sign in sign up
<<
Home , Alan Barnes (musician), Alec Dankworth, Always Something There, Ambrose (bandleader), Andy Panayi, Art Themen

THE RAG

ISSUE 139 WINTER 2015 DAVID GORDON TRIO UK £3.25 CONTENTS

DAVID GORDON TRIO DAVID TELLS THE STORY OF HIS INTRIGUING NEW CD ON MISTER SAM RECORDS, ALEXANDER SCRIABIN'S . (PAGES 14-15)

4 NEWS 7 UPCOMING EVENTS 8 OBITUARIES ON , JUSTIN RANDALL ON ALLEN TOUSSAINT 10 SO WHO ARE THE GREATEST? THE BBC'S 50 GREATEST JAZZ MUSICIANS CONSIDERED 11 NEWARK JAZZ EXHIBIT JEWISH AND AFRICAN-AMERICAN JAZZ 12 NEW BOOKS FROM THE AMERICAN WEST COAST SUBSCRIBE TO THE JAZZ RAG TO THE TEREZIN GHETTO THE NEXT SIX EDITIONS MAILED 16 FOUR UNUSUAL JAZZ CAREERS: DIRECT TO YOUR DOOR FOR ONLY £17.50* 18 AWARDS Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. 20 LIVE REVIEWS: OTHER SUBSCRIPTION RATES: WHITLEY BAY AND EU £20.50 USA, CANADA, AUSTRALIA £24.50 22 CD REVIEWS Cheques / Postal orders payable to BIG BEAR MUSIC Please send to: 30 REMEMBERED JAZZ RAG SUBSCRIPTIONS A FILM AND A DISCOGRAPHY PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 The 2015 winners of the longest established and most prestigious of awards to jazz Fax: 0121 454 9996 musicians in this country, the British Jazz Awards, are listed in full on pages 18-19. Even Email: [email protected] among the sought after ‘Jazz Oscars’ the award for Services to British Jazz stands out, Web: www.jazzrag.com honouring not just musical expertise, but serving jazz in a whole variety of ways.

Publisher / editor: Jim Simpson So is an ideal choice. His skill as a trumpeter is beyond dispute and News / features: Ron Simpson as a bandleader he regularly scoops the Small Group Award with his Half Dozen, but his dedication to British jazz goes far beyond that. As an author he ranges through Reviews editor: Russell Fletcher memoirs, instruction manuals and – as co-author – the admirable Rough Guide , as well International editor: Yue Yang as being a perceptive and generous reviewer. We on Jazz Rag have every reason to be Commercial Director: Tim Jennings grateful to Digby for his cheerful willingness to supply wise words on whatever topic Subscriptions & accounts: Russell Fletcher claims our attention. A fine broadcaster and teacher and a perpetual encouragement to Designed by Nerys James young musicians, he himself is proudest of his great work in founding and developing Printed by Warwick Printing the National Jazz Archive. www.warwickprinting.co.uk

© 2013 THE JAZZ RAG. All original material including advertising So this is a good time to mention the Digby article that is missing from this edition. In artwork remains the sole copyright of the Publisher and may not be Jazz Rag 138 he promised further details of exciting developments in the National Jazz reproduced without permission Archive. Now the plans for Southend have become even more ambitious and, as a result, will take a little longer to mature. 2 THE JAZZ RAG THE JAZZ RAG 3 NEWS NEWS Trio, Matt Skelton All Stars, Pat Photo by Merlin Daleman Alex Garnett Shop at 48, Great Marlborough Photo by Merlin Daleman Enrico Tomasso McCarthy, the Liz Fletcher MAY DAY ON THE ISLE Street, London, launches its new OF BUTE Quintet, /Gilad and comprehensive selection of Atzmon Quintet, Mark jazz . The Tim The 2016 Isle of Bute Jazz Nightingale , Liane Richards Trio provides the music Festival occupies the May Day Carroll and the Alan Barnes at a drinks reception to launch an Bank Holiday from April 29 to Octet. important new facility for jazz May 2. Bands and musicians on www.grimsbyjazz.com lovers and musicians. the bill include, among many www.schott-music.com others, Richard White’s Fivers, STABLES JAZZ the Savannah , Anthony Cleo’s Christmas Show WEDNESDAYS AT THE Purdy, the Bobby Wishart Band, (December 18-19), featuring the Teddy Bears, Havana with a host of family CONCORDE Swing, Martin Bennett’s Green and friends, is the pre-Christmas International Jazz Night at the River Band and the Bute treat at the Stables, Wavendon. Concorde Club, Eastleigh, Community Band. In its 29th year 2016 jazz and jazz-related events resumes after its Christmas/New the festival offers over 40 events begin with Brubecks Play Year break with the Scott and lower ferry fares! Brubeck, Darius, Chris and Dan Hamilton Quartet (John Pearce, www.butejazz.com with and Dave , Steve Brown) on O’Higgins (January 12) and also January 13, followed by A Night in include the Syd Lawrence the Deep South with the Orchestra (29), Christian Garrick Mississippi Swamp Dogs (20) and and the Budapest Cafe Orchestra the Bob Kerr Whoopee Band (February 4), The Temperance (27). February brings the Jive UNION CENTENNIAL including the Funky Butt Hall CLEETHORPES JAZZ Seven (14), Cafe Society Swing Aces (3) and the Back to Basie (10). Sunday Jazz Nights The Mutual Musicians Foundation N’Awlins Jazz Band, Hot Sauce (19), the Puppini Sisters (March FESTIVAL take a rest after the Christmas International, once known as Finger Snappers, Janet Seidel. La’al 16), Denys Baptiste (24) and the Grimsby Jazz runs monthly on December 20 with Local 627 or the ‘colored’ Big Band, the Dance Band Divas, Jive Aces (25). Appearing at Stage sessions at the Old Clee Club, the John Maddocks Jazz Band and musicians union and based at Nevada Street Jazz Band and Tad 2 at the Stables are Zoe Schwarz with the New Year bringing special guest Julia Titus. The West 1823 Highland in Kansas City, Newton’s Jazz Friends. Of course Blue Connection (Jan. 23), the Chetro, Neil Yates’s Side Syncopators start things began in 1917 as a charter of the it’s not all newcomers: those Marco Marconi Trio (Feb. 9) and tribute (January 20) and the Rob going again on January 10, American Federation of looking to hear festival favourites the Trio (March 8). Barron Quartet (February 17). followed by Cuff Billett’s New Musicians. On June 16-18, 2016, such as Enrico Tomasso, Alan Tel.: 01908 280800 Grimsby Jazz also promotes the www.stables.org Europa Jazz Band (17), the MMFI will begin centennial Barnes, Spats Langham, John Cleethorpes Jazz Festival with Original Rabbit Foot Spasm Band celebrations with an awards gala Hallam and Keith Nichols won’t top-class bands at McCormack’s (24), Graeme Hewitt’s High for surviving black musicians be disappointed. JAZZ AT SCHOTT Bar from Friday evening through Society Jazz Band (31) and John from the ‘colored’ unions. Tel.: 017687 74411 MUSIC SHOP Saturday and Sunday. The 2016 Maddocks Jazzmen (February 7). Currently MMFI is seeking to www.theatrebythelake.com festival, on June 24-26, features, On March 11, between 6.00 pm Valentine’s Day brings a special contact any musicians who among others, the Janet Seidel and 9.00 pm, the Schott Music Jazz Lunch with GOJO (Girls belonged to a segregated union JAZZ AT OPERA Only Jazz Orchestra), a 20-piece or were represented by a black NORTH Dave O’Higgins big band playing charts from the organiser of the AFoM for this In the middle of a varied likes of Goodman, Basie and celebration of a highly significant programme of concerts, films and Ellington. institution in jazz history. even a world opera premiere, the Tel.: 023 8061 3989 www.mutualmusiciansfoundation.org Howard Assembly Room of www.theconcordeclub.com Opera North at Grand JAZZ AT NORDEN Theatre has a number of striking KING PLEASURE ON FARM performances of jazz and world THE ROAD music. The Mingus Big Band The jazz programme at Norden King Pleasure and the Biscuit appears on January 23 and Farm Centre for the Arts near Boys play Greystones, Sheffield, American saxist/clarinettist Colin Maidenhead has an impressive on December 18 before seeing in Stetson on March 13. Known as jazz element in the New Year: New Year at Bournville the ‘father of Ethio-jazz’, Big Band with Five Star Swing Gardens. Bookings in early 2016 (January 14), the Alex Garnett vibraphonist Mulatu Astatko include the Artrix, Bromsgrove Quartet (22), Sink or Swing (29) (February 10) combines East (January 2), Risbay Village Hall, and Dave O’Higgins (February African sounds with the jazz of Bury St. Edmunds (22), the Tivoli 12). Also of more than passing and . Two Theatre, Wimborne Minster (30), interest are D’Ukes, a ukulele evenings of music and film feature the Robin 2, Bilston (February 4), sextet (December 19) and the pianist/composer/flim-maker Granvilles, Stone (21) and the London Klezmer Quartet (Jan. Christophe Chassol providing the Bristol International Jazz and 21). music to his own film of life in Festival (March 18). Tel.: 01628 788997 Martinique (February 1) and Bookings abroad take the band Moishe’s Bagel accompany the to the Swing’n’Sweet Jazzclub, NEW NAMES FOR Soviet silent propaganda film, Salt Bergen (Jan. 23) and the for Svanetia (1930), with a new KESWICK Stadsschouwburg, Bruges (March score on March 17. 6). The 25th Jennings Keswick Jazz Tel.: 0844 848 2700 Tel.: 0121 454 7020 Festival (May 12-15) offers over www.operanorth.co.uk www.kingpleasureandthebiscuitboys.com 90 performances in seven venues, with first-timers to the festival 4 THE JAZZ RAG THE JAZZ RAG 5 NEWS UPCOMING EVENTS

JAZZ AT ILMINSTER Festival, first held in 2013, will Scott Hamilton Roy Seeing out the Old Year for Alan Barnes Ilminster Arts Centre at the return to Glynde Place in East Williams Tuesday Jazz and Swing at Meeting House promotes Sussex from July 1 to 3, 2016. Wilmslow Conservative Cub on frequent Friday evening jazz Discounted Early Bird tickets are December 29 are singer Marilyn events, resuming after the already on sale and the Royle and trumpeter Dave Christmas break with the Edison organisers promise the most Browning with the Steve Hall Herbert Trio playing lyrical ambitious line-up yet. Trio. Dave returns on January 12 jazz on January 8. After Mike www.lovesupremefestival.com with Lucy Mae and Luc, billed as Denham’s Speakeasy (22), an all- an ‘exciting young couple’ on star trio of Alan Barnes, Bobby VENTURE AWAY vocals and guitar, and the Vinnie Wellins and takes over MUSIC WEEKENDS Parker Trio. The previous week the following week (29). The Kate (5) Liam Byrne shares the stand Venture Away has five jazz with mysterious fellow-reedman Daniels Quartet features in weekends scheduled for 2016. At Glamorous Nights - from Hoagy the Masked Jazzman, but on Warner’s Holiday Village at February 2 is on more familiar Carmichael to on Norton Grange on the Isle of February 12, followed by the territory with the Brownfield- Wight (March 18-21), with half Byrne Hot Six. Other highlights Mike Collins Quartet (26). price fare on the ferry, the bands Tel.: 01460 54973 of the regular Tuesday sessions include Richard Exall and Amy www.themeetinghouse.org.uk Photo by Merlin Daleman are Nicki Allan and Roberts Quintet, Baby Jools and (Jan. 19) and Alan Barnes and the Jazzaholics, the Dart Valley UPCOMING MARSDEN NAMED John Hallam (Feb. 9), both with Stompers, the Savannah Jazz EVENTS the Tom Kincaid Trio. The Sinatra YORKSHIRE’S BEST Band, the Sussex Jazz Kings and Swingers continue at Cheadle the Golden Eagle Jazz Band. The FESTIVAL Oxfam Stomp at Kings Heath Hulme Conservative Club on the Savannah is also to be found at It’s always pleasing to find jazz UK premiere is Let it Be Told , an Black Swan, Newcastle (February Cricket and Sports Club (January first Thursday of each month, the Royal Hotel, Scarborough on events and musicians recognised extended piece by Julian 4). 8) features Jazz Salon Rouge, with guest singers Debbie Wilson April 15-18, with Dave Rae’s outside the specialist field, so Arguelles presenting the music of George Huxley’s All Stars, the (Jan. 7), Joanne Stewart (Feb. 4) Levee Ramblers, Matt Palmer’s many congratulations to Marsden South Africans in exile, with the New Georgia Band and the and Rosie Harrison (March 3). Millennium Eagle Jazz Band, the DARLINGTON JAZZ Jazz Festival for winning the title Frankfurt Radio Big Band, Django Sopranos, plus jam sessions, Tel.: 01625 528336 Dave Donohoe Band and Richard of Outstanding Established Bates and Julian’s brother Steve. FESTIVAL providing four hours of jazz in Leach’s 7 Stars of Jazz. Festival at the Yorkshire Gig www.cheltenhamfestivals.com/jazz This year’s Darlington Jazz support of Oxfam. Tipitina’s final date of 2015 is at Tel.: 01305 750797 Festival (April 21-24) will adopt Tel.: 0121 444 1362 the Ibis Hotel in Birmingham on Guide Grassroots Awards. www.ventureawaymusicweekends.co.uk Marsden is a three-day festival NEWCASTLE JAZZ last year’s successful formula of 07518 822312 December 17 and the band’s Photo by Merlin Daleman (this year October 9-11) which STAR NAMES FOR CAFÉ staging concerts at various town New Year starts with a return takes over the Pennine village for centre venues. Al Wood will Jazz Steps’ excellent Autumn booking at ’s on (January 10) and Tad Newton’s Pendulum (28). Confirmed The Jazz Café’s 2016 programme a long weekend, with big-name GATESHEAD return once again giving season in the Nottingham area January 3. Jazz Friends (24). February dates are the Liane comprises top class regional, concerts at the Marsden The 2016 Gateshead workshops and performing ends with Led Bib at the Tel.: 0121 454 7020 Tel.: 0121 688 6115 Carroll Trio (4), the Stan national and international Mechanics (this year’s bill International Jazz Festival alongside promising young Bonington Theatre, Arnold, on www.bigbearmusic.com Sulzmann Neon Orchestra (11) musicians. Zoë Gilby and Paul included and Evan continues the celebrations of the musicians from the region. December 17. Pete Lay and the Gambit Jazzmen and MALIJA Edis (January 8) play Thelonious Christopher) and many other life and work of Tubby Hayes by www.jazzsteps.co.uk Southern Sounds’ Silver are hosting a series of three Jazz (Lockheart/Noble/Hoiby Trio - Monk in Gilby’s Pannonica set. performances at some 25 venues: following a performance of the Anniversary French Quarter Festivals at Warner Leisure 18). The monthly Sunday Guitarist Stuart McCallum USHAW COLLEGE bars, restaurants, schools and acclaimed film, Tubby Hayes: A Friends of the Upton Jazz Festival Festival departs on April 4, Hotels in 2016. Each features six afternoon jam sessions are on returns to play a solo gig (22), Ushaw College, formerly a churches. Man in a Hurry (see review hold their Christmas Party with incorporating flights to New bands: the Gambit Jazzmen, John January 10 and February 7. vocalist Gilby appears once again seminary, on the outskirts of, www.marsdenjazzfestival.com section), with a performance of Bev Pegg and his Good Time Jazz Orleans and 10 or 14 Maddocks Jazzmen, Savannah Jazz Tel.: 07415 815784 in a voice- duo with Durham, is developing a year his music by the Simon Spillett Gang at Hanley Castle High accommodation at The Four Band and three others. The first www.watermilljazz.co.uk round programme of events Quartet. The three-day festival at Andy Champion (23) and vocalist School on December 19. The first Points by Sheraton French is at Sinah Warren Coastal Hotel LOVE REMAINS including classical, folk and jazz the Sage Gateshead (April 15-17) Alice Grace returns with her concert of 2016 sees Alan Barnes Quarter and a whole series of in Hampshire on February 26-29, Plymouth celebrates SUPREME concerts. January’s jazz gig (29) also features such star names as quintet (26). The Vieux Carré and Scott Hamilton lead an all- jazz and non-jazz events. with the Sussex Jazz Kings, New New Year’s Eve with the features the brilliant young tenor It was announced in November , Courtney Pine Jazzmen make a first visit to the star quintet with John Pearce, www.southern-sounds.co.uk Orleans Heat and Cuff Billett’s appropriately named Enjoy player Matt Anderson with his that the Love Supreme Jazz and Zoe Rahman, Terence Pink Lane venue at the end of the Dave Green and Steve Brown on New Europa Jazz Band. Yourself Jazz Band led by Graham Wildflower Sextet playing music Blanchard with the E-Collective, month (29). February sees Paris- January 8. Wednesday lunch-time sessions Tel.: 02392 466421 (quote JAX16) Trevarton. The regular Sunday Richard Exall based Hot Club violinist Dan inspired by . Later Liane Carroll and Tel.: 01684 593794 at the Spice of Life in Cambridge evenings at the Royal British John Martin working in the in the year the first Durham Jazz with the Alexander Hawkins Trio. Circus, Soho, end 2015 with the Val Wiseman’s Lady Sings the Blues Legion Club in Crownhill, Festival @ Ushaw is scheduled www.sagegateshead.com company of Swing Manouche (9). The fortnightly jazz at the Bell swinging mainstream of the Brian takes to the road again in March, Plymouth, continue with City for the August Bank Holiday Alan Barnes makes a guest Hotel, Clare, Suffolk, features Rutland Band with special guest with shows at the Queens Steam Jazz Band (January 17), appearance with Seven Pieces of weekend (Aug. 26-28) with a host FIRST ACTS some impressive soloists: Brigitte Roy Williams (December 30) and Theatre, Hornchurch (12) and Maggie Reeday with the Craig Silver (19), followed by the guitar of big names to be announced. Beraha (December 20), Dick kick off 2016 with Bob Dwyer’s the Borough Theatre, Milverton Trio (February 7) and ANNOUNCED FOR duo Pete Oxley and Nicolas Pearce (January 3), Simon Spillett Rhythm Aces (January 13). Abergavenny (16). Savannah Jazz Band (21). Meier (23). CHELTENHAM MILLIE AT THE DRUM (17), Trudy Kerr (31), Gilad Tel.: 020 7437 7013 Tel.: 0121 454 7020 Tel.: 01752 721179 The first acts to be announced Legendary soul singer Millie Atzmon (February14), Alex www.spiceoflife.com www.plymouth-jazz-club.org.uk for in JAZZ NORTH EAST Jackson makes her only public Garnett (28), Laura Zakian Watermill Jazz at the Friends Life 2016 (April 27-May 2) include In 2016 Jazz North East appearance of a UK mini-tour in (March 13) and Nicolas Meier On January 5 Neville Dickie Social Club in Dorking is closed Lichfield’s Garrick Theatre starts three bands from the United celebrates fifty years as Britain’s a special pre-Valentine’s Day (27). presents The History of the Jazz during December, but opens up a series of monthly Jazz at the States. Trumpeter Christian Scott first grant-aided voluntary jazz performance at the Drum in Tel.: 01787 237653 - The First 50 Years at Solihull in the New Year with Gelato Garrick events with Christine Club. The regular brings a nine-piece band to play promoter. A busy schedule of gigs Birmingham. Accompanied by a and the Giants on January 7. The Tobin (January 13), followed by Sunday lunch-time gigs continue music from his Stretch at various venues includes the 10-piece band, she performs the regular Thursday night sessions Partikel’s String Theory (February with the Savannah Jazz Band Music , influential saxophonist Tim Roller Trio (January 10) at the appropriately named An Intimate continue with A Tribute to Toots 17) and Phil Robson’s Berne appears with his band Bridge Hotel, Newcastle, an all Thielemans led by Phil Hopkins Affair with Millie Jackson on HOHNER MELODICA COMPETITION (March 15). An extra jazz event is Snakeoil and singer/songwriter day extravaganza – Paris sur Tyne February 7. (14), Tom Cawley’s Curios Trio the appearance of the Remi Becca Stevens is featured with – at the Literary & Philosophical Tel,: 0121 333 2444 Winner of prize of a Hohner melodic for correcting identifying (21) and Joe Locke playing music Harris Project on January 29. her band. An especially interesting Society (24) and Entropi at the www.the-drum.org.uk EARL ‘FATHA’ HINES is WILLIAM JAMES of Kirkcaldy, Fife. from his latest album, Love is a www.lichfieldgarrick.com 6 THE JAZZ RAG THE JAZZ RAG 7 THE CURIOUS DON ALLEN TOUSSAINT

established leaders like on 's WAP hypochondriac-like search for the what was undoubtedly the Dankworth and Garrick and courses and privately, a capacity perfect mouthpiece) there was Golden Age for the music. As THE CURIOUS DON heading his own bands, featuring in which many never any doubting his he'd readily confess, he'd heard an impressive roster of new students first encountered him. commitment to improvisation or and met them all – Prez, Hawk, SIMON SPILLETT’s tribute to DON RENDELL stars. There were quintets with (For a time, actor Warren his love of sharing the joys of Parker, Getz, Rollins, Trane and saxophonists Barbara Thompson, Mitchell was among his pupils – musical discovery. ‘I feel beyond. He played, though, like Curiosity. One dictionary defines leanings of , Zoot and Alan in a twist of fate Mitchell, who remarkably fortunate that I have no-one but himself – the ultimate the term as a ‘desire to know’, Sims and others. Wakeman, among others, and was the same age as Rendell, reached more than three score goal of all jazzmen. ‘When I think and it was exactly this brand of ambitious larger scale projects passed away barely a month after years and ten and still really enjoy of all the miraculous aspects of self-improving inquisitiveness that Although the saxophonist’s including the suite Earth Music . his former tutor.) playing,’ he said in 2000, aged 74. my long career,’ he once was the guiding rationale from this time – including ‘I still have some breath left...and confessed, ‘I wouldn't change a throughout the remarkable 70- rare-as-hens’-teeth sets on the During this period, Rendell had However, performing remained some teeth!’ thing.’ year-plus career of saxophonist, and Nixa labels – are full also realised the benefits of the his first love, well into his bandleader and composer Don to the brim with the leader’s burgeoning jazz education seventies. Although the technical What he also had was the Don Rendell (March 4th 1926 – Rendell, who passed away in authentic-sounding take on movement, becoming a highly fluency may well have begun to accumulated practical wisdom of October 20th 2015) October, aged 89. contemporary jazz, and remain respected teacher of woodwind unravel by this point (not always a lifetimes work as a jazz impressive to 21st century ears, at The Guildhall School of Music, helped by Rendell's at times musician, gleaned throughout Chronologically at least, Rendell what is now perhaps even more belonged to the same generation striking is how, barely in his early as the two other great pre-Scott thirties, Rendell already had and Hayes British jazz tenors, band-leadership and talent- ALLEN TOUSSAINT and Tommy spotting skills second to none. classic under any flag. American Jazzland label. When Whittle, both of whom Among those who gained (14TH JANUARY 1938 – 10TH NOVEMBER 2015) Bond was replaced by trumpeter predeceased him. With this valuable early exposure via his Rendell, however, was never a in 1962 the recruitment triumvirate all now gone it's mid-1950s outfits were such JUSTIN RANDALL of Tipitina remembers an inspiring figure in music. man to stand still, and as the of new blood was to launch not intriguing to compare and soon-to-be stars as Kenny vanguard of jazz moved ever only one the saxophonist’s best Allen Toussaint was a pianist, most of his career, preferring the contrast their respective career Wheeler, and Phil outward during the early 1960s, bands, but also an ensemble that songwriter, producer and confines of the studio, but came paths. Although all three started Seamen. He also had a taste for he found himself suddenly was to re-write much of the rule arranger from New Orleans. It’s out of his shell in the last 15 with both feet firmly planted in the maverick too: the reinvigorated by 's book of local modern jazz. Re- difficult to write about him years of his life. Ironically, the the dance band world of pre-bop, unclassifiable trumpeter Bert example. He later recalled a billing itself as the Rendell-Carr without writing a book. He was a biggest push to this was possibly the de-rigueur education for an Courtley was a frequent partner chance encounter with a Quintet, and featuring young lions N’Awlins Piano Professor, the tragedy of Hurricane Katrina entire generation of British during these years, as was pianist recording by the American , Dave Green and carrying on a lineage from Jelly in 2005, in which he was forced jazzmen, following exposure to Damian Robinson, a player whose saxophonist - played as , the band soon Roll Morton, through Professor out of his home and studio. He 's example each composing and improvising had background music during the garnered a reputation for its Longhair and carrying on today dryly called Katrina his ‘booking blossomed into a markedly something of a quirky, interval of a gig in Manchester in unique brand of home-grown with Dr John and Henry Butler. agent’ as he relocated to New individual stylist in his own right, Twardzikian air. 1960 - as the moment when ‘the experimentation: Carr's literary Professor Longhair (‘Fess’) was York and began playing solo forging swing and bop to his own door opened for me.’ inspirations, Garrick's interest in his mentor and greatest concerts that were well received ends. That Rendell himself was the real Indian music and Green and influence. Fess’s style can be and were to inspire him to deal was confirmed several times From then on, Coltrane became Tomkins' Garrison/Jones-like heard in all the New Orleans develop his solo act further. Rendell, however, pushed his own during the 1950s, the decade in Rendell's second great stylistic synergy combined to spur piano stylists to appear after him During this time he recorded The a tribute was held for the Rock city for my wife Debbie and me personal musical envelope far which he received a series touchstone. To his credit, he was Rendell to some of his greatest and can be heard in most of River in Reverse with Elvis ‘n’ Roll Hall of Fame inductee and in 2013 when we visited New further than either of his notable invites to work with bona one of the very few British heights. The band attracted Toussaint’s playing. His regular Costello and the Grammy- Grammy award winner at the Orleans for the first time. He illustrious contemporaries ever fide US stars: in 1954 he musicians who didn't baulk at the something of a cult following on tribute was to perform Tipitina , nominated 2009 album The Bright historic Orpheum theatre in took us to places and gave us dared do, beginning his musical accompanied on controversial opening night the university circuit, and its Fess’s signature tune and name of Mississippi as tributes to his New Orleans. Jimmy Buffett, Boz experiences we would never journey by chasing fashion and her initial UK visit, a dream-like appearance of Coltrane's sole sequence of classy albums for the the main club in The Big Easy. beloved Crescent City. Scaggs and joined normally have had and tried culminating it in possession of a assignment for any Prez-inspired UK tour in 1961, even going so Columbia label – Dusk Fire and NOLA legends Irma Thomas, Dr desperately to arrange an jazz voice all his own. tenorman; two years later it was far as badgering his way into the the atmospheric Live among them As a songwriter and producer, I was lucky enough to catch one John, Shorty and Jon afternoon for us with Toussaint who hired him as a American’s hotel room the – have remained some of the Toussaint began in the 60s with of his last solo concerts at Cleary onstage. This was followed but sadly he was exhausted after Listening back to Rendell's early last-minute replacement on his following day in order to try and most engrossing records of the the New Orleans brand of R & B Ronnie Scott’s in April 2014. I in true New Orleans style by a a grueling tour. Keith wrote a 1950s work with The Johnny initial British tour, ‘experience find out more about what era, the perfect place in which to and Rock ‘n’ Roll, writing and was knocked out at the depth procession with the Preservation chapter on Toussaint for his book Dankworth Seven, then the hot you could not buy’, as Rendell underpinned his inscrutable hear British jazz broaching a new recording with artists such as and versatility of his playing, Hall Band walking out of the Groove Interrupted: Loss, Renewal British modern jazz outfit, or in once recalled it. And in 1959, he methods. The discovery that language cast between cerebral Irma Thomas ( It’s Raining ) and having previously only heard him theatre playing The Preservation and the Music of New Orleans. In the bands of drummer Tonys was a cornerstone of the one of Coltrane was similarly devout reserve and the emotionalism of Ernie K-Doe ( Mother in Law ). in band settings where a two Dirge . The funeral car followed his obituary for Toussaint Keith Kinsey and Crombie, one is the UK's first truly transatlantic (Rendell was a lifelong Jehovah’s the avant-garde. They also Black music styles then evolved fisted piano plunker can get lost them down the street to Didn’t said he was ‘remarkably instantly struck by both his poise modern jazz collaborations, Witness) was all but eclipsed by showcased Rendell's growing to more soulful melodies and in the mix and be limited both He Ramble , all the accessible for someone of his and utter confidence within the 's Anglo- the revelation that they shared mastery of composition and funkier rhythms and Toussaint rhythmically and harmonically. participants singing, clapping and status’, always finding time to chat uber-hip ‘Brothers’ idiom of American Herd, a ridiculously Lester Young as a primary multi-instrumentalism, adding was at the forefront in producing Toussaint showed his true playing to send Toussaint off in a and have his photo taken with Getz, Sims et al, an talent-packed band who made an inspiration. ‘For me, nothing in new textural variety on , ground breaking music with Lee Professor status as he told great way like no other on earth. fans. He said, ‘he had an air about accomplishment made all the anecdote-filled month-long jaunt jazz has been quite the same and . Dorsey, The Meters and Dr John stories of his tumultuous career Remarkable video footage of this him but never put on airs’ and more notable for having been around the British Isles under the since,’ Rendell once said of this to name but a few. They laid and inventively reworked all his can be seen on this website: ‘he did his thing, moving through made largely in isolation from its auspices of the National Jazz epiphany. But, as is often the way of all down the backbone of modern greatest hits including Fortune http://www.avclub.com/article/wa life with ease. Serenity source. Federation. The tour programme things British jazz, it couldn't last. , although the music was still Teller, Working in a Coalmine, tch-allen-toussaint-gets-jazz- surrounded him. No one else described the saxophonist as And so the 1960s saw Rendell's By 1969, Ian Carr was chomping drawing upon the traditional Southern Nights and Brickyard funeral-treatment-228855. He looked as cool in socks and Indeed, pre-Tubby Hayes Rendell ‘acknowledged as being the best musical world re-fitted for a new at the bit, eager to taste the Mardi Gras/street parade sounds Blues . was buried in a private funeral on leather sandals. He was a tireless represented one of the most in ’, a claim confirmed post-bop sensibility. For a time he richer pickings to be had in the which Toussaint then developed. November 21st (also Dr John’s ambassador for the city, naturally confident of all local when a bootleg LP of one of the headed a quintet featuring the nascent jazz-rock movement. For His horn are also Toussaint returned to live out his 75th birthday). unfailingly pleasant and gracious, modernists, displaying his wares Herman concerts appeared in Dolphy-meets-Cannonball alto Rendell though, this was one legendary and include The Band’s last years in New Orleans in a always a gentleman. Allen in a delightful series of quintets the 1980s. Indeed, Rendell's saxophone of - musical avenue he saw as a dead The Last Waltz film. typically modest house similar to We have a mutual friend in Keith Toussaint’s light was fully on, and and sextets which offered personal account of the part musical stimulus, part end, and accordingly throughout the one he lost in the flood. He Spera, former writer for the then it was off. New Orleans is a glorious cheerful, parochial Getz/Herman-associated anthem spiritual nemesis - recording the the 1970s and into the '80s, he He was a shy person and died from a heart attack Times-Picayune in New Orleans. little less bright without him.’ reflections of the West Coastish Early Autumn would rate as a vaunted Roarin' album for the shuttled between work with reluctant performer throughout following a concert in Madrid and Keith opened the door to the 8 THE JAZZ RAG THE JAZZ RAG 9 SO WHO ARE THE GREATEST? SO WHO ARE THE GREATEST?

As Les wrote, ‘a different list of 26. Finally, as well as contributing a 100 could scratch the surface THE BBC TOP 50 27. Esbjörn Svensson SO WHO ARE THE GREATEST? thoughtful article (too long to somewhat.’ 1. 28. Les Tomkins 2. quote in full), 29. After all the justified complaints about jazz being neglected by the media, it was great news Maybe a list of the Top 50 is as 3. Duke Ellington showed what a difficult selection 30. impossible now as a 4. John Coltrane that the BBC mounted a pop-up jazz station during the EFG London Jazz Festival. When the this is. Without overlapping at all 31. comprehensive single volume jazz 5. station drew up a list of the 50 Greatest Jazz Musicians for a playlist, interest was certainly with the favourites or bearing 32. Tubby Hayes history. Interestingly, in our 6. much resemblance to the BBC 33. piqued, but controversy was inevitable. strictly unscientific survey, only 7. Billie Holiday list, Les came up with an 34. five musicians appeared in more 8. ‘arbitrary choice’ of five ‘people I 35. To those of us in the Jazz Rag argument from Scott are those than one correspondent’s list – (Joint 8th) Louis Armstrong like listening to’: 36. offices who are convinced that who voted for the lower placings and they didn’t include Miles! 9. (Joint 8th) 1. 37. Louis Armstrong is a shoo-in for (outside the Top 10) in the BBC 10. 2. 38. Hugh Masakela the nomination as Greatest poll: 3. JAZZ RAG TOP 5 11. 12. 39. Woody Herman Jazzman Ever, his placing at ‘How can anyone seriously list 4. George Shearing 1. Louis Armstrong 13. Pat Metheny 40. Number 2 caused the odd raised Nina Simone, (ahead of 5. 2. Duke Ellington 14. 41. eyebrow, but generally it was ?), 3. Charlie Parker 15. Sun Ra 42. Mark Murphy difficult to take exception to the (they were joking, right?), However, Les’ full article presents 4. 16. Ornette Coleman 43. Gerry Mulligan BBC’s Top 10, featured on all the Gregory Porter, John Taylor, the problem in more detail. He 5. 17. 44. Press Releases. However, as we Esbjorn Svensson, Jamie Cullum, works through various categories 18. Loose Tubes 45. delved deeper into the Top 50, Jan Garbarek, Norma Winstone, (each instrument, singers, British Please send your comments 19. 46. Charles Lloyd oddities and eccentricities Hugh Masakela (who is not even musicians), mostly confining on our Top 5 and the BBC’s 20. 47. became ever more numerous. a jazz musician), Stan Tracey and himself to people he has list by email to 21. Gregory Porter 48. Carmen McRae Where were such acknowledged Dianne Reeves in the Top 50? interviewed. All his choices are [email protected] 22. 49. Dianne reeves greats as and Has the BBC never heard of good ones, but include them all or by post to Jazz Rag, P.O. 23. Wayne Shorter 50. Mary Lou Williams – too far back, , Bix and the undoubted greats that Box 944, Edgbaston, 24. Lester Young maybe, but what about Clifford Beiderbecke, , Lee Les never met and the figure 50 Birmingham, B16 UT. 25. Art Tatum Brown or ? Is Morgan, , Jack has long since been left behind. Jamie Cullum really a greater jazz Teagarden, J.J. Johnson, Johnny singer than Joe Williams or Mel Hodges, , Eric Torme? (Incidentally, we are quite Dolphy, Jelly Roll Morton, James a considerable overlap with Scott some were a touch bizarre. confident Jamie had no hand in P. Johnson, Cecil Taylor, Charlie Yanow in comments on the BBC Despite Ricky Riccardi’s justified NEWARK JAZZ EXHIBIT his own inclusion!) Christian, Wes Montgomery, Jaco list, was made by Bruce Adams : enthusiasm for the music of Pastorius, , Bessie 1. Louis Armstrong Louis’ later years, What a Newark, , has its place consists of art panels on many So it seemed like a good idea to Smith, , Mel Torme 2. Duke Ellington Wonderful World is rather a feeble in jazz history as the home town aspects of the subject, from Willie The Lion Smith contact a few folk around jazz to and Joe Williams?’ 3. Coleman Hawkins representation of a career of of such great figures as Willie cultural themes to the lives of see what their Top Five would be. 4. Charlie Parker such explosive genius as ‘The Lion’ Smith, James P. individuals, in different styles, with Richard Pite’s instant reply ‘I suppose the BBC list is a little 5. Django Reinhardt Armstrong’s, as Bruce reminds Johnson, Sarah Vaughan, James great emphasis on visual impact. suggested we might well have predictable,’ said – us, not only running through his Moody and Wayne Shorter, but Nowadays the centrality of asked for the Hot Five: only from 1 to 10, Art! – ‘but Bruce provided a justification for transformative effects on music, perhaps even more so as the African American musicians in 1. Louis Armstrong then so are my top five!’ each of his choices – or rather, in but also his powerful home of the Institute of Jazz jazz is beyond dispute, but 2. Louis Armstrong 1. Louis Armstrong the case of Louis, the interventions on Civil Rights. Studies at Rutgers University, the Hershorn is quite clear that 3. Louis Armstrong 2. Charlie Parker pointlessness of having to justify Sounding not at all humble, Bruce oldest dedicated jazz institution there is no political or social 4. Louis Armstrong 3. Duke Ellington it: ‘While I recognise that concludes that Louis was ‘a force of its type . Founded agenda to give Jewish musicians 5. Louis Armstrong 4. Art Tatum opinions are subjective, I don’t of nature and, in my humble by Marshall Stearns in the 1950s their due recognition. He takes a 5. Thelonious Monk believe that the choice of Louis opinion, the greatest jazz and permanently located at broad view of jazz history and Richard’s sardonic comment, should even be challenged.’ Of musician to ever tread the Rutgers for 50 years, the Institute believes that the Jewish ‘That should help re-balance the Two noted jazz wordsmiths were the Duke, Bruce singles out ‘his planet.’ was directed for 37 of those contribution is well recognised, poll’ expressed in a more in less voluble form than usual, ability to develop and present the years by the eminent Dan from the great songwriters who extreme form the opinion of with Digby Fairweather talents of others such as Sharing a near-unanimity of Morgenstern. gave jazz improvisers much of many of the correspondents. coming up with the following list: Strayhorn, Hodges and Webster’ knowledgeable judgement with Currently the Institute is their best material to promoters 1. Louis Armstrong as well as his own talents as Scott Yanow, Bruce writes, ‘I find involved in a community cultural and record producers – and, as Distinguished American jazz 2. Duke Ellington pianist, bandleader and composer. a list that includes Sun Ra, Loose project with the imposing title, the author of a very received commentator Scott Yanow , for 3. Art Tatum As for Hawk, ‘in ’ Tubes, Gregory Porter, Esbjorn Jazz, Jews and African Americans – biography of , Tad instance, turned round the BBC’s 4. Charlie Parker opinion, he was the greatest sax Svensson, Jamie Cullum, Hugh Cultural Interactions in Newark and Hershorn should know plenty first two places with the 5. Clifford Brown player ever, so don’t argue with Masakela, Mark Murphy and Pat Beyond , an exhibit that runs until about promoters and record Vincent Pelote who worked The programme for Jazz, Jews and following choice: me, argue with Sonny.’ Charlie Metheny as representative of the December 13 at the Jewish producers! together at the Institute for 34 African Americans has included 1. Louis Armstrong Dick Laurie’s five began in a Parker ‘reinvented everything greatest jazzmen laughable.’ Museum of New Jersey in years. many interesting Sunday 2. Miles Davis now familiar way before diverting that stands today, no matter what Bruce doesn’t deny their talent, Congregation Ahavas Sholom, the So the displays highlight afternoon events, including a 3. Charlie Parker onto some less predictable horn you play’ and Django was but not to compare with the oldest synagogue in Newark. Tad musicians, but also such Hershorn’s constant theme is showing of The Gig (a film about 4. John Coltrane choices that got nowhere near Bruce’s first influence in jazz, ‘a omitted , Clifford Hershorn, archivist at the influential figures as Lorraine bringing communities together. a group of amateur Jewish 5. Dizzy Gillespie the BBC’s long list: true original who still makes my Brown, , Jack Institute who has curated the Gordon whose marriages He wants to show how different musicians recruiting an African 1. Louis Armstrong hair stand on end – and he was Teagarden, , Frank exhibit, talked to Jazz Rag a week covered years of jazz history – to cultures react to each other and American professional for a gig in No Duke Ellington? But Scott 2. Duke Ellington Duke Ellington’s favourite Rosolino, Fats Navarro, Roy after the official opening (music Alfred Lion of Blue Note he wants to involve the the Catskills) and a panel adds a coda: ‘Anybody choosing 3. Django Reinhardt guitarist.’ Eldridge, Bunny Berigan, Bix provided by the Aaron Weinstein Records and Max Gordon of the communities of Newark in the discussion with Dan Morgenstern Duke Ellington (my Number 6), 4. Anita O’Day Beiderbecke, Sonny Rollins, Artie Trio) and felt that it was still Village Vanguard – before she project. For instance, five among the participants. The Jelly Roll Morton or Art Tatum 5. Another issue (which Les Shaw, Stan Getz, Django growing as visitors suggested herself took over the running of different congregations are closing reception on December won’t get any argument out of Tomkins also raised) is the Reinhardt, Charlie Christian, Wes further themes to develop. the Village Vanguard on Max’s backing the exhibit, including 13 features Ben Sidran. me.’ The most eloquent case for a playlist that the BBC supplied for Montgomery...and Bruce death. Nor are the famous figures African American and Hispanic selection well in tune with most all the Top 50. Many choices were concedes even this list in The exhibit, in a gallery on the from Rutgers itself forgotten: church congregations. www.newark.rutgers.edu/news The people who do get some of our correspondents, and with predictable and unarguable, but incomplete. second floor of the synagogue, Dan Morgenstern, Ed Berger and 10 THE JAZZ RAG THE JAZZ RAG 11 WITH A DIFFERENCE THE GHETTO SWINGER WEST COAST JAZZ WITH A DIFFERENCE THE GHETTO SWINGER RON SIMPSON talks to PETER VACHER about his new book, Swingin’ on Central Avenue , RON SIMPSON looks into the background of the book, The Ghetto Swinger , to be published by subtitled African American Jazz in Los Angeles . the DoppelHouse Press of Los Angeles in January.

Peter Vacher’s previous two wrote to out of trained as an engineer and went their successful careers - google 1940. Its occupants were for the friend, clarinettist camp memories: ‘it cannot be books consisted of verbatim the blue. In fact I probably wrote to work for McDonnell Douglas. ‘Chester Lane’ and you are most part from Czechoslovakia (‘our ’), died in forgotten, ignored or suppressed, interviews with American jazz to several, but he was the one Though he had the ability to cut directed to Chester Lane Library, and from the beginning contained Auschwitz and, most ironically, but the remainder of your life musicians: Soloists and Sidemen who replied. We corresponded it in the new world of and St. Helens! But Swingin’ on Central a large number of academics and found collaboration should not be determined solely (Northway Books, 2004) and and then we met up when he the formal skills to work in Avenue is not a story of artists. A vibrant intellectual life had no power to save his life. by the horrors that happened Mixed Messages (Five Leaves came to London with Louis studio orchestras, Peter reckons deprivation and prejudice. developed there, not, at first, Gerron was an actor and singer decades ago.’ The book ends Publications, 2013). Neither of Armstrong’s All Stars.’ his main concern was to avoid a Admittedly there are a few hair- encouraged by the authorities, who had achieved fame in 1928 tellingly with his response – calm, these has a theme as such, but repeat for his family of his own raising accounts of racial violence before gradually they saw the in Brecht and Weill’s Threepenny polite, but acid – to young people Swingin’ on Central Avenue uses From these beginnings the loveless hardscrabble childhood. on tour and some of the possibilities for a propaganda Opera and was now engaged to in the 1990s who claimed that the same format to present a friendship developed in what One of the most memorable musicians ended up in a pitiable coup. An inspection visit by the direct the film depicting the the tales of Auschwitz were ‘one picture of an important jazz Peter calls a ‘fortuitous and anecdotes in the book, state: Peter is still clearly International Red Cross in 1944 comfortable life of Jews in big lie’. community that Peter feels has wonderful’ circumstance, leading incidentally, is of Hadnott’s saddened by Caughey Roberts’ brought about a cleaning up Theresienstadt. Before the film been marginalised and neglected to him putting together Joe’s attempt to rescue Charlie Parker lonely poverty in his last days. operation, with the more sickly had been edited he received his This is clearly a serious and by jazz commentators: the reminiscences into the from himself - some horrifyingly However, middle-class comfort elements transferred to death reward in the gas chambers. important book, but also more African American West Coasters autobiography, Telling it like it is . graphic description. was the rule for many of his camps and more room for the entertaining to read than I may whose style developed before When visiting Joe in Los Angeles, subjects. healthy; programmes of self- The story of Terezin arouses so have suggested. Heinz was very bebop. Peter was introduced to, and Peter makes the point that these government, self-improvement much interest because of its much a city boy and his youth welcomed into, a thriving jazz were ‘jobbing musicians’ who had Especially interesting is to put and cultured relaxation made strange mixture of cynical cruelty was spent roaming in These interviews took place community of which he had to be prepared to take on together the accounts (some not The sub-title of the book, A Berlin their phoney appearance. Most and the inspiring survival of the search of hot music and other different styles of music, taking to between 1974 and 1990 with a known little - in common with strictly accurate, of course) to Jazz Legend Remembers , points us brazenly of all a film was made of human spirit. The beautification of diversions. At 12 he claims that the road in minstrel shows or pretty long-lived set of musicians almost everyone outside of form an overall picture of a towards its subject, the memoirs the beautified ghetto, long Terezin may have been phoney, he and his mates had ‘the coolest doing Cotton Club reviews, but it born between 1898 and 1920. . On all his visits to Los musical scene. Maxwell Davis, for of Heinz ‘Coco’ Schumann, thought to have the amazing title, but there was nothing spurious latest records’: as well as German does appear that bebop defeated Since then Peter has added the Angeles, he interviewed instance, in testimony of one several times voted ’s The Fuhrer Gives a City to the Jews , about the dedicated writing, jazzers he lists the likes of Duke most of them. On the other hand occasional phone interview with musicians and sometimes refined musician after another, emerges top in the 1950s and though now it’s believed that the composing, educating and Ellington, with Ella, was something that the likes of trumpeter Norman the results over more than one as a top arranger and good still playing jazz at the time of the official title was more formal. The performing that went on among and . In defiance of many of them learned. During people who had only transport Bowden, the only one still visit or added a London strong tenor saxist, but who was book’s initial publication in Red Cross was suitably the race laws he continued Teddy Buckner’s two decades to a death camp to forward surviving. Peter, in fact, spoke to interview on one of the rare Maxwell Davis? I certainly had Germany in 1997. Now, with John impressed by the visit, but the playing jazz and anything else that occasions these musicians visited leading a traditional band in Howard’s English translation to. Coco Schumann exemplifies Norman on his 100th birthday never heard of him. Sadly he died propaganda value of the film he could in the bars of Berlin here. Disneyland, several of the about to be published, the this spirit. He claims that music only this September and is in 1970, too early to be proved to be nil: the war ended until arrested in 1943. delighted to report that interviewees had extended stints nonagenarian Schumann can saved his life – forming a band in interviewed by Peter Vacher, and before it had been edited and Norman’s wife - 104 years old! - One of the points that Peter with him, but comments about write in his preface, ‘I am a much of it was destroyed, though Auschwitz certainly kept him After Terezin and Auschwitz he remains a pretty much unknown has read Swingin’ on Central makes in the book and in the difficulty of coming to terms musician who spent time in there are plenty of fragments to alive – but so did his decisive and was ultimately freed at figure who, according to Peter, Avenue and pronounced it ‘a conversation is that by and large with the style are common. concentration camps, not be found on Youtube. opportunistic temperament, Wolfratshausen and set about was so much in demand in the wonderful book’. his 16 subjects had a merely local Trumpeter Andy Blakeney said of someone in a concentration refusing to be outfaced even by rebuilding his life: his parents had record studios, especially for fame, were limited to Los playing with , ‘To tell the camp who also played a little In the film a string orchestra led Josef Mengele. He also refers survived, in his mother’s case rhythm and blues, that he almost What is West Coast jazz? To Angeles, to Central Avenue, truth I didn’t take to it so easy.’ music.’ In other words, Schumann by Karel Ancerl, later probably several times to his guardian thanks to a piece of quick literally worked himself to death. most jazz lovers the term especially before the union Blakeney also respected Barry defines himself by his music, not the greatest conductor of the angel and certainly his luck in thinking by his father worthy of conjures up cool hip white merger. I took issue with this to Martyn for a late-career revival his suffering, but for all that the Czech Philharmonic, plays; a meeting old friends at times Coco himself. Making some sort Swingin’ on Central Avenue is musicians of the 1950s, Gerry some extent: none of the with the Legends of Jazz (the main title focuses on a few children’s opera, Brundibar , when they could help him verged of a living playing music in the copiously illustrated with matt Mulligan, , etc. Until musicians was born in California, same happened with Floyd months in 1944. written by Hans Krasa shortly on the miraculous! Occupation years again relied on black and white reproductions of the merger of the black and many did their best known work Turnham) without sharing his before his confinement, is staged, Coco’s ingenuity. rare photographs from the white unions in 1953, the in Saint Louis, Chicago or Kansas musical ideas. Now normally referred to by its as indeed it was many times in Schumann begins his memoir collections of Peter Vacher and musicians he writes about City, Caughey Roberts even went Czech name, Terezin, Terezin; and a jazz band, the with the recollection of the time His first big successes came with literally belonged to a different to Shanghai with Buck Clayton’s It’s certainly surprising that such the musicians themselves and Theresienstadt (as Schumann , led by famous he realised he was not, as he had violinist Helmut Zacharias, then musical world. band, and so on. However, his musicians as Red Mack, published by Rowman and calls it) has increasingly been the pianist Martin Roman, includes always thought, a German, but a follows a vivid and fairly brief point is that, once in LA, they Streamline Ewing and Chester Littlefield in hardback (ISBN 978 subject of historical interest in Coco Schumann on drums – Jew. In fact he was a half-Jew, his account of an up-and-down Peter Vacher’s crusade to rescue tended to stick there and also Lane are not better known, given 0 8108 8832 6) at £37.95. recent years, as proved by the when he arrived, the band already father Aryan, his mother a career, swayed by the changes in this generation of West Coast most of them were shamefully string of documentary films of had a guitarist, and Coco was German Jew – it was enough to musical fashion. At its best he African-Americans from neglected by record companies. the last 30 years featuring Coco nothing if not resourceful, as the get him excluded from joining the jammed with Dizzy Gillespie, Ella obscurity began, oddly, with one Some settled for comfortable Schumann and listed in an book proves time and again. Hitler Youth with the rest of his Fitzgerald and Lennie Niehaus, of the few able to pass as white domesticity. appendix. It may not have been class. Clearly young Heinz was but he adjusted to pretty much and work both sides of the the scene of wholesale slaughter Survivors from Terezin included not of a particularly religious every style, working on cruise colour line, the Creole Billy Hadnott is a case in point. that death camps such as Ancerl, Schumann, Roman and temperament and it was only the ships or turning out novelty clarinettist, Joe Darensbourg. Most of the musicians here are Auschwitz-Birkenau were, but it the boy who became a major sufferings he endured for his race songs when necessary, teaching only known for the occasional reveals a peculiarly perverted and Czech novelist, Ivan Klima, but that made him feel Jewish. His classical guitar, before finally As Peter puts it, ‘Back in the brush with fame such as Roberts’ cynical aspect of the evil of the many more died, often after being identification as a German also deciding that it was jazz or 1950s I developed a huge interest two brief stints with the early Holocaust and also the Nazis’ transferred to Auschwitz or was fairly ambiguous in the post- nothing. in New Orleans jazz and the Basie band, but Hadnott was in success for so long in fooling a another death camp. Krasa was war years. He considered music of the likes of Kid Ory. I the Benny Moten band, the willingly credulous world. one of the victims, as was Victor emigration to the States, even The Ghetto Swinger , co-written wanted to learn more about it musical associate of Kansas City Ullman whose satirical opera, The (briefly) to Israel, and spent a few with Max Christian Graeff and and make contact with the greats from Count Basie to Terezin was a fortress town in Emperor of Atlantis , written in years in Australia in the 1950s, Michaela Haas, gets a clear and musicians. In those days Leonard Charlie Parker, played with Louis North West Bohemia that was Terezin, rehearsed but never but settled back in Berlin. Later in unfussy translation from John Norman Bowden playing with blues guitarist T- converted into a Feather’s Encyclopedia gave the Jordan and Jazz at the Phil, then, Bone Walker (photo courtesy Norman Bowden) staged, is now performed with life he claimed he did not know Howard and is illustrated by a addresses of musicians, so I at the height of his fame, re- ghetto/concentration camp after some frequency. Schumann’s how to handle his concentration fascinating range of photographs. 12 THE JAZZ RAG THE JAZZ RAG 13 WHOSE RAGTIME BAND? WHOSE RAGTIME BAND?

Cobb’s Russian Rag which rags a WHOSE RAGTIME BAND? Rachmaninoff Prelude and dates from 1918 – near enough David DAVID GORDON tells RON SIMPSON about the thinking behind his latest CD, Alexander Gordon’s focus year. Russian Rag is not on the album, but Alexander Scriabin’s Ragtime Band , due out on December 11 on Mister Sam Records. Scriabin’s Ragtime Band certainly is. After Praeludium Mysterium himself, are well known as on the album as Prelude for Both challenges the listener at the composers, with Jonty’s range of Hands and, sure enough, the outset (haunting effects from all expertise taking in elements David found can be the trio), David explodes into and television themes and Paul, a heard, notably the Latin rhythms. what he correctly calls ‘the last Berklee graduate, operating in thing that anyone expects’, a the States as a Music for Health David had played Scriabin’s music hilarious version of the Irving practitioner, working with as a student and had entertained Berlin classic, with jaunty ragtime sufferers from schizophrenia, a vague desire to present it in a piano, precariously harmonized depression and autism – both, of jazz context, but, after this vocals, a passage of Berlin as it course, appear regularly in provided the impetus, he became might have been adapted by different jazz contexts, too. As for increasingly aware of the Scriabin, and crazily wise words: David himself, he is described on composer’s relevance to jazz and ‘If you want to hear Alexander a press release as ‘composer, jazz . A song he wrote Scriabin played as written,’ you pianist and harpsichordist ’. His for Jacqui Dankworth was heavily are advised to get out of here! work with his trio is solely on based on Scriabin’s harmonies It’s a strange track to find on an piano, but he not only plays and he found the structure of album that is essentially serious, harpsichord in chamber much of Scriabin’s music despite outbreaks of wit and orchestras, but in Respectable reflected that of popular song – eccentricity, but David claims that Groove, a fusion of an early the AABA format. If his music he has become ‘more shameless’ music ensemble and a jazz group, shares harmonic and structural about such things as he’s got with Evelyn Nallon on recorder, features with Broadway older – and a good thing, too! Oli Hayhurst on bass and Tom standards, David claims it Hooper on percussion. For such possesses more beauty. The CD as it exists in the pre- frighteners on some members of an original musician, David is Incidentally, he points out that publicity form which I heard the listening public, but in fact the Dear Jazz Rag, pretty good at collaboration, following Scriabin’s rhythmic flows continuously from one show has already been working with Jacqui Dankworth, example was never an option: he track to the next, though, when thoroughly road-tested – with Looking For Christian Garrick and cellist Ben was apparently notoriously we spoke, David still had a great success – in live Davis in Butterfly’s Wing, a wayward himself in performance. decision to make on whether performance. David believes that, In regard to the piece in Jazz Rag 138 , I have enclosed details on group performing So far, so good with developing that would be the case on the if the concept works, then it some Taylor writings that can be referred to. mainly originals. In the midst of what David genuinely sees as ‘a commercially issued version. It’s these and other imaginatively new standard repertoire’, but, as rather appealing, giving the sense works in its entirety, so audiences If not already at hand and for anyone who may have follow up named groups in various styles the project developed, it became of the sounds of 1915 merging in from Beaumaris to Hexham have interest they could dig them out as they give some insight on sits the simply titled David clear that the intensity of the one very disparate soundscape, enjoyed the full 70-or-so minutes Taylor’s jazz life. Gordon Trio which has been Scriabin pieces needed relief – but, given David’s allusive style of Alexander Scriabin’s Ragtime playing jazz since 1995 and is for the sake of both performers with such melodies as Debussy’s Band . David happily reports that, Also an excellent book to refer to is Innovations In British Jazz Vol.1. now on its sixth album. During and audience! Cakewalk (the golliwog tactfully for the second of two visits to 1960-80 by John Wicks. This includes a number of references to these years David and the trio removed in the interests of the 606 Club, not only was there Taylor’s life, music, sessions and comment by fellow musicians who have gained a particularly That’s when the project enlarged political correctness, no doubt), a full house, but the audience was played with him, knew him and associated with him. enthusiastic following in Japan in to include a sort of musical it’s not always clear when the pin-drop attentive. It’s not a that their albums consistently sell world-view of the year 1915 new track begins – a nice effect programme (live or on CD) for Happy Listening well there. As yet there has been when Scriabin breathed his last at in my opinion, but a matter of the lazy listener, and the set Ray Whitehouse no Japanese tour for the trio, but a time of great innovation in choice for David! order is crucial in providing Biographical (Jazz) Research Services, Milnrow, Rochdale surely it’s only a matter of time. popular music. David’s dating is contrasts and light relief. not strictly precise – Alexander’s Debussy, at the height of his Melody Maker [GB] David talks fairly diffidently about Ragtime Band , for instance, dates powers embracing ragtime and Unprompted, David Gordon • Taylor-Mystery Man of British Jazz – A Look at The Late Pianist his work, but he certainly has a from 1911 – but that hardly the cakewalk, is only one of a volunteered the information that [Feb 15, 1969 Page 8] large-scale view of it, seeing it in mattered as he put together a series of more light-hearted he has no idea yet what the • In Memory of Mike Taylor plus Comments On His Talents by terms of ‘projects’ and identifying series of musical trends and interpolations into Scriabin. Many concept for his next project will John Hiseman and [Dec 6, 1969 Page 8] Since this is probably the first jazz world Bill Evans and Chick ‘concepts’. His previous album, fashions for the time: the of them, such as the jazziest item be. Clearly he intends it to be • Caught “Music of Mike Taylor” Tribute w/Various Artists (F. mention of Alexander Scriabin in Corea have recorded his music for instance, The David Gordon Trio development of jazz, tango fever on the album, St. Louis Blues , are imaginatively themed and full of Ricotti/N.Winstone/I.Carr/B.Thompson/D.Gelly at LSE, London Jazz Rag , a few words of much of which was Speaks Latin! , had as its theme the in Europe, classical composers fairly short, between more the sort of originality that the School of Economics [Dec 13, 1969 Page 6] introduction would be helpful. written for piano – and now music of South and Central such as Debussy discovering jazz, extended deconstructions of Scriabin project possesses. When The Russian composer, who died David Gordon’s latest project America, and he is much happier the Russian diaspora helping to Scriabin’s work. Several of these Coda [Canada] 100 years ago, was a great takes it at least one stage further. with some such concentration open the Great American interpolations reflect David he gives his reasons for focussing • Pianist Found Dead [Mar/Apr 1969 Page 32] innovator, in his short life moving than with a sequence of Songbook. Gordon’s love of , Tres on the Russian composer (leaving It’s tempting to say that David from Chopin-esque romanticism unconnected numbers. The Lindas Cubanas by Antonio Maria aside the coincidence of the arm Gordon is a one-man cross-over Jazz Journal [GB] to controversial avant-garde. Scriabin project began by chance. The wonderful title of the album Romeu, for instance, providing a fracture) – the time was ‘an era campaign, except that a quick • Part 1 – The Innovator, Into The Land of Warthogs & Rhythming After his death he soon went out One of his students broke her presented itself as a gift to David delightful and refreshing of innovation and novelty’, look at the careers of the Piano [Dec 1974 Page 18] of favour: something more right arm, so he dug out his copy when he was trying to perfect interlude. Scriabin’s ‘inventiveness and elan • Part 2 – Composer at Work, Into The Land of Warthog [Jan defiantly realistic, less mystical, members of his trio – bassist of Scriabin’s Prelude for Left the concept, but the Russian lives on’ – it’s obvious what 1975 Page 21] was required by the new regime Jonty Fisher and drummer Paul Hand. The piece, as he says, ‘gave music-ragtime link was there Alexander Scriabin’s Ragtime Band qualities David Gordon aspires to Cavaciuti – reveals the same in Russia. In recent decades there up its inner tango and early jazz already for him, two forms of is the sort of album that attracts in his own music. Jazzwise [GB] has been something of a revival versatility and mixing of styles. influences’ and became the first music in which he is interested. In words like ‘challenging’ and • The Strange Life and Death of Mike Taylor [Dec 2007 Page 42] of interest in his work – in the Both Jonty and Paul, like David element in the album. It appears the trio’s repertoire is George L. ‘ambitious’ which might put the www.davidgordontrio.com 14 THE JAZZ RAG THE JAZZ RAG 15 FOUR UNUSUAL JAZZ CAREERS FOUR UNUSUAL JAZZ CAREERS

Harry Barris (1905-1962) to help him, he sank quickly into Jackie Paris FOUR UNUSUAL JAZZ CAREERS should have been a star. Check obscurity and was long forgotten him out during the 1932 short by the time he made his last film by Scott Yanow Rambling Round Radio Row (which appearance. It has always seemed can be found on You Tube). He strange that he had very few solo Jazz history is filled not only with clarinet as a youth and was a not only plays some rollicking recordings, is not listed in jazz acclaimed greats and innovators band leader as early as 1910. piano and scats but verbally discographies, and was not but unique and quirky figures While he could play imitates drum cymbals (with his recorded by anyone in the 1950s. who made an impact for a short conventionally, he made a wide trademark 'pahhh'). Barris is time and then faded almost variety of odd sounds in his solos clearly a predecessor for Slim Leo Watson (1898-1950) is completely out of the history including squawks, roars and Gaillard, Harry 'the Hipster' even less remembered today yet books. This article covers four imitations of animals. Preceding and other jive scat he was an innovative scat singer who influenced Dave Lambert. A unusual male instrumentalists such gaspipe specialists as Wilton singers, and he is quite true eccentric, Watson gained who gained some recognition for Crawley, Boyd Senter and Fess entertaining and witty. But notoriety one night when, their singing but are largely Williams, Lewis was considered a typically, his moment in the employed as a drummer, he overlooked today for different sensation. In 1915 he moved to spotlight lasts barely a minute. refused to stop playing during his reasons: , Harry Barris, , joining pianist Earl Barris was a fine pianist, a unique drum solo. The police had to be Leo Watson and Jackie Paris. Fuller’s Famous Jazz Band. He singer and a talented songwriter, called to drag him away! After moving to Los Angeles, Leo which would have made him the made his recording debut with but he never really made it. Watson was associated with first white member of Duke’s Ted Lewis (1892-1971) is the Fuller during 1917-18 and was During 1927-30, he was a Watson had the rare ability of other eccentric singers including band. best known of the four but not the star of ensemble-oriented member of , a being able to make up words as (with whom he for a good reason. Considered performances which sounded like vocal trio also featuring the he sang and have it make sense. played drums) and Harry 'The By 1952, when he recorded Paris the epitome of corn as a singer a rather noisy version of the young and . He emerged in 1929 as part of a Hipster’ Gibson. In 1946 he In Blue with Charles Mingus, (where Al Jolson was an Original Dixieland Jazz Band. In Barris inspired the group to vocal group that toured with the recorded four songs including a Jackie Paris was still just 28 and influence), clarinetist and 1919 he and the other sidemen perform a zany variety of hot jazz Whitman Sisters. After the tour, crazy version of Jingle Bells that seemed to be on the brink of saxophonist, Lewis is best left Fuller to form a new group and was the most exciting of the the singers broke away and were really shows how inventive an greater fame. But somehow it remembered for Me And My with Lewis as the leader. trio. The Rhythm Boys, one of the renamed the Spirits Of Rhythm. improvising singer he could be. never happened. While he Shadow and his phrase 'Is very first jazz vocal groups, were The Spirits consisted of acoustic But unfortunately Watson recorded albums for the Coral, everybody happy?' 'The high That same year, Ted Lewis began featured with the guitarist Teddy Bunn, a drummer- scuffled during his last years, Brunswick, Wing, Emarcy, Time hatted tragedian of song' was a long association with the Orchestra for two years vocalist and three singers working at day jobs before and Impulse labels during 1954- Columbia label, recording overly sentimental in his singing (performing in the (including Watson) who played passing away from pneumonia in 62, none were major sellers and prolifically and becoming a major (which was actually closer to film The ) and briefly the tiple (a small ukulele). Watson 1950. all are scarce today. He worked in talking), full of nostalgia for an era star. There are a few surprising with ’s band. While worked with the group off and the 1960s with his wife singer aspects to Lewis’ acoustic that never really existed. But questionable, but the band (with great cornetist with the latter, Crosby became on until 1941, making some Perhaps the oddest career of Anne-Marie Moss but no recordings of 1919-25. He rarely despite this, many of Lewis’ cornetist Walter Kahn and was a regular with Lewis during such a major attraction that he obscure but swinging recordings. these four singers was recording resulted. In fact, other sings, is heard on C-melody sax recordings contain excellent jazz trombonist Harry Raderman) 1929-34, trombonist Jack launched his solo career and the experienced by Jackie Paris than one song with Charles and alto much more than on and he was one of the earliest plays hot dance music well. Even Teagarden was with the band Rhythm Boys broke up. Barris, In the 1930s, Leo Watson also (1924-2004) . An excellent and Mingus in 1974 ( Duke Ellington’s solo saxophonists to be featured clarinet, and he fits very well into with his eccentricities, Ted Lewis briefly in 1930, and Murray’s who composed such Crosby hits worked with many other bands versatile jazz singer, Paris not Sound Of Love ), he was off on record. the era. Some of the tunes, comes across as an excellent successors included Frankie as I Surrender Dear, It Must Be True for a short time. He sang and only did not catch on but most of records entirely during 1963-80. including his theme When My clarinetist for 1921. Teschemacher (for one session in and Wrap Your Troubles In Dreams , played string bass on a session his recordings are as difficult to In his later years Paris recorded Born Theodore Leopold Baby Smiles At Me , are a bit corny 1929), (1929-30) appeared in at least 44 films with the Washboard Rhythm find now as they were during his for a few small labels and in Friedman, he began playing and some of his solos are With the advent of electric and Benny Goodman (1931-32). during 1931-50 including Show Kings in 1932, performed with an life. He had a warm voice, swung Japan, remaining active until near recordings in 1925, Ted Lewis for Fats Waller even guested on a Boat, Holiday Inn, The Fleet’s In and early version of the John Kirby at all , could scat and had the end of his life, but it seemed Ted Lewis the first time sounded as if he few songs in 1931. Goodman The Lost Weekend , but he was Sextet in 1937, and had brief his own sound, but for some as if no one knew who he was. In was falling behind . A (who gained attention as a youth usually unbilled and his cameos associations with the big bands of reason, few labels have ever been fact, in the 1990s a major major success on the with his imitation of Ted Lewis) often lasted no more than a and , interested in reissuing his mostly reference book reported that circuit who epitomized jazz to and the other clarinetists were minute, as if he were trying to recordings some dazzling scat excellent records. Paris, who lived until 2004, had many listeners who were sometimes mistaken for the remain anonymous. singing with both orchestras. He died in 1977! unfamiliar with black music, Lewis leader on the recordings, a also had a record date of his own Paris learned the guitar when he saw no reason to change or mistake that Lewis never Harry Barris, who drank in 1939 of which the highlight was quite young, tap-danced, and Was Paris’ inability to catch on modernize his style. He kept his discouraged! Many of his excessively, had an aimless career was his very original singing of Ja worked in vaudeville when he due to his personality, bad luck or very expressive style on clarinet recordings have their rewarding and, although Crosby did his best Da . was growing up. After two years missed opportunities? The the same (considering that part moments and some have the in the Army, in 1947 he made his worthy film ‘ Tis Autumn: The of his act), getting more dated unintentional humour of Leo Watson recording debut, having a minor Search For Jackie Paris (2006), each year. Ironically his group alternating his corny solos with hit with his version of Skylark . His which was made with the singer’s steadily improved while the those of his best sidemen. combo, which was inspired by the cooperation and released leader stood apart from his King Cole Trio, performed at the posthumously, tries hard but musicians as an odd show biz Ted Lewis continued as a on for six does not really solve the mystery figure. By 1924, Lewis’ band household name in the 1930s and months. Paris liked and of why Jackie Paris, like Harry included trombonist George ‘40s, rarely changing his act. In understood bebop, was a friend Barris and Leo Watson, failed to Brunies and he had one of the 1941 he recorded his last clarinet of Charlie Parker with whom he make it. But fortunately for top players around in Barry solos on Tiger Rag and Jazz Me toured (but unfortunately never today’s listeners, their records Barth. Barth was also one of the Blues , still sounding as if it were recorded), and worked with serve as evidence of their talents, first string bassists on record 1921. He stayed active as a during 1949-50. if one can find them! with the 1925 recording of singer/personality into the late On Nov. 12, 1949 he became the Milenberg Joys although that was 1960s. Many of his recordings are first singer to record 'Round Scott Yanow is the author of just a one-time appearance. Lewis worth getting for the work of his Midnight . After coming off the 11 jazz books and over 750 frequently featured the short- sidemen and even occasionally road with Hampton, Paris was so liner notes. He can be lived Don Murray on clarinet and for Lewis’ contributions. exhausted that he turned down contacted on during 1928-29. The an offer to join Duke Ellington, [email protected]. 16 THE JAZZ RAG THE JAZZ RAG 17 BRITISH JAZZ AWARDS 2015 BRITISH JAZZ AWARDS 2015 BRITISH JAZZ AWARDS 2015 Digby Fairweather

Once again Jazz Rag is proud to announce the winners of the British Jazz Awards in 12 categories for individual performers, two band categories and two industry awards for CDs. The Jazz Awards operate on the theory that musical talent is permanent, fashion is merely temporary and the recipients of these awards over the years have been musicians of the highest quality - and 2015 is no exception.

The final choice is made by individual voters, many of them Jazz Rag readers, but at an earlier stage a panel of distinguished writers/promoters/producers draws up a list of potential winners, though voters are welcome to make their own choices from outside that list.

In addition one award is made by nomination by the organisers themselves: Services to British Jazz. This year, not before time, the award goes to Digby Fairweather. As a musician, Digby’s achievements are regularly recognised by the British Jazz Award for Small Group for his Half Dozen, but his services to British jazz go far wider, as broadcaster, writer, educator, archivist and . Jazz Rag readers are familiar with his generous and knowledgeable reviews and articles and his work for the National Jazz Archive has been of major importance for British jazz. The original founder of the archive at Loughton, he is now engaged in developing a further site at Southend. He has produced volumes of biography Photo by Merlin Daleman and autobiography as well as co-authoring The Rough Guide to Jazz . Beneath his benign exterior is a dedicated workaholic, most of it in the service of jazz. Laura Jurd BRITISH JAZZ AWARD WINNERS 2015 PIANO VOCALS NEW CD 1 1 Zoe Rahman 1 Clare Teal 1 Liane Carroll – Seaside [Linn] 2 Enrico Tomasso 2 Dave Newton 2 Liane Carroll 2 Courtney Pine – Song 3 Steve Waterman 3 Gareth Williams 3 Claire Martin [Destin-E Records] 4 Bruce Adams 4 Craig Milverton 4 3 Skelton Skinner Allstars Septet – TROMBONE GUITAR RISING STAR play Ellington and Basie 1 1 Jim Mullen 1 Laura Jurd [Diving Duck] 2 Dennis Rollins 2 Martin Taylor 2 Remi Harris 4 Fishwick/Roberts/Basile – 3 Ian Bateman 3 Nigel Price 3 Ben Holder When Night Falls Mark Nightingale 4 Roy Williams 4 Dominic Ashworth 4 Alan Benzie [ Records]

CLARINET DOUBLE BASS BIG BAND RE-ISSUE CD 1 Alan Barnes 1 Alec Dankworth 1 BBC Big Band 1 Johnny Dankworth Orchestra 2 Pete Long 2 Dave Green 2 Echoes of Ellington – Duet for 16 [Vocalion] 3 Julian Marc Stringle 3 Andrew Cleyndert 3 Back to Basie 2 Tubby Hayes – Meets US Jazz 4 Mark Crooks 4 4 Beats & Pieces Greats [Fresh Sound Records] 3 and Friends – ALTO SAX DRUMS SMALL GROUP Before and After [Lake] 1 1 1 Digby Fairweather's Half 4 Eddie Thompson – In the USA 2 Alan Barnes 2 Dozen [Hep] 3 3 Ralph Salmins 2 Remi Harris Trio 4 4 Steve Brown 3 Brassjaw SERVICES TO 4 Tipitina BRITISH JAZZ: TENOR SAX MISCELLANEOUS DIGBY FAIRWEATHER 1 Karen Sharp INSTRUMENT 2 Art Themen 1 Amy Roberts (Flute) 3 Alex Garnett 2 Alan Barnes (Baritone Sax) 4 Robert Fowler 3 Jim Hart () 4 Chris Garrick ()

Alan Barnes Clare Teal

Photo by Merlin Photo by Merlin Daleman Daleman

18 THE JAZZ RAG THE JAZZ RAG 19 REVIEWS LIVE MIKE DURHAM’S CLASSIC JAZZ PARTY THE EFG LONDON JAZZ FESTIVAL The Inspiration Suite, Village Hotel, Whitley Bay, November 6-8 13-22 NOVEMBER 2015 Josh Duffee's Teddy Brown set controversial career in jazz. At tribute to the great Whitley Bay the educational arranger/composers of the One man’s view by Peter Vacher element is never totally missing: 1920s. A clever of you have fun and enjoy great Davenport Blues foregrounded The London Jazz Festival may worlds of pop and soul whose Richard Pite music, but you’d better be Sjostrom, the of now be one of the most jazz sensibility is totally absent. prepared to learn something, too. the Skaggerak, and always he gave significant and substantial events Still, it’s a great occasion for The 14-piece band (a tight fit credit to the arrangers – Fud of its kind in Europe but even so sponsor schmoozing and general with its music stands on the Livingston for the avant garde it remains below the radar as far back-slapping. It also underlines modest-sized platform, with a Humpty Dumpty , the great Bill as the majority of Londoners are Barker’s ability to harness that Yamaha grand already in Challis for Clarinet Marmalade , concerned. There were posters great orchestra and to turn into residence) hit the ground running slick, smart, harmonically around the city and one or two a swinging jazz ensemble with Hughes’ most famous British delightful – and even the of the broadsheet newspapers wherever the programme allows. piece, Six Bells Stampede , with the archaeologist, New York offered previews and concert light and crisp sax sound of early bandleader Vince Giordano, who reviews once the festival was After that we continued on a Ellington, before Hughes took unearthed a 1930 Jelly Roll underway but that’s about it. Of largely vocal trajectory, alighting Mike Durham’s Classic Jazz Party the Casa Loma before following himself off to New York. There Morton obscurity, Crocodile course, some events were carried at Chelsea’s vaulted Cadogan ran for three days, from noon till up with a Bixian lead in an his all-star sessions were a Cradle , far from the best of on BBC radio but you’ll have Hall, once a Christian Science late, with an extended dinner informal Keith Nichols small strange but appealing mix of top Morton, but worth unearthing. looked in vain for coverage on temple built in 1907 in the break, amounting to 30 hours of group. American soloists and European any of the terrestrial TV channels. Byzantine revival style and now jazz in nearly 40 mostly themed semi-classical compositions such Maybe I have made the Classic Maybe that says something about the location of choice for the sessions of an hour or less. My In an odd sort of a way the stars as Arabesque and his excursion Jazz Party sound too much like a the place of jazz in the cultural festival’s mainstream concerts. flying visit from Saturday of Whitley Bay were the into arranged folksong, Donegal seminar – which, in a sense, it scheme of things in the UK; First up was my vocalist of the afternoon to Sunday afternoon arrangers from the 1920s and Cradle Song , though Sweet Sorrow was, but an immensely maybe it’s just that the capital is year, the divine Cecile McLorin was nowhere near enough to 1930s – and, of course, the 21st Blues tipped its hat to Ellington’s entertaining one. It’s easy to now so polyglot and so suffused Salvant, part French and part writing of course, that they play, entire orchestra, strings included. sample all the delights of the century musicians who jungle sound. Let off the leash for imagine the likes of Bent Persson with artistic events that the LJF is Haitian, and a young singer of and the pieces heard (many from Tight playing, authentic festival, but enabled me to get the transcribed (and, where more extended solos, Seuffert and Matthias Seuffert gleefully just seen as more box to be great expressive range, able to her current album Thompson replication with no hint of flavour of what must be a unique necessary, re-arranged) their relished being given the role of meeting up before next year’s ticked, its activities consumed and dig deep in to the Bessie Smith Fields ) were largely elegiac, lyrical, parody, an informative narration or nearly unique event. Certainly scores and the others who learnt Coleman Hawkins. festival to mull over the cast to the winds once done. repertoire before de- often evocative of time and place – Barker a delight in his Bixian drummer Josh Duffee, one of a complicated parts in the run-up obscurities they have found. The It’s also interesting to consider constructing a contemporary and quite beautiful, somewhat in interludes – made for a truly quartet of Americans present, in to the festival. The highspot for Oddly enough, Claus Jacobi’s set one I most regretted missing this what the term ‘festival’ actually song, sometimes taken perilously the manner of her mentor, Gil worthy achievement. So good paying tribute to its founder, the me was the restoration of the on the Cotton Club made rather year (only by an hour, too) was means. Consider Brecon, slow. At their core, her moments Evans. Key soloists emerged, that they played it twice. late Mike Durham, claimed that reputation of Gene Gifford and less impact than Hughes or Casa Josh Duffee’s re-creation of the Swanage, Southport, Cambridge, of adventure owed much to her altoist Steve Wilson quickly Having digested the afternoon such an event would not be the Casa Loma Orchestra. In its Loma. It was a thoroughly music of the much-loved giant of Scarborough, and so many others inspiring pianist Aaron Dielh, moving into Ornette-like PW extravaganza, there was time possible in the States. later years the Casa Loma moved enjoyable sequence of early the xylophone, Teddy Brown. more locally generated, usually whose lightning-fast reactions distortions and tenorists Scott enough to dash to Pizza Express too far towards sweet music for Ellington which suffered concentrated in a manageable and John Lewis-like nimble Robinson and Donny McCaslin in Soho for a double-bill of The Classic Jazz Party couldn’t the average jazz fan, but in the somewhat in quality from what it The open-mindedness of the area, with ease of movement and touches set her on yet more barking and grinding on her Birds bracing jazz modernism, with work without the versatility and late 1920s and early 1930s gained in uniqueness. With the Classic Jazz Party is best a sense of collective endeavour adventurous pathways. Brilliant, of Paradise . What one missed was Alex Garnett’s crunching Bunch reading and quick learning skills Gifford’s arrangements were exception of East St. Louis Toodle- illustrated by an easy-going set of that creates a collaborative brilliant music. anything more stirring, more up- of Five, featuring the brilliant US of some 30 musicians, with a enormously important in helping Oo and , it consisted , reclaiming Bob experience. Not so London, as it tempo and bright. Lush Life , tenor-saxophonist Tim Armacost large contingent from the well to lay down the template for the of lesser known numbers, several Wills for the jazzers and playing is spread city-wide with key It was to be Allen Toussaint to pianist-arranger Alex Webb’s and then the New York Standards schooled jazz world of Northern swing sound. Duffee led a fine 10- rather undistinguished. Most out on Roy Rogers’ Happy Trails , locations [the Barbican and South follow but fate intervened with centenary tribute to the life and Quartet, here to launch their Europe. Of course individual piece in a set that began with the interesting was a medley Jacobi and a bizarre set under the title Bank, plus Cadogan Hall this the news of his sudden death songs of came just new Whirlwind CD, again with stylists make their mark, but the cumulative riffs of Stompin’ Around put together on the Ducal model Seagoon Serenaders . Keith Nichols year] set aside for ‘marquee ‘ following a concert appearance in days later, also at CH. Using three Armacost. Flanked by pianist ability to understand and and soon hit on to one of the of songs from , claimed to have been inspired by names and myriad smaller Madrid just days before his assorted vocalists, a narrator and David Berkman, Whirlwind reproduce different styles is hottest numbers of 1931, White including an uninhibited romp those spikily flatulent chords so venues, often hard to locate, scheduled LJF Barbican Frank Griffith’s neat Festival proprietor and bassist Mike more important in the context of Jazz , with instrumental through Doin’ the New Lowdown . A beloved of the Goons, but, when spaced out across town. As the appearance. The alternative might Tentet, this one-off account of a Janisch and the totally brilliant the festival. The new (to me) gymnastics from a terrific sax word for Josh Duffee’s period the band went into a delightful festival’s closing press release has have been at key musical life was just what a drummer Gene Jackson and name to make the biggest section of McQuaid, Seuffert and drumming, as upfront as Sonny Someday Sweetheart – McQuaid it: ‘2000+ artists, 300+ gigs, 50+ RFH but we decided no, festival like the LJF should offer. fronted by Armacost, theirs was impression was the young Robert Fowler. Having negotiated Greer, but exercising enough as Bix, Sjostrom as Rollini – it venues, 23 years, 1 city. Truly thankfully given this diva’s Informative and very rewarding. music whose frame of reference Norwegian trombonist, Kris the vicious sax writing of White restraint, and Martin Wheatley, sounded as though Bill Challis, spectacular!’ shameful failure to show. So back and balanced creativity was a Kompen, whose talents ranged Jazz , they found themselves reminding us how integral the not Spike Milligan, was the to CH a day later for the superb The final day highlight was the total joy. from the fiercely laconic swing of competing with a mighty brass banjo was to the Ducal sound influence. But that was before All of this is to explain this partial Kurt Elling also supported by a Jazz Repertory Company’s hugely Dickie Wells on the Spike Hughes team of Andy Schumm, Duke circa 1927. Keith Nichols launched into If I over-view: one man’s slice of a top trio, and in imperious form, ambitious project, a kind of So there you have it. Too many session to the legato lead on Heitger and Kompen in the fierce Give Up the Saxophone , Will You much larger pie, you could say. As that magical voice plumbing period bookend to Barker’s superlatives? Well, there were no Smoke Rings in the Casa Loma riffing of Casa Loma Stomp . This Regular bands were not much in Come Back to Me? ever or at least for the last eight depths and hitting heights like the opening salvo. Hosted at duds among what I saw and tribute. Similarly, established stars was undoubtedly the most evidence, but one that played a years, my Festival experience true improviser he is. Cadogan Hall yet again, Richard audiences, despite my caveats such as Matthias Seuffert and exciting set I heard and I doubt if couple of sets of its own as well RON SIMPSON began with Jazz Voice at the Pite had corralled some 30 earlier, were truly plentiful. So Michael McQuaid demonstrated many of the 20-odd I missed as supplying many of the Barbican, in itself a colossus of On to Maria Schneider’s performers in a re-creation of what didn’t we see? Well, Keith an enormous range stylistically could stand comparison. musicians for other bands was The Mike Durham Classic jazz enterprise, with Guy Barker’s orchestra again at CH, easily the Paul Whiteman’s 1920s Jarrett for a start, his concert and, in some cases, instrumentally. the Union Rhythm Kings, the Jazz Party will certainly massive orchestra in support of most eagerly-awaited concert of repertoire, subtitled Bix, Bing & described by Clive Davis in the McQuaid, for instance, Menno Equally interesting, if slightly less union in question being between return in 2016, but dates an array of vocalists, some central the year. The diminutive Ms . Bing being Spats Times as a paean to ‘self-love’ or Daams’ lead alto for the Spike dynamic musically, was the Spike Norway and Sweden. An elegant have yet to be confirmed. to the music like Elaine Delmar, Schneider darts to and from, Langham, Bix was Guy Barker the mighty Kamasi Washington, Hughes big band, brought plenty Hughes set, with trumpeter seven-piece under the direction Check others near if not wholly jazz- cueing each variation, and eliciting and the full score of Rhapsody in or and so of attack to Clarence Menno Daams taking us through of bass saxophonist Frans www.whitleybayjazzfest.org oriented like the impressive Joe beautiful sounds from her band Blue was performed superbly by many more, edgy or avant- Hutchenrider’s clarinet solos for his short, successful and Sjostrom, this band, too, paid for details. Stilgoe, with still others from the of New York all-stars. It’s her pianist Nick Dawson and the garde…next year maybe? 20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

BOB Brookmeyer on piano on While two is better than one. numbers such as Blue Moon, MONTY SUNSHINE thought out and performed. QUARTET We’re Young . His piano playing Unfortunately, that adage is not Moonglow , A Woman’s Prerogative tends to steer clear of the always true and in this case the and They Say It’s Spring . REMEMBERING MONTY From then on, it’s Sunshine’s band at its best with scintillating sometimes ‘galumphing comedy’ compromises required, from both SUNSHINE THE BLUES HOT AND of his trombone work and the of these ladies, to make this There is little to dislike about this trumpet from Alan Wickham. COLD/ 7X WILDER presence of gives an session work, weaken the record. It is simply that, instead of Lake Records LACD344 2CDs almost chamber jazz feel to the individual contributions of both. two voices being better than one, Verdict: Worthwhile historical Phoenix Records 131613 72:30 session. That’s the Way It Goes is it is more the case that two 73:53/78:34 document, swinging jazz, great the outstanding track of this set There is, also, a feeling that the voices are only half as good as fun. This release contains two and the more familiar Wilder session has been hastily prepared one. Having acquired an instrument ‘I complete consecutive releases by tunes like I’ll Be Around and Who and casually approached. This got a squeak out of it [which] HUGH LEDIGO Brookmeyer, both of which Can I Turn To? are also included. reminds us how much artists are It would have been much better became a note’. Four weeks appear here on CD for the first in the hands of the recording to have given them their own later, according to Monty, he was CECILE MCLORIN time. The Blues Hot and Cold Original sleeve notes and art engineers. The pianist, Mike Renzi, sessions. They deserve that. working with a band! SALVANT (1960) features work are included to make an a fine player and a more than (piano), Buddy Clark (bass), and almost perfect compilation and if capable accompanist, is vastly JOHN MARTIN By 1952, he had joined forces FOR ONE TO LOVE (drums) whilst 7 x you are new to Brookmeyer, this over-recorded, in some instances, with and Ken Wilder (1961) has Jim Hall (guitar) would be a wonderful place to his piano overpowers the singers, FREDDY RANDALL Colyer to form a professional and (bass) with Lewis get to know his music. drowning out their words. outfit which can be heard on Mack Avenue MAC 1095 52:48 retained and with Brookmeyer AND FRIENDS CD1 Track 2: Monty’s own Slow adding piano to his familiar valve ALAN MUSSON On the other hand, the other Drag Blues . The band has an When I reviewed Cecile's trombone. two musicians, on BEFORE AND AFTER authentic feel, ingenuous and previous album, Womanchild , two BECKY KILGORE bass and on tenor, unpretentious. The clarinetist years ago, although finding her a There is an evident joy in suffer from under-recording, so Lake LACD 343 78.51 understands well the function of performer with much personality, Brookmeyer’s playing. On the the effect is a skewed balance. his instrument in free ensemble I had problems with the contents Sunny Side of the Street and I Got Freddy Randall might be called and his solos have a light, floating of her compositions and was Rhythm are just two examples. TWO SONGBIRDS OF A Two singers singing in unison, as the British equivalent of Eddie lilt. If he never quite became rather repulsed by what she did Condon, although as a player he with one particular classic The only criticism that I have of FEATHER opposed to harmony, can another Ed Hall he certainly kept was closest to Wild Bill Davison. standard. This second trio-based, the set is that sometimes Rowles’ produce an uneven sound even the flag flying for traditional jazz His bands specialised in the 12-track New York set is another playing ‘gets a bit too Arbors CD ARCD 19447 53.37 with singers with voices as similar up to the end of the century. impressionistic in spots’. This as theirs. On their individual Chicago style of Dixieland: hot story. tracks originally came out on a aside, Brookmeyer seems to be One can see the concept behind efforts both artists show than and swinging. This compilation MOONLIGHT Disc 1 follows his career from presents Freddy as leader of his 10-inch LP, and they show what a The five originals presented here playing at the peak of his powers. this pairing; two excellent singers they can ‘read’ a good lyric and SAVING TIME that first essay into the New own band in 1957 and also as a fine band Freddy had. Besides are admirable, and benefit from from the acceptable quality end there is nothing wrong with the Orleans tradition around 1953 member of ‘Britain’s Greatest Randall’s virtuosic playing, the atmospheric variety of her The set is a joy to of popular singing could be song selection which steers clear MEETING AT NIGHT until the mid-sixties. Along the Jazz Band’ in 1972. The 1957 clarinettist Al Gay is outstanding. enactment of her vivid lyrics. behold. It leads off with teamed together in the belief that of well-worn standards with way he meets collaborators as The repertoire consists of They are mainly meaningful MSTCD002 48:53 diverse as guitarists Lonnie Dixieland favourites like Dr Jazz slows, with Underling having Donegan and , and Dinah but they are given personal appeal to me, as it Moonlight Saving Time comprises trumpeters and Rod freshness by the solos and the carries the heartfelt message that Emily Wright, vocals, Nick Mason and bassists Jim Bray and ingenious ensemble sections. the album title quotes from. Malcolm, trumpet, Dale Jack Fallon. The tunes are culled Hambridge, piano, Will Harris, The 1972 tracks were recorded from the familiar trad repertoire The reshaping of oldies is entirely bass and Mark Whitlam on in Wallsend at the end of an – Down Home Rag, Saratoga Shout, to my liking. On Trolley Song her drums. Making guest appearances inaugural tour for Britain’s Big Butter And Egg Man . Then spaced-out verse leads into up- are Jason Yarde, alto ( tracks 2 Greatest Jazz Band. The line-up there are three Sunshine originals tempo, extensive variations on and 7) and Dan Moore, organ and a couple of early Ellingtons. the chorus, propelled by her was indeed an all-star affair, with (tracks 8 and 10). Ms Wright has such great names as George sterling support, led by Aaron a light, classical voice which, on Disc 2 has Monty in the studio Chisholm, and Diehl, as before. As for her 10:33 Clouds is overdubbed from time with a line-up which, in addition . In fact these three take on Bernstein's Something's to time, with trumpeter Malcolm to his regulars, includes several musicians are given the lion’s Coming , she maintains an playing obligato, whilst on Meeting modernists of the day. The result share of the solo space, with only effortless swing, whether easily At Night Malcolm has a free form is a sort of cool ‘sixties take on medium or stompingly up - a four ensemble numbers out of solo, followed by Yarde on alto, the Bob Crosby Band. Nicely nine tracks. But it is a delight to with Wright's wordless vocals hear George Chisholm’s ironic seeming to clash, purity after the Cecile McLorin Salvant trombone and Brian Lemon’s power of trumpet and alto. educated piano. Rather Oddly, midway there's a fade surprisingly, Freddy Randall is before the wordless vocal given few solos, although he reappears and the makes an excellent leader. instrumentalists riff until the close. This well-filled, well-remastered disc provides excellent evidence After a while the double-tracked for the quality of the musicians vocal, the odd tempo changes, who, together with those in Alex sudden stops and the clash Welsh’s band, set a high standard between the pure-sounding vocal of Dixieland jazz in Britain. and the more gutsy instrumentals led to more frustration than TONY AUGARDE enjoyment for this listener.

GREG MURPHY 22 THE JAZZ RAG 23 ON RECORD REVIEWS

Christian McBride truly inspiring evocation. with Youngs hitting the mark CHRISTIAN MCBRIDE Kenny Barron every time over King’s supple Another high point I must and very swinging line, Turville LIVE AT THE VILLAGE mention is her beautiful French nimble and to the point in his VANGUARD enunciation on Le Mal De Vivre , on solos. which she comes over as a Mack Avenue MAC1099 68:35 genuine chanteuse . I hope to hear All of this is evident in Peverill her next release. Point , one of five Barnes originals Christian McBride has emerged (the remaining three pieces are in recent years as a virtuoso LES TOMKINS by Kofi) before Los Caracoles uses bassist, with fine technique and tempo variations in a neat way, ideas to match, and this live THE KOFI-BARNES ahead of Kofi’s The Village , a valiant, blowsy strut that recording at New York's Village AGGREGATION the late Art B. might have liked, Vanguard features his regular trio the two altoists shadow-boxing with Christian Sands, piano and Woodville wvcd 145 53.26 agreeably, with Barnes on tip-toe Ulysses Owens Jnr., on drums. before Kofi calls his children This is is a high-energy trio, with Barnes, Woodville’s estimable home. Wendi is more elegiac, pianist Sands exploring Wes proprietor, continues his series of plaintive almost, the harmonised Montgomery's Fried Pies at high one-to-one encounters on theme prompting a fine Turville tempo; it's as well he does record with this pairing with solo, before Kofi’s edgy entry. His considering the impetus set up by fellow-altoist Tony Kofi. He’s also Hoagy is a surprise, a yearning McBride and Owens Jnr., but put together a new rhythm melody with an interesting Sands is up to the challenge using section for this album, comprising harmonic shape and I particularly both hands in his improvisation. the perceptive pianist John liked Barnes’s perky In The Offing McBride's solo runs the gamut highly developed harmonic sense, On his own Wazuri Blues the throughout. There is plenty of Turville, the London-based US with its stop-time rhythm and before Owens Jnr contributes Barron is well qualified to tackle pianist re-affirms his commitment variety with a mid-tempo version and then it's back to theme and drummer Rod Youngs and this Barnes’s zippy solo, before Kofi’s the demanding role of solo to the blues, with elements of of You Go to My Head and a gently out. year’s Musicians’ Company Jazz The Last Message gives Youngs a recitalist. both Boogie and stride left hand buoyant interpretation of Autumn Young Musician, Adam King on chance to shine. And so it goes, lending a convincing earthiness. in New York . The audio quality is The flying fingers of Chistian bass. In the notes, Barnes praises piece by piece, with two Bud-Like is what it says on the exemplary for the period. Sands state the theme of Kofi’s ‘indefatigable enthusiasm’ accomplished soloists, pepper label: fast and relentless with an So, mostly good but, for me, he is J.J.Johnson's Interlude but he is but he’s cut from the same cloth and mustard, you could say, in a insistent ground bass and long, inclined to let virtuosity obscure I particularly enjoyed the quickly into improvisational himself, their ‘amiably true meeting of minds. percussive, single note lines. the true beauty of his music. contrasting styles of Geller and competitive’ instincts serving mode, admirably driven on by Maini, who has a more biting McBride and Owens Jnr, who them both well. They’re certainly PETER VACHER Star Crossed Lovers , a beautiful HUGH LEDIGO tone, with both showing the take time to ‘trade fours’ to great aided by this terrific rhythm team Ellington ballad, is full of influence of Charlie Parker, and effect before the theme is quickly rhapsodic flourishes and CLIFFORD found Benton, a new name to restated. Sands' own composition me, to be an attractive player. Sand Dune follows at a more arpeggaic flights that the BROWN/MAX composer would have been leisurely pace and as the piece ROACH ALL STARS This is yet another well produced proud of. progresses the pianist is at first re-issue from Fresh Sound lyrical but soon settles into some BEST COAST JAZZ Records and well worth having Misterioso : Monk’s haunting more intense improvisation. available once more. twelve-bar theme reveals the Other highlights include Cherokee , Fresh Sound Records FSR-CD pianist’s deep understanding of the basis for many fine 868 77:00 ALAN MUSSON improvisations and other the blues. Unlike the preceding tracks, though, the flavour of the compositions, and Good Morning Brown was known as a hard theme is not carried through into Heartache , with some fine bowed bopper in the style of Fats the improvisations. bass from McBride. Navarro and it is interesting to DEMASIADO CALIENTE hear him in the company of Calypso : Barron’s composition, In all, a hugely enjoyable trio set. players from the West Coast Cheese Cake 8245 79.00 has an attractive, deceptively scene. simple theme, his solo is full of GREG MURPHY After working as a drummer for invention and dancing rhythms. Here we have the re-issue of two Dave Brubeck, Cal Tjader KENNY BARRON albums from 1954, Best Coast Jazz specialised in , being one Body and Soul : Much of it is and Clifford Brown All Stars which of the first musicians to mix a rubato, the theme stated in AT THE PIANO together make for exciting form of ‘world music’ with jazz. uncomfortable snatched phrases, listening. The ‘All Stars’ alongside All his albums featured this style, 906076 50:54 the improvisation a glittering Brown and Roach comprise Herb with Cal’s vibes leading groups exhibition of technique but with Geller and Joe Maini (alto saxes), which featured such Latin- Born in the early ‘forties, Kenny none of the tenderness the song Walter Benton (tenor sax), American percussionists as Barron’s most impressionable requires. (piano) and Curtis Mongo Santamaria and Willie years coincided with the Counce (bass). The opening Bobo, plus rising jazz stars like consummation of the bebop Enchanted Flower : Another of track, Coronado , a swinging bop pianist and bassist movement. Indeed, on this Barron’s calypsos has a delightful blues theme sets the scene for . This CD is recording the influence of Bud floating quality. what is to follow. These are compiled from various sessions Powell is very evident and two essentially ‘blowing sessions’ with between 1954 and 1960 by six titles are by Monk. Rhythm-a-ning : Monk’s quirky up- the shortest track clocking in at different ensembles. tempo number is exciting, with around 15 minutes but Gifted with a prodigious more of Bud than Monk in the nevertheless managing to With a title that apparently technique, enormous stamina and improvisations. maintain the listener’s attention means ‘a bit too hot’, this album 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

is typical of the Tjader style: range of dynamics and an big band, and point up some Clark Terry and pleasant melodic jazz, with Latin exhaustive chordal knowledge, so contrasts. She has a ball and the percussion adding a rhythmic that his extemporizations band romps on Hallelujah, I Love bite. The style becomes so become harmonic as well as Him So and similar, but on the fast predictable that the jazz element melodic explorations. Add to this Runnin' Wild her voice sounds almost disappears, allowing the an incomparable sense of swing somehow forced, and Phil music to turn into easy listening. and a repertoire of superb tunes Woods' alto wailing comes as a This is particularly true of the from the Great American Song respite. When we get to the percussion solos, which can Book and you have somewhere relaxation of I Can't Face The become rather samey. But there around six hours of superlative, Music , she is securely in her is some interesting flute work definitive piano jazz. comfort zone and grooving from the likes of and nicely. Then Laughing On The José Lozano. And Cal Tjader’s HUGH LEDIGO Outside is the first of three vibes always sound good. ballads on which her delivery THEO TRAVIS seems more expressive with a TONY AUGARDE DOUBLE TALK band than I've found it with strings. OSCAR PETERSON TRANSGRESSION I always enjoyed Ella most of all EXCLUSIVELY FOR MY in live performance, and a live Esoteric/Antenna EANTCD1052 recording is the next best thing. FRIENDS 54:50 Ten tracks are included from her appearance at the Newport Jazz MPS Records 0210325 MSW On his albums as band leader, Festival in 1957, that capture the Travis has played with numerous whole happy ambiance of the 8CD Boxed Set other jazz musicians. These have event. Her initial ballad, I Got It 41.32/40.13/40.38/40.56/ included, on his 2007 album Bad , proves that a trio - here 37.36/37.42/75.47/69.21 Double Talk , guitarist Mike Don Abney, and Outram and organist Pete - was her ideal zone, Through the ‘sixties Peterson Whittaker. Travis did not record BOBBY HACKETT & mobility’ which is a good way to phrasingwise, in this vein. took annual trips to Hans another jazz album for eight ZOOT SIMS describe how the cornetist Nation’s Critics from 1958 used CLARK TERRY BOB hugely enjoyable but perhaps George Brunner-Schwer’s villa in years, and when he did so in emerges from these crowded, After a string of good old songs by well-known writers like BROOKMEYER Brookmeyer’s ingenious the Black Forest. This boxed set 2015, he named his new band sometimes agitated ensembles. regulars, among which I am , Mel Tormé arrangement of Gal in Calico COMPLETE RECORDINGS of eight CDs is the result – Theo Travis' Double Talk after the Sims plays hardly at all for it’s amused to note she sings about and the Gershwins. 1960’s My QUINTET defines the mood succinctly with mostly in trio format but also 2007 album. definitely Hackett’s date, although 'kisses at the bottom', she comes Kinda Swing had arrangements by its rolling, ever inventive drive. Solar 4569961 71.21 several solo performances. trombonist Bob Brookmeyer to a three-song climax. On April who conducted an COMPLETE STUDIO Especially worth mentioning is The opening track, Fire Mountain , Peterson’s two classic line-ups does get the occasional look-in. In Paris she stays with the lyrics a eleven-piece group in some RECORDINGS the superb work of Kellaway recalls the power of the Here are two LPs on one CD, the are represented: with Wilber does well here and there couple of times before scatting swinging arrangements. The small epitomised in his stride piano and with Mahavishnu Orchestra with first Strike Up The Band from 1974 especially on soprano as on Tin the Basie version, complete with group here, containing the likes Phono 870232 2 CDs treatment of Terry’s Tete a Tete Bob Durham. On the evidence of Travis' gutsy saxophone work and originally on ’s Roof Blues with Dave McKenna’s 'just one more time' at the end. of Clark Terry and , 68.32 / 63.09 these recordings both bass enhancing the 'seventies feel Flying Dutchman label, combining sinuous piano heard too. While Then one of her all-scat On CD 2, the piano spot is taken the two principals with guitarist is superior to the big bands players have a clear intuitive which is enhanced by Mike it’s fun to see what they do with masterpieces, Air Mail Special , Terry and Brookmeyer are over by the matchless Hank and a rhythm which accompanied Anderson on understanding of the ’s Outram's fierce guitar outing. The The Saints and such old embracing familiar riffs, natural partners because they Jones—so no fall in standards, section led by pianist , the other albums. The same requirements and each has feeling changes completely on warhorses as Fidgety Feet and exchanges with the drums, lots of both bring a familiarity with, and there-- and and completed by the over-busy year’s Moanin’, Moanin’, Moanin’ commensurate skills. Little is Transgression with a haunting , it’s important to funny quotes, her bass-humming a respect of, the backstory of replaces Bill Crow. The material, bassist and ace used a Basieish big band arranged asked of the drummers than that theme outlined by Travis, emphasise that these are quite and the final vocal swoop. Top of jazz. They are both comfortable again, features, mainly, Terry and drummer Mel Lewis. Hackett is and conducted by Hal Mooney. they swing mightily. supported by Pete Whittaker's short tracks, with very little the show is I Can't Give You etc. in any milieu and are beyond Brookmeyer compositions and swirling organ figures, and Smokin' his usual crisp and clear self, Sims development, none of them with its spot-on impressions of category.This is ageless music some fairly obscure, but Which brings us to the man at Klooks (‘Klook’ was once the similarly righteous and at ease, One thing has hindered me in getting beyond three minutes and Rose Murphy and Louis played with humour, wit and worthwhile, tunes such as Jimmy himself: a veritable Titan amongst nickname of bop drummer Kenny their solos and those of Jones reviewing this album. Jazz Rag is a all accomplished in business-like Armstrong. Here you have Ella at intense musicality; jazz without Heath’s Gingerbread Boy . Terry jazz pianists. Over the years he Clarke) with fine soli by guitarist unfurling in breezy style, the ten jazz magazine, so how can I fashion. Still, any chance to hear the peak of her jazz excellence. the labels. The repertoire is airs his singular vocal talents on I has been accused of eclecticism Mike Outram and Travis on flute tracks including five credited to usefully review the work of Hackett front and centre should mainly originals by both Want A Little Girl , there is a and self-indulgence. One critic before the gentle theme is producer Thiele which may tell someone who, on the basis of musicians with a sprinkling of be seized without . He was a LES TOMKINS version of Bye, Bye Blackbird described his playing as restated. Song For Samuel has a you something about the date. If this collection, hardly convinces Monk, Parker, Basie, Ellington and master craftsman, one of a kind which offers an alternative choice ‘relentless as a pile driver’. haunting theme and some fine I’m bothered by the over- really. ERNESTINE me of her credentials as a jazz a few standards thrown in. improvisations by Travis and amplified bass sound, that’s to the Miles Davis version, and ANDERSON singer? To be sure, Ernestine sings the ebullient Green Stamps where Listening to eight CDs-worth of Outram while drummer France clearly my problem for the PETER VACHER in tune and with good projection, The supple on playing throughout is pleasing, both musicians indulge in a no Peterson at the very height of his keeps the rhythm moving in no albeit sometimes rather shrilly, the has Bill Crow on bass creative ability is, if somewhat this exemplified on the neat Full FOUR CLASSIC ALBUMS holds barred battle of skills and uncertain terms. but she is more like a cabaret and on drums, mind-boggling, a good Circle . In truth these guys can do ELLA FITZGERALD colleagues of Brookmeyer’s in his humour. singer than a jazz performer. She opportunity to get to grips with The Mahavishnu influence can be no wrong. Avid AMSC 1170 2 CDs 138.18 Gerry Mulligan days. A wise hardly improvises at all, nor does his huge musical personality. heard again the powerful theme choice on piano was the brilliant There is an overall spirit of good she use jazz phrasing: two statement of Everything I Feared From there we regress to 1967 This is one of Avid’s digitally and resourceful . natured enjoyment throughout Firstly, he has the most where guitarist Outram has an to a Verve album entitled Creole Essential Jazz Classics remastered collections of four qualities I could expect in a jazz The gorgeous sound of both these sets and the sleeve formidable technique of any jazz outstanding solo, but perhaps it's Cooking with a virtual big band EJC55672 76:38 LPs on two CDs. Ernestine vocalist. To be frank, I found most --Terry’s preference on notes suggest that listeners will pianist past or present, combined unfair to highlight individual playing the regular New Orleans Anderson is now in her eighties of these 46 tracks faultless but this occasion-- and Brookmeyer’s ‘be caught in an undertow of with both power and finesse. contributions; this is an incredibly repertoire using well-wrought An interesting Ella collection, in but these albums were recorded boring. valve trombone makes a pleasure’. Consequently, he can draw on integrated band with a high arrangements by that, in my opinion, it in the late 1950s. Hot Cargo was mellifluous and seductive the whole stylistic range of the listening value. who plays soprano and clarinet demonstrates where she was at taped in Sweden in 1956, where TONY AUGARDE combination and the interplay I couldn’t put it any better. jazz oeuvre and turn it to his on the date. Annotator Stanley her best on disc. 13 tracks have Ernestine was backed by a between the two horns is advantage. He also has a wide GREG MURPHY Dance notes Hackett’s ‘aerial her in front of a brassy 17-piece Swedish big band. The Toast of the astonishing. All the 15 tracks are JOHN MARTIN 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

FRANCES FAYE seven years. Remembering past more workmanlike trombone JENNY GREEN Brown Jr's Humdrum Blues . Then hear his tenor filling out the associations, Schlitten hired him work. As on their recent visit, Taking A Chance On Love has a sadness of her expressive reading FOUR CLASSIC ALBUMS for Muse and saw to it that the theirs is a two-person front-line, CAUGHT A TOUCH OF neat score and nice trumpet of his I Told You So . Her spirited tenorist was given a classy line-up the co-partners combining YOUR LOVE from Bryan Corbett. Jenny's version of Always Something There Avid AMSC 1177 2 CDs, with which to work, this including capably on what is mostly familiar phrasing impresses on You Turned To Remind Me illustrates that the Crescent City material, the The Tables On Me with just the Bacharach repertoire can lend 74:07/68:53 the prominent trumpeter Conte JG001 33:27 Candoli, with pianist , exception Leroy’s engaging trio of Sean Hargreaves, Neville itself to swinging. Finally, I'm samba Caipirinha da Lapa , their Malcolm and Winston Clifford. interested to find a Rodgers & It's saddening in a sense to listen bassist Ray Brown and drummer Here is a lady singer who struts accompanists here including The title song, new to me, is lively Hart song I'm not familiar with. back to a talented artist whose in support. her stuff regularly in the pianist Paul Longstreth, a and bluesy, enhanced by Ed On This Funny World , accompanied public impact, although she lived London/Surrey area. Her light, Bear Tracks has the bluesy feel of sophisticated player who prefers Jones's tenor. He is also heard on solely by the Hargreaves piano, much longer, was restricted to a listenable sound is applied to a Blue Note number, the rotating to go his own way as do guitarist her first ballad, The More I See Jenny brings her CD to a limited period in the past. In the some ear-worthy songs, with riff secured by a single low note, Todd Duke and bassist Mitchell You , interpreted meaningfully. The memorable close. case of Frances Faye, who first-rate British players in varied Edwards sounding forced, trying Player. It’s obvious that these warmth of Let's Get Lost finds certainly had a unique approach support. too hard to be different, before musicians are clearly capable of the trio particularly propulsive. LES TOMKINS for that era, her album-making he rips off a fast-moving run over moving well away from the success covered about nine She opens with an easy-grooved, the rather stodgy beat. Coker has restrictions operating in present- As an admirer of Duncan years. Round Midnight, Well, You Needn't , Coker's trombone emote freely. sextet-backed rendition of Oscar some nice moments. The pretty day New Orleans where Lamont's fine songs, it's good to and Misterioso to name just three; The uppish Rockabye Basie has bossa April Love is better with repertoire and audience The main interest in this package all classics of the genre displaying muscular baritone from Charlie Candoli showing some prowess expectations can impose their is her 1953 breakthrough, No innovative use of dissonance and Fowlkes. Perdido allows Frank although the constant puttering own limitations. This also results Reservations . Her strident, unexpected, angular melodicism. Wess to show his prowess on of percussionist Jerry Steinholz is in rhythm sections often playing raunchy style sounds potent But above all, the music has a both tenor and flute. There's the a turn-off for me and inimical to in two, as on Fidgety Feet here, here, with a Dave Cavanagh band sense of ‘walking on eggshells’ inevitable partnership of Wess swing. Brown’s rather oddly titled with the consequent loss of featuring Jack Costanzo on which prompts the listener to and Foster on Two Franks . Ritta Ditta Blues has assertive swing. Somehow one longs to bongoes. The dozen gems take in expect the unexpected, so to Temporary band member, Candoli in pure bebop mode, hear all these players, Jones a hot Summertime , a dramatic speak. For example, consider the trumpeter gets a Edwards entering in stealthy style included, let loose on some Miss Otis , a classic Sister Kate and original Prestige recording of couple of powerful spots. As for and building strongly. The final decent tunes with a swinging her own appealing ballad, You're Bemsha Swing , where Monk the Count himself, his sparkling track The Blue Sombrero has a pulse and no holds barred. Heavenly . And Night And Day has navigates the opening theme with spates on Nails and Basie Boogie Latin feel and may be the best never had such a distinctive ice-skating grace. earn loud applause. The lusty sounding vocalist Tricia treatment. Plus she does two thing on the session. As Teddy’s former UK manager Ernie Boutte is heard on several tracks whole choruses every time. Then there's the complex These At the end of the CD, it's Garside once said of another and gives her all on Stardust with Foolish Things and the hugely regrettable to me that One Longstreth finding some Everything else is of like calibre. Edwards recording, ‘it’s one enjoyable Trinkle, Tinkle but O'Clock Jump lasts only 1:40. It's a harmonic variations well away Highlights of a set of folk songs away from being a good Monk's pianistic ability is really treat to hear swing bands riffing from the familiar, these picked up from 1957 are an entertainingly album’ and this one feels about showcased on the Duke Ellington away at length on such flagwaving ably in Jones’s solo. Gospel- extended Frankie & Johnny and a the same with its lack of sides. Monk professed ignorance vehicles. influenced vocalist Yolanda cohesion and a poor level of really romping Skip To My Lou in of these works and requested Windsay does much the same on swing. which Don Fagerquist's trumpet copies of the sheet music, but LES TOMKINS My Funny Valentine , this garlanded blossoms out of the ten-piece. In returned with these individual by Jones’s sensitive flugelhorn. So, 1956 and 1961, surrounded by PETER VACHER interpretations. NEW ORLEANS a set full of contrasts, familiar fare further gatherings of West Coast mixed with soulful creativity, This fine set presents a truly jazzmen, Ms Faye recorded two THELONIOUS MONK HELSINKI much like New Orleans itself. more batches of good songs that enjoyable listening experience. CONNECTION were not as standard then as THE COMPLETE 1947-56 Jones continues with flugelhorn GREG MURPHY they are now. For devotees of TRIOS PARADISE ON EARTH on his Sweeter album, retaining his dynamic jazz vocalising, this is rhythm section and adding a warmly recommended. Essential Jazz Classics COUNT BASIE & Spirit of New Orleans SONOP string overlay, the arrangements cleverly crafted by him. These EJC55677 2 CDs, 77.18/75.32 HIS ORCHESTRA 0714: 75.47 LES TOMKINS days any trumpeter worth his salt For once, a ‘complete’ set that KURHAUS CONCERT 1954 feels the call to record with TEDDY EDWARDS lives up to the title; here we have LEROY JONES strings and Jones is no exception, all of the Thelonious Monk Doctor Jazz DJ015 76:51 annotator Terence Blanchard FEELIN’S (1917-1983) trio sides recorded SWEETER THAN A SUMMER citing Clifford Brown as an for Blue Note, Prestige and Adherents of the soloist-led drive BREEZE exemplar. The results are Xanadu Master Editions Riverside including alternative of the Count Basie band's output engaging, the warmth of the Jones 906077 40.18 takes where available. It's a set are likely to have a few samples LJCD 0780 44.26 flugel sound and the quality of his that not only highlights Monk's on their shelves. So these 'newly- ideas speaking for themselves. The decision by Elemental Music compositional abilities but his discovered' recordings of a Jones and his trombone-playing Naturally, ’s I to re-release a series of Don pianistic technique; a highly concert in Holland by the wife, the Finnish-born Katja Remember Clifford is given pride Schlitten productions under the individual stylist, his unorthodox reassembled 'fifties line-up are Toivola, were among us recently of place but each of these Xanadu ME heading has gained approach to the piano, combines possibly for completists only. But and it’s thanks to them that these standards plus Jones’s title plenty of publicity recently. a highly percussive attack with aside from a balance fault that albums have come our way. composition reward attention. Beautifully presented in a high- abrupt, dramatic use of tempo makes some trumpet section Unsurprisingly it’s Jones who Final credits go to Katja who quality jewel case with extra changes and a strong rhythmic passages a bit distant, the overall impresses, vocally and master-minded the graphics on notes and session data this foundation. presence is good. instrumentally, his characteristic both albums and acted as co- reissued session recalls a time clipped trumpet delivery, thinnish producer on the group session. when the established Los Angeles This set illustrates Monk's Among the 18 tracks are various sound and almost boppish turn of bopper Edwards had been individuality as a composer, with special features. In relaxed mood, phrase contrasting strongly in the PETER VACHER without a ‘name’ album for some such advanced compositions as Marshal Royal's alto and Henry NOHC band album with Toivola’s 28 THE JAZZ RAG THE JAZZ RAG 29 TUBBY HAYES REMEMBERED TUBBY HAYES REMEMBERED

Jimmy Deuchar and Dickie priorities in the UK. Certainly a TUBBY HAYES REMEMBERED Hawdon, and a pianist, Harry fair number of Tubby’s broadcasts South, whose big band Tubby were in the service of pop or What would have been TUBBY HAYES’ 80th birthday year the great tenor saxophonist has later played in. ‘general entertainment’, but just look at all those radio Jazz Clubs been commemorated in a flood of publications. Following Simon Spillett’s acclaimed For much of the ensuing period and television Jazz 625s . biography The Long Shadow of the Little Giant comes the long-awaited film, A Man in a Hurry , studio, live and broadcast here reviewed by guest reviewer, distinguished jazz writer and fellow-tenor saxist DAVE recordings of Tubby Hayes’ small Aside from the main discography, 100% Proof adds a list of GELLY. Also the work of Simon Spillett (with C. Tom Davis) is a recently released Tubby Hayes group and big band (and for one spell, of course, the Jazz incorrect attributions (very discography, the subject of RON SIMPSON’s review. Couriers) alternate with short) and of films and television appearances with all-star big programmes, including feature 38 years later. In this, in the space the wrong shape to be a fashion bands and American giants such films such as All Night Long (cross- TUBBY HAYES: A MAN 100% PROOF: THE referenced to the recordings in IN A HURRY of slightly less than an hour, it is icon in the visual sense (although COMPLETE TUBBY as and Sonny flawlessly efficient. The he had the right haircut, suit, Rollins, accompaniments to the main discography), incidental commentary, music, stills and shape of shirt collar, etc.) but the HAYES DISCOGRAPHY popular singers (Peter and music for plays, a brief A FILM BY MARK BAXTER moving images, combine almost contemptuous ease with Gordon, Matt Monro, Susan appearance on the early evening AND LEE COGSWELL seamlessly into a compelling which he exercised his COMPILED BY SIMON Maughan, Ringo Starr, plus show, Tonight , in 1961 and, most remarkable, a full 13-week narrative. The film clips of Tubby superhuman technique made him frequent sessions with popular SPILLETT AND C. TOM television series of Tubby Plays Mono Media Films MMDVD 01 in full flight are particularly a king among the exclusive sub- jazz singer ) and DAVIS Hayes . impressive. Even when playing at culture of 'modernists'. There's the occasional frankly bizarre It wasn't all that long ago, but breakneck speed, his fingers seem quite a lot about style and session. How about the Little Names & Numbers 100% Proof is a first-class somehow the 1950s feel more hardly to move. And saxophonists attitude here - the dandyish, John Anthony Band from 1960? Discographical Publications, example of the discographer’s art distant and unreachable than the will be fascinated by a few close- watchful, prickly modernists and Tubby’s tenor was described as in all its meticulous detail, the real, whiskery, historical past. It's up shots of his embouchure, their contempt for virtually Almere, ‘tongue-in-cheek’ on an album of indexes that round off the book not the music. That's a known surrounded by an impressive everyone else, especially baggy- (www.names-and-numbers.nl); songs the typically thorough and accurate, quantity, the style and the sound array of facial muscle. sweatered student types. ring-bound paperback; 978 90 composer didn’t want to admit but at the same time the open- of it, and you can enjoy it or not, 77260 23 4; EUR 27.50 + 6.75 to - with titles like Teen Beat minded browser will find an depending on your taste. And the From this point of view the film It was this fairly small coterie and postage Special it’s obvious why! Or oblique, but often vivid, insight music is the people playing it. So makes a perfect companion piece its broader fringe of adherents Tubby’s final recording, a into the life of a top jazz musician when you see a photograph of to Simon Spillett's complete and which formed the hard core of The two main requirements of a broadcast duet with Bruce half a century ago. And where is one of them, or even a moving knowledgeable biography, The Tubby's audience. When the discography are to be Forsyth’s piano? that unissued 1964 performance image, as in this film, it's familiar Long Shadow Of The Little Giant . Beatles came along and comprehensive and to be clearly Indeed, the author himself carries with the Ellington band? enough to seem almost marginalised them, it had a laid out. Without being More seriously, a picture emerges the main burden of filling in detail contemporary. But step back a bit profound effect on his career. For thoroughly versed in Tubby of a time when jazz was much at key points in the story. RON SIMPSON and look around and you really the first time he had to think Hayes’ output it’s impossible to higher up in the list of cultural will find yourself in that past about who he was playing for. The judge the former fully, but, with which LP Hartley famously called But the film-makers have also film illustrates this very 160 pages in the main a foreign country, where they do succeeded in conveying the effectively, with clips of him discography including obscure the big things differently. otherness of the world in which performing the Pink Panther unissued live sessions and the events took place, and that's theme with , his broadcasts and sessions what sets it apart from most jazz- On the face of it, the film is a appearance, along with Roy accompanying a wide variety of chris barber band biographical films I have seen. In straightforward account of the Castle, in the movie Dr Terror's singers all tracked down, 100% the , this is also a story 27 January 24 March life and career of Edward Brian House of Horrors , his album of Proof seems to score on that of jazz in Britain and its role in Stockport, the Stockport Plaza Harrogate Harrogate Theatre Hayes, jazz musician and musical mid-60s pop songs, and so on. count. Certainly the different youth culture and fashion. Tubby 7.30pm 7.30pm prodigy, from his birth in 1935 to Instead of setting the fashion he issues in various formats are himself, as someone remarks, was www.stockportplaza.co.uk www.harrogatetheatres.co.uk his death on the operating table was reduced to following it. He meticulously recorded. As for looks uncomfortable, too, with clarity, the lay-out is simple and 28 January 19 april straggly hair, sideburns and no tie. easy to follow, with interesting, Ayr The Gaiety Bromley Kent And he becomes increasingly informative and sometimes 7.30pm 7.30pm gaunt and ill-looking as time quirky notes separated from the www.ayrgaiety.co.uk www.Churchilltheatre.co.uk passes. main information. 12 February 20 april Had he lived, he would probably With a career as dynamic as Kirkcaldy Adam Smith Centre Epsom, Epsom Playhouse 8pm www.epsomplayhouse.co.uk have weathered it successfully, as Tubby Hayes’, you would hope www.onfife.com contemporaries such as Bobby that the discography would open 21 april Wellins have, but it wouldn't have a window on to his musical life - 14 February Wimborne Tivoli Theatre been the same afterwards. and it does so in fascinating Norwich Playhouse 5pm 7.30pm detail. The first surprise comes www.norwichplayhouse.co.uk www.tivoliwimborne.co.uk There's a lot more in these 55 with the 16-year-old Hayes’ initial minutes, and do see it if you get visit to a recording studio, 15 February 22 april the chance. I have just one accompanying singer Les Tomkins Newcastle under Lyme Portsmouth Kings Theatre complaint: why didn't somebody - these Jazz Rag reviewers get New Vic Theatre 7.30pm tell them how to pronounce everywhere! Following sessions 7.30pm www.kingsportmouth.co.uk 's name? with such big names as Ambrose, www.newvictheatre.org.uk Kenny Baker and Jack Parnell, inForMation Tubby took his own group into 23 February www.chrisbarber.net Decca Studios at the age of 20, Liverpool, St George's Hall www.wigtinternational.com [© Dave Gelly, 2015] featuring two trumpeters who 7.30pm worked with him frequently, www.stgeorgesliverpool.co.uk

30 THE JAZZ RAG THE JAZZ RAG 31 BEGINNING TO CD LIGHT BEGINNING TO CD LIGHT

it’s all a bit mathematical. All the arrangements. The double much stand for Lou Home , with a sextet including Art RON SIMPSON’S ROUND-UP OF RECENT CDS tracks are Coombes’ CD set is completed by tracks Mecca and Bill de Arango and Farmer, Bob Brookmeyer and compositions and titles such as directed by Fred Norman and a both are impressive and Zoot Sims, while Charles is made his first recording under his including effective use of the Altered asymmetries and Go re- fascinating 21-minute medley of enjoyable sessions full of fluency itself on his solo-with- Bucky Pizzarelli own name: WHATEVER melodica on a funky Passing Smile , configure are a bit of a give-away. ballads with flute () accomplished versions of rhythm features. On more NEXT? (Inversion Records INV the first of six originals. His and piano (Jack Wilson), trying standards. Mecca’s fleet finger familiar ground, CDs of Chet 001 CD: 69.33), consisting of nine treatment of other people’s Lurlean Hunter is one of those out material, not a full work operates in tandem with Baker’s European years are of his own compositions. The compositions can be equally fascinating figures in jazz who performance. In contrast it’s vibes player Jack Hitchcock and thick on the ground. ESTATE result is as eclectic as you might original, especially the opening seem to have gone from good to find Sarah Vaughan de Arango is very much the main (Domino 891237: 53.39) is a expect, highly professional medley when the ominous pulse commanding everyone’s with a trio on LIVE IN TOKYO voice in consistently short, but rather appealing one, Chet at his throughout, though maybe he of Keith Jarrett’s Death and the attention to disappearing without (Domino 891236: 2 CDs, rather weightier and more most lyrical – though Cherokee is tries to cover too many bases. Flower elides into up-tempo trace: she is mysterious enough 57.38/60.52) from 1973. Sarah’s imaginative, treatments of suitably dynamic – in a trio Miller starts off on organ with a variations on What is this Thing to get very different biographies virtuosity is beyond dispute, but numbers such as The Nearness of setting with Philip Catherine on dynamic Blue Note-ish blues with Called Love? Throughout on Wikipedia (in German) and often her vocal style seems to You . ’s album is guitar and Jean-Louis Rassinfosse powerful solos from himself, Phil drummer Steve Hass and bassist Allmusic, with Wikipedia making some of us just too mannered, rather different. Better known on bass, recorded in in Todd on tenor sax and John Kevin Axt are a splendidly her nine years older than the too elaborate. There is little sign than the others for his work with 1983. Baker and Catherine prove Paricelli on guitar. The extended, creative and sympathetic sleeve notes from her albums. of that here. In superb shape Woody Herman and George perfectly compatible in an wanderingly atmospheric complement to the pianist. More FOUR CLASSIC ALBUMS vocally, but also sounding very Shearing and with a major tenor interesting set of songs, mostly Whatever Next features Frank trio jazz comes from Sam (Avid AMSC 1171: 2 CSs, relaxed, she even reverts to her saxist for company ( tinged with melancholy. For a 74.41/76.00) dates from the piano-playing early days on The on some tracks, Zoot Sims on bonus a live recording of My I guess the title of too, in WITH STRINGS Ricotti on a collection of Coombes , the British saxist period 1955 ( Lonesome Gal ) to Nearness of You , taking over from others), he offers meaty bebop Funny Valentine from Bologna RENAISSANCE (Arbors (Curling Legs CLP CD 139: assorted percussion and much of better known in France where he 1960 ( Blue and Sentimental ). Carl Schroeder. Quality standards on (mostly) his own highlights Chet’s trademark vocal ARCD 19448: 60.18) by Bucky 37.39) by Norwegian the pleasure of the later tracks has been based for some years. comes from Ricotti’s work on Apparently she made one more predominate, often complete compositions. style. My only query is Domino’s Pizzarelli has a double meaning. singer/songwriter Live Foyn PACE OF CHANGE (POL-e- vibes. Despite an equally varied pop-oriented album before with their verses, sometimes can hardly be said to have branding the release as a ‘limited According to the notes the 89- Friis . The strings in question take MATH Recordings SCPR 01: career (notably working with the obscurity beckoned, but in the skipped through nonchalantly in languished in obscurity, but he, edition collector’s item’ when it year-old guitarist is undergoing a the form of a string quartet in 59.40) does what it says on the Mahavishnu Orchestra and late 1950s she was highly enough less than two minutes, sometimes too, is much less well first appeared in this form (same recent renaissance (and I believe support of Friis’ backing trio. tin (or, rather, in the liner notes): Wayne Shorter) Mitchel rated to be served by arrangers taken apart and reassembled at remembered than he deserves, bonus track) on Gambit in 2008. this is his first album for some Friis’ edgy urgent vocal style and ‘this album is about rhythms.’ Forman has produced a much such as , Quincy expansive length, including a possibly because in middle age he Much more of a collector’s item years) but also the classical and elusive compositions, poised Indeed the album is much more more coherent album with the Jones and and musicians memorable seven-minute Over seems to have been keener on is Fresh Sound’s issue of the jazz mix suggests a renaissance between pop and jazz, are, I interesting rhythmically than of the stamp of , the Rainbow . skippering a sailboat on Long CARMELL JONES suspect, an acquired taste and on Los Angeles-produced PUZZLE harmonically or melodically. man. The key to the whole album, and her regular Island Sound than on playing QUARTET (FSR CD 867: second hearing I was some way (BFM Jazz 3020624312: 67.52), Coombes’ edgy dry-toned alto in fact, is melody. Castelnuovo- rhythm team of , It’s interesting to come across vibes. FOUR CLASSIC 66.20), a previously unreleased towards acquiring it. With essentially a poised and melodic sax demands attention and he is Tedesco’s Guitar Concerto No. 1 and . ’s recordings ALBUMS (Avid AMSC 1174: 2 session recorded in pianist imaginative string arrangements set by a piano trio, though he accompanied by a talented and is full of appealing tunes and light How good was she? Good, with a away from the Brubeck Quartet: CDs, 74.34/73.43) is remarkable Forrest Westbrook’s studio in by Kasper Bai and Friis and takes the odd diversion into ever-attentive bass (Yoni Zelnik) textures and then Pizzarelli duets rich mature voice, intelligent and they’re always different and for the sheer variety of his work in 1960. Jones made a accomplished guitar solos by Alex other keyboard instruments, and drums (Julien Charlet), but with fellow-guitarist Ed Laub on a tasteful phrasing and precise sometimes excellent. Sadly his in the 1950s. Evolution is couple of albums shortly Jonsson, there is much to admire largely ballad-based programme, intonation, but without the great first LP under his own name from essentially West Coast cool in afterwards for Pacific Jazz (now in this live set from Aarhus, Lurlean Hunter often in the form of two-song jazz singer’s ability to get to the 1954 is only the former. style, though six tracks were on Fresh Sound), but his . Live Foyn Friis also medleys. Highlights of a likeable heart of a song. She is at her best DESMOND: HERE I AM recorded in Hackensack, New recorded output as a leader was shows up on GYPSET (Hot album include the Malneck/Kahn on her last jazz-styled album, Blue (Fresh Sound FSR CD 873: 67.12) Jersey, and Coolin’ teams him with very small, so these six tracks Club Records HCR 438: 34.30) medley of I’m Thru with Love and and Sentimental , with Jimmy begins with five short tracks from and the much (with four alternative takes) are a by Norwegian quartet Touche – I’ll Never be the Same and the Giuffre’s arrangements, Sweets a piano-less quintet, all originals underestimated welcome addition. Essentially a another extremely short album ageless Pizzarelli signs off with Edison’s inimitable muted by tenor saxist Dave Van Kriedt in a sharp sextet on a set of hard bop player, Jones is also very from Scandinavia. Friis’ version of ’ haunting trumpet and fine clarinet from who had a particular liking for originals by the band members. much part of the main stream of Autumn in New York is fragile and Goodbye . Percussionist Thomas Rudy Rutherford, but all the fugues, and four more – including Most striking, though, are The jazz trumpeters, crackling with soulful, clearly indebted to Billie Stronen takes a less melodic albums have their moments. Ira a couple of standards – with the Teddy Charles Tentet , ambitious positivity and purpose and with a Holiday. Most of the other tracks approach to crossover. TIME IS Gitler, in his notes for Blue and irritating presence of the Bill forward-looking arrangements, persuasive way with a ballad. are originals, five of them by the A BLIND GUIDE (ECM 2467: Sentimental , comments that she is Bates Singers. Desmond himself many of them originals, with a Westbrook is an inventive fine guitarist Johan Tobias 53.20) suffers from a typically ‘a superior pop singer with jazz is, as always, pleasingly confident excursion into George improviser, probably more so Bergstrom. Touche seems to be uninformative booklet – probably inclinations’ – a good summary. idiosyncratic and the presence of Russell’s Lydian mode, and Flyin’ than his leader, as he proves by billed mostly as a Django- ECM’s policy aims to make The wonderful Dinah on three of the Home, Salute to Hamp . This taking off on the trumpet-less influenced group, but the opening listeners approach the music with Washington’s COMPLETE choral tracks is a real boost, but captures the spirit of numbers Airegin . Marché Arabe is strikingly Middle open minds, but I rather like RECORDINGS WITH DON otherwise it’s a matter of waiting such as Air Mail Special and Flyin’ Eastern, guest clarinettist Georg knowing what’s going on – but COSTA (Essential Jazz Classics for the second album, much Reiss switches to the Hungarian research reveals that Stronen was EJC 55670: 2 CDs, 76.28/76.45) better, from 1956, a quartet, also wind instrument taragato at one Carmell Jones commissioned to produce this begins with I’ll Be Around , the piano-less, with ’s point and hints of bebop and suite for a specially selected intense emotion, controlled coolly inventive mellophone a rhythm and blues surface combination of instruments. A power and unique vocal timbre fine complement to Desmond’s elsewhere. Touche is a very basic trio is joined by dominating the string-based alto and more extended youthful group – and it shows, classical violin and cello and two accompaniment which sounds at treatments of some good tunes. not always to advantage, but extra percussionists. Titles such first sympathetically supportive. Fresh Sound’s tendency to find there is no shortage of originality as Everything Disappears , Lost Souls As the two 1962 albums ( In Love obscure albums/musicians is or talent. At the other end of the and The Drowned City suggest the and Drinking Again ) continue and triumphantly vindicated on 3 experience scale Brian Miller mystical mood of the some of the songs are not so SWINGING GUITAR has had a professional career of proceedings, and much of the good, Costa’s arrangements can SESSIONS (FSR CD 869: over 50 years, including work as interplay with piano, strings and be fussy, over-dramatic and 71.16), three early-mid 1950s 10 diverse as 15 years as Marian percussion is moodily attractive, sometimes plagued with wailing inch LPs by ‘outstanding, but Montgomery’s MD, 21 years in with the main jazz interest choirs. Washington herself is on underrated jazz guitarists’. For the orchestra for Cats and time coming from the excellent piano top form, committed and various reasons such as spent in jazz/rock and fusion of Kit Downes. There’s uncompromising, despite her geographical location and career bands! At the end of 2013 he something of a classical influence, own reported dissatisfaction with choices these albums pretty 32 THE JAZZ RAG THE JAZZ RAG 33 The Saxophone Specialist Yanagisawa Conn-Selmer Walstein Bauhaus Apollo plus Vintage & Classic Part Exchanges & Commission Sales considered Saxophones Flugels MOUTHPIECE CONSULTANTS Link Lawton Larsen Meyer Runyon Selmer Vandoren Guardala Yanagisawa Bach Wick www.saxophoneheaven.com 01865 798165 www.brassheaven.co.uk 404 Marston Road Marston Oxford OX3 0JE

34 THE JAZZ RAG THE JAZZ RAG 35