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Home , Allan Ganley, Alyn Shipton, Al Aarons, Andy Panayi, Basie at Birdland, BBC Big Band

THE RAG

ISSUE 134 WINTER 2014 UK £3.25 CONTENTS

COUNT BASIE (PAGES 20-21) WARNER JAZZ HAS REISSUED A PACKAGE OF FIVE CLASSIC ALBUMS BY THE ORCHESTRA, INCLUDING THE ATOMIC MR. BASIE, SURELY THE MOST INFLUENTIAL ALBUM OF ITS ERA. CURRENT LEADER OF THE BASIE BAND, SCOTTY BARNHART, JOINS BRITISH JAZZMEN IN REFLECTING ON THIS GREAT MUSIC.

4 NEWS

5 UPCOMING EVENTS

7 JERRY BROWN: A PERSONAL REFLECTION

8 SINGS THE BLUES

10 NEWPORT: NEVER PLAIN SAILING

12 (1939-2014) SUBSCRIBE TO THE JAZZ RAG 14 2014 THE NEXT SIX EDITIONS MAILED DIRECT TO YOUR DOOR FOR ONLY 16 TIERNEY: FROM OMAHA TO PARIS £17.50* 18 AWARDS 2014 Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. 22 CD REVIEWS OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 29 LIVE REVIEWS Cheques / Postal orders payable to BIG BEAR MUSIC Please send to: 30 SWINGTIME FOR HITLER JAZZ RAG SUBSCRIPTIONS PO BOX 944 | | England 32 BEGINNING TO CD LIGHT * to any UK address

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BRITISH JAZZ AWARDS RESULTS Fax: 0121 454 9996 Jazz Rag is delighted to announce the results of the 2014 British Jazz Awards: see Email: [email protected] pages 18-19. For nearly 30 years the awards have honoured the best in British jazz Web: www.jazzrag.com irrespective of fashion on the basis that class is permanent, fashion is temporary. Publisher / editor: Jim Simpson For this reason there is a certain similarity among the winners year on year, but News / features: Ron Simpson who would sensibly deny great musicians such as and Alan Reviews editor: Russell Fletcher Barnes their awards simply because they were already great musicians a decade or International editor: Yue Yang Commercial Director: Tim Jennings two back? However, it’s always pleasing to find new names among the award- Subscriptions & accounts: Russell Fletcher winners, especially when they are such fine musicians as Steve Waterman and Designed by Nerys James Soweto Kinch who have somehow missed out in the past. Printed by Warwick Printing www.warwickprinting.co.uk The individual and band winners of the Jazz Oscars and the trade awards for CDs are joined by a special award for Services to British Jazz, the only one nominated, © 2013 THE JAZZ RAG. All original material including advertising not voted for on-line and via Jazz Rag. This year we are delighted that the award artwork remains the sole copyright of the Publisher and may not be reproduced without permission goes to Paul Adams, the inventive and indefatigable boss of Lake Records.

2 THE JAZZ RAG THE JAZZ RAG 3 NEWS NEWS/UPCOMING EVENTS

Larry Goldings WATERMILL JAZZ BRISTOL PROGRAMME Dr. John Gilad Atzmon Watermill Jazz at the Friends Life ANNOUNCED Social Club in Dorking takes a The third Bristol Jazz & Blues rest in December except for the Festival (March 6-8) has just monthly Jam Session (7) on the announced a full and exciting first Sunday afternoon of every event in the Colston Hall, with month, except for January - the two main concert spaces: the second Sunday (11). The main Main Hall and the Lantern, plus Thursday club re-opens on the foyer. Between Friday evening January 8 with an early and the two following afternoons celebration of ’s and evenings, the Lantern hosts centenary: the Billie Holiday ten events and the Main Hall Songbook with Gwyneth eight. Of especial interest is the Herbert and the presence of Ricky Riccardi, Legacy Band, led by Alyn Shipton, Curator of the with such luminaries as Matthias Museum in Queens, New York. RONNIE’S AT from two or three other bands Seuffert and in the Ricky begins Saturday in the (in this case, the John Maddocks line-up. The Allison Neale Lantern with a talk on Louis and CHRISTMAS Jazzmen ad Kevin Grenfell’s Jazz Quartet (15), Larry also spends two weeks in Bristol, What with Main Shows, Late Late Giants) and Denise’s own band Goldings/Peter Bernstein/Bill visiting local schools. Louis Shows, Lunch Shows and bands in with guest clarinettist (Ron Stewart (22) and Dylan Howe’s Armstrong is also honoured in a Ronnie’s Bar, the festive Drake). April brings the Mercure Subterraneans with the Music of Sunday afternoon concert, with a programme at ’s Ronnie Albrighton Hall Hotel & Spa, David Bowie (29) follow. 17-piece big band and New Scott’s Club is so crowded that a Shrewsbury (17-29, with the February starts with another Orleanians Lillian Boutte, Evan few highlights must suffice. In Grenfell Band again, the Phoenix anniversary celebration - Tubby Christopher and Don Vappie, residence most nights from Jazzmen, Annie Hawkins’ Jazzmen Hayes’s 80th - with a quintet featuring big band scores last December 15 to 30 are Ray and Denise and Tony as a duo) headed by and played by Armstrong in 1947. Gelato’s Giants and they are and May takes them to the Bobby Wellins (5). After Jo Fooks Among other attractions are Ray joined by and the Mercure Castle Hotel, Windsor Quartet (12) and Laura Jurd’s Gelato and his Giants, the ’s All Stars for a (1-4, Dart Valley Stompers, Laurie Chaos Orchestra (19), Danish Bruce/Ilett Big Band, the Andy Black Tie New Year’s Eve Party. Chescoe’s Reunion Band and singer/songwriter/saxophonist Sheppard Quartet, Django a la On December 26 and 27, the Ron Drake joining the Lawrence Mads Mathias (26) completes the Creole with Evan Christopher, (18), (19), Bill (23) and the Syd Lawrence Wakefield Jazz’s Christmas Friday night jazz gig features Giants take a break and Liane band) - and seven more February programme. Bill Wyman’s Rhythm Kings, the Posters Will Be Band, with hints Orchestra (30), among others, celebration takes place on Curtis Stigers (February 6). Carroll’s Christmas Carol! is the weekends to come in 2015! Tel.: 07415 815784 Huey Morgan and Pee Ellis Funk of Spike Jones (21/28) and Peter whilst Stage 2 hosts Joanna Eden December 12 at Wakefield Tel.: 023 8061 3989 main show. Christmas Cabaret Tel.: 01189 690625 www.watermilljazz.co.uk Assembly, and Dr. John. Miles and the Duncan Lamont (23) and a resumption of Live Sports Club, with the Steve www.theconcordeclub.com Lunches are the order of the day www.jazzbreaks.com Tel.: 0844 887 1500 Quartet (23). Jazz Matters with pianist Tim Melling Trio joined by Dick and the late sessions feature such KING PLEASURE AND www.bristoljazzandbluesfestival.co.uk Tel.: 020 8876 5241 Richards (25 - 11.30 am). Pearce and singer Esther Miller. Southport Melodic Jazz, warming bands as the Brandon Allen CHANGE OF VENUE www.thebullshead.com Tel.: 01908 280800 Tel.: 01977 680542 up for Jazz on a Winter’s Quartet (10/17), the Femi THE BISCUIT BOYS DECEMBER IN BARNES www.stables.org www.wakefieldjazz.org Weekend on February 2-5, have a Temowo Quartet (12/13) and AT STAFFORD splendid Christmas Special at the King Pleasure and the Biscuit The Bull’s Head in Barnes has a MORE ELASTIC AT THE Fletch’s Brew (5/6/19/20). Into Stafford Jazz Society’s Sunday Now celebrating ten years of Lady Sings the Blues, Val Wiseman’s Royal Clifton Hotel on Boys are due to spend New nightly music programme, with the New Year, January’s Main lunch-time sessions continue at HALF MOON presenting weekly jazz in Billie Holiday show, kicks off its December 14. Alan Barnes leads Year’s Eve at the Musician, varied jazz events figuring largely. Shows include NYJO (5-7), Stafford Rangers Social Club on Dick Laurie has been kind Wilmslow, Graham Brook has a 2015 tour celebrating Billie’s an all-star octet for the premiere Leicester. Other public gigs in In December the jazz and jazz-ish Carleen Anderson (8-10), Booker December 7 with Martin enough to give Jazz Rag (and, nicely varied programme of 100th at Durham’s Gala Theatre of his new suite based on Charles December include Greystones, acts includes Chris Ingham with T. Jones (14-17), Larry Bennett’s Swamplanders. doubtless, everyone else) a stop Tuesday Jazz and Swing at the on March 27. Further dates Dickens’ A Christmas Carol in the Sheffield (12) and Norwich Arts his ‘Hoagy’ Quartet (4), Sara Goldings/Peter Bernstein/Bill However, the following week’s press exclusive news story. The Wilmslow Conservative Club. arranged so far include the New afternoon, followed by Christmas Centre (13). January 2015 takes Spade & the Noisy Boys, vintage Stewart (19/20) and the Harold Christmas Special sees a move to Elastic Band is booked in to the Rather mysteriously December 2 Vic at Newcastle-under-Lyme Dinner accompanied by Harry the band to Artrix, Bromsgrove acoustic swing with ukulele to Mabern Trio (21). The Sunday Stafford’s White Eagle Polish Half Moon, Putney, for 24 gigs in features Howard Murray and the (April 27) and the Winter Hussey’s accordion and a trio (3), the Tivoli, Wimborne (16), the fore (7), Zeeteah Messiah, lunch-time sessions feature such Club, a move that continues with 2015, the first and third Sundays Masked Jazzman with the Tom Gardens, , IOW (May 3). performance with Alan joined by Ashcroft Arts Centre, Fareham jazz/blues/reggae/pop singer (12), bands as the Jive Aces (18) and the 2015 concerts. Featuring on of the month. Ever the high- Kincaid Trio - which shows up Tel.: 0121 454 7020 two other members of the octet: (23) and Robin 2, Bilston (29). the Band Tipitina (25). the Christmas Special are the pressure salesman, Dick again with John Hallam and Mike www.bigbearmusic.com David Newton and Simon Tel.: 0121 454 7020 (16), the Samuel Eagles Quartet promises: ‘Usual place, faces and Tel.: 020 7439 0747 Phoenix Jazzmen and Sheila www.kingpleasureandthebiscuitboys.com Hall (16). Shades of Shearing (9), Thorpe. www.ronniescotts.co.uk Fawkes. The society has been tunes. You’ll like it.’ Little Jo and her Jazzmen (23) Wednesday night jazz at the Tel.: 01704 541790 running since 1981 and sees this Jo Fooks and the Tom Kincaid All Stars Concorde Club in Eastleigh takes www.jazzinsouthport.co.uk THE LAWRENCES IN move as a very positive step UPCOMING (30) complete the December a Christmas break following the 2015 forward. Certainly Chairman EVENTS programme. The January appearance of the Big Chris Tipitina pay a return visit to Nick Balmforth’s summary of its programme features Zoe Gilby Barber Band on December 3. Ronnie Scott’s on the lunch-time Tony and Denise Lawrence’s Jazz advantages is quite impressive: ‘a (6), Zoe Kyoti (13), Gilad Atzmon Friday nights with the Dave of January 25 and can also be Weekends take a short Sabbatical The Stables at Wavendon kicks bright and spacious hall and Bruce Adams (20) and Alan Lewin Trio continue throughout heard at Swansea Jazzland on for the colder weather, then off December (2) with the accommodating audiences of up Barnes and John Hallam (27). The December, as does Sunday night February 18. resume on March 13-16 at the appearance of to 200....an elevated stage, a Sinatra Swingers sessions at jazz for dancing: the Big Bear Tel.: 0121 454 7020 Wessex Hotel, . singer/songwriter/saxophonist wooden dance floor, professional Cheadle Hulme Conservative Stompers (7), Brian White’s www.bigbearmusic.com The formula is pretty much the A.J. Brown on Stage 2. In the kitchen facilities, a well-stocked Club on the first Thursday in the French Quarter All Stars (14) and successful one regularly adopted main auditorium smooth jazz star bar and a large, secure ad free car month now feature guest a Christmas Party with John by the Lawrences, with possibly a Euge Groove appears (4) before park’ - and it’s near the city vocalists, Marilyn Royle on Maddocks’ Jazzmen and the touch more of a gourmet touch the traditional seasonal centre! December 4. There is no show Spitfire Sisters (21). When with a five course Gala Dinner. celebration in aid of Wavendon Tel.: 01785 226950 Allmusic Plan, Cleo’s Christmas on January 1 and the series Wednesday jazz resumes, Otherwise expect an excellent www.staffordjazz.org resumes on February 5 with highlights include Echoes of hotel in a very pleasant place and Show (11-13), with family and friends. January sees appearances Debbie Wilson. Ellington (January 28) and Back with plenty of leisure activities Tel.: 01625 528336 to Basie (March 4). An extra and a moderate amount of jazz on the Main Stage for Sax Appeal 4 THE JAZZ RAG THE JAZZ RAG 5 JERRY BROWN – A PERSONAL REFLECTION JERRY BROWN – A PERSONAL REFLECTION

A vast number of readers of this Like many of us, Jerry became Audiences enjoyed the on all aspects of jazz or even magazine will have CDs on their interested in jazz as a teenager atmosphere, the variety of jazz some of the protagonists, but shelves purchased from Jerry and was quickly a supporter of and hearing many musicians they then that is the nature of the Brown’s Jazz ‘n’ Blues or from his Norwich Jazz Club and Jacquards, may otherwise never have heard music. We did however agree on record bars at various jazz where artists such as Jimmy live. Our pleasure was to see so our finalised line-up for each functions around the country. Witherspoon appeared on their many happy people and also to party and I like to think we Jerry had taken over J ‘n’ B after Sunday night off from Ronnie have raised funds for special succeeded both musically and thirty years in the Police Force, Scott’s. He would also become a charities with our raffle. None of socially. We were always keen to working from home stalwart of the Norwich Jazz it could have been achieved support local talent and until his wife Ann couldn’t get Society until he sadly died in without our gallant helpers encourage young players and into the kitchen for photocopiers Papworth Hospital on September organised by Ann and Jerry in tried each year to include both and stock. His newsletter became 29th, aged 71. their own inimitable way! aspects in the party. a lifeline for many with his detailed information of global CD I got to know Jerry well in the Good friend Alan Barnes I will miss the phone calls, releases. early 2000s after he had moved remarked that Jerry and I made sometimes from the middle of a the business to Lakenham Leisure strange bedfellows which is field at a festival with a report on Jerry, gregarious by nature, Centre and decided to introduce perhaps true, but I think we events. The week will certainly enjoyed the social aspects of the a programme of live music, often complemented each other. Jerry not be the same without our jazz scene, always happy to share using American musicians whose was very keen on the computer conversations. Jerry was definitely a pint and a chat, became a well- tours I organised. and I’m sure was frustrated by a one-off with an unusual array of known face around the country We were both involved with the me not looking at my emails highly coloured shirts who will at the traditional jazz weekends Blackpool Jazz Party and the every day, often phoning me to be missed by all and particularly and later at festivals in Keswick, decision at the 2006 event to end see if I’d received one he had by Ann, their two daughters and Nairn and Southport with his it led Jerry, a week later, to sent earlier in the day. Jerry liked their families including five record bar. He also travelled to suggest we do something making lists and within a week of grandchildren. the USA on many occasions to together and the Norwich Jazz finishing one party he would send hear music in New York, Party was born. For eight years a list of his proposals for the next BRIAN PEERLESS Chautauqua and at the various from 2007 we presented what year’s cast. Me – I like to ponder Mat and Rachel Domber Arbors many musicians felt was the best and reflect and I probably events. of its kind anywhere in the world. infuriated him. We didn’t agree

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6 THE JAZZ RAG THE JAZZ RAG 7 LADY SINGS THE BLUES LADY SINGS THE BLUES

Val to be white! Apart from Lady Sings the Blues band, Brian Val Wiseman LADY SINGS THE BLUES suggesting the authenticity of Lemon and . Val Val’s vocal performance, it sets enthuses over the musicians who RON SIMPSON considers how to celebrate a notable centenary. up nicely ironic references that have played in the band over the she is sure Billie would have years - and their ability to inspire decidedly buoyant. Too often after compliment at the album - Billie Holiday relished. After all Lady Day was a each other and her own there have been stage ‘this delicious package’. German comparatively light-skinned performances. Veterans of many presentations dealing solely with Jazz Music opined, ‘The British African-African (some Irish years as first call for the band, her life problems, a Billie Holiday singer is in a class of her own.’ ancestry!) and had to suffer the apart from the original musicians, whose life ricocheted between It’s interested to see that the contrasting humiliations of include Alan Barnes on reeds and brutal beatings and vain attempts majority of reviewers picked up applying dark make-up with the drummers Ralph Salmins and to hide heroin scars. Val rejects what the show is all about. Val Basie band and using service lifts . the view that Billie was simply a herself explains that she wanted to avoid contact with customers sad victim and Lady Sings the to put over the style and feel of and members of the white Artie Not being a regular band and Blues, whilst telling some of the Lady Day, especially her Shaw band! employing only high quality (and tale of her declining health and vulnerability, but by no means thus in demand) musicians, Lady brushes with the law, is overall a imitate her: ‘I’m still very much One aspect of the success of Sings the Blues has always needed the Blues band who are no longer Awards are always full of past, fairly optimistic evening - and a me.’ Pete Martin of , Lady Sings the Blues that Val is to call on outstanding deps and with us. She speaks fondly of two present and future LSTB deps: celebration of a great talent! reviewing a performance in keen to emphasise is the quality has indeed been graced by many members of the original band, Al Bruce Adams, Mark Nightingale, in 1991, got the of the accompanying group - and of Britain’s top players - and a Commissioning new Gay and Brian Lemon, of the fine Dave Newton, Julian Marc point: ‘Ms Wiseman not only the quality, but the few from elsewhere! From time Next year no doubt the In 1957 a memorable arrangements might seem a bit trombonist and superb arranger, Stringle, Enrico Tomasso and the has...developed a vocal style amount of team-work involved to time Val and the others have commemoration of Billie performance of extravagant for a one-off which allows her to capture the always underestimated Pete rest... which is something she feels been joined by special guests, on Holiday’s centenary will be high on television’s , performance, but those were much of the spirit of Billie’s Strange, and of another marks out the Teddy Wilson two occasions all-time jazz greats on the agenda of jazz clubs, with turning the easier times financially and recordings without submerging distinguished guest with the band, So hopefully 2015 will be one of recordings as something special. who had worked with Billie. The festivals, publications and, of clock back, reminded everyone anyway one show soon became her own individuality.’ Given her Kenny Baker. Jeff Clyne - who her Lady Sings the Blues’ busy years. I Billie’s soul-mate in many of guitarist Mundell Lowe was course, lovers of the music. Billie that Billie Holiday was about scores of performances. In 1990 emphasis on the songs - both memory suggests was on the first guess, such is Billie’s stature in these recordings was Lester featured on many late 1940s Holiday, dubbed ‘Lady Day’ by more than drug and alcohol a studio recording was made for cheerful and melancholy - Val was Birmingham Festival jazz history, it will be a year full of Young, of course, but Val feels the tracks by Lady Day and the Lester Young, widely considered problems, abusive husbands and Big Bear Records, with an all-star probably less pleased with the performance, though not the tributes to her - in song and in musical relationship with Wilson pianist actually played the greatest of jazz singers, was legal wrangles, but two years line-up, including three musicians headline, ‘Sad Soul of Lady Day’ album - was another who played drama, excellent, good, bad and himself was just as important. His on The Sound of Jazz and his later born on April 7th, 1915, in later she was dead, bringing to an who are still regulars in the band the next year, though the review occasionally with the band, as downright unpleasant. For sure, Philadelphia and brought up in end 27 years at the top, from 27 years later: , that followed was actually quite playing, always in sympathy with recordings included a tribute to were and Bill file Lady Sings the Blues under Baltimore. She started when she took over the singing Roy Williams and Len Skeat. Also nice! the singer, reveals the importance Billie Holiday with Rosemary LeSage. On the other hand, half ‘excellent’. performing as a young teenager, spot from Monette Moore at a on the recording, which picked of listening, a quality which has Clooney. Thoughts of Nat Pierce the original band remains intact but the major breakthrough New York club called Covan’s - up a British Jazz Award, were Al Lady Sings the Blues has done its been shared by the two pianists prompt Val into reflecting on the and the lists of British Jazz Tel. 0121 454 7020 came in 1933 when she was where she was to be spotted by Gay, Brian Lemon, Jim Douglas share of travelling in Europe and who have been mainstays of the many denizens of the Lady Sings www.bigbearmusic.com spotted by John Hammond and John Hammond. and Eddie Taylor. beyond, with Val remembering made her first recordings, Riffin’ gigs and festivals in Germany, the Scotch and Your Mother’s Son- 27 years is also the time that has Riffling through a collection of Spain, the Netherlands, Norway, in-Law, backed by a Benny elapsed since the first cuttings, it becomes obvious that the Republic of Ireland and Goodman-led group. Her 1930s performance of a rather different Lady Sings the Blues was Tunisia. However, one booking in recordings with all-star groups Lady Sings the Blues, a celebration recognised as something special the Netherlands never happened, often led by Teddy Wilson, mostly of Billie Holiday’s songs from the start. In Crescendo the promoter enthusiastic after of great popular songs and performed by Val Wiseman and a magazine the late Ken listening to the album, but pulling inferior popular songs she made group of the best British Rattenbury hurled compliment out when photographs revealed sound great, cemented her musicians. In July 1987 it was reputation, but, as her career staged at the Birmingham Billie Holiday progressed, her personal International Jazz Festival. Since tragedies gained as many column then it has been on the road, inches as her vocal achievements! sometimes intermittently, but Even her most compelling always to critical acclaim and number, , introduced enthusiastic audiences, and now to stunned audiences at Barney Big Bear Music is arranging a new Josephson’s Cafe Society in 1939, tour in 2015 to celebrate Billie’s attracted attention mainly as a centenary. political statement. Val explains that Birmingham Billie Holiday herself contributed Festival Director Jim Simpson put to the myths surrounding her life the show together because she by writing (or handing over to was ‘captivated’ by Billie Holiday William Dufty to write) a as a performer and wanted to notoriously unreliable build a concert round her idol. autobiography, Lady Sings the Tellingly she remembers that Pete Blues, in 1956 - ironically, Billie Strange was commissioned to herself seldom sang the blues. make arrangements and Lady Sings the Blues later became transcriptions that ‘captured the an even more unreliable film, sound of the early recordings.’ A where a fine performance by constant theme of Val’s Diana Ross was not enough to conversation is that Lady Sings the make it a convincing account of Blues presents Billie through her Lady Day. songs which were sometimes

8 THE JAZZ RAG THE JAZZ RAG 9 NEWPORT – NEVER PLAIN SAILING NEWPORT – NEVER PLAIN SAILING

Paul Gonsalves Ory and the rest were waiting to enjoyable acts was Chuck Berry NEWPORT – NEVER PLAIN SAILING come on for a jam session, played – even then jazz festivals could be the National Anthem and strode fairly expansive in their RON SIMPSON finds a holiday photograph stirs his memory of events he never even off, leaving his huge birthday cake definitions of jazz! untouched! attended. And here, as always, the strange Strayhorn rapidly assembled And that was it, the solo that 1958/1960 link between the conservative three movements without great saved the Ellington band. Of establishment at play and the jazz interest. course it wasn’t as simple as that, Bert Stern’s film, Jazz on a musicians at work – not quite the but the solo put life into a Summer’s Day, filmed at the 1958 animal act, as the Duke had The concert began disastrously. concert performance that was festival and released in 1960, put claimed in a rare breach of his Jimmy Hamilton, , Ray recorded and presented the a new phrase into the jazz customary urbanity! The yachts Nance and were Duke to the public in a more vital vocabulary: how many festivals of the America’s Cup form a unaccountably absent from the and up-to-the-minute light than have you come across that use or graceful and opulent background afternoon rehearsal and the in the previous year or two. This adapt the phrase? to the sounds of surprise and, of opening of the evening concert. set up a virtuous circle of course, we have a band from Yale, George Wein had had the none demand for the band, heightened It is actually a surprisingly short Eli’s Chosen Six, filmed by Stern too clever idea of getting industry and public perception film, some 85 minutes, given the in jolly and playful situations. Ellington to play a short and, along with this, an actual yes, it did – the jazz connection – virtually every act on the bill, number of great jazzmen to fit in, introductory set at the start of improvement in the band’s music, and Armstrong and the All Stars. including the three trombonists and I think most of us recall little the evening and the main concert even though, now and again, Incidentally the film received no (apart from the All Stars’ Trummy snapshots of magic rather than later. ‘What are we, the animal Oscars, two nominations, both Young) he was most associated musicians were still liable to the whole film: George Wein has been act – the acrobats?’, snapped the for musical features. It was with: Kid Ory, J.C. Higginbottom wander onstage late! described as 'the most Duke, but it probably gave him a doubly disqualified when and Jack Teagarden. The finale was Jimmy Giuffre, important non-musician in jazz chance to deliver some kind of a nominated for the Best Picture to be with and Having mistimed a visit to the Casino grounds, it soon July 17th, 1956 and playing The Train and history', though he is (or, at pep talk between times. Still the Story: the story had been around then the assembled multitudes Newport, Rhode Island, by a moved to Freebody Park. Now it the River against images that could least was) an adequate jazz performance of the suite was ‘Dear gentlefolk of Newport...’ since The Philadelphia Story two would sing Happy Birthday. This couple of weeks and missed the is settled in Fort Adams, also more accurately be term ‘The pianist. 2014 Jazz Festival, I was struck by home to the Folk Festival. sloppy, Ellington didn’t even decades earlier and the wrong did not please Louis: ‘We haven’t Boats and Long Island Sound’. pretend the overall work had a Thus begins one of jazz’s hit rehearsed and I’m not going to these words on the Opera people were nominated, the Who would get your vote at title! Things didn’t improve and, records, by no means one of go out there and make a fool out House marquee – by the way, the I suspect that now Newport is writers of a Bowery Boys film That amazing lady in a large hat jazz's most important non- when singer Jimmy Grissom had Cole Porter’s best songs, but still of myself. I go on with my band appeal for funds is for the Opera just a very good jazz festival. called High Society in 1955! deconstructing Sweet Georgia musician? Norman Granz, Joe finished a flabby version of Day In, regarded with affection because to close the show – no other House, being refurbished, not the Somehow, though, in the early Brown – the wonderful Anita Glaser, John Hammond, Alfred Day Out, something had to be way. We don’t do less than an festival! My first reaction was to days, it was part of the of the performers, July 4th, 1957 O’Day. Lion, Rudy van Gelder, Irving done. hour.’ think how rightly proud we are consciousness of jazz lovers who and Louis Armstrong. High Society Mills...... ? of festivals such as Brecon and had never even considered was not a film about the By the reckoning of those days The slightly guilty feeling on What he did was call Diminuendo Things got worse. One singer Birmingham which have clocked making a trip to Rhode Island. So Newport Jazz Festival (we had to this was Louis Armstrong’s 57th realising that one of the most and Crescendo in Blue, originally they thought was enough: Ella, up only half that time (and in here are four memories of the wait four years for that), but it birthday – in more innocent days performed in 1938 and which for not Velma. Velma heard the news Brecon’s case under different heroic days of Newport.... seems to me that already the it just seemed right that the great some years had featured a and burst into tears. What managements), then a moment’s association between patrician man should be born on the ‘wailing interval’ of blues followed was brilliantly described reflection and I realised that July 7th, 1956 millionaires and low-down Fourth of July in 1900, so no one choruses by Paul Gonsalves by Dan Morgenstern: Newport and George Wein jazzmen somehow only worked took the trouble till years later between the two sections. That together have not staged 60 The events at Newport on this with the added ingredient – to find that he was actually born evening at Newport the tenor ‘Louis, who has fantastic ears, festivals. A moment’s more day were at least partly Newport. For the record High over a year later. This was also saxist totted up 27 choruses, hears her crying. Suddenly he reflection suggested that the responsible for the fact that many Society was a musical re-make of the day when Louis Armstrong driven on by two great big band appears from the flap (of his circumstances of Newport make of us were able to delight in an The Philadelphia Story (pretty chose to display the drummers, Sam Woodyard and, private tent), wearing nothing but George Wein even more of the imperious obviously not set in Newport) determination and stubbornness, shouting encouragement and a handkerchief tied round his great survivor. Orchestra in the late 1950s and and was very sniffily received on and sense of obligation and 1960s. It’s easy to take for beating the stage with a rolled up its release on July 17th, 1956. entitlement, that lay beneath the scalp. Shouts and alarums. Women shriek, grown men flinch, He was co-opted in 1954 to run granted the continuity and copy of The Christian Science Now it’s among many people’s perpetual smiles. I am indebted to and everyone scatters to the the festival by rich socialites excellence of the great jazz Monitor, ex-Basie-ite , favourite films; then critics a re-reading of Ricky Riccardi’s winds, Louis’s curses in their Elaine and Louis Lorillard – and orchestras, but none had got to appearing at Newport with Teddy panned Crosby and Grace Kelly excellent book What a Wonderful ears. Like an ancient African king the fact that Newport is home to the mid-1950s unscathed (even Wilson. and opined that it gained nothing World for the details of the he smites them with his the ‘cottages’ of the prodigiously Count Basie had re-charged the from the move to Newport. Oh, birthday party that went wrong. righteous wrath.’ rich and the patrons of the batteries with a spell in charge of festival came from their number a small group) and the Ellington Louis and Bing in High Society Essentially the problem was that Then Louis proclaimed, ‘I’m helped and hindered the festival. band was reportedly tired and George Wein and the organisers playing with my band and my No fledgling festival got more listless and losing its grip on the saw July 4th as an individual singer and none of this other attention from the media, but jazz public. Enter George Wein celebration of Louis, but he saw it shit!’ probably resentment of the who in the end got it right by as a concert by his All Stars super-rich helped fuel some of getting it wrong. whom he regarded as family. And how did the evening turn the riots and alternative festivals Especially he was protective of out? A special Newport society that occurred. In 1972, the year Terry Teachout’s Duke gives a Velma Middleton, on nobody’s list dinner went ahead without its after riots involving gatecrashers, model account of events which I of the world’s greatest singers, chief guest; Louis, the All Stars Newport Jazz Festival upped drastically summarise here. Wein but a larger-than-life and Velma played a (by all sticks and moved to New York arranged for to entertainer/singer/dancer who accounts excellent) concert; City, moving back a decade later record the 1956 festival for fitted the All Stars’ concert style Louis graciously played a as half of a two-city festival with Columbia and both Wein and perfectly. obbligato to Ella and Johnny NYC. The Jazz Festival also found Avakian put pressure on Ellington Mercer’s singing of Happy it hard to establish a permanent to produce a new suite, The When Louis arrived three hours Birthday; finally the birthday boy home in Newport. Beginning with Newport Jazz Festival Suite or before the concert, he found that studiously ignored whispers that some such. He and Billy he was due to perform with 10 THE JAZZ RAG THE JAZZ RAG 11 BRIAN LEMON (1937-2014) BRIAN LEMON (1937-2014)

arrangements he did with guest BRIAN LEMON (1937-2014) soloists for the Jimmy Young Show - here I must pay tribute to Pianist Brian Lemon who died on October 11th had a remarkable career. From early days with producer Bill Bebb for his tireless efforts to get jazz played on the the likes of the Freddy Randall and days, later in his career he had lnng-term BBC. relationships with such groups as the Pizza Express All Stars and the band for Val Wiseman’s Lady Sings the Blues. He played with a multitude of top Americans: Benny Goodman, Ruby So, farewell to a brilliant musician and dear friend. It was a privilege Braff, Warren Vache, Scott Hamilton, and so many more. A multiple British Jazz Award winner, to have known him. he finally had the remarkable tribute of a , Zephyr, set up to showcase his playing. Brian was very much a musician’s musician, so Jazz Rag turned to the musicians for their ROY WILLIAMS memories of Brian. I first met Brian in l973 after the landlord of the jazz pub called The Mitre near the Blackwall Working with Brian Lemon was and share a part of that joyful, Zephyr line-up. John Bune was Prudence and the drummer, Tunnel asked me to put a band always a joy, an education, and a ethereal sonic world of his was a paying some of the band and Benny Goodman. Brian's playing together the same night! Monty privilege. I first met him in the reward. worriedly told me (as his certainly was an eye opener, and Sunshine had dropped out and early 1980's at the Pizza Express assistant) that one of the pointed me in the direction to Charlie said, ‘If you can get a in Dean Street, and was WARREN VACHÉ musicians had demanded the kind of jazz I wanted to play, I band together you can have immediately struck by the depth porterage for two days when his was even lucky enough to 'sit in' Monty’s money!’ – which was of his musical knowledge and Brian was a joy to work with in instrument had in fact stayed with them on one occasion. At quite a lot. sensitivity. He simply knew every the early days of Lady Sings the overnight. ‘Tell Brian,’ said Bune. I the time I had no idea that I Blues. He really captured the tune ever written, and played did. ‘I wish you hadn’t told me would spend many years working So I put together my ‘dream with a sensitivity and musicality subtle nuances of Teddy Wilson that, dear boy,’ said Brian. Within alongside him, first with the Alex band’ of the time – Henry always responded by calling him when we were both playing in brandy - ‘Splendid, John,’ and, a that always left me in awe. Brian's and I treasure the fact that his moments, though, gentle man Welsh Band and later the Pizza Mackenzie, Tony Milliner, Ron Mr Bune. His opening words New York with the Charlie Watts little quieter, ‘over my dead body.’ solos were always improvised intimate and very personal style turned into bandleader and the Express All Stars, with many Russell , Phil Franklyn and of were usually: ‘Lemon is all fired Tentet. In a bar across the road I melodic statements that made is captured on the album we notoriously bumptious miscreant other things along the way. course, Brian Lemon. Brian had up!’ Not quite the description I asked for ‘Large Brandy for Lord One time had been you wonder where in the world recorded of the show back in had been discreetly persuaded of probably never heard of me, but would have used to describe Lemon’ and the staff were asked to arrange Weather he came up with them. Each was 1990. By his own admission he I think some people were his ‘mistake’. kindly came across town from Brian, joining him in the pub genuinely impressed. We had free Report’s Birdland. He responded a unique and beautiful thing that had a weakness for ladies' ankles surprised when he joined Alex Ealing to play the gig which across the road for our usual drinks all night, while Brian talked with a superb chart, but it was and was partial to his favourite On the second occasion he but he fitted in beautifully with lived in the moment he played turned (for me) into musical morning pint and brandy. of his castle and draining the not a tune that interested Brian. tipple, but he always insisted, performed an exemplary feat of the band, having a love for the them and then faded, only to be Heaven. moat etc. The evening ended in ‘Record that at the end,’ he said. quite indignantly, that the glass of self-discipline. I sometimes met 'Condon/' style of jazz. replaced by another equally or One time Bune started off with, us being photographed with a When the time came the more inspiring. I seldom heard wine captured on top of the him at opening time at a pub He reckoned one of his favourite piano on our album cover, was Afterwards we travelled back ‘Lemon’s all fired up - I’ve got Korean rock band. part had disappeared. I had a him repeat himself. He had the round the corner from the jazz numbers was Jazz Me Blues! sudden memory of earlier mine and not his! through the tunnel and I was him to do some new ability to play with heart breaking recording studio. On this Memories which have always struck by his gentleness and the arrangements.’ On the session The Zephyr sessions were often noticing a small fragment of beauty while never sounding occasion we were to record stayed with me are, getting a lift VAL WISEMAN fact that we spoke about the men Brian handed out pieces of blank hilarious. Brain had a long drawn manuscript floating in the toilet sappy or maudlin. three of his arrangements. ‘How to a gig, and hearing on the CD he called ‘The Masters’; Kenny manuscript. ‘What’s this one, out way of telling a joke. He’d bowl of the studio. I’m sure it did they go?’ I asked. ‘They’re still player, what I thought was a It has been a privilege to have Baker, , Tommy Brian?’ asked Roy Williams, start and then, say, was an unrelated incident. I was fortunate enough to have in my head,’ was his morose recording of Teddy Wilson and known Brian as a colleague and a McQuater and more. And that scanning the empty page. ‘It’s On would walk in half way through. done many duet concerts with response as he tackled the large Gene Krupa. I assumed it was friend and have lots of great was the first of many, many the Alamo - as it looks, tune, solos ‘Allan, you would enjoy this, I’m Towards the end, when he could Brian, and always did my best to brandy and a pint of beer which one of those Robert Parker memories. One especially comes musical meetings over the next all round and then head for the going to ask Roy’s permission to no longer play, Brian would often play up to his level. Brian was one were serving as his breakfast. He 'cleaned up' recordings, and was to mind: as members of the Alex forty years. hills,’ was the response. start again-I’m sorry I keep come to Col jazz concerts near of the world's best accompanists. took some manuscript paper floored on being told that it was Welsh Legacy Band, we were laughing because I’m thinking of Chatham. ‘Large brandy?’ I’d ask- He always made me sound better from his briefcase and jotted Brian and the drummer Allan recording a CD in Hamburg for Brian was a slow-talking, gentle Brian was a superb pianist with the punch line.’ We’d get nearly ‘No, dear boy, those days are and feel comfortable. Not an easy Negel Heyer Records. down a few bars. With his Ganley. It was one of those and funny man who never said a an encyclopaedic knowledge of to the end and behind me.’ ‘OK – something thing to accomplish. While we conversation alternating between marvellous John Bune Zephyr bad word about anyone – a rare tunes and harmony. I once asked would come in. ‘Dave, you would else?’ ‘Large gin, please,’ and then never spoke of the specifics and The musicians included,American the brandy, the replenishing and recordings with , the quality. It was my constant him if he could show me Harold enjoy this, I’m going to ask Roy the trade mark, ‘I leave the size there were no spoken lessons so trumpeter Tom Saunders, John the music, he covered the page great American cornet player, privilege to share a stand with Arlen’s A Sleepin’ Bee - a fairly and Allan’s permission, etc., etc’ to your discretion.’ to speak, every time I played with Barnes (saxes) , Roy Williams with astonishing speed. This because of course Brian was him and Brian was – of course – obscure tune. He showed me the Brian I learned something. He (trombone), Dave Shepherd continued for nearly two hours greatly revered by many of the himself a ‘Master’ of the highest song copy changes, and then Warren Vache was on a lot of the Brian was a magnificent piano took you to a place that was (clarinet), Jim Douglas (guitar), as he applied himself courteously visiting American musicians. order. I was proud to know – and demonstrated the different ways recordings alongside , player and musician and was a pure music and beauty. He was Harvey Weston (bass) and Brian. to the musical, social and play with - him and (like his Bill Evans and Oscar Peterson both brilliant with entirely man completely without malice. and will ever remain for me one conversational tasks to hand. We Another fond memory of Brian galaxy of friends) will forget had of playing the tune. Now, different approaches. Tony loved He could hear positive things in a of the very best musicians I have As always Brian played great, but presented ourselves with time to was when he and I were invited about him the moment I die. that’s really knowing your stuff! going into harmonic detail with player that others would have ever known. one track in particular Nobody spare at the studio, the three to the Bern Jazz Festival in Brian. Warren would growl, ‘No dismissed out of hand. but me, which featured Brian and arrangements completed, the Switzerland. We were working DIGBY FAIRWEATHER Noone who saw Brian duet with wonder you lost the Empire,’ and The last time I saw him, I sensed I remember doing a recording for Roy Williams, is very special, I arranger refreshed and the with 'The World's Greatest Jazz Ruby Braff could ever be in doubt finally blow a whistle on a lanyard that all was not well. The large Zephyr with Alan Ganley, Dave think it should be re-titled, Benign Gopher relieved. Band' of Yank Lawson and Bob I’d played with Brian quite a few as to the depth of his repertoire round his neck. ‘OK, time’s up, brandy I bought him at 8 o’clock Cliff and Dave Green. On the 'Nobody But Brian Lemon'. Haggart. Brian was asked to play times in the 80’s and 90’s but as he negotiated verses, put on the light.’ second day Brian Lemon showed DICK LAURIE a feature, which he was rather really got to know him much choruses, key changes and was still on the table at midnight. up, and played one track with us. BOBBY WORTH Benign Gopher, Zephyr diffident about doing, but his better during the time he was anything else Ruby could throw Mr Bune had some great ideas ALAN BARNES As usual he played a solo that left Records for 4 years performance of Beautiful recording with Zephyr Records at him. and some stranger ones. ‘Elton us all amazed. All we could do Much has been made of Brian’s Friendship had drummer Jake in the 90’s. John songs in the style of Teddy was look at each other with huge seemingly unassuming nature but I first saw and heard Brian at the Hanna in raptures! It was one of He would often introduce himself Wilson’ was one of the more smiles on our faces and shake I witnessed two occasions which , London, in the early the highlights of the festival. The owner and producer of the as ‘Lord Lemon of Ealing’, usually radical ones which Lemon took our heads in mutual wonder. It belied that conception. The first sixties. He was with label, John Bune, was a great one followed by, ‘I’m very rich, you with his usual calm, one eye was always a gift to hear Brian, was on a two-day recording in a band which included Al There are so many things for hyperbole and always know.’ I always thought that this closed against the smoke from but being able to play with him session with a bigger-than-usual Fairweather, Tony Milliner, Brian including the wonderful string addressed us by surname. We fooled nobody until one time his fag, replying with a sip of 12 THE JAZZ RAG THE JAZZ RAG 13 THE 2014 MONTEREY JAZZ FESTIVAL THE 2014 MONTEREY JAZZ FESTIVAL

Harold Mabern highpoints of the afternoon was a saxophonist Walter Smith III. THE 2014 MONTEREY JAZZ FESTIVAL surprise. Michael Feinstein, the Tenor-saxophonist Ben Flocks popular cabaret singer, showed played with the beauty of Stan reports his expertise with the Great Getz on Stardust. Organist Tony American Songbook during an Monaco’s trio with guitarist Cecile McLorin Salvant and high school groups (part of in a pianoless trio. Also showing hour-long discussion in which he Bruce Forman gave listeners bop- Sunday afternoon). I managed to future potential was pianist- discussed (often with humour) oriented soul jazz. Michael see 48 groups in 2 ½ days singer Sarah McKenzie who the origins of many of those Feinstein with a big band paid ranging from full sets to cameo displayed a lovely voice on Got tunes. An interesting new singer, tribute to in appearances. 43 made very The Blues Tonight, Moon River and I Youn Sun Nah, scatted very versions ranging from respectful favourable impressions. Won’t Dance. Her group of young complex lines and held endless to corny. Two of his sidemen, musicians from Berklee included long notes during her duet set guitarist Russell Malone and As fans joyfully entered the fine soloists in tenor-saxophonist with guitarist . tenor-saxophonist Harry Allen, fairgrounds, they were greeted by Daniel Rotem and guitarist Electric bassist Marcus Miller and had their spots but should have the duo of pianist Jeremy Siskind Andrew Marzotto. Bassist his young sextet were both funky also led their own sets. Drummer and alto-saxophonist Caleb Christian McBride had fun playing and very musical during a high- Eric Harland’s Voyager (with tenor-saxophonist Brian Gephart two-chord funk jams that had the Curtis. Succeeding pianist-singer straight ahead jazz such as East quality set that also included Walter Smith on tenor, guitarist was excellent. The themes popping up at irregular Judy Roberts and tenor- Of The Sun in a trio with pianist some straight ahead jamming; Julian Lage and pianist Taylor Air Force’s 17-piece moments. The sophisticated joy saxophonist Greg Fishman (who Christian Sands and drummer altoist Alex Han showed that he Eigsti) played colourful and Commanders Jazz Ensemble of Waller’s music was replaced by were great in previous years), Ulysses Owens Jr. While Sambada is a future great. Trumpeter exciting modern jazz, ranging played some hard-swinging mundane ‘modernizations’, Siskind and Curtis played high- was a Latin dance group outside Daniel Rosenbloom played some from hard bop to free. arrangements on such pieces as making his set rather quality versions of bop and swing of jazz, it had an excellent high-powered avant-funk with his Oliver Nelson’s Miss Fine, Groove disappointing and dull. Much classics including Tricotism and keyboardist in Tammy Hall. quintet which co-starred altoist The festival closed with two of Merchant and Lady Bird. A better if often outside of jazz, Memories Of You. Veteran pianist Harold Mabern Gavin Templeton. On the minus its oldest veterans providing blindfold test held by Downbeat pianist Billy Childs revived the was in top form during his trio side was pianist Jon Batiste & Stay bright moments. 79-year old magazine found guitarist Lionel music of late 1960s folk/pop The main stage on Friday night performances with bassist Human. The group spent much of pianist Ellis Marsalis, with a Loueke guessing the identities of singer Laura Nyro. Childs’ group offered Cecile McLorin Salvant, Michael Zisman and drummer the time tearing apart standards quartet featuring one of his sons guitarists George Benson and with altoist Steve Wilson, harpist the Robert Glasper Experiment Peppe Merolla, particularly on in outlandish fashion but their Delfeayo on trombone, stole the Kurt Rosenwinkel, but not Kenny Carol Robbins and a string and Herbie Hancock. Ms. Salvant Mister Stitt and Cherokee. In jokes were not as good as their show during a magical trio Burrell. A panel discussion on the quartet provided the jazz while In 1958 when Jimmy Lyons the festival and opening it up to is a wonder, adding drama, fresh addition, Charles Lloyd made his musicianship. The lack of subtlety feature on If I Were A Bell. And 75-year history of the Blue Note Shawn Colvin, Becca Stevens and founded the Monterey Jazz more modern and often cutting- approaches, wit and superb first of three appearances, playing and wit quickly became tiresome. Charles Lloyd at 76 showed that label with its current president the powerful Lisa Fischer had Festival (four years after the edge jazz artists. musicianship to each song she folk-oriented melodies on tenor he was still at the peak of his Don Was and Robert Glasper two vocal features apiece. It beginning of Newport), it interpreted. On Yesterdays she As day became night, the events powers. His third appearance at and flute in a trio with tabla had particularly humorous worked well. Later that night at presented major jazz artists over The number of stages has emphasized low notes worthy of at Monterey continued to speed the festival was with his quartet master Zakir Hussain (who also storytelling by one of the nightclubs, Childs and a September weekend at the gradually increased from two to , her eccentric The up, leaving one in a happy daze. (which included Jason Moran), sang) and drummer Eric Harland. about Alfred Lion. Another panel his combo had an opportunity to Monterey Fairgrounds. 56 years five, with two outside (including Trolley Song would have been Drummer Brian Blade’s with the highlights including discussion gave Harold Mabern, stretch out on their own material later it still does, making it the the main arena) and three in appreciated by Betty Carter, and On to Saturday, which had music Fellowship Band with Melvin lyrical versions of What’s New and Geoff Keezer including Backwards Bop and the longest running annual jazz nightclubs on the Fairgrounds; her version of Guess Who I Saw for over 12 hours straight. Butler and Myron Walden on and Let My People Go, plus a opportunities to talk about the pleading ballad Stay. festival held at its original there are also two other part- Today was the best since Nancy Saturday afternoons are always performed remake of his hit from the 1966 late pianists Mulgrew Miler and location. time stages. An indoor movie Wilson’s. Making it impossible to quite a grab-bag. Organist Booker frequently-explosive and always- Monterey Jazz Festival, Forest James Williams and the Memphis One of the bookings at Monterey theatre gives one the opportunity typecast her were her renditions T. Jones played spirited R&B and stimulating music. The bluesy Flower. jazz scene. Warming up for that made no real sense. The Roots, a During the Monterey festival’s to see what is going on at the of Bert Williams’ 1905 including his 1962 hit Pamela Rose with organist Wayne night’s Laura Nyro tribute, singer hip hop/rap group with no jazz early prime (1958-70), virtually main stage when it gets a bit cold tragicomedy Nobody, a saucy I Green Onions. Red Baraat offered De La Cruz was rollicking on He All in all, it was quite a weekend. Becca Stevens performed a content, was one of the bands on every top jazz artist appeared at outside. In addition to the music, Wish I Could Shimmy Like My Sister entertaining and danceable East Loves Nobody But Me and highly It leaves one feeling optimistic variety of folk and pop music in the main stage on Saturday night. one time or another, from Louis over 100 vendors give fans an Kate (she knows 1920s jazz well) European dance music that expressive on Close Your Eyes and about the modern jazz scene. her set while the remarkable Lisa But luckily there was so much Armstrong to the 1961 John opportunity to shop and socialize and an eerie What A Little included several fine horn It’s Raining. Harold Lopez-Nussa, Fischer sang soul and r&b for a else to see. Christian McBride’s Coltrane Sextet (featuring Eric throughout the weekend. Moonlight Can Do that made one soloists and a virtuosic dancing one of many piano greats from Scott Yanow, author of 11 packed house. Philadelphia Experiment with Dolphy and Wes Montgomery). realize what the moonlight could sousaphonist (Jonathan Lampley). Cuba, was passionate and often jazz books and over 750 liner While most listeners catch one keyboardist Uri Caine played fine Among the many special do. A sousaphonist was also part of dazzling with his trio; he deserves notes, has attended the last or two groups per hour, it is Overall it was not a bad way to funk jazz. Charles Lloyd created performances were Dave Davina & The Vagabonds, a blues to be much better known. 28 Monterey Jazz Festivals. always my goal to see a bit of spend an afternoon! Acting as a melodic duets with pianist Gerald Brubeck’s The Great Ambassadors, Since Robert Glasper chose to band led by pianist-singer Davina Trumpeter Ambrose Akinmusire, He can be contacted at every single group, which can be transition between day and night, Clayton. Pete Escovedo led an Duke Ellington’s Suite Thursday emphasize repetitive R&B and Sowers that included trumpet, after having guested with several [email protected]. difficult with five bands often an all-star group from the Blue 11-piece Latin jazz orchestra that and Jon Hendricks’ Evolution Of Herbie Hancock merely trotted trombone and drums. In addition different groups, finally had his playing simultaneously. I have Note label called Our Point Of delighted dancers and listeners The Blues. The live recordings that out his umpteenth versions of his to low-down blues and rollicking own set, leading a quintet that learned to leave right after seeing View featured trumpeter alike. One had a rare chance to were made at Monterey during hits (Watermelon Man, Chameleon, jams, they played a spirited Shake included the outstanding tenor- an exciting highlight since Ambrose Akinmusire, tenor- see pianist Donald Brown who 1964-67 included classic etc.), they can be quickly That Thing. Gary Clark, a superior invariably a ballad or an saxophonist Marcus Strickland, led a quartet and creatively performances by , dismissed in favour of what was guitarist and a personable singer, Ambrose Akinmusire introduction to the band is next. , keyboardist played the songs of James John Handy, Charles Lloyd and taking place elsewhere. A quintet performed high-quality blues and If one gets the timing right, Robert Glasper (playing jazz this Williams and . the Don Ellis Big Band. co-led by singer Claudia Villela roots music. From Cuba, highpoints follow one after the time), bassist Derrick Hodge and Another quartet, pianist Aaron and tenor-saxophonist Harvey Habaneros matched clarinetist drummer Kendrick Scott Diehl’s group with vibraphonist In the 1970s and ‘80s, Jimmy other. Wainapel performed enjoyable Alden Ortuno Cebezas with a performing stirring and Warren Wolf, paid tribute to John Lyons and the festival often interpretations of bossa-nova string quartet on charming The 57th annual festival had a competitive solos on new Lewis and the Modern Jazz seemed to be resting on their classics from and the traditional melodies that at times constant stream of performances originals; Strickland often took Quartet with his commissioned laurels with plenty of fine if Gilbertos. Villela let us hear what covering a wide span of jazz could be described as Cuban honours. piece Three . predictable bop jam sessions but Astrud Gilberto might have (although extremely little pre ragtime. much less of the contemporary sounded like if she was also a bop) along with panel Jason Moran is a brilliant modern Sunday afternoons tend to be a scene, whether it was fusion or skilled scat singer. The potentially Drummer John Hanrahan paid discussions, tributes, some blues pianist but his Dance bit slow if one skips the student the avant-garde. Lyons retired in significant young tenor- tribute to ’s A Love and nonjazz (which traditionally Party was a flop. Moran chose to bands, allowing one to more fully 1991 and Tim Jackson took over saxophonist Melissa Aldana was Supreme in the best possible way, takes up some of the venues on turn many of the songs from appreciate the festival’s as the festival’s artistic director reminiscent of Sonny Rollins at by performing a fresh rendition Saturday afternoon) and college Waller’s repertoire into one or atmosphere. One of the the following year, reinvigorating times, playing post-bop originals of the full work with his quartet; 14 THE JAZZ RAG THE JAZZ RAG 15 TIERNEY: FROM OMAHA TO PARIS TIERNEY: FROM OMAHA TO PARIS

Mitchell is one of the rare post- wordless vocals and Serge jazz, in late teenage years. The musicians. Our work is to be “in TIERNEY: FROM OMAHA TO PARIS 1960 composers and lyricists Merlaud’s richly melodic guitar first two impressions that drew tune” with one another and to whose songs stand up next to playing, all backed by her to it were the complete “harmonise”. Quite often American singer TIERNEY SUTTON has made about a dozen albums since 1998, five of them Mercer and Ellington. She’s a unobtrusively sympathetic bass acceptance of inter-racial couples audiences tell me that my genius and, honestly, I’m too guitar from Kevin Axt. It’s also an – something she had not seen in concerts have a devotional feeling Grammy-nominated, most of them featuring the Tierney Sutton Band. This was not the case, accustomed to great songs to interesting commentary on the the liberal world of her parents – about them and that they felt like however, with her two most recent albums. RON SIMPSON asked the questions after accept something else.’ things they all knew. Apart from and the stress on our common they had been “at church”. Yet I Tierney’s September dates at Ronnie Scott’s. three Merlaud originals, the songs humanity and the truth of almost never do anything overtly It seemed to me that, at this are sort of standards, but, with multiple faiths. religious. I also have the The first time I encountered stage of her career, Tierney the odd exception such as Body experience often (I just had it Tierney Sutton’s work was Sutton needs a concept for an and Soul, hardly familiar. You’re Baha’i was founded in the 19th again while touring the Paris almost 10 years ago with an album. Starting out, it’s possible Nearer is not the first number to century and the element of its Sessions music with Serge and excellent CD, I’m with the Band, simply to record songs you like spring to mind from the Rodgers doctrine that seems to have most Kevin) where a club will warn me and to an extent that title has and sing well, but, as time goes by, and Hart Songbook! And why use effect on Tierney as a musician is at the soundcheck that the summed up my impression of her you need a specific identity to Serge Merlaud rather than the the belief that all the leaders of audience will probably be loud work. The Tierney Sutton Band distinguish your latest album TSB? great religions (Abraham, Jesus, and inattentive. But once we start has been together for some 20 from the others. Tierney doesn’t Mohammed, Buddha, etc.) were (very quietly) you can hear a pin years, with virtually no change in disagree as such, but enlarges on ‘I first met Serge Merlaud in 1992 Messengers, bringing different drop for the entire show. I think personnel. Pianist Christian Jacob the theory: – I had a week in Paris between truths. This inclusivity was people are craving unity and I and drummer Ray Brinker have gigs. At that time he introduced expressed stylishly by Tierney in think they want to feel oneness been regulars throughout and the ‘Frankly, I’ve always needed a me to some music that was to an interview with the New York among the musicians and with story of the bassist sums up the “concept” to organise my influence the early albums of : ‘Spirituality grows in the them. Another Baha’i concept is unity of the group. Trey Henry thoughts. There’s so many TSB. He gave me Bill Evans’ You elegant workings of human that any work done in a spirit of was the original choice, but, when directions I can go at any given Must Believe in Spring and Kenny togetherness.’ service is an act of worship, so he was unavailable for some time, time, so it’s always an invaluable Barron’s Landscapes. I wore the from Baha’i perspective this work Kevin Axt was recruited. The first step to get an idea – a records out and went on to And how does this affect the is devotional, like anything done group members – for TSB is very performer, a composer, a record compositions and even career of a highly respected jazz in this spirit. My idea of the Baha’i much a co-operative unit – liked concept. Before Joni I’d done one arrangement with the TSB. I singer and bandleader? spirit is that there is an end of Kevin, they liked Trey, so they Sinatra (Dancing in the Dark), Bill really didn’t see Serge again until the concept of “us and them” solved the problem by using two Evans (Blue in Green), Desire, the 2012 and, when we got together ‘The Baha’i Faith has many and maybe in the same sense bassists! pursuit of happiness (On the and played, I was struck by the writings about the importance of there is an end to the dualism of Other Side). In many cases an beauty and lyricism of his playing. group problem-solving. The core “This is work and this is my Tierney would say her musical album starts with one concept Some people are just true lovers Baha’i belief of the oneness of spiritual life” – it’s all one thing.’ education came from working and morphs into another: Desire of music in a deep and entirely humanity (and the oneness of all with musicians. Born in Omaha, began as Cole Porter and selfless way. Serge is like that and the great religions of the world) www.tierneysutton.com Nebraska, she has an impressive became a meditation on I felt it when I sang with him – has a clear relevance to educational CV, including materialism.’ and Kevin Axt felt it when he Wesleyan College in unit to begin recording together such comments that Tierney’s basically of chance and heard Serge’s playing. There is an Connecticut, and the presence of in 1996. Tierney is refreshingly last two albums on BFM Jazz circumstance: And what is the concept for Paris intimacy and emotion in this CD NEW RELEASES Berklee on the list leads to the free from ego: she pays a huge were recorded without the band. Sessions? It could best be that I am very glad to be sharing FROM UPBEAT JAZZ conclusion that she did ever- tribute to the members of the After Blue, a Joni Mitchell tribute ‘My Tierney Sutton band-mates described as a philosophy – and a at this time in my life and this more advanced musical study at a TSB and extols the virtues of co- released in 2013, is an ambitious were busy doing some other musical partnership: time in the world. It’s been called URCD256 LOUIS ARMSTRONG variety of institutions. Not so – operation which is a practical programme of sophisticated things, but also this project is one a listen-by-candlelight album and I Young Satchmo - The Birth of A Jazz Genius Tierney mentions more than manifestation of her long- that resonated with me ‘I’ve made my career from re- say that it can lower blood This unique compilation of early Armstrong features classic tracks with Bessie vocals with varied high-quality Smith, Fletcher Henderson, King Oliver, Clarence Williams and . once that her stay at Berklee was standing Baha’i beliefs – of which accompaniments: several tracks personally. It wasn’t adopted as a working and re-imagining songs. I pressure....’ It includes many of the ground-breaking tracks that, with the ambitious only brief and, in fact, she wasn’t more later: with the Turtle Island String TSBand idea. Also, right at the wanted to be a jazz musician with influence of his wife Lil, showed the young Armstrong changing the face of jazz. Compiled & researched by Mike Pointon, the CD runs 74m 51s. a Music major at Wesleyan: Quartet, guest appearances from time I was thinking about the sophisticated time-signatures and The Tierney Sutton Band can’t be ‘I’ve had very rare luck in being the likes of Hubert Laws and Al project, Peter Erskine, Larry harmony and all the rest. I still a regular year-round touring band able to play with such great Goldings, Al Jarreau and the love those things, but at this because of the other URCD263 THE BIRTH OF SWING 1935-1945 ‘My degree is in Russian Language Jarreau, sterling contributions on Graham Dalby and The London Swing Orchestra Turtle Island String Quartet all point I have come full circle back commitments of the in-demand and Literature and I would say a musicians for so long. Somehow half the tracks from This is the third part of the four-volume anthology of 20th century Jazz and we’ve been able to share a lot of came into my life – for various to wanting to sing the song. Just musicians and Tierney’s Swing - a tribute to some of the greatest musical arrangements of the World lot of my education was from my pianist/organist Larry Goldings, bandmates and musicians I common musical aesthetics as reasons. So the personnel sing the song and present, as responsibilities as Vocal War II years. The Swing Era is so much more than just wartime nostalgia and either Peter Erskine or Ralph the huge rise in European swing-dance organisations is tribute to its admired. I heard jazz in college well as ideas about why bother emerged completely naturally.’ clearly and emotionally as I can, Department Chair at continuing popularity. Humphrey on drums. Two of the and fell in love with it basically, to do something. I know I have the sense I feel in the song. That’s Music College, though she insists more striking tracks, however, are but still continued on to get my grown so much because of the Tierney is accustomed to what I tried to do with Paris on a co-department head to run GRAND MOVING SALE! the simplest: Don’t Go to Strangers degree in Russian. Then I went relationship we have and I hope Grammy nominations and Sessions. things smoothly when she gets We will be moving this autumn and so are offering our popular BUY THREE get ONE FREE and Answer Me, My Love, promotion from now until the end of January 2015! from Wesleyan to Berklee – it’s the same for them. It’s not favourable critical response, but it her own particular show on the standards not by Joni Mitchell, briefly! When I moved to LA I easy to do things co-operatively, seems to me that After Blue was ‘The album was basically road. However, the TSB will All the Upbeat label CDs are included – ie those with the prefix URCD – including the doubles (cheapest just decided to jump in and ask but there is definitely a magic but loved by Tierney in Joni’s greeted with unusual enthusiasm, spontaneous in that Kevin first probably be back in the recording item free). You will find the full list of Upbeat CDs on our website – plus there are full details of many versions, lovely relaxed of the titles our 2015 Newsletter – which will be out at the end of September. Just call 0843 658 0856 questions. I transcribed a lot of that comes out of finding almost giving the album instant played a note with Serge only studio for Tierney’s follow-up to for your copy. things, I went to a lot of people’s something that emerges from the performances accompanied only classic status. Whatever the hours before we recorded. We her two current highly distinctive gigs to see what they were up to, whole rather than a by guitar (Serge Merlaud) and reasons for this, whether tailoring decided to play things we all albums. Complete track listings and personnel online bass (Kevin Axt). These, in fact, I learned a lot of songs...I sort of manifestation of one person’s of different songs to particular knew – although I spent some All CDs available from good record shops – distributed by RSK – learned as I went along – and still idea. That definitely resonates are a foretaste of her next album, accompaniments had anything to time learning Serge’s Omitting consideration of or digitally via Amazon, iTunes etc.. Paris Sessions, recorded in 2012 do with it, Tierney is in no doubt compositions. Everything was Tierney Sutton’s commitment to have a lot to learn!’ with my Baha’i beliefs; that is, that Upbeat Mail Order sells the full Upbeat catalogue, and also stocks many third party labels the best problem solving happens and just released. So why not TSB about the quality of the material finished in less than two days.’ the Baha’i faith would be including Lake, 504, PEK, Raymer Sound, Calligraph, JSP, Retrospective plus Jazz Oracle The Tierney Sutton Band dates when there is both effort and on these albums? There is or her reasons for choosing to neglecting a key part of her work Jazz Crusade – imported direct from the USA & many more…. from those early days in certainly no schism – Tierney do an album of Joni Mitchell Paris Sessions is an as a performer as well as of detachment on the part of Check it out at: www.upbeatmailorder.co.uk in 1992. Though everyone involved.’ expects her next album to songs: overwhelmingly lyrical album, herself as a person. Brought up as Tierney worked with many other feature the band – and the with poised and gently emotional an atheist, she discovered Baha’i For a Free Catalogue call 0843 658 0856 – please quote Jazz Rag musicians, they were enough of a It might seem strange in view of reason is simple, the product ‘I’ve said many times that Joni interplay between Tierney’s often about the time she discovered 16 THE JAZZ RAG THE JAZZ RAG 17 BRITISH JAZZ AWARD WINNERS 2014 BRITISH JAZZ AWARD WINNERS 2014

BIG BAND SMALL GROUP NEW CD RE-ISSUE CD BRITISH JAZZ AWARD WINNERS 2014 1 BBC BIG BAND 1 DIGBY FAIRWEATHER'S 1 MARTIN TAYLOR/ 1 - 3 Classic 2 NYJO HALF DOZEN ALAN BARNES - Two for Albums [Avid] Steve Waterman Karen Sharp 3 Back To Basie 2 GoGo Penguin the Road [Woodville] 2 The Jazz Makers & The 4 Beats & Pieces 3 Brassjaw 2 Claire Martin- Say It Isn't Jazz Five [Fresh Sound] 5 SNJO 4 Tipitina So [Linn] 3 Chris Barber - 1959-60 5 Polar Bear 3 - Divas [Hep] [Lake] 4 GoGo Penguin - v2.0 4 Quintet - [Gondwana Records] Southern Horizons / Free Jim Hart 5 - Funkerdeen Form / Abstract [Fresh [Jazzizit] Sound] 5 Joe Harriott Double Quintet, Indo-Jazz Suite [Classical]

SERVICES TO BRITISH JAZZ - PAUL ADAMS TRUMPET ALTO SAX GUITAR MISCELLANEOUS 1 STEVE WATERMAN 1 SOWETO KINCH 1 INSTRUMENT The Award for Services to British jazz goes to PAUL ADAMS for his remarkable work with Lake Records. He first set 2 Enrico Tomasso 2 Pete King 2 Martin Taylor 1 JIM HART [Vibraphone] 3 Bruce Adams 3 Alan Barnes 3 Nigel Price up Fellside Records as a folk label in 1976, then launched Lake Records in 1984. To date the two labels have been 2 Alan Barnes [Baritone 4 Steve Fishwick 4 Derek Nash 4 Dominic Ashworth responsible for an amazing 600 albums, of which well over 200 are jazz reissues and nearly 150 new jazz recordings. Sax] 5 Freddie Gavita 5 Sam Mayne 5 Remi Harris 3 Chris Garrick [Violin] Pressed to name favourite albums – and insisting that on another day it would be another choice – Paul names Chris 4 Amy Roberts [Flute] Barber’s Decca Years among the reissues, partly for his nostalgia for his teenage years, and reluctantly by-passing the TROMBONE TENOR SAX BASS 5 Gareth Lockrane [Flute] claims of albums by Alex Welsh and Humph. Among new recordings Paul cites Bob Hunt’s Ellington album, live recordings 1 MARK NIGHTINGALE 1 KAREN SHARP 1 at the Sage Gateshead and his recent single-microphone experiment. For many of us the mix of the meticulously 2 Dennis Rollins 2 Simon Spillett 2 Dave Green VOCALS comprehensive with the obscure and the esoteric, even eccentric in Lake Records’ reissues is a particular joy. 3 Roy Williams 3 Art Themen 3 Len Skeat 1 LIANE CARROLL 4 Ian Bateman 4 Robert Fowler 4 Andrew Cleyndert 2 Tina May 5 5 Alex Garnett 5 Al Swainger 3 Claire Martin 4 Anita Wardell CLARINET PIANO DRUMS 5 Lauren Kinsella 1 ALAN BARNES 1 DAVE NEWTON 1 STEVE BROWN 2 Pete Long 2 Zoe Rahman 2 Seb Rochford RISING STAR 3 Julian Marc Stringle 3 3 Bobby Worth 1 REUBEN JAMES 4 Mark Crooks 4 Gareth Williams 4 Ralph Salmins 2 Remi Harris 5 Shabaka Hutchings 5 Reuben James 5 3 Laura Jurd 4 Alan Benzie 5 Ben Holder

Soweto Kinch Reuben James

Photo by Benjamin Amure © 2012

18 THE JAZZ RAG THE JAZZ RAG 19 ON RECORD REVIEWS COUNT BASIE CLASSICS Scotty with Endre Rice The latest in Warner’s ORIGINAL ALBUMS series (0825646288502) presents the New Testament version of the in its early prime. Jazz Rag asked five musicians for their views on how these classic albums sound in 2014 and was also fortunate enough to get the comments of SCOTTY BARNHART, leader of the Count Basie Orchestra. BASIE AT plays Neal Hefti's catchy magnificent chug of the classic Basie Band of the late 1950's. BIRDLAND arrangements with a relaxed Basie rhythm section, and in the This 1958 release typifies the old unity of purpose, dynamics, swing, case of Muttnik in particular, style simmering swing that is Classic Basie line-up; classic Basie and perfect tempos; a lesson in some ensemble playing with the constantly threatening to come repertoire. Even quite good how big-bands really should play. swinging bite of the best of Basie. to the boil with frantic textures reproduction for a live recording. Hefti knew how to write for a For those expecting the fully that could jump out of the pan at If you take the dictionary jazz orchestra and - specifically, relaxed fire-breathing behemoth any point. However, the definition of ‘icon’ to mean ‘an he knew how to write . that the Basie-Jones alliance can Chairman of the Board - Count object of particular admiration’ Hefti's Atomic charts provided assume, such as on the classic It Basie himself is very much in then the Count is iconic as is the Count Basie with the framework Might As Well Be Swing, there will control of the temperature and sound of his band. The leader’s of his concert programme for the be an element of disappointment. his subtle yet authoritative piano distinctive piano has never been next twenty years. The opener Plenty of goodies for the die-hard makes a vibrant stamp on each convincingly emulated. Eddie The Kid From Red Bank, Basie's up Basieist though. That slow, slow track. The saxes bite and growl in Jones’ constantly interesting tempo feature, demonstrates Lena And Lenny - amazing! Kansas City Stomp, the Photo by Merlin Daleman walking bass lines and Freddie what a great piano player he was. PETE LONG, leader of big triumph in The Deacon, the Green’s unobtrusive, but ever- From then on come all those bands playing the music of woodwinds dance alongside the SCOTTY BARNHART Wess and his original that has affected everything that old and the new with his original present guitar, tied together by familiar arrangements sounding Goodman and Ellington soloists in Speaking of Sounds and SAYS.... composition of Half Moon Street. came after. The Atomic Basie composition and arrangement of the propulsive percussion of better than you remembered of course there is the famous We played this at Frank's shows the orchestra's power and Discomotion, which we still play Sonny Payne, give you a matchless them: Duet, After Supper , Flight Of BASIE/BENNETT trombone fanfare of HRH - Her Chairman Of The Board is memorial service in New York in unprecedented swing that is today, the abundance of rhythm team. The Foo Birds, Double-O, Teddy The This 1959 disc by Royal Highness. This is a truly perhaps my all time favourite January 2014 and I put this on supported by the greatest outstanding soloists has to also Toad, Whirlybird, Midnite Blue, and the Count Basie Orchestra is versatile album that is a real Basie recording and the one I the set list every night. It’s a rhythm section for a big band in be noted. On Easin' It, the entire The front line section-work is Splanky, Fantail, and lastly, that part of a long list of celebration of a great band and recommend most. The orchestra masterpiece of precision writing Basie, , Sonny trombone section and trumpet unbelievably precise but is saved musical duvet Li'l Darlin'. Well collaborations between the the stunning arrangements of superbly demonstrates how in and execution with nice solo Payne, and Eddie Jones. As section trade four bars and from sounding mechanical by recorded, brilliantly written, Count and a Who’s Who of jazz , , Frank the late 1950s they had arrived at changes to play over for the evidence of Basie's genius, the demonstrate the seven distinct continuously shifting dynamics timeless arrangements, played by and pop singers between the Wess and . The a level of blues-based soloists. Chairman of The Board great and wildly popular ballad of personalities as they swing the and tone colours, interspersed the greatest big-band of all time. mid-50’s and early 70’s. At the original stereo mix sounds sophistication and unparalleled also got major promotion with Li'l Darlin' by Hefti was originally blues away. Frank Foster, perhaps swing. The original composition with superb solo work, PAUL LACEY, leader of the time, Bennett was just beginning fabulously warm and exciting and the major motion picture The an uptempo piece, but when Basie's most prolific and and arrangement of Frank particularly from the tenors of Back to Basie Orchestra to hit his straps as a jazz singer this pressing is complete with Errand Boy where he pantomimes Basie heard the first run through, consistent arranger, who also Budd Johnson and . having scored huge pop hits Leonard Feather's original liner Foster's Blues In Hoss' Flat sets to the shout chorus of Foster's he told Neal, ‘That's not the right hired me in 1993, is someone the pace for the album and is throughout the 50’s. One could notes. A must have for every jazz Blues In Hoss' Flat. This is a classic tempo...let's slow it down...’ The who needs to be mentioned with The titles, conjuring a world gone ONE MORE TIME probably the most perfect piece argue his interpretation at this collection! album and definitely one of the rest is history as Li'l Darlin' distinction. Of all of the arrangers Recorded between December of music ever written for The by, are none the less exciting for ‘early’ stage had yet to reach the JAMES PEARSON, jazz top two or three Basie ever became one of the top two or who wrote for the orchestra, 1958 and January 1959, One More Count Basie Orchestra. It stands that: the very fast Little Pony with emotional levels of, say, his work pianist/Artistic Director at recorded. three ballads in jazz history for a Frank's combination of deep Time promises much, boasting as the test of time because it has its shock-tactic ensembles and with Bill Evans later on but, on Ronnie Scott's Club jazz orchestra and it’s still one of blues understanding, writing the it does a real full strength A-Team everything Basie insisted on in his The Atomic Mr. Basie was a hair-raising tenor battle; the the whole, he equips himself well, our most requested pieces to perfect rhythms for the saxes and medium tempo Blues Back Stage version of the Basie band, arrangements such as the perfect groundbreaking album that delivering eleven songs with play each night. I also have the brass, and knowing what not to sporting a trombone solo that featuring compositions by Quincy tempo, which is held solidly by opened the door for even more good fortune of having inherited gusto. The Basie aggregation, of write, is why his work personifies emerges from unfathomable Jones. However, mainly due to Basie, Freddie Green on guitar, new and exciting arrangements the trumpet solo for this as well. course, are exemplary and swing Basie's intent and desires for how depths; and the perennial One some oddities in either the Eddie Jones on bass, and the ever for the orchestra. With the their way through the Ralph he wanted his orchestra to O’Clock Jump all swing in that studio engineering or the WIN A COPY OF masterful Sonny Payne on drums, writing of Neal Hefti, which Basie Hearing the Count Basie Sharon charts as only they could. sound. And Frank was in his early inimitable manner that gave the remastering, we are presented whispering and shouting the edited in the studio to keep Orchestra play live is one of the Sharon, Bennett’s long time COUNT BASIE: 20s when he was writing these era its name. Times gone by with an aural picture of all this blues, space for Basie's perfectly things clear and at the perfect greatest thrills anyone could have pianist/MD also plays in Basie’s tunes! Basie At Birdland is also a perhaps, but never surpassed. majesty which is curiously out of ORIGINAL placed solo, and several other tempo, the orchestra blazes and Basie Live At Birdland is an place on all but two of the tracks. great way to hear the soloists HUGH LEDIGO, jazz pianist balance. Many of the solos sound ALBUMS solos with the most notable through tunes like The Kid From outstanding example of hearing as if the soloist is way off-mike, stretch out. also and Jazz Rag reviewer If there was a criticism; it’s that being the plunger of Joe Red Bank, which shows how the and feeling the energy in an and the bass seems to be contributes a masterpiece in I some of the writing is a bit ‘un- Which Carolina-born musician Newman. We still play this every orchestra can play fast but still atmosphere that is actually the engineered in such a way that its Needs To Be Bee'd With. The THE ATOMIC MR. Basie’-like, but that would be in joined the Basie band in 1937 night and I inherited the trumpet totally relaxed. Basie's piano solo best way to experience this middle-register frequencies cloak tempo is perfectly Basie and it comparison to the Neal Hefti and was still there at the time solo some 20 years ago. It is a is a textbook example of orchestra. Birdland was the main BASIE the horns in a non-specific cloud allows for Basie to take his time and Quincy Jones efforts for the of the leader’s death in 1984? thrill beyond description to play knowing what to play and also place to hear live jazz in New Count Basie's first album for the of gloom. This reaches its low and play one of his classic solos. Basie/Sinatra sessions of '62 and it. Also worth noting is the what not to play. Splanky also set York at that time in the late 50s Roulette Label became the point in The Midnite Sun Never The trombone of Quentin '64 that are so good it’s almost THREE copies for the excellent and forward thinking a new precedent in playing in a and Basie did annual residencies definitive recording of Basie's Sets, which puts the listener’s ear ‘Butter’ Jackson takes over while unfair to compare. lucky winners - send your writing of Thad Jones on his ‘laid back’ style that this there to the delight of anyone sixteen men swinging. The right under the bells of the cup- Q's background riffs for the DENNY ILETTguitarist and answer by email to composition and arrangement of orchestra practically invented. within a few hundred miles of pleasure of listening to this horns provide one of the most muted trumpet section and singer. Co-Leader of Bruce- [email protected] Speaking of Sounds. Thad's use of Note how they play the shout New York. From the excellent reissue was enhanced by the solid blues-based cushions for a Marshall Royal’s alto some Ilett Big Band. m or by post to Jazz Rag, the flute of Frank Wess and the chorus (after the soulful tenor arrangements of Frank Wess' excellent sound from this distance down the studio PO Box 944, Edgbaston, bass clarinet of baritone solo), a series of 12 eight notes Segue In C, Freddie Green's soloist (Jackson is the lucky one) transfer to CD, though the corridor! CHAIRMAN OF THE Birmingham, B16 8UT. saxophonist Charlie Fowlkes is beginning at 1:54 or in the fifth Corner Pocket (arranged by Ernie to play on top of. This album microscopic sleeve-notes were Closing date January 16th, groundbreaking. Thad then adds measure after the shout chorus Wilkins),Wilkins’ tour de force of should be played at parties and unreadable. 57 years have passed It’s not all bad news ,though- for BOARD 2015. one of the most soulful trumpet begins. No other orchestra in Basie, which we still use to close just whenever one wants to since the music was recorded, the committed listener who is From the opening shuffle that solos in jazz history on top of it. history had played this way our sets every single night, and invoke a happy and friendly but the album has lost none of its prepared to hear the wood from builds into Blues in Hoss' Flat this Lastly, we have to acknowledge before and it began a way of Frank Foster's Easin' It, to his atmosphere wherever one might appeal. Basie's Swingin' Machine the trees, we still have album showcases the acclaimed the superb contribution of Frank doing things for the orchestra perfect display of the mixing the be. 20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

TUBBY HAYES reminder of Tubby’s more lyrical subtly and effectively, as they are SUE RANEY & by some obnoxious male singing. driver The Stopper, fast-moving these guys swing hard, in part side on Sometime Ago, a gently behind Tom Walsh’s keening EARL HINES Ignore these - enjoy the and fluent, with Hart and Green thanks to the leader’s lively ENGLAND’S FOREMOST waltzing excursion containing trumpet on Until the Fall. Chris COMPLETE CAPITOL YEARS impeccable majority. flying, and for me, it’s the best drumming and their music should TENOR SAX MEETS U.S. some of his finest flute work. Very Allard on guitar makes the most 1956-1960 thing on the album, with Brown please anyone with an open mind highly recommended. of his solo opportunities and COMPLETE RECORDINGS LES TOMKINS JAZZ GREATS at his best. Buy without and ear. Dudley Phillips, Nic France and Fresh Sound FSR-CD811 hesitation- even better, catch the SIMON SPILLETT Mark Nightingale complete a fine Solar Records 4569947 : 2 CDs, HART/GREEN/RIDLEY/ band live. PETER VACHER Fresh Sound Records FSR-CD 101.50 72:32/ 67:53 backing group (Ms. Dankworth BROWN 839 2 CDs 74:53/63:35 backing vocals) aided at times by CHARLIE WOOD I think that it is a fairly accepted PETER VACHER MANNY ALBAM – a double string quartet under The ongoing CD reissuing of In reviewing this new 2-CD set, I fact that most jazz fans MJQ CELEBRATION ERNIE WILKINS AND Magnus Johnston. classic jazz LPs supplies a have to first declare an interest, NEW SOUVENIRS appreciate good singers. treasure trove for younger KEN MATHIESON’S THEIR ORCHESTRA having provided notes to Especially singers who can instil listeners, as well as, for longer- King’s Gambit KGR001 66.30 CLASSIC JAZZ Perdido DOR 1401: 51.42 RON SIMPSON accompany the previously some jazz phrasing into their termers like me, providing gems ORCHESTRA THE DRUM SUITE unreleased session which styles and, because there is a missed the first time around. The The late Mike Garrick first concludes disc 2. Memphis-born Charlie Wood is dearth of jazz vocalists, and in conceived the idea of a tribute three albums contained here, CLARINET GUMBO Fresh Sound Records FSR-CD often loosely categorised as a our enthusiasm to spot new from 1966 and 1967, came out group devoted to the music of SWINGSVILLE SESSIONS 837: 66.22 Virtually any rediscovered Hayes blues singer/pianist. However, his candidates ,we often give credit when, more than listening, I was the Modern Jazz Quartet, is worthy of attention, but these first studio album to be recorded to quality singers that have little enlisting vibist Jim Hart, bassist Lake LACD333 63.38 spending time interviewing A wonderful release including not -TV recordings find him at in the UK, co-produced with his Fresh Sound Records FSR-CD to do with jazz. everybody, including the relaxed Matt Ridley and drummer Steve There’s a discussion raging in only The Drum Suite but also Son close to his peak. Just listen to wife Jacqui Dankworth, reveals a 835 2 CDs 112.00 Mr Hodges and the smiling Mr Brown to complete his quartet. I certain jazz circles about of Drum Suite. the torrid invention of Opus much wider range than that Such a case is Sue Raney. In the Hines. So it's nice to hear them heard their debut appearance at Ocean, for example. There’s also a implies. All 12 songs are originals, Texan saxophonist and clarinetist 1950s Sue was a quality singer of Swanage jazz festival and felt replication; the practice of now. Drum Suite is described as a neat interview with show host with the opener, No Repose, Buddy Tate is a somewhat pop songs: good voice, good straightaway that they were on to faithfully reproducing a past musical portrait of eight arms Herb Pomeroy on which Tubbs pleasingly suggestive of early forgotten character these days. range, good diction. All these Once Upon A Time is a mixed bag something, especially given Mike’s classic either as a mark of from six angles. The power of the puts the argument for British Randy Newman, even in the He made his name with a band things but it would be a stretch of seven performances, showing own quirky touches and Hart’s respect or as a rite of passage. four drummers together with jazz. piano style, the vocalising rather led by Andy Kirk but is probably to include her in the jazz the pianist in a big band setting. It invariable creativity. One musician likened it to saxophonist Hal McKusick and smoother. The funky Music is My best known as a member of category. means he takes his turn for solo wearing someone else’s trumpeter get However, by no means does this Monkey gets nearer his roots, the Count Basie’s band which he space among a bunch of So no direct note-for-note underwear and poured scorn on things off to a rousing start. ‘new’ material overshadow the vocal style more abrasive and joined in 1939 and with whom he She was the vocalist with the Ray outspoken Ellingtonians, plus the replications for this foursome, its value. These thoughts are Issued in 1956 and selling almost impact of remainder of this set, from time to time his years stayed until 1948. After leaving Anthony band at the early age of unique clarinet of Pee Wee rather a fresh look at a familiar prompted by what Mathieson is 100,000 copies, this six-part suite which includes both Hayes’ US leading a Hammond organ trio Basie, Tate found success on his eighteen and she had been Russell. One track, Fantastic, That's repertoire, now with pianist seeking to do here with his show to great effect, but by and is a delight throughout. The drum recorded albums Tubby The Tenor own, starting in Harlem in 1953. singing semi-professionally from You is by a quartet, featuring the Barry Green in for the departed Classic Jazz Orchestra and their large this is a very thoughtful solos are written, with no one (1961) and Tubby’s Back In Town The three albums re-issued here the age of four. So she knew her more conventional clarinet Garrick. Subsequent hearings evocation of the New Orleans album, seldom harsh, often allocated more than eight bars at (1962). OK, so long time TH cover the period 1959 to 1961 way around a song. concept of Jimmy Hamilton, have only confirmed my initial Clarinet Tradition. Happily, he has melancholy despite the chirpiness a time. The drums never collectors will already have this and comprise Tate’s Date, Tate-A- elsewhere heard on tenor. view and there has often been come up with a fresh approach of songs like Detache. It’s not overwhelm the melodic, carefully material - first issued in the UK Tate and Groovin’ with Buddy Tate Capitol were impressed and Another good change-over is the added bonus of alternating to the period material that he surprising that the publicity constructed sketches in which on Fontana - but beautiful and together form a delightful made a worthy effort to launch trumpetman/violinist Ray Nance tenorists Alan Barnes and Dave has selected, idiomatic for sure emphasises the quality of the remastering and the inclusion of package of generally easy her career as a ballad singer but displaying his vocal prowess on O’Higgins for that part of the but vivacious, the musicianship of drums are allowed to shine. the rarer US label art work and lyric writing, not that Charlie swinging blues and jazz standards. that was at the time that rock ‘n the lusty Blues In My Flat. Hines back-story that brings in the a high order and the inclusion of Albam and Wilkins – both sleeve notes make this collection Wood is any slouch at writing The first set is by a seven piece roll was in the ascendant at that shines brightest on one of his MJQ’s collaborations on record travelling clarinet star and New outstanding composers and a must. Highlights come thick and melody: sometimes repetitive group with a front line of time and she fell into that black own songs, You Can Depend On with Sonny Rollins. Since those Orleans scholar Evan arrangers – work their magic fast, proving time and again how maybe, but a much more trumpet, trombone, tenor and hole which enveloped all singers Me. early days, the group has become Christopher adding an extra layer with aplomb. On Bristling we have Hayes could more than hold his attractive set of tunes than on baritone saxes plus a of her style. The record company a regular feature at club and of class. brushes backing a quartet of most self-composed albums. own in the heaviest of company: conventional rhythm section. As even gave her and That Hodges alto eloquence festival appearances up and down trumpet, alto, tenor and Production and accompaniment try the virtuoso account of good as this set is, Tate-A-Tate is to help her on her way. comes into its own on two small the country and gathered the Casting any hesitations aside, it’s trombone. There are interesting are excellent, with the long Airegin on disc one, or the three- even better, being a quintet with Unfortunately they not give any group sessions teaming him with most fulsome of compliments. worth saying straightaway that tonal colours with the band central song, the conversationally sax jam with James Moody and the wonderfully chuckling sound of these talented people the Hines - Stride Right and Swing's Deservedly so. Mathieson has worked hard to including English horn and soulful Don’t Think, boosted by Roland Kirk on Stitt’s Tune, during of fellow former Basie-ite Clark quality material which might have Our Thing. On the first of these, find pieces that suit Christopher piccolo. The recording made the fine interplay between Wood’s which Hayes slams down a truly Terry providing his customary just made it all happen for her. guitarist For their debut recording on and the playing of his cohort is most of the techniques of the piano and Ben Castle’s formidable gauntlet. The Boston ‘twinkling musical merriment’ on Instead they tried to re-launch contributes strongly. Hines' happy Ridley’s own label, the quartet both accomplished and pleasing. time and Son of Drum Suite, session also includes a nice , the strings used trumpet and flugelhorn, in her with some pallid rock ‘n roll romping enlivens his Rosetta , and adds O’Higgins as ‘special guest’ There are little-known rarities recorded some four years later, like Jelly Roll’s Stop & Go and exploited to the full the new contrast to Tate’s darker tone. songs. Hodges takes off mightily on C and it’s pleasing to report that The ever reliable Tommy Flanagan Jam Blues. The later date brings the original concept hangs Ganjam which the great man stereo sound. No less than five is in support on piano. I can’t find anything on these 40 back Hamilton and fellow together really well. From the never recorded and which drummers were assembled in a tracks which remotely relates to Ellington sidemen Cat Anderson pristine opening to The Golden Mathieson has adapted from wide semicircle to enhance the Groovin’ is a quintet with a front jazz. She sings with a confidence (trumpet) and Buster Cooper Striker with Ridley following the printed lead sheets, through to stereo sound. There are no self- line of Tate and guitarist Wally beyond her years but, (trombone), and adds another, Percy Heath line perfectly right Jelly Roll by Charles Mingus, re- indulgent, long drum solos. Richardson and we also get to occasionally, she seems not too Sam Woodyard on drums. And through to Green’s probing solo imagined for this classic line-up of Charts were provided by Al hear a little of Tate’s clarinet too. certain about the melody and her the ten tracks typify something interjections and Hart’s trumpet, trombone, three reeds, Cohn and amongst the soloists Tate was one of the great tenors up tempo numbers are more of that is occasionally evident - here ebullience, the group sounds piano, bass, & drums plus are Clark Terry and Bob of the swing era with a full- an attempt to achieve a rock ‘n are seven musicians who are animated and involved. While this Christopher as clarinet soloist. Brookmeyer. bodied, at times, almost roll beat. palpably having a very good time. music may seem simple at first Bechet, whose Moulin A Café is overwhelming sound. This is a The fun leaps out to the listener. hearing, the component parts played by a clarinet trio, and then This is a welcome addition to the most enjoyable, ‘compulsively Sue Raney is a superior singer need to be well-judged and Bigard and Simeon each get a Fresh Sound catalogue and the swinging collection of easy but don’t think Ella. Think Doris Sadly, these double albums can be balanced, with no over-playing or look-in, via original pieces and a 24 Bit digitally remastered sound blowing sessions’. The original, Day. padded out with lesser material. sudden departures from the version of Black Bottom Stomp is a bonus. informative liner notes are In this case, it's the contents of script. Hart is a wonder of the (taken fast) where Evan has the included too. JOHN MARTIN three 78s, which are largely age, of course, with Green, Simeon tone and feel to a T. ALAN MUSSON mediocre female vocals. Then five Brown and Ridley not far behind. Engaging, varied and yes, valid so ALAN MUSSON from an LP that are permeated I loved O’Higgins on the Rollins forget the underwear jibe for 22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

Sarah Moule thing comes across as a loving Carl Allen impress on this track Matt Skelton April? and Manhattan In The Rain , different versions. Three tribute to a bygone era, although and elsewhere. the latter being a nicely- Reflections has the same ‘floating’ a certain restraint in the drum constructed story of a 'fleeting quality, whilst the Herbie department (or perhaps under- Guitarist Evan Perri shines on the meeting'. Hancock composition Actual Proof recording) does rob some tracks closing Two Bass Hit, which makes is one of the few with a driving of their potential excitement. a suitable finale to an uplifting It's all good stuff, and strongly rhythm, which allows drummer Nevertheless it’s great fun. album. recommended, but part of Miskiewicz a lively solo. The performing is ‘how you finish'. version of Message In A Bottle on HUGH LEDIGO TONY AUGARDE This accomplished lady finishes this disc is at odds with much of superbly, giving much appealing the music; here, it seems to have MACK AVENUE JIM RATTIGAN, feeling to I'm Through With Love, a skeletal framework which THOMAS GOULD, with just the Pearce piano and affects the improvisation SUPERBAND the Carmello flugelhorn in somewhat, but overall Spark Of LIAM NOBLE perfect support. Life is an enjoyable session. LIVE FROM THE 2013 SKELTON SKINNER TINA MAY TRIPLICITY JAZZ FESTIVAL ALLSTARS SEPTET LES TOMKINS GREG MURPHY MY KINDA LOVE Mack Avenue MAC 1086 77.27 Pavillion 003 - 56:21 PLAY ELLINGTON AND MARCIN WASILEWSKI BASIE Hep Jazz CD 2101: 60:59 TRIO WITH JOAKIM The Mack Avenue label has a The idea of French horn, violin THREE CLASSIC ALBUMS SARAH MOULE THE EVERGREEN and piano improvising may be roster of such top-class musicians This brings my total of excellent MILDER PLUS difficult to approach; the only Diving Duck DDRCD 022 CLASSIC JAZZ BAND that it is able to assemble a Tina May CDs on my immediate SONGS FROM THE other French horn in jazz I am 44.51 supergroup from them, which is shelf to nine. It's her second for SPARK OF LIFE Avid Jazz AMSC 1138 : 2 CDs aware of is that of Willie Ruff, of FLOATING WORLD EARLY TUNES 1915-1932 heard here performing at the the Hep label, one year after the Ruff/Mitchell Duo. And yet 79:29 / 79:24 Detroit Jazz Festival in 2013. You This group might be called a Divas, which I reviewed in JR 129. ECM 2400-73:51 Red Ram RAM 002 53.00 Rattigan, Gould and Noble's slimmed-down version of the Delmark Records Jump 12-37 might expect such a pick-up American-born reedman Frank There are certain jazz names the attempts to reach common Skelton Skinner Allstars Big Band, 69:32 group to perform like the Griffith is again largely in charge Wasilewski, a Polish pianist, sight or sound of which Presentation is not of prime ground in improvisation make an an ensemble which has been musicians on one of those of supplying imaginative settings established a musical partnership immediately conjure up importance, but it often helps. So interesting listening exercise. The specialising in retreading the The Seattle-based Evergreens undisciplined jam sessions that for an inventive jazz singer. with bassist Slawomir Kurkiewicz virtuosity. Such a name is Dexter why does this album have a front eleven titles were all composed steps taken by the Terry Gibbs have been around for just on end some concerts in near-chaos. and drummer Michal Miskiewicz Gordon. Born in Los Angeles in cover which is disconcertingly by Rattigan; consider Sweet Dreamband. On this new CD thirty years. As you may have But this is a well-rehearsed As ever, Tina has selected some in the early-1990s which led to 1923, he was a genuine West gloomy? Sarah Moule appears as Tamarinds where the ensemble is they are a tight little septet full of gathered, they specialize in early ensemble which plays with not-overdone standards for Polish trumpeter Tomasz Stańko Coaster. Yet with the advent of a ghostly face looming out of a pleasing and the sonorous French first-class musicians, including jazz performances. On this disc cohesion and mutual respect. The diverse treatment. Four with an mentoring the group for several the 'fifties 'West Coast Jazz' dark background. A Google horn sounds like an improvising guest star Alan Barnes, who is as much of the material is drawn result is a live recording that eight-piece include a Latin take years before recruiting the trio as movement, although he had search shows plenty of instrument, whilst piano and starry as usual. You might also say from the embryo biggish bands conveys the excitement of the on I Wish I Knew with her fervent his working band in 2001. The worked with the likes of Parker, photographs in which Sarah is violin are nimble. The sense of that they are treading familiar which emerged in the first third occasion and contains brilliant phrasing and fine solo spots, such benefits of being a working band Hampton and Armstrong, he undoubtedly attractive, but the purpose and mutual interest ground, arousing the question of the twentieth century. playing from some fine musicians. as John Pearce switching to are easy to hear and help the trio found himself under-employed. choice of this cover picture is a Regardless of the social and really lifts this title, and the next ‘Would you prefer to hear this Rhodes piano. On her vociferous title, Blitzar, has the same qualities host a guest appearance for But as he told me in 1962: 'Inside mistake. economic vicissitudes of the era, The stars might be singled out as band rather than the Ellington or Long Way From St.Louis , an even if the tone of the French tenor saxophonist Joakim Milder, of me it was still swinging - I kept much of the popular music came trumpeter Sean Jones, saxist Kirk Basie orchestras to which they extended scat exchange with the Thankfully the music is much horn is not quite so uplifting. a fine Swedish musician, whose hearing the changes. As the song across as ebullient and optimistic Whalum, and two vibists – Gary are paying tribute?’ Framed that trumpet of Freddie Gavita is more appealing. Sarah has long ethereal tone complements the says, they can't take that away and these qualities have been Burton and Warren Wolf – who way, the question almost answers enjoyable. On S'posin', it's the been renowned as an interpreter But all too often, the listener is ‘stillness’ of the trio. That is to from me'. captured very well by the also tackle the marimba, notably itself. Who could match Basie’s voice of drummer Winston of songs by , and left with the slightly alarming say, there are few driving rhythms Evergreens, despite their need to in a duet on ’s Señor original performance of Splanky Clifford with which she scats ten of the 16 tracks on this CD feeling that the spiritual glue that and the music often seems to This Avid collection from 1955 reduce big-band section work to Mouse. Warren Wolf may seem or Ellington’s Squatty Roo? And happily, and the Griffith clarinet have lyrics by Fran set to music binds the three is coming ‘float’. and 1960 contains some just four front-line instruments. fairly new on the scene but he how could altoist Colin Skinner and Janusz Carmello's trumpet by pianist , Sarah’s unstuck, so to speak. Those powerful evidence of his match Johnny Hodges’ gorgeous indulge in some fours with the reliable accompanist. Landesman holds his own well with Gary listeners used to classical Wasilewski is a fine composer, improvising genius. The six tracks Predictably, Ragtime and tone in a number like The Jeep is drums before her second whole lyrics are noted for being literate Burton. In another Chick Corea chamber music may not identify witness the gentle, elegiac Austin, from 1955 that open CD2, Charleston rhythms are much in Jumpin’? chorus, lyrically shared with and often ironic, as in the number - Chick’s Tune – Sean with this feeling, but those used a musical portrait of a friend released originally as Daddy Plays evidence and Swipesy Cake Walk, Clifford. Tina's French/English opening Lord I Wanna Be Good, a Jones’ solo proves that he has to the rhythmic devices and passed on, and the title track, The Horn, are particularly written by a protégé of Joplin’s, is Yet these players are no slouches delivery of If You Go is as desire which is qualified by ‘But plenty of technique but he also harmonies of jazz may well agree. heard here in two slightly rivetting. Driven along by Kenny a particularly happy track, as is and they produce very enjoyable expressive as expected, backed please not right away’. And the manages to remind you of the Dan Grinstead’s rendition of versions of the chosen beautifully by Ian Laws on jazz standards benefit from fresh chords underlying the tune. GREG MURPHY Tina May Nappy Lee, a set Ragtime piece repertoire, although the CD lasts acoustic guitar, plus the rhythm approaches. For instance, Sarah Pianist Aaron Diehl and drummer from 1903. for barely 45 minutes. Co-leader trio that is buoyed by the time- takes I’ve Got You Under My Skin as Chick Corea drummer Matt Skelton has an honoured bass presence of Dave a delicate ballad. Armstrong is represented by enviable technique (well, I envy Green. Stomp Off Let’s Go and Put ‘Em him) and Colin Skinner is adept I’m not usually a great fan of Down Blues, Keppard by Stock on alto sax, an instrument that The known songs are splendidly contemporary vocalists, many of Yards Strut. Although Jimmy Alan Barnes wisely stays off to augmented on two of four that whom tend to sing out of tune Noone’s Apex Blues and She’s avoid competition. Pianist Rob employ the sounds of the and without any jazz feeling. But Funny That Way are two familiar Barron catches the right elegance Bowfiddle String Quartet. I am Sarah Moule wins me over by tunes, I confess most of the in Fantail, and Gordon Campbell gratified to have become familiar singing in tune with plenty of seventeen tracks are unknown to contributes neat muted with the songwriting of the feeling - and an undercurrent of me, but I’m prepared to believe trombone in Everybody Knows (an celebrated saxophonist/arranger hot emotion which suggests that these versions are as faithful as unhackneyed Ducal tune). So a Duncan Lamont, as well as his her first name should be possible to the originals, certainly pleasant album, although the soloing and accompaniment skills. rewritten as Sahara. where the arrangements are comparison with Ellington and All are delectably heard here concerned. Solo work is Basie may be odious. when Tina gives her all to two of TONY AUGARDE competent, if lacking the flair of his ballads, Where Were You In their early models, and the whole TONY AUGARDE 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

Donald Byrd of this material comes from his versions of Body and Soul, initially pen. Indeed, some of the tunes hushed, in expressively broken are pleasing enough though, fifty- phrases, and Answer Me, My Love, odd years on, they do not have delivered straight, one of two the impact that, perhaps, tracks to have previously contemporary ears would have appeared on After Blue, Tierney’s experienced. And there is little Joni Mitchell tribute album. On beyond unison theme statements Paris Sessions, with only Merlaud to add colour to his themes. and (on some tracks) Kevin Axt’s unobtrusive bass guitar, Tierney The real interest of these cuts out the vocal pyrotechnics sessions lies in his illustrious side- and communicates simply and men. The first four tracks of disc directly; it comes as no surprise one boast and that the album was recorded in Kenny Clarke in the rhythm only two days, there are no tricks Drew, and drummer have been part of the three albums recorded for Tom an exercise in familiarity until you section and some delightful cool or clever arrangements to take Lawrence Marable, Dexter pianist's trio since 1994. Bollani Wilson’s tiny Transition label in realise that so many of today’s alto from , replaced time. I guess its appeal will be to produces flows of creative tenor varies the size of the band, with 1955-56, the common crop of pianists have been for the remaining numbers by a specialised audience and it will jazz for up to four minutes at a duets and trios as well as the full denominator is , one influenced by Evans and it’s his Percy Heath and plus, be interesting to see if the time on some blissful blues and a band; for this listener, the best of the most prolific of all the harmonic language that they’re for the last five tunes, customary Grammy nomination resounding You Can Depend On results are to be heard when all trumpet talents to emerge post- speaking. Here’s Portrait in Jazz on valve trombone and Cecil comes Tierney’s way, but, if you’re Me . That distinctive big sound is five men are on deck, so to Clifford Brown (he appeared on from 1959 with Scott LaFaro, Payne, baritone sax. looking for a peaceful, relaxed, at its ballad best on Autumn In speak. over thirty albums in 1956 bass, and drummer Paul Motian, gently stylish album, look no New York. alone). Nearly sixty years later, then it’s Everybody Digs Bill Evans, Disc two benefits from the further. The ‘joy’ in the title is certainly the jury is still somewhat out on from a year earlier with Sam services of and The second-best selection are well-placed, the music here has a Byrd’s merits: was he truly Jones and , and on Stanley Turrentine for six tracks, RON SIMPSON nine under a Hot And Cool buoyant, ebullient quality as the Brownie’s heir? Or was he, as to Sunday , and Sonny Cohn heading, that actually means fast opening Easy Healing has a some critics had it, too facile and with LaFaro and Motian again this for another seven, with equally PAUL SMITH TRIO and slow. It's a quintet on three cheerful almost-Carribean flavour faceless to really stand out? plus the alternative takes. So, as I prestigious rhythm teams. AND QUARTET tracks, with a trumpet added, but enhanced by some fine solo These albums provide plenty of say, a feast and for once the strap again the quartet works ideally, work. The echoes of Thelonious For my money, these CDs are opportunity to reach your own line is right, these are classic THE BIG MEN/THE SOUND the talented pianist here being Monk sound out loud on No albums. Contemporary critics more than worthwhile for the conclusions. For the most part OF MUSIC Carl Perkins. The stand-out ballad Pope, No Party, with Turner's Byrd is on top form, with the final were united in their praise for wealth of improvisational skills on is his feelingful I Should Care , and tenor underpinned by Bollani's quartet session giving him ample the trio and it’s clear that LaFaro offer rather more than for the Fresh Sound Records FSR-CD 838 his original Blowin' For Dootsie is jagged piano and the fine guitar of room to display his gifts. was an artist of considerable leader’s own contributions. 78:04 the ultra-swinger of the set. Bill Frissell. Vale Teddy, whose Elsewhere he shares the spotlight consequence, whose death just inspiration is said to be swing ten days after the Vanguard gig in HUGH LEDIGO with what might be called the ‘Too profound, I’m not. I’m more A dozen other tracks have him pianist Teddy Wilson, is a a car accident was a catastrophe. ‘hard hop stock company’. Byrd’s interested in my family and golf… sharing space in a sextet format, contemplative piece with Frisell He was 25. Evans seems so sure- TIERNEY SUTTON Eye View is actually by the And also surfing’. An astonishing and he consistently outshines his to the fore again. footed, never hesitant, Blakey/Silver Jazz Messengers pronouncement for one of the associates. The 1960 album transforming the harmonies, line-up with added starter Joe PARIS SESSIONS most outstanding pianists of his referred to his Resurgence , as he This is one thoughtful recording; keeping interest at a high level, Gordon, who occasionally bests age. An admirer of Tatum and hadn't recorded for five years. not everything works, but there his precise, almost brittle sound his better-known brass partner, BFM Jazz 302 062 427 2: Peterson, Smith had, in his Dexter wails wonderfully on is enough to capture the always engendering swing. while Watkins At Large (headed by 51.39 thirties, assimilated all he needed them, but I found his smoothly imagination. bassist Doug) throws in ringers strolling two minutes on Lovely from these – plus Shearing, Kenny Burrell and Duke Jordan. PETER VACHER Paris Sessions is unique among Lisa , by his pianist Dolo Coker, GREG MURPHY Garner, Bach and even Grieg – As expected the music on offer is Tierney Sutton albums, very very welcome. The big man made and made them his own. pure hard bop heaven, with, to DUKE JORDAN personal, very intimate, around 40 more discs before his DONALD BYRD this writers ears, the ubiquitous establishing a mood and 1990 demise, but these are as On these recordings from all but stealing the THREE CLASSIC ALBUMS maintaining it through 12 tracks. typically masterful as any. 1959/60, Smith demonstrates his TRANSITION SESSIONS: show. In summary, if Fifties East PLUS Not that there is no variety in eclecticism with a programme FEATURING DOUG Coast jazz is your bag, this is for LES TOMKINS the material: a heart-felt version few would have risked. The first WATKINS you. Avid Jazz AMEC 1145 2CDs: of the Bergmans’ lyric to Michel half of the disc contains swinging 67:42 /78:24 Legrand’s You Must Believe in twelve-bar work-outs and Fresh Sound Records FSR-CD SIMON SPILLETT Spring is followed by her standards such as Tea For Two and 836 2 CDs, 65.54/57.32 Born 1922, Jordan was thirty- wordless vocal to Serge Cheek to Cheek contrasted with JOY IN SPITE OF BILL EVANS three on the first of these Merlaud’s Bachian Ilm and a solo performances of ballads EVERYTHING Here’s a quick quiz: name the sessions. He’d probably begun his beautifully pointed reading of which, if not exactly jazz, explore label most often associated with THREE CLASSIC ALBUMS career in a pre-Bop environment Don’t Go to Strangers. Instead of the sonorities and expressive ECM2360-75:57 the Hard Bop movement. It’s got PLUS and grown alongside the new her usual band, Tierney is here range of his instrument. The pièce to be Blue Note, right? Well, yes music – but only so far. He has a working with Parisian guitarist de résistance is a seven-minute Bollani is a well-established jazz and no. Received wisdom has it Avid AMSC 1119 79.57/78 .17 beautiful touch with clean Merlaud, more an equal partner set of scintillating variations on pianist known for his association that the music of Silver, Blakey, articulation but none of the than an accompanist. Many of the Who’s Afraid Of The Big Bad Wolf. with and solo and Mobley et al reached its apex on Avid continue to offer us a feast fluency of a or the numbers begin with an extended Threatening and whimsical by duet recordings for ECM; this is sessions made for Alfred Lion and of delights, combining three Evans pianistic mastery of a Peterson. guitar introduction, unfailingly turns, we are treated to the his first session as a group leader, Francis Wolff. However this neat albums plus six alternative takes His improvisations are invariably melodic, the tone almost bell-like, romantic grand concerto, the with guitarist , tenor 2-CD set reveals that there were in a two-CD package that truly single note lines, always correct and three of his compositions dizzying pyrotechnics of a Disney saxophonist Mark Turner, bassist other equally ambitious deserves to be in everybody’s and considered, never urgent or appear in an interesting mix of cartoon, a touch of Garner and Jesper Bodilsen and drummer producers willing to give these jazz collection. To hear this series exciting. Perhaps his talent lay in songs. Alongside a couple of even a bit of Bach. Improvised it Morten Lund. The bassist and young lions their head. Uniting of trio recordings can seem like his writing since by far the bulk bossa novas there are fine may be – though not without 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD LIVE REVIEWS

be detected on various tracks takes on an urgency not heard THE EFG here. The approach is perhaps elsewhere on the disc. But by the best represented by individual following title, No One Knows, the LONDON JAZZ contributions, such as Steve gloom returns and one wishes FESTIVAL Lane’s work with his Southern that there could be a little more Stompers, Chris Watford’s rhythm in the soul. 14-23 NOVEMBER 2014 clarinet solo on Beale Street Blues with the Dolphin Jazz Band from GREG MURPHY A partial view Hastings, and my old friend by PETER VACHER Gordon Blundy’s trombone solo BUDDY TATE in Snake Rag. QUARTET Festivals should be, well, festive and this LJF certainly was. The Mike Daniels’ Delta Jazzmen crowds were plentiful; their diverged from the strictly classic TENOR reactions often verging on the Lars Gullin idiom in swinging the music more ecstatic and for this aged than the originators did, although Sackville SK 3027 47.18 reporter the headline artists premeditation - but nevertheless work in the late ‘40s, here Moore groups like Colin Kingwell’s Jazz provided a decent balance it is a small masterpiece. sounds like no-one but himself. Bandits stick to the more four- The Texan tenor-saxophonist between the noisily emerging and The scope of his individuality is square style. It is rather Buddy Tate enjoyed three distinct the serenely sure-footed. Festival Malinga or the mis-cast Jacob commendable panache and to and fro, Moran the more The remaining tracks are devoted never better displayed than on surprising to find the Temperance phases to his career. First he was fare, indeed. Or to put it another Banks, better to celebrate Kurt exemplary skill. Back in Barbican steely, offering a boogie line at to jazz re-workings of The Sound The Monster, a blues with free- Seven in this company, as their an able section player in a series way, there was apparently less Elling and Georgie Fame, each at Hall, Italian pianist Stefano Bollani first, before moving to a freer, Of Music. For this, Barney Kessel form sections which reveal ears eclectic methods only included of territory dance bands, then a emphasis on the oddly obscure the top of their game, with both was in ecstatic communion with bluesy mode, and then erupting is added - with some spectacular very much open to then-new jazz classic modes among many other star soloist in the Count Basie and rather more on must-see Jacqui Dankworth and Emma his keyboard, almost mounting with some fire of his own, as results. There are some developments. Elsewhere, it’s all Orchestra at or very near its performers that otherwise rarely Smith drawing plaudits, too. Two the piano itself in his eagerness Glasper paced and purred unexpected treatments: My about heads-down blowing, with influences. Their technique is not peak, and then came his final come our way. days later, at the Festival’s to offer a counterpoint to the alongside. They were followed by Favourite Things and Edelweiss Rent A Hop (which replays the exactly flawless, but then Colin triumphant period as a alternative South Bank location, it dazzling bandolim (it’s a kind of an all-star grouping of the label’s becoming 4/4 swingers. The Sound Pres-patented blues-with-a- Kingwell’s band was also guilty of bandleader and widely travelled In the past, Serious, the festival was tenorist J.D. Allen’s trio at mandolin) playing of Brazilian current pace-makers, comprising of Music is accorded a thoroughly bridge idea) providing a particular some mishaps in intonation. solo artist, who spent much of organisers, seemed inclined to the QEH, this stocky 41-year old Hamilton de Holanda. Dazzling trumpeter Ambrose Akinmusire, unromantic super-fast tempo and high-spot. Listen out too for bass Altogether this is an interesting his time in Europe and the UK. follow a more contrary path as a doughty improviser evincing a doesn’t even begin to describe described to me by Mike Hobart Do-Re-Mi becomes a spectacular wunderkind Neils-Henning package which illustrates how Here, he’s nearer to his New once summed up by John Bungay strong stylistic identity, his this set. Second half delights were of the Financial Times as samba. Orsted Pedersen, playing truly hard it is to put labels on the varying styles adopted by York home, recorded in Toronto in the Times : ‘The EFG London originals well-supported by feisty somewhat reduced with trumpet ‘awesome’ as he was, tenorist astonishing things at the age of young New York drummer miserabalist Tomasz Stanko a Marcus Strickland, Beninese Whatever his mood, Paul Smith traditional bands in their heyday. by John Norris for the Canadian Jazz Festival descends on the just 16! Jonathan Barber. Fast-forward a curiously detached presence on guitarist Lionel Loueke, Glasper delivers with finesse and good Sackville label on 16 July 1978 capital offering an ear-bending couple of generations and you stage, like the Samuel Beckett of again, bassist Derrick Hodge and humour. Five bonus tracks, lifted from TONY AUGARDE (this data is absent from the cavalcade of Nordic minimalists, got to pianist Randy Weston, still jazz, enigmatic, remote, drummer Kendrick Scott. Their various Scandinavian TV and sleeve) the resulting album now US avant-noisemakers, Ethiopian upright at 88 and OK on the 88s, stylistically taciturn and vocally music was fiery, intensely HUGH LEDIGO concert appearances, make a nice SIGURDUR reissued with the same catalogue roots, kora players and and still committed to a pan- silent, his repertoire of tiny creative, contemporary yet filler, one including a contribution number by Delmark (but with turntablists, who all now march FLOSASON African cultural palette, with sounds and occasional eruptions accessible, and hard-swinging. from fellow migrant Don Byas. two extra tracks), this Chicago- under the multilingual, BREW MOORE veteran tenorist Billy Harper in contrast to the dynamism of Everyone a winner, you could say. Moore comes up best on the COPENHAGEN based label having presumably multinational banner, marked alongside in a duo set that his New York trio featuring lovely closing version of My Funny acquired the Sackville catalogue “jazz”.’ Less so, this time, happily SVINGTET 14’ – BREW QUARTET promised more than it delivered, Cuban pianist David Virelles, an Another substantial highlight Valentine, weaving heartfelt following the death of Norris. for me. MOORE IN EUROPE Harper oddly quiescent. Earlier, it implacably creative newcomer followed with and variations round a song often THE ELEVENTH HOUR Inevitably perhaps, concentrating had been a joy to observe the and drummer Gerald Cleaver as Dave Douglas’s Sound Prints, loaded with false sentiment. Tate is a player from the ‘old Fresh Sound Records FSR-CD on marquee names meant Trinity Laban student ensemble a simmering rhythmic presence. completed by pianist Laurence Beautifully remastered and school’ and I mean that as a 840 77:52 Storyville 107 4289 - 57:46. overlooking many of the other blossoming in a programme Fields, bassist Linda Oh and the repackaged, this album shines compliment. He concentrates on valuable LJF-related events taking devoted to Gerry Mulligan’s Then came a sublime experience, coiled spring drumming of Joey welcome light on a player in dire presenting the melody in bite- Fittingly, for an individual so hip This CD features Sigurdur place across the metropolis. This Concert Band repertoire, under a conjunction of all that is good Baron. Committed to the music need of re-evaluation. size chunks before unwrapping its he warrants a name-check in Jack Flosason, an Icelandic alto- year’s Festival Brochure ran to the expert tutorial eyes of in this music, with a performance of , this group was potential. He uses mostly short, Kerouac’s On The Road, Brew saxophonist with a Danish some 60+ pages, with activity saxophonists Mark Lockheart to match, by the duo of pianist direct, technical flawless and SIMON SPILLETT terse phrases, the tone husky and Moore was the ultimate jazz rhythm section, namely Nikolaj strands devoted to the Blue and Mick Foster. Interestingly, Kenny Barron and bassist Dave deeply satisfying; Douglas’s well-filled and on up tempo plays nomad. Having famously declared Hess on piano, Lennart Ginman Note label’s 75th anniversary Foster turned up later in the Holland, their last gig in a centred sound and fierce attack a with punch, using tonal variation that ‘anyone who doesn’t play VARIOUS on bass and Morten Lund on [see below], South African jazz, week playing bass-saxophone, prolonged European tour and a true delight. I was less sure about like Lester is wrong’, he might drums exploring ten Flosason and rhythmic emphasis to give a emerging British talent, special yes, bass-saxophone, in minor miracle of creative Charles Lloyd’s Wild Man Suite, a have seemed like a shoo-in for BRITISH TRADITIONAL compositions. Flosason has a tune some bite. The Canadian commissions and Jazz in the New trumpeter Laura Jurd’s interplay. No sign of strain, no collaboration between the jazz the cool-school climate of 1950s JAZZ AT A TANGENT VOL. 6 fluent, Paul Desmond-like tone; rhythm section is perfect for him Europe, with performers from adventurous Human Spirit band. need for over-the-top display for master himself, his quartet and California, but even that didn’t he opens By Myself, All Alone with pianist Wray Downes quick Norway, Sweden, the this pair had the kind of creative lyra player Socratis Sinopoulos seem to suit his tastes, leaving Lake LACD 335 (74.00) fittingly with a gentle solo on the draw and inventive in his Netherlands, Denmark, Poland, Sloane Square’s imposing ease that can be best summed as amid the vibrant sounds of the him to wander all over the States statement before piano, bass and solos, and Pete Magadini’s Ireland, Belgium, Spain, France, Cadogan Hall hosted Richard ‘the art that conceals art’ but cimbalom played by Miklos for close to a decade. By 1962, Sub-titled ‘The Classic Style drums join him for a mid-tempo assertive cymbals offering plenty Switzerland and , each Pite’s ever-enterprising Jazz with added joy. Lukacs. Lloyd, an elongated, he’d wound up in Denmark, Bands’, this is Volume 6 in a series outing for a promising start with of stimulus. supported by their respective Repertory Company in a Jacques Tati-like figure who somewhat ahead of the main which traces various styles of piano, bass and drums. While The cultural quangos. celebratory programme linked to Blue Note’s exemplary role in wanders the stage as if bemused, wave of American jazz ex-pats, traditional jazz in Britain. This CD Night Lingers has a melancholy Tate is in great form here, the 1950s Newport Jazz Festivals. the music from early boogie to played tenor with his own special ready to put down what looked samples the work of seven bands theme, which is sustained confident, breezy and often As ever, the glittery Festival kick- This embraced Ellingtonia with cutting edge contemporary jazz brand of elusivity, ghosting like firm roots. The main body of to illustrate the ‘Classic Style’, throughout although it does imperious; he plays Lester-like off at London’s Barbican Hall was Diminuendo & Crescendo in Blue was duly and appropriately between phrases, adding this release, Svingtet 14’ find him which Paul Adams’ valuable allow pianist Hess to rhapsodise clarinet on two numbers, Georgia ‘Jazz Voice’, something of a vocal re-invented by tenorist Mike Hall, celebrated over the festival’s final wonderful flute playing, a burst of in musical rude-health, sleeve-note admits is a vague in a gentle solo. taken very slowly and Lullaby of circus with selected singers High Society with Enrico Tomasso weekend, the a taragato and concluding with a accompanied by a shifting cast term. The closest one can get to the Leaves. Great tunes, superb emoting to a backdrop provided on Louis-duty, Jazz on a Summer’s premiership setting for yet poem. He’s his own man, for including saxophonists Sahib pinpointing the genre is to say Generally, the writing is similar recording, a delight all the way by the superb Guy Barker Day with Georgina Jackson ably another duo, this time the twin sure. The audience loved every Shihab and Lars Gullin. Swinging, that it derives from pioneers like throughout with that air of through. orchestra, in effect a big band recalling Anita O’Day, and Dizzy of Jason Moran and note and phrase. And why not? inventive and with less of the Jelly Roll Morton, King Oliver and melancholy to the fore. An with strings attached. No need to Gillespie’s big band bonanza on Robert Glasper. These two were Young-isms that had coloured his Johnny Dodds, whose styles can exception is the title track, which PETER VACHER dwell on the also-rans like Vula Manteca, all done with a delight, tossing the pianistic ball 28 THE JAZZ RAG THE JAZZ RAG 29 LIVE REVIEWS

PROPAGANDA Murrow figure, who acts as Propaganda a working musician he naturally It seems that the feedback via nice spacy Sunday morning SWING narrator and pursues a double Swing preferred the less dangerous switchboard melody, but it didn’t last. quest (both ultimately option… He told us that the was unprecedented. HOWARD ASSEMBLY It’s difficult to be critical of unsuccessful) for Lala and for the band was recruited from leading ROOM, LEEDS, NOTTINGHAM opportunity to report the truth. European swing musicians This led to a TV programme and Abdullah Ibrahim, not only NOVEMBER 20TH, 2014 PLAYHOUSE, OCTOBER including an Italian trumpeter but a feature on Brocksieper in the because of the great things he’s 8TH While the human stories are also instrumentalists from such which brought Freddie done from the Jazz Epistles to How many numbers do you therefore largely fictional, Arnott over-run countries as Holland, a fresh 15 minutes of fame. Ekaya, but because his piano expect in an 85-minute concert? Peter Arnott’s new play, presents a convincing picture of Belgium and Czechoslovakia - but Playwright Peter Nichols artistry remains: the touch Maybe as few as five or six if Propaganda Swing, which ran at this area of the wartime Berlin none of them black. It seems that (brother of trumpeter Geoff beautifully delicate, the power you’ve a string of good soloists, the Belgrade Theatre, Coventry, scene, backed up by several Freddie was the only one willing Nichols of the Avon Cities Jazz (though seldom used) but what if it’s a single and Nottingham Playhouse during authentic arrangements of Band) took me to lunch and told undiminished. Above all, what to speak of his experiences after instrumentalist? How about one September and October, takes as Charlie and his Orchestra. The me he was considering writing a could be better for his Leeds SWINGTIME FOR HITLER the war. He had kept recordings – 60 minutes – then after a pause its background one of the more tone is effectively controlled, with made at the time which included drama based on this bizarre devotees than to fill the smallish infamous, but fascinating, episodes musical fun and entertaining a 20-minute encore? Abdullah space of the Howard Assembly Prompted by the recent production of Propaganda Swing one where you could clearly hear episode. This came to nothing, in the history of swing music. satire on the wild excesses of Ibrahim’s concerts are not like Room to hear him express MIKE POINTON recalls a ground-breaking BBC programme bombs falling outside the studio except that few years later I Charlie and his Orchestra, German propaganda balanced by other people’s. At this stage in his himself at close range? However, of 25 years ago. when the band were playing. believe Nichols stated in another wonderful career there is no basically the Lutz Templin dance serious presentation of life and Through the help of a collector radio programme, with perhaps a for those like me who are band under the nominal attempt to reach out to the death issues for Jews, the I was intrigued to read the article shellac was easily breakable! I’d of such rare material we located touch of amnesia, that he’d first admirers rather than devotees, it leadership of singer Kurt audience, but that hardly matters mentally ill and political in the Summer Jazz Rag on Peter read a brief mention of Charlie’s an original announcement for heard of Charlie via Barry was all a bit boring. ‘Charlie’ Schwedler, was a key because the audience is made up nonconformists. Arnott’s Propaganda Swing as I orchestra in ’s one of the broadcasts which, Humphries! element in the black propaganda of devotees. It has been rightly But, for the Howard Assembly was the first to present a wartime memoirs, but didn’t linked with atmospheric of Nazi Germany against the A uniformly excellent cast of observed elsewhere that his Room, nothing but praise: documentary on the notorious know George well enough at that interference, provided a perfect My colleague Russell Davies was Allies, churning out versions of eight, directed by Hamish Glen, concerts are more like a religious architecturally and acoustically Charlie and his Orchestra since time to ask him for intro to our half-hour show. to present a series on Radio 2 American popular songs which included Richard Conlon as the observance. excellent, it offers an enterprising their brief existence on wartime reminiscences although I did Bruce Bastin of Interstate dealing with propaganda swing combined smartly swinging archetypical honest American programme, with a fair bit of jazz radio. write to Spike Hughes who had Records was just releasing the later. Then playwright John arrangements with new lyrics abroad, Callum Coates’ The main part of the concert was in among the classical recitals, referred to the broadcasts in one Charlie tracks on LP so we were McGrath informed me that he abusing Churchill, the Jews and unnervingly convincing William a medley of Abdullah Ibrahim operas, choral concerts, folk and In the mid-80s I was involved of his volumes of autobiography. able to liaise with him in was planning a film to be written compositions, but pretty much the Allied war effort. Interestingly, Joyce and a superb dancing-on- with an interviewing project for country, films, installations and He responded with a postcard, obtaining material. by a celebrated Hollywood only the contemplative ones – his while William Joyce (Lord Haw the-edge performance from BBC Radio’s Sound Archives and, the rest – and that’s apart from briefly stating that he had no blacklister. This never materialised slyly buoyant recall of African Haw), who shared their Chris Andrew Mellon as night thanks to the late Willie Bonwick its day job as home to Opera further information. Then came a We also felt that it would be of either so I’m pleased that markets, dance halls and churches propaganda broadcasts, ended up club owner Otto Stenzl. – one of their studio managers - I North’s remarkable orchestra. breakthrough. told interest to show how the allies eventually Peter Arnott was able seems to have been set aside being tried and executed, Lutz first heard some of the long- me that German drummer, Fritz dealt with this aspect of to realise some of this fascinating now he has achieved the Templin just went on with his As for the music, there is less jazz unheard recordings the band, led RON SIMPSON `Freddie’ Brocksieper, who had propaganda so we interviewed subject’s potential. Perhaps the venerable – and venerated – age music career after the war and than the script references might by Lutz Templin, made. Such taken part in the broadcasts, was Hungarian Martin Esslin, ex-head most detailed published study of of 80. Since he vouchsafed not a COMPETITION WINNERS Kurt Schwedler even spent some suggest, but it’s cleverly balanced unashamedly pro-Nazi lyrics still alive and that British of BBC Radio Drama, a producer this period is Hitler’s Airwaves by word all evening, on my return I & ANSWERS NO. 133 years in the United States. Of and, under Musical Supervisor distorting Cole Porter as ‘You’re drummer Eddie Taylor had met Hilary Brooks, was extremely for the World Service during the Horst P. Bergmeier and Rainer E. was left scurrying through course Joyce’s nationality made a the top, you’re a German flyer, him whilst playing in Munich. I COLERIDGE GOODE BOOK war, who informed us that such Lotz (Yale University Press,1997) and various CDs trying major difference, but this still well played in this first you’re the top, you’re machine was writing documentaries for Congratulations to MADELEINE bands as Geraldo’s had which gives the complete history to place a song title somewhere. I suggests the moral neutrality of production of the play. Jonny gun fire’ were a macabre BBC Radio at the time and had & JEFF DAWES of South reciprocated by broadcasting of Charlie & his Orchestra and failed, partly no doubt because I the musicians. Bower’s Charlie put over the revelation. I was captivated and heard an excellent one on Buddy Normanton, Derbys., and songs from Bush House, London reproduces many of the original am less familiar with Ibrahim’s doctored lyrics clearly and repelled and wanted to learn Bolden produced by David Perry. RAYMOND BRAY of Skegness. in German. We were able to scurrilous lyrics, the worst of tunes than I should be, but also Ray Ellington/Joe Harriott To point up the drama Arnott proved a fine balladeer on more. Willie informed me that I took the idea of an investigatory include an example of this. BBC which is the virulently anti- because he presented many in a creates more polarised political Stardust. Tomm Coles’ assertive some LPs of such material had programme on Charlie’s music files revealed that much of the Semitic British Soldier’s Song sung truncated form and at times they COLERIDGE GOODE figures. Templin and his band are soprano sax contrasted with his been released a few years before and its use as propaganda to him. more specifically anti-Nazi than mild manner as Templin and sheet music used by Lutz Templin to the tune of Onward Christian merged into a pattern of CONCERT in Germany, but almost instantly In 1987 – unlike under the Congratulations to ALAN was probably the case, so the Miranda Wilford’s Lala was every was obtained illicitly via agents Soldiers, from 1939, as featured in fragments of melody separated withdrawn for infringement of present regime - ideas were BRINKWORTH of Redditch. who liaised with London our pioneering programme: by long spells of rhapsodic transformation into Charlie and inch the star, her singing ranging copyright. I then found that an considered comparatively quickly Studying engineering/Michael contacts. We also learned that `Onward conscript army, you introspection – a sort of his Orchestra becomes a Faustian from the zany to the affecting. extract of one such track had and, thanks to David’s belief in Garrick vocalist Karl `Charlie’ Schwedler arpeggiate till ready, rather than pact with the Devil. The real Clara Darcy combined a solid been included in one of the the project, we were soon given have naught to fear, Isaac Hore moved in English-speaking society vamp till ready. Only at the end Charlie, though employed in trumpet style with the perfidy of popular Scrapbook series on the the go-ahead by Radio 4. Belisha will lead you from the POLLY GIBBONS CD circles in Berlin at the time P.G. propaganda, was too much of a Anita and Paul Lincoln dashed in Home Service years before: St. Brocksieper agreed to be rear. Clad by Monty Berman, fed of the encore was an exquisite Congratulations to: PHIL DOYLE Wodehouse was under house playboy to have taken part in the from his role as the Nazi Louis Blues with its lyric referring interviewed so we flew to on Lyons pies, fight for Yiddish melody – one, to my shame, I of Blandford Forum, Dorset; IAN arrest there. My only regret was HOLMES of Taunton and JOHN political manoeuvring Arnott propaganda controller to offer to Churchill and the bombing of Munich and found him to be a conquest while the Briton dies. have yet to place – developed in that an interview we did with SHEFFIELD of Newark. gives him (though ultimately he is some polished clarinet solos. The the London docks in 1940, `I hate fascinating character, still playing Onward conscript army, marching full and the genius of Abdullah retired producer Leslie Perowne Billie Holiday/James Pearson outmanoeuvred himself). permanent trio of Steve Tromans, to see the evenin’ sun go and proud of his status as an on to war, fight and fight for Ibrahim became obvious as he Dave Storer and Matthew Green – a pioneer of jazz programmes was leaving us. down,`coz the German he done elder statesman of German swing Jewry, as we did before.’ JAY AND KAI TRIBUTE CD Arnott takes historical figures in the 30s - was unable to be had their moments in the bombed this town…Wasn’t for (`The German Gene Krupa’). Congratulations to: GERHARD From the outset the meditative and creates characters and spotlight with numbers such as Churchill an’ his bloody war, I Freddie produced an amazing used for technical reasons since Something that brought the HOPFE of Berlin, Germany; JANE relationships that make the Big Noise from Winnetka. wouldn’t feel, yeah, so doggone scrapbook signed by many visiting it was he who had discovered the whole situation home to me prayerful tone, with the RATCLIFFE of Swindon and ROY situation more vivid in dramatic sore’. Americans he’d accompanied Charlie 78s now in the BBC once I’d presented the occasional Ducal flourish and YATES of Failsworth, Manchester. form. Lala Anderson, the famed It would certainly be surprising if over the years. He informed us library. They had been left in an programme was a letter from a gently unpredictable harmonies, Jazz at the Philharmonic/Birth of singer of Lili Marlene, is married this intelligent, thoughtful and I also traced some rare 78s of pragmatically that at the time of abandoned Nazi radio station in listener asking what, as a was appealing as a prelude to the Cool to Templin and sings with his entertaining piece didn’t surface the band in the BBC the ‘Charlie’ broadcasts, although Crete. musician, I would have done at something else, but the only DIANA KRALL BLU-RAY band. Anita Spada, who also again soon, possibly even in this Gramophone Library, with the the time. Quite a question… something else was more of the he was aware of their use as Congratulations to: MRS. W. M. recorded that iconic song, production. If it does, see it if at help of Derek Lewis who was We decided to call our same, with Ibrahim consistently propaganda, if he had turned MANTLE of Kington, becomes the amoral recipient of all possible, but don’t expect an programme Swingtime For Hitler, favouring slow tempos and minor then Head Librarian. It had been down the gig he would have been Herefordshire, and MRS. M. thanks to a suggestion from ace the favours of co-operation. evening of Benny Goodman reported that they were dropped sent with the Wehrmacht to the keys. At 45 minutes Africa BARNES of Newcastle-on-Tyne. However, the main innovation is a numbers! over Allied lines during the war eastern front as part of the film publicist Laurie Bellew, and appeared in a form my Western Elvis Costello/ or new character, Bill Constant, an as propaganda even though onslaught against the Russians. As its impact on Radio 4 listeners ears could recognise, with a American journalist, a sort of Ed RON SIMPSON was astonishing. loping dance tune followed by a 30 THE JAZZ RAG THE JAZZ RAG 31 BEGINNING TO CD LIGHT BEGINNING TO CD LIGHT

Slim Gaillard Nigeria they are joined by the In Jazz Rag 133 seven trumpeters RON SIMPSON’S ROUND-UP OF RECENT CDS immaculate Sam Jones and the assessed reissues of the prolific uplifting Art Blakey and highlights Jonah Jones, with a fair measure A rather surprising combination Club from Belgium focuses on rhythm section led by pianist this year at the age of 91.) Half include a relentless bluesy groove of disagreement. THE of band and material is the music related to weather and the Carl Winther who also the tracks are originals, many of on It Ain’t Necessarily So, followed UNSINKABLE MOLLY Danish Radio Big Band’s outdoors, with a few great produced and supplied a chunk of them attractive melodically, and by a subtle exploration of Cole BROWN + JAZZ BONUS SPIRITUALS (Storyville 101 standards such as Over the originals. This is one of those his choice of standards tends Porter’s lovely I Concentrate on (Blue Moon BMCD 853: 65.46) 4293: 57.14). Vincent Nilsson, a Rainbow and Softly as in a Morning irritating CDs that refuses to tell towards the gently romantic: You. Bonus tracks come from the makes a case for both sides. trombonist with the big band, Sunrise alongside big band you anything (beyond the fact Moonlight in Vermont, I Didn’t Know same session, plus Grant’s First Jonah Jones at his best was a dates his enthusiasm for spirituals compositions and the Beatles’ that it was recorded in Boston what Time It Was, Dearly Beloved, Stand from 1960 with Wynton fierily expansive, but humorous, back to hearing Louis and the airiest tune, Blackbird. The West and mixed in Denmark) and for etc. And indeed his default Kelly, Paul Chambers and Philly player, technically assured, with Good Book and has been Music Club, now conducted by once the internet yields little, so I position is firmly at the gently Joe Jones – Green certainly knew hints of Louis Armstrong and a performing them with his small Richard Rousselet, proclaims don’t even know whether melodic end of jazz, though the how to pick a rhythm section! rich tone despite his penchant group for years, but this is his 45 years of swing and promotes Quintonic is the name of the second album Stand By is more With the problem for playing muted, but Molly Brown first venture into arranging conviviality as one of its aims. group. The music is unfailingly varied, more swinging, with is which to choose between the is a perfunctory affair according spirituals for big band. He gets a This luxuriously produced album committed, from the freely bassist Malachi Favors a potent many CDs of his classic albums. to a popular formula, easy full, if fairly conventional, sound, (DVD included as extra) lives up discordant shrieks and honks of presence and vibes player Dream Covers have a novel listening, but an opportunist with smart section work and to that, with arrangements by the the opening Gorgonzola to the Charles Stepney guesting on two approach. Two highly rated selection from 1960’s latest hit some excellent soloists: a whole likes of Neal Hefti, Nelson Riddle more melodic Crystal Ball, more tracks. Trumpeter Ted Curson albums, originally released in show, only one track of 11 even 1957, MILES AHEAD (6087: string of trombonists and and Bill Russo alongside more controlled, but equally intense. had an equally long career (he package doesn’t live up to its Phil arrangements for an eight-piece reaching 3 minutes. Jazz Bonus that includes the incisive trumpet 75.54) and ‘ROUND ABOUT clarinettist Peter Fuglsang stand recent work. The orchestra is died in 2012) and, though he Woods Classic Albums label. Bird from two years later is a different Feathers from 1957 was originally of Al Aarons who had just joined MIDNIGHT (6085: 78.56), out and Eliel Lazo impresses as a well drilled, vocals not great The numerous pre-1964 remained a much more matter: a sextet with two guitars compilations are, as always, a mix a New Jazz LP of tracks by Wess in the Basie band. appear on CD in both mono and percussionist. As a singer he (Chrystel Wautier the best of the prominent figure than King and Dick Hyman on organ, a of loved ones and forgotten ones, vaguely Parkerish alto saxists that stereo format. In the case of makes less impact; in fact none of singers), but not frequent either, Fleming, in terms of fame he good varied selection of tunes the predictable and the eccentric. hadn’t found their way onto the Two jazzmen who are by no ‘Round About Midnight, incidentally, the singing, whether solos or and there’s a fair range of good never quite lived up to the and Jones taking more risks. In a band choir, does much for me. soloists such as Isabelle Guerin High on the list of eccentricities intended albums: Woods shows means short of reissues of 1950s ‘stereo’ means a 1962 version justified claims in 1960s sleeve sense Art van Damme Another attractively on flute. QUINTONIC (Stunt comes THE EXTROVERT up with Gene Quill on two and 1960s material are Chet ‘electronically rechanneled for notes. FOUR CLASSIC occupied similar territory to straightforward big band release Records STUCD 14072: 44.25) SPIRIT OF SLIM GAILLARD tracks. Then come two live Baker and Grant Green. stereo’. Miles Ahead is the first ALBUMS (Avid AMSC 1139: 2 Jonah Jones: frequent albums of from Continental Europe, features prolific Boston tenor 1945-1958 (Avid AMSC 1141: 2 sessions which are not led by SEXTET AND QUARTET post-Birth of the Cool CDs, 79.59/77.40) is impressive, popular songs, short tracks, NATURAL (Igloo Records IGL saxists George Garzone and CDs, 79.44/79.13). Slim Gaillard, Woods, but team him with two (Joker 6086: 75.00) was originally collaboration with Gil Evans: indeed, even though his well- catchy themes and inviting guitarist, pianist, singer, more saxists in ad hoc groupings. known as Chet Baker in Milan, a material (unlike later projects) 247: 76.36) by the West Music Jerry Bergonzi with a Danish known 1964 album, Tears for songwriter and fantasist, was Bird’s Night consists of four well-chosen mix from 1959 of from a wide variety of sources, covers. Van Damme was a very Dolphy, is not included. After mostly known for his crazy Parker compositions, with Woods bebop favourites and attractive from Delibes to Brubeck to Kurt capable accordionist who led a George Garzone leaving Charles Mingus, Curson vocals and hip verbalisings and up joined by baritone saxist Cecil standards, with Chet in relaxed Weill, but through-performed as group with the interesting line-up started at the top with Plenty of to about 1951 most of the tracks Payne, just as inventive if not so confident form and a very a suite, with Miles on flugel horn of vibes, guitar, bass and drums. In Horn (1961): crackling crisply are his own compositions: Flat fluent. Finally there are two long capable set of Italian musicians, throughout. ‘Round about Midnight 1962 for A PERFECT MATCH articulated hardbop trumpet, Foot Floogie, Chicken Rhythm, tracks from Jazz Alive! recorded the best known tenor saxist features Miles’ then-quintet, (Cheese Cake 8243: 71.38) imaginative compositions and an Cement Mixer (Puti, Puti) and the at the Half Note in the relaxed Gianni Bassi. The filler LP, which including John Coltrane, with the Johnny Smith guested on guitar all-star line-up of , rest. As well as regular partners and assured company of tenor once bore the rather pompous leader’s distinctive delicate for an always pleasing mix of Jimmy Garrison, Roy Haynes and such as Bam Brown and Zutty sax masters and Al title of Chet Baker with Fifty Italian muted trumpet to the fore on standards, originals and jazz Curson’s regular musical partner, Singleton, he is accompanied on Cohn. Something of the same Strings, dates from the same time standards such as All of You and numbers from the likes of Lester odd tracks by the cream of Bill Barron. Also from 1961 The applies to Frank Wess: FOUR and will appeal to those who Bye Bye Blackbird. For myself I Young and Sonny Rollins. It’s bebop musicians: Lucky Tenor Stylings of Bill Barron sees CLASSIC ALBUMS (AMSC enjoy Chet playing or singing – would rather have more Miles for enjoyable and well crafted, if Thompson, Howard McGhee, Curson as sideman in a group 1124: 2CDs, 77.28/77.19). Two of very well, with no hint of later my money, for instance, Miles hardly exciting, but the filler, even Diz and Bird! There is a that includes Bill Barron’s the albums are with the Prestige frailty – some quality songs: The Ahead on an Avid 4-album Martini Time from 1953, bland wonderful live recording from brother Kenny on piano. All the All Stars, one nominally under Song is You, Autumn in New York, package or ‘Round About Midnight versions of good songs, suggests 1946 of Opera in Vout, just Gaillard tracks are originals by the tenor the leadership of Thad Jones, etc. The fifty strings will probably with Milestones on Sony, but that Smith was a good influence – and Brown swapping instruments saxist, rather more cerebral than both much indebted to Mal appeal less! Grant Green’s those with subtler ears than mine either that or Van Damme had a and nonsensical remarks and Curson’s compositions, but the Waldron who supplied a string of NIGERIA (Essential Jazz and a geekier approach to bit more confidence in his swinging like mad. A 1952 session trumpeter is well at home, as he originals. Wheelin’ and Dealin’ Classics EJC 55649: 60.42) is in technology and music-making will audience by 1962! (with, possibly, Harry Carney) is is playing standards on the fine features three tenors (John many ways a companion to the find Dream Covers’ approach more blues-based and, to 1962 album Fire Down Below and Coltrane and in similarly Rollins-named Oleo tempting. complete a highly enjoyable lifting a less illustrious quintet on addition to Wess who doubles on reviewed by John Martin in Jazz collection, Slim Gaillard Rides a live session playing Curson’s flute) and is good stuff, but a bit Rag 133: recorded in the same Frank Wess Again!, a 1958 LP, finds him own genuinely original originals inclined to too many lengthy month (January 1962), with delivering his own brand of at La Tete de l’Art in Montreal. solos. After Hours has a better similar personnel, and, vocalese on several standards as Listening to The Young Bloods balance and understanding remarkably, both unissued until well as performing such classically (1956) on : THREE between the soloists (Kenny 1980, after Green’s death. Grant named originals as One Minute of CLASSIC ALBUMS PLUS Burrell in addition to Thad and Green is the reverse of the many Flamenco for Three Minutes. Always (AMSC 1144: 2CDs, 73.17/74.27) Frank). Two excellent albums musicians we encounter on of interest are those reissues by it’s exhilarating to hear Woods under Wess’s own name make up reissues who were apparently musicians who disappeared from and trumpeter Donald Byrd, two a fine tribute to another great going to do great things, but are general view, but still had long of the great survivors of the veteran who was active until his now forgotten, and it’s easy to careers. THE KING FLEMING bebop era (Byrd died last year), death last year. Opus in Swing see why his reputation grows TRIO (Fresh Sound FSR CD bursting on the scene with the (1956) has Wess on flute only, year on year. Green’s guitar style 834: 2 CDs, 50.40/53.06) made energy, imagination and with a superb two guitar was essentially straightforward, these three LPs in the 1960s, fearlessness of youth – and combination: Burrell for the swinging, inventive, with a delicate then the pianist continued his Woods’ originals (which solos, the immaculate Freddie melodic gift and on these career in Chicago undisturbed by predominate) are well worth the Green for the rhythm. Southern sessions he was paired with a record companies until 1996. remembering. Otherwise, though Comfort (1962) features light- musical soul-mate, the even more (Eventually Fleming died earlier there is plenty to enjoy, the touch Oliver Nelson short-lived . On 32 THE JAZZ RAG THE JAZZ RAG 33 34 THE JAZZ RAG THE JAZZ RAG 35