, through being to a full course in composition Lockdown on YouTube based on Ace of Clubs. There was also available digitally on 144 Records this had happened to me 20 years sheer bloody minded, have and arranging. I learnt a lot and Jazz Score, raising some money some time for a bit of artistic (43.40). It’s mostly, not completely, earlier, things could have been a managed to produce gigs out of we have a new bookable 2-hour for charity and the musicians self-assessment – if that doesn’t him because the last tune was lot worse for me, like it has for so a hat. For that we’re eternally show. Just got to get the band taking part. Lockdown gave me sound too pious! – and although written for him by the late Duncan many of my friends and colleagues. grateful. We’re looking at a to agree to dress up in Victorian the opportunity to concentrate the chops got wobbly they’ll Lamont, so the quartet swings out to I’m comparatively lucky. different world, I just hope it’s clothes now. on the Resteamed Records label, be back in fighting condition by Roan’s Groove on the final track. one that we can build on. We dedicated to my father, releasing A big down side for me was certainly need it. summer! Tom Hill: Roan is best known as a fine two double CDs and revamping missing hanging out with my I think many of us in the musical the website. In addition I musical pals. Where I live, I have Mark Skirving (King Pleasure Roan Kearsey-Lawson: vibes player, but admits to multi- community used lockdown to My music work, and those of instrumentalism on his website: he have been transferring his old Alan Barnes, Tina May, Simon & The Biscuit Boys): re-boot. I missed live gigs terribly, manuscripts onto freshly printed Spillett, Karen Street and Ollie At the opening of 2020 things many others I gave work to, has mentions piano and percussion and but got onto a site where I was been decimated by the pandemic. they more than stand up to scrutiny scores and making them available Hayhurst as neighbours. seemed to be on a positive able to take some video lessons for purchase and performance. upturn and with plenty of work Unfortunately these difficulties on the album, some evocative piano from one of the top jazz double will remain until social distancing solos particularly. He can certainly The fact that the damage done in the diary I was looking forward bassists in the world. He kindly Art Themen: and audience caps are removed. add double bass on this evidence, will probably take years to repair to a busy year and getting back in picked my playing apart and really I’ve been able to keep busy I certainly cannot afford to run far more than just time-keeping, must be a daunting prospect for the black. Well! gave me some motivation that with two recordings, one with I think has kicked me up a level Dave Green, Dave Barry and Mark Skirving in performance and concept of Gareth Williams, the other with the bass’s role in jazz. I’ve seen Pete Whittaker and George many amazing examples of how Double – Thane and the Villeins. other musicians have turned This resulted in two BBC radio the lemons of lockdown into broadcasts and a flurry of gigs lemonade – if you gotta play then for the trio starting last summer you’re gonna play! which were stopped short by COVID. I took part in Ronnie Claire Martin: Scott’s anniversary celebrations During lockdown I decided I and played a single gig in Norway would try and develop my skills before the latest lockdown as a studio producer and started confined me to a handful of a production company with the Zoom gigs including one with Photo by brilliant trombonist and studio John Etheridge at the 606 Club. Roan Kearsey-Lawson Merlin Daleman owner Chris Traves. Chris and

8 THE JAZZ RAG THE JAZZ RAG 9 CROSSING THE OCEAN CROSSING THE OCEAN

‘The title is a suggestion that The choice of material on Atlantico CROSSING THE OCEAN the album is a collection of is attractively varied, with songs material influenced by musics from Brazil, France and Hungary, RON SIMPSON discovers the background to Atlantico, the recently released album on both from here in Europe and in three classic standards by Rodgers Fremeaux et Associes by celebrated guitarist FAPY LAFERTIN with his New Quartet. the Americas, separated only by and Hart, Cole Porter and Richard an ocean, but connected in many Whiting and seven originals, four ways.’ Fapy had earlier brought of them by Fapy himself. His comfortably in any camp. Not Dave Kelbie as second guitar, up the concept of ‘world music’, compositions don’t fall into any jazzy enough for jazz, not gypsy which recorded two highly a term that can sometimes be predictable category. If the spirit enough to be world music. Which acclaimed albums in the mid- applied very loosely, but there’s of the Hot Club hovers over is probably why for years it 1990s. Meanwhile, however, no doubt that the press release Carnation, Plachterida clearly draws seemed to be performed as much he was writing new songs in that labels Atlantico as ‘Jazz’ and on Portuguese/Brazilian tradition. in folk clubs as in jazz venues.’ Romani with Bamboula Ferret ‘World Music’ has got it right on What all his compositions have which led to the release of both counts. in common is a subtle melodic Fapy Lafertin’s career has the album Ou Welto Risella (The gift. Asked about his inspiration, been a matter of expanding World is Turning) in 2011. At the The group on the album is Fapy puts the emphasis back on horizons, both geographically same time he was developing an billed as the Fapy Lafertin New the musicians: and stylistically. He played many intense interest in Portuguese Quartet. Why new, I wondered? instruments as a child before fado and Brazilian choro and Of course it is new in the sense ‘Some compositions you write concentrating on the guitar beginning to play a 12-string that it’s his current band, but and they wait for the right and, like many Sinti Manouche Portuguese guitarra alongside his generally a musician would have a combination of musicians to musicians, began in a family band trademark Maccaferri. special reason for using the word perform them. Others come with his father on violin and his ‘new’, something different from about naturally in respect brother on rhythm guitar. His Asked about the major influences his previous groups: to being around a certain first experience playing the Hot on his own music, Fapy rather combination of musicians. It’s Club style of jazz was in the band apologetically identifies them ‘The main characteristic of no different from performing of violinist Piotti Limberger. Fapy as ‘musicians and composers this band is the wide range of standards. One wouldn’t became known outside Belgium I haven’t played with’, adding interests of the musicians, wildly introduce My Romance into a in the 1970s with the band Waso, instantly, ‘Of course I mean no differing musical background and set of musicians who didn’t have playing a big part in the revival of disrespect to the incredible training, but with a great musical poetic expression. interest in music in the Django musicians I’ve been lucky enough Armstrong and Duke Ellington, respect for each other.’ Probably the main growth area tradition. The next stage in his to work with.’ Inevitably Django and in this respect I guess we’re ‘Melody is everything to me. in jazz over the last two or career involved forming his own is one of the major influences; three decades has been in Hot quite similar.’ An early influence on violinist And rhythm is everything to me. quintet in the Netherlands with the others may surprise anyone Alexandre Tripodi was Tcha I’m known for writing strong Club jazz, gypsy or Django-style such musicians as saxist Rudi who associates Fapy Lafertin Ask Fapy about the current Limberger with whom he plays in melodies, but I don’t think I could jazz or whatever you want to Brink and violinist Tim Kliphuis. solely with gypsy jazz. Carlos popularity of gypsy jazz and you Les Violons de Bruxelles, a group write a good melody without call it. Many groups all over the Meanwhile he was playing as a Peredes was a Portuguese guitar get a suitably balanced answer: which also includes the solitary an understanding of rhythm, I world express their allegiance in solo with top American artists, virtuoso; Pedro Caldeira Cabral, names which incorporate one guitar of Renaud Dardenne mean the inherent rhythm on ‘Gypsy jazz has always been including such different guitarists also a guitarist, is an expert who, having studied jazz guitar, which a strong melody could sit. of the words ‘Django’, ‘Gypsy’ or as Al Casey and Charlie Byrd in early Iberian music; Amalia ‘Manouche’ or begin ‘Hot Club popular with musicians and is now also much involved in Albums that fail for me all have a audiences. The difference is as well as Benny Waters, Milt Rodrigues was a celebrated the music of Greece and South characteristic of having rhythm as de…’ It would be fair to say that Hinton, Scott Hamilton and fado singer and actress; Jacob most of these groups are skilled that now promoters, media, America. After guesting with Les an afterthought.’ programme directors seem many others. At the Glasgow Jazz do Bandolim was a Brazilian Violons, Fapy conceived the idea and their music is attractive, but, Festival he even formed a direct composer and mandolinist whose while some develop individual more ready to present it. Social of forming a trio with Alexandre Listening to Atlantico, it’s obvious media must have something to link to Django himself by playing evocative Vibracoes is to be heard and Renaud. In fact it came to that Fapy’s words about being approaches to the music, others with Stephane Grappelli. on Fapy’s current CD, Atlantico. can be seen as frankly derivative. do with it, but also maybe it has be a quartet, with drummer/ described as the true heir to just been slow to be categorised pianist/bassist Cedric Raymond Django Reinhardt are true in Later he worked and recorded The album, recorded in Tintigny in the minds of the people who joining on double bass. He every respect. Being the true So what does the man long ago with a British group LeJazz, with in Southern Belgium in 2017, write about and present music. strengthens the Brazilian element, heir to Django doesn’t mean described as the true heir of violinist Steve Elsworth and is called Atlantico for a reason: Django Reinhardt think about For years the style has not sat working regularly in Belgium adopting a Hot Club style and being forever linked to the with Greg Houben, trumpeter playing Nuages and Minor Swing great man? Fapy Lapertin, born and Brazilophile. The Portuguese/ every night. Of course it implies in Courtrai, Belgium, in 1950, Brazilian element on the album an influence on guitar style and a guitarist from the age of five, is plain to see, but the quartet technique and a certain approach is happy to be associated with is as much at home crossing to rhythm and melody, but most the name of Django, but has a the North Atlantic and swinging of all it involves creativity and an warning for those who think that through classics of the Great openness to other musics. Django’s legacy is simple: American Songbook. Fapy’s delight in his ‘new’ ‘That was said of me a while The involvement of the other quartet is equally obvious. Most back now, but I am still flattered. I three members of the quartet interviews these days end with would hope by this they don’t just on the album is total. Each a question about what plans mean that I play Django’s music contributes an original, all rather are afoot now that (hopefully) very well. The music that Django ambitious, atmospheric pieces, a more normal music scene is expressed had many influences with Cedric Raymond taking us returning. Fapy’s reply takes the from all directions, he soaked up in yet another direction with The prize for simplicity and honesty: music from many cultures, not just Baltic. Finally Raymond, who is jazz from America. You can hear also a sound engineer, took care ‘I plan to play. With this quartet, as many musical characteristics of mixing while Tripodi looked hopefully.’ clearly coming from the East in after post-production. his music as you can from Louis

10 THE JAZZ RAG THE JAZZ RAG 11 BENNY MEETS DIZZY MEETS THE DUKE BENNY MEETS DIZZY MEETS THE DUKE

at Ronnie’s, the brief was to put palette. Broadly, the further playing is pivotal. I was able to the Deal Festival. Being in 2020, BENNY MEETS DIZZY MEETS THE DUKE on a tribute concert every show. back in the history of the music book James for the show, and that’s a project still in the can. I As I’d amassed the music for I find myself, the more the that whole end of the set came also have two big band albums RON SIMPSON sets the scene for an amiable interrogation of British jazz’s Mr. Versatility, PETE LONG. my own study, I realised that I improvisational curve becomes to life because of his talents. recorded awaiting release, one could put on the 1938 Carnegie rooted in percussiveness, rhythm, with Georgina Jackson and the Pete Long’s musical career began about the same time I fell madly the lockdown, I have attempted forget that when I started out in Hall concert. The agent Robert timbre and melody. RS: What is your connection other with Louise Cookman. This orthodoxly enough with study in love with the sound of Glenn to add the trombone, trumpet, the mid 80’s, commercial work Masters got hold of this and put with Ronnie Scott’s? latter one will actually be getting at the Royal London College of Miller’s band. My flute teacher was guitar and bass to my repertoire. involved a lot more jazz content it out on the road. This was all in I mainly personalise the gigs with an outing at the Herne Bay Jazz PL: My job there is to arrange Music and membership of the an old school dance band musician I can now play, with varying than it does now. For example, 2006, when such a tour was still my link material. I feel that a gig Festival this year, as long as we all and direct the concerts given by National Youth Jazz Orchestra. who trebled on flute, clarinet and degrees of success, all the parts there would be the odd standard just about feasible. The Couriers is created by the band and the get let out to play. the Jazz Orchestra. Like a lot of Then he decided to join a saxophone. I wanted to have a in the big band in my home to play on a function gig, and on was formed specifically for a gig audience in equal part, and so others, I get the odd job in there rumba band on the Queen slice of In The Mood really badly, studio. I could only really do a gig the ships we’d work with bona at ‘The Old Place’, a basement the duty of the bandleader is to RS: Finally, how was as a sideman too. Elizabeth II. As the years have so I changed to sax. I was listening on the reed instruments at the fide jazz artists such as Elaine venue opened by Ronnie’s in the transmit the energy generated to lockdown? I can’t imagine passed, he has been ever more to a lot of big band music at moment, but give it time! Delmar and the Clark Brothers. summer of 2019 to celebrate the the musicians onto the audience, you stayed idle, but Ronnie RS: You have such a huge difficult to pin down, with a the time, and so between that 60th anniversary of the club. I’m and then hopefully they will Scott’s and large-scale variety of projects. Which multi-instrumentalist’s ticket and the example of my teacher, RS: Is there any instrument RS: Your repertory/tribute good mates with Simon Spillett, reflect that energy back, so that concerts were ruled out. ones, past or present, are you into studio work and long stints I knew from the get go that a which you feel to be your bands - Ellington, Goodman, so we got it together with the the whole show gains a spiralling Any little duo gigs outside particularly proud of? arranging for Jools Holland and, working sax player needed the main one? Couriers.... - what started house trio for that job. momentum. Or, in other words, or streamed? Or did you you on this? Which was first? I have to gee everyone in the find something completely currently, Ronnie Scott’s. flute and clarinet to get on. About PL: To misquote Duke Ellington, PL: In my head, I’m a trumpeter. In RS: What do you think it room up. different? a year into this, I discovered the my next one. I guess the one I Ask any jazz fan and the chances Benny Goodman concert from reality, I have to make do on the PL: I like making Airfix models. is about your personality/ RS: What is the value of had most invested in personally PL: I got away with the lockdown are they will identify Pete Long Carnegie Hall in 1938, and this clarinet. I’ll play the sax or flute if I’ve always liked the process of abilities that makes you these re-creations? was The Jazz Planets. It took me in some ways as I was about to with repertory projects, re- really hastened my entry into the someone asks. fashioning a replica, and as a kid I so successful in these re- a year to write and has always buy a house and had a deposit creating the music of jazz greats, clarinet world. By the time I left used to put Ellington albums on creations? PL: The big point is that they gone down a storm. Clive Davis in the bank. I took the view that but which jazz greats? Benny school, I was reasonably proficient RS: Could you tell me in my room and wonder what it PL: I’m patient, I don’t mind being are fun. A lot of jazz is a great kindly gave us ‘Must Have Jazz if the enforced sabbatical was Goodman? Duke Ellington? Dizzy at all three. So I guess that I’ve something about what we would be like to hear that music told what to do and I love old deal of fun. Benny Green (the CD of 2018’ in the Times for it, going to erode all that dough, Gillespie? And, recently, he has always been a trebler, or as you might pompously call your in the flesh. I also got deeply into records! writer) made the point that at too. Jazz is a funny business. So I’d really need to make it count. cast his net even wider, with his put it, a multi-instrumentalist. career trajectory? Has it the history of the swing and early least superficially, you can make far I think we’ve sold 350-odd re-working of Gustav Holst’s The been a matter of deliberate bop eras. I started the Echoes Of I’ve therefore been able to really RS: Which ones are currently yourself sound like a genius. copies. Look out, The Beatles! Planets. But this doesn’t cover the If you are a commercial trebler, changes of direction or Ellington in the early 1990’s when concentrate on learning some active? When I say ‘currently’, I More specifically, I feel that a range of Pete’s work, even though you will end up with a lot of going where the work is or a I realised that there were some instruments I’m interested in, and mean either up to March 2020 very tangible value in re-creating RS: And any specific projects I think he has abandoned rumba instruments. You will be expected combination of the two? musicians around who could have settled down to quite a bit or looking for bookings now. old stuff is if it a written piece lined up for the future? bands. I will never forget going to to own and play all four saxes, emulate the crucial distinctive of writing. The flip side is that I’ll of work. It is of huge value to hear a Greek improvising harp the clarinet and bass clarinet, and PL: Again, in my head, I’ve always sounds of the original sidemen, probably not be able to buy a PL: Hard to say. It’s getting more hear, say, a Fletcher Henderson PL: I was commissioned to write player at the Half Note in Athens the piccolo, flute and alto flute. been a jazzer. In the real world, and so it was worth a punt to house for a bit! and more diffuse. The Benny composition alive in the air of a suite of pieces as a follow up and finding that she was sharing In the States, you can be called I’ve felt a need commercially see if it would be possible to get band will probably pick up the the room around you. You will to The Planets on Swan Lake for www.plong.co.uk the stage with one Pete Long! to play the oboe, cor anglais to turn my hand to other hold of and play some Ellington odd bit of work playing at Lindy hear colours and nuance which and bassoon too. I had a lucky things, plus it’s fun to play all scores in the flesh. I was also Hop events, though even that a recording may easily mask. So how does he see a career break on the oboe – I got to the different hooters. I also like working on a show in the West is becoming diluted with maybe Doing the necessary research which, at the least, could be play the intro on Handbags And living in houses with carpets and End, which gave me the necessary a set playing the music of the and practice will also colour your called interesting? Gladrags by the Stereophonics. food in them. Often, a jazzer’s financial grunt to throw the Old Testament Basie band. The own playing. You’ll be speaking in a In royalty terms, it’s the gift that wages won’t run to this. The money at it that it needed. The Echoes Of Ellington has got one richer version of your own dialect. RS: You seem to have been a keeps on giving! Needing access fact that I’m perceived to be Goodman thing came about job in the book, doing my Planets multi-instrumentalist from to all the various hooters can playing more jazz of late has been much later and very differently. Suite. I’d really like to have a RS: Choosing the right the start. Is this accurate? ignite a collecting urge. During mainly market forces. Also, don’t In the early days of the big band And why this need to keep couple of gigs in for the big Dizzy musicians for these re- adding instruments to your Gillespie project I got together, creations can’t be easy. I roster? Gillespiana. Any takers out there? guess Jazz at the Phil might be particularly difficult. PL: I started, as many kids do, on RS: How does your own the recorder at primary school. personality/style survive PL: Jazz At The Phil is quite easy I got right up everyone’s nose being placed in all these to fix- it’s more of a briefing than with it, playing London’s Burning different jazz contexts? Do anything else. On a standard, all morning, noon and night. When you consciously imitate solos three choruses long, no I got to secondary school, we Goodman, for instance? outside language, riffs in support had a fife and drum band which When Pete Long plays as every third chorus and do I joined on fife. A fife is a small Pete Long, what does it something really exciting in your wooden piccolo thing. I really sound like? last sixteen bars. The drummer liked playing the marches on it, is to play largely a no fills groove PL: On the clarinet, left to my and I was envious of my mates at and there will be one bass solo own devices, I sound like a cheap school who would get to leave in the gig. As long as you can find version of Buddy De Franco. regular classes to have a music musicians who will adhere to When I’m on the BG show, I’ll lesson. I really fancied the idea that, you’ve got a show. In other play certain things with a nod in of legitimately walking around fields, you’ve just got to keep the direction of his vibrato, to the school while everyone else your ears open on gigs. There’s set the scene. Benny’s harmonic was stuck in classes. I feel this a young trumpeter call James language is a lifetime’s study in affinity with standing out of the Davison who I heard at a NYJO itself, so I’m happy to just not mainstream is something shared rehearsal playing a load of Clark fall over the changes! If I’m in a by a lot of musicians. With all this Terry licks. I had a gig coming bebop setting, I’ll use a different in mind, I started to have lessons up doing Ellington’s Such Sweet harmonic language and tonal at school on the concert flute. At Thunder, in which Clark’s Puckish

12 THE JAZZ RAG THE JAZZ RAG 13 50 JAZZ VIBRAPHONISTS 50 JAZZ VIBRAPHONISTS

percussionist who was adept him to improvise remarkable Steve Hobbs (1956- ) After John Cocuzzi (1964- ) A regular 50 JAZZ VIBRAPHONISTS at playing jazz and Latin music, unaccompanied solos although touring with Art Van Damme, at jazz parties and with small Richards was on a countless he mostly played with his own Spike Robinson, Tom Harrell and swing groups, Cocuzzi is also a By SCOTT YANOW number of sessions during his 65 groups, units that through the others, Hobbs became a leader, top-notch pianist. year career. years helped introduce guitarists heading his own hard bop groups It has long been said that Lionel have emerged since then. If one Larry Coryell, John Scofield, Pat and seven albums including a Stefan Harris (1973- ) The Hampton, who was originally had to list the seven who were Lionel Hampton Johnny Lytle (1932-1995) After Metheny and others. His duet tribute to Bobby Hutcherson. leader of the newer generation a drummer, was the first jazz innovators on the instrument, switching to vibes from drums projects with pianists Chick of vibraphonists who rose vibraphonist, playing it briefly on I would name Hampton, Red in the late 1950s, Lytle became a Corea and Makoto Ozone were Mark Sherman (1957- ) A to prominence after Bobby Louis Armstrong’s recordings Norvo, Terry Gibbs, Milt Jackson, masterful hard bop player who also quite memorable. classical and studio keyboardist Hutcherson and Gary Burton, of Memories Of You (16/10/30) Cal Tjader, Bobby Hutcherson, led a couple dozen of his own and percussionist, Sherman Harris has yet to record an and Shine (9/3/31), but was he and Gary Burton. In this article albums during 1960-92. David Friedman (1944- ) In emerged as a top-notch album that is not worthy of really first? He may have been there is room to briefly mention addition to working with Dave vibraphonist in the late 1980s and one’s attention. the earliest to take a significant 50 and I have listed them in Victor Feldman (1934-1987) Samuels in the two-vibraphone has since led a series of swinging Nick Mancini (ca. 1974- ) A jazz vibes solo, but Rudy Starita order of their birth dates (other He first became known as a group Double Image, Friedman’s session including a duet album major force in the current Los in England can be heard playing than placing Hampton first). I drummer and his piano and associations include Wayne with pianist Kenny Barron. Angeles jazz scene Mancini, who vibes on records by Bert extend my apologies to the 100 percussion work was never short Shorter, Hubert Laws, Horace Hendrik Meurkens (1957- ) has worked with Arturo Sandoval, Firman and with his brother Ray other talented vibraphonists who of brilliant, but Feldman was also Silver, and Chet Baker. Equally skilled as a vibraphonist Peter Erskine, Poncho Sanchez, Starita’s Ambassador Band as could have easily been included a very skilled vibraphonist who and a jazz harmonica player, and Kamasi Washington, is always early as 1926. Other drummers on this list. could have made his living from Bobby Naughton (1944- ) Marjorie Hyams (1920-2012) the potential to build on the Meurkens is a master at both in great demand. who hit occasional notes on just playing that instrument. Mostly associated with the avant- Hyams worked with Woody innovations of Milt Jackson. bebop and Brazilian music. the vibes before Hampton Lionel Hampton (1908-2002) garde for whom he provided a Herman’s First Herd and the Karl Berger (1935- ) He Jason Marsalis (1977- ) include Harold McDonald (Paul The pioneer of the jazz vibes, mellow contrast, Naughton has original version of the George Harry Sheppard (1928- ) In the made his recording debut with Chuck Redd (1958- ) After a Originally exclusively a drummer, Whiteman’s November 18, after coming to fame with worked with Anthony Braxton, Shearing Quintet, settling in 1950s he was part of the New Don Cherry, founded and ran long period with the Charlie Byrd the youngest of the Marsalis 1927 recording of Washboard the Benny Goodman Quartet, Leo Smith, and Roscoe Mitchell. Chicago in 1950 and having a York mainstream scene, working the Creative Music Studio in Trio (doubling on drums), Redd brothers has been a modern and Blues), Bob Conselman (with a Hampton led big bands for 60 lower profile for the next 20 with Red Allen, Ben Webster, Woodstock, New York, and has Khan Jamal (1946- ) While has since become one of the swinging vibraphonist since 2009. Benny Goodman small group years and never failed to be years before retiring. Roy Eldridge and many others. worked with the who’s who of he has performed with such most in-demand swing-oriented on January 23, 1928), Chauncey a real crowd pleaser, always Sheppard has evolved with the avant-garde jazz. adventurous players as Billy vibraphonists. Warren Wolf (1979- ) He Morehouse, Vic Berton, Stan climaxing performances with a Milt Jackson (1923-1999) ‘Bags’ times and is still performing Bang, Charles Tyler and Ronald gained attention while touring King, Benny Washington, and stirring version of Flying Home. (along with Terry Gibbs) was the today at age 93. Gunter Hampel (1937- ) Shannon Jackson (in the Bill Ware (1959- ) Ware is best with Christian McBride, worked Paul Barbarin. In fact, Barbarin first bebop vibraphonist and the Having the unusual double of Decoding Society), Jamal has known for his playing with the with Bobby Watson and the SF was the first to play vibes on Adrian Rollini (1903-1956) The biggest influence on post-1950 Teddy Charles (1928-2012) vibes and bass clarinet, Hampel always been a flexible improviser, Jazz Passengers (starting in 1987), Jazz Collective, and has since Louis Armstrong’s recordings: master of the bass saxophone players, performing with all of the One of the top bop-oriented has been a major and prolific ranging from freer explorations Groove Collective, and his own been recognized as one of today’s Rockin’ Chair (13/12/29) and in the 1920s, Rollini gradually modern jazz greats, as a member vibraphonists of the 1950s, in force in the European avant- to post bop and bluesy fusion. group Vibes. vibes giants. more prominently on Song Of switched to vibes in the 1930s of the Modern Jazz Quartet for later years Charles was often off garde since the 1960s; he was The Islands (24/1/30). In addition, where his trio with guitar and decades, and on his own bop, the scene, preferring to be at sea married to singer Jeanne Lee. Dave Samuels (1948-2019) Joe Locke (1959- ) Always Lolly Allen (birthdate unknown) the great bass saxophonist bass featured an easy-listening blues and ballads sessions. as captain of his own boat. While he teamed up with David an excellent improviser most A fine Los Angeles-based straight Adrian Rollini begin doubling on style that was Hampton’s only real Dave Pike (1938-2015) From Friedman in Double Image and was inspired by Milt Jackson ahead vibraphonist who is vibes while with Fred Elizalde’s competition until the next decade. Tito Puente (1923-2000) Walt Dickerson (1928-2008) Herbie Mann to avant-garde the founder of the Caribbean Jazz and Bobby Hutcherson, the up-and-coming, Ms. Allen has band in England in late 1928 While timbales was his main An adventurous player who underrated Locke has led at least worked with Bob Mintzer, Maria Red Norvo (1908-1999) A explorations, rock, funky grooves Project (which matched him with although none of his brief breaks instrument, the ‘king of Latin jazz’ used Andrew Hill and Sun Ra as 28 albums of his own since 1983. Schneider, and Plas Johnson masterful jazz xylophonist, Norvo and straight-ahead swinging, the steel drums of Andy Narell and at that point can really qualify was also a skilled and enthusiastic sidemen on some of his records, among others. switched to the vibes in 1943 Pike was always one of the most Paquito D’Rivera), Samuels gained as solos. vibraphone player, inspired by Dickerson could also play Bryan Carrott (1959- ) From where his cool tone, relaxed but stimulating of vibraphonists. his greatest fame during his decade Lionel Hampton. chamber jazz and melodic music Muhal Richard Abrams, Henry Joel Ross (1995- ) One of the speedy lines, and swinging but with Spyro Gyra. While Rollini recorded on vibes in his own voice. Mike Mainieri (1938- ) Threadgill and Dave Douglas, to most exciting of today’s young as a soloist now and then during quiet style offered a contrast Terry Gibbs (1924- ) A brilliant Discovered by Buddy Rich, Jay Hoggard (1954- ) He came David ‘Fathead’ Newman and jazz vibraphonists, Joel Ross has 1931-35, there can be little to Hampton. bop soloist since the mid-1940s, Peter Appleyard (1928-2013) Mainieri was a member of Steps to fame in the 1970s for his work the Lounge Lizards, the versatile the potential to set the standard doubt that Lionel Hampton’s the very energetic Terry Gibbs Although born in England, Carrott is a welcome addition to for the future of his instrument. Joe Roland (1920-2009) After Ahead and always uplifted sessions, with avant-garde jazz giants, but rise to prominence with Benny (who talks almost as fast as he Appleyard spent virtually his any bandstand. working with the George whether they were bop or fusion. Hoggard since displayed plenty Goodman in 1936 was the first plays) always played exciting solos. entire career performing in Scott Yanow has written Shearing Quintet and Artie of versatility, showing that he can major step in the vibraphone Toronto (other than tours with Roy Ayers (1940- ) A talented Orphy Robinson (1960- ) The 11 books on jazz, mostly Shaw’s Gramercy Five in the play swing too. being accepted as a jazz Cal Tjader (1925-1982) A fine Benny Goodman) where he was hard bop player in the 1960s, talented British vibraphonist recently The Jazz Singers and 1950s, Roland settled in Miami instrument rather than a novelty. bop player, Tjader’s greatest legacy thought of as the Canadian Lionel Ayers had great commercial worked early on with Courtney The Great Jazz Guitarists, plus where he was a major part of Steve Nelson (1954- ) The vibes really picked up steam is for his work in Afro-Cuban (or Hampton. success after he switched to funk, Pine, the Jazz Warriors and Andy innumerable reviews and liner the local jazz scene. Whether working with Dave in jazz of the 1940s and ‘50s Latin) jazz where he made the r&b and disco in the ’70s. Holland, Kenny Barron or Sheppard, and in a countless notes. He can be reached for and scores of talented players vibes sound like a natural part of Buddy Montgomery (1930- Mulgrew Miller, Nelson has been number of groups since then. interesting assignments on the music starting in the 1950s. 2009) Wes’ younger brother Bobby Hutcherson (1941- such a reliable vibraphonist that [email protected]. and an excellent pianist, 2016) In the 1960s, Hutcherson his consistent excellence tends Roy Ayers Fats Sadi (1927-2009) An Montgomery’s vibes were heard often took the place of the piano to be taken for granted. excellent bop vibist from Belgium, with the Mastersounds and many in avant-garde jazz groups on Blue Sadi worked with Bobby Jaspar, of his own rewarding albums. Note. He co-led a notable group Ed Saindon (ca. 1954- ) In Don Byas, Django Reinhardt, with tenor-saxophonist Harold addition to leading albums Martial Solal, and the Kenny Eddie Costa (1930-1962) As Land, mostly played hard bop and of his own, this modern jazz Clarke/Francy Boland Big Band. both a vibraphonist and a pianist, modal jazz in later years, and is vibraphonist has worked and Costa appeared on over 100 still one of the major influences recorded with Dave Liebman, Lem Winchester (1928-61) records in an eight year period on modern jazz vibraphonists. Kenny Werner, Ken Peplowski, One of five great vibraphonists before his tragic death in a car Warren Vache, Fred Hersch, John born in 1928, were it not for a crash. Gary Burton (1943- ) Scofield and many others. gun accident, Winchester (who Burton’s mastery of his four- had recently chosen music Emil Richards (1932-2019) mallet technique allowed Orphy Robinson over being a policeman) had A studio vibraphonist and

14 THE JAZZ RAG THE JAZZ RAG 15 BIG TOURS AND STRONG OPINIONS BIG TOURS AND STRONG OPINIONS

hit an all-time low about three allow into the category of jazz is suitable Wes composition. Some At the time, Fibonacci didn’t BIG TOURS AND STRONG OPINIONS months into this thing, with the not...jazz. Genre bending is fine, of these could have perhaps have anything in their product realisation that it really wasn’t but I think there’s a limit. easily been written this way. For range that fitted my criteria for In these days of slim pickings in the jazz world (even before COVID) guitarist NIGEL PRICE stands going away any time soon. me, the tracks that felt most a guitar, so I told Graham I was out for his full datesheet and frank opinions. He took very little prompting to share his views. I know for a fact there’s a very immediately natural after going really flattered but that I’d have I guess at some point I just large percentage of jazz musicians through the mincer were Far to decline. To my surprise he stopped feeling sorry for myself who feel the same as I do, but Wes, from a slow swing to a brisk asked me what I was looking for. The road to the organ trio really easy with the discovery of It was pragmatic too. I wanted to He’s been playing in my band for and opted to try and make the we’re a nice bunch and we waltz; Twisted Blues, from a swing Exactly what I wanted. To the (or quartet)… fusion via guitarists like Jeff Beck, become a professional musician about six years and it’s always an best out of the hand I’d been wouldn’t dream of ‘calling out’ to a boogaloo feel (specifically millimetre! He just said in his soft John McLaughlin and Al Di Meola, and I got to thinking that, if I could absolute pleasure to have him dealt. I won’t pretend that I just any particular artists in the same from George Benson’s Benson’s Glaswegian accent, ‘I think we can I came up through rock and funk. for instance. Suddenly I found learn enough standards and raise there. I bring all the material to ‘snapped out of it’, but I gradually way that those very same artists Rider) and perhaps most do that,’ and, well, to cut a long I was born in ’69, so for me there myself in a different department my improvisation game, then I the table, explain what can’t be picked myself up and, amongst are happy to pour scorn on those surprisingly, So Do It!, from a story short, we did it! was an inexhaustible supply of of the record shops! could potentially go and work put across on the page and he just other things, got into creating who have gone before. chirpy swinger to a down tempo, amazing guitarists to emulate without the constraints of being gets it. Immediately. Every time. an online subscription based brooding bolero! It’s not actually In short, it’s a full width 17” wide and the most accomplished As I got older I followed the ‘in a band’. It worked out and I service (through ‘Patreon’). That’s It’s important to recognise that as weird as it sounds. I got the body, 2 1/2” deep with a full and celebrated players were same kind of sensibilities, style I find having a saxophonist to guess I’m still guided by the same something that I’d been planning ‘cutting edge’ or perhaps just idea for the feel from Kenny 25.07” (637mm) scale length. It invariably based in rock. There and ‘cool’ over glitz and glam, double the melodies gives the thinking as I was 30 years ago. for some years, but had never ’contemporary’ jazz is a vein that Burrell’s I’m a fool to want you looks traditional, but the neck was always something about that so it wasn’t very long before writing real clout. It galvanises managed to find the time to do. is ultimately fed by the arteries of from A night at the Village Vanguard. join is at the 15th fret which music that didn’t sit particularly I bumped into the giants of When I heard Jimmy Smith the themes and brings a real the existing jazz scene. You can’t allows easier access to the ‘dusty well with me, though, and by the jazz guitar world - Wes (through Wes and Kenny Burrell), sense of cohesion. Of course, So, it’s there now and, although have one without the other. ‘Left The core trio of myself, Ross end’! It’s a beauty! the late eighties I was actually Montgomery, Joe Pass, Barney Jimmy McGriff, Don Patterson Vasilis (Xenopoulos) is a dazzling it’ll never make me rich, it has field’ can’t exist in isolation. It has Stanley and wonder kid Joel kind of repulsed by the outfits, Kessel, Tal Farlow, etc. It was a and Charles Kynard (through Joe improviser who always plays most definitely (and only just) to be left of something! Barford on drums, is joined My previous guitar was a the permed hair and the general gradual transition. I remember Pass) and a host of others, I got for the music with a total kept the wolf from the door – of course by dear Vasilis D’Angelico ‘New Yorker’ and it led symbolism of rock which to my thinking that it was a ‘rabbit hole’ quite excited at the thought that understanding of what it is that and it’s been a good way to stay The ideal venue… Xenopoulos. I wanted too to me to thinking about the name of mind had moved into something that I thought I might pop down I could create such a huge sound we’re trying to achieve. in touch with other humans... reference Cannonball Adderley’s this new model. I actually put up pretty tasteless. for a while, but I never actually with a very small band. I also I like it ‘up close and personal’. I huge influence on Wes’ career a Facebook post asking if might Sometimes Alex Garnett is in the made it out. There is just so went to see Jack McDuff at the How to bring the crowds love to get around and play for and I’d been bumping into be a good idea to call a guitar I guess I was looking for a kind of chair and we have had Brandon much to love down there. Jazz Cafe back in the early 90’s back… people who know what they’re Tony Kofi quite a lot in the ‘The Londoner’ and of course all ‘exit strategy’ and that was made Allen, too. I think the key is to which had a profound effect on listening to. People who have previous couple of years. He’s the Londoners fell about laughing allow each player as much space me. I remember standing above Jazz needs to be allowed to be jazz. respect and genuine enthusiasm an even bigger fan of Cannonball and suggested other names like as they need and I don’t tell his head and looking down on for the legacy of the music. than I am! We finally got to ‘The Cockney’, ‘The Geezer’ and anybody how to play. the huge Hammond organ and he I think some of the louder voices People who understand the play together in 2019 and it ‘The Eastender’, but it seemed whipped up a frenzy! in the jazz media could really help reference points. immediately became clear that that anyone who wasn’t from the Some promoters think the trio the scene by openly accepting that we were both kindred spirits ‘Big Smoke’ thought it was a great I met the incredible drummer won’t be enough which is partly straightahead jazz is allowed to I’d be happier to play in front of a so when the opportunity arose idea! So that’s what we called Matt Home just at the point why there’s saxophone involved a exist on its own terms. Without dozen people who ‘get it’, rather to record with him I called him it – and I get a share of the profit that he moved to London in the lot of the time, but an organ trio question. On reading some of than hundreds of people who straight up. for every ‘Londoner’ sold which is can often be a more powerful, early 2000’s. We hit it off at once today’s magazines you could be don’t. To that end, I don’t actually very generous. undiluted message. If we’re playing and we soon began exploring fooled into thinking that it died mind where I play. Some of the I wanted to make the Latin tunes as a trio I will generally shy away possibilities, eventually finding a couple of decades ago, but lets best gigs I’ve been involved in as authentic as possible so getting I’m in the enviable position of from some of my compositions Pete Whittaker, an amazing me tell you, there is an army of have been in community centres, a percussionist involved was living quite close to the Fibonacci that have more ‘lines’ in then and organist who also had a real live young players out there who are pubs, golf clubs etc. an absolute necessity. I met the HQ so Graham often asks me will instead opt for the pieces A100 Hammond organ. The die swinging their asses off! They just legend and enigma that is Snowboy to go over and record the new that have more syncopation and was cast and we threw ourselves need an outlet. And by the way, New CD, Wes Reimagined… when I was with JTQ so he was guitars. Every one seems to sing. ‘hits’ for the rhythm section. It’s all into gigging. I found that I had a just because it’s swinging it doesn’t my natural choice. It’s a real about putting across that feeling talent when it came to organising mean it can’t be inventive. Wes Reimagined seemed like a honour to have him on the album. Acoustically they’re really quite tours and before we knew it we of togetherness. natural progression. breath-taking, but I should were working all over the UK There seems to be a keenness And then there’s the icing on also mention that I went on a Those 50 date tours…. almost relentlessly. in certain quarters to snub ‘grass I’ve found that promoters and the cake. I wrestled a little with pilgrimage to find the perfect roots’ jazz. It’s as if there’s this the wider audience like to get an the idea of bringing in strings, pickup. I wanted to find ‘that’ It hasn’t always been like this. A popular trio is always going fictitious online world that’s idea of what you’re all about with but I am so pleased that I bit the sound. Not just find it but find The first couple of tours I tried to be of interest to promoters surrounded by hype and seems a reference point and that’s often bullet and made the call to the out too what actual components to organise never got off the because, frankly, it’s not going to to have no end of cash thrown ended up with my music being great arranger and trombonist need to be used to reproduce ground because there just wasn’t be as expensive as a larger band at it. Then there’s the real world, described as being similar to that Callum Au, who wrote three it within a pickup. This took an the interest. Promoters don’t and perhaps that’s partly why in which loads of genuine jazz of Wes. It’s something to hang arrangements that are nothing extraordinarily long time and really want to take a gamble we’ve managed to travel as much players are getting out there your hat on, I suppose! short of stunning. Through him it finally led me to a workshop when there’s not a lot of money as we have. and actually playing in front of and the wonderful playing of the in a quiet backwater of Gipsy about so it’s been a very gradual Audiences began to expect the actual jazz fans. This scene is Phonograph Effect strings the Hill in South London in which So, although I never really process. 6 dates, 12 dates, then odd Wes track, so I thought this surviving on a shoestring at the record has most definitely been a remarkable man called Jon intended to end up in this kind 24, then 32, then 40. All the might be a good way of making moment and I’d like to see our elevated to another level. Dickinson works. We worked way up to 56 dates in 2016. I of musical setting, I have learned rich heritage not only receiving everybody happy. This way we together to find what we had organised a 60 date tour how to survive and indeed thrive greater acknowledgement and get to keep the Wes material, but Fibonacci and Nigel… considered to be the perfect for 2020 so I was absolutely within it. I wouldn’t change respect, but also greater funding. there’s never a feeling that it’s a combination of pole pieces, inconsolable when that was anything. straight up regurgitation. I don’t Martin Taylor called me up! That’s magnets, winds of wire, capacitors wiped out by Covid. I guess I’m There’s most definitely a see the point of literally trying to a nice phone call to get, and etc and somehow he managed to The present trio (quartet?)…. just tenacious – also I don’t see disconnect between the two recreate something that’s gone no mistake. He told me about make it all fit in one slim floating that there’s any option. worlds and I think that’s putting before and with this body of work Fibonacci. He’s been working with pick up. It’s a real achievement. Ross Stanley is a unique and off many prospective younger it feels like a win/win situation. Fibonacci for a while and between absolutely jaw-droppingly amazing Being a predominantly ‘live’ fans, if not musicians. A 5 year old him and Graham Esson (the boss) A jazz player might never need to musician. Everybody wants to player I, like so many others, could tell you that some of the I took the feels of many of my they decided to ask me if I’d like look any further! play with Ross and as a result have struggled over the last year. music we’re being expected to favourite records and tried to endorse the guitars. he’s the busiest guy I’ve ever met. I don’t mind admitting that I to match each one up with a 16 THE JAZZ RAG THE JAZZ RAG 17 REMEMBERING FREDDY RANDALL REMEMBERING FREDDY RANDALL

to blow. He’s done it before, Trumpeter Mick Potts (a fine REMEMBERING FREDDY RANDALL they say, and he’ll probably do player and like me a Randall it again. The only question is devotee) was chairman of the Continuing our profiles of British musicians of a certain vintage with international when.’ Masquerading again under Robert Todd Group, a Carlisle reputations, we meet the man we exchanged for Louis Armstrong. DIGBY FAIRWEATHER his critic’s nom-de-plume of ‘Art firm of wool manufacturers, Napoleon’ Sudhalter was, as ever, and together in mid-1972 recalls FREDDY RANDALL, born 100 years ago. on the money. Freddy had only they sponsored an album (and turned up briefly in the dying Northern tour) for what they It was the 1950s Parlophones though Brian’s predecessor, days of the Trad Boom, notably would call ‘Britain’s Greatest that began it for me. The vivid Harry Smith, actually played on for BBC Jazz Club in 1963; then Jazz Band’ co-featuring Freddy blue and white record label the recording. re-appeared for a two-cornet with George Chisholm, Dave proudly announcing its ‘Super album with true kindred Wild Bill Shepherd, Brian Lemon, Kenny Rhythm Style’ series always Freddy’s musical Pentagon since Davison for Black Lion in 1965. Baldock and John Richardson. promised something worth the later 1940s had been Cooks So then it seemed retirement Heavy on solo features for an hearing – including anything Ferry Inn in Edmonton, North had returned; that is until May all-star aggregation, the album British from Humphrey Lyttelton London; packed to heaving 1971 when an album called nonetheless left no doubt that to the Saints Jazz Band. But, if capacity with hundreds of Randall ‘Freddy Randall and his Famous Freddy was back and ready to it was a Freddy Randall SRS 78 fans and fellow musicians, all Jazz Band’ came along and blow, and this was the band that recording that turned up in my wondering at his huge brassy refocused my musical thinking (with Chisholm replaced by Dave local junk-store run by Harry sound, exuberant technique forever. Its one and only flaw Hewitt and the addition of tenor- Strauss, it was buy-or-bust. Place and effortless creativity. Back was the shameful mis-spelling saxophonist Danny Moss) would it on the high-speed carousel and in those days you were either of his name as ‘Freddie’ on the turn into the Randall-Shepherd you (and me) were in for a three a Humphrey Lyttelton or a cover(it happened to Humphrey All Stars only four months later. minute joy ride of premier-league Freddy fan and a definite rivalry Lyttelton too!), but apart from This time its champion was Alan Dixieland, comparable - to all existed between Chicago-style that I thought the record was Bates (still faithfully supporting but the most refined ears - to Randall and his then-Revivalist perfect. I found it, one magic day, all the musicians on Britain’s the Alamo label (and bizarrely were rumours too that he also anything by Muggsy Spanier, Bob counterpart who, as Sudhalter in the packed shelves of Dobell’s traditional-to-swing roster via titled Something Blown/Something played on the Isle of Dogs with Crosby, or Eddie Condon. As observed, ‘sank his roots in Record Shop down at 77 Charing his Black Lion label) and Alan Blew), plus a 1985 collaboration a banjo-led trio. In retrospect, the American cornetist-turned- the black jazz mainstream.’ So Cross Road and it would be a recorded Randall’s band twice; with saxophonist Benny Waters Freddy was, something of a jazz trumpeter/author (and my great dynamic was Randall’s music that definitive turning point in my once at R.G. Jones Studios in (organized by his great admirer will’o’the’wisp. But as man, as friend) Richard ‘Dick’ Sudhalter the BBC installed permanent own career; a final confirmation Wimbledon at Christmas 1972 and champion Dave Bennett) - well as player, he was a fascinating would write of Freddy in 1972; lines into Cooks Ferry Inn to that ‘Dixieland’ music (if you and six months later live at the there was, to my knowledge, no original too. Not everyone knows there had always been ‘a hard- relay live broadcasts and the wanted to call it that) could, at its Montreux Jazz Festival in 1973. more Randall on record. that most of Bruce Turner’s core of jazz followers in Britain fearless cornetist took it all in best, be fine art, and an art worth The live album is flawed here legendary verbal trademarks who feel he is the only British his stride. ‘When the light went pursuing, maybe for life. So how and there by clams and over- Once Freddy was around (starting with his universal trumpet/cornet man to have on,’ he told me, ‘I just let rip and come? Well first, there was the exuberant ensemble work (‘I East London again in the early appellation of ‘Dad’ for everyone properly absorbed the musical everything was fine.’ In the days incomparable musical company never liked that one’, Freddy told 1970s I tracked him down including his daughters!) came and spiritual essence of white when a great trumpet or cornet- that Freddy was keeping; Dave me), but the studio session, once whenever I could. One session from Freddy. He was (so Dave Chicago jazz.’ player was just as seductive as Shepherd, Pete Strange, Brian again graced by Brian Lemon’s at the Chestnut Tree pub Shepherd told me) a gifted writer any rock star is today Freddy Lemon, Jim Douglas, Arthur arrangements transcribed from in Leytonstone with Al Gay, of detective short stories, none trombonist Pete Hodge and of them ever in print to my Back then Freddy played the had female fans hanging on his George Webb’s New Orleans In 1956 Freddy’s band was part Watts and Lennie Hastings. Then Freddy’s instructions, is as good Lennie on drums was a night to knowledge. Then there was his kind of punchy no-nonsense hot every note, and one of his many style flourished in the South. of a Musicians’ Union exchange the crafted (but never over- as perfect. Trombonist Hewitt remember. But I also heard him, unique vocabulary: ‘uzzacumgroli’ cornet lead most comparable lovers was Hollywood legend There were tales-a-plenty of the that took him to the USA (in intrusive) arrangements by Brian is an outstanding replacement remarkably, sitting in apparently (frequently shortened to ‘uzza’) to Spanier (a later reissue of his Ava Gardner who had fallen for legend that was Randall and one return for Louis Armstrong’s Lemon of tunes as unexpectedly for Chisholm, particularly on a quite happily with a function-band for anything distasteful and work on Dormouse was actually Freddy and his horn. One less I remember was told to me by All Stars’ first visit to Britain) diverse (at least within the genre) version of What’s New where at an old roadhouse in Loughton (one of my favourites, however titled, with respect to Muggsy, lucky visitor to Cooks Ferry a follower of over thirty years. to play at the bottom of the as Gone with the Wind and Never his solo entry is a head-turner one Sunday lunchtime. There unjustifiable!) ‘Shepton Mallet!’ his own ‘Great Sixteen’) and he was cornetist Rex Stewart, the ‘We were out walking,’ he said, bill on a rock-and-roll package no Lament. And above all there of which Dickie Wells would knew how to pick the musicians former star of Duke Ellington’s ‘and all of a sudden we heard show starring the Platters and was the newly-fragile playing of have been proud. And Shepherd’s that could match him too. From band, who had somehow arrived this amazing trumpet coming Bill Haley’s Comets. His playing Randall himself (‘he only had a clarinet is as limpidly irresistible 1948 to 1957 they included one day and risked a sit-in. from inside a wartime pill-box. was good enough to attract the week to get his chops in shape’, as ever; he was one of the few (amongst others) clarinettists Freddy cut him to shreds. We peered inside and there was attention of Armstrong’s manager Brian told me later); no longer players who (despite a private Bruce Turner, Archie Semple and Freddy blowing his horn. He was Joe Glaser who invited him to the knockout Spanier-punches preference for Randall’s one- Dave Shepherd; trombonists In the 1970s when I started unbelievable.’ stay in America, but like Alex he had once delivered but newly time Spanier fundamentals) Norman Cave and Roy Crimmins; playing with Lennie Hastings and Welsh (who was invited to join florid fluffy-edged declamations could perfectly complement his reedworkers Betty Smith Dave Shepherd in East London The 80 or so recordings that Jack Teagarden’s band a couple of occasionally recalling the old partner’s newly multi-noted and Al Gay, the (much under- venues Freddy Randall was a Freddy made between 1948- years later) Freddy turned Glaser sentimentality of Harry James lead. But once again it’s Freddy’s rated) pianist Harry Smith and hard act to follow. By then (after 56, first for his own Cleveland down. There’s no doubt that and which, as Sudhalter said, playing (as Dave told me later) drummer Lennie Hastings who, two returns) he was harder label, then for Parlophone, he could have made it, though. ‘blended tough-mindedness with on a leaky cornet, overdue after a flirtation with post-war to find or hear in or out of his are marvellous creations; two Elsewhere Sudhalter wrote of near maudlin sentimentality for an overhaul, whose raffish bebop told me ‘I joined Freddy home territory. But there were examples are the atmospheric him: ‘You could have set him into a music whose qualities extravagantly decorated lead in 1950 – back to sanity!’ greying denizens of the jazz scene Dark Night Blues with his down on the stand at Condon’s complemented each other, rather commands the attention. Even Randall’s band was a university who still remembered his kingly unique (almost sexy) half-valve and he would have fit right in.’ than clashed.’ Once again Dick the odd goof (a wildly exuberant of excellence and when in July presence and I realized that in implications, and the ingenious But in 1958 lung-strain took over had it exactly right. And the break into his solo on A Big 1955 he recorded My Tiny Band order to make any impression at Professor Jazz which features his and for three years Freddy ran a musicians who had created this Butter and Egg Man is topped is Chosen (what a title!) Gay, the all on any of them I would have stylish singing in a UK classroom hotel in Brighton. pearl of a budget-label album by a ‘doesn’t matter’ clinker) two Smiths and a new young my work cut out. Not only was I recreation of Condon’s were very much around London; does nothing to dispel either drummer, Stan Bourke, were all devoid of Randall’s monumental courtroom-based Dixieland Sudhalter again in Jazz Journal, I wanted to hear them – and I his confidence or the joy of the present. Stan and pianist Brian discography, but I had no place in sketch We Called it Music. Such April 1972: ‘Any day now Freddy wanted to join them. music. But thereafter – beyond Lemon – both of them lifelong the North East London hive of records as these (and most of Randall should begin to tire of his one more self-led session in Randall fans - had joined him Dixieland activity which thrived his others) could have taken self-enforced “retirement” and Very soon after came a new 1977 organised by his one- on the very same day that year, there after the war, much as him away from Britain forever. turn up, cornet in hand, ready flurry of Randall celebrations. time pianist Stan Butcher for 18 THE JAZZ RAG THE JAZZ RAG 19 REMEMBERING FREDDY RANDALL REVIEWS

bought me three shirts instead! Sound Archive’s British Oral Leonard Feather’s monstrous couple of pseudo-spirituals nicely duet with Louis on All That Meat I’ve no idea why!’. There were Jazz History and wish I could CD REVIEWS ego forcing his own songs delivered and two lovely tracks and No Potatoes, but she also other occasional anomalies too. remember more about what forward doesn’t help and he has with the All Stars’ two great sings pretty for the people on At one point Lennie Hastings we talked about. But rumour a habit throughout this CD of trombonists. The first studio Honeysuckle Rose. (whose drum-solo with Randall has it that the NSA may make pushing his own songs (under session of the regular All Stars was called Battle of Hastings) had the interview public soon. All I pseudonyms) and even sliding line-up begins with Louis and Tea Put together possibly the two left the band and Derek Hogg remember now among a handful into the piano chair. in relaxed, but swinging, vein on greatest joy-bringers in the had briefly stepped in. His leader of bullet-points (one was his A Song is Born, and ‘Taint What You history of jazz and the result’s decided to re-title the feature admiration for the young Kenny CD1 mainly covers the transit Do finds Trummy Young and Louis a guaranteed winner, but it’s Battle of Hogg instead. Ball) was the way he looked from big band to All Stars. The in blazing form. not just fun. Louis was the man at me; the hint of a sly up-and- 1946 big band was not particularly who first made Black and Blue But my favourite story of all down personal assessment as distinguished, but Armstrong is CDs 3 and 4 are devoted to one into a powerful racial statement is when one visionary BBC our conversation went on. But perfectly at home with a nine classic album, Louis Armstrong and it’s lost none of its power, producer decided to record the very last time I saw him was brass-five saxes set-up, the band Plays W.C. Handy (1954). The supplemented by Trummy’s him with a full string section. ‘As close to tragic. In 1993 he had sounds anything but tired and whole thing sounds gloriously subtle obbligato. In 1929 Ain’t long as there’s a rehearsal,’ said moved to Teignmouth in Devon LOUIS ARMSTRONG there is the treat of hearing Back spontaneous, but all of CD4 and Misbehavin’ made Louis’ name on Freddy (who couldn’t read music) and on one occasion during the o’ Town Blues done with typical three tracks of CD3 are devoted Broadway (and he made the song and it was agreed that they town’s jazz festival his old friend, COMPLETE COLUMBIA panache, but with electric guitar to alternative takes, discussions a huge hit) and it’s a spectacular would meet at 2pm at the tennis trombonist Jackie Free, had AND RCA VICTOR STUDIO breaks from Elmer Warner. But and inserts, demonstrating how conclusion to the original album, club opposite Warwick Avenue invited me to join him on a visit SESSIONS 1946-1966 the tide was turning and the film cleverly George Avakian knitted Louis climbing up over Deems’ studios for the purpose. When to Freddy’s house. By this time, of New Orleans was the catalyst the whole thing together. Taken insistent drums to a ‘can’t follow they met his producer said: in his later seventies, my hero Mosaic MD7-270: 7 CDs, 77.24 for two small band sessions, with with Riccardi’s detailed and loving that’ climax. ‘We’re ready for you, Mr Randall.’ was old with gapped teeth and /81.05/79.22/76.40/77.58/75. such delights as Louis’ take on Do notes it’s possible to re-create ‘How about the rehearsal?’ bedraggled uncut hair. He briefly 58/71.37 You Know What it Means to Miss the feel of the sessions. That’s halfway through CD5, then queried the worried guest. ‘Don’t greeted us, but seemed then to New Orleans and another blast follow the takes that Avakian worry,’ his host responded. wander, once again, into a private Mosaic’s collection of 7 CDs at Mahogany Hall Stomp, both The first 11 tracks are the original worked his trickery on. The worth of Louis Armstrong is in for anything embarrassing or my drum feature on a concert ‘We’ve been rehearsing the world of his own. The word was reuniting Louis with the burry LP as Avakian planned it – and the second half of CD6 is then given a class of its own as a historical untoward. On a visit, not so long but I had terrible flu and said, strings all morning – and they’re that he was suffering from both trombone of Kid Ory. Finally first reaction not far off 70 years over to an album that too few document as well as providing ago, the late Stan Bourke gave “Oh Fred! Not tonight please!”. note-perfect!” Freddy played the Parkinson’s disease and senile there are the All Stars in 1947, later is how fresh and exciting of us really know about, The Real some wonderful music. The me a short thesaurus of such But when it came to the concert session to perfection; somewhere dementia; a cruel duo. Freddy the line-up not quite finalised, but it sounds. Louis is in magnificent Ambassadors, the songs from an accompanying booklet (more unique vocabularic creations Freddy said, “Go on, do it – and there must be a tape and I wish I Randall died on 18 May 1999 at Louis and Jack Teagarden duetting form, but not in the broadly ambitious stage show by Dave and like a book) contains insightful and I must look for the tape. I’ll make it up to you!” So I did had it now. 79. There should be a book, not on Jack Armstrong Blues and Rockin’ melodic, almost stately vein he Iola Brubeck that never got off commentary from the omniscient The eccentricities happened in it somehow. But when I met an article, about him but at least Chair – magic! could do so well – he goes for the ground. Carmen McRae and Ricky Riccardi and stunning action too. ‘One night,’ Stan told Freddy for the pick-up next day Sometime in the late 1980s, I we have the records. everything – and gets it! St. Louis Lambert, Hendricks and Ross add photographs from the Louis me, ‘Freddy wanted me to do and wondered about a tip he’d interviewed him for the National CD2 is dominated by a bright Blues kicks us off with a dynamic to the vocals, the All Stars and the Armstrong House Museum. The idea of George Avakian’s. near-nine minutes, the opening Brubeck Quartet share musical music is not entirely what you’d Convinced that the Moritat habanera succeeded by a chunky, duties and the story is an attack expect, either: it’s the complete from The Threepenny Opera and punchy, mid-tempo. Other on racism and a celebration of the Columbia and RCA Victor would make a successful jazz highlights include a more relaxed power of music. studio sessions, so no Town Hall single, he eventually landed on mid-tempo for Loveless Love and a concert, for instance, but there Louis Armstrong to perform storming Chantez-Les Bas. The tale of Satchmo being are unexpected discoveries and Turk Murphy’s arrangement as mistaken for the real ambassador rehearsals and unused takes that Mack the Knife. Here we have I always thought Trummy the ideal to an African state (of course, show Armstrong at work. As a the hit single, the B side, Back Armstrong trombonist and he jazz is the real ambassador!) gives limited edition with impeccable o’ Town Blues, and a version of certainly sounds it here, roaring rise to love songs for McRae sound, it’s genuinely unique. Mack with Knife with Louis and through ‘hold-that-phone’ solos and Louis – the Brubecks even Lotte Lenya: similar arrangement, (Long Gone – tremendous!), indulging in some Gershwin- The CDs are arranged but less swinging vocally and biting into his entries with the esque verses and both singers in thematically, not chronologically, decidedly more sinister. However, attack of Louis himself, taking a great form - some witty satire with CDs 1 and 2 concentrating the CD also includes fragments secondary supporting role with (nice horseplay with Trummy), on singles across the whole of rehearsals, phrases Avakian great skill. On the other hand, LHR as crowd scenes giving a time range, 1946-1966. CD1 recorded as inserts and, most at the time I thought Barrett tongue-twisting and stratospheric begins with the 1946 Esquire interestingly, Louis patiently Deems’ drumming too rowdy, welcome to Satch, a remarkably All-American Award-winners, trying to teach Lenya the but now I love his sheer drive, intense pseudo-spiritual, They one of those all-star sessions rudiments of jazz phrasing. Also especially achieving lift-off for Say I Look Like God, and, finally, a that’s superb, but not quite as on CD2 are a late session with Louis and Trummy in the closing triumph scene with an explosion superb as the list of names – Cabaret and Canal Street Blues, a ensembles. Barney Bigard makes of high Fs from Louis. a less positive impact (one or two of Riccardi’s more barbed Away from the projected stage Courtesy of Louis comments are about his attitude), show, it’s a bit disjointed (Riccardi Armstrong House but is far too good a player not to fills the gaps), but there’s some Museum contribute memorable moments. wonderful stuff – unusual, too! CD7 has one or two numbers Velma Middleton is another to omitted from the original LP come out of this better than I alongside alternative takes. remembered. I recalled a lovable Strangely omitted was the entertainer whose singing was no number that first turned Louis great shakes. She emerges well onto the project, Lonesome, here from the Handy album and also in three different versions. the follow-up, Satch Plays Fats. Of course she does a knockabout RON SIMPSON

20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

the Dutchman assembled a visited the Three Deuces. They Opening with Old Folks, the exceptional playing career, Solal chief conductor, it’s time for the mother back in 1988. Having mood veers towards fusion at CD REVIEWS sextet comprising two fellow heard Erroll Garner, Stan Getz, second CD features some explaining that the practice composer-arranger-conductor to been captivated by the location times, each theme is distinctive, countrymen - guitarist Peter JJ Johnson and Fats Navarro. memorable productions. regime needed to maintain the step into the spotlight. and tickled by its place names, the voicings clever and the solo Tiehuis and drummer Hans Perhaps it was then that the die Hibbler’s There Is No Greater highest possible performance he decided to write a set of playing is tip-top. Dekker - and three associates was cast, 90 is an album of few Love and the swinger It Must Be standard was no longer attractive Soundscapes, comprising ten of evocative pieces, listed the from Germany - tenor surprises, after all, the man has True directed by Johnny Hodges to him. He’s in his 94th year now Mintzer’s compositions across a references, put the list away and PETER VACHER saxophonist Paul Heller, pianist ‘been there, done that’. are outstanding. Moving on from and I hope he’s enjoying his richly generous playing time of almost only recently re-found it and Hubert Nuss and bassist Ingmar Ellington, he joined the stable deserved retirement, having sixty eight minutes, features finally set about writing these Heller. Van Rooyen is equally at RUSSELL CORBETT of top jazz artists managed by gifted us this remarkable solo the long standing member of pieces, in part as a dedication to home in a small group setting Norman Granz. The pairing with valedictory statement. the Yellowjackets on tenor his late mother. or working in the brass section the Basie Band was inspired. All saxophone and EWI. The opening of a big band. On this date it’s the familiar riffs are there on Solal chose to explore, not to track, A Reprieve, a brand new Trumpeter Steve Waterman and flugelhorn all the way. Seven of Sent For You Yesterday and Goin’ say demolish, an eclectic range original, features Mintzer on pianist Steve Lodder are regular the album’s nine tracks were To Chicago with Hibbler very of standard songs, plus a pair the latter instrument with Paul Crosland associates and to them arranged by close confidant much at home in Rushing’s chair! of originals, and an Ellingtonian Heller soloing on tenor sax. he’s added guitarist Chris Allard ACK VAN ROOYEN Paul Heller, who also rearranged I loved the collaborations with medley in characteristically The American-German pairing and drummer Dylan Howe. The Peter Herbolzheimer’s original Leroy Lovett’s Orchestra; I Let thoughtful yet distinctive fashion, joust again on Whack, its slow result is a hugely enjoyable album, 90 arrangement of Pra Dizer Adeus. A Song Go Out Of My Heart and even subjecting Happy Birthday to groove expertly handled by the the sheer delight of these players Kenny Wheeler’s Canter No.1 I’m Just A Lucky So And So worked a pretty searching exanimation. ensemble. Herky Jerky is a swinger to be back playing creative music Jazzline D 77083 44:30 opens the set. Van Rooyen and a treat. Less so Unchained Take I Can’t Get Started or Tea For featuring Johan Hörlén’s alto sax pleasingly evident. Crosland’s DAN WILSON Wheeler were friends from their Melody, which entered the US Two, melodic fragments glimpsed and Ruud Breuls’ trumpet solo. pieces are all programmatic – 1930 (January 1) born The Hague; days working together in the charts and positioned at No.2 in passing, the harmonies revised, his notes explain each concept VESSELS OF WOOD AND 1950 graduated from the Royal United Jazz + Rock Ensemble. AL HIBBLER in the UK. Pitched in a higher the keyboard like a playground, VM (Mintzer’s homage to Vince - Crosland’s superbly mobile EARTH Conservatory (The Hague); Van Rooyen’s laid back, unhurried register, Hibbler’s vocals sound chorded figures giving way to Mendoza) closes the album. Alto bass-guitar lines ensuring swing, 1957 lived in Paris, working approach, respecting the melody THE SINGLES COLLECTION surprisingly strained. seismic rhythmic turbulence. saxophonist Karolina Strassmayer the quintet’s relaxed but finely Brother Mister/Mack Avenue with his then neighbours Kenny is very much ‘old school’, no 1946-59 Even so, there is throughout a stretches out on the mid-tempo integrated playing a standout. BRO 4001: 67.17 Clarke and Bud Powell; 1960s one on this recording is trying The material on the third CD clarity of intention even if the number with Breuls stepping out Driving North is all about I really must stop trying to make relocated to Germany; 1980 to reinvent the jazz wheel and Acrobat ACTRCD9107 3 CDs was mostly recorded with the outcomes often seem mysterious from the trumpet section once momentum, the sense of the sense of what musicians write returned to his homeland. This it’s all the better for it. Heller 73:02/ 71:36/71:10 Jack Pleis Orchestra and released and surprising. Dismiss any doubts more. The soloists on Soundscapes open road, Howe and Crosland about their albums. Quoting is but a bullet point summary of contributes two compositions by Decca for the commercial about waning powers, for Solal are first rate and the ensemble propulsive and Allard given the Al Hibbler’s distinctive voice, Scripture in support, Grammy- a life in jazz. The title of Ack van - Brush it Up features, market. Stand outs for me are remained a master manipulator work is of the highest standard. driver’s role, Waterman’s trumpet deep toned with a rich vibrato, nominated guitarist Dan Wilson Rooyen’s latest album - 90 - says unsurprisingly, Hans Dekker, and the edgy After The Lights Go Down whose energy and creativity on sweetening the ensemble. Lively certainly impressed Duke claims that he wants to ‘feature it all, the trumpet/flugelhorn The Hague Shuffle is dedicated to Low which made No.10 in the this occasion belied his age or any RUSSELL CORBETT but easy to enjoy. Much the same Ellington who hired him in 1943. instruments that are commonly veteran can justifiably claim to his nonagenarian friend. In 1947 US charts; Because Of You, an apparent disinterest in continuing goes for Beeswing, trumpet and Stylistically, he seemed better associated with accompaniment.’ have ‘been there, done that’. on a visit to New York, Ack van affectionate tribute to Louis and to perform. He makes me think of guitar combining on another suited to the jazz environment Personally I doubt if Wes For this milestone recording Rooyen and his brother Jerry the jazz-influenced Love Me Long Stan Tracey, another idiosyncratic catchy theme, Waterman building as many of these tracks with Sy Oliver, giving full rein to player who seldom compromised a thoughtful solo. If the overall Montgomery or Oscar Peterson demonstrate, but Hibbler’s Hibbler’s unique vocal style. and was only ever himself. Just saw things that way! transition to the middle ground odd that his final recital is on a of popular music produced some VAL WISEMAN Dutch label and not a French one. notable entries in the R&B and pop music charts which are PETER VACHER featured in this collection.

Although contracted to perform with Ellington, Hibbler was free to record on other labels BEN CROSLAND and these earlier tracks on QUINTET the first CD are impressive. I Got It Bad And That Ain’t Good, SOLWAY STORIES recorded with Harry Carney’s All-Stars in 1946, heads an Jazz Cat JCCD 118 73.38 eclectic range of material; from the poignant Solitude, a richly MARTIAL SOLAL Although a new name to me, the layered Summertime courtesy Yorkshire bass-guitarist Crosland of Mercer Ellington’s Orchestra, COMING YESTERDAY – LIVE BOB MINTZER & has had a busy career leading to the unfamiliar Trees with Billy AT SALLE GAVEAU 2019 WDR BIG BAND groups and collaborating with Strayhorn’s Orchestra which COLOGNE many of the best names on the reached No.2 in the R&B charts. Challenge CR73516 British jazz scene, all this while There’s a nicely paced Hey Baby 66.17 SOUNDSCAPES earning a crust as a barrister in and Hibbler’s scat exchanges the courts of West Yorkshire. Not on It Don’t Mean A Thing with The Algerian pianist Martial Solal, Jazzline D 77082 67:50 a career summation that I ever solos from Ray Nance and Ben the doyen of modern jazz in thought I would write in a jazz Webster are a sheer delight. In France, opens his booklet note Throughout Bob Mintzer’s album review. contrast Danny Boy made No.9 with this definitive statement: association with the WDR Big in the R&B charts in 1950 whilst ‘When I walked onto the stage Band the American’s primary focus Jazz Cat is his own label and all Hibbler produced more winning on January 23, 2019, I did not has been to present the band twelve pieces on Solway Stories tracks with Billy Strayhorn’s know that I would decide not at its best, either in showcase are composed and arranged terrific arrangements and to play piano anymore after this concert performances or working by him. In his note, Crosland incredible line-ups. concert, more than seventy years alongside high profile guest artists. recalls a road trip to the Solway after my debut.’ Thus ended an Now, after six years as the WDR’s Firth area of Scotland with his

22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

But it’s a fine album and Alan Elsdon bands, Russell has themselves, whereas the Welsh together two albums made then signed. Accordingly, there’s in his case ‘follower’ certainly guitarra into straightahead in any derivative sense, but in he’s a terrific guitarist – been on a one-man crusade, as band was a tightly organised, during the late 1960s – originally sometimes a shotgun wedding doesn’t mean ‘imitator’. Atlantico, swinging violin. such tracks as Night and Day, roughly speaking, school of an inveterate organiser of bands well rehearsed and stable group. issued on the Columbia label feel to these cameos (Carr is recorded in 2017, proves the clipped statement of the theme, Wes. Essentially the album (all of which he leads) to keep But this band does generate the but long out of print – it rather just plain stiff on I’m Beginning to point. There are no numbers Of Lafertin’s own compositions expansive piano improvisation, features Christian Sands on his favourite music alive. His same vibe creating the same kind refutes the legend that Tracey See The Light) but Joe Harriott’s associated with the Hot Club, Carnation, a medium-tempo smart solos for bass and drums. piano (occasionally organ and favoured music is the Dixieland/ of performances that, later, had was a spent force after his six visceral In A Sentimental Mood is a with four originals from Fapy swinger, is the nearest to the synthesiser), Marco Panascia Chicago kind made famous by traditionally-inclined musicians year stint as house pianist at keeper. Tracey’s scores fairly glow and one each from the other Django style, but the brief and Most of the tracks are Vijay Iyer (bass) and drummer Jeff ‘Tain’ Eddie Condon and chums in the astonished that they were being Ronnie Scott’s ended in 1966. in the newly remastered sound members of his New Quartet – tempestuous Cinzano takes us to compositions. The opener, Children Watts. Joy Brown invests three Thirties and Forties, and Russell paid for what they would have Indeed, heard in both quartet too. Recommended. violinist Alexandre Tripoli, bassist the world of Brazilian dance and of Flint, is deep in typical ECM songs with her individual style has been successful – in a quiet done for nothing – don’t tell the and big band settings, his musical Cedric Raymond and guitarist Plachterida, with superb guitar territory, delicate dialogue for - not my highlight of the album – way – at both the organising and promoters. world seems as pin-sharp as ever. SIMON SPILLETT Renaud Dardenne – but, more work, though described in the piano and bass. I had read much and producer Christian McBride the performance of it. importantly, the whole feel of notes as ‘Lusitanian’, sounds to me about Linda May Han Oh, but takes up his bass for two duets Sadly, Dave Jones, Pete Strange, The small band – With Love the album is summed up by the as though it comes from the same never heard her, and I see what all which very definitely are. The personnel continuously Brian Lemon, Collin Bates, From Jazz – with then regular internationalism of the title. melodic bag as the tangos of the the fuss is about, her work both rotated over his long career, Randolph Colville and Tony collaborator saxophonist Bobby great Argentinian Astor Piazzolla. rich and delicate. Tyshawn Sorey is The Rhythm Section makes for a members leaving and arriving, Allen have all passed on, but the Wellins was the follow up to the In fact the album begins far from All three compositions by band as crisp and incisive a drummer as high octane start, dynamic solos but, always of a high quality. Ron Russell bands continue on, earlier Under Milk Wood, this time the Atlantic, with the evocative members fall into the lyrical/ you wish for and a major factor in from Wilson and Sands over This group is, probably, the best in various forms, spreading the with the theme being variations Torontoi emlek by the Hungarian melancholy category, delivered connecting the music to the great Watts’ explosive drumming. of them all, featuring some of Gospel. on love. If it doesn’t quite match violinist Sandor Jaroka, but it’s with subtlety and delicacy, and the tradition. At first I feared that the album the cream of our home-grown the majesty of its predecessor not long before Fapy switches to common factor of an excellent might be a touch unrelenting, players, Digby Fairweather, Dave This is a valuable slice of the there are still some magical the 12-string Portuguese guitarra album is the regard for melody. The most appealing of but the title track (at track 4) Jones, Pete Strange, Keith Ingham, lesser known history of British moments, not least of which for the wistful Vibracoes by Lafertin is a virtuoso musician Iyer’s compositions is the introduces a more thoughtful Brian Lemon, John Richardson, Dixieland and Upbeat Records are the two ballads, Sweet Used Brazilian mandolin player Jacob who never uses his virtuosity just wandering and wistful Touba, edge and then we can sit back and Collin Bates, Randolph Colville are to be congratulated on To Be and Amoroso, Only More So, do Bandolim, Tripodi wearing his for its own sake. co-composed with Mike Ladd, enjoy Wilson’s crisply articulate, and Tony Allen. capturing not only this band, but on which Wellins’ tender tenor FAPY LAFERTIN heart on his sleeve in his violin and I much enjoyed the piano endlessly resourceful playing and this moment in time makes the ideal voice for Tracey’s NEW QUARTET solo. In contrast the glorious RON SIMPSON tintinnabulations, dance rhythms the powerful commitment of the Upbeat has done the band a long sardonic vision of romance. The Rodgers and Hart song, My and compulsive repetition quartet. After more brilliance all overdue service by putting these JOHN MARTIN opener, Everywhere Derrière (the ATLANTICO Romance, sets an unsentimentally of the trio’s version of Geri round on Who Shot John we have sessions, from the Seventies, pianist’s paean to the mini-skirt) is bright tempo, guitar and violin Allen’s Drummer’s Song. This was beautifully delicate introductions on record, and catching the more hard-hitting, with both the Fremeaux FA 8576: 57.40 soloing expressively. Another apparently Iyer’s regular trio at to After the Rain and Cry Me a River bandleader’s distinctive take leader and Wellins really digging in. standard, It’s Alright with Me, the team, but the billing of them and a bluesy feel to Juneteenth. on the Windy City style. As The brilliant Belgian guitarist Fapy boasts an arrangement full by their own names correctly you would expect from the The second disc – We Love Lafertin was one of the earliest of contrasts, from the gently suggests the individuality of the And then the two duets, a total members present, the music is You Madly – was recorded to followers of Django Reinhardt – elaborate introduction on music-making. joy, McBride unobtrusively spontaneous, enthusiastic, raw commemorate Duke Ellington’s and is still possibly the best – but supportive of Wilson’s in patches, but always virile and 70th birthday in 1969 and, as RON SIMPSON elaboration of the twists and always swinging. such, is centred around Tracey’s turns of Pat Metheny’s James, scores of Ellingtonia of various then soloing with poise and wit, The repertoire is a welcome vintages from Blues With A Feeling then finally the two of them mix of lesser known tunes to Lay By. Much of the album’s VIJAY IYER/LINDA loping along happily on the grand (Happy Go Lucky You, Shine on your STAN TRACEY kudos rests on the guest soloists MAY HAN OH/ old country song, Born to Lose. Shoes, Ida, Sweet as Apple Cider, – saxophonists Joe Harriott, Don TYSHAWN SOREY Girl of my Dreams) and revived FROM STAN, WITH LOVE Rendell and Tony Coe, trumpeter RON SIMPSON evergreens. Incongruously, Ian Carr and – maybe to the UNEASY there are, also, seven Christmas Resteamed Record RSJ115 2 surprise of some – clarinettist songs out of a total of 36 tracks CDs 42.58/39.12 Acker Bilk, who all but steals ECM 2692: 72.13 (perhaps included to make up the show on Creole Love Call. the numbers) which, personally, I This double disc set will delight The booklet notes reveal that According to the New York could have done without, but the fans of ‘classic’ British jazz and, in these choices were not Tracey’s Times, pianist Vijay Iyer is ‘a social band breeze through those with particular, its headliner, pianist/ but those of producer Denis conscience,….historical thinker JIMMY the requisite air of jollity. composer Stan Tracey. Bringing Preston, to whom each man was and multi-cultural gateway’. Iyer WITHERSPOON himself gives a social/historical Digby and Keith are the two purpose to his new CD, recorded LIVE IN LONDON 1966 most featured players, Digby Stan Tracey in December 2019: it is about playing a strong, flamboyant lead, our reaction to these ‘cataclysmic Rhythm And Blues Records occasionally letting his natural times’, but also the soothing, RANDB066 75.58 exuberance spill over a little. healing power of music. I’m RON RUSSELL Keith is the cohesive anchor, the generally not very good at picking Arkansas-born blues singer most noticeably adventurous, up the hidden cultural themes in Witherspoon became familiar THE RON RUSSELL LEGACY but there are other superb solos instrumental music and this is no to British audiences over several from Pete Strange and Dave exception: despite tracks called visits; he was even given life- Upbeat URCD 2CDs, Jones which remind us just how Uneasy (suitably edgy), Augury and saving cancer therapy while he 64.27/80.83. good they were. Entrustment all it means to me is was here. In a career that had its that it’s a very good, serious and ups and downs, he found success This is an interesting oddity and Digby, in his sleeve notes, warm- often surprisingly melodic piano in London, teaming with the best a justified tribute to one of the heartedly, suggests that the band trio album. of our contemporary players lesser names in British traditional could be regarded as second only as in the opening set recorded jazz, bassist Ron Russell. After to the legendary Alex Welsh unit. I have more faith in another at the BBC with pianist Harry a long and productive career However, the music here is that claim for the album, that it links South’s Trio and sparked by Phil involving stints with the Joe of the jam session, of musicians more into the tradition of jazz Seamen on drums with Peter Daniels, Monty Sunshine and letting off steam and enjoying than other Iyer albums, not King on tenor.

24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

and a string section from the especially by Jazz fans. Born in despite his eminence in his native Jimmy Witherspoon City String Ensemble. This is a 1909, Larry Clinton briefly led one Canada and his work with Oscar Lorne Lofsky highly accomplished album, very of the best of such bands and had Peterson, Joey DeFrancesco and successful in fulfilling its intention, a succession of big hits. many others, is not the sort of but it’s also Down for the Count chap to draw attention to himself. at its least jazzy. He cut his teeth playing trumpet in the band of Paul Whiteman’s So it proves. This is a pleasing Leader Mike Paul-Smith deserts long-time arranger, Ferde Grofé, album, but has an undeniably self- the piano stool to conduct a from whom he learned much effacing element to it. All Lofsky’s tribute to Capitol Studios in about the music business, before comments show him antipathetic the 1950s and 1960s, often becoming arranger for, among to anything flashy or tricksy: this reproducing the arrangements others, the Dorseys and Bunny is a straightforward ‘get-together of the great Nelson Riddle and Berigan, eventually forming his with friends’, musicians who have the rest. Paul-Smith is evidently own band. worked with him for years, and a devotee of Nat ‘King’ Cole, second takes are not encouraged. but, whereas the Huddersfield Clinton’s outfit might not have concert majored on the likes been the best or most distinctive, Five of the seven tracks are of Sweet Lorraine and Errant Boy but it had immense popular originals, Lofsky, not a prolific for Rhythm, here we have Mona appeal and, greatly in its favour, writer, having produced them Lisa, Nature Boy and When I Fall it boasted Bea Wain, one of the in what he calls a ‘mini-binge’. in Love – all good songs (well, finest of the many fine female They tend to be thoughtful and maybe not Nature Boy), but the vocalists of the day. Most of subtle, rather than instantly jazz content is severely diluted: the tracks here are from his memorable, with the title track excellent soloists such as Alex golden years, 1937-39, when the and Evans from Lennie (multiple Western-King on tenor sax seize vast majority of the 40 or so puns involving Bill Evans, Lennie on limited opportunities. major Billboard hits featured her Tristano and Pennies from Photo by Don Vickery luscious voice and impeccable Heaven) the most slyly attractive. Make no mistake, it’s a very phrasing. Clinton’s greatest claim Lofsky’s guitar work is always a good album, impeccably played to fame, perhaps - and that of delight, straightahead, but lyrical, Colyer left temporarily in 1951 the original trombonist, John R.T. imprint). Seven tracks - five of and produced. It’s just hard to Bea Wain - is being the first to with a lovely ringing tone and to join the Christie Brothers Davies, plays alto. them composed by the album’s Stompers, a couple of years principal subject, Bill Evans - are They open with one of his see a straight version of Secret record Deep Purple and Heart And almost pianistic voicings. The before his famous pilgrimage to It’s traditional fare, a familiar approached with the utmost signature songs Kansas City taken Love appealing to the jazz public. Soul, both of which standards are quartet operates very much as the land of dreams, and the band Colyer programme of spirituals, sensitivity without sacrificing at quite a clip, Spoon sounding Highlights for me included a credited with having occupied the a unit, with the empathy of long continued with Sonny Morris as pops, marches and a rag. Some the musicians’ interpretation earthy yet astringent and utterly delicious Mr. Bojangles, Callum number one position. These and association, Kirk MacDonald’s leader until its demise in 1957. of the tracks stretch beyond the of the familiar melodies. Evans’ resolute. Always more than just Gillies’ relaxed vocal underpinned the rest of his hits are on this supple, if rather thin-toned, ten-minute mark, but without Turn Out the Stars segueing into a bluesman, he could undertake by Sam Ainslie’s delicate guitar, splendid 2-CD collection. tenor sax blending perfectly Happily, they reformed in 1972 ever running out of steam. Quite Time Remembered spanning more a ballad like If There Wasn’t Any and great re-creations of Nelson with Lofsky’s guitar. Kieran and, though never quite reaching the reverse, in fact. than ten minutes of the album’s You with total aplomb, before Riddle on I’ve Got You Under My Bea Wain left in 1939 to pursue a Overs’ attentive bass and Barry their former heights, were still a total playing time is, perhaps, the reverting to older favourites like Skin (George Simmonds with the solo career and in 1941 Clinton Romberg’s crisp drumming formidable outfit, retaining their ANDREW LIDDLE highpoint of the trio’s collective Sweet Lotus Blossom and Roll ‘Em Milt Bernhardt trombone solo) disbanded in order to join the complete the picture. old drive and exuberance. This improvisation. Very Early is bright, Pete, the lyrics always given their and Gordon Jenkins on Stardust United States Army Air Forces, as a private recording made at the if not sprightly, with Pinheiro’s proper weight, even if he had (perfect string sound). pilot. He returned briefly after the RON SIMPSON famous 100 Club, on Oxford clean lines and lightness of touch sung them endlessly often. DOWN FOR THE war but without making a mark on COUNT CONCERT RON SIMPSON the new musical landscape. Street, in 1976, now re-released suggesting a Jim Hall influence, by Upbeat, found them at their perhaps Bill Frisell. Two non-Bill The essential meat of this ORCHESTRA uninhibited best. Evans’ tracks open and close the exceptional compilation is in ANDREW LIDDLE recording, in each case originating the dozen tracks recorded with AT THE COLD STORES Ken Colyer, cornet, and Sonny from the worlds of stage and/ ace tenorist Dick Morrissey and Down for the Count Records Morris, trumpet, demonstrate or screen: You Must Believe in South’s men at the Bulls Head in DFTC 007: 45.50 they are simply the best that this Spring (something of a modern Barnes and previously issued as country has to offer of two-horn day standard, Michel Legrand’s a Fontana LP. Just to hear them The Down for the Count pairings in the rugged idiom, both composition formed part of the together on I Gotta Girl, Morrissey Swing Orchestra (or Concert unfussy and direct, swapping the film score for The Young Girls of firing on every cylinder, Seamen Orchestra or whatever lead, each a willing foil to the other, PINHEIRO - INEKE - Rochefort, earning the Frenchman driving hard, Witherspoon format they happen to be alternating registers, bouncing CAVALLI an Academy Award nomination) rampant, is to glimpse just what in) is a wonderfully versatile off each other through multiple and Leonard Bernstein’s Some made this combination so potent THE CRANE RIVER organisation. Back in September choruses, mounting in intensity. TURN OUT THE STARS - Other Time, famously from On when heard live. Witherspoon JAZZ BAND I reviewed the band for a THE MUSIC OF BILL EVANS the Town. Bassist Cavalli, long- was a blues superstar, yet adept LARRY CLINTON theatre website at a concert at There are fine solos throughout, since resident in Portugal, and at fitting into a great variety of AND HIS LIVE AT THE 100 CLUB, 1976 Huddersfield originally scheduled especially from clarinettist, Monty Challenge Records CR73523 drummer Ineke, a fixture on settings, with a vast discography ORCHESTRA LORNE LOFSKY for an 11-piece in March which Sunshine, an original member 46:30 the Dutch jazz scene, evidently behind him, while always Upbeat URCD314 73:04 took place in the false dawn THIS SONG IS NEW before joining Chris Barber in share Pinheiro’s love of the remaining himself, lusty-voiced, ALL THE HITS AND MORE, The trio of Portuguese guitarist after the first lockdown. The No finer British traditional jazz 1954, and wonderful ensemble material heard on the CD. If declamatory, a vital presence on 1937-48 Ricardo Pinheiro, Italian bassist band, reduced to six by social Modica Music MM 0028: 42.54 band emerged from the New playing driven by Colin Bowden’s simplicity with a touch of quiet any jazz bandstand. Spoon and Massimo Cavalli and Dutch distancing, gave great value. ADDCD3382 2 CDs, 71:33/ Orleans Revival of the late definitively New Orleans’ sophistication is your idea of Morrissey at one on the blues. drummer Eric Ineke is a 71:14 This is Lorne Lofsky’s first 1940s than that Ken Colyer put drumming. Still with the band are jazz, Turn Out the Stars - The Music Hard to better. Comprehensive regular working unit. Turn Out At the Cold Stores, recorded in studio album in nearly 25 years together in 1948, which by the stalwarts of the rhythm section, of Bill Evans will make a worthy notes by Simon Spillett are the the Stars is the pan-European January and September 2020, We are, indeed, indebted to and, according to James Hale’s following summer was firmly Ben Marshall, banjo, and Julian addition to your collection. icing on the cake. Get this. trio’s second album released presents the Concert Orchestra Acrobat for their continued liner note, it wasn’t originally ensconced at the White Hart, in Davis, bass. In the absence of by Challenge Records (Triplicity, in much fuller format: 12 release of the ‘sweet’ music of the intended for commercial release. Cranford, on the banks of the Pat Hawes, on piano, Ray Smith RUSSELL CORBETT PETER VACHER a 2017 recording, is available instrumentalists, three singers swing period, now often neglected, This rather suggests that Lofsky, eponymous River Crane. adds Jelly Roll sophistications. With John Goddard on board, on the Dutch label’s Daybreak 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

and Eddie Condon, on piano, choice ballads. The best of the jazz career, saxist Kenny Garrett, Lennie Hayton, Joe Sullivan, Red Nichols Valaida Snow lot is probably Junior Mance Trio and featured Foley on what Rube Bloom, and Roy Bargy; the Live at the Village Vanguard taped is variously described as ‘lead swinging violinist Joe Venuti; Joe in 1961, a session which, while bass’ and ‘piccolo bass’, tuned an Tarto on tuba; drummers Gene it never tops Bill Evans’ seminal octave higher to take the role Krupa, Chauncey Morehouse, records made at the same venue of a solo guitar, though with an Stan King, Dave Tough, Ray that year, is nevertheless great otherworldly timbre. Merci Miles Bauduc, and Ray McKinley; and fun, enlivened considerably by is beautifully packaged, with a trumpeters Manny Klein, Charlie two compositions borrowed detailed and personal note from Teagarden and Wingy Manone. from Mance’s then bosses, Ashley Kahn, and makes available Adrian Rollini always announces saxophonists Johnny Griffin (63rd for the first time an exciting, himself on bass sax and no one Street Theme) and Eddie ‘Lockjaw’ yet oddly relaxed, session that has a more distinctive vocal Davis (Bingo Domingo). Junior’s merited roars of approval from RED NICHOLS & HIS sound than Red Mackenzie. Blues is another hot one, finding the Vienne audience. It’s over- FIVE PENNIES the leader celebrating his roots simplifying to refer to Miles’ music After 1932, Nichols was very THE RED NICHOLS in themes by Thelonious Monk, at this time as ‘funk’ – that’s in much less prolific, apparently COLLECTION, 1926-32 Duke Ellington and, surprisingly, there, but so is much else. making no jazz recordings at all in Meade Lux Lewis. The only Acrobat ACQCD7153 4 CDs, 1933. In 1944, beyond the scope set departing from the piano- The album is front-loaded, with 67:09/68:03/70:36/70:29 of this collection, he made a bass-drums format is The Soul three superb tracks to begin comeback and the popular biopic of Hollywood on which Mance with. Hannibal and Human Nature Red Nichols was one of the in the following decade brought sparkles through a programme (34 minutes between them) both finest white cornet players - further late fame - but it is safe of film themes (everything from build to tremendous climaxes, with a glorious ringing tone to say we have the best of a was fine as far as it went, but and Tiger Rag with an unnamed Exodus to Spellbound) in the seem to have the momentum reminiscent of Bix Beiderbecke’s glorious oeuvre on this 93-track, Valaida went much further. eight-piece including Johnny Claes. company of a large ensemble to go on for ever, then hit the - to emerge during the 1920s. 4-CD collection. arranged by Melba Liston. While buffers with explosive force. advantage of his visit to lay down Born in 1905, in Utah, he Her recording career The final nine tracks are widely these are consistently good On the former the exchanges six tracks with his preferred Irish began playing and studying his Classic tracks, beautiful tunes represented here took her from spaced between 1939 and 1953, recordings, there is a danger between Miles’ surprisingly musicians Dave Redmond on bass instrument at an early age, abound, heat is generated, the 1933 Earl Hines Orchestra from Stockholm to Chicago. Two that their concentration on the muscular open trumpet and and Kevin Brady on drums. achieving a great technical the mood is vibrant. It’s the to the boundaries of rock’n’roll tracks with Winstrup Olesen’s trio line-up makes them a tad Garrett’s intense soprano sax up quintessential Jazz Age. on Chess Records in 1953, three Swingband find her in fine form monotonous. That said, it’s all the ante over Ricky Wellman’s mastery. So often the word ‘Last’ years before her death. Rather before the Nazis took offence at fine jazz and in very good sound. powerhouse drumming. Human strikes an ominous note and During 1926-32, the period ANDREW LIDDLE than a jazz trumpeter, she was a her colour and ‘degenerate music’ The only reservation? The rear Nature is even better, a sunny has us reviewers listening for covered by this splendid collection consummate cabaret and theatre and a 1946 recording in L.A. of inlay graphics which are a mess of Caribbean opening changing signs of deterioration in the from Acrobat, Nichols made performer as trumpeter, singer a song with the unlikely title of unnecessary duplication. For all gear constantly, with Garrett performances of the artists numerous wonderful recordings and dancer: a fair number of Patience & Fortitude, accompanied piano buffs. introducing a Middle Eastern feel involved. Happily, there is no with the Five Pennies, and what tracks here are singing only; her by accordion, guitar and bass, and topping a wildly cacophonous waning of power in this short were often its off-shoots, the dancing is, sadly, unrepresented! proves unexpectedly attractive. SIMON SPILLETT finale. Then for contrast Miles, set of six songs and we get Charleston Chasers, the Arkansas Then there was a colourful muted, is at his most delicate on the guitarist displaying a whole Travelers, the Red Heads, the life, made even more colourful RON SIMPSON JUNIOR MANCE Time After Time. spectrum of the unique input he Louisiana Rhythm Kings, the in her re-telling: arrest and brought to jazz with his forging of THE ALBUMS COLLECTION Wabash Dance Orchestra, the imprisonment by the Nazis in These three tracks are well over jazz fusion back at the beginning 1959-62 Alabama Red Peppers, and Red Copenhagen for 10 weeks in half the album’s length and the of his 50 year career in the and Miff’s Stompers. 1942, followed by an orderly remainder has more straight 1960s. He really was a guitarist Acrobat Music ACQCD 7154 4 return to the States, turned into funk, with a highlight being for all seasons as he ranges CDs 73.26/73.10/69.58/69.44 The collective personnel of a dramatic escape after two years Deron Johnson’s great work on through two brilliantly acoustic the varying line-ups reads like VALAIDA SNOW in a concentration camp. keyboards on Prince’s Jailbait. A and introspective readings of In Everything you need to know a Who’s Who of white jazz word, too, for Richard Patterson SWING IS THE THING a Sentimental Mood and Morning about pianist Junior Mance is greats of the time and we begin 16 of 26 tracks feature Valaida on bass, creating a mighty pulse of Carnival, with a fine solo by revealed barely a few tracks into to appreciate something of his with some fine British groups alongside Ricky Wellman. Upbeat URCD 312: 76.29 Redmond on the former. this jam-packed collection. On creative energy and ability to between 1935 and 1937 – nice Benny Golson’s Whisper Not he put bands together and arrange, solos from the likes of Buddy MILES DAVIS RON SIMPSON There are at least two good Parker’s Relaxin’ at the Camarillo unfurls an improvisation light organise and inspire some of the Featherstonehaugh and Freddy reasons for getting hold of this finds him back to electric and yet funky in touch in which the greatest recordings ever made. Gardner. Her assured trumpet MERCI MILES! – LIVE AT fascinating CD. One, of course, LARRY CORYELL his bop base and little snatches melody keeps peeking through and playing has the inevitable VIENNE 1991 is the music, but the other is of rock, classical and country the blues are never very far away. Miff Mole’s trombone features on Armstrong influence, but with LARRY CORYELL’S LAST the remarkable story of Valaida thrown in, followed by a rousing most tracks in 1927-28, arguably some neat muted playing. Her SWING WITH IRELAND: Warner Records/Rhino R2 Snow, documented both through Someday My Prince Will Come Cut from the same stylistic cloth the finest - and we often have singing is difficult to classify: from THE LAST STUDIO 653962/603497844616: 2 the recordings and through Mike wrapped around the Miles as generational peers Ray Bryant, no difficulty aurally identifying heart-on-sleeve torch songs to RECORDINGS OF LARRY CDs, 53.40/24.57 Pointon’s excellent liner notes. Davis arrangement. The last two Bobby Timmons, Wynton Kelly at various times such as Glenn tearing fearlessly into high-tempo CORYELL numbers, The Last Peavey and 376 and Red Garland, Mance was a Miles Davis’ career was never Miller, Jack Teagarden, Tommy swingers, via, at times, a nicely I realised that my early are heavily rooted in the blues. first-class exponent of the bop to predictable and, at this live Dorsey and Will Bradley, on nonchalant take-it-or-leave-it Angel Air Records SJPCD 641 impressions of Valaida, gained All in all, this is a masterclass of blues style popular at the dawn concert in France only months trombone; clarinettists, Pee Wee delivery when she thins out her 46.03 from my father, were accurate, Coryell’s astonishing versatility. of the 1960s and this anthology, before his death, he avoids any Russell, Benny Goodman, Jimmy rich contralto to something which generously includes seven but far from complete. My image When Larry Coryell took his Redmond and Brady are more hint of his past successes: the Dorsey and Frank Teschemacher; more like Rose Murphy. Her albums made for the Verve, of a star trumpeter who blazed guitar into the Hellfire Studios than an ideal support with tunes include two Prince songs, tenor-saxophonists, Bud Freeman, reading of I Can’t Give You is Riverside and Jazzland labels through the UK jazz scene in in Dublin in May 2016 there was Brady’s intricate brush work two by Miles’ former bassist Eddie Miller, Babe Russin. beautifully controlled and justifies between 1959 and 1962, captures the mid-late 1930s, in company no indication that he would be a pleasant reminder of how Marcus Miller and Cyndi Lauper’s its inclusion though incomplete, him at his peak. Mostly these with other non-Brits such as dead three months later of a effective this can be. Time after Time. His sextet of much On guitar we hear Eddie Lang, and the most fun is had romping are gentle on the ear trio sets, the Belgian Johnny Claes and heart attack. He was there to younger musicians contained only Dick McDonough, Carl Kress, through Nagasaki, I Got Rhythm full of danceable soul-jazz and American reedman Danny Polo, play at the Sugar Club and took JOHN MARTIN one who has had an orthodox Junior Mance

28 THE JAZZ RAG THE JAZZ RAG 29 ‘PRACTISE, MAN, PRACTISE…’ ‘PRACTISE, MAN, PRACTISE…’

his sophisticated music had come Music Hall thought they were present activity: the ‘Have you So that was it, jazz was in! ‘PRACTISE, MAN, PRACTISE…’ from, the ‘King of Swing’ essayed, catering for – a Vanderbilt on his ever been…?’ question – though An interesting example of the less parodically, the Original mother’s side, that’s the same I trust encouraging African integration of jazz and classical RON SIMPSON gives a personal view of the role of Carnegie Hall in the history Dixieland Jazz Band’s Sensation Vanderbilts who were waiting Americans to play jazz in Carnegie came in 1946 when Woody (and pre-history) of jazz. Rag, following it up with I’m at the club as a couple of swells, Hall was not a specific crime, even Herman played Stravinsky’s Coming Virginia. Clearly he wanted Astaire and Garland, struggled to the senator from Wisconsin! Ebony Concerto, written especially to represent all jazz in what has their way up the avenue. And for him, at Carnegie Hall, but It’s the subject of one of the dictated by the size of Mrs. Billie Holiday been termed, rather patronisingly, John Hammond actually set There was also still the generally the Hall did orthodox oldest and best jazz jokes. A Astor’s ballroom! ‘jazz’s coming out party to the up the second memorable anthropological element: how jazz concerts – and folk passer-by comes up to a jazz world of “respectable” music.’ For concert in 1938, two days before do we get from the jungle to concerts and, increasingly, rock Andrew Carnegie was one of musician and asks, ‘How do I all that, it’s the Goodman band’s Whiteman’s extravaganza. Harlem? The concert included concerts – alongside the classical the mind-bogglingly rich new get to Carnegie Hall?’ I guess abandoning good taste to thrilling African tribal music from the H.E. performances. 1947 introduced industrialists, but he was a all Jazz Rag readers can join in effect on Sing Sing Sing that we all From Spirituals to Swing placed the Tracey Expedition (that word, the Hall to bebop (Dizzy, Bird philanthropist rather than a the chorus of ‘Practise, man, remember from Carnegie Hall ’38. black cultural experience centre ‘expedition’, is telling), but it’s and Ella) and in the same year would-be socialite. In the UK practise!’. It gets attributed to stage and was even dedicated easy to forget the earnest, and Louis Armstrong appeared his generosity provided for vast plenty of classical musicians, That ambition to represent all to the memory of Bessie Smith possibly misguided, scholarship under his own name (and played numbers of libraries and at least but to me it always feels like a jazz was probably behind the who had been killed the previous with the Basie Band in blazing trumpet this time). In the 1950s one less glamorous Carnegie jazz joke, though I leave others generous decision to share the year in a car crash in Clarksdale, form. The programme included, you might be wondering which Hall – in his hometown of to argue whether it was Dizzy spotlight with a number of the Mississippi, and had supposedly among others, spirituals from would have shocked the Gilded Dunfermline. Gillespie or Clark Terry or just stars from the Count Basie been refused admission to a white the Golden Gate Quartet and Age elite more, Bill Haley and his some guy on the corner with and Duke Ellington Orchestras, hospital with her life-threatening Mitchell’s Christian Singers, Comets or Thelonious Monk and Of course, Carnegie Hall shades and a saxophone case. including Basie himself. injuries. From Spirituals to Swing blues from Sonny Terry and Big John Coltrane. When the New was a bastion of the musical This served to heighten the was many things: it was long, it Bill Broonzy and small group York Philharmonic absconded to I was prompted to start thinking establishment from the start impression made by the presence was wildly disparate and it was jazz from the Kansas City Six Lincoln Center in 1962 and left about Carnegie Hall by the – the New York Philharmonic in the small groups of Lionel so popular a second concert was (Basie-ites minus Basie) and, Carnegie Hall without a resident showing of James Erskine’s moved in for a 70-year stay Hampton and Teddy Wilson: this added on Christmas Eve. It was on the second show, the Benny orchestra, it was open season on documentary, Billie, on television. in 1892 – but attitudes to was an integrated concert when also political. In the absence of Goodman Sextet. The concert bookings: many great concerts, Billie Holiday actually played colour seem to have been such things were a rarity. any commercial sponsorship, the also had a great deal to do but not remarkable occasions Carnegie Hall many times, tolerant. As early as 1892 the Communist Party of American with the fashion for boogie like Billie Holiday in 1948, Benny including two concerts as late as African American opera singer Then there is the presence put up the funds. These were woogie in multiple combinations, Goodman in 1938 or – the 1956, but it’s the 1948 concert Sissieretta Jones, known as of John Hammond, eminence the people the egregious Joseph with Meade Lux Lewis, Albert one I would have found most that always comes to mind when ‘The Black Patti’ (though she grise of the 1930s Goodman McCarthy set about black- Ammons and Pete Johnson all fascinating – Jim Europe in 1912. preferred Madame Jones!), sang Weather, with Bill Robinson and Paul Whiteman’s attempts to Lady Day at Carnegie Hall is band and just the sort of fellow listing just over a decade later fighting their corners. there. In the 1920s Paul Robeson Dooley Wilson coming home reconcile jazz and the classics, mentioned. It’s a story of triumph the original founders of the – remember, it wasn’t just about in adversity and one full of irony. (who added left-wing opinions as all-conquering Hellfighters. Experiments in Modern Music, to the sin of being black) and Sadly Europe didn’t long survive took place in Aeolian Hall in Having been at the peak of Marian Anderson appeared. the Great War: not the Spanish 1924, not Carnegie Hall. However her popularity in 1947, Billie flu, but a disturbed drummer remote some of it was from jazz, was arrested for possession of The pre-jazz history of Carnegie who wounded him fatally with a it produced one unclassifiable Available To Order Now narcotics and spent nearly a year Hall includes two notable events pen-knife. masterpiece, Rhapsody in Blue. in Alderson Prison Camp, West for the jazz world. In 1912 one However, later concerts in the Virginia. When she came out, she of the most interesting figures Even more relevant to the future series found their home on 57th was persuaded by her manager in what we might call proto- history of jazz, in an oblique sort Street. The eighth was held on to stage a comeback concert at jazz appeared there with his of a way, was the 1921 production Christmas Day 1938, with guest DON’T WORRY Carnegie Hall. A record 2,700 band. James Reese Europe had of The Open Door. Described as ’a spots for Louis Armstrong (only tickets were sold in advance, surprising success in breaking Negro pageant with music’, it was singing) and Artie Shaw, but that crowds were proverbially round down racial barriers (acting as ‘built up around the spirituals and was overshadowed by the two the block and Billie Holiday was bandleader for popular white folk songs of the race and showed concerts in the same year that, ’BOUT THE BEAR back. The irony is that Carnegie dance duo Irene and Vernon symbolically its development from for many of us, define Jazz at The inside story of 60 years in the music business Hall was one of the few places in Castle), but he was also a jungle dance and barbaric ritual Carnegie Hall. New York where she could have pioneer for black music and a through slavery and oppression performed: her drugs bust had huge influence on such people to the present day when the On January 16th, Benny ‘…like a breath of fresh air cost her her cabaret card. as Noble Sissle and Eubie Blake door is open to education and Goodman came to Carnegie who called him ‘the Martin larger opportunity.’ So far as I Hall in one of those occasions in a mini heatwave.’ That set me wondering about Luther King of music.’ In 1910 can tell, this was not a Carnegie that still seem present today: Carnegie Hall’s place in the he founded the Clef Club for Hall one-off, but touring from the bandleaders put together shows Nic Jones, Jazz Journal Establishment and its attitude black musicians and it was the University of Atlanta, with 200 based on it, record companies to outsiders, especially African- Clef Club Orchestra that played African Americans presenting re-master and re-package. We all Americans. It’s shocking for us to Carnegie Hall in 1912 to raise a rather optimistic view of the carry our own mental version of realise the degree of snobbery money for the Colored Music state of affairs in Georgia. I can it in our heads: in mine, Martha ‘Teeming with insight and that prevailed in New York Settlement School, playing a only wonder if the young Edward Tilton and Ziggy Elman bring the society of the Gilded Age when programme of music by black Kennedy Ellington saw the show. house down with And the Angels anecdote about so many names Carnegie Hall was founded, composers. Lieutenant James His own take on the topic, Black, Sing even though in reality it initially as the Music Hall, on Europe went on to lead the Brown and Beige, premiered at wasn’t performed until 1939. known in so many households’ 57th Street in 1891. Judging from ‘Hellfighters’ in the last year of Carnegie Hall in 1943. the records, from its earliest World War One, inspiring black It was a concert by a fine band on Just Jazz days the Carnegie family which American troops with Memphis By the time of that 1943 top form, but some other points owned the Hall until 1935 seems Blues alongside The Star-Spangled concert the floodgates had are worth noting. Goodman had to have been more liberal than Banner. A final reminder of Jim opened for jazz at Carnegie Hall, a touch of the Paul Whiteman in most of ‘The 400’, the social elite Europe comes in the opening Ellington’s orchestra playing four his programming: just as the so- RRP £17.95 AVAILABLE FROM ALL GOOD BOOKSELLERS AND DIRECT FROM BIG BEAR MUSIC whose number was supposedly sequence of the 1943 film, Stormy successive years, for instance. called ‘King of Jazz’ played Livery Order your copy from www.bigbearmusic.com / 0121 454 7020 Perhaps surprisingly, the first of Stable Blues to illustrate where 30 THE JAZZ RAG THE JAZZ RAG 31 Cigar Box Guitar HENRY’S BLUES PROFILES HENRY’S BLUESLETTER Brooks Williams is an He did a little research and THE QUEEN OF WHITE TRASH CAJUN outstanding, finger-picking, made himself a 3 string rootsy blues guitar man from fretless cigar box guitar. He Although it is commonplace to comment, when a band is good for their age, others, moment and the person in Statesboro, Georgia. He is a says that to his amazement, really rocking, that they are cooking, it must be extremely Matchbox Bluesmaster like Texas Alexander’s Rolling that moment; if you fix them regular and extremely popular it worked and was actually rare for this activity to actually involve food, heat and the Mill Blues, are distinctly less to some template or other performer at the Birmingham, playable and particularly appropriate utensils onstage. In fact, in the more than so. We’re told they are from they wither and die. Could Sandwell & Westside Jazz suited to a slide player like 7000 performances over the 37 years of the Birmingham, Series – Vol 4 rare original 78s, but the Robert Johnson, “The King of Festival where he has built himself. His next step was to Sandwell & Westside Jazz Festival, I can only recall it STUART MAXWELL potters down fact is that some are most the Delta Blues Singers” have an impressive following, take his home-made guitar to happening on one occasion and that was when the singer effective simply as entries in turned in a performance like singing the blues to his own open mics and jam sessions, who rejoiced in the nickname, The Queen of White Trash some blues and gospel byways an archive. Peg Leg Howell’s intense and backing on acoustic and then he built another, sold Cajun, came to town. intricate Sadie Lee, in that resonator guitars. it and repeated the process Albums like this six-disc set This is not to question for This is where the mythology studio, on that day? He could until he suddenly found In 2011 Sarah Savoy and the Francadians featured in are strange artefacts. They a moment the wisdom of of the blues comes from, the not and there would be no To my surprise and delight, himself organising a Cigar the Jazz Festival at Star City. Sarah was born into the are literally collectors’ items, putting compilations like disembodied voices warbling point in his trying. some years ago now, he Box Festival, Boxstock, at legendary Cajun family of accordionist Marc and singer/ put together as little archives this together. At the raw from our speakers, evoking a finished his set with three the centre of a whole new guitarist Ann Savoy, whose home town, Eunice, Louisiana, of recordings from times gone level it is simply a joy to time and a land we can never Similarly, an academic like songs where he played home-grown phenomenon, is deep in Cajun territory. Although Sarah grew up by. If you had asked Peg hear recordings like these. know. It is to this wistful idea Paul Oliver might delight in a cigar box guitar, not a starring in an acclaimed BBC surrounded by their music, as a youngster she became Cigar Box Blues Leg Howell to put together a Sweet-toned, intense voices, of how things were that these tracing influences, or working common sight. film and infatuated with punk, purple hair and all that goes with that. collection of his own work, dancing fiddles, deft and collections speak. out who stole which lyric from folk now referring to him as would he have chosen these swinging guitar-picking which whom, or speculating about Offstage, we talked about The Godfather of The Cigar However, as a part of an important Cajun dynasty she still songs, presented in this still stands honourably next The disc of sanctified jug the travels of the performers his cigar box guitar, and Box Guitar. found herself getting involved in various group, singing order? Would Julius Daniels to the virtuosity of modern bands is a case in point. Are from hints in the songs or I said that I thought it and playing guitar and accordion and appearing with her be happy to have his music emulators, even though many people really going their instrumental styles. brilliant, that some tiny John is now building mother’s famous all-female groups, The Magnolia Sisters. presented with so much today’s players are better to sit and listen to these American company is still resonator and oil can guitars She studied Russian at University in Lafayette before muffling surface noise? Mind served by the technology that recordings the way they In the end, you can only producing these primitive alongside the cigar boxes, eventually going to Moscow to continue studying the you, we can probably assume preserves their music. might to Kind Of Blue, The judge these sessions by how blues guitars. This seemed teaching people how to make work of her favourite writer, Dostoyevski. Graduating, she he would be glad to have his Dark Side Of The Moon, or they make you feel. And to amuse Brooks, who told and play them, and playing stayed in Moscow, taking a job in marketing. music memorialised at all. Still, you bring a lot of your Mozart’s Requiem? When given that, for this critic at me that actually, these cigar gigs as a solo, in a duo with own romantic notions to a DOES one listen to music least, performances like Doin’ box guitars are made in Harmonica Dave and with his When she was invited to perform at a Cajun festival in collection like this. Although like this, except in church, Wrong and Furniture Man Smethwick, Birmingham. band, Chickenbone Blues. France, Sarah rediscovered her roots and decided to some of the recordings are or if one is deeply sanctified deliver a kick in the guts even stay in France, performed regularly with Cajun musicians Both Brooks Williams and oneself? For most of us, it at a distance of nigh on a I made contact with the and eventually formed her band, The Francadians, with Chickenbone John are is interesting as a historical hundred years, and through man concerned, a certain Louisiana and European musicians. The band included set to appear at The 37th artefact, giving an insight a barrage of noise that might Chickenbone John and we bass player Manolo Gonzales, whom she married. Birmingham, Sandwell and into the relationship between qualify them as avant garde have now worked together Westside Jazz Festival. Brooks blues and gospel music. experiments, you can thank for some years. John doesn’t But back to things culinary. On arrival in Birmingham, she will feature at Theatre Square, HENRY’S The possible presence of Saydisc Records for making just make these mini- sent the somewhat bemused festival staff on an errand Solihull (13:00) and Blackheath Will Shade, one of the first sure they don’t get lost before masterpieces, he is also a to fulfil her wish-list of cooking paraphernalia that she Library (19:30) on Friday recorded harmonica players, their time. tremendous blues singer insisted were central to her performance and which she BLUESHOUSE 16th July, while Chickenbone adds a bit of spice, but it and cigar box guitarist who proceeded to set up centre stage. Come showtime, Sarah John is delivering a Cigar might not be him, of course. has become a strong draw announced that she was going to deliver a programme Box Guitar Workshop (16:00) ON THE ROAD Romantic and quaint as they at Henry’s Blueshouse and a of down-home Louisiana Cajun while preparing a meal at Henry’s Blueshouse at are, we are reminded by Paul regular at the Jazz Festival. of gumbo and jambalaya with which she would feed the The Bulls Head (Tuesday 24th September 7pm (Studio) Oliver’s sleeve notes that audience during intermission – which indeed she did, with 20th July), performing with Big Jim & The Alabama Boogie Boys £5 they may have been recorded John always did have a everyone dutifully lining up with their cardboard plates and Texas Alexander Harmonica player Tony Stokes solely as gimmicks, cashing passion for building guitars. plastic forks. (21:15) at The Night Owl 22nd October 7pm (Studio) in on religious fervour and He built his first when he (Thursday 22nd July), with The Shufflepack £5 the popularity of jug bands. was just fourteen, and for a The bizarre circumstances in no way detracted from Harmonica Dave (13:00) at Simon Cowell comes from while spent his time buying what was a really terrific performance, it was almost like Birmingham Rag Market and 19th November 7:30pm (Theatre) a long tradition – it’s always old timey guitars, repairing witnessing an early Elvis. Sarah Savoy, clearly relishing at The Wellington (20:00) on Ain’t Nothin’ But The Blues been a music business, and selling them. Then he every moment, was captivating and the band were really Saturday 31st July. Tipitina with the emphasis on the read somewhere that B.B. cooking – what else? The Whiskey Brothers second word. King and Lightnin’ Hopkins had both made their own first Admission is free to all of JIM SIMPSON Chickenbone John with Harmonica Dave £12 these shows. You can bring a music critic’s guitars out of a cigar box and a broom handle, which got Photo by ear to these recordings if JIM SIMPSON Merlin Daleman The Core Theatre Solihull you insist. You can admire John thinking. Theatre Square the technical virtuosity Touchwood of Eddie Anthony, or the Homer Road swagger of Bessie Mae Solihull Smith (if not always her B91 3RG intonation). But what are Read more of Henry’s Blues Profiles on Henry’s your frames of reference? Blueshouse weekly online Bluesletter - Phone: 0121 704 6962 By whose rules do you Email: [email protected] to subscribe free of charge email judge these performances? Tickets available from www.thecoretheatresolihull.co.uk [email protected] Blues, country and gospel are definitively about the 32 THE JAZZ RAG THE JAZZ RAG 33 BOOK REVIEW

BOOK REVIEW weekend in what during the trombone playing he admired as the man who got banned week was Mack’s Restaurant, (Campbell Burnap!). Most for shouting out ‘Wrong!’ to JAZZ ON BIG BEAR RECORDS remembered by David Horton of the illustrations, however, Barney Kessel’s chord selection. as ‘as dreadful an eatery as you are informal photographs of BIG BEAR RECORDS CD OFFER would find’. The jazz wasn’t too musicians, often at the club in It would be wrong, however, to dreadful, though: the opening various stages of relaxation! imply that Ace of Clubs is just ALL CDS £8 EACH OR 3 FOR £16 night band included Kenny a fun read. It is a fun read, but INCLUDING P&P TO ANY UK ADDRESS Baker, Jimmy Skidmore and, of For a club that was dry for many with plenty of serious insights. course, the child prodigy Victor years, alcohol seems to have Chris Barber, for instance, Feldman. The book includes a played a considerable part in figures across several pages, but flyer for a jam session at the the 100 Club story. Frank Parr, rather than comic anecdotes Feldman Club, complete with Merseysippi and Mick Mulligan we have assessments of his solemn explanation, ‘What is a stalwart, county standard unique role in British jazz. But Jam Session?’, the line-up a mix cricketer and heroic drunk, the tone remains light, aided by of loved ones (Skid, Dankworth, features largely, measuring his Digby’s skilful knitting together Kathy Stobart, Coleridge Goode, length (as ‘Fallabout Francis’) of the reminiscences, sometimes etc.) and forgotten ones – who everywhere from a bar full of into something resembling a JAZZ CITY UK VOLUME 2: THE JAM SESSIONS remembers Hamish Menzies, glasses to the middle of Belsize conversational chat of the ‘Do ‘the British Fats Waller’? Park Road (and then going you remember when…?’ variety. ACE OF CLUBS: A to sleep) or getting struck by In the 1950s 100 Oxford Street lightning as a cricket umpire RON SIMPSON Lady Sings The Blues Nomy Rosenberg Various Artists Various Artists CELEBRATION OF Laughing at Life Nomy Rosenberg Trio Jazz City UK Volume 1 Jazz City UK Volume 2 was famously the Humphrey and carrying on regardless. THE 100 CLUB Six top British jazz musicians Gypsy guitar genius from “Don’t miss this album, it Two legendary Birmingham Lyttelton Club, but it was not No one will be surprised and the remarkable Val Holland – classic Django contains more aesthetic sessions featuring 21 of the EDITED BY DIGBY until Ted Morton took it on that there are some choice Wiseman interpret Billie at its best vitamins than Holland finest British Jazz Musicians FAIRWEATHER, as the Jazzshows Jazz Club George Melly stories, too, Holiday repertoire & Barratts” – Digby FOREWORD BY that it became a seven nights- and the iconoclastic pianist/ Fairweather JOOLS HOLLAND a-week jazz venue. From him trombonist Bert Murray figures the succession led straight to Brewin Books, paperback, 978 the Hortons. Initially things 1 85858 728 8: £12.95 prospered mightily, but an Digby Fairweather Photo by anecdote from Hugh Rainey Merlin Daleman Ace of Clubs is not a formal graphically points up the history; there are no linking collapse of the Trad Boom. He narratives and at times Digby was with Bob Wallis’ Storyville Fairweather seems to assume Jazzmen in 1963, so popular a background knowledge in his that they were booked in for readers. It makes no attempt the Palladium Summer Season, at a balanced structure, being admittedly low on the bill. The in two parts, Early Days and season ran until December Bill Allred’s Good Time Duncan Swift Bruce Adams/Alan Bruce Adams/Alan Later Years, with Early Days when they emerged from the Jazz Band The Broadwood Concert Barnes Quintet Barnes Quintet occupying the first 100 of its Palladium to find the Beatles Swing That Music! Possibly the finest Let’s Face The Music Side Steppin’ 120 pages. Much of Later Years had happened and 35 major jazz Red-hot, straight-ahead practitioner of Harlem Storming Bebop to Swing, Landmark debut album for covers non-jazz events and this clubs had closed. In 1964 the jazz from these storming Stride piano the UK has with Brian Dee, Len Skeat tremendous bebop quintet is unashamedly a jazz book. band broke up for lack of work. 8 piece Dixielanders from ever produced and Bobby Orr Orlando, Florida. And why not? It’s backed by As years passed, blues, soul National Lottery funding on and, in its day, punk took their behalf of The Jazz Centre place in the 100 Club, but UK. The book consists of it’s always the jazz that takes reminiscences of the club centre stage in Digby’s book. ranging in length from a couple The financial crises of the last of pages to a single sentence. decade are dealt with fairly Frequent contributors are long- briefly and the book ends on time 100 Club owner Roger the sunny uplands of recognition Horton, his brother and early as a major cultural venue and associate David and his son Jeff support from the City Council. who took over the club, and any number of jazz notables such The book is full of illustrations, as Mike Pointon, Wally Fawkes many in colour, some of King Pleasure & The Tipitina Howard McCrary The Whiskey Brothers and Digby himself. There are memorable occasions such as Biscuit Boys I Wish I Was In New Orleans Moments Like This Bottle Up And Go occasional interjections from Louis Armstrong visiting the club Live At Last Fascinating debut of “Top class rhythm and blues The music of 1930s and those no longer with us, culled in 1956, some print ephemera Their first live recording Lancashire band performing performed with verve and 1940s American juke joints by Digby from interviews or (a bill for 1979 with a great since the Ronnie the blues, boogie woogie charm” – Just Jazz – The Whiskey Brothers are books: Humph, George Melly, two-month line-up of jazz, blues, Scotts classic of 1993. and swing of New Orleans. the real deal Jim Godbolt and so on. soul and folk), some downright Another classic. bizarre such as the letter from The connection between jazz Philip Larkin agonising over and 100 Oxford Street began in whether he should respond to To order, send a cheque payable to Big Bear Music to PO Box 944, Birmingham B16 8UT 1942 when the Feldman Swing a request for enlightenment To pay by card phone 0121 454 7020 or visit www.bigbearmusic.com/cds and enter the code Club opened its doors at the from a student whose JRLOCKDOWN8 to purchase one CD for £8 or JRLOCKDOWN16 to purchase three for £16 34 THE JAZZ RAG