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Home , Andy Sheppard, Art Baron, Danny Moss, Dave Bailey (musician), Frank Haynes (musician), Grieves

THE RAG

ISSUE 137 SUMMER 2015 UK £3.25 CONTENTS

LEROY JONES (PAGE 8) THE TRUMPETER PREPARES FOR A MAJOR UK TOUR IN OCTOBER AND NOVEMBER, ALSO FEATURING JOE STILGOE AND IAN SHAW

4 NEWS

6 UPCOMING EVENTS

7 LAWRENCES' JAZZ WEEKENDS

11 THE SURPRISING MELODY GARDOT

12 VISITING EUROPEAN MUSICIANS AT THE FESTIVAL

14 CLUB 90 REVISITED

Photo by Katja Toivola 15 KEEP ON KEEPIN' ON SUBSCRIBE TO THE JAZZ RAG WILLARD MANUS ON FILM

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THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 NO TITLEY, BUT SPIRIT LIVES ON Fax: 0121 454 9996 When it first started, Titley Jazz Festival was seen as a successor to the sadly-missed Appleby Jazz Email: [email protected] Festival. Now Titley has ceased to be, but the spirit lives on. In the introduction to the new Web: www.jazzrag.com Llandudno Jazz Festival’s website, the festival is proud to put itself in the direct line from Appleby and Titley. Publisher / editor: Jim Simpson The new festival (July 24-26) in a marquee in Bodafon Fields fills three days from midday to News / features: Ron Simpson nearly midnight with single-set concerts by 40 of the top British musicians. Themed concerts pay Reviews editor: Russell Fletcher tribute to , George Shearing, , ’s Jazz Messengers International editor: Yue Yang and the Ernie Wilkins . As always the list of musicians serves as a reminder of the quality Commercial Director: Tim Jennings on today’s scene: a random selection includes Peter King, Dave O’Higgins, Denys Subscriptions & accounts: Russell Fletcher Baptiste, Anita Wardell, , Alan Barnes, Mark Nightingale, Steve Brown, Jamie Designed by Nerys James Brownfield and Andy Cleyndert. Printed by Warwick Printing As well as the intensive programme on the Main Stage, Fringe events around the town of www.warwickprinting.co.uk Llandudno feature the Big Chris Barber Band and the Quartet among others. © 2013 THE JAZZ RAG. All original material including advertising artwork remains the sole copyright of the Publisher and may not be Tel.: 01492 872000 reproduced without permission www.llandudnojazzfestival.com

THE JAZZ RAG 3 NEWS NEWS

JAZZ AT THE bands fill the rest of July and Jean Toussaint AT the Band names as Kurt Elling, Cassandra 80 IS JUST A NUMBER... CONCORDE August: John Maddocks’ Jazzmen THE FESTIVALS (20). The Watermill is looking Wilson, the Average White Band , who celebrated (July19), Muskrat Ramblers (26), forward to September 10 when and James Farm. Singers figure Wednesday Jazz at Eastleigh’s July sees King Pleasure and the his 80th birthday last December, Westside Syncopators (Aug. 2), the club room will accommodate largely, with Melody Gardot at Concorde Club is a little Biscuit Boys at the Ascona Jazz is returning to a classic jazz piano Cuff Billett’s New Europa Jazz two grand pianos for solo/duo the Royal Festival Hall and Cecile irregular in the Summer months. Festival in Switzerland (3-5), trio with and Trevor Band (9), Bob Dwyer’s Bix and performances from Gwilym McLorin Salvant and Juliet Kelly, On July 8 the Main Club session followed by the Birmingham Jazz Tomkins. As leader and sideman Pieces (16), Brian White’s French both at the Cadogan Hall. Also is replaced by free admission jazz and Festival (9) and the Simcock and Michael Wollny. Free Critch has played with a Who's Quarter All Stars (23) and the announced (among many others) in the Moldy Fig with Dave Truck Festival, Steventon (17), entry jam sessions are on the Who of the finest British players, Solent City Jazzmen (30). are Maceo Parker, the Steve Shepherd and Paul Francis, then followed in August by the Y Not afternoons of July 5 and August 2. notably with whom Tel.: 023 8061 3989 Gadd Band and Andy Sheppard. on July 29, August 26 and Festival in Matlock (2) and Silda Tel.: 07415 815784 he worked for 16 years, and an www.theconcordeclub.com Alex Webb’s theatrical September 3 there is no jazz. In Jazz Festival in Norway (6-9). An www.watermilljazz.co.uk impressive roster of trans- presentation of the songs of Billy between, however, there is plenty earlier visit to Norway takes the Atlantic stars, such as , JURASSIC JAZZ Strayhorn, Lush Life , unites singers of good music. On July 15 the 19- band to Havly Pensjonat and Cafe EFG LONDON JAZZ , Bud Shank, Michael Swanage Jazz Festival (July 10-12) piece Bratislava Hot Serenaders David McAlmont and Allan Harris Brecker, Joe Henderson and many bills itself as ‘great jazz on the in Bremanger (July 12-13). Other FESTIVAL hold the floor, followed by the with the Frank Griffith Festival more. Now, as well as his many beautiful Jurassic Coast’ and once Summer dates include Woking Bateman Brothers’ Tribute to the The EFG London Jazz Festival Tentet. other commitments, he looks to again has an impressive line-up Park (July 11 - lunch-time), Astor All Stars with (November 13-22) has just www.efglondonjazzfestival.org.uk pay tribute to the great jazz for a Summer weekend. A mere Theatre, Deal (11 - evening), Maggie Reeday (22). August announced a second wave of piano stylists. sample comes up with the names Walsall Arboretum (19), St. brings the Dutch Swing College bookings to add to such big www.johncritchinson.com of Keith Nichols’ Blue Devils, the George’s Guildhall, Kings Lynn Band (5), the Kourosh Kanani Laurie Chescoe Reunion Band, (24), Lynton Town Hall (31) and Quartet (12) and a celebration of Martin Litton’s Red Hot Peppers, the Lowry, Salford (Aug. 11). the 45th Anniversary of the the Hot Jazz Alliance, Ben Holder, Tel.: 0121 454 7020 Concorde (19). On its opening in Spats Langham, the www.kingpleasureandthebiscuitboys.com Stoneham Lane the club featured Dynasty Octet, Alan Barnes Reed the Band. In this Breed Octet, Jean Toussaint, Art 40 YEARS OF NORTH celebration a top-class band plays Blakey Project and Karen Sharp- in a similar style: Rico Tomasso, SEA JAZZ Robert Fowler Quintet Plays Al Roy Williams, Julian Marc Stringle, The first North Sea Jazz Festival and Zoot. bands and musicians of a Huggett’s Band of Gold with Jim Martin Litton, Dave Green and included performances from such Tel.: 01929 422215 generally traditional persuasion. Fryer, Men Behaving Tradly, Reeds . Meanwhile Sunday jazz legends as , www.swanagejazz.org Some of the names featured this United and the Remi Harris Trio Jazz is pretty much undisturbed, year are Bob Dwyer’s Bix and with John Hallam. and . though on July 12 Fanfare for the BUDE JAZZ Pieces, Dave Stradwick’s Sussex Tel.: 01288 355694 Sadly these are no longer with Few, an all-afternoon show with Jazz Kings, Digby Fairweather’s www.jazzfestivalbude.co.uk us, but for this year’s 40th festival Swing Unlimited Big Band, takes Bude Jazz 2015 (September 1-4) Half Dozen, Jeff Barnhart's St. (July 10-12) five artists from the over. Regular traditional-style has the usual packed line-up of Austell Tribute Jazz Band, Jeremy first festival return to Rotterdam as part of the Founding Fathers of ’76 series. Drummer Han Bennick played on the opening day of the first festival and pianist Randy Weston, alto saxophonist , saxophonist Hans Dulfer and drummer John Engels also took part in 1976. In 2015 they share the headlines with Melody Gardot, , , Joshua Redman, Marcus Miller, Terence Blanchard, Jamie Cullum, Dianne Reeves, Roy Hargrove and many others. www.northseajazz.com/en/

SAME VENUE, NEW NAME FOR THE WATERMILL Watermill Jazz at Dorking continues in the same venue, now re-christened the Aviva Sports and Social Club following the merger between Aviva and Friends Life. The Julian Arguelles Septet plays the club on July 9, followed by the Organ Trio (16), the Mark Nightingale/Ben Castle Quintet (23) and the Brandon Allen Quartet (30). August gigs arranged so far feature the Man Overboard Quintet led by violinist Thomas Gould (13) and 4 THE JAZZ RAG THE JAZZ RAG 5 UPCOMING EVENTS UPCOMING EVENTS

Robert Glasper UPCOMING In association with the City of John Hallam THE LAWRENCES’ JAZZ WEEKENDS 1990-2015 EVENTS London Festival, the Royal July 17 at the Mercure Whately Hall Hotel in Banbury sees the final Exchange, a historic building full event in one of the longest-running and successful enterprises in of luxury boutiques and British traditional jazz: the Denise and Tony Lawrence Jazz The Robert Glasper Trio has a restaurants, is staging a series of Weekends. Starting in 1990, the Lawrences’ jazz weekends built up short tour of the UK in August jazz performances by up-and- in number to 20 a year by the late 1990s and remained consistently with the slogan, ‘The next coming singers from July 6 to 10. at 12 or more annually and, as Tony pointed out in mid-June, the last experiment is a return to jazz.’ The event, supported by Jazz FM, two weekends were sold out in advance. Glasper is joined by bassist features singers such as Jonathan Vicente Archer and drummer Carr, Emily Dankworth, Noemi So the decision to retire from festival organisation and jazz in Damion Reed for concerts at the Nuti, Claire Phoenix and Jess general has nothing to do with dwindling support. One reason is Manchester Jazz Festival (8), Radcliffe. (9), simply feeling that this is the right time, a wish not to go on too long (Tony hints that some jazzmen do, but is too polite to name Edinburgh International Festival Graham Brook’s Tuesday Jazz and names!) and above all the feeling that 25 years of booking bands, (10) and Ronnie Scott’s as part of Swing at Wilmslow Conservative negotiating with hotels, driving all over the country and loading and the International Piano Trio Club continues on July 7 with unloading PA systems is enough for anyone! Also it has become Festival (12-14). Mike Hall and the Andrzej harder to present events that have an individual character when, www.serious.org.uk/robertglasper Baranek Trio. Then the Vinnie these days, jazz musicians are more likely to play in several bands. Parker Trio accompanies two Abersoch Jazz Weekend The Lawrences have tried hard for variety in their jazz weekends: pairs of top saxophonists: Alan (September 25-27) at the South not easy when the musicians you associate with Band A show up Barnes and Greg Abate (14) and Caernarvonshire Yacht Club with Band B! Tony also sees a problem that young musicians, good Amy Roberts and John Hallam features, among others, the Amy players as they are, do not bring their own audience, with the ageing (21). After the Brownfield Byrne Roberts and Richard Exall demographic of the public for traditional jazz (and possibly all jazz). Quintet (28), September brings Quintet, Kevin Grenfell’s Tom Kincaid solo (4), Paul Sawtell International Jazz Giants with On the other hand Tony has nothing but praise for the bands he with the Andrzej Baranek Trio Paul Harrison, Martin Bennett’s and Denise have booked over the years. 400 or so festivals each (11) and John Hallam/the Masked Old Green River Band and a involving an average of three other bands means that they have Jazzman/Tom Kincaid Trio (18). Gospel Service led by Canon booked well over 1000 bands - and he is astonished and proud that Over at Cheadle Hulme Ron Cassidy with the Pwllheli no band has ever showed up late! Conservative Club the Sinatra Band and Marcia Pendlebury. Swingers are joined by guest Tel.: 01758 712929 Tony is insistent that he and Denise have been very lucky, having singers Loretta Scott (August 6) travelled the world playing jazz. Some of us would ascribe it more and Rosie Harrison (September Folkestone Jazz Club at the weeks are the club’s special to their hard work and disciplined approach, but he tells the story 3). Tower Theatre, Shorncliffe, has a summer events. On Saturday July of their start in jazz where luck certainly stepped in. He was a Tel.: 01625 528336 fine programme for July and 18 Jazz on a Summer’s Evening pharmacist and read in a trade magazine of a major company August: Quintet sees the club decamp to wishing to recruit musicians for a traditional jazz band. The editor of (July 7), Digby Fairweather/Julian Buckland Abbey for jazz from the magazine was Denise not-yet-Lawrence. The result was that Marc Stringle (16), the Tony Kofi 6.00 to 11.00, plus a Hog Roast Tony and Denise met and got married as well as touring such exotic Quartet (23), Rachael Hutchings and assorted refreshments. The locations as Malta, Hawaii and Hong Kong with the Apothecaries of with the Cliff Hall Trio (30), Theo jazz is provided by John Jazz, sponsored by Winpharm. Travis Quartet (Aug. 6), Nigel Maddocks’ Jazzmen and Richard Price Trio (13), Dave Barry Leach’s 7 Stars of Jazz. Then, on Over 30 years of running their own band began with the Storeyville Quartet (20) and the Craig the early evening of August 16, Tickle and the Reading Jazz Club, playing with fine guest stars such Milverton Quartet (25). the Riverboat Shuffle up the as Alan Elsdon, Bruce Turner, Johnny van Derrick, Roy Williams and Tel.: 01303 277175 River Tamar has music, Digby Fairweather. Then came the jazz weekends. At one time many appropriately enough, from the were under the aegis of Warners which involved lunch-time and Hull Truck Theatre starts its Jazz Tamar Jazz Band led by Malcolm evening sessions, but, since those ended some 10 years ago, the Festival on July 23 with the New Hurrell. Lawrences have happily settled for the upmarket end of jazz York Brass Band and finishes on Tel.: 01752 721179 weekends, with 4-star hotels and a relaxing time-table - at least for July 26 with the Zoe Gilby www.plymouth-jazz-club.org.uk the guests! Quintet and the Jazz Festival Brunch. In between are Tipitina can be heard at the And now, they reckon, it’s time to go out on a high, with sell-out performances by Clare Teal and Mockingbird as part of the weekends and a band Tony describes as the best they have had. her Trio with the songs of Doris Birmingham Jazz and Blues Day, A Love Supreme with Gary Festival (July 9), Roa Island Jazz Crosby and Denys Baptiste, and Club (11) and Otterton Mill, Jazz events at the Stables, The next dates on Lady Sings the A Dread Supreme. Budleigh Salterton (August 20). Wavendon, include the Dutch Blues ’ celebration of Billie Tel.: 01482 323638 Tel.: 0121 454 7020 Swing College Band (July 11), Alec Holiday’s centenary, with Val www.hulltruck.co.uk Dankworth’s Spanish Accents Wiseman and an all-star sextet, Serious brings star bassist Marcus featuring Emily Dankworth and are at Burton Agnes Jazz Festival In July and August Plymouth Jazz Miller to the UK for a major tour Jesus Olmedo (16), Ginger (July 4), Birmingham Library Club holds only two of its regular in October: Liverpool Baker’s Jazz Confusion (August Studio Theatre (10) and the Tivoli fortnightly Sunday evening Philharmonic (19), the Sage 30), the Big Chris Barber Band Theatre, Wimborne (24). sessions in the Royal British Gateshead (20), Usher Hall, (September 3), Juliet Kelly (15), Tel.: 0121 454 7020 Legion Club, Crownhill: Jazz Edinburgh (22), Bridgewater Hall, Martin Taylor (16) and 100 Years Company with veteran Plymouth Manchester (23), Cork Jazz of Jazz in 99 Minutes with a saxophonist Terry Sloggett (July Festival (24), the Barbican, sextet including Enrico Tomasso, 5) and John Hallam and John London (26), the Corn Exchange, Pete Long and Richard Pite (20). Wurr with the Craig Milverton Cambridge (27) and Birmingham Tel.: 01908 280800 Trio (August 2). Replacing the Town Hall (28). www.stables.org normal sessions in the other two www.serious.org.uk 6 THE JAZZ RAG THE JAZZ RAG 7 – KEEPER OF THE FLAME LEROY JONES – KEEPER OF THE FLAME

stimulated my spirit even before I Carmouche, who also employed LEROY JONES – KEEPER OF THE FLAME picked up a musical instrument. the services of one of the real old-time pianists, Frank Moliere The New Orleans trumpeter looks forward to his October/November tour of the UK During my first years of aka Lil' Daddy. I learned so much, playing the cornet, later trumpet, greatly increasing my repertoire with Joe Stilgoe and Ian Shaw. I had private lessons every during my stint with Hollis and be standing near the bus, chatting Is the line-up for the band Saturday. Back then the cost was Lil' Daddy from 1978 through with our road manager, Jack finalised? $10, sometimes $15 an hour, 1980. That was also when I began Hylen and trumpeter Jeremy which my parents gladly paid, as to sing. Lil' Daddy would sing a Davenport, when Russell walks Yes! The band personnel is they have always supported my few songs. But aside from that, I up to us, interrupting the finalized. And I'm excited to be decision to be a musician and was the only other vocalist in the conversation with a look on his accompanied by some of the performing artist. And they still band. face as if he'd seen a ghost. finest young British musicians on come out to hear me perform, as Suddenly he fell to the ground, on the scene, like the great often as possible. I did a two year tenure with the Joe Stilgoe his back, flopping around like a percussionist Pedro Segundo, Repertory Jazz But the first live jazz I was Ensemble from 1980 through cockroach that's been hit with who has recently been on tour Freddie Kholman, Ernest Elly, whose names escape me. Some exposed to came via the New 1982, making my first trip to some bug spray, eyes rolling to with Bryan Ferry. Completing the James Black, Idris Mohammed, of New Orleans trumpet greats Orleans brass bands, the with them, to France the white part and foam oozing stellar lineup are guitarist David from generations before my time Joseph ‘Smokey’ Johnson, Earl Preservation Hall and jazz clubs during May of '82. I formed my out the side of his mouth. Jeremy Archer, contra bassist Fergus were Louis Armstrong, Al Hirt, Palmer, Bob French, Zigaboo along . own band, which was a quintet, became quite visibly frightened Ireland and Finnish born , Melvin Modeliste, Johnny Vidacovich, called New Orleans' Finest and for him, as Jack and I were trombonist, Katja Toivola. Lastie, Ernest Cagnolatti, Clyde Stanton Moore, , That would be late 1960s, I from 1980-85 we performed at shocked and somewhat worried Kerr Jr., Porgy Jones, Theodore Herlin Riley and Gerald French, guess, so how many of the all the famous jazz clubs on ourselves. We thought he might What can British audiences ‘Teddy’ Riley, Emory Thompson – to name a few. I remember when old-time musicians were still Bourbon Street in New Orleans. be having a seizure. Just as Jack expect from you, Joe, Ian and aka Umar Sharif, Joe Newman, I first took up a musical active? In November of 1982, I travelled was about to call for paramedics, the band? Milton Batiste and Connie Jones. instrument, in school band, the to the Netherlands for a three Russell popped up from his back, majority of the other children Yes, late 1960s, early '70s. Many of week stay performing in almost as quickly as he went The audiences can expect this: What was the first jazz you picked either the cornet or the old-time musicians from New Amsterdam and Gouda with my down, straightened himself up, The concerts will probably open remember hearing? drums. With all due respect to Orleans were still active, like the quintet. That group comprised pointing his finger at us, chuckling with the quintet performing that popular upper brass original members of the Edward Frank on piano, Walter and saying, ‘Got ya.’ Well you you some New Orleans instrumental The first jazz I remember hearing instrument, ultimately drums and Brass Band, Onward Brass Band, Payton bass, Shannon Powell can imagine we didn't find it that traditional jazz standards and was via LPs and a few 78s my rhythm remain synonymous with Young , Floyd drums, on funny initially. I think Jeremy really some with vocals from yours parents had and played on New Orleans. Ankle's Majestic Brass Band, the trombone and myself. almost had a heart attack. truly, with also the possibility of a phonograph; the music of Louis Excelsior Brass Band, Kid Thomas Armstrong, the Olympia Brass Afterwards he told us he had couple of original compositions Where do you place yourself Valentine, Louis Albert Cottrell Southeast Asia was my base from Band, , Freddie placed a couple of Alka-Seltzer and a few mainstream standards. in the New Orleans trumpet Jr., Sweet Emma Barrett, Willie July 1985-88 with Trevor Hubbard, Shorty Rogers, Al Hirt tablets underneath his tongue At some point before midway tradition? and , Alvin Richard's Camellia Jazz Band, and Billy Butterfield. just before approaching us. It was into the concert, Joe and/or Ian Alcorn, Kid Sheik Cola, Jack spending a year in residence at a This is a major tour. Is this trombonist Lucien Barbarin an exceptional performance! will be introduced and probably To answer that question Willis, Waldren ‘Frog’ Joseph, five star hotel in Singapore. We My folks had an old stereo in our your first tour of the UK on center stage to give the audience perform a couple of numbers on unabashed, I would say that I am Dave ‘Fat Man’ Williams, Frank also performed in Malaysia, Hong garage that they had passed on to this scale? an interlude, a bit of old New Partnering you with Joe their own with the band, a jazz trumpeter with one foot in ‘Lil' Daddy’ Moliere, Edward Kong, Taiwan, Thailand, Indonesia, me, where I would practise. Every Orleans, with classic tunes like St. Stilgoe and Ian Shaw is concluding with a tune where I the past, one in the present and Frank, Albert ‘June’ Gardner and Borneo, Korea and the weekday, when I came home Actually, the first tour I've ever James Infirmary and Basin Street certainly interesting. I guess will join them. They exit, the stepping towards the future as an of course , to Philippines. from school, during the late done on this scale of the UK was Blues , the crowd went wild. this owes something to your quintet plays a couple more inspiration for the next mention a few. afternoon, my usual routine was in 1994, with my quintet, as the success with Harry Connick. selections, then concluding with generation of trumpet players The end of the 80s brought me to do my homework, then hit the opening act for Harry Connick I had also toured the UK earlier, Who had the idea originally? an encore number, Joe and/or Ian from New Orleans, just as I was I even had the opportunity to back home, once again to work garage with my horn and Jr's She Tour. Practically all the with Harry, when he was strictly joining in, on perhaps something inspired by the generation and play with some of them. When I the Bourbon Street circuit and woodshed for a couple hours concerts were performed before doing the big band thing, circa This definitely owes something to like When The Saints Go Marching the tradition before me. I've been was 18 years old, drummer June get my foot into the door at until dinner time. After the meal a capacity audience. We played 1990-93. Of course I was in the my success with HCJ. Not to In . described as a ‘keeper of the Gardner was the first one to let Preservation Hall. Percy and his with the family I'd practise some London, Birmingham, Liverpool, trumpet section, surrounded by mention, Joe and Ian are flame’, even ‘legendary’. It's nice me sit in with his jazz band brother were more, until my mom called me in Newcastle, Manchester, 16 other talented young household names in the UK. It's Writing about the French to be a considered a legend while where they performed at a club very kind to me and from the to get ready for bed and the next Nottingham and Brighton. I think musicians from New Orleans and great to extend the New Orleans Quarter Festival, one of our you're still alive! Although I prefer on Bourbon Street called La encouragement of Bob French, day. I would practise four, my favourite venue was the Royal various other parts of the US. I tradition to Britain and to do it contributors, Peter Vacher, leaving the placement stuff, etc., Strada. He was always would let me sit in with the band sometimes five hours a day. Albert Hall, in London. What was must share with you one of the with British musicians. I admire referring to yourself and to the critics. encouraging and unselfishly sometimes. Eventually I became a interesting though, is that my funniest moments I can their music and Joe and Ian are other musicians, said that promoted young talent like regular on Wednesday and My practice regimen consisted of quintet seemed to have been remember when we were on the huge fans of mine. The credit for New Orleans has always Who are the New Orleans myself and trombonist Lucien Saturday nights, doing most of technical exercises from the more appreciated than the main road. the idea of this collaboration and been a trumpet town. trumpet greats in your Barbarin. During that same time I the solo work, as Mr. Percy was Arban method book as well as act. Harry had recently switched tour concept goes to Alexander Do you agree? opinion? also got to meet and hear a great at a stage and age where he music for school band ensemble gears, recording and touring Whenever we tour domestically, Fane, of Fane Management. I'm pianist named Edward Frank, who wasn't blowing the horn so and solo recitals. I would music outside of his jazz routes. we travel via tour bus. The same delighted to have recently signed I agree. New Orleans has always In my opinion the current New performed nightly at a joint next much. This was more education juxtapose this with listening to His album She consists of original held for the European legs, after with this UK based artist been considered a trumpet town. Orleans trumpet greats are door to the La Strada, called for me! After the Humphrey and playing along with those LPs material, more along a New crossing the big pond by air. It's management company. That legacy dates back to the , Terence Mama Mia's. Ed would later brothers passed away I took over and 78s, trying to and most times Orleans funk, soul and R&B early on, during our first run beginning of the 20th century, Blanchard, , become a great musical influence the band leader's duties at the successfully emulating my nature. Most of the audience was through the US and everyone is Do you know yet what form from Buddy Bolden, to Joe 'King' Gregg Stafford, Dalton Rousseau, and perform with me on my Hall and have been a regular trumpet mentors, as I seem to expecting the style of music just getting to know each other. the concerts will take? Oliver, to Bunk Johnson, to Louis , Leon ‘Kid debut album, Mo' Cream From The fixture there once a week with have always possessed an acute where he gained his popularity, a Armstrong, to Wynton Marsalis, Chocolate’ Brown, Tracy Griffin, Crop . my own six piece band since the ear for music. Back then Louis swing, à la Sinatra musical genre. One late afternoon, before Most likely the form of the to yours truly, to , David Decuir, Michael ‘Patches’ early 90s. Best of all, I've always Armstrong's sound was the most My ensemble provided more of heading to the venue for sound concerts will be Leroy Jones several between and to follow. Stewart, Troy ‘Trombone Shorty’ In 1978 I landed my first steady had the liberty to continue going accessible for me. He is my what they desired. Although, check, guitarist Russell Malone Quintet, special guests, LJQ, a But I must say that New Orleans Andrews, Kevin Louis, Glenn Hall, gig at the Maison Bourbon, out on the road and returning to foremost mentor. The sound of whenever Harry would change pulled a prank I'll never forget. finale number with special guests. has also been a drummer town, John Michael Bradford and other another jazz club on the strip, my seat at the historical music his trumpet saturated my ear and the mode and bring me and This particular day I happened to when you consider Baby Dodds, young up and coming talent where I met clarinetist Hollis venue. This panned out perfectly, 8 THE JAZZ RAG THE JAZZ RAG 9 LEROY JONES – KEEPER OF THE FLAME THE SURPRISING MELODY GARDOT

for I joined Harry Connick Jr's the streets we would blow like a Are you still New Orleans- Up to now what do you rate orchestra in June of 1990 and storm. By 1977 some of the based? your most successful album? THE SURPRISING MELODY GARDOT periodically over the next Hurricane band's personnel went seventeen years would tour the on to become founders and core Yes. I reside in the historic Up to now I think the album I’d On Spring Bank Holiday Monday hundreds of reproduction bank notes were released from a and abroad. members of the Dirty Dozen Faubourg Tremé with my wife, rate my most successful is roof top in Carnaby Street, London. RON SIMPSON explains their part in the always Brass Band. Katja, and our miniature Sweeter than a Summer Breeze . It Did you listen to many of You have worked with an schnauzer, Tipitina. was my fifth self-produced, surprising career of singer/songwriter/guitarist/pianist MELODY GARDOT. them on record? astonishing range of New independent release in 2009. Orleans musicians: from What sort of a touring rock/blues/country session bed wanting nothing more than Although the albums that put me Back then the only ones from Danny Barker to Harry schedule do you have? players, she plays both guitar and to be able to get up and run, the on the map were Mo’ Cream From that lot I really listened to on Connick. piano. harsh reality of realising I was The Crop , released under recording were the Olympia What have been the In recent years I haven't been on disabled and the eventual grace CBS/Sony Music Inc. in 1994 and Brass Band, Young Tuxedo Brass highlights for you? the road a whole lot. But I usually No wonder Melody Gardot is an and understanding that came Props for Pops in 1996. Band and Louis Cottrell Jr. with have some dates during the ardent, and vocal, advocate of the with time.’ Avery ‘Kid’ Howard's jazz band. I reckon the highlights thus far summer either with my benefits of music therapy! have been getting an opportunity trombone-playing wife’s band in www.leroyjonesuktour.com The songs are astonishing for a You started playing in public to experience the life of a Finland or as a guest in Southern The next remarkable 20-year-old who had turned to development in the life of Melody (even, I think, leading a band) musician, an artist, at an early age Europe with other musical composing as a therapy in her SEE LEROY Gardot was the release of the at a very early age. How did and travel the world, making a associates. I’ve also been making hospital bed. The title song takes that happen? living doing what I enjoy; meeting, AT RNCM album, , in 2006. annual appearances with my own us into blues-styled territory, collaborating with other aggregation in South America, Fane Management has kindly Things happened at speed and by with Dave Posmontier’s piano Well, I first got to play in public musicians and bringing a lot of joy specifically . They love the provided ONE PAIR of tickets for 2005 – a mere two years after and Joel Bryant’s Hammond via the band program at St. Leo to the listening public. music from New Orleans down Leroy Jones at the Royal the accident – she was recording setting the mood for Melody’s the Great Elementary School, there. Although, this summer I Northern College of Music on the songs, all her own entry, a light voice, but with the between 1968-69, at the age of I never actually played with will make a 4 week run through November 11th for a reader compositions, which became an melancholy and latent power of 10. But my first professional or Danny Barker's band. Although parts of the US with Harry answering the following question independently issued album which was then taken up by blues. Loss and melancholy are ‘paying’ gig was at the Louisiana occasionally he did join in on his Connick Jr. When I’m home, in and posting his/her answer to Jazz & Heritage Fair during the six string banjo with us at some Verve in 2008. The result: an there, but so are a chirpy New Orleans, I’ve a steady gig at Leroy Jones Competition, P.O. spring of 1971, with the Fairview of the Fairview band instant world-wide success. 1920s/1930s vibe to All that I Preservation Hall and perform at Box 944, Edgbaston, Birmingham, Baptist Church Christian engagements. While in Vancouver, other local music venues. Though it made less impact in need is Love and a good-time B16 8UT, or emailing Marching Band, later to be known BC, towards the end of the the UK than her later albums, country feel with David Mowry’s [email protected] by as the Fairview Brass Band. The summer of '83, I had the pleasure Do you have any recording reaching Number 8 in France and dobro and Melody’s guitar on September 1st. following year the Heritage Fair’s of a two week run with Eddie project planned? going gold in hinted at Sweet Memory . title was changed to the New ‘Cleanhead’ Vinson in Gastown at The bank notes (which Melody’s November 2003 changed her life. the beginning of a major Which band, led by Percy and PR people hastened to explain While cycling, she was struck by Orleans Jazz & Heritage Festival the Anchor music club. Those I have plans to go into the studio international career. My One and But with Melody Gardot it’s as Willie Humphrey in the 1970s were biodegradable!) bore her a car whose driver had run a red and relocated to a larger venue days Mr. Vinson sang more. But and produce my next solo Only Thrill (2009) hit Number 1 in well to expect the unexpected. and later, at different times, by image and could easily be light and suffered severe head at the Fairgrounds. when he'd bring his alto recording at some point before Sweden, Number 2 in Norway For instance, on The Absence , dismissed as a mere publicity and spinal injuries as a result of and Number 4 in both France saxophone to his lips, his sound the end of 2015. It will be the Brunious brothers, has produced by Heitor Pereira with stunt for her latest CD, Currency which she was confined to her and Germany, while The Absence The band was a group of was sweet and his swing another independent release, featured Leroy plus various of his a luxurious string section, Latin adolescents brought together by impeccable. of Man , reviewed in Jazz Rag 136 hospital bed for a year. (2012) peaked at Number 1 in with assistance from Threadhead musical associates such as Lucien sounds and a certain exoticism Danny Barker at the request of and available on Decca from June Norway and Number 3 in Records. Barbarin and Shannon Powell? take over, though the songs his pastor Rev. Andrew Darby of The World Exposition was held 1. And no doubt she was happy But this is not just a story of a Sweden and France. remain authentically Gardot. the Fairview Baptist Church in in New Orleans in 1984. A brand LEROY JONES TOUR DATES to draw attention to the CD and brave teenager rising above her appearance the following frightful injuries; it actually shaped 1970. Mr. Barker and his wife Blue new Inter-Continental Hotel 23rd – 27th October Pizza Express Dean Street, London The idealism that characterises evening on Later with Jools her career. She was afflicted with That has all changed with Lu were members of the church opened on St. Charles Avenue, *Ian Shaw on 27th only Melody’s work is there in her Holland . However, the notes also memory loss and difficulty with . The sound is and lived in the neighbourhood featuring live jazz in one of its *No Joe Stilgoe for Pizza Express dates very personal notes to Worrisome around the corner from where I venues called Pete's Pub. I landed related to the philosophical basis speech, so an attending physician Heart : ‘My only intention..was to decidedly heavier, less elaborate, for Currency of Man : blank suggested that music might help lived, grew up and had my start the gig there five nights a week 29th October St Albans Arena, St Albans make a record that at the end of as befits an album which gives playing music. The church was with my quartet. During the billboards had already appeared her brain injury improve. Thus the day I was happy with.’ So, too, special thanks to ‘the vagabonds, in London asking the questions, began the long process that led located on the corner from my grand opening ceremony and 1st November Harrogate Royal Hall, Harrogate is the sense of wonder and the ramblers, the thieves and the house, less than 70 feet away. festivities, we had the honor of ‘What is our worth? And how do to her writing songs for the first surprise at the astonishing gamblers, the dug up and sunk we define it?’ And her essay in time. So severe were her injuries Danny used to hear me practising accompanying Ms. Della Reese. 2nd November Rose Theatre Kingston journey she has been on: down. The blood of what is LA the CD booklet specifically says, that she is still troubled by them, the trumpet in my parents’ Now that woman could sing the town. ‘The currency of man is about most noticeably in her garage and upon meeting me, blues. 3rd November Malvern Festival Theatre ‘We started recording in the the worth of our lives, a hypersensitivity to light – hence discerned that I was mature for a early weeks of November. To be ‘From an artist, who seems to be commentary of sorts.....’ the permanent dark glasses – and young person and musician. He What changes have you seen 4th November The Concorde Club, Southampton honest it was like something out ever-evolving her recipe for style, appointed me as leader of the in New Orleans music – for some years she travelled of a dream. Every day I would *Leroy Jones Quintet only No doubt the seriousness of her regularly with a physiotherapist. here is a new flavour of sonic Fairview band. By 1974 Mr. post-Katrina obviously, but wake up and pinch myself just to impressions. Urban and concrete, not just post-Katrina? approach to her music, a sense of However, strange benefits make sure I was awake and it was Barker had to cut us loose 5th November Assembly Hall Theatre, unapologetic, original and because of rumours being spread the sanctity of song, comes – at accrued. Her sensitivity to sound all really happening. Tunbridge Wells innovative, deliciously around town by some of his I haven't really seen many least in part – from the meant that she could tolerate remarkable, even heroic, nothing louder than a whisper experimental.’ peers, basically stating that he changes in New Orleans music 7th November The Lighthouse, Poole ‘One evening held particular was exploiting us. That was so post-K or otherwise, with the circumstances that effectively which has helped create her significance for me when I began her career as singer- distinctive voice quality. At one And in the same piece of writing untrue. exception of the influx of street 9th November The Apex, Bury St Edmonds realised the date: November musicians from other parts of the songwriter. Born in stage, while re-learning how to 11th. Two years prior I was lying she characterises herself as ‘filled in 1985, she studied fashion at walk, Melody found it too with a fiery discontent.’ She may Anyway, by this time we were old United States and even from 10th November Liverpool Philharmonic Hall in a street, unable to move and enough to fend for ourselves. A abroad. These days the city’s the Community College there uncomfortable to play the piano being slammed into by the front have found grace and and played piano in bars and decided she must learn the new group was formed and Mr. music and culture lures musicians 11th November Royal Northern College of Music, end of a jeep. I thought back to understanding in the months (favoured repertoire Duke guitar. Now, even on an album Barker suggested that we be and non-musicians in as if they’re Manchester the cold hospital and the after her accident, but there is Ellington to The Mamas & The with a large string section or a called the Hurricane Brass Band, making a pilgrimage to Mecca. *Lizzie Ball as guest in place of Joe Stilgoe insensitive doctors, the many nothing bland or accepting about because when we marched up And many decide to stay. Papas!) before an accident in considerable cast of top months spent lying in a hospital Melody Gardot’s world-view. 10 THE JAZZ RAG THE JAZZ RAG 11 VISITING BIRMINGHAM VISITING BIRMINGHAM VISITING BIRMINGHAM The Birmingham Jazz and Blues Festival always has a strong contingent of European musicians, many of them unknown or little known in this country, who often return to this and other festivals. Before the festival Jazz Rag talked to five of this year’s performers, two of them newcomers, three returning after successful earlier appearances, about their early exposure to jazz and their attitudes to their music.

mimic movie stars. I studied in music was good. I wanted to be a Sarah Lenka London for six years and my bass player, but now I play Saxitude Les Zauto Stompers de Paris teachers would correct me if I saxophone! was wrong, so singing in English is After we play Birmingham, we and I think people were very interesting personality and a very much because it was our first OK, though I still have to work at In my family everyone plays guitar have many projects. We also have happy with our music which is interesting singer. I could mention festival abroad. We will introduce it. This will be the first time I will and sings Lithuanian folk music, an orchestra and we are playing a why we are back playing eight or Billie Holiday, of course, and Ella our new CD at Birmingham, then sing in England as a professional, but no one is a professional big concert with Lithuania’s top nine concerts this year. I don’t Fitzgerald, and a woman who I after the festival we play in so of course I am a bit musician. I was surrounded by jazz singer and another movie think there is much difference think is the incarnation of jazz in Switzerland, then in Rome and apprehensive, but I hope the music and every time we went concert with the big screen and between audiences in different her time, Anita O’Day. There are other Italian cities. Then in audiences will enjoy the emotion on a long car journey my mother live music. We are touring to countries. After Birmingham we many male vocalists, too: Louis September I’m proud to say we and sense of pleasure. would sing Lithuanian folk songs. I Finland, Latvia and Estonia, just have a festival and five concerts Armstrong, Nat King Cole, Cab perform for the first time in was not very excited by this, but travelling around making beautiful in France, then back to Calloway, and, Paris! My next move after Birmingham then I discovered my own music. music. Luxembourg for the summer naturally, Fats Waller. is to record my third album. I became obsessed with jazz – festivals. JEAN-MICHEL FRANCOIS, I am happy when I sing, when I We’ve been working on it for none of my friends were listening ROBI AREND from the of Les Zauto Stompers de ILENIA APPICCIAFUOCO perform. I think, if you have a more than a year and we go into to it. I was studying classical Luxembourg saxophone Pari s quartet SAXITUDE of the Italian group Pepper talent, you must take advantage the studio in September. It’s a piano at music school, but we and the Jellies of that – or it is a cause of tribute to Bessie Smith. It’s a never talked about jazz in class. When I was young, we heard SARAH LENKA, singer bring one song, so I brought Don’t project I’ve had in mind for a I began playing saxophone at the sorrow and frustration in your many of the great jazz songs on age of 8 or 9. When I was 15 or I don’t remember when I first life. There are many brilliant from Paris Explain . The teacher said long time, but I felt I was not We play all over Lithuania and in the radio, either by the original 16, I used to listen to jazz/rock heard jazz music, but I do musicians in Abruzzo and the sarcastically that I sounded like prepared or mature enough. the other Baltic states. Audiences performers or by French singers. bands like Spyro Gyra and Steps remember when I first knew I Pescara Jazz Festival goes back to At first I had no culture for jazz. I Billie Holiday and I didn’t dare to Now seems to be the right time. can be very different, but, if the There were no musicians in my It’s a new approach, with a Ahead and was a big fan of would like to sing this stuff. I was 1969 and has hosted many jazz was not interested in jazz at all – admit I didn’t know who she was, audience doesn’t know much family, but I practised guitar as a different vibe, more personal, Michael Brecker, but at that time eight and I had an examination in greats: Chet Baker, , I was listening to rock, trip-hop so I said yes. When I got home, I about what we play, I try to teenager with my friends, then, checked on the internet and more for my generation. Then we all my studies were in classical how single people changed the Dizzy Gillespie and many others. and folk. When I was in my first communicate and make a when I started playing year at music college in London, discovered she was one of the tour from October – and the saxophone because, if you society they lived in. I read the connection between the music story of Bessie Smith. Reading I am very happy because there sousaphone, I created my first the students and my tutor told major figures of jazz. At first I was album comes out in January next wanted to be a professional and the audience. If I play my own about her life pushed me into are more people every year who Dixieland band. me I had a voice that would be sceptical, I didn’t even know if I year. saxophone player, you had to be songs, I always tell them how I a teacher. I don’t come from a listening to her music. The first start to discover swing and the suitable for jazz. So I started liked her, but I was intrigued by I started my career as a REMIGIJUS RANCYS, wrote the song, what was my musical family and, when I song was Muddy Water and it was roots of jazz. When I go out with looking through my room-mate’s the timbre of her voice and the chartered account and, when I saxophonist with Lithuanian inspiration. discovered jazz, I was on my own love at first listen. my friends, there is always music. CDs and the first thing I heard rush of emotion. So I started began playing jazz, my children listening to her songs and reading swing band THE because my school friends Maybe it is not always in my style, was Good Morning, Heartache – were very young, but my wife about her life – and then began SCHWINGS I think for any musician it is preferred rock or pop. But my Jazz was not popular among my but I have the chance to discover and I loved it! I was amazed how agreed. So far as finding musicians singing her songs – and that’s important to play with kindred parents were always supportive, family and friends. My mother is different styles of music. much I liked it! I was lucky to to play in a suitable style, the when I found my way. She can I first heard jazz music in the 90s spirits who feel the music in the there was never a problem. very up-to-date: she loves discover jazz through such an beginning of Les Zauto Stompers sing despair, she can sing when I was about 8 years old. same way. For me it is very contemporary sounds and I love We try to play all over: jazz clubs, amazing song. de Paris was not difficult. There is happiness, she can even sing Nobody in my family listened to natural. I have played with my In Saxitude we are able to play the old styles. When I was 13 or restaurants, pubs, open air events. many different types of concert 14 I studied opera and When an audience doesn’t know a great concentration of My family liked music, but it is silence. She can sing any colour that sort of music, but I heard it good friend and musical partner which is why we are able to play contemporary European pop anything about this type of music, population around Paris and it is not a family where music is part of emotion in the most direct on the radio. There was a for many years and it is a good 60 events a year: anniversaries, music. There are too many it’s better in a way because it’s a quite easy to find a trumpeter, a of their everyday life. Everything I way. I discovered myself and the programme called Jazz Train in musical relationship. Playing with markets, exhibitions, all kinds of singers who have influenced me. challenge for us. When a person banjo player, a clarinettist, a discovered in music was 100% way I wanted to sing through her Lithuania. I was very excited by someone is not just playing on events you can imagine. I was Bessie Smith was the first, but who has never heard this music sousaphone player... More myself. My parents are very songs and the way she the bass line, so had a theory stage. There is a lot of travelling, a very lucky to find the great also Victoria Spivey, Alberta before starts to dance or clap, generally there are many young proud and happy that I have been approached music. If I have to that, if the bass line was very lot of discussion, a lot of things musicians who play with me in Hunter, Ruth Etting and the you’ve made it. It is not easy to musicians who love the old music able to have a career in music, choose my favourite period of tricky or very interesting, the you can’t talk about, but just do. Saxitude; we are all four very wonderful Annette Hanshaw. find kindred spirits to play this coming out of music school. I but in the beginning they were Billie’s career, it would be the very beginning, when she was The Schwings happy to play together. We played Another singer of the time I sort of music, but I am very lucky love to listen to the bands playing not against, but thought it was chubby and had a smile on her the Birmingham Festival last year listen to is Lee Morse, a very because I found three musicians in the old style, keeping the spirit some crazy idea of an 18 year- face, hoping she’d be happy some who are swing machines! They of Dixieland. old. They thought I’d get over it day, though one of my favourite Pepper and the Jellies are three saints! I love their in a year and have a career as a tunes is I’m a Fool to Want You ability to mix the old and the Old style jazz has disappeared lawyer! which she sang at the very end of contemporary – I just hope I’ll from the media, though the local her life. keep this band for years and press will cover local festivals. We How I first met Billie Holiday is years and years. are very happy to come to the quite funny. My room-mate in Having to sing in English was Birmingham festival for the London had a CD by a Swedish English audiences are maybe never a problem because, when I fourth time and in July we are singer and the song I really liked more enthusiastic than in Italy, was young, I used to travel a lot also playing festivals in Germany was Don’t Explain .I didn’t know it but that may be because of the to the United States and so my and Brittany, then we have to was by Billie Holiday. When I language – they understand ear was used to hearing the return to Paris because some came back to Paris I went to a better what I am singing. We love English language – and I used to members of the band are taking jazz workshop and we all had to the Birmingham festival very part in a musical comedy!

12 THE JAZZ RAG THE JAZZ RAG 13 CLUB 90 REVISITED (FOR THE LAST TIME) KEEP ON KEEPIN’ ON CLUB 90 REVISITED (FOR THE LAST TIME) KEEP ON KEEPIN’ ON In 1995 Jazz Rag started a new series with a visit to Jazz 90 at Albrighton. 20 years later Keep on Keepin' On, the came to Terry for help. Terry was always done with love, the ultimately was rewarded for his RON SIMPSON revisited the club, still flourishing, but sadly forced to close. documentary about the himself was beginning to go blind love of a father for a son, a guru courage and perseverance. Just esteemed jazz trumpeter Clark as a result of diabetes, which also for his disciple. Kauflin responded recently the young pianist I remember a phone call from is indirectly connected with the ‘About 1995 I saw that the start. By midday you couldn’t Terry, is the perfect antidote to affected his blood circulation and to this kind of teaching in a released an album, Dedication , John Howell, then publicity man sad death of Terry eight years superb jazz and blues singer from move in the pub.’ the poisonous feature Whiplash , led to the amputation of both of miraculous way, growing in every produced by . The which posited the thesis that only way as a musician. It’s not that for Jazz 90, suggesting that it ago. Fortunately for the club his Tyneside, Carole Clegg, and her his legs. But even when he was latter is another important figure Other bands and musicians a cruel, ruthless taskmaster can bedridden and suffering things came easy to him; on the would be a good idea for Jazz daughter took the pub on and band Speakeasy, were appearing in Keep on Keepin’ On ; his love and Rag to carry a series on the small announced that she wanted the at the Bude Jazz Festival, followed booked by the club on the teach youngsters how to become grievously, Terry still found time contrary, he had a bitter failure respect for Clark Terry (and the jazz clubs of Britain - and would jazz to continue as before. by a Saturday session at strength of various grants include professional jazz musicians. The to coach Kauflin, encourage and (coming out a loser in the we like to start in at Clevedon. Reasoning that New Orleans Heat, Sarah only love that works is tough inspire him. Thelonius Monk International latter’s wife, Gwen) fill the screen the Harp, Albrighton? It proved However, late in 2014, she Albrighton was on the way back Spencer from the United States, love, brutal love. Keep on Keepin’ Jazz Competition). But with and help make the documentary an excellent suggestion and Club decided that the combination of to Newcastle from the West Jellie Babies from Sweden, Jazz On puts the lie to that fascistic He did this not in a sappy, Terry’s counsel and the moving, inspiring film that it Call ran for many years. And, sure a full-time job and running a pub Country (with only a small Connection from Holland and notion by showing how Clark sentimental way; he was always encouragement (‘You can’t do it is. enough, Jazz Rag 36 carried an was too much and sold up to the diversion!), I rang Carole and she the 10th Avenue Jazz Band from Terry operated as a teacher and honest with the kid, quick to the easy way, you gotta work account of my visit to Jazz 90. Hop Back Brewery. The brewery agreed to come to the Harp on California. mentor over his long career as a point out his weaknesses, hard at it, you gotta keep on WILLARD MANUS installed a relief manager and the Sunday lunch-time for our jazzman. Terry, who died earlier pinpoint his problems. But this keepin’ on’), Kauflin hung in and [email protected] In April 2015 John Howell things went on on the same usual enormous fee which Local bands that have been the this year at 95, came out of reported that Jazz 90 was having financial basis, though probably just about paid their mainstay of the club over the poverty and hardship in St Louis to close. It wasn’t lack of understandably without the same petrol bill! The session was so years include Nova Bounce, the (his mom died when he was audience numbers: the session I interest from the pub successful that Carole and Martinique Jazz Band, the Zenith seven) to play with the likes of attended, with guitarists Arthur management until John received Speakeasy have returned several Hot Stompers, Ken Ingram’s Count Basie, and Ebeling and Chris Quinn shock news. As he tells it: times. Vintage Jazz, Europa Jazz and, Quincy Jones, winning plaudits for entertaining with fine old more recently, Chris Carmell’s his warm, expressive, deeply felt standards, blues and the odd ‘The Brewery wanted to limit the ‘This was followed by a cheeky Jazz with Bob Smith, Millennium horn work. Terry also led his own novelty song, found the lounge so jazz from eight or nine gigs a request for my long-term hero Eagle Jazz Band, Robin Mason’s band for many years and was a crowded that it was easier to get month to two Sunday sessions a Kenny Baker to play for us which Jazz and Swing Band, Wabash featured player on countless a beer in the adjacent bar. month, to be reviewed after two he did quite brilliantly Jazzmen and Old Comrades Jazz albums, television shows and jazz months. Marie also had to stop accompanied by John Burnett’s Band, plus young musicians such concerts. All along the way he In Jazz Rag 36 I wrote that the doing her world-famous cheese Jazz Bandits. This was the most as Ben Holder and Carl Sinclair gave of himself as a teacher, Harp is clearly a jazz pub, even and onion rolls which would cut amazing gig! The pub was packed who were introduced to the jazz selflessly and whole-heartedly. though there are only two our income. This would give us in every room and passageway, circuit by Jazz 90. sessions per week. That remained four gigs before the review to and ardent fans were even His desire to help others took so till the end, with a Jazz Club somehow change the funding of standing outside the windows on John has lasting memories of two root in him when he was a 90 banner behind the band, the the sessions. We decided that this a cold November day!’ remarkable sessions, both youngster, a wanna-be trumpet walls smothered in jazz would not be financially viable featuring star musicians with one player. None of the oldtimers he photographs and even a and decided to go out on a high The next important phase for of Jazz 90’s stalwart local bands: went to for lessons would help reference on the pub sign rather than fade away after a Jazz 90 came when John saw a him, so he had to somehow teach outside. couple of months.’ paragraph in Jazz UK about an ‘At one John Burnett session himself to play, first on a home- Arts Council scheme of grants Bruce Adams was the guest and made instrument, then on a No problem with getting bands When I visited in May, the last for small organisations. With the he brought along Alan Barnes on hock-shop horn (purchased by to play, either, despite the club’s Tuesday session had already help of West Midlands Arts John alto, Pascal Michaux on tenor and his neighbours). Because he had modest resources. John, now passed and, after Arthur and applied for, and got, a series of Pete York on drums - it was innate gifts, Terry was able to running Jazz 90 with his wife Chris, a final Sunday with the grants that enabled Jazz 90 to heaven! Legendary vibes player turn pro at seventeen, but that Marie, points out that in recent New Orleans Zhulus was all that book a few bands or musicians Peter Appleyard, over here from happened only after ten years of years, he has been able to fill the remained of the club’s 25 years. every year who would normally Canada, dropped in “just for a struggle and failure. Vowing to programme with bands ringing John is particularly sad that no be outside the club’s range: couple of numbers” with the spare others from that kind of him for gigs so that he had a full constructive discussion of the Heart of England Jazz Band and in anguish, Terry began a teaching year’s diary to cancel when the club’s position took place. Wryly ‘The first of these gigs just had to the nicest possible way took over career that has touched tens of closure came. - and with tongue halfway to be a repeat visit by Kenny Baker, the whole session, much to the thousands of young students cheek - he blames the ageing this time backed by local delight of the Hearts and the over the years. That’s right–- What has happened was clearly - demographic of his audience, favourites Swing Parade to audience!’ thousands. That’s because he has if accidentally - predicted in 1995: ‘The generally older age group of produce another superb session. not only taught privately (Miles our audiences didn’t drink Others included blues and boogie So yet another jazz club falls Davis, Dianne Reeves and Quincy ‘The moral of this tale is that a enough!’ He doesn’t mention it, pianist Steve “Big Man” Clayton, victim to regime change, leaving Jones, to name just a few) but on good landlord’s worth his weight but maybe greater observation of the legendary Tommy Burton John and Marie ‘devastated’, but the university and music-school in gold and changes of pub drink-driving laws doesn’t help - with “Spats” Langham and full of thanks to the many levels. Many of his students went management are the bane of a Albrighton’s a small place and the Richard Vernon, followed by musicians and fans who became on to become teachers jazz club’s existence.’ jazz club probably needs a partly another great trumpet player friends - and looking forward to themselves; those teachers have motorised clientele. Bruce Adams, backed by the Jazz taking a holiday! bred other teachers, At the time of writing that Bandits. exponentially. referred to Jazz 90’s nomadic However, to be more positive, years from 1990 to 1993 (the John happily supplies a summary ‘Phil Mason’s New Orleans All One of Terry’s prize students was club was welcomed by several of the highlights of 25 years of a Stars, with the delightful the pianist Justin Kauflin, who is hostelries before being asked to jazz institution in a small pub in Christine Tyrrell, attracted so given almost as much screen time move on with a change of Shropshire, starting from the much interest that about 16 as Terry in Keep on Keepin’ On . management) and the benign time when the club started eager fans were sitting in cars Kauflin, who is blind and depends influence of Terry Plibworth, booking more than local talent: outside the Harp when we on a seeing-eye dog to get landlord of the Harp. The closure arrived at 11.15 for the 12.30 around, was a teenager when he 14 THE JAZZ RAG THE JAZZ RAG 15 A TALE OF THREE CITIES A TALE OF THREE CITIES

playing in the US Mint gardens to awareness that makes you think with A TALE OF THREE CITIES: a miniscule audience too wet to of Carmen McRae. Her MD is Herman Earnest worry. Rain or no rain, this city’s pianist Miguel de la Cerna, a music still scores, with informal native Chicagoan of Filipino NEW ORLEANS, CHICAGO AND NEW YORK brass bands on every corner, ancestry and another sophisticate dread-locked kids playing snare whose keyboard dash was eye- PETER VACHER gives his impressions of a jazz journey drums like crazy, impassioned opening. Bassist Junius Paul and clarinettist Doreen Ketcher drummer Yusef Ernie Adams I should explain from the outset a session devoted to the memory performing for change in the completed the group, their whole that this trip wasn’t a research of the late Cosimo Matassa, the Aaron Fletcher, street, spasm bands and blues approach tightly focussed and exercise, or an investigation of legendary local recording Jackson Square guitarists crammed into corners, rhythmically bright. How is it that the current American psyche. No, engineer, hosted by the British topless ladies offering their own a band of this quality isn’t more it was quite simply a holiday with expatriate writer John Broven, special joys and all kinds of widely known? By happy added jazz. Well, not quite that with pianist/composer Allen would-be hipsters living out the circumstance, we met writer and either, if you consider that the Toussaint and veteran r&b singer dream. They call it the Big Easy. head of the Jazz Journalists first aim was to cover the 32nd Deacon John. Apart from the And so it is. Association Howard Mandel and edition of the French Quarter banter, just to hear Deacon John the brilliant jazz photographer Festival which ran over four days sing It’s Raining accompanied by I don’t know whether Chicago is Marc PoKempner there, all of us in early April and write about it Toussaint was a joy, given what still toddling - whatever that at one in our enthusiasm for Ms for Jazzwise . In that the FQF is was going on outside. means - but this is a city that’s Alexander. Did we go down to entirely open-air, spread around Toussaint had performed on the impressive on every level. the South Side or locate other the Quarter and spilling over Festival's first day to a Chicago luxuriates in some of the clubs? Not this time: so much to onto the Mississippi river-front tumultuous riverside crowd, classiest architecture anywhere, do, so little time, as Muir and there was really rather a lot of wearing his own high-visibility having spawned Louis Sullivan the Norden’s Tommy Irons once had jazz, with some 1600 performers jacket, all shimmering green and much-lauded pioneer of the it. the liturgy in pleasing fashion. I’ll Waits is a neighbour – and had lined up. Mind you, this being gold, with a tough band and some skyscraper, with Mies van der long remember their version of crammed his fellow musicians New Orleans, the mix of music rather extraneous female back- Rohe as his clean-lined successor Onwards and upwards to New Blue Monk . Rather movingly, at into his smallish living room. A stretched the jazz boundaries to up singers. He’s a star, a New and Frank Lloyd Wright his own York. Here again, time was against the end of the service, to the run-through of Love for Sale set the limit, what with r&b, blues, Orleans treasure (and about to idiosyncratic self, every square us, but we fitted in a stopover in haunting alto of Jerry Dodgion, the scene and then they got into gospel, soul, zydeco, and appear at Ronnie Scott’s) with a and corner boasting public art of Fred Cohen’s splendid Jazz the ashes of the late , the meat of some demandingly yes, plain old traditional jazz. At back catalogue of hit numbers startling quality. Take Anish Record Center, this emporium the old Basie stalwart were laid complex arrangements by least that was the plan. like no other. Ellis Marsalis is Kapoor’s shiny Cloud Gate located incongruously on the 8th to rest in the church Japanese pianist Noriaki Mori another home-town hero and sculpture set in Chicago’s floor of an office block on W.26th columbarium. with altoist Bobby Porcelli and Over the course of a number of presented a rewarding set on the Millennium Park close to Frank Street. Behind its plain-looking the dread-locked baritone-saxist visits to the FQF, I’ve always been Jackson Square main stage (in the Gehry’s outdoor music pavilion. door, there’s a positive Our remaining jazz pleasures Jason Marshall in stirring form. blessed with fine weather. After dry) that introduced two new cornucopia of good jazz things came out of friendship. The first He’s a burly chap who had all, this is hot and humid names to me in Ashlin Parker, Talking music, and yes, this is a including the best stock of books with Al Vollmer, founder and safe- arrived on his bike complete with Louisiana in the American South. trumpet, and Derek Douget, jazz magazine not a travel anywhere, CDs, LPs in abundance keeper of the long-established his baritone case strapped to his Not so this time, as two of the soprano and tenor, both supplement, there’s the famed and photos, all informed by a Harlem Blues and Jazz Band who back and told me he had been in four days were virtually washed Crescent City born and each Jazz Record Mart, home of sense that Fred knows what’s invited us to his 86th birthday London just days before running out with stages deserted or involved in jazz teaching roles in energised by drummer Hal Smith, drummer Karl Budo responding Delmark Records, said to be the what and who’s who. A haven for party at Local 802 AFM. First up an instrumental workshop. There abandoned, as the rain descended the city. Theirs was hard-swinging the appearance on stage of with alacrity. Yet more ‘world’s largest jazz and blues jazz people, for sure. were sundry locals sitting in for was yet another British in torrents. It turns out a tornado – the marvellous Jason Marsalis veteran clarinettist Pete Fountain, trumpeters came and went on shop’ and a good place to find the regular Monday night jam connection in the presence of was passing through northern on drums - and tough-minded now frail and no longer a player, the main stage with the very any or all three of the city’s free This city also boasts no fewer session, the best moments UK-born pianist Tim Harrison, a Louisiana on its way to modern music. Another Marsalis acclaimed by the Jackson Square urbane Jeremy Davenport, a local jazz magazines. Calling at than three free jazz magazines, coming from tenor-player Michael composer and arranger who where it destroyed a small town. son, trombonist Delfeayo scored crowd. smooth-toned modernist who the Jazz Institute of Chicago, we each loaded with gig information Camora and bassist Alex Layne. went to North State and Happily, though, no damage to later in the Festival with his sings like Harry Connick, his picked up yet more info and the and readable features. Still, we Cake to hand with candles lit, Al then stayed on. All these talented the Crescent City itself. Just rain Uptown Jazz Orchestra, a big New Orleans has always been a quintet boasting another hot very strong suggestion that we had other aims of our own, the then introduced his full band players impressed, this just and more rain. Still, there were band with funk leanings that just trumpet town and the line young talent in altoist Aaron make for the Jazz Showcase, the first being to attend the Jazz starting with 100-yearold another way of saying that there compensations for the Festival managed to stay afloat amidst yet continues, what with Kenneth Fletcher, preceding Leroy Jones club run by the legendary and Vespers at Saint Peter’s on tenorman Fred Staton, brother of is in New York an array of jazz also offers a parallel world of another downpour and then Terry, a youthful veteran of the who wrapped up the festival in an somewhat taciturn Joe Segal, now Sunday. This striking edifice is Dakota, and then Joey Morant, musicians of the highest calibre indoor films, lectures and proved its hardiness by parading brass band revival movement engaging set. He thanked us for 89 and lately named a NEA Jazz shoehorned into the Citicorp trumpet, trombonists Art Baron who seldom gain wider presentations, a number of which through the poncho-clad crowd. who struts his stuff in Jackson staying out in the rain and that Master. Just ten minutes from our building on 54th Street at and Ronald Wilkins, Ray Blue, international attention. provided a safe haven as well as Earlier Dixieland cornetist Square, and the very fine was that. hotel in the Loop, the club is Lexington Avenue and is both a tenor, Dave Lee Jones, alto, Zeke their own special kind of Connie Jones had created his newcomer Kevin Louis, heard at housed in a former train station performance venue and the Mullins, piano, Bill Wurtzel, guitar, All the more reason, to keep enlightenment. Take for example, own pleasing mood, much the Palm Court Café on Decatur Of course, there’s still a with a box-like interior, a bar at religious centre for the jazz Michael Max Fleming, bass and visiting this jazz-loaded city, of Street in a band led by substantial British contingent at the back and a raised stage, the community. This time the music Jackie Williams on drums. These course. And New Orleans and trombonist Lucien Barbarin. play in the city, with Palm Court walls papered by posters from came from the Joshua Crumbly sterling players, each with career Chicago, for that matter. There’s a Kevin is a New Orleanian who reedman James Evans just the yesteryear, and covered in photos Quartet, all young and highly stories worth the telling, then whole lot of music to be studied at Oberlin College and latest to take root. Mind you, the and memorabilia of every stripe. talented. LA-born bassist produced a glorious set, their savoured in each of these cities. then spent a dozen years in New fact that Café owner Nina Buck Crumbly, a recent Juilliard version of Lester Leaps In like a You’ll need some cash to spare, York, working and touring in is his mother-in-law may just help The 10.00pm show, the third of graduate, has already toured with master class in swing. for the big clubs are not cheap. Europe with the present-day his employment prospects. Long- the day to feature the Dee Terence Blanchard, but seemed Imagine Ronnie Scott’s prices and Duke Ellington Orchestra and term expatriate trumpeter Clive Alexander Quartet, was sparsely unsure that the highly A day later, we took up the expectation that they’ll turn spoke appreciatively of his Wilson put together a fine attended but hugely worthwhile. competitive scene trumpeter John Eckert’s the house but rest assured, it will section-mate there, James Zollar. traditional band on one of the Alexander is an engaging was for him, a view shared by his suggestion we attend a rehearsal be worthwhile. Back home for good now, he street stages and then re- performer whose vocal style companions, Joshua Jackson, alto, of the New York Jazz Nine, a really sparked into life when the appeared alongside Barry Martyn, speaks of her African-American the brilliant pianist Glenn Zaleski rather more modern ensemble, trilby-hatted trumpeter Wendell Andrew Hall, and Chris Burke in roots with its trace elements of and drummer Jonathan Pinson. at his apartment down near 12th L-r: Barry Martyn; Brunious dropped by to sit in, a nearly all-British sit-down soul and gospel, these overlaid by That said, they excelled, playing Street. He lives in an artist’s Andrew Hall; Clive Wilson bassist James Singleton and version of the Society Brass Band the kind of canny harmonic original music and fitting in with residence - drummer Nasheen Photographs by Peter Vacher 16 THE JAZZ RAG THE JAZZ RAG 17 THE GREAT AMERICAN BIG BANDS SINCE 1945 THE GREAT AMERICAN BIG BANDS SINCE 1945

to be overlooked or dismissed. ‘70s, Ellis’ orchestra often (1975- ) – After George Russell Living Time THE GREAT AMERICAN As a keyboardist and bandleader, included several bassists and being a major force behind the Orchestra (1989-2009) – Ra was decades ahead of his drummers, horn players who Jazz Composers’ Orchestra, Bley Decades after he made his initial time, and ‘Space was the place.’ utilized electrical devices, and a has led her own occasional large impact as a composer and author BIG BANDS SINCE 1945 strong wit and drive. Ellis and his ensembles for 40 years. Her of the Lydian Chromatic Quincy Jones (1959-61) – The musicians were masters at adventurous and frequently Concept, Russell organized his by Scott Yanow famous arranger-composer was sounding comfortable playing in ground-breaking writing has own occasional orchestra to play often associated with big bands unusual time signatures, not just almost always featured her his most ambitious works. but his own short-lived working 7/4 but also 27/16. unique humour, often just Sun Ra Arkestra ’s First Herd Count Basie (1939-50, 1952- (1944-46) – Few big bands were 84) – After his first classic big orchestra practically starved beneath the surface. Mingus Big Band (1991- ) – more fun than Herman’s First band had to break up (Basie had during a disastrous European ’s Liberation Founded by Sue Mingus, this Herd with its joyous and too many losses at the tour. Fortunately recordings and Music Orchestra (1969, 1989- Jaco Pastorius’ Word Of remarkable and enduring New explosive ensembles along with racetrack), he formed his ‘New existing TV appearances show 90, 2004) – The bassist, Mouth Orchestra (1981-82) - York institution exclusively its personalities including Bill Testament’ orchestra in 1952 and how strong this band was. grounded in both 1950s Imagine a big band backing an performs ’ Harris, Flip Phillips, Chubby swung for another 32 years. and Ornette Coleman, formed electric bassist! In Jaco Pastorius’ innovative music, including his Jackson and Pete ‘Superman’ While he relied more on Woody Herman’s Young the Liberation Music Orchestra musical worlds all things were most forbidding works. If only it Candoli. arrangers and less on soloists Thundering Herd (1959-87) – to reflect his leftist/liberation possible, at least until his could have existed during Mingus’ than earlier, Count Basie retained Herman kept his final orchestra politics and the arranging talents deteriorating mental health cut lifetime! Boyd Raeburn (1944-47) – his sound, constantly toured, and together during his last 28 years. of Carla Bley. It was an occasional short this very promising band’s Raeburn’s ensemble evolved led the definitive swing The 1961-65 version, with the project that during each revival existence. Maria Schneider (1992- ) – from a Count Basie-influenced institution. great tenor , resulted in at least one Considered by many to be After a decade of providing the and with their main years in swing band to an oversize trombonist Phil Wilson and lead memorable recording. Bob Florence’s Limited today’s most significant jazz soundtrack and dance music for parenthesis. My apologies to the orchestra of virtuosos playing the Harry James (1939-83) – The trumpeter Bill Chase, held its Edition (1979-2008) – A major arranger-composer, Maria most Americans, the big band era many worthy orchestras that often-outlandish and always- most popular jazz big band leader own with the first two Herds. Orchestra (1969- arranger starting in the 1950s, Schneider creates highly original ended during 1945-46. Its demise have been left off the list futuristic arrangements of during 1943-46, James 88) – While Evans is most Bob Florence performed with his music that grows in interest with was due to a wide assortment of including the bop era bands of George Handy. It did not stand a occasionally explored bop in the Concert Jazz acclaimed for his 1950s big band in Los Angeles band and each listen. reasons including the effects of and Charlie chance of surviving but its crazier late 1940s before reverting to a Band (1960-62) – The bridge recordings with and recorded a series of modern jazz Gordon Goodwin Big Phat World War II, a recording strike Barnet, the nostalgia bands, Ray performances (including lots of swinging Count Basie-style between the Claude Thornhill his solo recordings of 1957-64, gems for the Discovery/Trend, Band (2000- ) – Arranger that during 1942-44 opened the Anthony, , the Jazz dissonance behind its singers) are orchestra that also played his and the Thad Jones/Mel Lewis he only infrequently led his own USA and Mama labels. Gordon Goodwin’s ensemble is door to pop singers, the rise of Composers Orchestra, Dave still unique. hits. He was a household name Orchestra, orchestra in clubs until his last 20 Clayton-Hamilton Jazz remarkably popular in Los bebop, singers, Dixieland, and Holland, Harry Connick Jr, Sam for 45 years. (with arrangements by Mulligan years. Blending together acoustic rhythm & blues, a cabaret tax that Rivers’ Rivbea Orchestra and the Dizzy Gillespie (1946-49) – and ) and electric music, he created his Orchestra (1985 - ) – When it Angeles, regularly drawing sellout closed dance halls, and an excess Blue Wisp Big Band. This orchestra was not only the Dizzy Gillespie (1956-58) – successfully transferred the style own brand of fusion on a regular comes to swinging, this Los crowds for its brand of of big bands seeking to make perfect bebop big band ( Things to This superb big band toured the of Mulligan’s pianoless quartets basis including during a five-year Angeles ensemble (co-led by entertaining, good-humoured and arranger-composer-bassist John modern swing. money from the swing craze. Duke Ellington (1925-74) – In Come ) but the beginning of Afro- world for the U.S. government to a big band. Monday-night stint at Sweet Clayton, altoist Jeff Clayton and Many of the swing orchestras 1946 Ellington had already been a Cuban jazz. and left some memorable Basil’s. Darcy James Argue’s Secret that survived 1946 attempted to bandleader for over 20 years and recordings including explosive Gerald Wilson (1960-2014) – drummer Jeff Hamilton) is at the Society (2005- ) – Arranger- play bebop with mixed results, he had 28 to go. His (1940-48, 1950- music from the 1957 Newport Wilson was always proud of his Toshiko Akiyoshi/Lew top of its class. composer Argue, who is now 40, hoping that that would be the accomplishments as pianist, 79) – Kenton took his Jazz Festival. The young Lee ability to write in five-part Tabackin Orchestra (1973- Either/Orchestra (1985- ) – has his own style, blending next pop music. By 1950, with arranger, composer and leader progressive jazz out of the dance Morgan, , Al Grey, Billy harmonies for his Los Angeles- 2013) – Based in Los Angeles Founded and led by Russ together the influences of jazz the end of that idea and the are nearly infinite and his band halls and into concert halls, used Mitchell and arranger Quincy based big band. His Pacific Jazz before its move to New York in Gershon and based in with advanced rock, classical proliferation of TV sets, nearly all was as significant in 1967 as it his orchestra as a vehicle for Jones were just a few of the stars recordings of the 1960s are filled 1982 (when Akiyoshi became Massachusetts, Either/Orchestra music and the avant-garde, of the swing big bands were was in 1927. Consider that his adventurous arrangers, and along with Gillespie who was at with modern hard bop gems that listed as its sole leader), this is influenced by Gil Evans and creating new big band jazz for the gone. Small-group swing survived orchestra during the 1950s and featured superb soloists, the peak of his powers. he would enthusiastically perform orchestra featured Akiyoshi’s Charles Mingus, open to the 21st century. but the big bands would never ‘60s often had as many as a particularly during 1947-65. for decades. writing (bop-oriented with influences of both rock and early come back, at least not to their dozen major soloists, including (1957-64) occasional pieces celebrating her jazz, and has always had its own SCOTT YANOW is the former prominence. the pianist. Ray McKinley (1946-50) – The – No one could hit high notes Thad Jones/Mel Lewis Asian heritage) and Tabackin’s quirky personality. author of 11 jazz books and likable swing drummer had Eddie like the always cheerful Maynard Orchestra (1966-74) – The dual musical personalities on over 750 liner notes. He can However big bands never (1940-2002) Sauter write much of his band’s Ferguson. The trumpeter led writing of Thad Jones, with tenor and flute. Bill Holman Orchestra be contacted on became extinct in jazz. A few of – While Hampton’s many big book, creating unusual several orchestras through the soprano sax in the lead, gave this (1975- ) – Holman, a veteran of [email protected]. the swing era greats continued to bands rarely lived up to their performances that still sound years but this bop-oriented big all-star orchestra, which appeared Frank Capp/Nat Pierce Stan Kenton’s band in the 1950s, lead orchestras for years, big potential, the excitement of his fresh today but probably did not band, which recorded a series of each Monday night at the Village Juggernaut (1975-96) – This constructs dense and bands shifted from playing dances screaming brass sections, the help his band’s commercial gems for the Roulette label, could Vanguard, its own personality. The all-star Los Angeles big band unpredictable arrangements that to performing at concerts and honking tenors and his constant appeal! not be topped. Vanguard Jazz Orchestra has (which still performs swing despite their complexity. clubs, arrangers often had a need enthusiasm (on vibes, two- continued its legacy to the infrequently) sometimes sounded His superb orchestra utilizes to put together large ensembles fingered piano, drumming, vocals, Claude Thornhill (1946-50) – Terry Gibbs Dream Band present day. more like Count Basie’s band musicians who are not only to play their works, and many soft-shoe and anything that might Thornhill’s second big band, with (1959-62) – Although not a full- than Basie himself. Its Concord masterful jazz soloists but studio local stage bands continue to play work) were not to be denied. its two French horns, tuba (by time orchestra, this Los Angeles (1966-87) – The recordings are all worth getting. musicians. occasional gigs and make yearly 1947), altoist Lee Konitz, unison big band was filled with major ‘world’s greatest drummer’ put Billy Eckstine (1944-47) recordings. While the number of – The , lack of vibrato, leader’s West Coast jazz musicians. Its together a hard-swinging (1959-2009) – Louie Bellson fulltime big bands in the United second bebop orchestra (after tinkling piano, and Gil Evans recordings swing with the spirit orchestra in 1966, a time when it One of the great big band States is minimal (other than the Earl Hines’ unrecorded 1943 arrangements paved the way for and high energy of vibraphonist was considered quite foolhardy. drummers, in addition to uplifting Lincoln Center Big Band and the band) featured the who’s who of Cool Jazz. Gibbs. Rich’s big band was a surprise the music of many other bands Count Basie ghost orchestra) and bebop including , success with Channel One Suite (including those of Ellington, tours are rare, big bands are still Dizzy Gillespie, Fats Navarro, Woody Herman’s Second Sun Ra Arkestra (1955-93) – (starring Don Menza on tenor) Basie and James), Bellson led his with us. Miles Davis, , Herd (1947-49) – While not With his love of both ancient being one of the recorded own swinging orchestras. At one and many others. quite as exuberant as the First Egypt and outer space, his band’s highpoints of his career. point he had two different big Here is my pick for the 39 most Eckstine kept the band going as Herd, this soft-toned bop band costumes, erratically released bands, one on each coast of the significant American big bands long as possible before introduced the Four Brothers recordings, inscrutable personal Don Ellis Orchestra (1966- U.S. since 1945, listed very roughly in reluctantly breaking it up and sound with , philosophy and other trappings, it 78) – Arguably the most exciting chronological and stylistic order starting his lucrative solo career. and Serge Chaloff. is easy for Ra’s innovative music big band of the late 1960s/early 18 THE JAZZ RAG THE JAZZ RAG 19 ON RECORD ON RECORD

Andy Sheppard motors along, using right-hand did for King Records in 1963. His Wheeler are three outstanding bend her voice in the manner of KEVIN EUBANKS create complex textures and trills and chorded placements as technique is phenomenal and he soloists featured, together with an instrument. It grieves me to be STANLEY JORDAN contrapuntal lines that I find he develops his variations, these uses it to great effect romping the formidable Laurie Monk on so dismissive, but improvisation is really exciting. seldom departing too far from through some lovely blues. As trombone. what jazz is about - and there's the original. He’s alert and alive one would expect from his long little of that to be heard here. DUETS Kevin Eubanks, having studied on Billy Boy taken at speed, but career in R and B, he is happiest Dankworth , also, had imaginative violin and trumpet before settling here the trio’s cohesion is all with the blues material and that writers in Dave Lindup, Dave Lee GREG MURPHY Mack Avenue Records MAC on guitar and studying at Berklee over the place, Jones on another is what takes up all of the record. and himself. The band was 1092 48:17 College, plays piano to very good planet and Vinnegar playing as if It proves fertile ground.This is urbane, sophisticated but not ART BLAKEY AND effect, in addition to acoustic and effete. It could roar with the best The music is evocative, often electric guitars, bass and on a different path, his bass sound raw, uncompromising music, THE JAZZ unvarying, each note given the vibrant performances loaded as can be heard on Dogging poignant, moody, impressionistic; keyboard vibes. His role here is, I same weight before Jones with power and passion. Around . MESSENGERS it makes much use of ground- suppose, that of accompanist and intrudes yet again. bass, pedal notes and ostinato yet he offers far more than just Bostic was shrewd in his choice The repertoire for these BBC AT THE FREE TRADE devices and is, for the most part, support. His contributions are So engaging enough but sadly far of Holmes and Pass. Holmes’ 1959 transcriptions was an HALL 1961 slow. But it is unquestionably jazz. essential in shaping and from essential, Garland deferring background was in blues and soul eclectic mix of mainly, originals Stanley Jordan’s guitar is heavily structuring the music. Truly a too often to Jones for and his earthy, elemental lines with a few unhackneyed Solar Records 4569958 79:17 impregnated with the blues, meeting of equals. unwelcome drum barrages and and massive chords keep the standards, Willow Weep for Me although there’s also a country, with a characteristically, subtle down-home feel just below the to Vinnegar for humdrum solo energy level high. Pass was just Was there ever a modern jazz HUGH LEDIGO solo by the leader and. also, a fine surface. Kevin Eubanks’ piano passages, all this with that beginning to attract notable quintet as to match this one? reading by him of Ill Wind . draws strongly on the gospel inevitable sense of it being just attention at that time, and his OK, so Miles's various fivesomes J.J. JOHNSON tradition. A pervasive another gig, the slower ballads sinuous guitar adds finesse. might have done more in pushing and Dickie improvisational quality colours like If I’m Lucky offering the odd the envelope of the music, and THE COMPLETE ‘60S BIG Hawdon lock horns on a the proceedings – indeed, such is tantalising glimpse of Garland’s Drummer Shelly Manne enlivens 's post-Messengers BAND RECORDINGS coruscating trumpet duel on the empathy between the two special way with chords. The four tracks and swops stimulating units arguably did far better in fours with the leader on Telestar Two’s Company and Hawdon’s musicians that the entire booklet is more valuable than the the populist stakes, but no band Phono 870229 2 Drive , a storming track, and if Fast tenor horn adds a distinctive performance might well be music. captured the mood of modern CDs74.14/66.39 Track doesn’t get you up on your sound to the brass section. The improvised. jazz as it stood at the dawn of feet then your dancing days are ultimate track Royal Ascot is an PETER VACHER the 1960s quite like this edition Having been the principal over. opportunity for the main soloists, Jordan plays electric guitar Laurie Monk, Kenny Wheeler, of Blakey's lifelong dynasty. throughout except for one progenitor of bebop trombone, EARL BOSTIC J.J. Johnson (1924-2001) morphed JOHN MARTIN Derek Smith, Dickie Hawdon, excursion on to piano. He makes Danny Moss and Dankworth to Drawn from the tranche of tapes full use of the tonal and into a substantive arranger and THE COMPLETE QUINTET recorded off the PA mic at big band front-man. Later, of JOHNNY display their jam session sustaining characteristics inherent RECORDINGS credentials. Manchester’s famed concert in the instrument without course, he was to become a DANKWORTH venue (and in decent sound), this composer for hire, turning out ANDY SHEPPARD RED GARLAND TRIO resorting to distortion or WITH RICHARD ‘GROOVE’ ORCHESTRA JOHN MARTIN generously timed release of strident effects and is capable of charts for TV and films, and even QUARTET HOLMES AND JOE PASS previously unissued material – a coaxing gentle, tender sounds later, he returned to active SWINGIN’ ON THE performance, touring DUET FOR 16 LISA SIMONE welcome adjunct to the bands from his strings as well as SURROUNDED BY SEA KORNER Phono 870225 73.46 litany of celebrated Blue Notes - attacking, ferocious passages internationally with his quintet. illustrates every virtue the group worthy of . Much has been This double CD release on Vocalion CD EA 6230 78.15 ALL IS WELL Phono (a new name to me, ECM 2432 - 53:30 Elemental 5990426 2 CDs Earl Bostic’s name does not possessed. Whether it be jazz- made of his revolutionary two- possibly of Andorran extraction) 58.49/70.41 feature high on a list of jazz funk ( Dat Dere ), a classic bop handed technique enabling him to On its launch in 1956 the band’s LABORIE JAZZ 30 49:44 brings together four of his RCA Andy Sheppard has enhanced the greats. In fact, it might not even piece ( Night In Tunisia ), a nod to approach his guitar rather as a publicist, Kitty Grimes, described Victor large ensemble albums music of a number of bands, most Texas-born pianist Garland make the bottom of the Charts. the then-new modal sound ( The pianist might. This unique method the Dankworth band as ‘cool, Lisa is, as readers will know, the from 1964-66 and a welcome recently that of Carla Bley, as well earned his spurs with Miles Davis His decision to follow a Summit ) or a elegant standard – which apparently took him nine cultured and couth’ ---a daughter of the late Nina return they make. as producing music by his own in the 1950s with his distinctive commercial path in his career description which fitted its style Simone, but has made a name for (Like Someone In Love ), everything years to perfect – enables him to small groups. Surrounded by Sea is richly chorded approach. So it brought him a number of million admirably. herself on the Broadway stage, Blakey and his men touch turns Art Blakey the latest of these and sees was with some sense of selling records but, also, a wave of among others. On this album to gold. And there's oodles of Sheppard leading a quartet anticipation that I put this double opprobrium from some jazz ’s band was the big she's accompanied by Herve contrast in the contributions of featuring Elvind Aarset on guitar, CD though the aural mincer. critics and, as every reader must name at the time and it was Sambe on guitar, Reggie the three main soloists too; Michael Benita on double bass Here was Garland with two know, having commercial hits inevitable that the new on bass and Sonny Morgan, in his cocky, garrulous and Sebastian Rochford on other stalwarts of the music in excludes an artist from future Dankworth band would be Troupe on drums and percussion, prime; Shorter, bookish, drums. It's an introspective bassist Leroy Vinnegar and the entry into the cloistered halls of judged against the Heath crew. on a programme of originals and broaching a new musical language session, even allowing for the consummate drummer Philly Joe jazz, forever. Jazz critics tend to But that judgement would not standards. Lisa reflects some of between hard bop and the ‘new beautiful three-part Gaelic ballad Jones, another Davis alumnus, show no mercy. have been comparing like with that Broadway heritage with her thing’; Timmons, the ultimate Aoidh, Na Dean Cadal Idir , caught in action late in his career like. Heath’s band was a big powerful interpretation of songs groovy hipster. explored in three parts, which at the famed Keystone Korner The facts are that, although he brassy, commercial outfit. albeit such as Finally Free and the neverthess reduces the jazz club in San Francisco in played very little jazz in his with a laudable library of jazz.The insidious title track, whilst Child in As for the boss himself, the content somewhat. December 1977. career, (these two records seem Dankworth Orchestra was an Me has a gentler, almost reflective volcanic solo on Tunisia delivers to be his only jazz output) when out-and-out Jazz aggregation treatment. proof-positive of his central part Overall, it's disappointing to Previously unreleased, these turn he did get together with although, ironically, it did have a in the lineage of jazz drumming. report that the music seems to out to be relatively routine club established jazz musicians such as few commercial hits. As the This writer was left unimpressed Elsewhere, his admonishing lurch from one introspective sets, the material largely confined Joe Pass and Richard ’Groove’ Heath band was in your face, by Lisa's treatment of Leonard rattlings, tsunami-like press rolls moment to another. Only Looking to standards, Vinnegar’s bass Holmes, and he played ‘pure jazz’, Dankworth’s was in your ears. Cohen's Suzanne , and the same and relentless rivet cymbal drive For Ornette breaks the mould (as slightly over-amplified, with Philly as he termed it, he reminded us can be said for Revolution where all before them. Indeed, was there you might expect) but not by Joe’s drum interjections often what an exciting powerhouse of The repertoire was meticulously Lisa turns up the volume ever a modern jazz quintet to much, leaving a rather irritatingly unfocused and over- a player he was. selected and burgeoning new somewhat. It has to be said that match this one? Highly disappointing recording. frequent for my taste. Garland talents were thrust to the there is little jazz substance on recommended. plays well, especially so on the The tracks on this album are forefront. Danny Moss, Dickie offer here; Lisa has no inflection GREG MURPHY opening Love For Sale which fairly selected from two sessions he Hawdon and the young Kenny in her vocalizing, no trying to 20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

First of all, they make clear that and by no means just an excuse McGhee and trombonist Bernard faultlessly and perfectly straight. I he remained the consummate to kick off the ensuing McKinney. Vocalist Eddie Jefferson Can't Help It , supposedly by Stevie modern trombone soloist and improvisations. In fact, many of joins them for two tracks, singing Wonder, has her partly excitable, second, that he was an the themes are quite demanding in his wild trademark style which but lyrically inaudible. orchestrator of rare skill, this and the resultant chord used vocalese, often delivered at immediately apparent on the progressions give the soloists lightning speed. On the second By contrast again, a one-off song, opening set of bebop standards, something to get their teeth into. LP, Moody is in a sextet including The Best Of Mine , by Paul Banks, a theses bedecked with solos by Riffs emerging behind the soloists that fine pianist Kenny Barron. guitarist who plays on this track Clark Terry and flutist Jerome are also out of the usual run. only, is very appealing and well- Richardson among others. Mind The whole album is dominated enunciated, with a range of you, it’s J.J.’s own sound that There are personnel changes by James Moody, and he takes words. Yet one called The Heat stays uppermost in the memory, from one recording date to most of the solo space. Moody And Flames has very repetitive buttery and firmly-centred, as on another, but the performance played in Dizzy Gillespie’s big lyric lines, allied to edgy rhythms Nelson’s timeless Stolen standard remains uniformly high band, and his playing is imbued and mixed tempoes. Total Moments . There’s also ample throughout. It’s interesting to with bebop as well as the blues. incoherence afflicts their other evidence that his chart ideas are compare the work of trumpeters Some of his playing seems to material, prompting me to ask distinctive, the voicings Clark Terry and , consist of long strings of notes 'What's it all about?' But the sometimes analogous to those of very much from the same school moving line with multi-tracked During that limited 'fifties period, without much meaning but when most dislikeable track is a Gil Evans and Oliver Nelson, but the former being the more trombones, additional percussion the Scott style was said he introduces an element of the standard. Her treatment of My each piece cleverly re-imagined. mercurial. Tenorists Charlie and a Latin feel. Watrous plays to be 'more cool' than the long- blues, his playing assumes more Favourite Things is would-be 'cute', The retention of the original liner Rouse and , both with his customary busy lasting Buddy De Franco - but shape. He is equally powerful on but contrived, pretentious. Her notes is helpful in identifying warm, free blowing stylists, make command, crowding every bar to this collection contradicts that alto or tenor, but his personality playing around with the lyrics just soloists etc and everything else is a striking contrast with Junior the full, ahead of Jim Cox on claim. Particularly on the eight changes when he takes up the grates on the ear. A curate's egg, properly detailed in the Cook’s Coltrane-based sound. Fender Rhodes, an instrument live tracks, the sheer swing and flute, as in the gently lyrical Ally but is it good in sufficient parts? comprehensive booklet that whose nuance-free sound seems flowing vitality of his playing and the poignant The Day After . accompanies the CD. So, with 42 But these are not cutting dated now. Jitterbug Waltz is taken stems directly from that of Benny Another Bag has the benefit of five LES TOMKINS tracks to entice you, go for it, as contests – just great straight- entirely solo and is the better for Goodman. Likewise, the piano lift originals and seven arrangements they used to say. ahead jazz. it. This, to use the cliché, is a tour- of Dick Katz is very much in by Juillard graduate and well- BILLY STRAYHORN de-force, complete with chorded Teddy Wilson vein. And to judge known composer-arranger Tom PETER VACHER HUGH LEDIGO passages and complex ideas, all by the vociferous audience McIntosh. The sound quality is DAY DREAM unfolding before one’s very eyes, reactions, they liked it that way. fair and this is essentially an BILL WATROUS as it were. Mudslide Solly is an album for fans of James Moody. Essential Jazz Classics QUINTET/SEXTET QUARTET original with decent work from Inevitably, the seven studio- EJC55667 2 CDs, 79:21/78:48 recorded pieces are much TONY AUGARDE the rhythm team, even if the bass piano duets by Billy Strayhorn Connection ). Payne's individual quieter. Track 9, I Cover The THE COMPLETE 1 & 2 FEET LA ZORRA solos are rubbery and dreary, and An interesting compilation, that and Duke Ellington, in which the approach can be heard from the Waterfront , is the first example of demonstrates Watrous’s MALENE MORTENSEN illustrates some aspects of the great associates alternate, outset of Patterns of Jazz , with the IN THE GUTTER SESSIONS his ballad approach, and includes Progressive PCD-7154 49.30 emphasis on precise articulation jazz talent that was Billy sprightly Arnetta and the gentle a verse I'd never heard. His sound interweave and unify to good and middle-order dynamics, as he CAN'T HELP IT Strayhorn. Though his crowning How Deep , before trumpeter Phoenix Records 131609 2CDs is warm and mellow, but still effect. One called Tonk is ear- Watrous is a true virtuoso of the eschews smeared notes or achievement was the co- joins in for four 79:20/66:33 brings B.G. to mind. Blues For Ava catching, and reprised trombone, a player whose sudden movements of the slide. Stunt Records STUCD 14162 composing/orchestrating of titles; his solo work is is a welcome six-minute easy- interestingly later on the disc. technical command of this often How About You gets a peachy dynamic suites with Duke outstanding, with rapid multi- Dave Bailey plays drums with flair paced outing, wherein he builds 48:56 There are also four tracks recalcitrant instrument is quite ballad treatment, indicating that Ellington, he was also active as a note passages. The piano work of and finesse, as you might expect from a low-register touch to wherein the two men accompany awe-inspiring. This enables him to there is more to Watrous than In the absence of any note with pianist and songwriter. is supportive to from an oft-times collaborator in some wailing stuff. The other the novel cello of Oscar play complex lines at blistering machine-gun delivery on up- this CD, I can only relate to the both the quartet and quintet Gerry Mulligan’s various original in this set is an uppish Pettiford. speed but also, and here’s the tempo stuff. I guess he’s still at information that it was recorded Two separate eras are looked sides. enterprises. swinger called Swootie Patootie , remarkable bit, to play chords on work in and around Hollywood in Brooklyn, New York in March into. First we find him in 1961 in which could easily be taken for a LES TOMKINS the instrument. This he does by but he’s been quiet recently on France running through ten of his The session devoted to the music On these two CDs he gets to be Goodman special. The overall jazz 2014 and later mastered in blowing a note on the trombone record so this might be the best melodies. Three including the title of Charlie Parker is the litmus band leader although, beyond value of this package is boosted Elsinore, Denmark. The name of CECIL PAYNE and humming a vocal sound way to get to know him. song have the Swingle-ish Paris test. Payne manages to imbue talking to his invited audience, by the presence of such singer Malene Mortensen Blue Notes ooh-ing and ah-ing. A great mobility to the unwieldy most of his undoubted leadership simultaneously, which then drummers as and suggests Danish origin, but the PETER VACHER couple have the mellow Paris THREE CLASSIC ALBUMS horn and navigates at a rate of skills (he was also a pilot, flight triggers a higher harmonic note, Osie Johnson, and such bassists rhythm men's names, Christian String Quartet. Seven tracks are a PLUS knots through some classic instructor and executive director the resulting chord rather like a as and Percy Heath. Sands, Burniss Earl Travis II and of an organization called The cultivated raspberry. Used TONY SCOTT Terreon Gully may suggest 1959 set by a tight, groovy septet Parker compositions, which Avid Jazz AMSC1150 2 CDs, would be difficult enough on a Jazzmobile) were employed sparingly, it’s an interesting trick; LES TOMKINS otherwise. that features sterling solo behind the scenes. He does used too often it’s a bore. MUSIC AFTER MIDNIGHT statements. The characteristic 79:58, 69:03 smaller horn. The session is enhanced by Clark Terry's nimble contribute excellent breaks and Happily, Watrous manages to stay JAMES MOODY Anyway, the music content is a quirks and peaks of brief solos, but is clearly more the right side of that particular Fresh Sound FSR-CD 850 70:51 mixed bag. Four of the 11 songs on trumpet, on Cecil Payne (1922~2007) began trumpet and, once again, Duke concerned with the music than equation on this album for much are by Mortensen and Sands. On mainly-muted trombone, Russell his musical life in his native Jordan's piano. COOKIN’ THE BLUES AND the limelight. like scat, a little goes a long way. For clarinet devotees, like myself, most of the standards, Malene's is Procope on clarinet and Johnny Brooklyn on alto saxophone, but this is a treat. Here are 15 ANOTHER BAG a jazzy-sounding voice, but I'm Hodges on alto make this by far switched to baritone in 1946 Only The Connection lacks impact The bands on these five sessions This recording dates from quartet tracks, taken from five not sure what she's trying to do the most distinctive part of this whilst working with J.J. Johnson in this company, but at least it are pick-up groups formed from December 1980 and was one of 1953 sessions - three live, two in Fresh Sound FSR-CD 846: 76.28 with it. I'm faced with some double album for me. and quickly developed a light, contains a good dose of Bennie Bailey’s favourite musicians and a series issued originally on studios, in New York and New quibbles and queries. Alone flexible approach on the larger Green's elegant trombone. This the musical format is essentially Famous Door, producer Harry Jersey - illustrating the outset of Two LPs from 1961 and 1962 Together includes some vocalese, Then we jump back to 1947 for instrument with tone that had music has not been widely that of the time-honoured jam Lim’s successor to his justly- Tony Scott's six poll-winning respectively are combined on this and I wonder what instrumental two pleasant solo piano pieces, many echoes of Lester Young. available for some time, and it's session – a ‘head’ and a celebrated Keynote label. It years of playing what could be generous CD, featuring the it's using. A mixture of scat and and an odd but listenable spate of good to have it gathered at a succession of solos – but, unlike teams the leader with a group of termed 'normal' jazz. From 1959 versatile James Moody: equally lyrics midway feels awkward. The 's lugubrious The sessions here are from 1956 budget price. the familiar ‘safe’ tunes common little-known, then-young till 2007 he lived outside the adept on alto sax, tenor sax and back card names a supposed baritone backed by a string (Patterns of Jazz, Randy Weston Trio to most such occasions, the Hollywood sidemen, their opener States, being involved in Asian and flute. On the first LP, Moody is in original merged in, but it is not to section. Eight tracks are plus ) 1961 ( Performing Charlie GREG MURPHY material here is all highly original La Zorra [aka ‘The Fox’], a fast- 'New Age' music. a septet with trumpeter Howard be heard. Then Alfie is sung remastered rarities from 1950 - Parker Music ) and 1962 ( The

22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

Courtney Pine COURTNEY PINE remarkable Boneyard , an before the RCA studio summit, in Evening Star . Perhaps the Warren Vache ensemble featuring ten and previously unissued, is an biggest star of the group is SONG (THE BALLAD trombones, a sousaphone and altogether more palatable bassist Nicki Parrott, who BOOK) drums. Now, as if downsizing, proposition, finding the two contributes fine bass solos, as comes the Velocity Trio a front-men feeding off one well as singing movingly on compact unit featuring organist Destin-E Records 777102468X another for an engrossing forty several tracks. But drummer Ross Stanley and drummer Pedro or so minutes. At this point in his Leroy Williams seems 52:35 Segundo. This is a powerful outfit career, Rollins was trying to find determined to break up the beat who have jointly composed seven ways in which to accommodate as if this is a bebop session. Song is something of a departure of the ten titles here, although it the influence of the avant-garde Benny Carter’s songs are not all for Courtney Pine, with an must be said ‘compose’ is into his playing, leaving some of very memorable, several of their economic approach in a inaccurate when the spontaneous his work from the period a melodies depending upon programme of duets with the fine sound of the trio is considered. rather awkward mish-mash of repeating the same phrase. But pianist, Zoe Rahman; coherence and bluster (as on the Lights Are Low and Only Trust Your furthermore, he sticks to one A major feature of this recording original Sonny Meets Hawk Heart are deservedly jazz instrument, bass clarinet, is the integration of the album). Here though, he plays standards. DIZZY GILLESPIE KEN PEPLOWSKI & throughout. Pine produces a musicians; Boneyard is a case in with enormous purpose and superb, warm tone from the point with Rollins and Stanley drive, clearly energising his co- This pleasurable album may erase BIG BAND ALAN BARNES instrument producing lyrical sharing the theme statement front-man. Indeed, perhaps the from my memory the sight of The two non-Stilgoe the studios, the big bands and the explorations; consider the gentle kicked along by Segundo's drums, album’s strongest plus point is Warren Vaché on stage at the compositions fit in very nicely. jazz groups since before the old COMPLETE 1956 SOUTH AT THE WATERMILL exploration of A Child Is Born and leading to some intruiging solo hearing Hawkins with a young, 2006 Ascona Jazz Festival, Brian Wilson's I Just Wasn't Made king died. AMERICAN TOUR the unlikely Amazing Grace where work by Rollins, The lively Bakkra adventurous rhythm section, smoking relentlessly – while a For These Times suits the overall Tunes from the likes of Lil RECORDINGS Woodville WVCD 143 63.46 he runs through the octaves to has a fine unison statement from including pianist , who vocalist was doing her best to mood, and compatibly combines Joe's singing with that of the Hardin, Jabo Williams, Jimmy great effect. all three musicians but is clearly spur him on. Take his solo sing alongside. Hardly unique Liane Carroll. A Yancey, Scott Joplin and Ellington Solar Records 4569960 Throughout Britain there are disappointingly short, ending at on All The Things You Are , for professional – or considerate. dedicated people who strive to One Last Cry is a haunting work, penultimate treat is a heartfelt predate the Swing era and there 2 CDs, 78/05/78.41 1:12. Utopia sets the standard for example - revealing a musical keep jazz alive for the public. The using the upper registers of the ensemble work, with fine work curiosity far from moribund. TONY AUGARDE Stilgoe rendition of the are some oddities reflecting an Watermill in Dorking, bass clarinet but as an example of from Rollins including some Lane/Lerner classic Too Late Now . age when jazz and popular music Gathered together here are all holds monthly sessions featuring his versatility, consider the lower- snappy theme statements, The bonus material, from a Delivered with just his trio, it's a weren’t so far apart: Never Swat A existing live recordings by the JOE STILGOE good jazz musicians. And for register explorations on the followed by a tempo change Hawkins-less Half Note moving performance, containing Fly and Keep Smilin’ . I detect Dick mid-fifties Gillespie Big Band. The several years I enjoyed attending forty-second Intro before Pine which brings out the full power broadcast earlier that year, finds perfect piano. In fact, perfection is Charlesworth’s predilection for group featured the talents of NEW SONGS FOR the Blackpool , a get- moves straight into A Nightingale of the trio. Rollins ‘accompanied’ by McCoy the word for this collection. the absurd here. They’re fun, as is Quincy Jones, Lee Morgan, Melba OLD SOULS together over a long weekend Sang In Berkeley Square which is a Tyner, a mouth-watering prospect all the music on this disc. It’s also Liston, Al Grey, Phil Woods and where we could hear various near ten minutes of sheer delight; A trio it might be, but it sounds that sadly turns out to be LES TOMKINS Hot Stuff! Nostalgic but Wynton Kelly amongst others. permutations of about 20 Pine is so fluent on the bass more like an octet such is the something of an anti-climax. The Linn AKD 484 48:07 decidedly not a museum piece. Also included are two sambas different jazzers. One of the clarinet, producing some dazzling power of the voicings; credit too leader is at his most unfocused, HOT STUFF Here's Joe's first for illustrious recorded with a Brazilian permutations I enjoyed most was runs. On the title-track, Pine is to each of the musicians for their tumbling from one theme to HUGH LEDIGO Linn, but his previous three are orchestra and four tracks with that of Ken Peplowski and Alan superb, with a long solo, leading individual and ensemble another, thus creating no real EARLY JAZZ REVISITED shown as being available on the the tango orchestra of Osvaldo Barnes. to a fine contribution from Zoe contributions. opportunity for the kind of hand RYAN TRUESDELL label. It's another great listen - Fresedo. Rahman. in glove co-operation Tyner was Upbeat Jazz URCD 264 61:24 The session on this CD was with ten out of the dozen being GREG MURPHY to enjoy with his regular boss of LINES OF COLOR: GIL Much of the repertoire is familiar recorded at the Watermill in Song is as much Zoe Rahman's his own new songs. The Old Souls the time, John Coltrane. Buy it Double nostalgia. Not so much EVANS PROJECT Gillepie material from the period 2010. Peplowski and Barnes have disc as it is Pine's; her SONNY for the Hawkins tracks. titling clearly relates to the facts the tunes (They pre-date even already released two albums accompaniments are subtle and that they have the quality of including Cool Breeze ’, A Night in ROLLINS/COLEMAN me!) but the sound which is Blue Note ASBN 0133 Tunisia , Manteca and The Champ together, and their togetherness melodic, yet she is adventurous SIMON SPILLETT actual standards and the aura of decidedly Chicagoan, redolent of is evident in the harmonies they on her soli without interfering HAWKINS nostalgia that pervades the a mis-spent youth for those of us and all expertly played. This sumptuous album, recorded create and the ways they with Pine's progress. She fills the dazzling stylings. For instance, at above a certain age. And then WARREN VACHE live at New York’s Jazz Standard Austin Cromer is the featured interact. Peplowski tends to solo spaces behind Pine with grace TOGETHER AT least three of them have the there’s the guys in the band. club in January 2015, is the latest more melodically than Barnes, and aplomb and provides rhythm NEWPORT 1963 QUINTET rollicking feel of Louis Prima Some still playing – but a lot, not. vocalist on several tracks which product of composer/producer he handles well in the style of a who delivers impressively fast just where and when needed. about them. The whole album has REMEMBERS BENNY that Stilgoe stamp, which I would Truesdell’s continuing desire to young Billy Eckstine. runs which show his prowess. It That she can keep pace with Jazz on Jazz 244552 70:58 Chez Chesterman plays hot, is sometimes difficult to tell who term happiness personified. keep Evans’s music in front of the Arrangements come from Ernie Pine's improvisations says much CARTER incisive cornet with strong Wild is doing what, as they both play jazz public. Truesdell already has Wilkins, Quincy Jones, Tadd for her musical ability. The way in When it was first released in Bill Davison overtones, though clarinet and the tenor sax. The Arbors ARCD 19446 63.46 The superlative constituents that form in this field – his Newly Dameron and Melba Liston as which they keep pace with each 1964, 's on-record his voice is reminiscent of Woody repertoire is nicely varied, with a meeting with , make up a JS production need to Herman. Dick Charlesworth – he Discovered Works of Gil Evans well as Dizzy himself. All-in-all an other makes for a hugely couple of funky pieces by Horace the man he openly acknowledged This album arose when Benny be itemised. His appealing vocal of the City Gents, if I remember album won Evans a posthumous enjoyable set which succeeds in enjoyable musical experience. Silver, a few tender ballads, and as his ‘idol,’ left many listeners Carter’s widow asked Vaché to sound has power or tenderness aright: clarinet à la mode but a Grammy recently. This time he capturing the of some seldom-heard scratching their heads in wonder. play at a tribute concert for the as required, and his diction is robust ’forties tenor if ever there has included six more ‘never these live performances. GREG MURPHY compositions by jazzmen which One contemporary reviewer late Benny Carter in admirable. The latter virtue is was one. Mike Pointon’s before recorded’ works by the deserve more exposure. Perdido even described the effect of Connecticut. Warren decided to essential in transmitting his trombone spans the eras from much-lamented composer, plus The samba and tango tracks, DENNIS ROLLINS is reconfigured in bebop style, hearing the two tenorists make this CD with roughly the cleverly-constructed lyrics. He is New Orleans to Swing with an two arrangements with although interesting to hear are and the nicest piece of VELOCITY TRIO together as akin to attempting to same group. Warren Vaché is a a skilled, swinging jazz piano impressive facility. Pat Hawes – a previously unheard sections and for die-hard Gillespie fans only. togetherness is in the closing Pee digest a meal of steak and first-rate exponent of the cornet, soloist, as heard on several tracks pianist I remember from 1954! three of his well-known charts. The 12-page CD booklet Wee’s Blues , where Alan and Ken SYMBIOSIS kippers, while Hawkins' able to play forcefully as well as here. A major ability is his More Alton Purnell than Fats but Funded via a collaboration contains a wealth of information duet on clarinets. The rhythm biographer John Chilton thought softly, often muted, adding the arranging, which productively boy, does he swing! As does the between the famed Blue Note and photographs from the time. section (John Pearce, Dave DRV 0001-47:05 their dialogue ‘ [like] that of two occasional growl. Tenorist utilises groupings up to full big entire rhythm team, with fine label and the Artist Share crowd- This is a valuable document of Green, Steve Brown) ensures a Harold Pinter characters talking Houston Person is as reliable as band, spiced with effective vocal work from Jim Forey, banjo/guitar, funding concept, Truesdell this short-lived band’s South steady beat. Hurrah for jazz Dennis Rollins has been quietly earnestly and simultaneously on ever, fusing seamlessly with choruses and soloists. His rock-steady yet propulsive bass assembled an orchestra packed American tour. musicians – and jazz promoters. making a name for himself in different subjects.’ Warren when they harmonise. musician colleagues all being first- from John Rodber and superb to the gunwales with star players recent years as the man behind Houston is featured playing rate, the end-result is drumming from the late Rex from the wider New York scene ALAN MUSSON TONY AUGARDE Badbone and Co and 2005 the This set, however, taped a week radiantly with the rhythm section unremittingly entertaining. Bennett who must have graced for this club engagement, 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

augmented by classical woodwind TRIO PAT HALCOX Alex Welsh Band when Alex was and other choices that were highlight of the set – Anthony specialists and a single viola. The indisposed and he depped for around during his time and that Troon’s reference in his liner resulting recording is of the very KÖLN CONCERT 1976 REMEMBERING PAT Humph in a similar situation, perfectly fit his style. notes to a Tatumesque tempo is highest quality and the degree of HALCOX taking these challenging roles in the perfect comparison. enterprise involved is similarly Domino Records 891228 59:33 his stride. He performs What we have here is a very quite outstanding. beautifully on flugelhorn on Blue enjoyable CD of classic jazz RON SIMPSON Lake Records LACD338 2 CDs expertly recorded and played. The most significant aspect of Orchid and his All Stars give a Part of the album’s fascination convincing rendition of Woody Well worth investigating if you Evans’ trio work as heard on For me there couldn’t be a more THE JIMMY HEATH lies in the way it illustrates Herman’s Apple Honey . have even a passing interest in these tracks is its astonishing welcome release than this tribute Evans’s early mastery of the the jazz of this period. SEXTET & collective improvisation. to a marvellous trumpet player conventional swing band idiom as Pat’s almost chameleon-like ORCHESTRA Apparently free yet never and a really nice bloke. Full marks well as his more radical stance on ability to shine in any musical ALAN MUSSON stepping beyond the harmonic to at Lake Records the later pieces where they take company makes me wonder just Fresh Sound FSR-CD 858 76.29 structure or rhythmic frame- for letting us remember just how on something of Mingus’s what direction he might have work of the compositions, the great Pat Halcox was. Two CDs, EDDIE THOMPSON concern for tumult and taken. His playing brought to jazz This very welcome reissue came interplay between piano and bass one with him in the Chris Barber momentum. The orchestra is a warm tone, a constantly TRIO just as I was half-way through is extraordinary, and the Band and the other guesting with large, studded with great soloists, inventive mind and exemplary Jimmy Heath’s absorbing memoir, drummer supports and various groups in jam sessions the charts often marked by taste and he brought a genial and THE BOSENDORFER I Walked With Giants , published in emphasizes the shifting dynamic and sit-ins. exultant passages for the much-loved personality. CONCERT 1980 2010. The modesty inherent in and rhythmic flow with a subtle trombones with the tuba below, that title shines through the drive that never intrudes. The Barber CD takes us through fluttery motifs for the flutes and Pat, truly, was a one-off. He is HEP CD 2102: 60.20 entire text as he details a busy four decades of that band and the kind of voicings that stay in sorely missed. jazz life spent in the company of Evans’ keyboard facility is your consciousness. Once heard, four different incarnations. As Nearly 30 years after his death the greatest players of the day, formidable. He is quoted as never forgotten, you might say. Chris extended his musical range Eddie Thompson is too little without making any grandiose saying ‘…the technical problems JOHN MARTIN from fundamental New Orleans remembered by the British jazz claims on his own behalf. For all have never been that great to There’s a version of Greensleeves jazz to early mainstream and public. He had three things in that, Jimmy deserves high praise me’. Two or three years of THE BIX PROJECT taken as a bravura performance blues, Pat adapted easily to the common with the much more for his prowess as a tenor- by trombonist Marshall Gilkes, intensive practice on Bach, new ideas. BAND famous George Shearing: he was saxophonist, one of the best from originally written for a Kenny Beethoven and Bartok in his blind, he went to the same the hard-bop era and as a Burrell album in 1965. How good early career have no doubt The tracks are all known Barber BIX OFF THE RECORD London school and he conquered composer and arranger, many of to hear it again and in such helped but, if they have given him material and carry the America, though by the time of his originals having entered the the writing nicely open, with most suited to display Braff’s expert hands! Almost as exciting security in performance, there is recognisable stamp of impeccable Lake Records LACD339 56:45 this recording (1980) he had hard bop lexicon. Of course, French horn for added colour talents, with guitarist Steve in its way is Gypsy Jump , a swing little overt ‘classicism’ in his style. musicianship with Pat supplying a returned after 10 years in New Jimmy, who is still active in New and altoist Cannonball Adderley Jordan replacing a bass player and piece that Gil wrote for his then strong and elegant lead. Kenny This is the latest in a series of York. For the concert at the York at the great age of 88 is one in sparkling form. There have Dave McKenna at the piano. In employer Claude Thornhill in Bassist Eddie Gomez, to quote Ball and Alex Welsh sit in on two Vintage Recording Projects on Palace Theatre, Mansfield, of a family trio, each of whom been many more Heath albums each session, Ruby Braff displays 1942 but which was never Evans again, is ‘…a complete numbers but Pat stays in Lake Records. The initial idea Thompson was coupled with an attained jazz fame, with his elder since these but rest assured, this some wonderfully controlled recorded. It opens with a virtuoso… but the virtuosity is command on both. Good, also, to being to recreate a vintage instrument that matched his brother, bassist Percy the best early work signalled a talent playing, full of melody and trumpet flourish and settles into always motivated by a musical be reminded just how superb and recording session using only one virtuosity, a Bosendorfer Imperial known while younger brother, destined for greatness. lyricism. He also seems to have a a clarinet-led motif over Jay thought’. irreplaceable Ottilie Patterson single ribbon microphone. This with an extra octave in the bass drummer Albert ‘Tootie’ Heath is knack for choosing just the right Anderson’s poised bass, the was as a blues singer on her two time around the recording for him to rumble around in. The also highly rated. Up until Percy’s PETER VACHER tempo for relaxed, swinging The result is a meeting of result a danceable pleasure. Then numbers. parameters were broadened opener, a fine version of On Green death in 2005, the threesome musicianship. independently creative minds again, there’s Concorde , the John using a multi-microphone set-up, Dolphin Street , is typical of his went out as the Heath Brothers RUBY BRAFF Lewis composition originally sometimes running in parallel, But it is the second CD which I but still utilizing ribbon idiosyncratic confidence of band. TONY AUGARDE arranged by Gil for the 1964 sometimes converging into want to comment on. Chris microphones. approach: he toys delicately with BRAFF! Individualism album and here given passages of spontaneous never restricted Pat in any way. In the melody, switches tempo, puts Fresh Sound invite us to look at a rumbustious reading, with the concord. Not easy to listen to - fact, he encouraged his The recording grew out of the in a burst of stride, displays the an earlier period in Jimmy’s life Phoenix 131608 58.51 stellar trumpet of the melodies don’t always fall adventurous flights. But, still, Classic Jazz Party held annually instrument’s sonorous tone in with the The Thumper from 1959, IN THE BEGINNING featured. Or Bix’s Davenport Blues readily on the ear, the harmonies being part of a band essentially just north of Newcastle-Upon- rhapsodic passages. At times the his first album for Riverside and Recorded in June and July 1956, re-imagined in the hands of yet border on the abstruse, and the requires a certain Tyne. This event attracts top impression is that Eddie Really Big! by, you’ve guessed it, a this album consists of three very Resonance HCD-2014 2 CDs, another exciting trumpet player interweaving lines are quite accommodation and so the players of classic-style jazz from Thompson can do almost too larger band made a year later. Of disparate sessions, all featuring 69:37/67:00 in Mat Jodrell. A previously complex. As with much chamber tracks on this second CD allow all over the world. Four countries much on the piano. At 11 minutes the seventeen compositions cornetist Ruby Braff (here omitted section here brings out a music, you need to be aware of us to hear how Pat may have are represented by the musicians each Theme from Corcovado and featured over the two sessions, credited as playing the trumpet). The wondrous Wes peaked all- bevy of soloists and again the individual voices as well as developed in different on this recording. Satin Doll are long for piano trio ten are by Jimmy and there is not This was comparatively early in too-briefly as the top jazz emphasizes the care with which the overall effect. circumstances. His pairings with numbers where the capable bass a dud among them. The Sextet Ruby’s recording career, but he guitarist in the 'sixties, but during Truesdell has approached the old chum, Colin Kingswell , are This is a sextet of wonderful and drums of Pete Stables and album teams him with already sounds confident and most of the previous decade, he project and his concern to work The first seven tracks, recorded happy affairs and the inclusion of musicians, four of whom are in Pete Taylor are for the most part trombonist and mature. He is put into three was still gigging in his home town, from primary sources, thus in 1976 with Eliot Zigmund on another old friend, Sonny Morris, their 20’s or 30’s. Their technical merely supportive. Of the two cornetist , with the different groups, numbering nine, Indianapolis alongside his ensuring that the full richness of drums, include pieces by Brubeck, leads to a boisterous free- for- all proficiency is without doubt as is the Ellington piece is much the mercurial Wynton Kelly on piano six and four musicians brothers, pianist Buddy and the original material is laid bare. I Earl Zindars and Bobby Gentry. on Give me your Telephone Number their commitment to more fun, with the theme and Tootie on drums. The first respectively. In the nine-piece bassist Monk. The 16 live tracks don’t have sufficient space to All other material is Evans’ own. with Pat driving a hard lead. authenticity. recurring in varying dynamics in thing to say is that Jimmy’s music group, Ruby shares the main solo here, unearthed from local club describe all the wonders of this Most, like Time Remembered , 34 between teasing fragments of radiates joy, the writing bright space with trombonist Lawrence sessions, document his solo recording: it is vibrant, packed Skidoo , and Turn Out the Stars are Wabash Blues and Confessin’ are The idea behind the project was other tunes from Thompson’s with Kelly’s literate piano a Brown and tenorist Coleman brilliance and show the stylistic with incident, touching and hugely familiar numbers in the pianist’s marathon pieces and feature to recreate what Bix could have capacious memory. Corcovado is highlight. As he solos, Jimmy Hawkins, who both play with the progress that led to his first well done. Great playing, fine repertoire. American guest pianists Don played and, in some instances, more intense, more about shows an awareness of John mellow sweetness we have come commercial recording in 1959. solos, sweet vocals from Wendy Ewell on the first and Art Hodes what he almost certainly did, but complex harmonies, and I Coltrane’s style, this to expect from them. Brown and Gilles, all in perfect sound and Not easy listening but well worth on the second. These numbers never had the chance to record. preferred a constantly changing superimposed over a Gordon- Hawk drop out of the quintet CD1 presents the five-piece that with a booklet that deserves a some effort. give Pat an opportunity to The material for this CD includes Baubles, Bangles and Beads as a like rhythmic feel. Adderley is sessions, where the Basie-ish teamed him with a tenorman Grammy all of its own. Get this stretch and he blows some tunes bands Bix was associated showpiece for Thompson’s fiery, much influenced by Clark rhythm section (with the named Alonzo 'Pookie' Johnson, now. HUGH LEDIGO wonderful choruses. To with performed, songs composed virtuosity. Having said that, a Terry and the whole album is a incomparable Freddie Green on who proves to be a palatable demonstrate how flexible and for Bix, or as a tribute to him, breakneck 3 minutes of Sweet delight. The larger band retains guitar) lays down a solid rhythm. player. This is 1956, and certainly PETER VACHER audacious he was, he fronted the some of his personal favourites, Georgia Brown has to be the Adderley, with Terry alongside, The quartet is the ensemble Wes's thumb-picking technique is 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

Wes Montgomery We Called it a Day , a heartfelt Colyer’s Studio 51 club had Digby Fairweather studios. Left on their own, they treatment of that song, are recently closed, so he assembled come up with a bluesy, organ- particularly appealing. this group to play regularly at the dominated The Preacher and a 100 Club. Mike Pointon is on more sophisticated reading of Vibraharpist Nathaniel Steele is trombone, Annie Hawkins plays Frank Foster’s Shiny Stockings . The another welcome find on four bass, and Bill Stotesbury’s banjo DVD is made up of a few tracks on which he sounds both keeps the band tightly together. numbers each from two concerts fluent and inventive. It is The playing is very similar to that in 2014 - at Chipping Sodbury heartening to hear the West of Ken’s other bands, although Baptist Church and the Coast style again after so long an perhaps more easy-going. Colyer Brunswick Club in - with absence. is often portrayed as a purist for slightly different choice of New Orleans jazz, but parts of material. The Chipping Sodbury This is music to be cherished as this session suggest that he was set is rather more traditional, attempting to give us something happy to please the crowd with including a rollicking Hindustan really different. some Dixieland favourites played with Martin, Caswell and in a relaxed style. There are some JOHN MARTIN drummer Eddie John seizing their signs of inadequate preparation, opportunities with relish. For the like the scrappy opening to KEN COLYER’S ALL club set Digby switches for some Milenberg Joys but the numbers to a beautiful old STARS WITH SAMMY atmosphere makes you want to cornopean, finding a warmer RIMINGTON join in. The sound quality is tone and a more lyrical vein for variable. songs like I Want a Little Girl . The COLYER FROM THE DVD recording is unexciting, but TONY AUGARDE done given the equivalent playing is well represented on with wit and imagination. He ARCHIVES technical facility. these recordings though, at this avoids over-extended solos, efficient. There are plenty of cameras using different angles, RANDY WESTON early stage in his career, I suspect preferring alert and empathetic fully in evidence, as is his phrasing source as the West Coast jazz of Upbeat URCD 265 72.43 Chronologically, the next session he was yet to find his mature exchanges with the members of but the backgrounds are dull (though it opens Disc 2) was voice. Nevertheless, there is the trio. So who are the Cass enough (brick wall with big cross, eloquence. He and Pookie make a Art Pepper and . FOUR CLASSIC ALBUMS good 'front-line' and share To my knowledge she is unique This album is described as a recorded only seventeen months much to be enjoyed and admired Caswell Trio? First impressions blue curtains) and audience shots among young British jazz ‘newly discovered live session’. It later in 1955. Already Weston’s in these performances. are that, for a group I had not are very limited. However, the blowing space democratically. Avid Jazz AMSC 1153 2CDs Plus there are nimble pianistics musicians in pursuing that was recorded on a Thames Monkish ardour has subsided, heard of, they are remarkably video presentation has the 77:14/79:20 from Buddy M. The grooviest course. riverboat in the early 1970s, though it never goes away HUGH LEDIGO accomplished - it turns out that advantage of pointing up the easy track is their version of John which means that it contains a entirely. The repertoire here is a they are Bristol-based and that teamwork between the four Jazz is either intended to evoke a Lewis's Django - a joyous romp This is the lady’s third album and large amount of the happy mixture of interesting originals, DIGBY FAIRWEATHER bassist Caswell and the excellent musicians. mood and create an atmosphere indeed. A nice interlude is Debbie it, like the others, it has received customers shouting and chatting golden-age standards and, pianist John Martin have worked or it is the expression of a WITH THE CASS Andrews vocalising strongly on I lavish praise from serious jazz in the background. But that could improbably, Twelfth Street Rag . with the best, often in television RON SIMPSON performer’s musical identity. The CASWELL TRIO Should Care with only blissful critics. Bravely, the album was be said to add to the ‘live’ opening eight tracks of Disc 1 are The second half of CD1 has a guitar in support. recorded in concert style; ambience of the recording, which straight through with no tinkering features a couple of sidemen devoted to Cole Porter’s similar mix of material including LIVE AND KICKING exquisite songs, and these six solo tracks on which the We turn to CD2, and in three and it reflects that spontaneity. from Colyer’s previous bands: performances fall into the latter pianist reveals himself as an quartet tracks two years later She has a strange sound, variously clarinettist DVD A1R Productions, 59.00 category though, whether the introspective, harmonically the missing ingredient emerges - described as ‘airy’ and ‘soft’ but (whose snake-charming clarinet identity under consideration is searching ballad player. The spirit the octaves. Here in 1958 are the those descriptions are misleading adds some delightful decoration) At present, quite rightly, much of Weston’s or Thelonius Monk’s, of Monk may still lurk but I familiar octave-leap passages that for, although, there is a kind of and drummer Colin Bowden. the publicity around Digby I’m not really sure. Weston has suspect we are hearing the real Fairweather is to do with the have subsequently influenced his floating quality to her playing , Colin certainly brings passion to assimilated Monk’s phrasing, his Randy Weston here. Half Dozen which has added followers. What a great shame it she has a sinuous and intense the first track: a jolly singalong version of Dinah , in which harmonic and rhythmic approach longevity to excellence by was that he only had another ten way of phrasing and a direct Bowden’s powerful drumming to a point where he seems to CD2 finishes with eight numbers clocking up 20 years on the road, years to amaze the jazz public, approach, lying back slightly accentuates important moments. play what his idol would have from a live performance that also so it’s good to find a DVD that live and on record. I'm thankful behind the beat. She seems to features the baritone sax of Cecil concentrates on Digby as that in 1965 I was in Ronnie's to dance in and out of the Randy Weston Payne whose husky tone and musician, not leader. He is on fine catch as many as I could of his ensembles and she is unceasingly flowing lines add a fresh tone- form here, successfully essaying sparkling sets. melodic. Above all she swings mightily on a varied choice of colour to the trio format. bravura cadenzas, pinging the high originals by Jimmy Heath, Lennie notes confidently and soloing LES TOMKINS Weston’s highly proficient piano Tristano and Marty Paich and a ALLISON NEALE few well chosen ‘ evergreens’. COMPETITION WINNERS BOOK She is supported by a superior I WISHED ON THE MOON Answer: Jazz Couriers/Ronnie Scott rhythm section of Leon Greening Winners: LANCE LIDDLE of Newcastle-on-Tyne, P.H. GREEN of (pno), Julian Bury (bs) and the Northampton and BRIAN FIDLIN of Codsall, Wolverhampton Trio Records tri593 59.56 ubiquitous Steve Brown on drums. Greening, in particular, is a Just once in a while someone MELODY GARDOT CD surprising discovery. A percussive Answer: Philadelphia comes along whose playing is so pianist who sounds, at times, like Winners: RAY WHITEHOUSE of Rochdale, HELEN HANCOCK of fresh and different that it revives Brubeck, he more than pays his St Columb, Cornwall, and MICK DAY of Woodley. a jaded palate. Alto saxist Allison way with intelligent backing and Neale is one of these musicians some wonderful mazy runs. WHIPLASH BLU-RAY and what she brings to the Answer: Damien Chazelle current scene is an entirely All the tracks deserve attention Winners: COLIN MIDDLEBROUGH of Wirral, MRS. M. BARNES of alternative influence to the hard but Chilly Peppers , a hectic romp Newcastle-on-Tyne and IAN EDWARDS of Birmingham. boppers. Allison cites her creative and a tribute to Art, and The Night 28 THE JAZZ RAG THE JAZZ RAG 29 BOOK REVIEWS REVIEWS

was love at first sight with the Stylistically, it summed up the that Getz and Coltrane were’, he BEALE STREET an increasingly racist regime – an Szwed deals clearly and GUEST instrument. Having seen one in a path of his most productive tries to be even-handed, ironic career step for the man in convincingly with the underlying LADY DAY AT 100 shop window when he was five, years: from an early Stan Getz recognising the criticisms that DYNASTY: SEX, SONG, whose praise the first formally reasons for its notorious REVIEWER John Szwed could perhaps be he made his father keep a influence, through the muscular, have been levelled at his hero; AND THE STRUGGLE named blues was composed. unreliability whilst making a case ROGER accused of irrelevance! promise to buy him one when he technically exhilarating hard bop indeed he often expresses them FOR THE SOUL OF for its essential truth. In was 12. Spillett documents, from of such as Johnny Griffin, to the better than the critics Beale Street Dynasty apparently particular co-author William COTTERRELL The final sections are much more press cuttings, recordings and harmonic switchback ride of John themselves: ‘high-energy feats of MEMPHIS contains 22 photographs, but I Dufty comes out with surprising focussed on Billie’s art as a dozens of interviews, every Coltrane’s ‘ ’ and – musical daring at the expense of have to take that on trust as I credit. For instance, the opening THE LONG SHADOW aspect of Tubby’s career once it despite troubling doubts about all else’, ‘direct and at times near- PRESTON LAUTERBACH reviewed it from an advance copy sentence – ‘Mom and Pop were singer, full of interesting OF THE LITTLE gets going, but even he has not Coltrane’s later work – a wary slavish emulation’, ‘wearing his (textually very accurate – proof- just a couple of kids when they information, conveying much of discovered much about how the sampling of what the avant-garde latest American influences a little W.W. Norton & Co., hardback, reading lives at Norton). Similarly got married. He was eighteen, she her skill and emotional appeal GIANT: THE LIFE, saxophonist developed his might offer. too readily on his sleeve’; above 978 0 393 08257 9, $26.95 I hope the on-sale version was seventeen, and I was three’ – and not resorting to technical WORK AND LEGACY dazzling instrumental skills so all, just ‘too many notes’. (£18.27 on amazon.co.uk) contains an index, necessary in is memorable, but also points or musical notation. The OF TUBBY HAYES quickly and completely (Hayes Along the way Spillett doesn’t such a sweeping history. inaccurate: they never married songs he analyses and said little except that he was self- hide his subject’s chaotic If there is a criticism to be made Beale Street Dynasty is not a book and were several years older concentrates on come from about jazz, but it will appeal in RON SIMPSON SIMON SPILLETT taught). By age 15, however, just personal life: the devastation of of the book it is that the author when Billie was born. The elegant throughout her career, and the out of school and sitting in with drugs and booze, the failed doesn’t actually answer any of large measure to those economy of expression is events of her life drift in and out interested in the music’s Equinox, hardback, 978 178179 Ronnie Scott, he ‘proceeded’, as marriages, the human disaster these charges. They just seem to BILLIE HOLIDAY: Dufty’s, but the fabricated facts of the narrative, largely Scott said, ‘to scare the daylights area of his relationship with bounce off Teflon Tubby. While hinterland. It charts the rise of go back to a 1945 interview with dependent on whether Szwed 173 8, £19.99 THE MUSICIAN & out of me’. singer Joy Marshall, and the final, Spillett sees the force of some of Beale Street post-American Civil Billie. The final part of The Myth feels he has anything new to say, tragic collapse of his health. He them intellectually, he seems to War to become ‘the Main Street THE MYTH deals with film appearances by It has been a long wait for this so her time with Artie Shaw gets After that, Hayes’ quick ascent treats all these matter-of-factly, reject them emotionally. The of black America’ and its decline Billie, the film Lady Sings the Blues biography of Tubby Hayes, indeed more space (nice long account by begins through bands such as setting out events as they book certainly won’t end into racism and urban blight, JOHN SZWED and what Szwed sees as the best for any biography of the British Helen Forrest) than her time those of Kenny Baker, Ambrose, happened and not sparing controversy over Hayes. Perhaps followed by a sort of rise into photographs of her: in the tenor sax giant, whose legendary with Basie. and Jack Parnell to his intimate details, but also not appropriately to the era it tourist attraction. The success of William Heinemann, hardback, circumstances it’s odd that the status grows with every passing own first group in 1955, created dwelling pruriently on them; just discusses, it invokes American Beale Street was founded on 978 1 785 15027 2, £20.00 book has almost no illustrations. year. Simon Spillett’s book has Anyone turning to The Musician full of optimism but soon worn showing them as part of the comparisons as its sole yardstick tolerance of black and white and been well trailed, through his & the Myth for a full account of down by the demands of dance complexity of a roller-coaster of musical quality so that, a sort of integration of criminal The most remarkable feature of His tendency to tell the back articles, in interviews (most Billie Holiday’s life and career will hall managers and promoters. life. although the author insists on the activity and the vice trade on the Billie Holiday: The Musician & the stories of the likes of Orson recently here in Jazz Rag 136), be very disappointed. It reads at Braving the hazards and ‘Britishness’ of Hayes’ jazz, we one hand and responsible Myth is that it does exactly what Welles’ involvement with jazz in times like a series of essays on and through his richly informative frustrations of coping with The virtues of the book go never really know what that is. political governance and civic the title says; this is not one of the early 1940s is a foretaste of things about Lady Day that inserts for many CDs that are endless one-nighters around the beyond those of a good story Tubby himself always relied on development on the other. those books that comes up with the oddest chapter of the book, interest John Szwed. But most part of the recent flood of country and audiences who often well told. As a saxophonist trans-Atlantic comparisons and Preston Lauterbach uses Robert an eye-catching title, then gives the first in the longer second readers will find they interest previously unknown or reissued wanted to dance rather than himself, Spillett offers interesting so, in a way, was always playing a Church Senior and Junior as the way to lazily conventional section, The Musician. The Hayes recordings. listen, Hayes, like others in the but never intimidating technical rigged game: how could non- centre of his story, the father biography. The first part, The Prehistory of a Singer tells us about them, too, and it is very capably little band of British modernists, insights (even explaining why Americans ever really beat the who became the South’s first Myth , mainly deals with her things one would never expect to written, stylish and very readable The wait has surely been tried to play jazz in the styles of Hayes’ switch to a new natives at playing American jazz black millionaire (though his autobiography Lady Sings the find in a book about Billie Holiday which may encourage a bit of worthwhile. Vivid, richly detailed their American heroes and mouthpiece mattered) and he shaped by American culture? It father was, in fact, a white Blues , its troubled progress to such as minstrel shows. Certainly skipping when Szwed embarks on and based on a staggering affected a lifestyle hip enough to can convey for non-musician needed a different mind-set and a steamboat captain) and his son publication (lawsuits threatened the most bizarre fact to emerge one of his lists of names or the amount of research, this book keep at bay a drab, readers something of the distancing from American models who moved his focus more from the likes of Tallulah is that Eva Braun used to pose in back story to the French chanson . goes far beyond the kind of uncomprehending outside world experience of playing. He also has really to allow European jazz its towards increasing black Bankhead, followed by lengthy blackface in honour of her labour of love that most jazz of, as Spillett often portrays it, an apt way of summing up distinct identity. Spillett’s book is electoral power. cuts) and the reaction to it. John favourite performer, Al Jolson. RON SIMPSON biographies – certainly most bleak austerity and grey suburbia. musicians’ styles. And although a wonderful evocation of a time biographies of British musicians – very firmly in Tubby Hayes’ camp, when in Britain such a distancing It’s a lively, entertaining, Billie Holiday represent. Despite its almost Some things stand out, such as a having no doubt that he was was almost impossible to sometimes tragic and pathetic obsessive accumulation of facts long, on-off partnership with ‘every bit the saxophone giant imagine. story told with great verve via backed by 30 pages of endnotes, trumpeter , clearly short episodes that bring in a it is a real page-turner, eloquently Hayes’ real soulmate in the late Tubby Hayes vast array of vividly drawn and carefully written, and an 1950s, and the two year characters. And that’s where the essential read not only for Hayes existence of the Jazz Couriers jazz interest comes in. Jelly Roll fans but for anyone who wants a (the ‘inside’ history of the band Morton arrives in town and takes sharp, insightful picture of British and of Tubby’s relationship with on the local piano champion. modern jazz in the period when co-leader Ronnie Scott is Ralph Peer, Victor’s man on the he was active between the mid- particularly well told). Several road, records the Memphis Jug 1950s and early 1970s. playing and recording visits to the Band on Beale Street. But the USA in the early 1960s enabled main jazz-related story is that of Spillett’s approach is strictly Hayes to impress the American W.C. Handy who led bands and chronological, starting from giants on their own turf, and in wrote music in his Beale Street Hayes’ suburban childhood in 1964 at the Ellington Orchestra’s office for many years. I was aware Raynes Park where he was London concerts he inspired that Memphis Blues was originally brought up mainly by his doting surges of patriotic pride among a campaign song called ‘Mr. mother, a former revue artist; his local fans when he depped at Crump’. I did not know that Boss father, a successful dance-band short notice for Crump ran the Democratic Party leader, was rarely around but did at the Duke’s request. The machine for decades, sometimes instil in young Tubby a musical formation in 1966 of his last with formal office (Mayor, work ethic that had him reading great band with Mike Pyne, Ron Congressman), sometimes music by age eight, and Mathewson and Tony Levin without, but with no loss of accustomed to tough practice allowed him to create what power. Beale Street prospered regimes (initially on violin, his Spillett acknowledges as his ‘true under the uneasy alliance of father’s instrument) before he musical masterpiece’, the Crump and Church; ultimately, as got his first tenor. Apparently it ‘Mexican Green ’ album. they split, Crump presided over 30 THE JAZZ RAG THE JAZZ RAG 31 BEGINNING TO CD LIGHT BEGINNING TO CD LIGHT

Gene Ammons VARIATIONS (no label: 75.40). it’s relaxed, easy-swinging, with RON SIMPSON’S ROUND-UP OF RECENT CDS Tenor saxist Ralph and pianist the emphasis firmly on melody. Dave both spent time with top Most tracks feature the assured Volume 7 of Lake’s BRITISH Don Lusher put in appearances, called ‘Killer Force’. Comparatively few of the players big bands, Ralph is well known for trumpet of Chris Hodgkins with TRADITIONAL JAZZ AT A and the excellent, if neglected, BIRDLAND (Lightyear/Lobitos are known to us here (Dan his musical association with Joe Dave Price on piano and one of TANGENT: THE CHICAGO- trumpeter Alan Wickham steals Creek Ranch 5265646223: 58.39) Block, John Mosca, one or two Lovano and Dave is an academic two double bassists, Erika Lyons DIXIELAND STYLE BANDS the show by appearing on half is dynamic big band jazz in the more), but there’s decent solo at Long Island’s Hofstra and Ashley John Long, but on two (LACD 341: 78.07) is definitely the tracks with three different image of its leader who actually power as well as excellent University as well as a tracks the trio consists of both one of the best in that series bands. solos sparingly, but whose section work. There are too bandleader. Here they jolly their basses and one other: A despite leaving out the most influence in always present in, for many vocals for my taste, but the way through 13 standards they Nightingale Sang in Berkeley famous bands (Alex Welsh, EMBRACEABLE (Storyville example, the title track where three singers have their first learnt from their parents, Square , with Price’s delicate piano Freddy Randall, etc.) which 101 4296: 72.21) is a recently Steve Marcus’ wailing soprano moments, notably when working relaxed, pretty much unprepared and arco double bass, is probably appear under their own names in discovered and thoroughly sax is set against a compelling together, as on a bit of post- duo performances with melody the most unusual number on a the Lake catalogue. Four tracks enjoyable Svend Asmussen bass figure and Rich’s inventive Lambert, Hendricks and Ross on and warmth the key elements. warmly attractive album. A from Carlo Krahmer’s session from 1985 at the tiny Le and propulsive drumming. These Sweets Edison’s Centerpiece . Ralph’s bit-toned tenor and contrast to the preceding trio Chicagoans get things off to a Petit Opportun club in Paris, powerhouse Buddy Rich bands Dave’s busy, two-handed piano albums comes with the superb start: the first two feature released earlier this year to boasted few known soloists (in A big band reissue, THE are joined on 7 of 13 tracks by sophisticated conversations a really hot young trumpeter, celebrate the violinist’s 99th this case, mostly in the sax HUSTLER: ORIGINAL the poised vocals of Ralph’s wife, between piano (Marc Copland), Humphrey Lyttelton, and the birthday. A playful Singin’ in the section, with Marcus, Bob SOUNDTRACK Nicole, who has an established double bass and drums (Joey other two are more relaxed in Rain sets the tone, with Mintzer and Turk Mauro), but no- RECORDING (Soundtrack raucously swinging vein. The best (Stunt STUCD 15022: 57.05) reputation in her own right in Baron) in NOW THIS (ECM the company of ex-Wolverine Asmussen in relaxed and holds-barred section work by Factory 606346: 79.51) is of of the album reissues to come begins most impressively with a New York and New England. A 2428: 57.49) by the Gary BACK IN Peacock Trio Jimmy McPartland, on a UK visit. expansive mood with a French tireless and committed young limited interest musically. Film- my way is COMPLETE bluesy Born to be Blue (fine guitar new British recording, . Though ECM’s YOUR OWN BACKYARD booklet is as elegantly The Bixian connection remains trio including the always musicians. Not that it’s all hit- goers may be attracted by a CD RECORDINGS (Groove Hut from Per Mollehoj), followed by (BELLCD 514: 57.42) by Chris uninformative as ever, I think this with Archie Semple’s Capitol Jazz admirable pianist Georges them-between-the-eyes impact: of three Paul Newman films (the Records GH 66721: 2 CDs, the sadly neglected They Say it’s Hodgkins & Dave Price , also is a newly formed or ad hoc Band giving Alex Welsh full rein Arvanitas. Standards for instance, listen to God Bless very thorough booklet dwells as 75.52/67.32) by Gene Ammons Spring , always associated with gets great value out of grand old group (though Peacock and on Singing the Blues and some predominate, but Asmussen is the Child with Mauro’s warmly much on movie as music), but and Brother Jack McDuff . You Blossom Dearie. A song-list of songs, mostly pretty familiar Copland go back a long way), but lovely trumpet from veteran Jack quite capable of swinging into melodic baritone. Two out-of-the- this is very much soundtrack, not know what you’re going to get material by Kenny Wheeler, Things Ain’t What they Used to Be ones. There are a couple of the understanding between them Jackson with a Mark White group ordinary recent big band music from the film - the fact that from Ammons and McDuff, Michel Legrand, Dave Frishberg immediately after an expressive there are 36 tracks in 80 minutes Hodgkins originals, but it’s is impressive. All but one of the on Davenport Blues . Other bands recordings include MY direct, passionate, big-toned and Thad Jones shows what a treatment of a Chopin Prelude. shows how snippety the whole possible to guess the mood of tracks are originals by one of the – all of them good – are led by PERSONAL SONGBOOK (In tenor sax and soulfully aggressive serious artiste Mortensen is, but Also just issued for the first time thing is. Kenyon Hopkins’ music the album from such titles as trio, but the mood is Bobby Mickleborough, Joe and Out Records IOR 77123 9: Hammond organ respectively, the harshness in her voice grates are live recordings made in the for The Hustler uses a big band Sweethearts on Parade , A Kiss to improvisatory, made up of Daniels, Laurie Gold and Sid 79.40), originals by Ron Carter both steeped in the blues, but at times ( We’ll Be Together Again late 1970s by alto saxist Alan full of classy players, with the best Build a Dream On and I’ve Never meditative lyrical fragments, often Phillips, the likes of George recorded by the great bassist with a way with a ballad, too. The suffers) and the delicate-toned Gauvin of the Buddy Rich so- of the brief solos coming from Been in Love Before . Sure enough, delicate and enigmatic. Chisholm, , Vic Ash and with the WDR Big Band of three albums here, from 1961-62 trumpet of Thomas Fryland, a Phil Woods’ alto. Paris Blues gives Cologne. The elegantly packaged (there are a few bonus tracks of nice sonic contrast, tends to us decent versions of a couple of Limited Deluxe Edition includes a Ammons minus McDuff) feature meander. SOULFULLY by Veronica Mortensen Ducal classics by the 1961 DVD of most of the tunes, but them in different settings and Helen Tzatzimakis (Final Ellington band and Louis sadly gets in a real muddle with there is plenty of variety to go Touch/Cobalt: 50.54) is most Armstrong soloing majestically helpfully titled: the music ranges track order, so there’s an with the solid basis of with a studio orchestra, but also over a number of styles, including element of guesswork in my straightahead swing and punchy snatches of dialogue and some jazz – or, perhaps, occupies a comments. The music is fine, phrasing, with more than a touch less interesting music; The Long hinterland adjacent to many though, Carter’s subtle and of subtlety along the way. Twisting Hot Summer starts off Alex styles – but the common factor is eloquent bass playing standing the Jug is the only one to include North’s score with Jimmie soulful, mostly sad songs. out on such tracks as Doom a bass (the others rely on the Rodgers’ bland rendition of the Tzatzimakis communicates Mood and Blues for D.P. The pedals of McDuff’s Hammond) title song. A more pleasing album effectively and dramatically, compositions range far and wide, and, with Joe Newman and Ray reissue is THE WARM sometimes over-dramatically, from straightahead blues to Baretto in the band, is furthest SOUND (Phono 870226: 64.33) including the overt emotionalism delicate miniatures such as Little from the typical organ trio in by the Johnny Coles Quartet . of the most obviously jazz-based Waltz to more complex creations style – even the material (with You could add to that the number, Don’t Explain , which, enhanced by Rich DeRosa’s Satin Doll and Moten Swing ) nods impressive range, the pure tone however, also features some stylish arrangements. In the and the crisp phrasing of Johnny to an older tradition. Soul Summit excellent muted trumpet from circumstances identifying soloists Coles’ trumpet. Much praised by is to my ears the best despite Stelios Chatzikaleas in the Miles is not always easy, but Frank fellow-musicians, Coles never ’s sometimes Davis vein. Accompanied by a trio Chastenier (piano), John Horlen really caught on with the record- intrusive drumming. Ammons and under versatile pianist Manos (alto sax/flute) and John Marshall buying public and this 1961 album ’s tenor sax duelling is Athanasladis, Tzatzimakis covers (trumpet/flugel) all impress. was the first of only four under driven on (as if driving were everything from Patsy Cline ALMOST SUNRISE (Gut his own name in a long career. needed) by McDuff’s urgent (Crazy comes over very well) to String Records GSR 019: 61.58) is On the evidence of The Warm playing. On Brother Jack Meets Balkan folk song via Jacques Brel the debut album of the fine big Sound I guess he wasn’t the Boss Ammons joins McDuff’s and Chilean composer Violetta band led by Tel Aviv-born, New distinctive enough: despite the group and, despite the presence Parra’s Gracias a la Vida . The York-based reedman Eyal quality of the accompanying trio of tenor saxist Harold Vick, it’s vocals of Nicole Pasternak Vilner . There is a nice tribute to (Kenny Drew and Randy Weston the interplay between the two Lalama are an important Frank Wess as Vilner’s mentor, so sharing piano duties), this is stars that occupies the component of an attractive it’s no surprise that the opening accomplished rather than foreground. album with a strange booklet full original, The Rabbit , is decidedly exciting – and the same applies of rather old-fashioned black and out of the 1950s/60s Basie bag. to two bonus tracks (listed out Veronica Mortensen is nothing white photos of two little lads. Compositions by Clark Terry, of order) from an Eddie if not challenging, both to herself These are the Lalama , Duke Ellington and Chamblee session featuring and her listeners, in her bold Brothers who decades later Nat ‘King’ Cole show Vilner’s Coles where the tenor saxist choice of songs and upfront produced THE CREPUSCULE roots clearly enough. never quite hits his most emotion. PRESENT PASSED 32 THE JAZZ RAG THE JAZZ RAG 33 34 THE JAZZ RAG THE JAZZ RAG 35