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Home , 1956 in British music, 1972 in British music, Afrodeezia, Alan Barnes (musician), Alec Dankworth, Art Themen

THE RAG

ISSUE 138 AUTUMN 2015 UK £3.25

Photo by Merlin Daleman CONTENTS

ART THEMEN PHOTOGRAPHED BY MERLIN DALEMAN AT THE BIRMINGHAM JAZZ AND FESTIVAL. ART IS ONCE AGAIN NOMINATED IN THE TENOR SAX CATEGORY FOR THE AWARDS. FOR THE FULL LIST OF NOMINATIONS, SEE PAGE 10.

4 NEWS 8 UPCOMING EVENTS 9 JAZZ RADIO 11 NATIONAL JAZZ ARCHIVE 12 BARNES MEETS DICKENS 13 THE MELODICA FOUR

Photo by Merlin Daleman 14 KEEPING IT IN THE FAMILY: ON JAZZ SIBLINGS SUBSCRIBE TO THE JAZZ RAG 16 FOUR OTHERS: THE NEXT SIX EDITIONS MAILED BRITISH JAZZ BROTHERS (AND ONE SISTER) DIRECT TO YOUR DOOR FOR ONLY 18 TALE OF TWO FESTIVALS £17.50* 20 CD REVIEWS Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. 30 THE ELUSIVE OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 30 HALLO, CENTRAL: Cheques / Postal orders payable to BIG BEAR MUSIC DOCTOR JAZZ MAGAZINE Please send to: JAZZ RAG SUBSCRIPTIONS 31 LIVE REVIEW PO BOX 944 | Birmingham | 32 BEGINNING TO CD LIGHT * to any UK address

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 HONOUR FOR PAUL ADAMS Fax: 0121 454 9996 Paul Adams, winner of the Services to British Jazz award at last year’s British Jazz Email: [email protected] Awards, has collected another well-deserved honour in the form of an Honorary Web: www.jazzrag.com Fellowship from the University of Cumbria for ‘his lifelong and outstanding contribution to education and to the folk and jazz music industry.’ Publisher / editor: Jim Simpson News / features: Ron Simpson Paul’s educational work includes serving as a visiting lecturer in Music Business at the Reviews editor: Russell Fletcher University of Newcastle, but to jazz fans he is much better known for his remarkable International editor: Yue Yang achievements with Lake Records. Initially, back in 1976, it was Fellside Records, a folk Commercial Director: Tim Jennings label, then Lake was added, both labels run on a day-to-day basis by Paul’s wife Linda. In Subscriptions & accounts: Russell Fletcher 1997 Paul left teaching and the output of both labels expanded rapidly. The 40th Designed by Nerys James anniversary of Fellside will be celebrated by a three-day event at Keswick’s Theatre by Printed by Warwick Printing the Lake in February. www.warwickprinting.co.uk www.fellside.com © 2013 THE JAZZ RAG. All original material including advertising artwork remains the sole copyright of the Publisher and may not be reproduced without permission

2 THE JAZZ RAG THE JAZZ RAG 3 NEWS NEWS

SAGA JAZZ AND Umbria near Huelva - music October highlights include JAZZ STEPS with Julian Siegel ‘Side by Side’ survived Auschwitz thanks to his Cassandra Wilson SWING supplied by the JB Jazz and Blues American flautist Ali Ryerson Nottingham’s excellent Jazz Steps with New Bag (), Theo skills as a musician and embarked led by John Beckingham, (11), the Kate Williams Quartet Travis Double Talk (22), Julian on a successful career, playing Saga Holidays offer a large programme has three main two jazz talks and tours to featuring (14), the strands: regular Thursday evening Arguelles Tetra (November 5), with such visiting notables as number of jazz packages, Huelva and Almonte included. In Quartet (17), concerts at the Bonington Pinski Zoo plus keyboard player , including four-night jazz breaks in May 2016 Laurie Chescoe’s emerging saxophonist/flautist Theatre, Arnold, occasional big- Wojtek Konikiewicz (19), Jim and and retiring different parts of the UK. Next Reunion Band takes New Watson Quartet (December 3) up is Channel Islands Jazz (from Chris Whiter with his quintet name concerts at the Djanogly only recently. Orleans Jazz to Croatia! and Led Bib (17). The Aaron ), four nights in St. (18), the Recital Hall/Theatre on travel.saga.co.uk/holidays Parks Trio (Oct. 3) and three Helier with expert host Margaret Band with Tony Fisher (20), Nette Nottingham’s University campus Jazz Rag 139 will cover The Ghetto times Grammy nominated Afro Saddington, featuring a jazz Robinson (21), Art Themen (23), and a monthly series of Jazz in Swinger fully. OCTOBER AT THE Caribbean group Tiempo Libre performance each night, plus two Sarah Jane Morris and Antonio the Libraries, the same musicians (Nov. 18) appear at the Djanogly, jazz talks and two excursions. BULL’S HEAD Forcione (24), the appearing on three successive and the Library programme CONCORDE JAZZ Further afield Jazz and Blues in The Bull’s Head at Barnes is Quartet (28) and Zoot Money evenings at Worksop Library, features Stuart McCallum (Oct. Wednesday Jazz Nights at the Andalusia (7 nights from maintaining its great tradition of (29). Southwell Library and West 13-15), Shell’s Belles, an all-girl Concorde Club in Eastleigh February 25, 2016) is based in jazz, blues and seven Tel.: 0208 876 5241 Bridgford Library. The Bonington 10-piece swing band (Nov. 10-12) continue with the Pasadena Roof the Hotel Barcelo in Punta days a week and twice on Sunday. www.thebullshead.com Theatre programme continues and Me and Mr. Jones with Orchestra (October 7), Evan Ali Ryerson Julian Arguelles Rachael Foster and Paul Deats Christopher’s Django a la Creole (Dec. 8-10). (14) and Lenor Raphael from www.jazzsteps.co.uk

EFG LONDON JAZZ FESTIVAL It’s easy to run out of superlatives for the EFG London Jazz Festival (-22), with its 2,000-plus artists, 300- plus gigs and 50-plus venues. The venues themselves are full of big names, presitigious historic halls and the best-known major jazz clubs: the , the Barbican, ’s, Kings Place, Wigmore Hall, the Pizza Express, the South Bank, the Vortex, etc., etc. Pretty much a random sample of musicians appearing comes up with the Average White Band, Cassandra Wilson, , Kurt Elling, Gogo Penguin, Melody Gardot, Terence Blanchard, Steve Gadd and many others. www.efglondonjazzfestival.org.uk

GHETTO SWINGER REMEMBERS The Ghetto Swingers were part NEW VENUE FOR BIRMINGHAM of the infamous history of The Rumblestrutters Terezin, the ‘ideal’ showpiece Following on successful gigs in the city’s Jazz and Blues Festival, ghetto set up and duly filmed by Brindleyplace bar Le Monde has launched a regular Friday Jazz Club the Nazis to show their generous starting at 6pm. treatment of the Jews. Though most of the film was artificially Admission is free and upcoming bands include The Rumblestrutters staged and many of the from Mumbles in South (October 16) a Memphis-style, jug musicians/actors/writers were band playing jazz, hokum, blues and ; The Broombusters (23) soon transported to death fronted by Charlie Wolfman Sylvester, who once enjoyed camps, the artistic achievements worldwide fame and a bunch of hit singles as singer and front man of Terezin were absolutely of the J.A.L.N. Band - the Broombusters deliver a down home mix genuine. In recent years such of blues and reggae; Harpers Ferry (30) who individually hail from operas as The Emperor of Atlantis Los Angeles, New Zealand and Cheltenham, where they are now have been widely performed and based; Roy Forbes (November 6) a straight down-the-line jazz blues now Jazz Rag is delighted to singer in the Joe Williams mould, quite possibly the best male jazz welcome the imminent singer in the UK today; and the Whiskey Brothers (13) delivering rural blues from the 1920/1930s, currently riding high with their debut publication of a translation of album, Bottle Up and Go , on Big Bear Records. The Broombusters return on November 20 followed by the Rumblestrutters (27). Coco Schumann’s 1997 memoir, The Ghetto Swinger - A Berlin Jazz Tel: 0121 271 0600 Legend Remembers . After Terezin the half-Jewish Schumann 4 THE JAZZ RAG THE JAZZ RAG 5 NEWS NEWS

Clare Teal TUESDAYS AT Afrodeezia , his acclaimed Blue Ryan Quigley` WILMSLOW Note album, at Liverpool Philharmonic (19), the Sage Tuesday Night Jazz and Swing at Gateshead (20), Usher Hall, the Wilmslow Conservative Club (22), Bridgewater Hall, has some very tempting (23), Cork Jazz combinations on its weekly Festival (24), the Barbican, programme for the end of 2015. London (26), the Corn Exchange In November Steve (27) and Birmingham Town Hall Waterman and Mike Hall are (28). joined by the Andrezej Baranek Trio (3), Greg Abate teams with the Brownfield/Byrne Quintet SOUTHPORT (10) and Brian Dee and MELODIC JAZZ play a duo gig (17). Gilad Atzmon Southport Melodic Jazz’s pre- and friends (1) start a December Christmas programme at the programme that ends with a Jazz Royal Clifton Hotel features a panto with Rosie Harrison as Sunday afternoon concert Cinderella (22). Also promoted (November 8) by the Swingshift New York with Paul Morgan and no jazz on November 18. The Big by Graham Brook, the five-piece under Phil Shotton with Sinatra Swingers play the first Peter Ingham (21). The next Band (December 2) the theme All Around Maynard . Thursday of each month at the Guesting with the big band on Wednesday there is no jazz, but and the Clare Teal Christmas Cheadle Hulme Conservative the music of the following evening (29) there Show (9) set the festive mood. Club, with a guest vocalist: Roy are trumpeter Ryan Quigley and is a Salute to with Sunday Jazz with well-known Forbes (Nov. 5) and Dave Bradley trombonist Simon Lodge. Sunday Pete Long’s Orchestra and traditional bands continues every (Dec. 3). evening concerts continue with singers Jeff Hooper and Iain week, with a Christmas Jazz Party Tel.: 01625 528336 the Benn Clatworthy Quintet Mackenzie narrated by Leo with the John Maddocks Band featuring Neil Yates (Oct. 18) and Green. Wednesdays in November and a special guest scheduled for SERIOUS TOURS the Trio (Nov. 22). feature December 20. October sees two major tours Then it’s time for the Christmas star Leroy Jones (4), Peter White Tel.: 023 8061 3989 promoted by Serious. Following Special (December13) with the and his Band (11) and Digby www.theconcordeclub.com on Snarky Puppy star bassist Swingshift Big Band again on Fairweather’s Half Dozen (25) - Marcus Miller plays music from afternoon duty with David

HOHNER SUPERFORCE 37 AND AIRBOARD 37

JUSTIN RANDALL of Tipitina compares the qualities of two Hohner Knopov celebrating Sinatra’s WATERMILL JAZZ melodicas. centenary and the Barnes/Kofi The October programme at Aggregation taking over in the First off, the Superforce 37 is very eye-catching in its sleek, completely Watermill Jazz at the Aviva evening. black colour. Even the white notes are black, which was slightly Sports and Social Club, Dorking, Tel.: 01704 533771 disconcerting at first, but I soon adjusted to it. It comes in a sturdy hard continues with the Mark www.jazzinsouthport.co.uk case for travelling. The notes range from the F below middle C up Crookes Quintet with the music through a full three octaves ending on F again, giving a range long enough of Johnny Mandel (15) and the to play up and down without running out of notes all the time.The three JAZZ AND BLUES AT Ivo Neame Quintet featuring Tori octave range is enough to play up and down without running out of NORDEN FARM Freestone (22). On October 29 the unusual duo combination of notes all the time. You hold the instrument with your left hand and Jazz at the Farm at the Norden bass and features simultaneously blow down the flexible mouthpiece and play the keys to Farm Centre for the Arts, presenting Song produce sound. The harder you blow, the louder the instrument plays Maidenhead, features the star which, with a bit of wood-shedding, could be quite expressive, allowing a with Zoe Rahman. November rhythm section of Alex Hutton, good, natural vibrato to be performed. The timbre is an enjoyable mix brings John Bird with the James Andy Cleyndert and between accordion and chromatic mouth organ and would be cracking Pearson Trio (5), American pianist in two concerts: with Don Weller for replicating Stevie Wonder harmonica solos. Helen Sung with her quintet (12), and Paul Jordanous on October 9 the Big Band There is a variety of situations in which it could be played. It’s loud and with Art Themen and Mike (19) and the Octet enough to play with an acoustic guitarist in a subway busking session. It’s handy to have on your person for practising whilst away from the Soper on November 6. with Christmas Carol . And the first keyboard. It would be great to take to jam sessions for keyboard players sick of lugging their gear around every where. No need for amplifiers, December’s concert (4) features Sunday afternoon of each month just hold up to a microphone and blow away. No more jealous looks at horn players who just waltz in and begin blowing – keyboard players the Karen Sharp and is time! can now do the same, with a wink at the drummer on the way out! Group, again with Clark Tracey, Tel.: 07415 815784 but with Arnie Somogyi taking www.watermilljazz.co.uk The Airboard 37 is much the same instrument, the only discernible differences being the slightly softer carrying case, the colour, which is a over on bass. Also at Norden striking, multi-coloured style for more flamboyant characters, and the different mouthpiece which is shorter and less flexible than the Farm Laurie Holloway in Concert JAZZ AT THE STABLES Superforce 37. Personally, I preferred the Airboard mouthpiece as I felt more in control, although the longer, more flexible Superforce 37 (November 14) teams the pianist Jazz Matters and Live Jazz mouthpiece would allow for the instrument to be played on your knee if one wanted, and would also leave the musician’s head free to shake with guests and Kenny Matters at the Stables run twice about wildly if the moment took. Lynch and students of the a month at Sunday mornings at Montgomery Holloway Music the Stables, Wavendon. Jazz Both instruments look, feel and sound professional and I reckon, as well as being a great instrument in its own right if played by capable Trust. Matters runs on October 11 ( The melodicists, could be a sexy interlude for keyboardists to stand up, put their shades on and take to the front of the stage for a song or two Tel.: 01628 788997 Singer and the Song ), November during their gigs. Got to be worth a try! Personally, I love both instruments and will soon be playing one at a gig near you. www.nordenfarm.org 15 (Ian Shaw in conversation) and ( Jazz on Film ), 6 THE JAZZ RAG THE JAZZ RAG 7 NEWS/UPCOMING EVENTS UPCOMING EVENTS

Simon Spillett Critchinson, a regular member of Shakespeare Jazz n’ Swing Festival Palmer’s Aces of Rhythm (15), Skinner Allstars Septet the Ronnie Scott group for over at Stratford-upon-Avon on Ron Hills’ Swing Kings (22), JB (December 5). Laurie Burnette fifteen years, bass icon Dave November 21-22. Jazz and Blues Band (29) and Tel.: 020 8429 1260 Green, a player whose CV boasts Tel.: 01406 365731 Phoenix Jazzmen with Sheila www.pinnerjazz.org.uk such formidable names as Sonny Fawkes (December 6). Bev Pegg Rollins and , The twice-monthly sessions of and his Good Time Jazz Gang are Brooks Blues Bar at the Polish and drummer , whose Plymouth Jazz Club at the Royal in charge of Christmas festivities Jazz Cafe Posk in Hammersmith international career has seen him British Legion Club, Crownhill, on December 13, after which the operates on the first Saturday of working with stellar jazz names Plymouth, continue with Alan club takes a break for two weeks. the month, plus special events. A including and Barnes with the Martin Dale Tel.: 01785 226950 Blues Special on October 24 Roland Kirk. Quartet (November 1), New www.staffordjazz.org brings in Regina Mudrich from Orleans Heat (15) and the Matt Germany alongside Dave John, Dave and Spike all knew and Carter Trio (December 6). After New Orleans stylists Tipitina can Peabody and guests. On worked with , with that it's party time with the club's be heard at the Atkinson, November 20 a Jazz Special Spike a member of Tubby's big Christmas and New Year's Eve Southport, on October 10 and at features the Cincinnati pianist band and quartet from 1968 to parties. Summerseat Garden Centre, Phil DeGreg, an alumnus of the 1973, lending a distinctly personal Tel.: 01752 721179 Bury, on November 6. Band who has edge to this celebration. www.plymouth-jazz-club.org.uk Tel.: 0121 454 7020 played with such notables as J.J. Photo by Merlin Daleman www.bigbearmusic.com Johnson, Dizzy Gillespie and www.simonspillett.com . Phil DeGreg is joined whilst Live Jazz Matters features Reinhardt, Andre Krengel and Lady Sings the Blues , Val Wiseman’s The Friends of Upton Jazz by a superb trio of British music from the Dave Lee Trio Mike Dawes. An intensive tour of tribute with an all- UPCOMING continue to mount a series of players: Alan Barnes, (Oct.25), the Phil DeGreg Trio some 20 dates began in star sextet plays Lincoln’s Drill EVENTS excellent monthly concerts at and Steve Brown. Either with a (Nov. 22) and the James Pearson Morecambe on September 26 Hall on October 17, followed by Hanley Castle High School. On trio or quartet DeGreg also plays Trio (Dec. 6). Jazz and jazz- and early October finds the Huddersfield Jazz’s programme at Cast Doncaster (November 8) October 10 Doc Houlind’s the Broadway Bar & Grill, Fulham related music in the main Stables guitarists in , moving as the Keys Restaurant continues and the Platform, Morecambe Revival All Stars come in from (Nov. 13), Bexley Jazz Club (16) programme includes Roots & far north as the , Kirkwall, with Snake Davis (October 23), (Nov. 27). , followed by a very and the Stables, Wavendon (22 - Herbs: The Blakey Project with Orkney (5) and Mareet, Lerwick, Gabrielle Ducomble (November Tel.: 0121 454 7020 special Tribute to Kenny Baker Jazz Matters - 11.30 am). , Byron Wallen and Shetland (6). After a final Scots 21) and Loretta Scott and the www.bigbearmusic.com Jazz Belles (December 12). (November 21), with a top-class www.brooksbluesbar.co.uk Andrew McCormack (October date at the Universal Hall, JAZZ LONDON RADIO, THE PLACE TO HEAR sextet and Enrico Tomasso taking www.jazzcafeposk.org 8), the Padadena Roof Orchestra Findhorn (9), the International Tel.: 01484 516677 With their first Big Bear CD, on Kenny’s role. Reminiscences JAZZ RAG! Guitar Night moves on to www.huddersfield-jazz.co.uk Bottle Up and Go , now on release, (10), Sinatra: The Centennial from Kenny’s widow complete a The Cock Inn at Clare in Suffolk Alnwick Playhouse (10). A brief Americana/blues duo, the Concert (24), (25), Turner Sims at Southampton has memorable evening. On presents jazz by Pete Roth Jazz London Radio is an internet radio station set up in 2014 by foray south takes them to Whiskey Brothers, have Keith Ball and the Jazzmen (27), an impressive list of jazz events in Bev Pegg’s Good (October 11), Martin Shaw (25), Laurie Burnette. On his own admission it’s a small-scale operation, Aldershot, Newbury, Worcester embarked on the Hometown Elkie Brooks (Nov. 28), the Blues late 2015: the Aaron Parks Trio Time Jazz Gang presides at the Stewart Curtis (November 8), but growing month on month and with an increasingly impressive and Neath before the tour ends Tour, 10 gigs in Birmingham. Still Band (Dec. 10) and Cleo’s (October 6), Colin Towns Mask Christmas Party. Lee Gibson (22), Gilad Atzmon range of presenters. At the time of writing JLR was announcing two in Liverpool on . remaining are the Le Monde in Christmas Show (18-19). Orchestra (16), Julian Arguelles Tel.: 01684 593254 (December 6) and Brigitte new shows and presenters. Drummer Ollie Howell presents a www.internationalguitarnight. Brindleyplace (9/also Nov. 13), Tel.: 01908 280800 www.uptonjazz.co.uk/friends Beraha (20). weekend show entitled Later on, with Ollie Howell , airing on Friday squarespace.com Tetra (31), Empirical (November the Bureau in Colmore Row (15), www.stables.org Tel.: 01787 237653 and Saturday evenings. The latest in a string of awards to come 10), the Necks (19), Julian the Ibis Hotel in Ladywell Walk Jazz has announced its Ollie’s way is his current status as a Sky Academy Arts Scholarship POP-UP JAZZ STATION Joseph’s Jazz Legends (27) and (17) and the Brasshouse, Broad The Hoste of Jazz Winter events WAKEFIELD JAZZ Polar Bear (December 4). seven concert programme winner. Also announced recently is the start-up of Kevin Davy’s BBC Music is joining Jazz FM in a Street (November 29). at the Hoste, Burnham Market, Wakefield Jazz’s pre-Christmas Tel.: 023 8059 5151 through to May on Saturday D’semble , a weekly selection of jazz, soul, gospel and avant garde unique partnership during the Tel.: 0121 454 7020 feature DixieMix (November 6), season climaxes with Alan www.turnersims.co.uk evenings in the Parish Church. music from the actor-musician responsible for Kevin Davy’s EFG London Jazz Festival. A pop- www.bigbearmusic.com NYJO Swing Band (27) and Jazz Barnes’ version of A Christmas The pre-Christmas part of a Monster Jam at the Rich Mix venue. up digital jazz radio station will at the Movies Sings Christmas Carol , with an all-star octet The Howard Assembly Room, The BFI London Film Festival very appealing programme run from 2.00 pm on November with Joanna Eden, Mark Crookes (December 12), an unusual all- run by Opera North in Leeds includes the world premiere of a consists of ’s Laurie has a background of enjoyment of all kinds of music, not 12 to midnight on November 15 and the Chris Ingham Trio ticket Saturday gig. The regular Grand Theatre, follows the new restoration of Anthony World Spirit (October 10), least the of his younger days in the 1980s and 1990s, but and will feature such well-known (). Friday evenings at Wakefield appearance of the Aaron Parks Asquith’s 1928 film, Shooting Darius Brubeck Quartet jazz remains at the core of his musical involvement. This is reflected BBC names as Jamie Cullum, Tel.: 01328 738777 Sports Club continue with Andy Trio (October 2) with two highly Stars , a frequently experimental (November 7) and the Skelton- in JLR’s schedules, with programmes devoted to electronic, Latin, Clare Teal, Claire Martin, Alyn Panayi’s (9), a unusual jazz-tinged events. take on the movie industry itself. blues and soul and contemporary jazz as well as Jazz Then and Now , Shipton, Jez Nelson and Helen Alec Dankworth three-piece tribute, Armenian pianist, Tigran The showing at the Odeon as the programme fronted by ex-Jazz Services head Chris Hodgkins Mayhew, in addition to a the Benn Clatworthy Quartet Hamasyan, much praised by the Leicester Square on October 16 is titled. He is pleased to have as wide a range of music as possible, fascinating poll to find the 50 likes of , Chick features a new score by John but within a genuine jazz context - not always the case with so- (16), Manjula, with world-wide Greatest Jazz Figures. rhythms and melodies (23), Ivo Corea and Brad Mehldau, appears Altman for a 12-piece ensemble called ‘jazz’ radio stations. Neame Quintet (30), Tom with the Yerevan State Choir on which Altman explains is inspired JLR runs 24 hours a day, Laurie being well aware that his steadily Cawley’s Curios (November 6), TUBBY TRIBUTE AT October 16 in arrangements of by dance band sounds and 1927 growing audience is not all in the Greenwich time zone. Sections of Ronnie Bottomley’s All Star Jazz RONNIE'S music by seven Armenian . the day are simply music without links, but programmes with Orchestra (13), a 17-piece of top Following on from their sell-out composers, including Komitas individual presenters are increasing in number all the time. Rather local musicians, Matt Holborn performance at Ronnie Scott's in Vardapet, well known for Stafford Jazz Society meets every on the model of the BBC World Service, programmes are repeated Quartet (20), John Bailey Quintet February, the performances by Jan Garbarek Sunday lunch-time at the White at different times. Apart from Chris Hodgkins, a fine jazz trumpeter (27) and Eyeshutight led by Quartet returns to Frith Street and the Hilliard Ensemble. On Eagle Club, Stafford, with an as well as arts administrator, JLR audiences hear from bassist Paul Baxter (Dec. 4). on November 1 to once more October 23 Bassekou Kouyate October programme of Carole pianist/composer Andrea Vicari, Scots singer Todd Gordon, Tel.: 01977 680542 perform the music of the Sings the Blues en route from the Westwood’s Sophisticated Swing guitarist/composer Deirdre Cartwright and many other prominent www.wakefieldjazz.org ultimate British jazz legend, Tubby USA to his home in Mali. (11), Kevin Grenfell’s Jazz Giants jazz figures. In addition to the regular presenters, JLR features Hayes www.operanorth.co.uk (18) and, celebrating SJS’s 34th interviews with musicians on the London jazz scene. INTERNATIONAL anniversary, Chicago Teddybears John Petters’ next weekend GUITAR NIGHT ON Led by tenor saxophonist Simon Society (25). Baby Jools And where does Jazz Rag fit in? Prompted by Chris Hodgkins, JLR Spillett - author of the definitive festival to cram in a packed and the Jazzaholics is an evening now features a regular spot of Jazz Rag Reviewers’ Choice! TOUR book on Tubby Hayes ( The Long programme of themed concerts, gig on November 1, then it’s back International Guitar Night Shadow of the Little Giant ) - the talks and other events in two or to lunchtimes for Brian Carrick’a www.jazzlondonradio.com consists of Brian Gore, Lulo quartet features pianist John three days is the William Algiers Stompers (8), Matt 8 THE JAZZ RAG THE JAZZ RAG 9 BRITISH JAZZ AWARDS 2015 A NEW DEPARTMENT FOR THE NATIONAL JAZZ ARCHIVE? BRITISH JAZZ AWARDS 2015 A NEW DEPARTMENT FOR THE It’s that time of year again, when the British Jazz ‘Oscars’ recognise the achievements of many of the country’s top musicians. For nearly 30 years the British Jazz Awards have honoured the NATIONAL JAZZ ARCHIVE? finest talent this country has produced, not taking account of the whims of fashion or NJA founder updates Jazz Rag on new developments. exclusively featuring any one style. I suppose just about the only proudly featured stars including has had to cut back somewhat on really useful thing I’ve done in my Dame , Sir John their generous allowance of free Digby Fairweather The format remains unchanged. A distinguished panel has nominated Julian Marc Stringle four candidates in 16 categories: 10 instrumental categories (including life was to set up the National Dankworth, , Acker space, heating and lighting - and Miscellaneous Instrument, at one time a straight fight between vibes Jazz Archive in Loughton, Essex, Bilk, Sir , Paul even funding - for our project. and baritone sax, but now with flute and violin muscling in), Singer, back in l987. Based in the town’s Jones, , Humphrey But nonetheless our collections Rising Star, Big Band and Small Group, and two industry awards for Central Library up on Traps Hill Lyttelton (for two years in are constantly expanding and CDs. As the list below reveals, many of the nominations are similar to (and opened one year later) the succession!) and quite apart from anything else we previous years, but why not reward continuing excellence? Archive (Registered amongst many others. In 2013 we have hit some major problems Charity327894) is Britain’s celebrated our twenty-fifth over what we can - and can't - However, there is no need to follow the experts’ lead. There is always national repository for books, Anniversary with a massive collect as a result. the opportunity to add your own selection from outside the four periodicals, letters, photographs, concert starring Dame Cleo, Alec nominees. The nominations were very close in many categories (Tenor posters – and just about anything and Jacqui Dankworth and the The result is that, over the past Sax, for instance) and the nomination panel is well aware of leaving out you can read or look at - on the Ronnie Scott House Band and a eighteen months, I've talked to some outstanding musicians, well worthy of your votes. subject of jazz, UK or otherwise! year later put on seven Rob Tinlin - our Chief Executive Today it’s used by everyone from fundraising concerts which at Southend Borough Council - You can vote by various methods: film and TV companies to cleared our outstanding matching and his team about a new authors, journalists, researchers funding debt of £13,000 to the department for us. And at the •Use the voting form on this magazine’s carrier sheet. and (of course) young people Heritage Lottery Fund - thanks moment we are on the point of performance space is planned who are starting out on their to the generosity of my many jazz signing a ten-year Service Level too. The opening at Southend is •Email [email protected] with your choices. lifetime's journey in jazz! friends who came to play for us Agreement with Southend which planned for Christmas 2015 but free of charge! Just a handful of will give us access to a huge new of course there's a lot of work to •Vote on line at http://bit.ly/1j4YsD3. Since l988 the Archive has had a these concerts have included Paul space, allowing us to take the do meantime and my team of Photo by Merlin Daleman spectacular history! In addition Jones (with my Half Dozen), the overflow from Loughton and also volunteers are already hard at Closing date: November 6th, 2015 to constantly enlarging its Quintet and most give us the opportunity for new work setting up the department collections our organization - lately the dynamic Jive Aces jump developments and collections of as you can see! I'll tell you more right from its opening years - 'n' jive band. all kinds which have been in the next edition of Jazz Rag . TRUMPET: Enrico Tomasso; Bruce Adams; Steve BIG BAND: Back to Basie; Beats & Pieces; BBC Big Band; quickly began a long history of impossible up to now. A Waterman; Echoes of Ellington jazz interviews by veteran British HLF grants have helped musicians (amongst them Harry enormously of course, but our : ; Ian Bateman; Roy Williams SMALL GROUP: Digby Fairweather's Half Dozen; Tipitina; Gold, and Tiny current one is now at an end. FRIENDS OF THE UPTON JAZZ FESTIVAL Dennis Rollins Brassjaw; Remi Harris Trio Winters) and later on expanded And another major problem at the idea to present an ‘Annual Loughton is now - quite simply - present on CLARINET: Julian Marc Stringle; Alan Barnes; Mark NEW CD: Skelton, Skinner Allstars Septet-Play Celebrity Interview’ which over lack of space. Like every local Crooks; Pete Long Ellington & Basie [Diving Duck]; Liane the past fifteen years or so has authority Essex County Council Saturday 10th October 2015 at 8pm Carroll – Seaside [Linn]; DOC HOULIND REVIVAL ALL STARS (Denmark) ALTO SAX: Alan Barnes; ; ; Nigel Fishwick/Roberts/Basile – When Night Falls Steve McGee, Adrian Green, Tickets £15 (Members £12) Hitchcock [ Records]; Courtney Pine –Song Ian Holloway, Mick Foster (The Ballad Book) [Destin-E Records] TENOR SAX: Karen Sharp; Alex Garnett; Robert Fowler; Saturday 21st November 2015 at 8pm Art Themen REISSUE: CD: Tubby Hayes – England’s Foremost 'Tribute to Kenny Baker' Tenor Sax Meets US Jazz Greats – featuring PIANO: Dave Newton; Craig Milverton; Gareth [Fresh Sound Records]; Eddie Thompson – ENRICO TOMASSO, ROBERT FOWLER, ROY WILLIAMS, Williams; Zoe Rahman In the USA[Hep]; Freddy Randall and Friends – Before and After [Lake]; GARETH WILLIAMS, STEVE THOMPSON GUITAR: ; Martin Taylor; Nigel Price; Johnny Dankworth Orchestra – Duet and Dominic Ashworth for 16 [Vocalion] plus anecdotes from Kenny's widow Tickets £16 (Members £13) BASS: Dave Green; Alec Dankworth; Andrew NOMINATION PANEL: Remi Harris Cleyndert; Len Skeat • Chris Hodgkins Friday 8th January 2016 at 8pm • Cole Mathieson DRUMS: Clark Tracey; Steve Brown; Ralph Salmins; • David Cottle ALAN BARNES/SCOTT HAMILTON QUINTET Bobby Worth • David Nathan inc. JOHN PEARCE, DAVE GREEN and STEVE BROWN • Denny Ilett Tickets £16 (Members £13) MISCELLANEOUS Jim Hart [Vibraphone]; Alan Barnes • Dick Laurie INSTRUMENT: [Baritone Sax]; Amy Roberts [Flute]; • Fred Lindop Concerts at Hanley Castle High School, Chris Garrick [Violin] • Geoff Matthews Nr. Upton-upon-Severn WR8 0BL VOCALS: Claire Martin; ; Tina May; • Leo Green Clare Teal • Mike Gordon For membership details or tickets • Peter Vacher Tel: 01684 593794 RISING STAR: Remi Harris; Ben Holder; Laura Jurd; • Tim Saul Info: www.uptonjazz.co.uk 'friends' link Alan Benzie • Tony Augarde Email: [email protected] • Ron Simpson Photo by Merlin Daleman

10 THE JAZZ RAG THE JAZZ RAG 11 BARNES MEETS DICKENS BARNES MEETS DICKENS

A Christmas Carol has been and we’ve been playing a lot of A Christmas Carol starts at the Dec. 9 Grimsby Jazz Club considerable: Latin music, , and Watermill, Dorking, on BARNES MEETS DICKENS we’ve got a two-hour set November 26, followed by 12 Dec. 10 Seven Arts, Leeds ‘Ian’s a very good writer and also together now and looking for further dates: ALAN BARNES tells RON SIMPSON about his latest extended work, a suite based on Charles a very good jazz trumpet player. work - so that’s a complete Dec. 11 Derby Jazz Club Dickens’ A Christmas Carol , to be toured at the end of 2015. I’ve known him for years and the contrast to everything else.’ Nov. 27 Medina Theatre, Dec. 12 Wakefield Jazz Club idea was that we hadn’t written Newport, IOW Alan started by showing me a obvious comparison is to his Town (‘which I mix up with Blue eventually lead. anything for a while and we But Christmas 2015 is all about Dec. 17 St. George’s, Bristol splendid image in night shirt and earlier work, the Sherlock Monk ’); White Christmas , based on would push each other into the latest jazz suite based on the Dec. 2 Jazzland The suite follows Dickens’ story- writing something. He wrote a English literary heritage, following nightcap, with candle and Holmes Suite from the opposite the version with Dec. 18 Hunter Club, Bury line, with some of the imagery very good play at the same time, on works by the likes of John at the ready - proof end of the Victorian Age. There Fats Navarro; and so forth. Dec. 3 St. James, London St. Edmunds that his version of A Christmas are clear similarities. Both feature amounting to what Alan calls Blood Count , about Billy Strayhorn Dankworth, Stan Tracey, Michael and Duke Ellington, which was on Carol is not without laughs, but spoken narration, not just musical Take out the narration and you ‘programme music’: Garrick and Alan Barnes himself. Dec. 6 Herts Jazz Club Dec. 20 Ronnie Scotts Club, Radio 4. The idea was we’d get his seriousness of intent is story-telling and character have about 50 minutes of music After a brief run-out at the end London obvious when I ask him why he drawing: in this case Alan delivers for the recording scheduled for ‘The first thing you hear is God together to look at each other’s of last year, the full-scale tour of Dec. 8 Hastings Jazz Club chose the Dickens story as the the words himself. They feature September - reasonably short for Rest You Merry, Gentlemen , which work. He made a lot more basis for a jazz suite: the same instrumentation and a suite of nine pieces, deliberately I’ve arranged as a sort of sinister suggestions about my work than I THE MELODICA FOUR similar musicians. For A Christmas so, as Alan explains one distinct jazz waltz. Then via a short did about his, but the play grew ‘Not to be too highbrow about Carol the all-star line-up features difference from his Sherlock mood-setting piece The Start of It out of conversations we had 80-odd years ago Adrian Rollini it, I think it’s one of the greatest Karen Sharp and Robert Fowler Holmes suite: we go into Bah, Humbug! which is about Ellington - stories and had his Goofus Five; now it’s the books ever written. And I think alongside Alan on saxes and called by the baritone. This piece attitudes - and also the book by turn of another strange the message today is even more clarinet, Bruce Adams and Mark ‘It’s very much based on the way actually follows the form of the Terry Teachout that came out instrument not unrelated to the powerful than when it was Nightingale in the brass section Billy Strayhorn wrote Such Sweet chapter: the clarinet is Bob recently which had a lot of new mouthorgan – stand by for the written, about attitudes to other and a rhythm team of Dave Thunder . Ian Smith who’s a Cratchit, the trumpet and stuff about Strayhorn’s private life Melodica Four! Scott Yanow is people, viewing other people as Newton, Simon Thorp and Clark trumpet player and a university trombone are the charity without being sensationalist.’ best known for his books on jazz fellow passengers on the journey Tracey. lecturer in English and Film workers who visit Scrooge and and authoritative articles in various publications including this one, but he also plays tenor sax, clarinet to the grave rather than as a Studies is a very good editor and interact with the baritone, and Increasingly jazz musicians have and melodica. completely different race. As The structure of the Christmas he said, “You should take the the is his to be able to diversify - and Alan Marley’s Ghost screams, when Carol suite takes in a first half form of the work of a genius and cheery nephew who invites him Barnes is as good an example as In July Scott took his melodica into the studio to record two extended tracks (8 minutes or so apiece), told he was a good man of lasting an hour and ending with work within it.” So it’s all my to dinner. It ends with a final any. Our talk took place between with three musician friends: Richard Turner (piano), Al Garcia (electric bass) and Dean Rohan (drums). He business, “Mankind was my Scrooge waiting for the Ghost of own work, but the form is “Bah, humbug!” and then I switch performances with a local trio in is disarmingly honest about the result: ‘These performances are not flawless, but I think you’ll find them business, forbearance, the Christmas Future to appear, then, Strayhorn’s. Because of this it’s to clarinet for a duet of two Stockport and with Anita Wardell fun’ – no argument about that, both Melodica Stomp and Melodicology are lively, entertaining and amiably common good, was my business.” after the interval, a further 25 very much more cut-back than as Bob Cratchit runs in Saddleworth before he set off swinging. Those are things I feel quite minutes, followed by jazz Sherlock Holmes which was very down the ice-slide back to his to Germany with Alyn Shipton’s strongly are going by the board arrangements of a few Christmas self-indulgent - that took 2 CDs! family.’ Legacy band. However, though Scott readily acknowledges the happy eccentricity of the project, he takes the melodica these days - the strong trample favourites, decidedly in the Finally, in my mid-50s, I’m realising Currently he is planning a series seriously. First invented in the 1800s, the melodica only took its present form as developed by Hohner in on the weak and it’s seen as celebratory mood of the end of you don’t have to put everything Alan proceeds to tell the story of of releases on his Woodville label, the 1950s as a portable keyboard of two or three octaves. As early as 1971 Scott obtained his first almost laudable.’ the original story: The Christmas you know into a composition - his version of A Christmas Carol A Christmas Carol of course, but soprano melodica from Dave Grover, one-time trumpeter and now a recording Song , a Mark Nightingale feature sometimes it’s OK just to have with obvious relish for its Gothic plenty more besides: engineer – and Scott’s collaborator in the current project. As a jazz historian Scott can list off the Apart from any moral or political (‘Mark’s such a superb player I one thing happening. horrors and dramatic disparate jazzmen who have played the melodica (from Earl Hines to Jack de Johnette), but he claims that purpose, Alan is also drawn to wanted to put something in there transformations: ‘Five years ago I made a he plays the instrument differently from most: single note lines like a saxophone rather than chording. the literature of the period: the for him’); Santa Claus is Coming to ‘There’s a lot less soloing in it. I recording with Certainly his melodica solos are fluent and full of melodic ideas, just like his tenor and clarinet solos. wanted to write it more ‘Marley’s ghost is rather a jolly which we both loved, with Dave programmatically. There are ghost. As we speak, Clark Tracey Green, Steve Brown and John Interestingly, many of the melodic ideas are coming round for the second time. Scott delights in filling his solos, but they’re not extended. is building a great chained Pearce, at the Watermill in solos with quotations from obscure jazz recordings, remarking of his clarinet solo on Melodica Stomp , When I listened to the suites of monster of percussion to rattle Dorking. I didn’t do anything with that it quotes Johnny Dodds’ Oriental Man twice. ‘The second one was an accident since I meant to play a Billy Strayhorn, I noticed you’ll about - on the recording we’ll be it at the time, but I’ve brought bit of the even more obscure Barrelhouse Stomp .’ What might be called an anthologising tendency even get 16 bars of , 8 bars overdubbing all kinds of shrieks. that out. I’ve done a quartet shows in the name Melodicology – Scott deliberately references Trumbology, Bixology and the rest, but most of Paul Gonsalves, and I did the Then we have the three spirits. album, playing alto, and dedicated particularly Ornithology , stressing the tune’s authentic credentials by basing it on the chords of I same. The one exception is The first has a nice nostalgic the title track to my daughter, Got Rhythm ! Portrait of Belle which features theme, the second shows One for Moll , because she’s just Scott writes, ‘Maybe this is the start of the Melodica Golden Age.’ Maybe, maybe not.... myself in Johnny Hodges style Scrooge how to feel pity, then getting interested in jazz - she’s a and is Scrooge looking back on the third scares him to death. He very good electric bass player. Go to www.scottyanow.com and near the bottom of the first page you can find a free link to two jolly his lost love Belle when the spirit realises where he’s heading, with I’ve done a quintet with Tony Kofi and highly idiosyncratic bits of jazz. showed him what their life could his corpse lying there, with his - two altos - and a record with Dave O’Higgins where we shared have been together. We won’t be clothes stolen from his body R.S. extending the solos is live being sold in a charnel house, the writing - five saxes and performance. It’s a very compact with rats gnawing at the doors. rhythm section, quite densely WIN A HOHNER MELODICA! thing. We tried for that: a And finally Bruce Adams is scored. Some of it’s like compact miniature.’ transformed from a Glaswegian Supersax, some of it’s Hohner has generously offered a prize of ONE Hohner a 37-key Superforce 37 or Airboard 37 melodica to a herald angel and leads us out Ellingtonian, Dave’s seen as more to a Jazz Rag reader answering the following question: That, after all, fits with the with God Bless Us, Everyone! modern than me, so between us original. Dickens could certainly we have a nice range.’ Few jazzmen have specialised in the melodica, but many have played it as a second instrument, including engage in rambling, complex ‘The narration keeps as many of the great jazz pianist who played with Louis Armstrong in the 1920s and the 1940s, led his own big band narratives, but A Christmas Carol Dickens’ words as possible. Ian Outside the field of recording in the early 1940s, was widely known as ‘Fatha’ and died in 1983. Who was he? has an economy that Alan Smith helped me truncate the Alan is developing a rather attributes to its having been unusual musical collaboration: original, keep the essence of it, To win a melodica send your answer to Melodica Competition, PO Box 944, Edgbaston, Birmingham, B16 written as one self-contained retaining the juicy bits!’ 8UT, or email [email protected] by November 13th. piece rather than in monthly ‘I’ve been doing duets with Karen parts, with Dickens himself having The involvement of Ian Smith Street - clarinet and accordion. Justin Randall of Tipitina reviews both melodicas on page 6. no idea where the story would over the long gestation period of Karen’s a very fine accordionist 12 THE JAZZ RAG THE JAZZ RAG 13 KEEPING IT IN THE FAMILY KEEPING IT IN THE FAMILY

Jack and Charlie Wynton (trumpet) Branford Bud and Richie Powell KEEPING IT IN THE FAMILY Teagarden (tenor, soprano), Delfeayo (pianists) – Bud largely invented (trombone) and Jason bebop piano, changing the SCOTT YANOW identifies 45 sets of jazz siblings. (drums, vibes) Marsalis – function of his instrument While Wynton has gained the completely and influencing all Is jazz talent due to genetics or exuberant and joyful style. Nat Henry (trombone) Brunies – bassist Eddie Coles (the only one most fame, each of these musical who followed. Richie was an training? There are many was at his best in the 1960s when George was the best-known of not to change his name to Cole) sons of pianist Ellis Marsalis has excellent pianist and examples of a parent passing on he functioned as the Cannonball the six sons (which included two but Ike and Freddy who found his own way to revitalize who died in the same tragic car the jazz tradition while adding to their creative abilities to one or Adderley’s Quintet’s ‘brass part-time players) but Abbie was played and sang in similar styles. crash that ended Clifford its legacy. two of their children, so genetics section’. in the Halfway House Orchestra Freddy did not come into his Brown’s life. sometimes plays a role. Training is in the 1920s and Merritt led and own until more than 20 years Pat (guitar) and Mike important in mastering the Frank (trumpet) and Freddie recorded with his Friars Inn after Nat’s death. Michael (trumpet) and (flugelhorn) Metheny – While fundamentals of mastering an (trombone) Assunto – As co- Orchestra, which included Henry. Robert (piano) Rodriguez – leaders of the Dukes Of Bing and Bob Crosby (vocals) his younger brother Pat became instrument. So is self-discipline, Whether separately or on their desire and the ability to adjust in the 1950’s and ‘60s Ernie (baritone, clarinet) and – Bob Crosby had the strangest one of the most important jazz three joint recordings, the quickly and spontaneously to (with their father Jac on Emilio (violin) Caceres – career. The younger brother of guitarists of the past 40 years, Rodriguez Brothers play creative changing musical situations. and second trombone), the Ernie Caceres was the second the most influential and beloved Mike has displayed his own Assuntos played spirited and best baritonist of the pre-bop singer of the 1930s, Bob only had mellow style, both on flugelhorn hard bop and Afro-Cuban jazz. But one should not overlook high-powered music, heard at years (next to Harry Carney) and an average voice. Every hit of the and in how he has cheered his environment. Growing up in a their finest on their Columbia showed that the baritone could Bob Crosby Orchestra and brother on. Wallace (trumpet) and family where a sibling not only albums. easily fit in with ’s Bobcats was without his Antoine (tenor, soprano) listens to jazz but has strong groups. Emilio was a major swing participation! The Midiri Brothers – Twin Roney – Both of the Roneys play creative abilities can inspire a Albert (tenor) and Donald violinist whose few recordings with , Boulou ageless 88-year old Jimmy and brothers Joe (clarinet, alto) and passionate post-bop jazz with child to follow their big brother (trumpet) Ayler – Albert, an display his talent. Wilbur (trombone) and and Elios (who generally played Tootie still perform vital music Paul (vibes, trombone) combine Wallace tipping his hat to Miles or sister’s example. Jazz history is influential avant-gardist who Sidney (trumpet) DeParis – rhythm guitar) kept the Django today. together to lead one of the most Davis. filled with families that played helped break the sound barrier, Cab and After having important solo style alive years before Gypsy exciting swing combos around music together, from the led a group in the mid-1960s with (vocalists and bandleaders) – careers, the DeParis Brothers Jazz took off in Europe. Fletcher and Horace today. Wayne (tenor, soprano) and Teagardens to the Marsalises. his brother that could sound like While Cab was famous for the came together in the 1950s to Henderson (pianist- Alan (trumpet) Shorter – Sticking to jazz brothers and a very primitive 1890s New last 60 years of his life, his older form a popular, colourful, Jerry (trumpet, congas) and arrangers) – Fletcher, an The Mills Brothers – In the Alan was an excellent avant- sisters from the same generation Orleans . They took sister Blanche faded after the humorous and often-hyper Andy (bass) Gonzalez – Jerry adequate pianist and a major 1930s the Mills Brothers garde improviser who was on arranger by the early 1930s, was (as opposed to parents and jazz so far forward that it came mid-1930s. Cab credited the Dixieland band. and Andy Gonzalez have been (Donald, Harry, Herbert and some significant recordings in the jazz’s top talent scout for 15 children or married couples), this back at the beginning! passionate singer for teaching leaders in modernizing Latin and either John Mills Jr. or Sr.) 1960s while the always very Afro-Cuban jazz, most notably years, employing an all-star cast imitated instruments so perfectly article has my listing of the 45 him most of what he knew about Johnny (clarinet) and Baby original Wayne Shorter at 82 The Boswell Sisters – Connie, with the Fort Apache Band. of young greats in his big band. on their classic records that they most significant sibling showmanship. (drums) Dodds – Johnny continues performing as one of Vet and Martha were one of the Dodds, the top clarinetist of the Horace was a better pianist but sounded like an instrumental combinations in jazz history. jazz’s living legends. finest jazz vocal groups of all Conte and Pete Candoli 1920s, was always distinctive Dave and his career was more modest. quintet rather than four voices Since there have been more than time. In the 1930s they switched (trumpeters) – Pete mostly while Baby was a pioneering and (keyboardists) – Dave is a and an acoustic guitar. Jack (trombone, vocals), 45, I had to leave out such tempos and moods, scatted and played lead but could solo well influential drummer. They made major film composer and Don a Willie (clarinet), Percy Charlie (trumpet) and combinations as Django and harmonized with ease. While while Conte was a major bop major contributions to the top studio musician. Both are also (trumpet) and Earl The Moffett Family – Norma (piano) Teagarden – Joseph Reinhardt (guitarists), Connie had a successful solo stylist. Together as the Candoli recordings of King Oliver, Jelly excellent jazz pianists and (trombone) Humphrey – Drummer Charles Moffett Adrian (bass sax) and Arthur career, the Boswell Sisters never Brothers and separately, the Roll Morton and Louis keyboardists who have recorded Fixtures in the New Orleans jazz (famed for his association with The immortal (tenor) Rollini, Benny (piano) and should have broken up in 1936. Candolis uplifted hundreds of Armstrong. in a wide range of settings. scene for decades, Willie and Ornette Coleman) led the often talked Charlie (a fine Bus (accordion) Moten, Joe jazz dates. Percy in their later years toured Moffett Family which featured soloist) and the under recorded (clarinet) and Marty (trumpet) Michael (tenor) and Randy Tommy (trombone) and Edmond and the world with the Preservation five of his children: trumpeter Norma into joining his bands. Marsala, Bill and Harry Evans (trumpet) Brecker – They John (bass, arranger) and Jeff Jimmy (alto, clarinet) Dorsey (clarinetists) – Edmond was Hall Jazz Band. Mondre, saxophonist Charles Jr, (pianists), Roy (trumpet) and Joe found fame as co-leaders of the (alto) Clayton – Major forces in – The Battling Dorseys had such a distinctive clarinetist with drummer Cody, singer Carisse Stanley (tenor) and Tommy (alto) Eldridge, Chuck jazz/ group the Brecker the current Los Angeles jazz legendary fights (leading to the Louis Armstrong and others that Illinois (tenor) and Russell and the best known, bassist (trumpet) Turrentine – While (flugelhorn) and Gap (piano) Brothers and kept very busy in community, they co-lead The breakup of the Dorsey Brothers he could be identified in one (trumpet) Jacquet – Illinois’ Charnett Moffett. the always distinctive Stanley had Mangione (who once co-led a their early days as studio Clayton Brothers and, with Orchestra), led significant swing note. Herb was also excellent but honking on Flying Home helped an illustrious career as a soulful give birth to r&b and he was a group called The Jazz Brothers), musicians but they actually did drummer Jeff Hamilton, head the bands, were major soloists and did not gain much prominence Wes (guitar), Buddy (vibes, but swinging saxophonist, Tommy major swing player throughout pianists Erroll and Linton Garner, their most significant work in Clayton-Hamilton Jazz Orchestra. came back together in the 1950s. until after Edmond’s death in piano) and Monk (electric (who played hard bop well) never his life. Older brother Russell drummers Paul and Louis their solo careers. Michael John is a brilliant arranger 1967. bass) Montgomery – Talented really caught on despite his was a fine swing-to-bop player Barbarin and, from Australia, became the biggest influence on inspired by and Duke Kevin (guitar), Robin as Buddy and Monk were (joining talents. Graeme (piano) and Roger saxophonists since Coltrane and Ellington. (trombone) and Duane Phillip (trumpet) and Winard although fame eluded him. forces as the Mastersounds), (drums) Bell, and Bob (trumpet) Randy continues to the present (trumpet) Eubanks – Each of (drums) Harper – As the Wes’ impact on jazz is still felt Ingrid (trumpet) and Lester (tenor) and Lee and Len (drums) Barnard. While day as a superb hard bop Anat (clarinet, tenor), Avishai the Eubanks brothers has Harper Brothers in the 1980s, decades later. Christine (arranger- (drums) Young – Lester (Pres) clarinetist trumpeter. (trumpet) and Yuval developed his own voice in they were part of the Young composer, ) introduced a completely new way became world famous, his three (soprano) Cohen – When they modern jazz, and all are nephews Lions movement, bringing back Phineas (piano) and Calvin Jensen – Ingrid is one of today’s of playing the tenor sax while brothers Harry (bass), Freddy Darius (keyboards), Chris work together, it is as the Three of the great pianist . hard bop. Both of the Harpers (guitar) Newborn – While great trumpeters while Christine Lee, a fine drummer, mostly and Irving (both trumpeters) (bass, bass trombone), Dan Cohens. The Israeli siblings have have survived to develop their Calvin is still a fine blues-based is quickly developing into an worked behind the scenes at Goodman all had musical careers (drums) and Matthew (cello) all made strong impressions, Art (flugelhorn) and Addison own voices within straight ahead guitarist, Phineas, who had to important writer for her own record labels, never minding his too. Brubeck – Dave and Iola’s four particularly Anat who is one of (bass) Farmer – The mellow jazz. battle both mental and physical musical sons each had today’s best clarinetists and cool-toned bopper Art and the large ensembles. problems in his life, was a superb brother’s fame. While I undoubtedly left out opportunities to play with the sounds effortless on tenor. in-demand Addison were twin Jimmy (tenor, soprano, technician and a hard-swinging Hank (piano), Thad (cornet, some, here are the 45, listed in Quartet brothers. Tragically Addison died arranger), Percy (bass) and pianist. Scott Yanow is the author of arranger) and Elvin (drums) alphabetical order. (particularly Chris and Dan) and Nat (piano, vocals), Freddy young but Art had a long and Tootie (drums) Heath – All 11 jazz books and over 750 Jones – Arguably the greatest of have had important careers of (piano, vocals), Ike (piano, productive career. three Heaths had major careers Eddie and Charles Palmieri liner notes. He can be all jazz families, all of the Jones Cannonball (alto) and Nat their own. vocals) Cole and Eddie Coles before coming together as the (pianists) – They were both contacted on Brothers were distinctive and (cornet) Adderley – (bass) – Nat King Cole was such Boulou and Elios Ferret Heath Brothers in the 1970s. innovative Latin jazz pianists and [email protected]. major forces. Cannonball was always a giant on George (trombone), Merritt a popular figure that he not only (guitarists) – Sons of guitarist Percy was the foundation for the bandleaders with Eddie still his instrument, playing with an (cornet), Abbie (cornet) and overshadowed his older brother Pierre Ferret who had recorded Modern Jazz Quartet while the continuing today. 14 THE JAZZ RAG THE JAZZ RAG 15 FOUR OTHERS – BROTHERS (AND ONE SISTER) FOUR OTHERS – BROTHERS (AND ONE SISTER) FOUR OTHERS – BROTHERS Woolf Phillips (AND ONE SISTER) Scott Yanow’s account of 45 sets of siblings is admirably thorough, but where are the Brits? In a burst of patriotism Jazz Rag decided to supplement Scott’s list by asking four British writers to profile briefly a set of British siblings they particularly admired. Interestingly DIGBY FAIRWEATHER, PETER VACHER and CHRIS HODGKINS all chose current musicians; RON SIMPSON was a lone voice for nostalgia.

Idris and Zoe Rahman The twins were born in marvellous Jazz Record Centre. Manchester in 1976 and exposed Back home, the brothers to big band jazz via their parents’ Fishwick are reunited and jazz collection, Steve taking up continue to prosper, singly and Ian Bateman and trumpet and Matt settling for collectively, Steve described Alan Bateman drums. Soon into the approvingly by Wynton Marsalis, Manchester jazz scene, they no less, as having ‘his own style’, highly respected jazz journeymen, – and I hear he’s recently tackled moved to London in 1994 to the inspiration of commuting effortlessly between the trombone, too! All they need study at the Royal Academy of still apparent in the crisp fluidity the later band and the is cloning to form the best part Music and then began to perform of his improvisations, Matt kicking reunion band of Keith Ball since of a band on their own! Another with the top players of the day, hard behind him, the twins at one the regrettable illness of the late great British trombonist, the late recording along the way with in their musical intentions. Kenny’s founding partner, John Micky Cooke, dubbed the veteran singer Anita O’Day. Bennett. He’s also one of the brothers ‘The Noise Abatemen Combining with the Welsh tenor- P.V. British musicians who regularly Society’, but, in the words of that saxophonist Osian Roberts, they graced the – largely American – self-confessed jazz singer, Neil formed a quintet that has toured *The Fishwick-Roberts Sextet Norwich Jazz Parties, working Diamond, ‘it’s a beautiful noise!’ regularly and successfully, their with Frank Basile tours the UK in alongside kindred spirits such as of this or any year’, 5-star THE RAHMANS recordings issued on their Hard Dan Barrett, Warren Vache and D.F. review, Alan Brownlee, February 2016. Steve Fishwick Bop Records label. Never others. For me he is quite the Manchester Evening News ; teaches jazz trumpet at the Leeds Sibling rivalry from Cain and Abel knowingly underwhelmed, the best of the ‘second generation’ of ‘absolutely recommended’, 5-star College of Music. THE PHILLIPS via Leah, Rachel and the Miliband brothers Fishwick and Roberts jazz trombonists and now co- review, Roger Thomas, BBC Music www.stevefishwickjazz.com. BROTHERS brothers always captures travelled to New York and leads the Bateman Brothers Band Magazine ; from Clive Davis in the www.mattfishwick.net. headlines whether it is in Genesis enlisted the late pianist Cedar with his brother Alan – who is Sunday Times , ‘a wholly original Arranged Dixieland is somewhat or the Sun newspaper. However Walton to record with them, this similarly phenomenal! I first brand of Anglo-Asian music’ to THE BATEMAN out of fashion, but back in the the bandstand. This was an eight- and also knew (old-fashioned with Zoe Rahman and Idris followed by an on-going partnered Alan on a concert near ‘The empathy between the two early 1950s it was the major piece, including two saxes who again!) how to build an Rahman the key words are relationship with baritone- BROTHERS Reading and heard him play alto siblings and accompanying factor in turning me on to jazz – generally just beefed up the entertaining programme. He had admiration, approbation and saxophonist Frank Basile, and saxophone with all the grace of a musicians – is extraordinary. A together with recordings by Jelly ensembles, but with a succession served his time playing all the cooperation – no headlines there other top New Yorkers like My nomination would certainly . Later (rather to voyage of, and into, the Roll Morton, , Pee of fine trumpeters (Kenny Ball, reeds with the best dance bands, then. Zoe and Idris were born pianist Jeb Patton, the results go to the (totally British) my chagrin!) I came across his imagination’ Ken Hunt, fRoots . Wee Hunt and Louis Armstrong! Joe McIntyre, Cyril Ellis) and the writing and arranging for and brought up in , again released on their label. Bateman brothers – Ian and Alan. again – this time playing trumpet West Sussex - their mother is Trombonist Ian Bateman is one Even before I latched on to the polished clarinet playing of Sid Ambrose, and contributing some Idris and Zoe still play together - in the reincarnated Ball band – himself. The material was English and their father was Matt lived in the Big Apple for of the (relatively few) graduates Humphrey Lyttelton Band as memorable scores such as Cotton sometimes in a duo context. As and sounding more like the sometimes a touch old-fashioned Bengali. They grew up listening to five years from 2004, working of NYJO who rapidly re- something special, I made my way Pickers’ Congregation to the band siblings who have grown up young on-form Kenny than (I remember Denny Dennis jazz as teenagers and over the with many prominent musicians. embraced the classic precepts of annually to Birmingham’s Bingley book. playing music together they share anyone has a right to! As if that singing Buddy, Can You Spare a years have played in many I recall observing him with pianist and early in his Hall for the Ideal Home a unique musical connection. weren’t enough, he also subs with Dime? ), but Sid was a superb different bands together. They John Colliani’s bright quintet in career worked with the similarly Exhibition, mainly for the And Sid was one of four Keith, playing the clarinet parts musician, one of the most both took classical music degrees The Garage, and slightly more incomparable trumpeter Rod gloriously eccentric Guinness brothers, all musicians: Ralph and C.H. with equal efficiency, skill and flair distinctive clarinettists around, at St Hugh's College, Oxford. surprisingly finding him behind Mason. A fully qualified musician clock and Sid Phillips’ Band on Harry played in Sid’s bands at Idris co-leads and plays tenor sax the counter at Fred Cohen’s who can read any part at sight, he different times and Woolf had an in the band Soothsayers and Zoe THE BROTHERS has become one of the most Sid Phillips astonishing career. A notable has also played and recorded FISHWICK swing trombonist in his day, he with them and reciprocally Idris Matt Fishwick went on to front the Skyrockets has played clarinet on many of The wider world of jazz abounds ( and Kenny Zoe’s albums. Around ten years in brotherly love, or put it this Baker included), led bands for ago their father was ill in hospital way, pairs of siblings who pursue Duke Ellington and Benny and Zoe transferred some of his similar goals. And often Goodman in the days of the MU cassettes on to CD for him - it succeed. Think Nat and Julian ban, accompanied Frank Sinatra, was the first time Zoe and Idris Adderley, for instance. But of and Sammy Davis, had heard the Bengali music their twins, there’s been what amounts Jr., and finally settled in California. father had listened to all his life. to a dearth. Until now, that is. Quite a family! A generation on, It led to Zoe and Idris making Steve and Matt Fishwick have Sid’s son, Simon, became a their album Where Rivers Meet in already made their joint mark on renowned rock drummer and 2009. The phrase ‘gathered the British jazz scene and seem John Altman, the celebrated film acclaim’ was the understatement set to continue in their own composer, is Sid and Woolf’s of the year. Where Rivers Meet distinctive way. nephew. garnered plaudits across the Steve Fishwick media; ‘one of the best records R.S. 16 THE JAZZ RAG THE JAZZ RAG 17 TALE OF TWO FESTIVALS TALE OF TWO FESTIVALS TALE OF TWO FESTIVALS Patrick Cornelius RON SIMPSON looks forward to two very different, but both extremely successful, jazz festivals. Herskedal, causing delight and It would obviously misrepresent Robert Fowler puzzlement in equal proportion. Southport to concentrate solely In 2016 he returns to quartet on the Continental format, with pianist Ivo Neame, musicians/bands, with American Petter Eldh on bass and Anton saxophonist/composer Patrick Eger on drums. Cornelius giving a UK premiere of his While We’re Still Young suite The latest rising Scandinavian star and Steve Fishwick, Osian to appear at Southport is Mads Roberts and Frank Basile leading connection during the years of during a full day of rehearsals and Mathias, singer, songwriter, a joint UK-American sextet on In bringing over European bands for an early rehearsal session saxophonist, pianist. Geoff the Empire State , plus any number the Whitley Bay Festival in its (starting at 8.30 am!) each day of Matthews is known to cast his of top British players both pre-jazz party form. the festival. net far and wide to recruit established (Alan Barnes, Ryan musicians he thinks will fit in with Quigley, David Newton, etc.) and Nearly all the musicians at Both Southport and Whitley Bay the ambience of the Southport up and coming (Ben Cox). Whitley Bay this year are make full use of a convenient festival, but he fell lucky with returning favourites: Patti hotel manned by attentive and Mathias. Alerted to his quality by However, there’s plenty of Durham, Mike’s widow who is helpful staff, but even this is in Neil Hughes of the Cinnamon Continental influence throughout carrying on the event, cites different ways. Southport Jazz Club, Geoff dashed over to the programme, with the Robert Fowler and Mellow Baku Weekend crops up all over the Altrincham and instantly outstanding violinist Daniel John as first-timers. But it’s fascinating Victorian Royal Clifton, with understood what Neil saw in the Martin, Paris-based after spending to note the variety of styles performances in concert rooms The Mike Durham Classic Jazz festivals these days: the young Dane. his formative years in Africa, and enthusiastically encompassed by and lounges, exhibitions in musicians from the North of Party (November 6-8) at the importance of musicians from Alec Dankworth’s Spanish smaller rooms and jazz in the bar. Mads began as a saxophonist, but Europe. Whilst established stars Village Hotel, Silverlink North, on continental Europe in a whole Accents, largely composed of UK At Whitley Bay everything is suffered terrible injuries to his of classic jazz such as Bent Tyneside and Jazz on a Winter’s variety of styles of jazz - Jazz musicians, but with a Spanish based in one large concert room, hand in a car crash at the age of Persson and Frans Sjostrom are Weekend (February 5-7) at the Rag 137’s feature, Visiting dancer (Jesus Olmedo) and with set tables for all the 17, with the loss of one finger percussionist (Demi Garcia). on the bill, so, too, are youngsters Royal Clifton Hotel in Southport Birmingham , explored the same weekend patrons. With a pleasing and parts of others. He decided like Lars Frank and Kristoffer could not be more different in theme. attention to detail, the table the saxophone was now out of Similarly with Whitley Bay. It Kompen. A professional many ways. The only obvious numbers are rotated twice a day At Southport one of the first the question and shifted his would be invidious to overlook trombonist playing with rock similarities are that both are to give everyone a variety of sight names to be pencilled in for the attention to singing and writing the role of American trumpeters bands to pay the bills, Kristoffer based in a single hotel, both run lines.It’s a good sign for British programme these days(probably songs. Later he returned to Duke Heitger and Andy Schumm, is by choice an adept in the music Friday to Sunday and both have after Alan Barnes’ latest suite or playing the saxophone, but his for example, and there are many of Jack Teagarden, J.C. jazz that two such different found the secret of getting all-star band) seems to be the career had taken a decided turn. fine UK players among the line- Higginbottom and Tricky Sam festivals have every prospect of audiences in to hear good jazz. remarkable , at the Now, according to Geoff up, but 10 musicians from Nanton. sell-out business. Apart from that Whitley Bay’s age of 30 widely regarded as the Matthews, he is a fine Northern Europe alone shows classic jazz contrasts with finest jazz composer/saxophonist saxophonist, but it’s his the importance of the Continent The Mike Durham Jazz Party has Some 10 years ago Stuart Southport’s contemporary feel to emerge from Norway since songwriting that’s remarkable, to the success of the Classic Jazz a mighty list of themed concerts, Nicholson came up with the view and the formats bear little Jan Garbarek. Southport allying a gift for melody to an Party. from unquestioned jazz greats that jazz had moved house - to similarity: Southport has 11 organiser Geoff Matthews first astonishing flair for writing ( or Sidney Europe. You don’t have to accept individual concerts, many by encountered him as a fairly idiomatic English lyrics - with a There is no doubt about the role Bechet) to the less predictable his rather tendentious thesis to regular bands, with a Fringe unknown talent at the Wardrobe surprising comparison to Johnny of the late Mike Durham, founder (Spike Hughes is an enterprising acknowledge the tremendous programme in support, whilst in Leeds some three years ago Mercer! Mads is already a star in of the festival and former West choice, as is the music of the impact of mainland Europe on Whitley Bay uses over 30 and instantly booked him with his Denmark and is breaking through Jesmond Rhythm King (and now, black New Orleans bands that many of our festivals, including musicians in a party format, each quartet for Southport 2014. internationally, with an very appropriately, never left for Chicago in the those at Whitley Bay and in a variety of line-ups. Neset is nothing if not innovative honourable mention in the USA’s commemorated in the Whitley 1920s). Musicians are, of course, Southport. and this year’s weekend saw him International Songwriting Bay festival). At some distant time assigned to any different bands However, both share a tendency duetting with tuba player Daniel Competition for his song Fool for past he lived in and built and a designated leader has to www.whitleybayjazzfest.org ever more apparent in jazz Love . up the Scandinavian and German bring the whole set together www.jazzinsouthport.co.uk

Mads Mathias Kristoffer Kompen

Fishwick Roberts Basile sextet

18 THE JAZZ RAG THE JAZZ RAG 19 ON RECORD REVIEWS

Kenny Clarke Harbeck's dedication to his that it seems churlish to pick Jeff Healey mainstream and the outstanding for you . It’s Tight Like That (2006), colleague Smith. Here they have faults but as a launch of Fischer characteristic is the fast tempos live recordings with a band fun taking turns with one of them as anything more than a very with which the normally slow including Chris Barber, is a bit improvising over the other's good guitarist it is not entirely ballads, A Pretty Girls is Like a more rough and ready, though theme playing. It is notable in this successful. Melody, Limehouse Blues and You’re with some delightful moments track to hear the pianist Henrik my Everything , are treated. such as the whistling/guitar/violin Gunde grooving into a sort of It may be that the guitarist needs , a tenor and alto opening to Sweet Georgia Brown , 6/8 feel, instigating the tenormen to have his own solo album but, player unknown to me, is in fine taken from a Stony Plain sampler to vary into a Latinish pattern. in the meantime, enjoy what is a form, happy in any style. His is a with the same band. With other indications of his very pleasant offering. lively presence throughout. need to break loose a bit, he RON SIMPSON presumably stretches out more JOHN MARTIN Both Ellis and Collins are no on their gigs. The final ballad, May longer with us. Ellis passed in Each Day, a one-time Andy TUBBY HAYES AND 1994 and Collins in 2001. A great pity as both deserved to be much Williams hit, kicks off with some THE DOWNBEAT THREE CLASSIC ALBUMS very nice solo piano, and displays better known. PLUS highlights are the sides arranged the group's collective melodic BIG BAND by Hodeir, proving that there was enjoyment. Yes, there is JOHN MARTIN Avid Jazz AMSC 1146 PLAYS THE jazz to be heard in Europe at the something jazzily musical in the BLUES AT THE MANOR ARRANGEMENTS OF... time. state of Denmark. 1959-1960 If the first date documents the Bunch on piano, and the JEFF HEALEY 2 CD’s 79:35/80:00 struggle to establish modern big- estimable on GREG MURPHY bass. They produce a subtle Fresh Sound FSR CD 864 76:08 LES TOMKINS Acrobat Music ACMCD 4385 band jazz, the second represents THE BEST OF THE STONY The albums comprise , the finished article - bright, dynamic sound, tackling some Phil Talks with Quill , Phil & Quill with 72:47 PLAIN YEARS polished and exciting. well- chosen tunes including Clarke, a giant of modern JAN HARBECK JACOB FISCHER Prestige and 11 (of 12) tracks Make Believe, You’re My Thrill and drumming, spent much of the QUINTET, FEATURING Simon Spillett’s excellent notes, from Phil Woods/ Sextet HUGH LEDIGO Can’t we be Friends . Consummate, Stony Plain SPCD 1380: 54.05 later part of his life in Europe, extensive and comprehensive, tell – Phil and Quill . WALTER SMITH III … IN classy playing with a strong, which turned out to be America's all you need to know about this Jeff Healey’s career was unusual, bluesy flavour. The period 1956-1957 was a loss. Consider this reissue, which band – but you’ll have to buy the HOWARD ALDEN/ to say the least. He found fame VARIATIONS IN BLUE Arbors Records very busy one for the two includes the fine Kenny Clarke CD to read them. LLOYD ELLIS/ and fortune as a blues/rock ARCD 1944 64.04 Lloyd Ellis, the least known of the altoists, as all of these sessions Plays Andre Hodeir , a 1956 session Stunt Records STUCD 14112: three guitarists, is a revelation; guitarist, but was devoted to jazz, which features a mixed personnel In brief: the disc presents two come from that time. 48:24 Jacob Fischer is a self- taught easily the most exciting of the amassed a collection of 30,000 including trombonists Billy Byers sessions roughly a year apart. The 78s from the 1920s and 1930s, Danish guitarist, highly regarded FAMOUS DOOR ACE trio. He cut his teeth on Western The novelty of the four altos and , Roger Guerin on earlier, from 1959, sports an became a respected jazz Here is an interesting application in his own country but generally Swing in the 50’s and became a format soon began to pall for me. trumpet and a fine contribution impressive brass section including GUITARISTS of a well-worn format - the two- fairly unknown outside Denmark. fixture in the Las Vegas jazz scene broadcaster and played jazz on two renegades from the Ted I enjoyed the first couple of from pianist Martial Solal. But it's tenor quintet. These Hence, I would imagine, the working with Red Norvo’s fine the trumpet! In the last few years Heath Band and early British Progressive Records PCD – tracks greatly but began to feel Hodeir's arrangements which -based musicians emphasis on New York in the trio but, mainly, playing of his short life (he died in 2008) boppers Les Condon and Hank 7156-7157-7158 that the format lacked variety really infuse the flavour, leaving steer clear of the normal title. As an introduction to the anonymously, but lucratively, he began recording with his Jazz Shaw; the saxes are headed by and flexibility. For the record, the opportunity for improvisation; procedure of unison themes wider audience this is a behind big name acts. On this Wizards in preference to rock or Alan Branscombe and Tubby. The 3 CDs, approx. 50.00, 45.00, saxophonists are Woods, Gene pianist Solal has a ball, both framing chase choruses. It's either creditable debut. session he was very fortunate to blues and the four albums he rhythm team of Terry Shannon 60.00 Quill, and , wearing his Monk hat and in the one tenor to start, then have the impeccable Carl Fontana made for Stony Plain have now piano, bass and Phil all more than competent players mainstream mode. Hodeir makes alternating, or both men together Generally, the listener in making on trombone and the Scottish been raided to make up this Seamen drums seem to me, Sometimes it seems that some of in their own right. a fine job of Round Midnight within a theme, mainly to any assessment of a recording Jackie McLean on alto each of joyous tribute. building the composition has to decide whether a record disappointingly, just a touch the most talented musicians improvise simultaneously. They whom seems to want to surpass Things improve markedly from gradually until finally stating the achieves what it sets out to do wooden. The section work never leave home. This is a classic The four albums are rather seem to have a tonal and stylistic each other. The session never the start of Phil Talks with Quill and theme in the final part - this is and I am not sure that this one suffers from under-rehearsal at case in point for both Lloyd Ellis stops swinging. The opening different, but the spirit of Bix and affinity; so it all falls easily on the the two alto front-line works one the most individual does. There is no doubt that times and the arrangements still and Cal Collins proved to be number Sweet Georgia Brown is Venuti-Lang presides over the ear. Easy, in fact, is the operative well. Woods’ tone at this time treatments of Monk's classic I Fischer is an accomplished player. have echoes of the lingering homebodies, yet on the basis of taken at a blazing tempo and whole enterprise. Healey plays word. Seven of the eight tracks sounded particularly bright, have heard. are medium-paced; the other is a He has worked with violinist dance band era. Solo honours go this attractive three CD set they there is no let up ending with a guitar on all four, but always has lacking the darker tone of later slow ballad. A concept album, fellow Dane Sven Asmussen and to the twenty-four year old earn their place beside the better ferocious version of Avalon. Not at least one other guitarist in years and contrasts nicely with Other arrangements are by seemingly. others and now has his own trio. leader and altoist Alan known Alden. so much a session as a battle to attendance (usually Jesse his, slightly less fluent, front-line (a superb Love Branscombe. The programme the death. Wonderful, exhilarating Barksdale) to play rhythm to his partner. For the most part this is Me or Leave Me ), and Christian East St.Louis Toodle-oo gets their Arbors has given him three includes compositions by Golson, Of course, the Alden tracks are a music. solos and to cover his forays Chevalier with a Clark-led first 'variations', and the Duke excellent musicians, Chuck Redd Dameron and Parker plus a delight. His sophisticated onto trumpet. The CD kicks off bright, sunny, swinging music. medium-sized group over four would be pleased. Nordic Echoes (vbs), John Webber (bs) and Matt couple by our own . approach with its emphasis on The last of the three, Cal Collins, with tracks from my two Things continue in much the titles recorded in November evokes Ellington and Grieg. Don't Wilson (drs). In Redd’s case he is each carefully crafted note is a was a late developer and served favourite albums: Three Little same manner on Phil & Quill with 1957, before featuring tenor- Let The Sun Catch You Crying probably a little too excellent as Session two, recorded for BBC’s hallmark of a scrupulous his time back in the 50’s playing Words from Adventures in Jazzland Prestige with the quintet format. saxophonist , Eddie warmly recalls the 'forties and he makes the disc his own with a Jazz Club , benefits from a better musician. On this set he is a little in and around Cincinnati in (2004) features the Bixian cornet Bunello on alto sax and Boland Louis Jordan. A Harbeck original, virtuoso performance and he sound quality (though the earlier more aggressive than we expect. bluegrass bands for twenty years. of Tom Pletcher and Healey’s in- The whole package is rounded on piano. In the extended Salvation is his tribute to Paul dominates the session. set is not bad) and the precision Perhaps the influence of Norris He was discovered by Benny period guitar solos and off nicely with the Sextet Tampico we can hear the writing Gonsalves, but contains and attack suggest adequate Turney on alto brought out Goodman and he played with nonchalant vocals, then the sessions. This was the first time techniques which were to collectivity all the way. Sinatra's The material is almost entirely rehearsal time. The presence of another facet of Alden’s Benny’s band in 1976 and took posthumous Last Call (2010), a that Woods and Quill had characterize the Boland/Clark big great version inspires Blues In The standards with a few unusual on trumpet and personality. Turvey is fierce wailer part in the 40th pared down trio album, gives us a recorded together. Sol Schlinger band which was to thrive Night and their separate twists. The group swings happily. Ronnie Scott on tenor adds in the Hodges tradition who, Anniversary concert in 1978. In splendid bit of Venuti/Lang, The (a new name to me) is added on between 1969 and 1972, even if statements have some wailing, There is a jaunty Love for Sale , a greatly to the solo strength but I sometimes, took over Hodges the same year he signed with Wild Cat , with Drew Jurecka’s baritone sax. A nice touch is the Clarke confines himself to but don't stray far from the waltz treatment of A Nightingale believe the most significant place in the Ellington band on the Concord and became a much violin. The first album in the inclusion of Dave McKenna on ensemble fills whilst providing a melody. Accordion ace Astor Sang in Berkeley Square , and a factors in the success of this later latter’s death but returned to his sought after session man for series, Among Friends (2002), lives piano. The original informative foundation for the ensemble. Piazzolla's Oblivion brings mellow rumbustious attack on an old line-up are the inclusion of Victor native Ohio where he stayed for Scott Hamilton, Warren Vache, Al up to its name with a floating sleeve-notes are reproduced in consecutive spaciousness. Third Django number Swing 42 . Feldman on drums and some the next twenty years. As always Cohn and Woody Herman. On population of musicians and full to complete the picture. There is much thoughtful music Time To Tango is, in fact, their superior writing by both Feldman Alden has chosen an exemplary this set he is closer in style to amiable versions of such gems as to be heard here, but the seventh time to relax, and is It is such an unpretentious outing and Deuchar. group of musicians with John Alden. The music is unmistakably Star Dust and I Would do anything ALAN MUSSON 20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

Mose Allison to a Kiss , the gentle caressing at the centre of things the label was only brief, resulting two-handed work – but will then treatment of How Little we Know , as Perkins unleashes some in just one album as a leader – counter the whole thing with one the roaring power of Night Ride , a authentic bebop before Adams the delightful True Blue – final dismissive note or chord. spectacular achievement by a then excels on a stately reading appearing in 1960. Like Soul Drummer Chuck Thompson’s trio. With each repeated listening of My One and Only Love . Station , taped the same year, its four-bar breaks aren’t always I keep finding more gems, too values were far more subtle than well-judged. But Hawes has a many to list. Again in New York and recorded the currently popular – and far remarkable rapport with bassist live by Riverside, his then-current more declamatory – stylings of , who is given plenty His favourite bass player, Addison quintet included Detroiter Trane and Griff. Ergo; it sold like of solo space and uses it wisely. Farmer, is a hugely empathetic on trumpet cold cakes, leaving three other Get this album if it’s the only one choice and the various drummers alongside pianist Bobby Timmons Brooks-led sessions to languish in you buy this year. are effective and unobtrusive. and another Motor City the vaults until the 1980s when luminary, drummer . they appeared in Japan. Soon TONY AUGARDE Whatever your preferences, any As might be expected, the energy after, Mosaic gave the serious jazz devotee should have, level is immediately higher, saxophonist the big-bucks, boxed DUKE ELLINGTON at least, one album Timmons percussive, bassist set treatment, thus going some , BILLY MOSE ALLISON in his or her collection. Here is positively buzzing way to redressing his neglect. This WITH JOHNNY HODGES, the opportunity to have five. and Jones disturbing the peace as two-CD set is basically that box COLEMAN HAWKINS AND MITCHELL, DOLO only he could. The atmosphere is TRANSFIGURATION OF writ-small, and usefully gathers COUNT BASIE COKER, LEROY Personally, I would make it lively, to say the least, even if the together all four original albums, HIRAM BROWN, CREEK compulsory. piano could have done with the VINNEGAR, FRANK BANK, I LOVE THE LIFE, V-8 making it, more or less the BACK TO BACK, SIDE BY tuner’s attentions. This is “complete” Tina Brooks. If you BUTLER FORD BLUES, YOUNG MAN JOHN MARTIN SIDE, DUKE ELLINGTON dynamic, no-holds-barred music don't know his work, then expect MEETS COLEMAN MOSE. with Adams demonstrating just to be charmed. If you need to be NIGHT FLIGHT TO DAKAR why so many pundits rate him so persuaded, then look at the cast- HAWKINS, THE COUNT Avid Entertainment AMSC 1163 highly. list: Hubbard, Blakey, Morgan, MEETS THE DUKE Xanadu 906075 2 CDs, 2 CDs, 78.49/78.50 FOUR CLASSIC ALBUMS Chambers, McLean et al. – the 47:25/47:08 PETER VACHER Hard Bop academy. Everything Avid AMSC 1157 I was especially pleased to be Avid AMSC 1164 74.40/70.56 here is right up there, equally as 2 CD’S 77.51 / 77.15. This is one of a batch of CD given this record to review TINA BROOKS good as anything by that man display. It is more of a jam session Perhaps if both bandleaders had releases from a 'seventies vinyl because it made me realise that Here’s yet another of Avid’s These are really Hodges sessions QUINTET Mobley. Go buy. and, as such, depends of the come to the session with more label, Xanadu, grouped as the Mose Allison was someone who, value-for-money double CD with the Duke sitting in. It is an proficiency of the musicians than just bonhomie the result Master Edition. In 1980, founder over the years, I had begun to reissues, comprising four LPs eclectic collection from four THE COMPLETE SIMON SPILLETT which, in this case, it more than might have been more Don Schlitten flew an 'all-star' take for granted. from Detroit-born baritone- previous albums, the first two of RECORDINGS/MASTER delivers. Squeeze Me , an Ellington substantial. group to Senegal, West Africa. An saxophonist Adams’s small-group which are classics of small group American quintet played a That is not surprising as his easy TAKES favourite, and Wabash Blues are heyday including Jazzmen Detroit jazz. The Ellington/Hawkins is, As it was everyone probably concert and a club date, and the laid back singing can be lazily (originally on Savoy), Critics Choice surprisingly, a the two standout tracks. THE TRIO went home happy. double CD is said to present the catalogued as country Blues and (World Pacific), Pepper Adams Phono 870333 2 CDs, between the two giants and the The meeting with Hawkins is just best of the jazz that was slotted into that department. It is Quintet (Mode) and 10 to 4 at The 78:42/78.40 fourth set brings in another JOHN MARTIN recorded. only by re-visiting to these 5 Spot (Riverside). All recorded Phono 870335 2 CDs 156.20 Royal, Count Basie. On the Back that, a get-together. Not every marvellous five albums, recorded between 1956 and 1958 so nicely Here's a quick quiz: what's the to Back and Side by Side sessions musical encounter has to be After the bebop revolution, two BIG The audiences clearly enjoyed in his most successful period, tucked into the public domain. name of the velvet-toned tenor Hodges is in magnificent form. I epoch making. Sometimes it can the music, with whoops of 1958 to ‘60 , that I realised saxophonist who reached his streams of piano playing seem to doubt if he has surpassed his just be a happy collaboration and BAND & SEXTET pleasure and even applauding a several things. Firstly, what a Savoy teamed Adams with fellow- career apex on a handful of Blue have emerged. One followed Bud performances on these two the date with Hawkins is only bass solo, but these are perfectly unique piano stylist he is, mixing Detroiters guitarist Kenny Note recordings during the early Powell in concentrating on the albums. He plays with passion, slightly disappointing if you THE COMPLETE conventional blowing sessions. Al bebop rhythms and harmonies Burrell, pianist 1960s? Oh come on! You know - right hand and mostly using the imagination and immense expect miracles. This comes over PERSUASIVE TROMBONE Cohn played much more with a modern vocal blues and a stellar rhythm section of the guy whose playing and left hand for occasional authority. He has the impressive as a nice day out and, perhaps, enterprisingly elsewhere in his interpretation. Secondly his bassist Paul Chamber and composing always retained punctuations. The other group of and unique Sweets Edison on could have benefitted from a little Phono 870228 71:45 pianists took a more two-handed career, and his tenor teaming compositions are much more drummer Kenny Clarke. Each something of 's trumpet—a man for all sessions - more rehearsal but it is Ellington approach. Hampton Hawes is with Billy Mitchell, though lively, substantial than they appear to track swings, Adams adroit and lyricism despite being smack- --and a classy rhythm section of and it is The Hawk. It is, also, Ray Trombonist Urbie Green is a often said to have emulated Bud does not have the ingenuity of his be at first hearing. In a smaller lucid, these pieces neatly inside the hard bop idiom. That's (bs),Jo Jones (drs) and Nance, Lawrence Brown and somewhat neglected figure these Powell (as he does here in the work with Zoot. Pianist Dolo but no less important way he contrived, with Flanagan showing it, the bloke whose career fell to Les Spann (gtr), the last being an Harry Carney, the last heavily days. He was possibly at the peak lightning-fast The Champ ). Coker comes over as the evokes the spirit of Americana his impeccable touch, never a pieces later in the decade, who interesting inclusion, as Ellington featured as a soloist, a rare event, of his powers during the 1950s outstanding group member, with Although he has a very active just as much as does the music of note wasted, each phrase jewel- died way too early, and who, even has never featured the guitar in so nothing is less than and 1960s. These sessions date good comping and soloing and though his fellow players loved right hand, he also uses both Charles Ives. like, Burrell similarly calm and his band. The guitarist is a worthy exceptional. The tunes are mainly from 1961 and 1962. seven minutes of appealing collected. him, never quite broke through hands to excellent effect. At least, addition and is heavily featured in originals and everyone is on their variations on Don't Let The Sun Also, the breadth of his work is to the front rank in audience that is my reaction to this double solos. The material is entirely The big band sessions will be of mettle. Catch You Crying . The bass of impressive ranging from the A year or so later and 3000 miles appreciation terms. CD of all the recordings he made blues but with little twists such as principal interest to fans of dance provides a firm hectic ‘hoedown’ opener of away, Adams linked up with the with his trio in the mid-fifties. I the tango intro to Wabash Blues band music. The arrangements The session with Basie is an pulse, as ever, and drummer Transfiguration , described as ‘a Baker-like Lee Katzman on , right? Sorry – trick am tempted to say he attacks the and the neat call and response (supplied by Bobby Byrne and unpretentious affair. It feels like a Frank Butler arouses the crowd, fantasy’, where you can almost trumpet and on question. Tenor saxophonist piano, except that he’s not the effect on Basin Street Blues . Ralph Burns) make full use of the sales promotion with its concept particularly with his extended see the old boys slapping their piano, sounding a tad more Harold 'Tina' Brooks was what piano’s opponent but its partner, Flawless. then comparatively new ‘musical of having each band play a display on Sweet Senegalese thighs, to the fastidious selection confident, the solos supple yet you might call a Mobley's Mobley. and together they explore some vistas opened up by stereophonic Brown . Two blues themes are the of standards suitable for his voice lively, the tone vaguely evocative The two shared not only a standards and discover The companion piece, Side by number associated with the recording.’ Add to this the most swinging items. and style. of . Tag this as hard but also many of the remarkable results. In Side , has three tracks carried other so Ellington takes on outstanding talents of the likes of bop and you’re there. Back on same jazz vices. As a Embraceable You Hampton starts over from the session with Jumpin’ at the Woodside and Basie , Hal McKusick, Overall, one of those albums to Space prevents me from going the Coast, he’s then a la Mode consequence, both men’s career by harmonising the first three Ellington. Billy Strayhorn replaces renders his version of Take the A Pepper Adams and Nat Pierce be enjoyed but probably not into all the records in detail but with trumpeter Stu Williamson pattern was assembled like a notes in seven different ways. He the Duke on piano and the Train . Interesting, but hardly and the production skills of replayed. there are many outstanding and the almost-forgotten pianist patchwork-quilt. But whereas will take a tune like Polka Dots formidable talents of Ben worth an album especially as the Enoch Light, who at the time was moments.in these 26 tracks. His Carl Perkins, his Freddie Froo given Mobley stuck at Blue Note for and Moonbeams and improvise on Webster, and disc offers only five numbers, one acknowledged as being a master- LES TOMKINS unique take on the Duke’s Prelude a vibrant work-over, drummer fifteen years, Brooks’ tenure at it with gorgeously decorative Lawrence Brown are, also, on of which is a drum battle. 22 THE JAZZ RAG 23 ON RECORD REVIEWS

craftsman creating advances in cannier members of the older laying down the boogie in a way long six tracks, one of which, the saxophone section notoriously had signed to the label at the recording techniques and there ones) are now baying for live that would have pleased Pete Mingus favourite Fables of Faubus, dubbed ‘The Unholy Four’. same time. We'll never know. are all the ingredients for a performances which (in Louis Johnson or Pinetop Smith but lasts for more than half an hour. Nearly twenty years later, as part winner. Armstrong's words) 'come from then switching to sympathetic of the Blue Note roster, he While nobody can pretend this is the heart' and not from the reflection for selections like Ain't As with many Mingus formed part of what could easily especially profound music (nor is The repertoire is full of well- combined studio skills of cut-and- nobody's Business if I Do . That performances, this is a high- be dubbed ‘The Unholy Three’, there a glittering cast of ‘star’ known material including Stairway paste, auto-tune and the other versatility is necessary in a energy set, if proving to be joining two of the labels other names on board to lift the to the Stars , Skylark and computer devices which have programme of eighteen something of a marathon for the signings – and Ike ratings; Bill Swindell, anyone?), its and all perfectly played. sanitized all too many CD selections that admirably listener. It’s always good to hear Quebec – in a tragedy typical of solid celebration of the core collections and consequently encompasses songs from Willie in full flight, however, the junk-fuelled, gone-too-early values of jazz means there is However, the chief interest for drained them of any shadow of Dixon, Leadbelly and Broonzy to and Jordan is always a joy to hear. legends of the era. plenty to enjoy. Try the steaming jazz fans will lie in the four Sextet spontaneous emotion. Ma Rainey Porter Granger and TCTB or the -ish Low tracks where we get to hear some down-home originals by It is certainly good to have this Like Clark and Quebec, Parker Brown as samples. You'll find they'll more from Severinsen and the Which is a lengthy way of Gerry Smith and on one track, available on CD but it is probably left some unreleased music in the grow on you. under-rated saxophonist Walt introducing one of the most Dr. John's Boogie by his partner one for Mingus and Dolphy fans Blue Note archives and it is his Levinsky. The small-group refreshingly live - and honest - too. first and foremost and one for ‘lost’ album Rollin' With Leo , from SIMON SPILLETT arrangements were supplied by records to gallop out of the Big the rest of us to dip into. 1961, that forms the core of this Green too. The standout track Bear stable in quite a while! This 'Live and unedited' (as liner note collection. Around it are Parker's SONNY CRISS for me being Hello Young Lovers . CD, which is backed by Blue author Stuart 'Son' Maxwell ALAN MUSSON other Blue Note date, Let Me Tell Moon, the craft beer from points out), this collection is a You About It , and, making nonsense THE COMPLETE IMPERIAL There is a comprehensive 24- Denver, Colorado, is by two very credit to producer Jim Simpson's ALBERT HEATH of the title, a clutch of late SESSIONS page booklet containing a wealth talented men - Richard Heath commitment to good unalloyed 1940s/early '50s sides for Savoy of information about the and Gerry Smith - who call music-making. And the CD's (THE FIRST) and Prestige. Perhaps best of all, Phono 870331 78.50/78.45 recording process surrounding themselves 'The Whiskey luxurious production - with the set also finds room for a rare the big band sessions, but little Brothers'. Veterans of the twelve page colour booklet and Xanadu 906070 44:26 1954 album for the King label, Memphis-born altoist Sonny about the sextet sessions. Birmingham blues scene, their superb photography by Merlin SONNY ROLLINS best of which, it can now be seen, taped in the company of guitarist Criss earned his bebop spurs album is titled Bottle Up and Go ; Daleman - is no less than the Good to hear, on this Xanadu were already cherry-picked for Bill Jennings. from 1942 onwards in Los Overall a worthwhile re-issue QUARTET WITH DON the call-it-a-day cry of street music deserves. Bottle up and 'Master Edition' CD, the three Our Man ) but for much of the Angeles, mixing with the best which will undoubtedly please If not quite the ‘complete’ Leo performers everywhere who buy it! gifted Heath brothers playing CHERRY time, this is unfocused, modernists then around and later fans of dance band music. Parker, these sessions certainly have played and sung their hearts together. The nominal leader on experimental stuff. It's certainly settled in Europe for a period Personally I would have liked to cover his entire stylistic compass, out and headed for home. DIGBY FAIRWEATHER this 1973 recording is the COMPLETE LIVE AT THE not the place to look for the before taking his own life in 1977, hear more from the small group. which broadly speaking means youngest of them, Albert 'Tootie' VILLAGE GATE 1962 elegance of The Bridge or the unable to face the prolonged and swing-to-bop. Having spent much In this collection - rather than CHARLES Heath, drummer, and composer cogency of . painful death that awaited him ALAN MUSSON of his career working heading for home - the Whiskey of five of the six pieces delivered Solar Records 4569959 once inoperable stomach cancer MINGUS/ERIC with , inevitably Brothers are heading for a by a sextet here. is In fact, listening to what amounts was diagnosed. DOLPHY SEXTET 6 CDs, 76:48/76:45/75:21/ there's a certain R&B-ish bent to THE WHISKEY deserving place in the spotlight on tenor, soprano and flute, and to over 400 minutes of 73:50/54:08/53:29 parts of his work, but if anything, BROTHERS because everything they play and on bass is the MJQ's Percy Heath. unexpurgated material, one is Hugely influenced by Charlie it's label-mate (and former sing conforms to what people THE COMPLETE BREMEN Filling out the ensemble are reminded of Benny Green's Parker, alongside whom he played Our Man in Jazz – Sonny Rollins's Eckstine colleague) Dexter with a liking for down-home CONCERT trombonist , pianist comment that, at his most in Los Angeles, Criss developed a BOTTLE UP AND GO third album after his famed Gordon who Parker most music require today; live and guitarist Ted capricious, the 1960s Rollins was fuller, slightly sweeter sound on ‘Bridge’ sabbatical – was the first resembles – if not in register, performance with no frills nor Domino Records 891 230 Dunbar. apt to creat e ‘a great rubbish the alto, and soon became Big Bear Records CD54 – 53:00 of the saxophonist’s LPs to truly then definitely in spirit. Indeed, furbelows but a deal of plain 2 CD’s dump sprinkled with pearls.’ renowned for the sheer majesty reflect the post-Coleman and Those pearls are here, but boy, had he lived perhaps Parker In these years of techno-pop - conviction and musical honesty Tafadhali is in Latin/rock mode, of his playing, the vibrato quite Coltrane changes that had what wading we have to do to would have benefited fully from when every so-called live securely rooted in the blues. This live session, previously long with groovy guitar and wailing pronounced as was the authority affected the music since his hear them! Much anticipated, and the transformational effect Blue performance celebrates the art Singer Richard Heath who unavailable, was recorded for tenor - the only let-down on of his phrase-making. All this and retirement in 1959. With hailed in some quarters as an Note had had on Gordon, who of mime and every album takes a doubles on mandolin sings with a radio broadcast in 1964. The most of these tracks being the more is evident on this double Coleman confrères unqualified triumph, this is, in fact, modest year or two to record - rough-edged conviction and his sound quality, whilst acceptable, is limited sound of an early electric and on board, and a troubling collection; fascinating, it's hardly surprising that a new partner-pianist Gerry Smith is his not what we would expect today. piano. A Notion is a slow feature Leo Parker with Rollins at his most-abstract, intriguing, beguiling in parts, it generation of listeners (plus perfect accompanist; capable of The performance is issued here for some melodic flute. Dr. Jeh is for the first time on CD. uppish, and trombone and the original LP was always a leaves a nagging sensation that somewhat ‘challenging’ listen, but Whiskey Brothers soprano take the honours. Dunia the impact the avant-garde had Alongside Mingus and Dolphy, allows the leader to stretch out now, with this unsanctioned - and made upon Rollins was by no who featured on alto sax, flute entertainingly; then Percy's Oops! one assumes wholly illegal – means a helpful one. and bass clarinet, are Johnny lets him do likewise on bass, in Spanish release of a further four Coles on trumpet, swinging solo as well as nights worth of material from the Lord knows what the tenor sax, Jaki Byard, piano and exchanges with flute and with Village Gate gigs that produced saxophonist himself will make of Dannie Richmond at the drums. brushes. Undoubtedly, the hottest the original RCA set, there is its appearance. All tunes are written by Mingus proposition from the date is the ample room for further with the exception of ten minutes of the bluesy Sub-set , controversy. SIMON SPILLETT Sophisticated Lady featuring providing sparkling stuff from Mingus backed only by pianist guitar, trombone, tenor and Make no mistake: Rollins plays LEO PARKER Byard. The complete concert is proper piano. with gusto and commitment included including a tribute to throughout, but given that this THE LAST SESSIONS Charlie Parker called Parkeriana A welcome bonus track from was a period in which he was less which despite clocking-in at over eight years later brings us Wazuri into playing structured Phono 870337 2 CDs, 76:20, 21 minutes is great fun, including, Blues , comprising totally solo compositions than following a 74:45 as it does, quotes from a number Kenny Barron, digging into deep collaborative, spontaneous muse, of tunes either written by Parker feeling for a too-short 4:38. For six CDs make one tough listen, In the legendary or associated with him. me, the disc's highspot. even for this writer, a dyed-in- band of the mid-1940s, baritonist the-wool Rollins completest. Leo Parker had been part of a The whole package consists of LES TOMKINS There are great moments (the 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

CD made up of three Criss unexpectedly convinced. Their Rita Reys plays trumpet and saxes, and a astonishingly accurate left hand Wild albums originally recorded on the material doesn’t translate easily man of 53 named Joan Chamorro that fairly lifts the proceedings. Imperial label in LA in 1956. His to other genres, particularly not who plays baritone and clarinet, There are moments when I could is the only front-line instrument jazz, which the pop group and sings. Chamorro was have sworn that a tuba player had heard here, each piece (and they professed to dislike. Harrow originally a music teacher for snuck in on the session. Jeff’s are mostly standards) featuring resorts to ballad treatments even Motis when she was twelve, then pianistic style certainly owes melody-and-variations with on Got To Get You Into My Life , and became her mentor, and something to Fats, as do his vocal occasional interjections by the succeeds in making them quite collaborator on various concerts renditions, but there’s some various pianists assembled with meaningful without begging and recordings. Here they are James P in there too, not to him, namely the impressive Kenny comparison with the originals. On captured in 14 performances at mention a hint of Jelly Roll. Drew, Sonny Clark and/or Jimmy Drive My Car , the only mid-tempo the 2014 Barcelona International Bunn. Guitarist is track, she employs the spoken Jazz Festival. The repertoire is fairly eclectic, present for the first meeting but word, effectively contrasting the essentially from the early jazz only emerges to substantive lyrics with Bill Easley’s roaring The band makes a stirring, period: Baltimore and Shake It effect to combine with Criss on Texas tenor sax. integrated impact, with Down from the late ‘twenties, the very spirited Alabamy Bound impressive arrangements and vaudeville songs like Rose of and on his own original, Criss In addition to the reed-man, the consistently fine soloists, Washington Square and even King Cross while vibist Larry Bunker disc benefits from the immaculate including the two leaders. Where Chanticleer , an authentic ragtime adds valuably to the final session. support of on this differs from other big bands piece. But there are some less piano, on bass and is that one leader is a jazz singer, typical selections – ’s There are occasional deviations Grady Tate on drums with a little and is consequently heard vocally Everywhere You Go for one and It’s of adventure pay dividends. The The four showings of a 16-strong from the great songbook, as with help from percussionist Arto on ten tracks. This being my initial You from the ‘fifties, not to musicians may all have played line-up have eventful, varied his Blue Friday a nicely stompy Tuncboyaciyan. The remaining auditing of Andrea, I must record mention a Barnhart composition these tunes dozens of times but charts by Gosta Theselius, blues with Drew in nifty form, tracks, all standards, are my reaction. At her early age, her With My Love . A feast of feisty this swinging session shows the designed mainly to feature the Buddy Woodson’s bass fixing approached in similar vein so voice has a wealth of style and, refrains. OK so the vocals are not advantages of musicians being baritone. swing, Criss taking off effortlessly. there’s no stylistic disparity. somehow, a lived-in quality. But I quite Waller or or even familiar with the repertoire – and If Gullin's playing echoes Mulligan, None of the tracks is over-long the vocal control and use of with Silver proving what a solid regret to say it tends to grate on Al Bowley but they’re rendered loving it. This is a reissue (with Something of an acquired taste, he had his own concept, and if but all are utterly bewitching. vibrato cleverly demonstrated on foundation he could provide. This my ears at times, together with with an obvious love for an era one bonus take) of the very first perhaps, but certainly a the groups/band output owes This same compilation came out this rich assembly of standard session also shows Byrd the selection of overdone gone by. Gone, maybe, but - if album released on the Sackville distinctive contribution to the something to the West Coast way back on Blue Note – it’s songs. Her sound is just the right (1932~2013) at his best; his standards, and the Spanish accent they have anything to do with it – label. vocal canon. Jazz of the time, the total doubtless out of print so get this side of cute, with an occasional sharp, incisive statements literally she doesn't always escape. She is definitely not forgotten. at her most inspiring on Don't evidence is of a stimulating one now, more so for it has the tendency to shorten a syllable as crackle-listen to The Late Show TONY AUGARDE HUGH LEDIGO Explain - one of the best scene. additional bonus of seven 1959 so often happens when European among others for evidence. HUGH LEDIGO interpretations of this great song tracks recorded with pianist vocalists perform in English. I I've heard. Her duet with Joan on LES TOMKINS Wynton Kelly on the Peacock RITA REYS AND THE could imagine that someone like The second session here was WILD BILL DAVISON Don'tcha Go 'Way Mad is good label. With 41 cuts, perhaps PIM JACOBS TRIO Stacey Kent might have listened under Donald Byrd's name but is THE COMPLETE SESSIONS, fun. I'm sure the girl will go far. better to sample a few at a time. to this lady. Her accompanists effectively a Jazz Messengers THE JAZZ GIANTS MASTER TAKES HAL STEIN/WARREN Just to hear Criss go on Sweet session issued under Byrd's FITZGERALD JAZZ PICTURES AT AN swing well, solo ably and with As the colour display photos in Georgia Brown or Ornithology EXHIBITION/MARRIAGE IN Clarke earning his pay, the whole name. Trumpeter Joe Gordon is Sackville SK 3002 56.52 Phono 870336 2 CDs, QUINTET should be joy enough. added on three titles and Hank the insert show, these men (and MODERN JAZZ effect is very pleasing. Consider woman) enjoy themselves 77:58/75:56 Mobley lays out on two titles, as This is virtually an Eddie Condon this the ideal introduction to an immensely. And bopping as vividly Fresh Sound FSR-CD 862 78.55 PETER VACHER if to add to the feeling of dilution, jam session without Eddie Fresh Sound FSR-CD 866 78.52 important jazz singer. as they do must be very Jazz comes in multiple forms, but whilst Blakey simply keeps time. Condon: Hamlet without the the styles that have creativity, Still, the session includes another enjoyable. No, I hadn’t previously heard of NANCY HARROW The Dutch singer Rita Reys PETER VACHER jester. Wild William Davison leads swing, and are easy on the ear, take of The Late Show (with more the two leaders either and it’s (1924-2013) is heard here on 25 a group of fine musicians are surely the most durable. This crackling Byrd) but hereafter LES TOMKINS thanks to Fresh Sound that I have THE BEATLES AND OTHER tracks taken from two Philips performing a programme of was the case with of 'S JAZZ (tracks 7 through 12) the Jazz now. Both men were from US STANDARDS albums dating, respectively, from Dixieland favourites. The front the 'fifties. Recorded in 1956 and MESSENGERS Messengers take a back seat to JEFF BARNHART AND East Coast, with 27-year old Stein 1960 and 1961, both recorded in line of Davison, clarinettist Herb 1957, the baritone ace Lars vocalist Rita Reys, whose light the better known, having already Fresh Sound Records FSR-CD Holland. She was already working SPATS LANGHAM Hall and trombonist Benny Gullin shines and soars in a highly COMPLETE RECORDINGS vocal tones don't suit the passed though bands led by Gene 5502 51:46 regularly with a jazz combo led Morton is well supported by the musical manner, in settings aggression of the Messengers. Krupa and among by the fine Dutch pianist Pim WE WISH WE WERE TWINS rhythm section of musical ranging from quartet to big band. others. He later worked with Appreciation of the human voice Essential Jazz Classics director , Arvell Jacobs, whom she married in On balance, the first disc is fine, , and is, I think, particularly subjective. EJC55674 2 CDs 77:38/77:43 Lake Records LACD 342 Shaw and . Arvell Six of the quartet tracks are 1960, and it’s their group that is but the second has the sound of Phil Woods and seems to have What appeals to one listener may supplies a clever solo on bowed graced by the rollicking piano of featured with the happy addition anti-climax, which only devotees 79:23 been successful, passing away in leave another cold. I find Ms First off, let's be clear about the bass in Yesterdays (not always in Rene Ofwerman, the strong bass of Kenny Clarke on drums, then a will entertain. 2008 at the age of 79. Of Harrow’s performance very hard Paris resident but evidently a ‘complete’ tag; the closest it gets Spats Langham is that rarity: a tune). Buzzy’s drums are of Bengt Carlsson and the deft Fitzgerald rather less is known is that this may be the complete particularly useful for kicking to evaluate. She pitches and willing European peripatetic. GREG MURPHY proper banjoist who plays single drumming of Bert Dahlander. although he was evidently busy phrases well and her diction is recordings of the Jazz note solos with aplomb and things along and adding some Notable is his tour de force on All around New York in the 1950s Messengers with this personnel. stimulating breaks. This 1968 excellent. At times, her delivery is Reys, later destined to be known MOTIS CHAMORRO swings mightily as a rhythm Of Me. There are four productive when these recordings were velvet soft, but can change in as ‘Europe’s First Lady of Jazz’ On the upside, there's a spirited player, where others merely chug. session at Toronto’s Hallmark performances with trombonist made. mid-phrase to produce a was to enjoy a long and session originally taped for BIG BAND Much the same may be said of his Studios mixes vigorous collective Ake Persson, later to be a kingpin hardness which I find just a bit successful career, traveling in the Columbia during April through guitar work with its roots in the improvisation with some in the Clarke-Boland band. Two Originally recorded for ugly. She has a fairly pronounced US and appearing at many May of 1956, containing the LIVE ‘twenties , so think Eddie thoughtful solos, with Wild Bill tracks find Gullin indulging in Progressive in New York in 1955 vibrato which, on occasion, festivals with the top stars of the earliest recordings of pianist Lang rather than Django. His and his fuzzy, furry cornet tone some collective improvisation and issued as two albums, this suggests to my ears an operatic day. Recorded in her mid-thirties 's compositions Jazz to Jazz JJ14006 75:34 vocals also hail from the same delivering some of the most with tenorman Rolf Bilberg. quintet music feels much like quality but it is a trifle uneven, here, she sounds confident, her Nica's Dream and Ecorah . Blakey era, delivered with great verve practised work. Herb Hall sounds transplanted but almost insecure. style like an amalgam of Ella loses no time in asserting It seems that Spain has a and enthusiasm. like a less squeaky Pee Wee Eleven eight-piece gatherings without the edgier feel of Blue Fitzgerald and , authority on Infra-Rae with fine stomping 16-piece big band that Russell, but his feature on bring the vociferous alto of Arne Note hard bop, the group Her approach to the seven with a very ready desire to soli from trumpeter Donald Byrd is co-led by a lady of 20 named Jeff Barnhart is a formidable Dardanella is stylish. Benny Domnerus into play, and include working through some Beatles’ songs has me embellish a theme and improvise, and saxophonist Hank Mobley, Andrea Motis who sings and stride pianist with an Morton’s experience and sense some attractive Gullin originals. enterprising originals, all nicely 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

voiced, several of them arranged made on the spur of the Dick Hyman Sonny Clark sounding really relaxed and by Bob Newman. Fitzgerald plays moment. And an eclectic play-list where he is a joy to hear. An bright, boppish trumpet, tonally they make. Send In The Clowns is essential reissue-grab it whilst ye fresh if somewhat brittle, spirited followed by Sweet Georgia Brown , may! in attack, if not always as sure- a jazz war-horse from the footed as he might have wanted ‘twenties. Then there are, GREG MURPHY to be. Stein is certainly worth unexpectedly, three Thelonious hearing, his alto influenced, Monk pieces, a couple of Kerns ROAN KEARSEY- inevitably, by Bird, but irresistibly and two of his own compositions LAWSON fluent and lively, tenor richer if plus a request in the form of Take less adventurous in the Don Byas The A Train . CLASSICAL manner. Bob Dorough’s nimble CONVERSATIONS piano is also noteworthy The result is true improvisation. alongside the to-and-fro bass Hyman makes no attempt to 144 Records 144CD003: 67.49 playing of Al Cotton, the rather reflect the original styles of better known on themes he plays, preferring to I’m not sure that Roan Kearsey- drums. filter them through his own Lawson does himself any favours imagination, exploring time with the jazz public by naming Fitzgerald plays a quite lovely signatures, harmonies, key this fascinating, inventive and version of You Go To My Head as a changes and stylistic contrasts; totally accessible album Classical ballad feature leaving this listener switching phrases – even whole Conversations . The classical to wonder why his talent seems themes – between left and right connection is there, of course, to have lain fallow, this ahead of hands and generally revelling in right from the opening track Stein’s equally pleasing alto his own virtuosity. The WYNTON KELLY 1961. The title-track displays chordal work on the theme. Blight of the Spanish Humble-Bee , reading of Goodbye . Dorough, kaleidoscope of contrasting Wynton’s tasty abilities with a with, inevitably, the Rimsky- currently still active and now textures and patterns makes for FOUR CLASSIC ALBUMS ballad which soon turns into Blues In The Night dates from Korsakov showpiece excerpted. better known as a singer and highly entertaining listening with unstoppable swing. 1958 and is amongst a number of Occasionally one of the gentler composer, plays throughout in a never a dull moment. Avid AMSC 1165 2 CDs 161.41 items that were originally issued pieces may sound as if it would fit kind of streamlined Bud Powell TONY AUGARDE as 45rpm singles, and latterly as with Classic FM’s Smooth Classics . style, helping to make this 14- HUGH LEDIGO This double album collects four an album in Japan (where Clark However, the range of influences track release and the engaging LPs from a longish period in the SONNY CLARK was very popular). The tempo is much wider than classical music on it a pleasing discovery. AL COHN & JIMMY here is more restrained, even career of one of the USA’s most music. As a composer (all tracks Worth considering? Certainly. dramatic. Tracks 9 through 16 on ROWLES notable pianists. It starts with the are originals) Kearsey-Lawson has CD2 comprise the outstanding 1951 LP called Piano a great melodic gift, plus an Time session with Clark PETER VACHER HEAVY LOVE Interpretations , the very first Phono 8703341, 2 CDs 78:06/ album that Wynton Kelly 77:41 DICK HYMAN Elemental 906073 48.24 recorded. He was barely 20 and, both men find new things to say of any saxophonist out there although some critics hailed him Sonny Clark (1931~63) was a HOUSE OF In the past, I have tended to think (or play) in them. This CD adds a today. Wrapped in the crystalline as the next big thing, his playing pianist with hard-bop inclinations, of saxist Al Cohn as the poor bonus track – For All We Know - piano touch of , and suggests someone trying to run whose nimble fingers brought to Arbors Records ARCD man’s Zoot Sims. But this 1977 from the same session, which was buoyed by Penman's subtle bass before he can walk. Several life sessions by Buddy de Franco, wrong chords and some 19445 58:31 album, originally released on the not on the original LP, although work, the music has a cerebral and many Xanadu label, shows that he can hesitancies are not redeemed by the whole disc still lasts for less yet approachable and uncluttered others, as well his own small- There is a pianistic lineage hold his own in the difficult an inept drummer (Lee Abrams) group sessions. Less easy to find than 50 minutes. This album is beauty. LAKE RECORDS running possibly from Earl Hines, context of a series of duets – on who seems determined to are his sessions as a leader, even one of 25 items reissued from certainly from Art Tatum, through this occasion with pianist Jimmy undermine the rhythm. more so those concentrating on LACD338 REMEMBERING PAT HALCOX – with the famous Xanadu label. Six of the nine tunes come from Mel Powell, and Rowles. Cohn immediately dives Chisholm's pen, bassist Penman his own compositions; this set Chris Barber, , Kenny Ball, Don Ewell, Art in with an unaccompanied chorus We jump forward seven years to meets that brief, including thirty- Keith Jarrett – musicians whose TONY AUGARDE contributes two, and pianist Hodes, Sonny Morris, Colin Kingwell, and The Pat technical command and on Them There Eyes . This displays Taylor adds one. Opening with Piano , where variety is provided one titles recorded for Blue Halcox All-Stars. Tracks from 1954 to 1998 all his fluency, although this fluency for Wynton’s trio by the addition Note during 1957~58 and eight theoretical knowledge combine HAYDEN CHISHOLM Penman's Patche , the tone is set previously unreleased. A double-cd-for-the-price-of-one. with a musicality and familiarity often allows him to coast along for a subtle three way interplay in of guitarist . Kelly titles (with bassist George with the piano repertoire that without much invention, falling a mode. Taylor Blue was recorded in February Duvivier and drummer Max “If ever a player deserved remembering it is Pat Halcox, the extends far beyond the jazz back on the saxist’s stock-in- BREVE accompanies and steps into the 1959, just before Wynton made Roach) for the Time label during stalwart and imaginative trumpeter. This is a most rewarding canon but who choose to trade of repeated riffs and long- lead with a refined delicacy as his appearance on one track of 1960. and heart-warming selection” Musicweb express themselves in that idiom. held notes. Jimmy Rowles is the Pirouet PIT3081-61:08. Penman supplies the gentle pulse. ’s . I know NEW RELEASE: LACD343 FREDDY RANDALL Hyman has been one of this élite more inventive of the two: Chisholm's original, Barely a his left hand was active there The first CD opens with a group since the mid-twentieth exploring different voicings, Saxophonist Hayden Chisholm's Moon , sounds like a whispered (though not exactly busy) but in whirlwind version of BeBop , & FRIENDS – BEFORE AND AFTER Kelly Blue Wynton’s single-note running (in the literal sense!) for century. A formidable and adding witty musical comments debut set as a leader for yet profound conversation. His Freddy with his own band and Britain’s Greatest Jazz Germany's Pirouet Records, style means that groovy blues is almost ten minutes, where Clark illustrious career. and leaving thoughtful breathing Tinkerbell Swing has a playful Band. Featuring Dave Shepherd, George Chisholm, Brian spaces. Just savour his Breve , features a teaming with not always available. Certainly he has a ball improvising on the jauntiness, a little swaying energy. Lemon, Al Gay, Pete Hodge, Johnny Richardson and This recital, following upon a unaccompanied first chorus of bassist Matt Penman, and British Chisholm's alto and Taylor's piano swings, but there is not much chord changes, whereas I Didn't others. previous masterclass and played These Foolish Things – a delightful piano legend the late, great John seem to chase each, like bluesy impetus in his playing. Know What Time It Was roars before a, presumably, exploration. Rowles establishes Taylor, The sound, untethered by improvisational dancers, on So It When he does become two- along at a rate of knots with Follow us on FACEBOOK knowledgeable audience, is in his credentials as both soloist and the rhythmic anchoring of a Goes , from Taylor's pen. fisted (usually towards the end of some satisfying improvisation itself a masterful demonstration accompanist. Both men can swing drummer, has a smooth, clean, a tune), he sounds rather like mid-way. Tadd's Delight is gentler Visit our on-line shop at www.fellside.com Erroll Garner. As a sign of Kelly’s but with some fluent right-hand of improvisation and spontaneity. with ease, carrying the listener almost classical feel. A soft, nuanced, spare and oddly Distributed by Proper Music Distribution Ltd. along on animated, bouncing pretty set by a virtuoso other talents, he wrote three of improvisations on the chords of He tells us in his liner notes that waves. Apart from a blues ( Bar The striking quality here is saxophonist. the pieces on this album. The final Dameron's perhaps forgotten LAKE RECORDS, PO Box 40, he has a list of tunes he might Talk ), the repertoire consists Hayden's tone on alto sax, LP is Someday My Prince Will composition-the alternative take Workington, CA14 3GJ, UK like to play but the final choice is entirely of jazz standards, but perhaps the clearest, purist sound GREG MURPHY Come , a trio session recorded in is slightly faster with superb 28 THE JAZZ RAG THE JAZZ RAG 29 ON RECORD/LIVE REVIEWS

affinity with the rhythms and Lamont Junior clocks up eight of Aaron Parks AARON PARKS TRIO standards? Parks swung into sound patterns of many those with supreme control, his Wayne Shorter’s Marie Antoinette countries: on Rushing Mambo clarinet tone an especially HOWARD ASSEMBLY for his second number and the Concerto , richly melodic and evocative part of Kearsey- ROOM, LEEDS, audience sat up. progressing through many Lawson’s soundscape. The OCTOBER 2ND. developments and various composer ranges over the field Most pertinently, late in the set, instrumental combinations, the halfway through a pleasant, but of tuned percussion, drums and Nobody could accuse Opera composer points to unmemorable, original (I think – piano and Dominic Ashworth North of playing safe in its ‘Jewish/Arabian, Russian feel and there was no introduction), limits himself to guitar – and programming of concerts in the Cuban rhythm’ – and it’s a highly things wound down and a plays it beautifully! It’s a virtuoso Howard Assembly Room, tucked appealing mix. lingering cadence led into performance all round – and away in the Grand Theatre. An which Parks played Armenian jazz pianist performing In addition to the eclectic charm what a pleasure to find the beautifully, with a stunning bass with the state choir and a Malian of Kearsey-Lawson’s glorious sounds of marimba and solo from Ben Street, melodically musician singing the blues are compositions, the album’s other bass clarinet in there with the inventive and stylishly phrased. among the Autumn listings, remarkable feature is that it is vibes and saxes! alongside classical concerts, performed by a trio on 14 Suddenly the mood relaxed: installations, Americana with Bela different instruments! Duncan RON SIMPSON Parks even asked the audience Fleck and Abigail Washburn, and for requests for the final number! THE ELUSIVE MIKE TAYLOR HALLO, CENTRAL.... at least one masterpiece of It turned out to be It Could Mike Czech cinema! Happen to You , played with urbane Taylor RON SIMPSON remains puzzled by a 1960s jazz pioneer. Which quarterly jazz magazine freedom and wit. And for an The first jazz event of the encore Parks, playing solo, filled is in its 52nd year of Autumn was rather more in the The Gonzo Media Group recently published Luca Ferrari’s book, Out publication, runs to over 100 Duke Ellington’s Melancholia with main stream. Aaron Parks is a 31- unaffected emotion, the tune a of Nowhere , which attempts to probe the mystery of pianist- pages of detailed and year-old pianist from Seattle, now composer Mike Taylor. The book, to be frank, is a bit of a muddle, but intelligent comment on jazz perfect match for his rhapsodic based in New York, who has been style. it’s debatable how much of this is due to a subject who is liable to and blues and produces its making waves in the last few leave any biographer scratching his head in bewilderment. own CDs, from and years as a pianist/composer and a swing of the 1920s and 1930s It would be presumptuous, even member of the all-star quartet foolish, to complain about jazz Ferrari’s book is subtitled, ‘The uniquely elusive jazz of Mike Taylor’ – to the 1954 Count Basie James Farm, due in England for musicians playing their own which is fair comment, but I would suggest Mike Taylor himself is even Orchestra? the London Jazz Festival next songs. For instance, I suspect that more elusive than his music. Born in 1938, he apparently served month. His trio for the current a poised and charming ballad in briefly as an army officer before breaking into the jazz scene in the Doctor Jazz , of course, always tour was completed by veteran waltz time was Parks’ own. early 1960s. At first he had a steady job in the family firm and was, by one of our favourite drummer and Ben Certainly Alice was his all accounts, conventional and decidedly middle-class in appearance magazines, with the one Street, an outstanding bassist composition, the piano sustaining and attitudes. Success seems to have come in bursts. He worked with drawback: it’s written mostly previously unknown to me. a repetitive chaconne-type theme musicians who later achieved major success outside jazz (Ginger in Dutch! In the case of DJM while bass and drums interlocked Baker, , ) and even wrote some songs for Cream in the late 1960s. His group 230, it is in fact written The trio gave full value in a in counter-melodies and musical served as the warm-up band for Ornette Coleman at Fairfield Halls, Croydon, in 1965 and one album, entirely in Dutch, but articles generous 90-minute-plus set, conversations. Pendulum , was especially well received, yet he seems to have been an elusive figure even when alive, in English are not unknown. So mostly music (Parks’ unknown to many on the jazz scene. it’s a matter of enjoying the introductions were stumbling, vintage photographs, posters But it’s a question of balance and short or non-existent), ultimately of programming – originals From about 1965 Mike Taylor’s life spun out of control. In apparent contradiction to his very correct and programmes, picking up greeted with warm applause, but needn’t dominate when there are manner his consumption of cannabis seems to have been on an industrial scale and later he moved on to the gist of articles from less memorable than it could so many wonderful songs already LSD. No doubt this didn’t help him to keep a grip on reality, but we can argue forever how far he was a familiar names and similar have been. available. A few years ago it was victim of drugs and how far a psychotic character anyway. Whatever the cause, his marriage broke up, he words and wishing for the regular practice for albums to be gave up his flat, became homeless, walked the streets as a tramp, occasionally getting a room off an old linguistic skills so common in Parks himself is an accomplished made up entirely of originals, friend, and became unemployable. The occasional gig arranged by a friend (or his hi-jacking of a friend’s the ! DJM 230 has player, one would assume except for one standard. The gig) was liable to end up with him lying on the floor refusing to play or simply beating a little drum. an impressive selection of classically trained, with a delicate obituaries, from an extended problem was, the standard was deftness of touch. His usually the best track and In 1969 Mike Taylor walked into the sea at Leigh-on-Sea, was seen and pulled out, then walked a little one of B.B. King (great photo compositions, however, though showed up the others! further up the coast and this time successfully committed suicide. His death seems to have passed largely of his big band alongside the polished, tend to a certain unnoticed, perhaps because the Mike Taylor that people knew as a major jazz talent had already left the band bus in Memphis 60 years similarity, a tendency to ago!) to the ‘flexible swinger’, Whatever the merits of Parks’ scene. But to me the fascination of the Mike Taylor story is that he became a forgotten man in his circularity rather than compositions, however, here was lifetime, not in the years after his death. There has, in fact, been a renewal in interest in recent years, Marty Napoleon. Marty was progression, and it was not the 93, a figure surpassed by 97- much to enjoy and admire at the Ferrari’s book following a well-balanced article by Duncan Heining on the All about Jazz website in 2013 best idea to begin with two Howard Assembly Room, not and Dusk Fire Records having reissued some of his work in the last decade. year-old and originals at similar tempo, Isle of 100-year-old Van Alexander least the superbly detailed and Everything segueing into flexible bass work of Ben Street. How good was Mike Taylor? Digby Fairweather remembers a commando raid by Taylor, Hiseman, Bruce and nearly equalled by 90- Melquiada , for a 20-minute year-old Gunther Schuller! and saxist Dave Tomlin on a jazz club in Westcliff-on-Sea in the early 1960s which polarised club opener! Street and Hart – telling Interestingly, but not surprisingly, I One of the many good things members’ opinions. He contents himself with saying Taylor was ‘a pioneer’ and the quartet’s eruption his own story quirkily and have found no evidence of this about DJM is that it combines into a club that had just become acclimatised to bebop showed how far they were ahead of their time. sometimes explosively – held the being a regular trio. In attention to the too-often of the championed Taylor’s compositions and musicians like Ron Rubin attention here more than the performance, despite Parks' neglected field of Dutch jazz and , who worked frequently with him, have no doubt of his stature. pianist. evident delight in the quality of with due regard for the his bass and drums, there was a international stars of jazz. The man, however, remains elusive. Jazz Rag would love to hear from any readers who worked And that raised a time-honoured feeling that we were listening to with/listened to/knew Mike Taylor and who would like to offer a personal viewpoint. For those who are question: why do so many three soloists rather than a trio. unfamiliar with him, Duncan Heining’s article and, for all its faults, Luca Ferrari’s book will open your eyes www.DoctorJazz.nl current musicians insist on filling (partly, at least) to one of the strangest saddest stories in British jazz. their programmes with their own RON SIMPSON compositions and avoiding

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

Nat King Cole ‘live’ situation, but has some excels himself on two tracks of RON SIMPSON’S ROUND-UP OF RECENT CDS glorious music. The weakness is lovely liquid clarinet, notably that the CD contains Nat Cole’s McEvoy’s most famous song A (891229: 2 CDs, 63.02/55.11), AMSC 1161: 2 CDs, 75.24/73.00) sets from both concerts on April Woman’s Heart , a little gem of a Jimmy Heath initially a broadcast by the Bill by Lem Winchester . The 19th 1960 – and they’re near performance. Equally Evans Trio , was issued as conventional wisdom is that enough identical! The Quincy uninformative – and almost separate CDs in France and in its Winchester hadn’t fully Jones Big Band played the first equally short – is UNTOLD current form by Gambit some 10 developed his individual musical half of each concert and the STORIES (CT01: 45.42) by the years ago. This is Evans’ most personality before his death in three numbers included here are outstanding French-based Israeli stable group (Eddie Gomez and 1961 in an accidental self-inflicted a reminder of what a fantastic pianist Shai Maestro . Oddly, Marty Morell) in top form on shooting, being a sort of Milt band that was – if fairly short- eight tracks include two sessions plenty of Evans originals ( Turn Out Jackson-lite. Up to a point that is lived! Blazing into Tickle Toe , the in studios in Paris and Brooklyn the Stars, Waltz for Debby and the true, but his vibes playing is band boasts a hair-raising and two live gigs in France, all in rest), a handful of ballads and unusually melodic and he shows trumpet section led by Benny October 2014. Things begin Gloria’s Step by former Evans impeccable taste in his choice of Bailey, such protean sax stars as splendidly with Maya’s Song , the bassist Scott LaFaro which material, with some unhackneyed Phil Woods, Budd Johnson and only track composed and features splendidly idiosyncratic standards alongside a few Jerome Richardson and two very arranged by the whole trio, with solo work from Gomez and originals. I’m not sure that the different trombone greats, Jimmy a fine solo from bassist Jorge Morell – typical of their work albums are ‘classic’, but they are Cleveland and . Roeder and Ziv Ravitz’s snappy throughout. Apparently Evans was accomplished, enjoyable and well The CD starts with Cole singing drumming boosting Maestro as Xanadu, a small label founded by composer: as far as I know, none delighted with the piano at the worth hearing again. A Tribute to ballads with the big band – very he builds the drama. Thereafter, Don Schlitten in the mid-1970s, is of the eight originals caught on, venue – which no doubt accounts teams him with the accomplished, inevitably – but the the piano dominates and it all getting quality treatment from but they work pretty well here. for the delicacy of touch he so Ramsey Lewis Trio and on the highlight of the vocal set is when becomes a bit introspective, if Elemental Music. In association Flute albums are not ideal for often shows. The bonus track is other three (making up his total he returns to a small group, with beautifully played, though Ravitz with The Orchard, Elemental’s raising the musical temperature, an extended Nardis from output under his own name) he Band Blues was marked for label, Wes with the trio, a soloist copious inimitable piano, for a seizes every opportunity to wake reissues are elegantly packaged but Most manages some strong Ljubljana later in 1972, with leads five- and six-piece groups obscurity from the start, being with accompanists, not a quartet. few numbers, including the up the back row. Finally, and very well documented – and, blues playing and varies his tone British drummer Tony Oxley including the likes of Benny unreleased until 1974. On The material is almost inevitable, but welcome, Sweet something more in the main of course, they’re worth listening enough to avoid blandness, taking over from Morell. MAL Golson and . CHICAGO YEARS (FSR CD completely different from Smokin’ Lorraine . stream. The Steve King Big to! I especially enjoyed helped by telling contributions 81 & NEWS: RUN ABOUT Something of the same applies to 865: 66.57) it comes out as a and the live setting is no Band has a long-standing Among the new recordings PICTURE OF HEATH from Kenny Barron and George MAL (Progressive PCD 7060- JON EARDLEY QUARTET, smartly arranged, well played, problem: good sound, very little reputation in the Birmingham CORAZON (MOSCOJAZZ area and 60 NOT OUT (Eskay (906072: 42.03) by Jimmy Mraz. Domino Records are 7061: 2 CDs, 60.42/65.33) is QUINTET & SEPTET (Fresh nicely varied big band album with conversation and relaxed MOSJ 412: 39.54) initially has Records SKBB 06: 74.38) reveals Heath , a hard-blowing session in badging two fine double CDs remarkable in many ways, as well Sound FSR CD 863: 75.05). plenty of interesting solos. announcements from Alan Grant. The announcements are no great power to irritate by its brevity a very capable and versatile the company of like-minded from a similar period as ‘limited as being most enjoyable. In 1981 Eardley, a trumpeter with a Ironically it was intended to showcase unknown talent (13 problem, either, on THE and the producer’s/label’s outfit. The material varies from musicians: , Sam edition’, but, as both appear to was living in pleasing crispness and fluency, years on the record company’s TREASURY SHOWS VOL. 19 unwillingness to tell us anything. 1930s standards to originals by Jones and Billy Higgins. Heath is have been out for some years in Europe and recording mainly had a longer career, but much of shelves doesn’t do a lot of (DETS 9039019: 2 CDs, Is Corazon the band name or the Tom Kubis and Gordon refreshingly direct, with an the same form on different labels, duets with avant-garde soprano it in Europe. These mid-1950s showcasing!), but one or two hit 54.14/72.09) by Duke Ellington , album title? The only information Goodwin, section work is crisp engaging flow of ideas, on five this seems a bit pointless. THE saxist Steve Lacy, but on June albums begin with two 10- the big time anyway, notably though the regular plugging of we are given as to what the and soloists to catch the ear originals and Body and Soul . He COMPLETE 1972 BERLIN 18th he was in New York, with inchers, less than 20 minutes James Spaulding who begins the War Bonds is just a little album’s about is the sub-title The include trombonist Bob Lloyd marks out his own territory on CONCERT (891231: 2 CDs, the excellent George Mraz and music on each, with Eardley the , laying down opening blues with a highly tiresome despite the Duke’s Music of Eleanor McEvoy , a major and guitarist Alan Mason. Many of the Coleman Hawkins classic by 71.33/74.20) by Gerry only horn on In Hollywood and affectionate versions of 16 great original solo (untypically on ingratiating delivery. This double Irish singer-songwriter not the tracks feature a conventional starting on soprano sax (the Mulligan, Paul Desmond and the similarly forgotten J. R. standards (five alternative takes tenor) and features on flute on CD is made up of broadcasts known for her jazz connection. big band line-up, but the fact that Parker influence quite marked the Dave Brubeck Trio is also Monterose on , Jon make up the current double CD). such numbers as an up-tempo from 1943 and 1946, both terrific The main players, reedman the five reeds muster about 20 here), switching to his customary headlined ‘Previously Unissued!’. Eardley! Nothing especially All were recorded in one day and Secret Love (blazing trumpet solo bands, the 1946 outfit a real Ciaran Wilde and pianist Myles instruments between them gives tenor only after an attractively Well, up to a point. It was, I think, distinctive about the playing on from the leader). Also on the CD heavy hitter, with six Drennan are, I find on the plenty of scope for variety. previously unissued before its then issued as two albums in these two albums, but Eardley discursive solo from Harris. The is Wild! by the Larry ‘Wild’ and four , as against internet, stalwarts of the Irish Gordon Goodwin’s Hunting release on Jazz Row some five Japan! Waldron swings when shines as a composer (lend an latter was pretty much Xanadu’s Wrice Quartet, playing four and three in 1943. The jazz scene and producer Mick Wabbits 2 is a delight, a quirky years ago. For all that it’s a very needed, but the overall feel is ear to the Miles-like Indian Spring ) house pianist and got to work serviceable Bryant originals with number of repeated tracks is O’Gorman turns out to be tribute to Bugs Bunny, headed up welcome reissue. By 1972 relaxed and melodic, with a and on the final album The Jon under his own name on BARRY good work from Bryant and relatively low and the Eleanor McEvoy’s partner. In the by Drew Selvey’s piccolo, with Brubeck had broken up his predilection for slower tempos. Eardley Seven the trumpeter is HARRIS PLAYS TADD Spaulding. Drummer Wrice, programmes are a good mix of end Corazon won me over, assorted reeds and percussion quartet, so the relationship with inspired by the presence of Phil DAMERON (906071: 42.47). In One reissue that clearly affirms incidentally, had already enjoyed loved ones and forgotten ones. mainly because of the quality of adding to the fun. Andy Paul Desmond is slightly different Woods and Zoot Sims. the company of bassist Gene the value of putting out CDs of his 3 months of fame as Mr. is in full ‘Floor Show’ the songs and Wilde and Shillingford and Bryan Corbett here. In some ways Desmond’s Trumpeter Bobby Bryant spent Taylor and drummer Leroy albums by understandably Dinah Washington Mark 5. No mode, with an idiosyncratic violin Drennan’s self-effacing way of guest on a few tracks, joining relationship with Mulligan is much of a successful career in Williams, Harris delivers urbane neglected musicians is FOUR need for recommendation for solo on I Can’t Get Started to go putting themselves at the service forces on the closing Caravan , and more fulfilling: totally compatible, studio work and MD-ing for and thoughtful treatments of CLASSIC ALBUMS (Avid the 2013 Jazz on Jazz release, with trumpet and vocals (and, of the material. Drennan is a Lynn Dawes’ vocals are pleasingly they slip naturally into a sort of singers and his 1961 album Big bebop classics such as Hot House , informal counterpoint. The mood THE UNISSUED 1965 HALF quite possibly, dancing); Joe poised and sympathetic pianist unaffected. The Chase and Our Delight , is more expansive than the Lem Winchester NOTE BROADCASTS Nanton and Lawrence Brown are and Wilde (mostly cool on alto) exploring Dameron’s often Brubeck quartet, a mix of (244555: 63.24) by Wes trombone ever-presents; 1946 surprisingly subtle melodies (as in Brubeck and Mulligan classics Montgomery and the sees the arrival of the much Shai Maestro If You Could See Me Now , written receiving extended (sometimes Wynton Kelly Trio . Smokin’ at under-rated Al Sears in what is for Sarah Vaughan) and harmonic too extended) treatments and the Half Note is one of the great otherwise the classic 1950s sax depths with great skill. Slightly some lovely ballads benefitting guitarist’s most acclaimed albums section; ’s bass is later (1978) came FROM THE from Desmond’s ethereal tone. and these tracks from the same another 1946 improvement, ATTIC OF MY MIND The fillers are good, too, most venue, same period and near covering Sonny Greer’s (909074: 47.54) by Sam Most interestingly Desmond and enough the same musicians (Ron somewhat dated drumming; and whose recording career had been Mulligan without piano at the Carter or Larry Ridley in for Paul fans of Al Hibbler have much to resurrected by Xanadu a year or New Orleans Jazz Festival in Chambers) find Montgomery in enjoy. LIVE IN PARIS two previously. The master- 1969. COMPLETE great form on blues originals, his (Fremeaux & Associes FA5494: flautist’s technical control, FEBRUARY 1972 PARIS own delicately rhapsodic Mi Cosa 74.57) with Nat King Cole and imagination and flow of ideas are ORTF PERFORMANCE and a handful of memorable the Big Band matched by his ingenuity as a standards. It is as it says on the suffers to some extent from the 32 THE JAZZ RAG THE JAZZ RAG 33 FRIDAY JAZZ AND BLUES AT JAZZ CLUB LE MONDE IN BIRMINGHAM

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