The Sussex AZZ MAG JFortnightly Issue 6 Monday 11th - Sunday 24th November 2013

Big Band Special Drummer Dave Trigwell with trombonists Tarik Mecci and Mark Bassey, rehearsing with the Paul Busby

The Paul Busby Big Band The Sussex MAG Monday 11th - Sunday 24th November 2013 CONTENTS click or touch the blue links to go to that page

Features Listings The Column: Eddie Myer Highlights

A Brief Guide to Jazz Listings for the Big Bands of Sussex Mon 11th - Sun 24th November An Interview with Paul Busby On The Horizon

Venue Guide

Reviews Improv Radio Programmes The Jazz Education Section Podcasts You Tube Channels Improv Column: Terry Seabrook Live Reviews A Guide to Learning Jazz in Sussex

""""" Credits"" " Contact Us Features Dave Drake,Dave photo courtesy of Mike Guest The Column: Eddie Meyer Jazz and Plumbing photo by Mike Guest

" The history of jazz is a as a rule questing and enquiring access to the entire history of the part of the histories of both the sorts, are usually aware of the music. Yet the value of recorded creative arts and the equivocal status they occupy in music as a commodity has never entertainment industry. The latter the wider society, and often like to been lower. And while live music has been characterized since the cite plumbers as figures of is more in demand than ever and birth of the mass media in the irreproachable industry and changes to the licensing laws have early 20th century by a continuing usefulness, deserving of respectful removed the iniquitous 2-in-a-bar dialectic between those who employment conditions that they, rule and opened up many new create the music and those who the musicians, feel should be venues for music, rates of pay exploit it commercially, both sides extended to them as well. The down at the grassroots have regarding the other across the wider public and countless busy remained frozen for over ten trenches with a mixture of little internet trolls counter these years, or even dropped. A myth longing, fascination and hostility plumbers with plumbers of their has arisen that promotion is such whilst remaining irrevocably own, whose selfless dedication to an essential key to musical success entwined. Every so often, social or grimy and unglamorous labour that an “opportunity to promote technological changes emerge to they contrast unfavourably with yourself” is a good substitute for a tilt the balance of power this way the supposedly spoilt and self- fee. Jazz has of course made great and that, causing the ranks and serving attitudes of musicians, advances into the world of formations of all sides to disperse especially ones who expect to pedagogy, which provides another and re-group, amidst a storm of make money. But comparisons source of income, but also results speculation and plain old bitching between the two occupations are in wave after wave of young from everyone concerned. Just as utterly misleading; like actors, musicians fluent in the latest the invention of the phonograph artists and sportsmen, but very altered harmony and compound led to the birth of the record much unlike plumbers, the rhythms emerging to compete for company executive, so the dawn majority of musicians are gigs. of commercial broadcasting led amateurs; sport, music, acting and " On the plus side, the ever- eventually to the establishment of art are taught to children in growing use of online social royalty collection societies, and school but this training is not networks provides a useful the train, bus and airline networks seen as vocational; few expect to extension to the wonderfully created a touring circuit, leading be paid for pursuing them, and dedicated fan networks that have inevitably to booking agents and only a tiny handful expect to sustained the jazz scene for years, musicians with union cards and, if make a lifetime’s living. Yet music ignored as it is by the commercial they were lucky, contract riders or is as ubiquitous as plumbing, and mainstream. Equally, the at least free drinks at the bar. The as present in our daily lives, and cheapness of digital reproduction multimedia revolution consequent equally in need of a professional has made recording and upon the twin innovations of class to sustain it. Let’s banish distributing an album possible to digital capture and storage on the these plumbers from the debate, musicians in a way that it’s never one hand, and universal internet industrious and indispensable to been before. The music business access on the other, has radically civilized life as they are, as the use continues to evolve at a rapid pace altered the musical landscape in of analogy, always introduced in but at the moment the benefits to many ways, opening up a host of an attempt to clarify a position, the musicians themselves are far possibilities and problems never inevitably ends up confusing the from clear. The level of before available to musicians, argument. commitment and the number of including a host of new " Never before has music hours of sheer dedication required opportunities for grumbling, and been as ubiquitous and as to play jazz to a good standard unexpectedly introducing an army undervalued as it is today. While have not changed. Let’s be of plumbers into the scene. jazz fans used to jealously hoard thankful for the spirit, the sheer " It has been customary for their precious 78s, and travel for fascination with jazz-and-related- a number of years now to miles to catch a rare glimpse of musics that keeps people involved introduce plumbers into any their idols performing, nowadays whatever the prevailing winds of debate about the current situation Spotify and the excellent Jazz on fashion or technology may bring. for musicians. Jazz players, being the Tube service provide free r A Brief Guide to the Big Bands of Sussex

The Freddy Woods Big Band " " One of the longest surviving big bands in Sussex, the Freddy Woods Big Band in Horsham was formed nearly forty years. " Expect to hear some of the classics from Basie and Ellington alongside arrangements of tunes by Benny Golson, John Coltrane and many others. " They perform on the first Wednesday Freddy Woods, photo by Toby Phillips of every month at Horsham Cricket Club. For more details: http://www.aahorsham.co.uk/content/ freddywoods

The Dave Masters Big Band

" Formed in the 1980s, The Dave Masters Big Band continue to perform at concerts and festivals around Sussex.

More information can be found Above: The Dave Masters Big Band in the 1980s. Right: vocalist Jackie Sampson with on their Facebook page. The Dave Masters Big Band, 2013.

The Les Paul Big Band

Baritone saxophonist Les Paul started his big band more than 25 years ago. The band is now run by his son, Steve Paul, and continues to play all of the classic big band tunes by the likes of Count Basie, Glenn Miller and .

For more details: http://www.lespaulbigband.co.uk Drummer Derek RobertsDrummer rehearsing with the Les Paul Big Band. Photo: Patrick Billingham The Sussex Jazz Orchestra " " The band originally began as The Sussex Youth Jazz Orchestra which was started in 1986 by trumpeter and featured the talents of young musicians such as Charlotte Glasson and Byron Wallen. Later it became The Sussex Jazz Orchestra and featured some of the best musicians in the Brighton area. " Ian Hamer performed in a number of big bands such as / Big Band, The Big Band and was good friends with fellow trumpeter . This is reflected in their unique repertoire. The Sussex Jazz Orchestra at The Kemptown Carnival, 2013 " Since Ian Hamer’s death, the band has been led by various musicians, notably trumpeters Martijn van Galen and Matt For more details on Ellis. Reeds player Patrick Billingham has The Sussex Jazz Orchestra: also done a great job in keeping both the http://a18462.wix.com/sussex-jazz-orch band and the music alive. Earlier this year trombonist Mark Bassey became the new musical director. " The Sussex Jazz Orchestra will be performing at The Brunswick, Hove on Sunday 24th November.

The Paul Busby Big Band

" Former Sussex Jazz Orchestra member and pianist Paul Busby has composed a series of suites The Watermill Jazz Suite, The Brighton Jazz Suite and, more recently, The East Sussex Jazz Suite.

The band features some of the finest musicians in Photo by Patrick Billingham the Sussex area, including Mark Bassey, Ian Price, Tim Wade, Rob Heasman and Rob Leake, together with drummer Dave Trigwell and bassists Terry Pack and Jerry Dearden.

For more details: http://www.scoredchanges.com Straight No Chaser Big Band

" Straight No Chaser are well known around Sussex as a highly entertaining big band that plays a mixture of the classic standards along with contemporary material. " The band are currently preparing to record a new album featuring compositions by saxophonist Simon D’souza, who has done a lot of their arrangements (and original compositions) over the past few years. Straight No Chaser, photo by Mike Guest " The album, Navigation, will be launched at a special concert at The Brunswick in Hove on Sunday 8th For more information on Straight No Chaser: December. If you can’t wait until then, they will be performing some of the http://www.big-band-jazz.co.uk/ tunes at their next gig at The Hassocks Straight_No_Chaser/SNC_home_page.html Hotel in Hassocks on Sunday 17th November. http://sncbigband.wordpress.com " Proceeds from the album will go towards Simon’s preferred charities.

The Studio 9 Orchestra

" One of the newest big bands in the Sussex area, the Studio 9 Orchestra (S9O) was formed in 2011 by Scott Sheridan and Philippe Guyard with the intention of presenting new and interesting big band music. " The band currently performs arrangements by the likes of Maria Schneider, , Kenny Wheeler

as well as original music. S9O Photo by Mike Guest

" Guitarist John Harris has an interview with Scott and Philippe on his blog: For more details on S9O: http://ajazzblog.blogspot.co.uk/2013/04/ brightons-studio-9-orchestra.html http://studio9orchestra.com “Traveling with a big band is like being an inmate in a traveling zoo.”

-Hoagy Carmichael Interview with Paul Busby

How did you first get you listen to big bands when into playing jazz? you were younger? " “A t s c h o o l I " “I didn’t really much like took piano lessons. At big bands, I still don’t like them seventeen or eighteen I very much. The big, brassy listened to Oscar American bands didn’t appeal to Peterson and Errol me because I’d grown up Garner and then Bill listening to Bill Evans, Miles Evans. Anybody who Davis and Gil Evans. So that hears Bil l Evans is didn’t really make me want to influenced by Bil l write for big bands. Not until I Evans. That was a big heard the Gerry Mulligan big thing for me.” band and then, more importantly, " “Then I went to the Thad Jones/Mel Lewis band. music col lege in That really got me going, and then took wanting to write…and lately a job straight away with Maria Schneider.” a band touring American ba ses in Germany. A four-piece Do you find it a bit of a band. That was when I struggle, organising a big started writing really. I band, getting gigs and so on? took a lot of the " “I do, in fact this next gig arrangement and wrote is probably going to be the last out pretty much the one for the band. There are three whole thing. And then reasons why it’s such a struggle. various other jobs came like Ian died I took it over for a One is the money side of things. summer seasons and residencies.” couple of years. Ian was a big A lot of people think that big " “I spent a lot of time in help to me and he really bands folded because of the the West Indies--over two years encouraged me to write.” money period, but it’s a lot more on the boats there with a " “When I was with Ian involved than that. I believe that Jamaican band.” there was a new band formed if somebody plays on a gig they " “Then I gave up music called People With Instruments have to paid.” and took a degree in geography. which I did some writing for and " “I tend to write all my That’s why I came to Sussex. I played piano. That was a fairly own stuff if I can. I spend hours found that the only thing I could short-lived band, about a year and hours, day after day writing do as a 29-year-old mature and a half. Then I went back to new stuff for a gig and then at student, I drifted back into stay with Ian for a while. Then in the gig you get about twenty music slowly, very gradually 2009 I was approached by people or so. And I think ‘Hello, because it’s awfully difficult if Watermill Jazz Club to write a I’ve just spent six months writing you move from a new town.” suite for them. So I did The all this stuff for twenty people " “Since being in Sussex I’ve Watermill Jazz Suite which was and it’s now forgotten and it’s been involved in small groups performed in 2010. That seemed going to lie in a drawer and never and commercial function bands to go down fairly well. Then I did be heard again.’ It’s a bit and quite a few big bands. The The Brighton Jazz Suite with the discouraging. I guess that applies first big band was Freddy Wood’s same band. And then,latterly, to all big arrangers unless they band in Horsham. I was with The East Sussex Jazz Suite.” become ‘names’.” them for five years. And then Ian " “The other thing is the gig Hamer’s Sussex Jazz Orchestra. I What got you interested in situation. You obviously have to stayed there for quite a few years, big bands specifically? Did have rehearsals and very often a then left and went back. When musician will have a gig on that day or even on the day of the gig Brighton. I advertised and sent How do see the future of big itself. Obviously, I understand press releases to The Argus and bands? that you’ve got to take the gig if other media. And The Argus " “I think there are some you’re a musician because it’s one came back to me and said that big bands that are doing very of the lowest-paid occupations they didn’t mention it because it well, particularly in Germany, the there is. So they take their gigs wasn’t newsworthy. So, how do NDR and the WDR. I’ve seen which means there’s the hassle of you win?” videos of them with absolutely trying to find someone else to do " “And trying to get people packed venues. And they’re doing it. Fortunately I’ve been something right. I think okay. People I’ve it’s partly because it’s in phoned to do a Germany and not rehearsal haven’t said Britain (as Britain is “Well, why aren’t I on more pop-oriented). the gig?” You can get The future, I think, lies that feeling and I’ve had in trying to do what that feeling myself they’re doing which is sometimes. It is a lot of assimilating some of the hassle, especially being pop influences, like let down at the last having straight-eighths, moment. You can’t guitars, different sorts always call someone and of chord sequences and say “Can you do a gig a different approach tonight?” from the traditional big " “Putting on the band approach. And gigs themselves and getting the saxes to finding established double on woodwinds. gigs….The Brunswick is into gigs, it’s very difficult. A more modern sound is very useful because I can get a People do expect, when they see soprano saxes and flutes rather gig there and they put on big it, American swing bands (like than just the five saxes which bands and they’re very good Glenn Miller or Sammy Nestico) sounds a bit dated. Some people there. The Watermill has given but they don’t expect anything say you should have vocalists but me two gigs, otherwise it’s more than that. The way I’ve got I try to avoid that! All the finding your own gigs and the round it myself, is to do suites. attention goes on the vocalist expense of that is prohibitive. I The first one was The Watermill rather than the musicians who did one at All Saints Church in Jazz Suite. I was commissioned accompany them.” Hove and hiring the place alone to write that so it gave me a hint was about £320 and then all the on what to do. So I did it on " “One thing I ought to say, other expenses. I ended up being Dorking.” I was getting a bit fed up with all £700 out of pocket. So, all in all, " “The next one was the attention being on American each year it can add up to many Brighton so I took aspects about swing bands and not on British hundreds of pounds that you’re Brighton and wrote music about ones. There’s that old joke that out of pocket. If you haven’t got them. It was almost programme there’s never been a tune called the money coming in, you just music in classical music terms. So ‘Moonlight In Basingstoke’ and can’t afford to do it.” there was one about Martha that sort of thing. But you can " “Posters and publicity is Gunn in which I tried to imitate use British things and what I’ve the other problem. Years ago you the waves with a rippling bass tried to do is to get away from could take a poster into a shop line and so on. That gave me the American influence so much and they would put it up for you. ideas. It was also useful because I and try to get more of the British Nowadays very few do that. And could give a spiel on each or continental influence. It’s a the media haven’t been very number before we played it, and little bit more introvert I think, helpful at all. When I did The get the audience to use their apart from Maria Schneider Brighton Jazz Suite I had imagination. I can get away with who’s almost European, Barnaby Dickenson down from playing 100% original music if I compared to Woody Herman. It London--a phenomenal introduce it in a way that people means more classical influences trombone player. I had the can suddenly visualise what I’m such as Vaughan Williams and Mayor coming to see it with her talking about.” Elgar, just to get a different husband. And it was The sound, which I think is Brighton Jazz Suite, all about important.” r Listings

Straight No Chaser Big Band, photo by Mike Guest Highlights

Friday 15th November Local singer Imogen Ryall returns to The Verdict with an evening of jazz vocalese in the tradition of Eddie Jefferson, Jon Hendricks and Annie Ross. With Rod Hart (piano), Paul Whitten (bass) and (drums) Saturday 16th November View part of her previous gig at The Verdict Saxophonist Alex Garnett performs at The Verdict with Liam Noble (piano), Michael Janisch (bass) and James Maddren (drums)

Tuesday 19th November

Jim Mullen Quartet at Jazz Hastings

Jim Mullen (guitar), John Donaldson (piano), Mick Hutton (bass), Dave Barry (drums)

Nothing is free Be on time Gigs that are advertised as Don’t be listed are those given by free mean that they won’t disappointed the venue. This is normally the charge at the door, but the start time so you will have to get musicians will be paid by the If you are traveling a there about 30mins beforehand to venue who rely on income long distance, contact get a seat and settle down. from the bar and/or kitchen. the venue before setting Please support artists and out, in order to confirm venues by buying a few drinks, that it is still going and maybe having something ahead. Keep the noise down to eat.

Details are assumed to Please remember to switch off be correct at the time of your mobile phone and other When should I clap? publication. mobile devices. When you’re the only one And don’t talk during the bass clapping, it’s time to stop. solo (or any solo for that matter). Gig Listings

Jazz Jam with One Hat Trio The Bee’s Mouth, Hove 9pm Free Jazz Jam Session Mike Piggott & Terry The Brunswick, Hove Seabrook 8pm Free The Snowdrop, Lewes 8-10:30pm Free

Liane Carroll Jack Kendon + Guests Porters Wine Bar, Hastings The Bristol Bar, Brighton 9pm Free 8pm Free

Wayne McConnell Trio +Jam Ron Hockett/Trevor The Verdict, Brighton Whiting Quintet with 8:30pm Free Gareth Williams Smalls, Brighton 8pm £13

Imogen Ryall, Simon Robinson & Nigel Thomas The Ancient Mariner, Hove 8:30pm Free Imogen Ryall’s ‘Vocal Ease’ The Verdict, Brighton 8:30pm £8/6 Imogen Ryall (see highlights) Queen Victoria, Rottingdean 2-5pm Free

Steve Aston Gypsy Jazz The Paris House, Brighton 4-7pm Free

Alex Garnett’s ‘Bunch of Fives’ (see highlights) The Verdict, Brighton Lawrence Jones All Stars 8:30pm £12/9 Lion & Lobster, Brighton 8-10pm Free Mike Pappenheim, Aprile Biggs, Marianne Windham Straight No Chaser Big Band & Derek Roberts The Hassocks Hotel, Hassocks Barney’s Cafe/Bar, Worthing 7:30pm Free/collection 8:30pm Free

Saxophone Giants Studio Theatre, Brighton Dome 8pm £12/10 Gig Listings

Jazz Jam with One Hat Trio The Bee’s Mouth, Hove Jazz Jam Session 9pm Free The Brunswick, Hove 8pm Free & Terry Seabrook Jim Mullen Quartet (see The Snowdrop, Lewes highlights) 8pm Free Jazz Hastings 8:30pm £7

Liane Carroll Porters Wine Bar, Hastings Jack Kendon + Guests 9pm Free The Bristol Bar, Brighton 8pm Free Wayne McConnell Trio +Jam The Verdict, Brighton Geof Simkins, Andy 8:30pm Free Williams & Nigel Thomas The Ancient Mariner, Hove 8:30pm Free

Benn Clatworthy & John Donaldson Imogen Ryall The Verdict, Brighton Queen Victoria, Rottingdean 8:30pm £12/9 2-5pm Free Steve Aston Gypsy Jazz The Paris House, Brighton 4-7pm Free

Julie Dexter The Verdict, Brighton 8:30pm £7/5

Mike Pappenheim Barney’s Cafe/Bar, Worthing 8:30pm Free Lawrence Jones All Stars Lion & Lobster, Brighton 8-10pm Free

The Sussex Jazz Orchestra The Brunswick, Hove 8pm £4/2 On The Horizon

Future gigs More details to follow in the next issue...

The London Jazz Festival Friday 15th - Sunday 24th November http://www.londonjazzfestival.org.uk

Madeleine Peyroux, Marcus Miller, Arild Andersen The Geri Allen/Terri Lyne Carrington/Esperanza Spalding Trio, Carla Bley and many others

Sussex-based musicians: Mark Bassey appears in Stan Sulzmann’s Neon Orchestra at The Purcell Room, Friday 15th November

Claire Martin at The Elgar Room (Royal Albert Hall), Monday 18th November

Wednesday 4th December

Jazzin’ It at The House That Zac Built The Brunswick, Hove Bassist Terry Pack leads a jazz fundraiser with charity worker Zac Lanza Friday 6th December Quartet at The Verdict, Brighton

Thursday 12th December Amy Roberts/Ian Bateman Quintet at Smalls, Brighton

Thursday 19th December Claire Martin & The Montpellier Cello Quartet, with support act Cloggz, at The Old Market, Hove Venue Guide

All Saints Church, The Drive (corner of Eaton Road), Hove BN3 3QE Tel. 01273 733331 Barney’s Cafe/Bar, 46-56 Portland Rd., Worthing, West Sussex BN11 1QN 01903 527075 Casablanca Jazz Club, 3 Middle St., Brighton BN1 1AL Tel. 01273 321817 Charles Dickens, Heene Road, Worthing, West Sussex, United Kingdom. BN11 3RG Tel. 01903 820972 Chichester Jazz Club, Pallant Suite, 7 South Pallant, Chichester PO19 1SY Coach and Horses Arundel Road, Worthing Tel. 01903 241943 Forest Row Jazz Club, The Forest Row Social Club, End of Station Rd, Forest Row, RH18 5DW Tel. 01342 822856 Hand In Hand, 33 Upper St. James’s St., Brighton BN2 1JN Tel. 01273 699595 Jazz Hastings, The East Hastings Sea Angling Association, The Stade, Hastings TN34 3FJ (near Jerwood Gallery and the Lifeboat Station) Tel. 01424 250221 Lion & Lobster, 24 Sillwood St., Brighton BN1 2PS Tel. 01273 327 299 Porters Wine Bar, 56 High Street, Hastings TN34 3EN Tel. 01424 427000 Queen Victoria, 54 High Street, Rottingdean BN2 7HF Tel. 01273 302 121 Smalls, The Caxton Arms (basement), 36 North Gardens, Brighton BN1 3LB Steyning Jazz Club, Steyning Centre, Fletchers Croft, Church St., Steyning BN44 3YB Tel. 01903 814017 The Albion 110 Church Road, Hove, BN3 2EB The Ancient Mariner, 59 Rutland Road (off Portland Rd.), Hove BN3 5FE The Bee’s Mouth, 10 Western Road, Brighton BN3 1AE Tel. 01273 770083 The Bristol Bar, Paston Place, Brighton BN2 1HA Tel. 01273 605687 The Brunswick, 1-3 Holland Raod, Hove BN3 1JF Tel. 01273 302 121 The Bugle, 24 St. Martins Street, Brighton BN2 3HJ Tel. 01273 607753 The Denton Lounge, Worthing Pier, Worthing Tel. 01903 218 250 The Dome, Church St., Brighton BN1 1UE The Hare & Hounds, 79-81 Portland Road, Worthing BN11 1QG Tel. 01903 230 085 The Mesmerist, 1-3 Prince Albert Street, Brighton BN1 1HE Tel. 01273 328542 The Paris House, 21 Western Road, Brighton BN3 1AF The Plough, Vicarage Lane, Rottingdean BN2 7HD Tel. 01273 390635 The Ropetackle, Little High Street, Shoreham-by-Sea, West Sussex, BN43 5EG Tel. 01273 464440 The Snowdrop Inn, 119 South Street, Lewes, BN7 2BU Tel. 01273 471018 The Verdict, 159 Edward Street, Brighton BN2 0JB Tel.01273 674847 Three Jolly Butchers, 59 North Road, Brighton BN1 1YD Under Ground Theatre, (below the central library), Grove Road, BN21 4TL White Horse Jazz Club, White Horse Smokehouse & Grill, 23 High Street, Steyning, BN44 3YE Tel. 01903 814084 Add your gig to the listings: [email protected]

Reviews Loz courtesyThomas, of Mike Guest Radio programmes

Geo$ey Smith’s Jazz, Sat. evenings at midnight Geoffrey Smith profiles Sonny Rollins (16th Nov.)

Jazz Line-Up, Saturdays 6pm Sat. 16th Nov. The European Jazz Orchestra

Jazz On 3, Mondays 11pm-12:30am Fri 15th Nov. The launch of the London Jazz Festival Mon. 18th Nov. Adventures In Sound FM radio DAB digital radio Jazz Record Requests, Saturdays 5-6pm http://www.bbc.co.uk/radio3 Alyn Shipton plays listeners’ requests. BBC iPlayer Drama on 3 Sun. 17th Nov. 10pm ‘Bix: Singing The Blues’

There’s some great jazz to be heard on Jazz FM:

Helen Mayhew presents Dinner Jazz, 7-10pm

Mike Chadwick presents The Cutting Edge, Sundays 10pm- DAB digital radio midnight. www.jazzfm.com Sky channel 0202 Freesat 729 Jazz FM smartphone app

The Modern Jazz Show with Peter Slavid is one of the best shows on UK Jazz Radio. There are also other Contemporary Jazz shows such as Europe Jazz Nordic Sound with Jesper Graugaard and UK and Europe Jazz Showcase with Brian Soundy Also worth a listen are Women In Jazz with Verona Chard and http://www.ukjazzradio.com Vocal Zone with Juliet Kelly. NPR have a fantastic collection of radio broadcasts, including Piano Jazz with the late Marian McPartland and JazzSet with Dee Dee Bridgewater and live broadcasts and recordings from the Newport Jazz Festival.

http://www.npr.org/music/genres/jazz-blues/

JazzRadio.com have 31 different stations covering different genres and instruments, including Avant Garde, Bass Jazz, Bebop, Bossa Nova, Gypsy Jazz, Hard Bop, Straight Ahead, Trumpet Jazz, Vibraphone Jazz and Vocal Jazz. Although largely presenter-less and commercial free, these stations rely on automated playlists. www.jazzradio.com or iTunes Radio

Radio Reverb 97.2 FM, Brighton

The Mystery Lesson Playing free jazz and improvised music Sunday 9-10pm

Trainspotters An eclectic mix of genres, some jazz Monday 1pm, Wednesday 6pm, Friday 2pm

Ears Wide Open ‘Jazz and Obscurity Skanks’ Wednesday 7-8pm

Shows are often repeated during the week. Check website for details: http://www.radioreverb.com Podcasts The Brighton Jazz School Podcast Wayne McConnell has been presenting his Brighton Jazz School podcast since January 2012. So far he has interviewed local jazz musicians Paul Richards, Dave Drake, Terry Pack and Steve Thompson along with international stars Geoffrey Keezer, Joey Calderazzo, Joe Locke, Cathy Segal Garcia, Christian McBride, Gary Burton and Kurt Elling. The latest edition of the podcast features an interview with legendary pianist Ahmad Jamal. A future podcast will feature an interview with bassist Ron Carter. http://brightonjazzschool.com/episodes/ iTunes

The Jazzwise Podcast The Jazzwise Podcast is a monthly podcast linked to the content of Jazzwise magazine for that month. Hosted by editor Jon Newey and presenter Chris Philips, the show plays music from the featured artists as well as music from the review section of the magazine. http://www.jazzwisemagazine.com iTunes

The Jazz Session Podcast Jason Crane, a jazz fan and saxophonist from Massachusetts, began The Jazz Session in 2007 and went on to interview Sonny Rollins, Gary Burton, Ron Carter, Christian McBride and numerous others. Thanks to a Kickstarter campaign, The Jazz Session returned on 1st October 2013 with an interview with saxophonist Lee Konitz. The most recent edition features an interview with trumpeter Ralph Alessi about his new album, Baida on ECM. http://thejazzsession.com iTunes You Tube Channels

Jazz Video Guy

Jazz Video Guy, aka Bret Primack, is a former Downbeat journalist and filmmaker who co- founded the first jazz website, Jazz Central Station, back in 1994.

The Jazz Video Guy channel now has more than a thousand videos and nearly 25 million views.

Highlights include the Hal Galper Piano Masterclasses and the short documentary Who Is Sun Ra?

Jazz at Lincoln Center

The Jazz at Lincoln Center channel features lots of behind- the-scenes interviews in segments entitled In The Studio, as well as performances in The Jazz Vault.

Frankly Jazz Television

The Frankly Jazz TV show was broadcast in Los Angeles in the 1960s and featured presenter Frank Evans interviewing some of the big names in West Coast jazz. The channel was started by his son, Lance Evans, in memory of his father’s contribution to jazz. Live Reviews

Emil Viklický and Julian some of Terr y’s Nicholas arrangements and orginal Robert Mitchell’s The Plough, Rottingdean compositions from his two Panacea 1/11/13 albums. Although this was The Verdict, Brighton 8/11/13 material that had been $ Pianist Emil Viklický heard before, it was given a " There’s no doubt that has an impressive CV and freshness by keyboardist Rober t Mitchel l ha s has been very welcoming in Tom Phelan who was able to phenomenal technique but recent years to British jazz gel with the other members this evening was also a musicians in his homeland, of the band. Drummer showcase for his impressive the Czech Republic. Dave Cottrell created some compositional and arranging " Displaying a similarly tight, unique grooves during skills. His originals were impressive technique, the an enjoyable evening. funky and soulful, brought evening was memorable for to life by the vocals of the interaction between Tom Phelan (keyboard), Deborah Jordan. Emil and Julian. Performing Andy Williams (guitar), " After a long interval, standards such as There Is No Te r r y Pa c k (bass), Dave the second set was a Greater Love and Billy Cottrell (drums) continuous suite that Strayhorn’s Isfahan, as a contained a mixture of quartet, they were joined by different grooves. vocalist Imogen Ryall for If I " The e vening wa s Should Lose You and Mood Julian Nicholas/Joss marred by a recurring Indigo. Peach/Nigel Thomas/ interference from a mobile Dave Trigwell phone which kept sounding Julian Nicholas (sax), The Ancient Mariner, Hove over the PA at the worst Imogen Ryall (vocals), Emil 7/11/13 possible moments. Viklický (piano), Paul " The most memorable Whitten (bass), Spike Wells " Another great gig at part of the evening was (drums) the increasingly popular undoubtedly the drumming Ancient Mariner pub in of Laurie Lowe who gets Hove. Julian Nicholas better and better each time Terry Pack’s Woodland impressed with his I see him. Creatures renditions of his favourite The Brunswick, Hove 3/11/13 jazz standards. Pianist Joss Deborah Jordan (vocals), Peach stood out with his Robert Mitchell (piano), Bassist Terry Pack has been incredible technique and Tom Mason (bass), Laurie entertaining audiences with responsive playing. Lowe (drums) his music (and badger jokes) " Future gigs wil l for a few years now and this feature Imogen Ryall, Geoff evening was a collection of Simkins and Mark Bassey. Charlie Anderson

r Improv Nick McGuigan, photo by Mike Guest The Jazz Education Section The Improv Column Pianist Terry Seabrook discusses Creativity and Improvisation

" Friday morning: Listening purely to each other in a sort of idea of play. In a sense when we to Desert Island Discs on Radio syntax, which is what I think is so improvise we are playing in a 4, creativity guru professor Sir intriguing and explains why we game very much as we do in sport. Ken Robinson related the story of can be so engaged when we start And a sport open to participating how started writing to improvise on our instruments. with others and with spectators great songs with only two chords " Although we can imagine who intuitively understand some and when they heard that there all sorts of associations and feel of the rules. The big difference, was a third chord they got on a emotions when we listen to sadly, is that the crowds just aren't bus and went to see a guy to find music, they are very approximate football-sized and of course we what it was. On the other hand he and subjective. For example, when aren’t really competing, although said that Michael Gove (our I was a music student I remember there is something of that nature beloved Education Secretary) says reading about a study in the in the jazz jam session. you can't play music until you Sixties where samples of music by " Participating in collective know all your scales. The Debussy were played to an improvisation is to embark on a Beatles story is undoubtedly audience who were not familiar wonderful journey of joining in embellished but it suggests a with him. Debussy wrote one of the highest forms of liberating notion that you can incredible music to which he gave human communication. The start being creative from the very programmatic titles, process of near-instantaneous outset with a limited skill set. I although often after he had musical interaction is unique to think nurturing the creative spark completed the pieces. For jazz music and this affords a high from the start is essential so when example the piano preludes have degree of fun and satisfaction I teach beginners, especially such evocative names as Dead (and sometimes frustration). children, I aim to get them leaves, Sunken Cathedral, The Because this playful exchange improvising by the end of their Girl with the Flaxen Hair around rules of a musical language first lesson. And while Michael (translated from the French, of is such a prominent feature of the Gove is surely wrong (as usual) if course). When the audience jazz culture it is a great example he thinks creativity comes only members were asked to put titles of nurturing the creative spark. with a high degree of technical to the pieces there was no The music produced doesn’t have expertise, there is truth in the correspondence of title to piece to be ground-breaking in the idea that a better command of the (in the jargon: not statistically artistic sense. Great improvised medium leads to further creative significant). music is something that comes opportunities. After all, the third " So it would seem music from those who dedicate their chord was obviously incentive doesn't describe the world at all lives to the music and real enough for the Beatles on their successfully. Indeed if it did it innovation is achieved only by a apocryphal bus journey. would be a second-rate few greats. But that doesn’t " Improvisation has been competitor to language or image. negate the validity of the described as composing in real But isn’t this the power of beginner, the enthusiastic time, the difference being that to music? It is in essence a totally amateur or even the dedicated create a minute of music might different practice and experience listener from participating in this take a composer a week (or from the linguistic or wonderful music called jazz. whatever) whereas the improviser representational forms in our " And that is why jazz will takes just the one minute. In a lives. It offers a rather abstract continue to thrive because it is an similar way you might contrast but intensely deep system for open culture and there are now conversational talk with speech expressing an aspect of our plenty of opportunities to learn writing or dramatic script. human or even animal essence. about it. So if you play an However, the comparison Music is a purely closed instrument or are just starting out between these two media (music syntactical system with its own (and it’s never too late) then listen and language) is limited in so far evocation of largely pure musical to lots of music (recorded and as what we express in music is emotions. Now I expect this idea live), get some instruction books, largely non-referential and has will be strongly contested by some go to a jazz teacher, go to a jazz little semantic content. (I am so write in if you feel differently. workshop or course, go to a jam considering music in its pure form " Coming back to session, get a rehearsal band – without words, images or even improvisation as a special case of together and one day get a gig. dance.) It is music as a closed musical expression, I think Get creative, get improvising! system where the sounds relate another powerful metaphor is the A Guide to Learning Jazz in Sussex - Part 1 Listings of jazz courses and workshops in Brighton and Hove.

The Brighton Jazz Co-op Brighton Jazz School Sussex Jazz Guitar School

The Brighton Jazz Musicians Co- operative has been running since 1986. A group of local musicians get together once a week and pay a top- class tutor to give a workshop.

Local musicians such as Geoff Simkins, Mark Bassey, Terry Seabrook and Julian Nicholas are always very popular tutors. Jazz pianist Wayne McConnell has Guitarist Paul Richards has only been running Brighton Jazz School been running the school since June Tutors often teach for two for nearly 3 years and the school this year but it has already become a consecutive weeks but expect a continues to grow and develop as a popular course for aspiring jazz different set of students each week, place to learn jazz in an authentic guitarists. along with a few of the regulars. way. The course covers everything from Brighton Jazz School students are technique and how to practice The summer months usually see a eligible to perform each week at effectively through to chord friendly jam session where students The Verdict and the school also voicings, soloing ideas and learning get together and play through the runs masterclasses with world-class repertoire. tunes learnt in previous workshops jazz musicians as well as a monthly Students are given prep work to as well as other tunes that students podcast. practice before classes as well as a are interested in. recap on what was covered in Dates & Times: previous classes. Upcoming tutors include bassist Beginners, Saturdays 11am-2pm Although the course is not designed Nigel Thomas. Learn To Play, Tuesdays 11am-6pm. for total beginners, Paul offers one- Jazz Extensions, Mondays 3-6pm to-one lessons for those wishing to Dates & Times: learn jazz, latin or classical guitar. Every Tuesday. 8-10:15pm Location: Students are encouraged to arrive a Beginners Course: The Verdict, 159 Dates & Times: few minutes earlier to set up their Edward St., Brighton BN2 0JB One Saturday each month. instrument(s). Learn To Play & Jazz Extensions: The 11am - 1:30pm Brunswick, 1-3 Holland Road, Hove Location: BN3 1JF Location: The Good Companions (upstairs The Brunswick, 1-3 Holland Road, room), 132 Dyke Road, Brighton Cost: Hove BN3 1JF BN1 3TE Learn To Play £250 for 10 weeks Beginners £150 for 10 weeks Cost: Cost: Taster Days available. £20 per class / £55 for 3 classes £7 per class / £4 concessions Cash payments are collected during BJS also have a Composing & Website: the break. Arranging Weekend in December and http://paulrichardsguitar.com also run Summer & Winter Schools. Website: Contact: www.brightonjazzcoop.org.uk Website: [email protected] www.brightonjazzschool.com

Contact: [email protected] A Guide to Learning Jazz in Sussex - Part 2 Listings of jazz courses and workshops around the Brighton area

Jazz Singing Workshops Geof Simkins Jazz Course Jam sessions with Imogen Ryall in the Brighton area A Saturday course run by saxophonist and jazz educator Mondays Geoff Simkins: The Bee’s Mouth, “I've been running the Saturday classes for over 20 years, until 10 Western Road, recently they were part of the Brighton BN3 1AE Centre for Continuing Education at The University of Sussex, but Hosted by guitarist Luke when the University closed the Rattenbury entire department, many students asked me to continue to run the 9pm - late. classes independently.” Dates & Times: Saturdays, 10:30am-12:30 “They are now held at The Bridge Tuesdays Community Centre, Lucraft Location: Road, Brighton and this year I'm The Brunswick, Rottingdean, contact Imogen for running an Intermediate and an 1-3 Holland Road, more details Advanced class on alternate Hove BN3 1JF [email protected] Saturdays.” Hosted by guitarist Paul Cost: “It's aimed at serious musicians £7 per person who want to improve all aspects Richards of their playing and so students 8pm -11pm Contact: sign up for a year's classes (5 [email protected] classes per term, 3 terms) but the coming course is fully subscribed Wednesdays For more information on Imogen already and, like every previous Ryall visit: year, there's a waiting list.” The Verdict, www.myspace.com/imogenryall 159 Edward Street, “My teaching is based on the As well as teaching vocal students Brighton BN2 0JB knowledge/experience acquired Hosted by pianist Wayne on the Chichester Jazz Course, over nearly 40 years as a Imogen teaches at these other professional jazz musician and as McConnell. courses: a teacher at conservatoires, 8:30pm - late. ‘Swing While You’re Singing’ at including The Royal Academy, Trinity Laban, and The Royal Evolution Arts, Brighton on three Welsh College of Music.” Saturdays starting from 14th September. If anyone would like more Visit www.evolutionarts.org.uk for information about the Saturday more info and booking. classes or one-to-one lessons they can contact Geoff Simkins at geoff[email protected]. Jazz Singing for Beginners/ Intermediate at Chichester College is taught for ten Wednesdays (7-9pm) from 19th September onwards. www.chichester.ac.uk/Course/Adult- Education/ A Guide to Learning Jazz in Sussex - Part 3 Listings of jazz courses and workshops around Sussex.

Jazz Smugglers, Bosham Ropetackle, Shoreham Chichester Jazz Courses

The Jazz Smugglers regularly put on workshops that focus on musicianship skills which can only be learnt in a group setting.

Dates & Times: Renowned jazz trombonist Mark HND Jazz (Level 5) Starting on Sunday 8th September Bassey leads this workshop for for advanced musicians Sundays 7-9pm intermediate to advanced level jazz performers. The focus is primarily Diploma in Music - Jazz (Level 3) Location: on contemporary jazz and student’s for intermediate musicians Bosham original compositions and arrangements. Diploma in Performing Arts - Jazz Contact: (Level 2) jazzsmugglers @yahoo.co.uk Organiser Steve Lawless says: for beginners “Mark's popularity has meant that Tel. 07533 529379 we have been continually full. We Dates & Times: keep a balance between rhythm Courses start every September, For more information: instruments, and vocal / horns and have a waiting list for the piano Location: http://www.jazzenthusiasts.com seat”. Chichester College, Westgate Fields, Chichester PO19 1SB Dates & Times: Fridays 2-4;15pm Cost: 22nd Nov. - 20th Dec. Variable fees depending on status. Two one-hour sessions with a 15min break in between. Website: www.chichester.ac.uk Location: Ropetackle Arts Centre, Little High St., Shoreham-By-Sea, BN43 5EG (First Floor, Mezzanine Room)

Cost: £60 for a block of four sessions

Website: http://www.ropetacklecentre.co.uk

This course currently has a vacancy for one front-line instrumentalist.

Contact: Steve Lawless [email protected] Mobile: 07514 569595 The Credits

Photography Credits A special thanks to Mike Guest and Patrick Billingham for allowing The Sussex Jazz Mag to use their photos. All thumbnail images are used under the fair use terms of Copyright Law. Broadcasters logos courtesy of the respective broadcasters

Next Issue Piano Special (part one)

Editor Charlie Anderson

Sub Editor Ron Welard

Columnists Eddie Myer, Terry Seabrook, Wayne McConnell

Technical Director Steve Cook

THE SUSSEX JAZZ MAG Public Relations & Marketing Carmen & Co. and Dave Hill Issue 6 11th - 24th November 2013 Photography Consultant Mike Guest www.sussexjazzmag.com Financial Consultant Chris Sutton Our Core Principles

FROM THE EDITOR

1. To promote jazz in Sussex

2. ! To make a positive contribution to the local jazz scene

3. ! No cover price - The Sussex Jazz Mag will always be free

4. No print - The Sussex Jazz Mag will only be available to download or view online

5. No corporate advertising. Just local people and local businesses.!!

6. !Everyone makes mistakes - we aim to correct any serious errors/omissions asap

7. No staff freebies - no blagging free tickets, CDs, drugs, instruments etc.!

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10. I can’t think of a tenth one and nine is an odd number...

Next Issue Contact Us Piano Special Listings (part one) If you would like to add your event/gig to the listings section in The Jazz Mag then please email [email protected] Subscribers: with the subject heading ‘LISTINGS’. Sunday 24th November

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