May 2021
EMERGENCE 2021 FESTIVAL GUIDE
04 Jazz News
05 Emergence Programme
08 Interview: Chelsea Carmichael
12 Interview: Dave Wybrow
14 Interview: Jason Yarde
20 Interview: Ill Considered
22 Words…
24 Big Band Scene
26 Interview: Ahnansé, Steam Down
29 Interview: Rosie Frater-Taylor
34 Live Stream Review
36 Album Reviews
41 Listings
42 Jazz Essentials
Click on the blue SJM logo to Cover: Ahnansé by Lisa Wormsley return to the contents page This Page: Lioness Jazz News
Jazz South The Verdict Live Streaming Jazz South's online festival in April featured Musician and video producer Tristan Banks Olie Brice's Radar Sessions, which was is continuing his curation of live streamed rescheduled from earlier in the year. The music from The Verdict every Friday in session was the debut performance of Olie May. Friday 7th May will be Greg Heath/ Brice's Fire Hills, a new composition for Nick Meier Quartet, Friday 14th May will three free improvisors which included Olie be Paul Booth, Ross Stanley and Tristan Brice on double bass, Jason Yarde on alto Banks, and Friday 21st May is Ahmed/ sax and Nick Malcolm on trumpet. The Darwish/Osborn/Rahman. piece is available to watch on Jazz South's All live streams start at 8:30pm and tickets YouTube channel. are £8.
New Generation Jazz Live Gigs in May New Generation Jazz have announced the With indoor hospitality re-opening on 17th return of their Cinematic Live Sessions, a May, venues such as The Brunswick and series of online gigs filmed at Shoreham's Ropetackle Arts Centre are putting on live Ropetackle. Artists to perform include jazz.The Ropetackle in Shoreham will Emma Rawicz, Roella Oloro, Kianja, Quinn feature QOW Trio (pictured) on 22nd May. Oulton, Cherise Adams-Burnett and J-Felix. The Brunswick are hosting a guest quartet The series begins on Wednesday 19th every Thursday starting with Jack Kendon May and will be available on the New on 18th May and Will Gardner on 25th Generation Jazz YouTube channel and May. They will also be putting on a jazz Facebook page. The series is accompanied brunch every Saturday from 22nd May. by the Jazz Forum, a set of short educational videos by the performers.
4 SJM May 2021 EMERGENCE 2021 De La Warr Pavilion, Bexhill Thursday 27th May - Sunday 30th May
TICKETS: £5 - £15 FESTIVAL PASS £40
Co-created, co-curated and collective. For musicians, sonic artists, producers, cross- arts collaborators, spoken word artists and audiences.
Emergence offers a time and a space for players, artists and audiences to come together for a weekend of events where people can meet, experiment and make the right mistakes.
Thursday 27th May Doors 7:30pm Start 8pm
RESONATE
A free flowing collaboration of spoken word artists and musicians - from beatboxing to double bass to harp, diversity is the word.
SJM May 2021 5 EMERGENCE 2021 Friday 28th May Doors 6:30pm Start 7pm
HEXAGONAL A high energy sextet, with African and jazz influences.
ILL CONSIDERED A band comprising of musicians interacting with each other to create freely improvised music, based loosely around simple pre-written themes or composed on the spot.
SPIELZEUG An instrumental trio playing a fusion of jazz, funk, reggae and electronica
Saturday 29th May Doors 7pm Start 7:40pm
STEAM DOWN An artist collective, weekly event and music community based in Deptford, South-East London and created to connect London based musicians and producers.
6 SJM May 2021 EMERGENCE 2021 Sunday 30th May Doors 6pm Start 6:30pm LIONESS A UK MC breaking all the stereotypes associated with female artists in the grime game today. Lioness recently collaborated with Royal Ballet choreographer Alex Whitley for the first-ever ballet choreographed to grime music.
QUEENIE LAUGHTA A grime MC from London who was UK grime MC, born in Nigeria and of active in the early era of grime, and Lebanese descent, her multi-cultural steadily gaining recognition for her background paints her unique style, unique style and lyricism. however it's her wordplay and flow levels that's got the scene pushing for her. DJ LIONESS One of the first female grime DJs on Rinse FM. The mission has always beento discover new talent, showcase new music and champion the ‘roar’ sound of grime.
Ife Ogunjobi and Chelsea Carmichael will be improvising with Laughta, Lioness and Queenie. MRISI A UK based South African spoken word artist, hip hop artist, jazz pianist, producer and MC. YADASOFI A high octane sextet with compositions reminiscent of the post-bop era, an essence of free jazz, Middle Eastern/Jewish music, West/North African music and Cuban music.
SJM May 2021 7 Chelsea Carmichael
Saxophonist Chelsea Carmichael answers questions from artist Gina Southgate, ahead of Chelsea’s appearance at Emergence 2021. Chelsea Carmichael with Arthur O’Hara Trio at Emergence, Hastings, 2018
When did you realise you were a was good at it too. The saxophone saxophone player? What/who came into my life at the age of 12, played a part in the start of the purely as a second instrument as I journey? was thinking about going to I started off playing piano and I Chetham's School of Music for the thought that I was going to be a rest of my high school education to piano player initially. I had visions of be a classical pianist, and at the time being a concert pianist - I really you had to play a second instrument. enjoyed playing classical piano and I Through recommendations I ended
8 SJM May 2021 up with an incredible saxophone and still now I love doing that kind of teacher - Dean Masser - based up in work. I used to go to jam sessions Wigan, who taught me from the every now and again in Manchester beginning up until I left Warrington, at the Indigo Bar and Matt & Phred's and it quite quickly became my first pre-Trinity, and Band on the Wall is instrument. Dean is an incredible jazz still one of my favourite venues to saxophonist, and it's through his play/watch gigs. I love Manchester, teaching that I was able to get into and usually spend some time there Trinity. I didn't end up going to Chet's whenever I go back up north in the end, but throughout my checking out the record shops and formative music education my father just generally taking in the vibe. I was the one supporting the journey - can't see myself living anywhere else to this day he is still my biggest in the UK but London, but I do miss critic. how life moves just that bit slower up north. In my mind's eye your saxophone is a silver tenor, am I right? Tell us Did you move to London to study about it. at Trinity? What hit you when you Yes - it’s a Silver Selmer Mark 7, and arrived? it’s the second tenor saxophone that I moved to London to study at Trinity I ever got - quite a few years ago - which was the best decision for me. now. I have others - but it's my There is a lot of conversations favourite horn and just feels like me around whether it is actually when I play, and I don’t see that necessary to go to a conservatoire to changing any time soon. I think it’s a get an education in jazz when horn I will have for the rest of my life, everything you need to know is in regardless as to whether it stays my the records and in people - but I felt first choice or not. For the proper that London was where I needed to gear heads out there - I also play a be and I wouldn’t have seen a way to metal Otto Link size 10 that I am get here at the time that I did without currently trying out - which I'm really going to an institution. There also enjoying, but I'll definitely be going wasn't organisations like Tomorrow's bigger still… so if anyone has any Warriors or the like near me, who can leads please let me know because give you all you need getting into they are hard to find… jazz growing up, which I really hope to see something like that up north Tell us a bit about your life in in the near future - I think it would Manchester. really help in making the UK scene I am initially from Manchester, but my more open, as opposed to very parents moved out to Culcheth, London-centric. However, I loved my Warrington when I was really young. I time at Trinity - I honestly didn't had a super normal upbringing - know that much about jazz when I Culcheth is a village, and when it got there - not compared to a lot of came time to leave I was definitely people in my year who had already ready for somewhere different with been immersed in this world from more going on. I played in Wigan such a young age. I also met some Youth Jazz Orchestra for a number of truly incredible people that I really years which really gave me my love hope to be playing with for as long of big band and large ensembles, as I can.
SJM May 2021 9 Chelsea Carmichael with Theon Cross at We Out Here Festival, 2019
I didn’t necessarily have any sudden You've had a busy few years with realisations when I first moved to great projects like the Arthur London, but I definitely had gradual O’Hara Trio, Cassie Kinoshi's Seed ones which were quite life changing Ensemble, and Theon Cross's Fyah, for me. Growing up where I did - it to name a few. Are you a side- was a very white area, and I didn't woman in these instances or is the have any friends that were not white process collaborative? throughout my upbringing. Moving to Most of my involvement with the London and meeting the people that scene has been as a side-woman so I have met really allowed me to far - and I love being a side-woman. I understand that there is incredible am always incredibly grateful when I meaning in being a Black Woman, am asked to be part of someone's and really allowed me to explore my project - knowing how personal identity in a way that I had never music is, I am always honoured to be done before. I realised that growing asked to be part of the vision. I am up I was trying to assimilate to continuously learning so much from whiteness, as opposed to just being being in the bands of others - and I exactly who I needed to be. I'm still really do count my blessings being on that journey of learning - or able to play with the people that I do unlearning - depending on how you - and it has prepared me for taking want to see it. Outside of music, that this next stage in my career. has been one of my greatest gifts Developing my own personal from moving here. projects has been on the back-burner this past year - I have used this year
10SJM May 2021 of relative musical inactivity to really Is this a one off or an ongoing decide what I want for myself project? musically, as I have found that my In all honesty, I don’t know what to music tastes have changed a lot expect as of yet! The initial logistics recently, and the music that I was are being worked on at the moment - writing doesn't represent me and rehearsals are coming towards anymore. So, I have been taking my the end of this month. I know there is time. I definitely have felt the a solid vision and I'm looking forward pressure of having to get a band/ to seeing how I can help bring that to project together ASAP, but have taken life. However, with the people the advice of a dear friend of mine involved, I'm really excited for this who told me that taking my time with one. I am unsure whether it will be it will produce the results I want. I'm ongoing or a one-off - but if all goes now starting to take the next steps well, I can't see any reason to not do now as the end of this madness is in it again! sight - keep your eyes peeled! www.chelseacarmichael.com At Emergence Festival you're on stage with trumpeter Ife Ogunjobi, and grime MCs Queenie, Lioness and Laughta. What can we expect?
SJM May 2021 11 Dave Wybrow
12SJM May 2021 Director of The Cockpit theatre in have lost its voice, so people were London’s Marylebone for more than going for quality, musicianship, 20 years, Dave Wybrow explains lineage that they could identify with, what Emergence is all about. but also trying to reach for the now and reach for new understandings At its centre is new wave jazz. and community. What we're trying to The sort of jazz that's been coming do is find where that connects and if out of South East London for one, it connects then what does it connect and around the South Coast for a to? So there's spoken word, a bit of decade or two. While we've had Jazz dance. There's not as much cross- In The Round we've had Nubya arts in Emergence as we would want, Garcia, Ezra Collective, Tri-Force and because of social distancing and the more established players like Jason constraints of doing it under the Yarde, Pat Thomas and Orphy situation that we're in. Generally, we Robinson. All of these people have would work outwards from new wave been through. I think Shabaka and see what it connects to in terms Hutchings was one of the first of design, clothes, fashion, people we put on ten photography, politics, you years ago. So all that new “We have to name it. wave of jazz has inspired The first thing you find a lot of young people, hold it lightly, is that one of the links is including young women afrofuturism, as much as rather than just blokes, and see where it's any of the Blue Note and it's just broken out of back catalogue. It also its Blue Note box. it leads us.” links to the Middle East. But also what we try This whole thing with to do with Emergence is not to look connectivity. It's not just afrofuturism, at it so much as a musical genre but it's also things like English chamber as a kind of social movement. In the music and the English classical same way that punk is looked on as tradition. If you look at Spielzeug, a social movement. It had a politics, it they're nothing to do with that. What had a design, it had a photography. It that says is that whereas jazz used to had a music, certainly, but it also had be a very precious specialism, it's lyrical content, it also had its moral now become a meeting place. That's certainties and moral objections. The a real change. Jazz is now a global idea of Emergence is just to give a crossroads and it's tremendously space to new wave jazz to see what exciting. The grime crossover. That's it connects to outside of itself, in so a really nice crossover to add. far as it does and in so far as it might We're assuming that we can still do. That's why there's arts. The go ahead and do this but we have to strapline is " Jazz, Arts, Mob", and hold it lightly. We have to hold it 'Mob' is short for mobilisation. So lightly, and see where it leads us. what we're looking at is what's being mobilised by this new music and the www.thecockpit.org.uk/ fact that it's recruited so many people to it, who have reached for jazz at a time when popular music in the mainstream in this country might
SJM May 2021 13 Jason Yarde Artist Gina Southgate talks to musician Jason Yarde who appears at Emergence Festival with Hexagonal.
What led you to being a reeds decide and go for it! player - what are your main I was in my mid-teens and started instruments? attending workshops run by the Jazz I grew up in an era where it seemed Warriors; by the time I started my every kid in a UK school had to play degree course at Middlesex the recorder. While I had fun with it University I’d already had some musically and socially I didn’t really professional work under my belt - master it but it certainly planted the things overlap. I’d done enough desire to play a wind instrument, research at an early age to learn that otherwise I’d always dabbled with deciding to play the music that I different instruments whenever I’d really wanted to play wasn’t get the opportunity. After a little necessarily going to be the best research and the move to secondary thing for my bank balance and I’ve school it was all a bit of a numbers been dealing with this particular game… I didn’t really like the odds equation with varying degrees of of 3 valves on a trumpet and the 7 success ever since. positions on the trombone and even Preparing for professionalism is the clarinet overblowing at a 12th ultimately an ongoing concern seemed like potential headaches so I especially when coming up in took the option with all the notes particular; you can meet people even under the fingers. within the industry who don’t In practical terms, my school only necessarily want to pay you properly had two saxophones available at the and certainly nowadays with the time, versus 27 clarinets so I felt developments in how music is lucky to land the sax. With hindsight I consumed, we find ourselves in a wished I played the clarinet first as world where many folks expect to it’s harder going back the other way. get their recorded music for free or at My main saxes are a Yani soprano, most very cheaply. Selmer alto and a Jupiter baritone. As such, I’ve felt the importance pretty much from the beginning of How did you prepare for the road my career of being able to call upon to professionalism? a body such as the Musicians’ Union There’s a question!… Well, of course and in more recent years I’ve been there’s the obvious things like involved with the Ivors Academy, practice, listening to as much music championing the rights and writing of as I could manage, transcribing, UK composers. (Rant over) reading and writing words and music, observing gigs and the behaviours, Did you have an epiphany on this mostly of those who would inspire journey? me. Still, regardless of all the I’m not sure any of the above would preparations you might make, there be classed as an epiphany but
comes a point where you just have to certainly I guess if I ever had one it Jason Yarde at The Vortex by Gina Southgate
14SJM May 2021 would be finding a Sidney Bechet album cover in the local record store when I was still attending primary school. It pictured him in a white suit holding a soprano next to a rainbow - another seed.
I’ve seen you working with large ensembles, first at Gateshead Jason Yarde perfrming atby Gateshead Gina Jazz Southgate Festival, 2011 International Jazz Festival in 2010 and more recently process. As the name suggests, it’s with Acoutastic Bombastic - tell us essentially an acoustic ensemble but a bit about your relationship to I already have a strong plan for working with large groups? maybe the 3rd or 4th album to be Wow, I’m impressed you can even electric. (I’m getting ahead of remember that Gateshead show! I’ve myself!) I should be concentrating on always been into music with a wide finishing the first album which has palette and the sense of community already been greatly delayed over the it can afford. This comes from being past year (and more) for all manner into orchestral music, mass bands of reasons. If all goes to plan it will and particularly getting into the big be released via Jazz Re:freshed bands of Duke Ellington and then before 2021 is over. Count Basie at an early age. I’ve also been extremely fortunate in working As well as your groups you have in various big bands lead by some of your BlueBox Diaries project where my absolute musical heroes including you combine electronics with Andrew Hill, Hermeto Pascoal, Mano improvised sax - tell us what excites Dibango and McCoy Tyner as well as you about that? helming community projects that I love exploring how you can totally involve large numbers of participants transform a sound using effects of all ages and stages. Even now I pedals. Whether it be sax, my voice still try and join in whenever I’m able or some miscellaneous objects or with the LIO (London Improvisers instrument, there’s something quite Orchestra) and I’m also part of the satisfying about pushing and pulling, Bansangu Orchestra helmed by Paul looping and layering the sounds to a Booth. point you might not recognise the ACOUTASTiC BOMBASTiC is certainly original source. In more practical my personal palette of choice as a applications I use this setup quite a composer as it incorporates so much lot when working with poets and with of the instrumentation I like to a bit of imagination I’m able to explore, shifting from a strings, saxes, sonically follow wherever their words choir, brass or percussion group and might suggest whether it be a I get to hear and play with some of rainforest, underwater, a cityscape or my favourite musicians in the indeed a more abstract space.
16SJM May 2021 I was able to explore this project at first thanks to a Civitella Ranieri Fellowship in 2008, essentially living in a studio apartment with gear! Whenever I do a set with this project I make a point of doing at least one piece completely from scratch which often acts as a soundcheck. I also like to ask for direct impetus from the audience whether it be a number, colour, place name, object, random words or a phrase. These impromptu snippets allow the audience an extra entry point into the madness and myself, another way in from outside my head. As a frustrated guitarist I Jason Yarde’s Acoutastic BombasticSouthgate at Jazz in the Round by Gina really like all the lights too. There are so many other fantastic Your group with Louis Moholo- South African musicians from across Moholo 4 Blokes (sometimes the generations I’ve had the privilege augmented by Shabaka Hutchings to both play music and break bread as 5 Blokes) plays a lot of South with but it would certainly be remiss African based tunes and you also of me not to add at least two other worked with the late great Pinise unquestionable greats now sadly Saul in Township Comets. What departed to the list you mention - attracts you to working with this Hugh Masekela whom I was music? fortunate enough to write a number Put plainly there is so much heart of big band and orchestral and spirit in South African Township arrangements for, in addition to a music and I feel particularly blessed Flugel Horn Concerto for the LSO, to have witnessed this directly at and Sibongile Khumalo, the jazz and source on many occasions. opera singer of whom I had the good Louis has actually been my longest fortune of touring with her UK band standing employer at nearly 30 years and later went on to tour further and post a few gigs in the UK, I first afield in the band she co-led with went to SA with him towards the end Jack DeJohnette named of 1992. I stayed for some 6 weeks ‘Intercontinental’. Sadly none of these and met some amazing characters, things were officially recorded. returning in the new year with lots of ideas, photos, an additional 3 My understanding of your playing Mothers and a much better is that you are a tunesmith and an understanding of the still very recent improviser. Are you equally history of this beautiful country and comfortable in both places? the wretched apartheid system. Another very good question… I’ve There was a definite sense of hope developed deep love and in the air, which was partly why we appreciation for all types of music were able to make the trip in the first from noise and abstraction to a good place but you’d go to certain places tune (or vice versa). It’s music to me and the old signs would still be up. and you try and seek out the good
SJM May 2021 17 stuff regardless. to do with work itself but more the I guess if you look at the context of getting to and from work. I actually any of these approaches then there regained some time just to listen to is always something I could do with music for pleasure which I was learning or revising at any given point missing in London - everything was to make me feel more comfortable as work and running around; I can now a performer. This I guess goes back generally relax on a train knowing I’ll to the thing of always trying to get a seat all the way. develop your practise and abilities so There is a great wealth of artistic and you can always make musical musical talent in Hastings (and St contributions you’re happy with. Leonards On Sea, which is the area The ultimate ‘trick’ for me is being I’m in now) and I’m still making able to mix all manner of approaches connections. One of the guys who into one holistic music. This is an reached out very early on was pianist ongoing quest for me and the purist John Donaldson. He subsequently inside me has at times held me back. introduced me to a few like-minded It’s all about the context in that jazz musicians in the area, and respect, and this increasingly comes different blowing situations. Along down to my efforts. with Greg Heath and a handful of One of the best things about playing locals we started a semi-regular gig in bands with Louis is no matter how at the First In Last Out (one of the all crazy and intense it gets, you are important watering holes in town) never too far away from a melody. If under the name of the FILO Allstars. it’s all about balancing tension and This eventually morphed into a release, then I think the more regular band named Hexagonal and ammunition you have in your arsenal we were just getting ready to record the better. All that said, I never want our second album and make quite an to get too comfortable. extensive national tour before plans had to change with the first You relocated to Hastings several lockdown. years ago. What impact has this We did manage to do some had? recording remotely with a new Yes, we quietly slipped away to the commission for Greg through Jazz coast (a while ago - my daughter South and we are now very much was not long 1 and she’s now soon looking forward to being back in a to be 9!), generally it’s been amazing room together and playing as part of every time I have to go to the bank I the Emergence Festival. Of course get to see the sea! we were very much looking forward Even pre-pandemic and pre-moving, to the event originally being held at much of my work was online, such as St Mary’s in the Castle (walking arranging and orchestrating and I’ve distance for most of the band) but always worked to have a space it’s great that the festival team has where I can record myself well and been able to make things work just send files to people so in that around the coast at the De La Warr respect it hasn’t necessarily mattered Pavilion in Bexhill. where I live. I will always love London but I’m at a stage where I’m quite http://hexagonal.org.uk happy to take things at an altogether easier pace - this doesn’t really have
18SJM May 2021
Ill Considered Ill Considered by Lisa Wormsley
SJM: Could you please tell us a little Has that been approached about how you first started the differently with your new lineup? project? IC: Yes, this new album has been a IC: We all knew each other from very different experience. It’s still sessions and the band genuinely did been based around fully improvised just spring up from a jam session. sessions but now we’ve taken time to There have been players coming and construct arrangements over and going, but the core remains Idris and around the improvisations and invite Emre and we’re really delighted that guests to join us. We’ve even had a Liran Donin has joined us as a new session with 9 guests jamming freely permanent member. It’s been a really from the start which led to some surprisingly and eventful journey over amazing new places for us. We’re the past three years or so and we’re really excited to release this one! very happy in our new partnership with New Soil to launch this next SJM: Is there much discussion about chapter of Ill Considered. what you’re going to play or even direction before a session? SJM: There is a new album coming? IC: None at all! We do have a lot of
20SJM May 2021 tunes now, so sometimes at shows we SJM: How has lockdown affected Ill can call one up if one of us really feels Considered? it, but for the recordings we just play. IC: Really the most profound thing The two Christmas recordings we’ve has been the loss of gigs, we had so done are loosely based on famous many bookings for 2020 and it was carols or Christmas tunes, but there’s disheartening to see them all fade still no discussion about how to from the calendar one after another. approach them before recording. Its a The surprising upside of all this was hugely liberating project and allows that it was possible to get all the us to access many guests we wanted on artistic situations that the album at the would be very difficult same time in one or costly to do with session! That would more arranged music. never have been possible if normal SJM: How do you touring schedules think this totally free were in operation! composition works with you and your SJM: When can we collaborators? see you live again? IC: It’s all about IC: Our first live shared respect and booking is extraordinary Emergence Festival amounts of listening on the 28th May, but and trust! We’ve we have four found the Ill concerts online which Considered ‘sound’ seems to you can view on youtube on the New permeate the sessions, and I guess Soil channel https:// that it’s the intention we approach www.youtube.com/channel/ everything with that allows other UCkuHzAiRHMJ_YaOMfkqB79g players to feel the same freedom we do? Image above: Ill Considered 8 album cover by Vincent de Boer SJM: You recently unveiled a Image below: by Lisa Wormsley collaboration with artist Vincent de Boer calledThe Stroke. Can you tell us a little about that project? IC: The Stroke was an idea Vincent had a few years ago and ended up dedicating over a year of his life to hand drawing and animating. We all met in a London studio and improvised to a huge projection of the animation. That first take made it to the final video releaseThe of Stroke. It was a huge honour to work with him on this and it’s quite an impressive final result.
SJM May 2021 21 Words…Nadav Schneerson "I was born in Tooting, London while those that helped me know they were a my parents were living in Dollis Hill at the big part of where I am now and I hope to time. That's where I spent my first 2-3 thank them all properly one day. I was years of my life and then moved to going to a lot of jazz jams through my Brighton. My parents wanted a bit more college years and honestly, I didn't know peace, less chaos than London. shit when I started coming. But I'm very We've pretty much been in the same glad I was welcomed the way I was and place since I was a kid. I grew up as a the platform for me to grow was there. second generation immigrant to Israeli After college I took a year out and parents, the culture was a big part of my spent that year living my life, going to upbringing and my parents definitely did a jams, drinking, hanging out and all that. good job of keeping that up. I think it can Summer was over and I had my uni be hard being surrounded by such a auditions in the winter. I only applied for different culture and staying true to two places and got tonsillitis just before yourself. I would mainly speak Hebrew at my audition for one of them, but I didn't home and English at school, that way I even know it was that yet. I went up to naturally became fluent in both. I always London in the cold early hours and braved felt a bit different in school, I would float that audition. I'll tell you, it was not nice. I between friends a lot. I could get along felt terrible, the fear of an audition is with people but I've always been my own already a lot but being that unwell made it person, I think I can thank my parents for so much worse. Ha yeah we can guess I that. They taught me how to stay true to didn't get into that one. So I had the other myself. I got into drumming properly when audition a month later and got into that, I was around 7 and had lessons in school, where I'm currently in second year. wasn't til I was 13 I got an electric drum I moved up to London in September kit. I used to play drums in assembly 2019 and was 19 at the time, now I'm through primary school, I always looked 21. Looking back an awful lot has forward to that and I'd come back week changed since I was in my teens. I'd say after week, playing the same damn thing! moving to London has been the biggest In front of the whole school, every time! I change and most impactful as well. I took think I only knew one groove at the time everything I was doing back in college and and thought I was the top dog. That started doing it here, it's been a lot of arrogance lasted a while, til I saw other building and it's been building really nicely. kids stepping up, I was doing my thing but I'm very happy with where I am now and I didn't focus so much through my mid my eyes are on the future. teens, I was more troublesome through Getting into my 20s now has been secondary school. It wasn't until I was 16 worrying. Mainly financially, so far I've I decided to fix up and take music been okay but very soon I'll be leaving uni seriously, I started getting Jazz lessons, I and will no longer have a student loan. I made sure I got the GCSEs to get into rely on that a lot! At this moment college and that's when the vision was everything's pretty stable but I have no becoming more clear. I went on to do clue what's coming up. I've never really music in college which definitely helped had a proper job, so I can tell it's gonna me learn a lot, less about music but about be a struggle to find something suitable people, behaviour and what I want in life. I for when I finish uni. The way I see it, ifI was more active outside of college grind hard enough, hopefully I'll be able to though. I always knew music was for me survive off music at that point. But I know but going to college also made me realise that's hard. Ideally I'd have a job in a what I want won't be handed to me. I music shop, record shop, music studio or realised I had to go out and just do it. something like that as well as sessions. I There's a lot of trial and error, but it gets believe it will fall into place." you there. I was lucky to have so many mentors. There were so many people Words: Nadav Schneerson supporting me and it gave me a lot of Photos: Lisa Wormsley strength to go and take a shot. I hope https://www.facebook.com/Yadasofi Big Band Scene
Patrick Billingham
By now, a truncated Brighton Festival How did you take up the trumpet? should be under way, with the usual When I was about 13 and at the lack of any big band events. The Brighton (then) Grammar School, the Fringe is scheduled to run from CCF had no buglers so to get out of Friday 28th to Sunday 27th June, wearing uniform too much I also without, as far as I can see, any volunteered. I found that it felt natural big bands. to produce the notes. That got me started on brass. I was in the Sea Scouts, one of Trumpeter Rod Burrows runs the whom had a trumpet which he let me Ronnie Smith Big Band who, in better have a go at and I also found that times, rehearse and play at straightforward, mentioned it at home Shoreham Airport. He worked for the and to my surprise my father got a NHS for 40 years as a laboratory second hand instrument from the scientist. I asked him about his retiring pit player at the Brighton musical career. Hippodrome. I saw an advert for players wanted How did you first get into music? for Brighton Silver Band and played As a child I had a good treble voice soprano cornet for about a year. and sang in a church choir, had piano (Won a cup for best beginner). lessons from about seven to nine years of age, so learned to read What got you into jazz and big music. My teacher said there was band music in particular? music in there somewhere but it Up to this point I was into classical wasn’t on piano! (How right she music and trad jazz. Then one was.) In junior school I won a talent memorable day a new young man competition playing the national started at work, discovered that I had anthem on the harmonica. a trumpet and said the Worthing Youth Swing Orchestra was looking
24SJM May 2021 Rod Burrows with the Ronnie Smith Big Band for players. Off I went, fell in love Shoreham Airport. with big band music and have never looked back. Has there been any activity involving the band during How did you become involved with lockdown? the Ronnie Smith Big Band? For the last year during lockdown we I first met Ronnie whilst playing with have not met at all, with an the WYSO. He had a commercial occasional mail shot to remind band at the time (7 to 10 pieces) people of what’s happening. and held Sunday lunchtime blows in a big band format for union Have you anything planned for after members. We, from WYSO, used to lockdown? go along and sit in for the odd The Airport wants us back as soon number. One snowy New Year’s Eve as we are able, which I guess will be Ronnie rang me to say his lead when all restrictions are lifted. We are trumpet was snowbound and could I not a formal band, rather a group of help out, so I hopped on my scooter players with a love of music. We do and went from Brighton to Worthing no commercial gigs but are always pier in the snow. After that I became willing to play for charity if asked. At part of the set up whenever he had a the Airport we just send the hat bigger line up. I did quite a number round and leave it up to the crowd to of New Year’s Eve gigs until disco donate. It pays for the cost of took over. During the Sixties Ronnie rehearsal room. decided to concentrate on big band, giving up his small group. That is when the big band really started. I If there is anything such as feedback was mostly on third but would do on this column, that you would like any chair if needed. We had a regular me to include in June’s Big Band Sunday evening at the Tudor Close in Scene, please send it to me by Ferring for years until the landlord Wednesday May 12th. My email retired and the new man was not a address is [email protected]. fan. That was when we moved to
SJM May 2021 25 Ahnansé Ahnansé by Lisa Wormsley
What is Steam Down? Who are you internally as part of the project, as and what do you do? well as producers and writers that Steam Down is a music project that work on sculpting and bringing started in 2017. It's got three main together the EP. areas. We've got a weekly event, which most people know, called SD The last time we spoke was back in Weekly now (it was previously called 2019. How do you think Steam Steam Down). We also have a Down has developed since then? touring band, and we also have a In 2019 I don't think we'd even writing side to the project. The released anything until the end of the touring band is who you'll see out on year. We were touring a lot and we the road, comprised of regular hadn't had any recorded music out artists. The regular artists at the so we were growing off the back of moment, who are on the EP, are the reputation of the night, but at the Afronaut Zu and Tinyman, and there end of 2019 we released our first are many other members, which is single, then we went into lockdown. quite a few names! Everything was put on pause, we had Those are the two core artists on the some members leave and some new EP at this particular point in time. members join the project. 2020 was Outside of that we have a band mainly spent working on the EP so
26SJM May 2021 that was kind of what happened, for people to get more into the putting that all together and experience of Steam Down in a preparing everything for 2021. virtual space. I find social media and At the beginning of 2020 we other spaces can be limiting in terms released a track calledEtcetera on of the format or in terms of how the Blue Note Reimagined much focus you give, the distractions compilation. People might know it and what an algorithm will curate from the FIFA21 video game as it's and show you. A lot of people are one of the tracks on that playlist. A really interested now, the core lot of people now know that track fanbase, so I want to create a space from there. for them to have a more intimate In March 2020 we were supposed to connection. So we're partnering with go to SXSW but then the pandemic a company and we're looking at hit. We ran to get our visas the day doing conversations and interviews before and the day afterwards it was with different members that are part like 'all international travel is banned of the group, and different little and the nation is going into musical clips and treats that might lockdown'. I guess everybody had not be on the EP but are maybe this big pivot to do because we things that are a work in progress or didn't get to go to SXSW. improvisations, or things that are At the end of the year around spontaneous and more about our October we did a week and a half of story and our journey on a more socially-distanced shows. That was week-to-week basis. really interesting playing to a limited The primary thing, looking forward, is audience and having people seated putting out the EP, for the first time because most of the time we play to documenting what Steam Down does people standing up, especially our publicly. weekly event. It was quite interesting, Everybody is able to listen to their and I thought the response was really body of work on the streaming great and there was still a really services. It's the first time that the beautiful energy. To perform all public are going to see some of the together after six months or so was a musicians and artists that are part of joy. The musicians missed it as much the group. And also they get to hear as the audience did. Now, up to our message, outside of coming to 2021, we're getting ready to release our event and experiencing it from a our debut EP. live perspective. When you release records you get to Where do you see Steam Down revisit it, but every time you revisit going in the future? that song you're getting another What the pandemic did was it made experience of it, another feeling from me reflect quite a lot on how it, or maybe a deeper sense of dependent Steam Down was on connection with the band the artist physical spaces and physical events. or the music. It was something I was conscious of before the pandemic but even more How has lockdown changed things? so now. After releasing the EP I'm I think there are some other angles also looking at what I'm going to call on lockdown. Speaking to other 'the village' essentially. It's something members who are part of the group, new that I'm working on. It's a space a lot of us were like really eager to
SJM May 2021 27 get back out playing. A lot of us were the EP, so I think there's lots of great eager to perform to audiences again, music to look forward to as a result a lot of us were eager to connect. of it. And looking to 2021/22 I think Musicians generally like connecting we'll have a lot more appreciation of with other musicians and also with physical spaces and the ability to audiences. Having a renewed come to shows and concerts and appreciation for the ability to play in how much it nourishes us, when we physical spaces and the magic of live listen to music and meet together music and performing in front of an and share moments. audience and the connection that you share with each other. A lot of us, internally in the group, were https://www.steamdown.co.uk/ missing that and having to almost re- think where we were and what we were doing. That left a lot of room for reflection. More than that it also allowed a lot of room for people to write music. In 2021 and 2022 we're going to see a lot of interesting and great music. A lot of people in the project have been working on their solo bits as well as working on
28SJM May 2021 Rosie Frater-Taylor Interviewed by Patricia Pascal
Rosie Frater-Taylor is a multi-talented at Tomorrow’s Warriors, NYJO and artist that goes from strength to the Royal Academy of Music. At this strength with every new release. time, I was also avidly checking out She seems to craft every song some awesomely unique songwriters: showcasing just the perfectly Becca Stevens, Gretchen Parlato & balanced amount of skill in each one Emily King. of her talents. Her unique signature I was 16 when I started laying out sound tying her luxurious sweet multi-layered guitar-based demos on vocals with her virtuoso guitar Cubase, ultimately combining all of playing displays artistry reminiscent these influences into my own of artists like Becca Stevens, Lianne songwriting – that eventually became La Havas. or even Joni Mitchell. my debut self-produced album On At 19, On My Mind, her debut album, My Mind, which I released in 2018. explored a more folksy approach. At 21, her second album -Bloom - One of the unique characteristics of reflects her growth, and sounds like a your sound is the way you wrap more mature version of Rosie's your vocals around your guitar gorgeous musical storytelling especially when you improvise. seamlessly blending folk, pop and What inspiration do you draw for jazz. that approach? I draw a lot of inspiration from Rosie, for those who haven't been George Benson in regard to the introduced to your music can you ‘scatting’ my solos of course. That tell us a bit about your background connection to the human voice is a and relationship with your beautiful, seriously cool sound and instrument? Was guitar your first you’re right it draws people in for choice? sure! But, I do try to work it into my I was raised in a very musical style of writing and playing in a household - both my parents are personal way. I draw a lot on professional musicians – we’d have rhythmic ideas and a ‘poppier’ / super eclectic music about the ‘singer-songwriter’ style of guitar house: Al Jarreau, Lewis Taylor, Tania playing as much as jazz. Maria, George Duke, which opened my young ear to jazz music and I presume you compose all your beyond. songs on the guitar? What is your My dad started teaching me drums songwriting process? first at about the age of 8, which I’d For On My Mind and Bloom all the say created some strong rhythmic tracks were written at the guitar. In foundations for my future writing and terms of blurring genre lines (jazz/ guitar playing. Soon after this, I folk/pop/soul) and layering up picked up one of my mum’s guitars. I stringed parts/harmonies, guitar was very into acoustic guitar (Ben consistently gives me the most Howard, Tom Odell) initially, in fact, I inspiration and scope. first found my roots in jazz studying My process normally begins at the
SJM May 2021 29 guitar with chords, riffs, parts or lines ebbs, flows and grows, if that makes followed by or in conjunction with sense. melodies and lyrics. I love to layer my tracks with ukuleles, vocals or If you could choose one song from different guitar textures; I actively Bloom that best defines the sound search for unusual or moving you were going for in this second harmonies and qualities but really album, which one would it be? yes, guitar is the foundation of it all. That’s a difficult question. I tap into lots of different styles and influences Why the nameBloom for on the record, some go the album? off on a ‘folk’ tangent or This project really has a a ‘pop’ tangent more so 'coming of age' feel to it than others - depends on in terms of the the track. musicality, production The intention for Bloom and playing as well as was to blur those lines the songwriting and whilst maintaining the lyrical content. Those consistency of my style three years between 18- and process. In terms of 21 are super formative combining groove, my and they happen to harmonic taste, layering, encompass the period in lyrical content and which I've created this improvising, the first album (I'll be 22 about single Better Days gives the time of release!). I’ve a good snapshot of all of grown in a variety of those. ways. You said to me yourself Can you introduce the the other day how the new tracks musicians you have chosen to sound ‘polished’ in comparison toOn record in the album? My Mind which has a younger, self- Of course! Mostly I worked solely made quality to it, which I like too, as with my band and friends / a totally viable snapshot of my sound colleagues from the Royal Academy. at the time. This album was really a Matt Carter (piano), Seth Tackaberry, journey to solidifying 'my sound', Hugo Piper (bass) and my dad Steve realising what that is, why I write the Taylor (drums, percussion) – I play all way I do and am drawn to certain of the guitars, ukuleles & vocals on sounds and genres, and then doing it the album. with as much intention as I can. I was also fortunate enough to In a similar vein, I'm also collaborate with Snowpoet’s Chris relinquishing a little bit of control this Hyson on two of the tracks; he time in terms of the mixing and brings some very beautiful piano and marketing of the album, working with sonic vibes to the record. a manager and a gradually expanding team to try and get it into as many You were 19 when you released ears as possible. your debut album - On My Mind - to I also think it’s a cool word, a big great feedback. part of my writing is in its What advice would you give to development or ‘growth’, how it other young musicians dreading
SJM May 2021 31 that first release? has a lovely spreadsheet of all the Even if you’re not completely happy rejection comments! I often hate with it, your music is going to be a aspects of the music but with time I much greater asset to you out in the learn to listen to it innocently and world where people can connect with love it again. Playing your music live it, review it, become fans of it, come is also a great way to carry those to gigs based on it etc. etc. tracks/songs forward with you as you Growth is the most normal thing, grow as a musician. I mean, you can accept that you can release also re-record, re-release, re-mix, re- something and learn / master. It’s just part of grow from it and accept the process. that growth is impossible if you do not start What are you listening somewhere. Artists that to at the moment? Any take their earliest new artist you projects down are just recommend to our playing into this toxic, readers? social-media led culture Right now I’m listening to of ‘how it seems’ matters Snowpoet’s latest album most (here’s the best 15 a bunch as well as seconds of my 5 minute Brotherly’sOne Sweet take…), in reality Life and Rickie Lee Jones’ EVERYONE dislikes and Little Dragon’s self- things about their earliest titled projects. releases and EVERYONE In terms of a new artist grows and improves. I’ve been checking out, It is a very real possibility there’s this awesome that you will never be crossover, hard-rock duo 100% happy with the music you called Nova Twins. If you want to release but my advice would be to learn a bit about them, they recorded make peace with that because a Tape Notes podcast, which is a creativity works in damn mysterious conversation about the production ways. and writing process. It’s natural that by the time it comes to releasing something you’ve been Any LIVE DATES on the horizon? sitting on for months you’re already Live dates, yes! The 24th May I’m onto the next sound, you’re already a playing my album launch show at the better player, but that does not Jazz Café as a double headliner with invalidate it; in my experience, that’s awesome trumpeter Jackson Mathod. just your brain messing with you! I Aside from that,Bloom will be suppose I’d ask you to consider what released on June 4th and you can pre- the reasons are for holding back and order vinyl for that now. suggest that you get some objective opinions of people you respect in regard to your release and genuinely https://rosiefratertaylor.com/ listen to them. I am consistently unsure about releasing my music babies into this All photographs by Patricia Pascal harsh industry – my manager even
SJM May 2021 33 Live Stream Review Julian Nicholas by Lisa Wormsley
The Verdict Revival Lockdown Verdict club back in action again, Sessions: Darren Beckett Trio, under the directorship of drummer/ Triptych, Josephine Davies Trio, percussionist Tristan Banks, offering a Quinto regular weekly programme of The Verdict, Brighton ticketed livestream gigs from the roster of locally based, international As live events make a very quality artists who would have filled cautious and conditional return, it back in the long-ago days of there’s still a big hole in the local normal. scene left by the closure of the local First up is the Darren Beckett club circuit. While there’s an Trio, with Belfast-to-NYC-to-Brighton abundance of international livestream drummer Beckett joined by keyboard material available from the likes of supremo Mark Edwards and bassist/ Emmet Cohen, much of it very good composer Terry Pack. All three are indeed, the pandemic has also bandleaders in their own right and highlighted the importance of the operate across a wide range of kind of audience-artist connection genres so it’s no surprise that the that can only really thrive on the programme is as diverse and well- grassroots circuit. It’s therefore very balanced as the trio themselves. The welcome indeed to see Brighton’s set opens with the hypnotic, motorik
34SJM May 2021 pulse of Edwards’No Snow, moves bass and Rob Updegraff on guitar on through the rollicking backbeat of presents an exciting next stage in the Larry Goldings’Solidity and a light- development of her truly original as-air take on We’ll Be Together Again voice. There’s a set of original and thence from Fauré to funk via a compositions by all three members synth-spiced workout onAll Blues, plus some choice standards; the further originals from Charlie Haden delicate melodicism of the writing is and the Cloggz project in which all well suited to the chamber music three participate, and finishes with an ensemble feel, but this is no uplifting Amazing Grace. There’s a lightweight exercise: all sorts of superb level of interplay between all subtle metric shifts and intricate three and the the sound quality really harmonic developments give the allows the subtleties of Beckett’s pieces considerable depth drumming to come through. underneath their placid surface. This Triptych is a trio specially is a powerful display of skill and constituted for this series, showing originality from a group to watch out what an important role the localised for. club circuit plays in the development By contrast, Raoul D’Oliveira and of new material and new projects. Terry Seabrook’s Quinto present a Loose Tuber Julian Nicholas and bass pure feelgood evening of Latin jazz virtuoso Nigel Thomas are joined by favourites, with Tristan multi-tasking the series director Tristan Banks again from behind the kit and latin- himself - as Tristan is also acting as jazz veteran Andres Lafone on bass. cinematographer and sound mixer D’Oliveira is an irrepressible we can only marvel at his range of showman, alternating between accomplishments. The setlist trumpet, flugelhorn and singing, showcases Nicholas’ particular take sometimes all in the same chorus, on the tradition, with material ranging and the rhythm section cooking up a from the classic, format-defining storm. Sonny Rollins (hisBluesongo , spiced There’s a full programme of with congas) to Kenny Garrett’sSing weekly livestreams to come all A Song Of Songs but also through the summer. The live encompassing a riveting free-form broadcasts are all ticketed - an take on the Wesleyan hymnAll important statement that musicians Mankind Shall Dwell In Harmony,a need revenue to survive, and that the soprano-led Irish traditional melody, free livestream or tipping model is and Joe Henderson’s compelling not universally applicable. The return groove workoutTress-cun-deo-la . of The Verdict to its role as a focus Everyone’s playing is on top form, and hub for the local scene, and the with Thomas contributing some fast- musicians and audiences that make it fingered solos and Nicholas’ robust up, is very welcome and deserves all tenor sound and distinctive melodic the support that we can give it. sensibility shown to great advantage in the stripped back setting. Eddie Myer Parliamentary Award winner Josephine Davies is a recent addition to the burgeoning Hastings jazz community, and her trio with fellow residents Ben Somers on double
SJM May 2021 35 Album Reviews years of age, he was part of Michel Petrucciani's ‘Young Lions’ band before going on to play with ensembles led by Brad Mehldau and Lee Konitz, before later splitting his time between performing and teaching at the American School of Modern Music, also based in Paris. Trumpet, guitar and drums may seem a very unlikely trio set-up to many, I can think of no other example, but this one works extremely well. It all starts here with Arbenz/Mehari/Veras the composing, the leader Florian Conversation #1: Condensed Arbenz contributing six of the ten (Hammer Recordings) pieces on the album, all of which have strong melodic themes but at Hard on the heels of the recent the same time are formed to critically acclaimed duo accommodate enough space for album Reflections of the Eternal creative improvisation, which coupled Line by Swiss drummer and with an inbuilt sense of adventure percussionist Florian Arbenz and add up to what this album is all American saxophone legend Greg about. Most of the compositions go Osby comes the first album in an down intriguing pathways, ambitious 12 album project under sometimes stretching the listeners the collective title ofConversation mind, but never becoming a chore which will match the forward looking due to the very relaxed nature of the and dynamic skills of Arbenz with music generally. The original musicians having a similar outlook opener Boarding the Beat, plus a and mindset. He has certainly made tune by the trumpet player Hermon two very fine choices. On trumpet is Mehari, Let's Try This Again, are very Herman Mehari, from the U.S.A. but good examples. Each player has a now living in Paris. On the scene defining role to play on the album since 2007 he can boast two fine with the American trumpet player albums of his own, his excellent precise, articulate and sparing in his debut Bleu in 2017 and the recentA delivery, Nelson Veras with his Change for the Dreamlike. He has Metheny-like magical interludes and also recorded with pianist Aaron the almost overwhelming and Parks on the E.C.M. label and one absorbing variety of the leader's with the up and coming saxophonist drums and percussion, but most Logan Richardson on Blue Note. The importantly all three are in total third member of the trio is the harmony throughout. There are many Brazilian guitarist Nelson Veras, a things to enjoy over the forty two seasoned performer he has appeared minutes of music, but the ‘tribute’ on over fifty recordings to date pieces Vibing with Mr. Feldman including five as a leader. At fourteen and Dedicated to the Quintessence
36SJM May 2021 are among the most striking for their Arvo Pärt and Steve Reich are fine total success in portraying their examples of composers whose subject matter so accurately. In musical genius would change the summary, a very fine recording of course of classical music. Much like creative but accessible contemporary the names mentioned, the title of jazz that has set the bar very high for visionary in the realms of modern the forthcoming albums in the jazz and contemporary music has series. definitely been earned by Swiss pianist and composer Nik Bärtsch Jim Burlong and his groundbreaking work in the fields of modern music. Bärtsch, being a well known name on the Florian Arbenz, drums & percussion; international jazz stage, whether Hermon Mehari, trumpet; Nelson leading his quartet Ronin or the Veras, guitar. ensemble Mobile has for some time now been dazzling listeners with his meditative approach to music and his lengthy spiritual performances. Now, for his latest release entitled Entendre we are treated to a performance of solo piano pieces, a rare feature in Bärtsch’s recording output. Instead of the usual ensemble, the pieces are rearranged and performed to great effect by Bärtsch alone. The pieces which appear on the album all bear Bärtsch’s signature musical approach and sound, made up of a rich mix of groove accompanied by space and deep thought. The term coined by Bärtsch himself for this musical approach to composition and Nik Bärtsch improvisation is Zen Funk or ‘Ritual Entendre Groove music’. This is a style of (ECM) music that delves into the deepest realms of minimalistic simplicity and Every so often an artist emerges the use of space and silence. Much with such a distinct and clear vision like Arvo Pärt and his Tintinnabuli, of what he or she wants to achieve the emphasis lies in the mastery of through their creative output that simplicity. All pieces except the they end up creating something closing track bear no title of entirely new and uniquely their own. significance; like the majority of The names of Charlie Parker, Ornette Bärtsch’s work the tunes are simply Coleman and Charles Mingus would titled Modul followed by a numeral. be just a few of the legendary figures The journey taken through the who, through their musical output, performance of these pieces is changed the world of jazz music. indeed a strong and thoughtful one. Likewise in the field of classical Moments of sheer ecstasy are music the composers Béla Bartók, juxtaposed with romantic melancholic
SJM May 2021 37 motifs that dissolve into long also spent a short time with Art moments of silence broken only by a Blakey's Jazz Messengers and single note or percussive statement recorded five times with Miles Davis from the piano. There is also a real as well as re-kindling his partnership sense of meditative groove laid out with Tyner with whom he made ten in the pieces, especially in the highly successful albums. The opening track Modul 58-12 and saxophonist was at the peak of his others most notablyModul 26 bring powers and popularity during the to mind the piano works of Philip fusion period of the Seventies and Glass with their layered shifting these days shares his time between repetitions. A very exciting release performing, recording and his indeed. Bärtsch is a great example of position as Jazz Professor at Oberlin the high priest of Zen Funk, giving College. us an intimate glimpse into his For this the second album by musical world. Gary Bartz’s new group he has stayed with the rather unusual line- George Richardson up of two multi-instrumentalists, a drummer, plus on some tracks a four Nik Bärtsch, piano. person vocal choir. Adrain Younge, from Los Angeles, is also a composer, arranger, film editor and entertainment industry law professor and partners Ali Shaheed Muhammad, who is a record producer, hip hop DJ and radio show host. Drummer Greg Paul, from Buffalo, is from the acid jazz and funk world and well known for his work with the British artist Kamaal Williams. All eight pieces on the brief twenty seven minute album are co- written by the band members, excluding the leader. The first thing to note across the whole album is that the leader's performance is Gary Bartz superb and takes up the most of the Jazz Is Dead No. 6 playing time on each number. The (Jazz Is Dead Records) sound from his horn is fluid, inventive with a logical and lucid delivery that This is the second release in just sits easily alongside alto giants such over a year from the evergreen as Art Pepper and Cannonball American saxophonist Gary Bartz Adderley in both style and impact. who has recently celebrated his Not far behind is the excellent eightieth birthday. Back in the late performance from drummer Greg Fifties, having studied at The Julliard Paul, whose punctuation behind the Conservatory he was soon part of saxophonist is both inventive and the famous Mingus Jazz Workshop, faultless. The two multi- rubbing shoulders with the likes of instrumentalists make good use of Eric Dolphy and McCoy Tyner. He their vast array of instruments and
38SJM May 2021 create a shifting panorama of sound providing an excellent background that allows both alto and drums the freedom to fully express themselves. Overall, the compositions are both melodic and calming, almost like a sea of tranquillity, from the opener Spiritual Ideation through to the mysterious Blue Jungles to the slightly funky Visions of Love and the strongly themedDay by Day, both of Roy Mor which are given extra atmosphere After The Real Thing from the vocal ensemble. The most (Ubuntu) important question is of course "Does it all work". The answer is a The Israeli jazz scene has for many firm "Yes, it does", partly because it years now been a diverse and has a modernistic sound that should thriving musical scene that has attract both new and seasoned jazz brought forth some of the biggest enthusiasts, but also because the names in modern jazz, with brilliance of the leader’s stunning alto musicians like Avishai Cohen, Omer saxophone is on show from start to Avital, Shai Maestro and Anat Cohen finish. all being household names on the international jazz front. Also hailing Jim Burlong from this rich musical scene is Israeli- New York based pianist and Gary Bartz, alto sax; Adrian Younge composer Rory Mor whose debut and Ali Shaheed Muhammad, piano, release entitled After the Real Thing hammond organ, electric bass, showcases yet another unique talent monophonic synthesizers, mellotron, to emerge from Israel’s music scene. vibes, guitars, flutes, tubular bells, After spending some time in New auto-harp, percussion; Greg Paul, York developing his craft Mor has drums. taken the step of releasing his first Elgin Clark, Anitra Castleberry, Loren album as leader with a lengthy Oden, Saudia Yasmein, vocals. release consisting of eleven recorded pieces. The album definitely shows the diversity of Mor as both composer and arranger, with a mix of original compositions and reworkings of classic jazz standards. The influence of Israeli and Middle Eastern music is deeply felt throughout the album’s duration and the feature of the oud played by Amos Hoffman on multiple tracks does all the more to bring the feeling of Eastern traditions into the music. This, along with Mor and his ensemble's unique sense of rhythm is what really gives the music its own Gary Bartz by Lisa Wormsley
SJM May 2021 39 Roy Mor by Ronen Goldman identifiable sound. The tune playing of standards is also present Jerusalem Mezcla is a particular on the album, most notably his standout track packed with strong arrangement of Miles Davis’s Solar. melodic hooks and a great sense of The performance of this tune is far build and forward motion. Starting from the usual uptempo swing so with a thumping bass introduction familiar to us on the classic 1954 which is quickly joined by piano and recording; instead Mor gives the tune drums before the oud jumps in a complete reworking in his own picking its way around a deep set style and features a soulful solo from melodic motif. The mood is left to Hoffman, this time on the guitar. After simmer for a little while before the The Real Thing is a solid release band kicks it up a gear and goes showing Mor to be a more than straight into another section of the competent composer, arranger and tune, which compared to the more leader. The playing of the group as a refined atmosphere heard before is unit is strong and we look forward to more energetic and carries a feeling hearing more from Mor and his band. of celebration and dance. This uptempo change is only present for a George Richardson short while before the group slides back down to the previous section Roy Mor, piano, Fender Rhodes; Amos which is then used as a vehicle for a Hoffman, oud, guitar; Myles Sloniker, fiery oud solo. The piano has a round bass; Itay Morchi, drums. Guests: of soloing over the dance section Davy Lazar, flugelhorn; Marty Kenney, before the band returns to take the bass; Peter Traunmueller, drums; Joel tune to a slow organic fade out until Kruzic, bass; Jeremy Dutton, drums. only oud and piano are left to strike the last notes. Mor’s approach to the
40SJM May 2021 Listings
Tuesday Evenings at The Brunswick, Three Horseshoes Hove Knockholt, Kent 18th May: Jack Kendon 4tet 18th May: Paul Higgs Qt ‘Shades of 25th May: Will Gardner 4tet Miles’ Doors 7pm Starts 7:30pm Tuesday 25th May: Simon Bates Qt Tickets £10 per person(tables for 2, 4 or Music of Paul Desmond 6) Lunchtime Free entry with donation.
Jazz Brunch at The Brunswick Chiddingstone Castle 22nd May: Sarah Harris Edenbridge, Kent 29th May: Andy Williams & Paul Richards Sunday 30th May: Derek Nash’s Picante Doors 11am £5 per person (tables for 2, 2pm £15 4 or 6)
Emergence 2021 Rye Creative Centre Claire Martin & Nikki Iles De La Warr Pavillion, Bexhill th 27th - 30th May Friday 28 May Resonate, Spielzeug, Hexagonal, Ill Doors 7pm Concert 7:30am £40 Considered, Steam Down, Yadasofi, Mrisi, Laughta, Queenie, Lioness Tickets £5-£15 Festival Pass £40
Live Streams
Lockdown Sessions Live From The Verdict Tickets £8 Details at https://verdictjazz.co.uk Friday 7th May, 8.30pm Greg Heath / Nick Meier Quartet Friday 14th May, 8.30pm Paul Booth / Ross Stanley / Tristan Banks Friday 21st May, 8:30pm Ahmed/Darwish/Osborn/Rahman
More details of performances and live streams can be found on our listings page: www.sussexjazzmag.com/listings
Details are assumed to be correct at the time of publication.
SJM May 2021 41 Jazz Essentials
Oscar Peterson Trio Night Train (Verve)
I must be honest and admit that I don’t like the music of pianist Oscar Peterson. Too many notes, and all of them in the right order, as Eric Morecambe did not quite say about André Preview. To me his playing is too facile, too easy on the ear. True, he swings like hell and has a wonderful way with melody, but because it all sounds so effortless, it also sounds too glib. Which makes Night Train an exception to my own rule, which I am more than happy to break on this occasion. Montreal-born Peterson – a rare way. The title track, in reality a Duke Canadian in modern jazz – began his Ellington song named Happy-Go- recording career in 1945 and was Lucky Local – is a minimal vamp over highly regarded when, in December an ever-so-slow walking bass, while 1962, he took his regular trio of Ray Hoagy Carmichael’s Georgia On My Brown on bass and Ed Thigpen on Mind finds Peterson in contemplative drums into a Hollywood studio to mood, as he also is on Milt Jackson’s record Night Train. The producer was Bag’s Groove and on Mercer the famed Norman Granz, former Ellington’s Things Ain’t What They owner of Verve Records who was Used To Be, where Ray Brown evokes now Peterson’s manager. It was his the original bass line of bass legend decision to keep each track to Jimmy Blanton. C-Jam Blues is more around three minutes to ensure radio effusive, The Honeydripper a fast- play. Peterson’s own father had been tempo r’n’b number, but whatever the a sleeping-car attendant on the song, Peterson is restraint Canadian Pacific Railway – the album personified, sounding more like the is dedicated to him – butNight Train minimalist Count Basie than the over- is decidedly not a concept album. indulgent Art Tatum he usually Rather, it is a well-planned suite of became. And it is this sense of calm eleven well-known songs, plus six and quiet attention that wins the day. alternatives and unreleased songs on I still don’t like Peterson, but I the remastered reissue, that together can’t recommend this album highly made up a perfectly structured enough. album. Every song is played by Peterson Simon Adams in an uncharacteristically reserved
42SJM May 2021 Sussex Jazz Magazine is a monthly magazine that covers jazz across the South Coast region. Sussex Jazz Magazine
Issue 112 May 2021
Editor Charlie Anderson
Sub-Editor & Photography Lisa Wormsley
Sign up to our free monthly newsletter: Contributors https://www.sussexjazzmag.com/signup Simon Adams Charlie Anderson Anya Arnold Peter Batten Patrick Billingham Jim Burlong Sam Carelse Eddie Myer Patricia Pascal George Richardson Gina Southgate Simon Spillett To subscribe to SJM: Lisa Wormsley https://www.sussexjazzmag.com/subscribe
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