ISSUE 163 WINTER 2020 CHICK WILLIS UK £3.25

Photo by Merlin Daleman CONTENTS

Photo by CHRISTMAS STOCKING FILLERS Merlin Daleman CHICK WILLIS pictured at the Birmingham Jazz Festival. Chick makes an appearance in a new feature for Jazz BIG BEAR RECORDS CD OFFER Rag. We link up with Henry’s Blueshouse in Birmingham to EXCLUSIVELY FOR READERS OF THE JAZZ RAG present Henry’s Bluesletter (pages 32-33) ALL CDS £8 EACH OR THREE FOR £16 INCLUDING P&P 4 FESTIVAL IN TIME OF PLAGUE Birmingham, Sandwell and Westside Jazz Festival goes ahead 5 THE VIRUS IN NUMBERS

JAZZ CITY UK VOLUME 2: THE JAM SESSIONS 6 ‘A TRUE NEW ORLEANS CHARACTER’ Coroner/trumpeter Frank Minyard

Howard McCrary Various Artists Various Artists Lady Sings Potato Head 7 I GET A KICK OUT OF… Moments Like This Jazz City UK Volume 2 Jazz City UK Volume 1 The Blues Jazz Band Promoter John Billett Laughing at Life Stompin’ Around 8 COMPETITION: LOUIS ARMSTRONG 9 GOODBYE TO A STAR Roger Cotterrell on Peter King 11 BBC YOUNG JAZZ MUSICIAN OF THE YEAR 12 SUPERBLY SWINGING Alan Barnes remembers Dick Morrissey Remi Harris Trio Tipitina King Pleasure & Nomy Rosenberg Django’s Castle 14 FRENCH BOOGIE STAR Ninick Taking Care of The Biscuit Boys Nomy Rosenberg Trio with Bruce Adams Ron Simpson profiles Ben Toury Business Live At Last Swing Hotel du Vin 16 50 BY LOUIS Scott Yanow’s choice FIND US ON FACEBOOK 18 ROY WILLIAMS IN PICS The Jazz Rag now has its own Facebook page. For news of upcoming festivals, gigs and releases, 20 REFLECTING DREAMS Marilyn Mazur interviewed by Ron Simpson features from the archives, competitions and who knows what else, be sure to ‘like’ us. To find the 22 CD REVIEWS page, simply enter ‘The Jazz Rag’ in the search bar 34 BOOK REVIEWS The Whiskey Tipitina King Pleasure & Alan Barnes’ King Pleasure & at the top when logged into Facebook. Brothers I Wish I Was In New The Biscuit Boys Marbella All Stars The Biscuit Boys Bottle Up And Go Orleans Hey Puerto Rico! The Marbella Jazz Smack Dab In The Suite Middle THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 REASONS TO BE CHEERFUL Fax: 0121 454 9996 Email: [email protected] In a time of gloom, characterised by cancellations, postponements and ingenious attempts to preserve something like live jazz, there are reasons to be cheerful: Web: www.jazzrag.com perhaps there are hints now of soon-to-return near-normality. But for many of us the best news came in the recent Honours List, not a place where jazz lovers Publisher / editor: Jim Simpson regularly find much to delight in. News / features: Ron Simpson Reviews editor: Nick Hart This year anyone who loves jazz must have been delighted at the award of the Bruce Adams/Alan Bill Allred’s Good Bruce Adams/Alan Duncan Swift Bruce Adams International editor: Yue Yang MBE to Roy Williams. From Eric Batty’s Jazz Aces via lengthy spells with the Barnes Quintet Time Jazz Band Barnes Quintet The Broadwood Quartet Commercial Director: Tim Jennings great Alex Welsh and Humphrey Lyttelton Bands to an internationally acclaimed Let’s Face The Music Swing That Music! Side Steppin’ Concert One Foot In The Subscriptions & accounts: Nick Hart freelance career, Roy was for many years beyond doubt the nonpareil of British Gutter Designed by Nerys James jazz trombonists. Printed by Warwick Printing In Jazz Rag 159 Digby Fairweather profiled Roy at length, referring to him as www.warwickprinting.co.uk To order send a cheque payable to Big Bear Music to PO Box 944, Birmingham B16 8UT ‘simply the most perfect trombone-player I have ever had the privilege to play with.’ The British Empire is lucky to have him as a Member! To pay by card phone 0121 454 7020 or visit www.bigbearmusic.com/cds and enter the code © 2020 THE JAZZ RAG. All original material including advertising artwork remains the sole copyright of the JRLOCKDOWN8 to purchase one CD for £8 or JRLOCKDOWN16 to purchase three for £16 Publisher and may not be reproduced without permission Roy Williams in Pictures: pages 18-19 2 THE JAZZ RAG THE JAZZ RAG 3 A FESTIVAL IN TIME OF PLAGUE THE VIRUS IN NUMBERS A FESTIVAL IN TIME OF PLAGUE THE VIRUS IN NUMBERS

How does the jazz world • Remember everything is before, might come under from their long lay-off from live The International Jazz Musician that 61% of jazz musicians said Some of the figures looking The most cheering part of a respond to the overwhelming provisional. In a sense this special measures and that the performance, were outstanding Survey by Jazzfuel.com paints that their 2020 income would forward are particularly relevant. generally depressing survey is presence of COVID-19? There is true of all festivals – a Government might impose a and on the previous evening a vivid picture of the effects of be at least 50% lower than 2019 Perhaps the most horrifying the element of positivity in many are any number of responses singer may lose her voice or national circuit breaker lockdown the Bruce Adams/Dave Newton the coronavirus on the world of (30% at least 75% less) will is that, by mid-October, 55% of the individual comments, possible on the scale from musicians may miss a flight – during Festival week. Quartet was in fine form in West jazz as of October 13th. The full astonish no one. In fact, reading of jazz musicians had no live revealing the resilience of the hunkering down till it’s over to but it’s an essential of plague- Bromwich Central Library. survey of 266 musicians (59% in between the lines, that figure performances scheduled for typical jazz musician. Whether trying to carry on as near-normal time planning. As it happened, neither came to The audiences for the Adams/ Europe, including 22.5% in UK, is more startling when taken 2021 – with the figure as high honing admin skills, reassessing as possible. The experience pass. Instead Italy, up to that point Newton gig, however, were 35% North America, including together with the actual scale as 73% in the United States. their musical direction or of the Birmingham Sandwell • Be light on your feet. Smart stable in infection figures, suffered nowhere near the Library, but 28% in USA) makes fascinating of financial loss: the average lost However, the survey also reveals improving their playing, musicians and Westside Jazz Festival instant responses to crises a spike and a day or so before in two pubs in Birmingham, reading, with some extremely income from cancelled shows the flexibility of jazz musicians, found advantages in the time of is instructive, confusing and have to be like London buses – the Festival the UK Government four retirement villages and revealing results alongside some was £9,378 (£13,315 in the USA 62% claiming that the events of COVID and a respondent from ultimately rather inspiring. another one along in a minute. imposed quarantine restrictions their own homes, watching on we could all have predicted. and £7,093 in Europe). Of course this year have changed their plans the USA summed up the implied on arrivals from Italy. Since the YouTube. In the time of COVID the lost income is based on for releasing music. In particular dedication of many: To start with a bit of background. • Remain charitable. Musicians Festival’s sole European band was the live stream has come into It is hardly surprising that on shows that were never arranged livestream concerts are here to The original July dates were and venues will inevitably have the Jim Dandies from Bassano del its own. Another set from a a scale of 1-10 the average as well as those cancelled, but the stay, with 49% performing at least ‘More than ever I can’t imagine clearly impossible, though a to go back on their word. Grappa, with seven shows from Sandwell Library (Wednesbury) musician’s optimism for the jazz figures are hardly suggestive of one and 27% extremely likely to doing anything else with my life virtual jazz festival kept the Smile nicely and say, ‘How Wednesday onwards, action was teamed saxophonists of different scene is as low as 4.2 – in fact, a financially rewarding life at the carry on doing so. that would be as meaningful.’ name alive. So there was a about next year, then?’ In clearly required: generations (Alan Barnes and it’s quite impressive that it’s even best of times. https://jazzfuel.com/covid-jazz-survey/ choice between cancellation and Birmingham’s case an original Alex Clarke) to terrific effect as high as that. Similarly the fact postponement. Cancellation was schedule of 74 events (still Thursday: Try to switch flights and two bands, Shufflepack and unthinkable given the number of much lower than the 200-plus to Saturday before quarantine Tipitina, were so disappointed committed stakeholders in the of July festivals) was whittled introduced. at missing the festival that Guy Barker Derek Nash Festival, so the next question down to about 30, but that’s Friday 0658: Call from Italy – they live streamed sets into was the date. By working on still a sizeable festival. this is not possible. Birmingham pubs. the principle that the later the Friday 0859: Alternative date, the more chance of being • Remember that the Festival strategy: replace the Jim Dandies Printing the programme was virus-free, the Festival organisers Director is not the only boss. with the re-formed blues and delayed as late as possible to showed they had no more idea If Festival organisers have to Americana super-group Wang reduce changes, but 75 per cent of the likely progress of COVID jump through hoops to get Dang Doodle, assembled for of the events in it had to be than did our government. into a venue or a set has to be last year’s Leaving Mississippi, altered, whether changes of time, October 16-25, timed to catch cut short for safety reasons Birmingham Bound Festival. venue or band, cancellations or the last of British Summer (too loud maybe, causing too Friday 1100: The Government even (occasionally) additions. Time, also coincided with more much dangerous shouting), announces that Lancashire is When a venue pulls out two gigs stringent restrictions on activity. be grateful that venues are moving to Tier 3, restricting 24 hours before the first of them, In retrospect November would maintaining audience safety. the movement to Birmingham there’s not much to be done, have been even worse, with the of Leyland-based Tipitina, two but Festivalgoers didn’t suffer second lockdown forcing the • Look for alternatives to fifths of Wang Dang Doodle and unduly: both were outdoors and JAZZ IN VISION subject, August Wilson’s Ma JAZZ AT THE STABLES JAZZ AND EFG London Jazz Festival to orthodox live performances. playing two shows under their the scheduled dates were the Rainey’s Black Bottom, is scheduled be totally online and Hull Jazz Live streamings and audio own name. only two rainy afternoons out of Live jazz may have been at a CONCORDE BLUES premium in recent months, but for Netflix release from Wednesday evening jazz at The December programme Festival to cancel all events or and video presentations can ten days! December 18. The play centres reschedule for April. supplement the programme. Two pre-emptive strikes on there has been no shortage of Eastleigh’s Concorde Club at the Stables at Wavendon jazz films to enjoy. Broadcast on the tensions between the returned for the first time has been disrupted by COVID the contagious effects of jazz And maybe we should add one blues singer, her band and her So, based on the Birmingham • Always expect the unexpected. and blues, but there’s always more rule, ‘Always trust your on BBC 4 in October, the in many months with the restrictions, with a pantomime late Jeremy Marre’s stunning white manager and producer. Ben Holder Jazz Quartet on among other events to be experience, here are the rules (well, usually) an alternative. audience.’ All the changes and This new version, directed by for organising a festival in time To illustrate my last remark (as As it happens, some of the confusion in programming were documentary, Count Basie through November 18. After the second cancelled, but there are his Own Eyes, drew on Basie’s George C. Wolfe and adapted for lockdown the pre-Christmas still elements of jazz in the of plague: Johnny Mercer put it), coming replacements for Jim Dandies’ greeted with stoical cheerfulness the screen by Ruben Santiago- into the last few days before appearances were among the by jazz lovers just grateful to be home movies and personal programme consists largely programme, with performances diaries to give a vivid picture Hudson, stars Academy Award of tribute shows, though the by Jazz at the Movies (Joanna the start of the Festival the highlights of the Festival. On the around what was pretty much winner Viola Davis as Ma Rainey organisers’ main fears were two- final Sunday two gigs from the the last jazz festival standing! of his private life as well as John Maddocks Jazzmen hold Eden and Chris Ingham} on chronicling his musical career. and the late Chadwick Boseman their Christmas Party on December 10 and the Jazz fold: that Birmingham, a rising Alan Barnes/Dave Newton Duo, www.birminghamjazzfestival.com as ambitious trumpeter Levee, hotspot a week or so both clearly energised Currently available online, it December 13. In the New Year Dynamoes (20). The pace picks is due a DVD release from with a score by Branford Marsalis. the Concorde has a much fuller up in the New Year, especially Eagle Rock. programme of jazz and jazz- with re-scheduled shows from Alan Barnes & Dave Newton Alex Clarke at CHRISTMAS COMES related music, with Noel McCalla the long lockdown. Jazz, swing at the Botanical Gardens Wednesbury Library Also in October Oliver Murray’s TO SOUTH KEN and Derek Nash featuring the and blues concerts feature Jake acclaimed portrait of a jazz club, The Royal Albert Hall gets back music of Stevie Wonder (January and Elwood with the Black Rhino Ronnie’s, went on cinema release, into action with a series of 9), the John Maddocks Jazzmen Band in a Blues Brothers tribute followed by a November showing Christmas events, carols, Messiah (17), the Ben Holder Quartet (January 16), Ma Bessie and on BBC4.. With talking heads and all, one of the first of them (27), the Derek Nash Quartet her Blues Troupe (27), the Syd from Mel Brooks to Quincy Jones the perennially popular Guy (February 3), The Blues Band (18) Lawrence Orchestra (29), the and previously unseen archive Barker’s Big Band Christmas on and Snake Davis – Classic Jazz Eduardo Niebla Duo (February performances from the likes of December 11. Clare Teal co- Solos (25). 10), King for a Day: The Nat King Nina Simone and Dizzy Gillespie, presents and featured soloists Tel. 023 8061 3989 Cole Story (11), the Budapest Café it charts the history of Ronnie include Tommy Blaize, Vanessa www.theconcordeclub.com Orchestra (20) and a double bill Scott’s Club. Haynes, Joe Stilgoe, Adrian Cox of blues bands, the Ben Poole and Giacomo Smith. Band and the Oli Brown Band (28). The film of one of the best www.royalalberthall.com Tel.: 01908 280800 Photos by Kev Maslin dramatic fictions on a jazz

4 THE JAZZ RAG THE JAZZ RAG 5 ‘A TRUE NEW ORLEANS CHARACTER’ I GET A KICK OUT OF… ‘A TRUE NEW ORLEANS CHARACTER’ I GET A KICK OUT OF…

had ended up in Orleans Parish use for his trumpet, so he did. Promoter JOHN BILLETT answers the questions Prison. Only the coroner could In less official acts of charity, as give permission. He refused, coroner he helped musicians on thought you knew what was was just not up to it, but led so Dr. Minyard decided to run hard times by finding work for happening the music steered soon to the historic arrival of for coroner – and lost. Four them as morgue attendants! us off into a totally different McCoy Tyner. years later in 1973 he changed direction. Wonderful! his image and labelled himself Dr. Minyard’s jazz links including If you could meet one jazz ‘Dr. Jazz’ – Pope describes him sitting in with Dejan’s Olympia What’s the best jazz musician, living or dead, who as ‘a trumpeter who donned Brass Band and playing with performance you’ve seen in would it be and why? a white suit for posters and his friends Al Hirt and Pete the last 12 months? Charlie Parker, the man who for performances in bars and Fountain. New Orleans author/ Our JBGB Events presentation of single-handedly invented modern churches.’ This time he won. columnist Keith Spera recalls the music of Gil Evans at St John’s jazz. He created the bebop that, when Fountain played his Smith Square, with a band of revolution, taking the alto On his retirement in 2014 last performance at the Hilton RCM Alumni playing his original saxophone from its home as a Minyard described his campaign Riverside Hotel in 2003, he album arrangements of Porgy and mellow toned band instrument style, ‘In the bar I get the trumpet called on Minyard to sit in. Later, Bess, featuring Steve Fishwick, and turned it into a dazzling, fast out and get on the bar and play backstage, he told Spera, ‘He Freddie Gavita, Henry Lowther and hard driving solo performer. What track or album turned What is your favourite jazz Saints. In church What a Friend sat in for the opening night. We and Martin Shaw. I have never His legacy lives on today. you on to jazz? album and why? We Have in Jesus. I think my wanted to see if he’d got any before in jazz been so uplifted I lived next door to a jazz band Miles Davis – Kind of Blue. trumpet does more to get me better in 26 years.’ One young and inspired. Despite the ongoing rehearsing in their lounge. I loved Having grown up with tunes, elected than my background in musician who benefitted from necessary restrictions on the sounds. Age 8 I was allowed and improvisations on their medicine or my experience.’ Minyard’s encouragement (he What’s your favourite jazz live performance due to in every week to listen. I heard chord sequences, modal jazz was brought on stage by him at release (new or reissue) from Coronavirus, John Billett’s improvisation and syncopation turned that all upside down and I Was he a good coroner? the age of 9!) was Harry Connick the last 12 months? JBGB events is continuing for the first time and was hooked was spellbound. Apparently his early campaigning Jr. whose father was the Orleans The reissue of John Coltrane’s to promote a series of in- on jazz. zeal faded somewhat and Parish District Attorney and thus Giant Steps (see page 23) I bought demand shows at Crazy What was the best jazz there are suggestions that a close associate of Dr. Minyard. the original album immediately Coqs Brasserie Zedel. For What was the first jazz gig performance you’ve he increasingly took the and remain amazed at the ‘sheets more details visit you went to? ever seen? In the normal way of things the career is both an interesting comfortable course of action, Keith Spera, summing of sound’ virtuosity overlaying www.jbgbevents.com The Crescent City Stompers, a Miles Davis with Wayne Shorter, death of a retired American example of the quirks of the but there is no doubt that he Frank Minyard up as ‘a true such a complex sequence. And traditional 6-piece band playing Chick Corea, Dave Holland coroner would be well outside American system of elective local was popular – voted in ten New Orleans character’, it remains something to enjoy the Exeter Civic Hall. A weekly and Jack De Johnette in their the range of interest for a British office and a telling tribute to the times for a 40-year stint! described him thus: regularly. Such a shame he had jazz gig for great music and Bitches Brew era at The Apollo, jazz magazine, but Dr. Frank power of jazz in New Orleans. Tommy Flanagan on piano, who social meetings. Hammersmith. Just when you Minyard was not your normal One of his early campaigns led ‘Frank Minyard was emblematic everyday coroner. The headline When he first stood for office as to the founding of Jazz Roots, of New Orleans in that he in John Pope’s obituary in the coroner, Dr. Minyard had barely an annual series of jazz concerts represented both the city’s each, at 7.00 and 8.45 and making New Orleans Times-Picayune an idea of what a coroner did, for charity. Minyard had been beauty/joy and danger/sorrow. JAZZ IN THE Nigel Price a recorded version available to (which provided much of the but he and Sister Mary David arrested in the French Quarter He played happy New Orleans NORTH EAST members unable to attend. After information for this piece) read, Young were running a methadone for playing his trumpet to protest jazz, but he also chronicled the The North East seems especially the further disruption of the ‘Frank Minyard, for 40 years clinic for heroin addicts in Treme a crackdown on street musicians. grim toll of New Orleans crime.’ keen to get the jazz scene second lockdown December gigs New Orleans’ trumpet-playing and he wanted to continue The judge apparently told him he operating again afer lockdown. feature the Nigel Price Organ coroner, dies at 91.’ Dr. Minyard’s treating some of his patients who should find a more constructive Newcastle’s Prohibition Bar has Trio with Vasilis Xenopoulos in three December gigs: Lindsay Wes Reimagined (3) and Adrian Hannon (5), Paul Grainger and Knowles with The Sound of 59 Simon O’Byrne (12) and Julija (17). Sunday afternoon sessions to a more familiar name south of Jacenaite and Alan Law (19). SCOTTISH JAZZ are also continuing, with Tom AWARDS the border, the excellent pianist Fergus McCreadie The Hot Club du Nord plays Sharp’s Sontuno on December 6. the Lubetkin Theatre, Peterlee The 8th Scottish Jazz Awards Fergus McCreadie. www.jazzleeds.org.uk (10) and an afternoon show at were announced at a virtual Hurworth Village Hall (13). Other ceremony on October 18, The Services to Scottish Jazz THE PRICE OF December jazz gigs include the an interesting and judicious Award went to writer and critic ESQUIRE COVERS and British jazz releases Rob Adams and, following such SUCCESS Smokin’ Spitfires at the Cluny mix of established figures and CLUB supplemented by John Fordham’s Remarkably, Nigel Price managed names as Carol Kidd and Martin (6 – 1.00), Fergus McCreadie Trio newcomers. Biggest winners The EFG London Jazz Festival interviews with legendary to put together a series of some Taylor, drummer and man about at the Globe (6), the Washboard were the Glasgow-based (November 13-22) was illustrator Ralph Steadman, 30 dates for his Organ Trio (Ross jazz Ken Mathieson received Resonators at Bobik’s (8) and nu-jazz collective, corto.alto, unfortunate enough to land Val Wilmer, Ron Atkins and Stanley, Joel Barford) between the Lifetime Achievement the Strictly Smokin’ Big Band who released new music every right in the middle of lockdown, many others. October and December, often Award. Ken’s career has ranged at Garforth Civic Theatre (19). three weeks and scooped Best but still operated successfully www.esquirecover.club with added guest musician. from running the first Glasgow Looking further ahead, the Sage Band and Best Album. The vis streaming and digital Clearly November was a month International Jazz Festival in1987 Gateshead has three jazz events band, the inspiration of multi- presentations. One feature of JAZZ LEEDS BACK of cancellations, but scheduled to playing with, and arranging for, in February: Binker Golding instrumentalist Liam Shortall, particular interest runs until IN ACTION for December, coronavirus Fat Sam’s Band, Picante and, of Quartet (5), Linda May Han Oh is a dramatically successful January: the Esquire Covers Club. Jazz Leeds’ Autumn season of restrictions permitting, are dates course, his Classic Jazz Orchestra. (18) and Pete Long with the newcomer to the Scottish jazz Curated by Stefano Wagner, it Thursday night gigs at Seven at Seven Arts, Leeds (3), 1000 At the other end of the scale in Strictly Smokin’ Big Band (27). scene. Paisley’s Kitti, regularly takes the visitor to the website Arts, Chapel Allerton, resumed in Trades, Birmingham (4), The terms of experience trombonist/ compared to Amy Winehouse, into what is described as ‘a October with Fergus McCreadie. Hive, Shrewsbury (5), Penrhyn, singer Anoushka Nanguy was picked up the Best Vocalist award specially built digital exhibition The new format combats Llandudno (7), Brecon Jazz (8) voted in as Rising Star. while Best Instrumentalist went hall’, with the exhibition of restrictions on audience size by and Stafford Jazz (9). record sleeves of American playing two houses, of 75 minutes www.nigelprice.biz

6 THE JAZZ RAG THE JAZZ RAG 7 COMPETITION: POPS AT CHRISTMAS GOODBYE TO A STAR COMPETITION: POPS AT CHRISTMAS GOODBYE TO A STAR

What could be more appropriate to the Christmas spirit than a book covering Louis Armstrong’s big ROGER COTTERRELL pays tribute to PETER KING band years from 1929 to 1947? Ricky Riccardi of the Louis Armstrong House Museum, renowned expert on the great man, has already dealt with the later years in his acclaimed book What a Wonderful World!. My favourite jazz blog is JazzWax. Its author Marc Myers, based in Now Oxford University Press is offering TWO copies of Ricky Riccardi’s Heart Full of Rhythm: The New York, is a music columnist Big Band Years of Louis Armstrong to Jazz Rag readers who can answer the following questions: for the Wall Street Journal. I like his weekly blog posts because 1. In the 1938 film Going Places Louis memorably sang a Harry Warren-Johnny Mercer song to a horse. they fit my preferences in jazz, The song was nominated for an Academy Award and became a standard. What song was it? and he has a special sensitivity to European, especially British, 2. Who was the Panamanian pianist whose big band was taken over by Louis Armstrong in 1935? musicians and their music. He has often happily featured Tubby Email your entries to [email protected] Hayes, but also many other (or post to the address on page 3) by December 17th, 2020. British jazz names, including those that have never been ‘names’ at all in the States. SAD NEWS FROM SHEFFIELD JAZZ medical school. The Coalminers DARK MONTHS AT WAKEFIELD 2021 bring ‘swamp soul’ to the club PIZZAEXPRESS LIVE Myers often notes the deaths Jazz Rag is saddened to read Sheffield Jazz has announced an on Dec. 11, followed by Tony Despite an announced December of jazz stars and, after our great of the COVID-related death of excellent programme of Friday Kofi Plays Monk (12), Sarah Jane programme for Dean Street full British altoist Peter King died Alec Sykes, prime mover in the night jazz at Crookes Social Club Morris (13), Jo Harrop (17) and of such big names as Alan Barnes, in August, I was surprised that establishment of Wakefield Jazz for the New Year. The first four Gwyneth Herbert (20). Dave Newton, Dave O’Higgins there was no mention of this Club as a pre-eminent venue gigs feature Trish Clowes’ My Iris www.ronniescotts.co.uk and Antonio Forcione and a in JazzWax. Surely, many people Peter King (front right) at the 1987 British Jazz Awards with (back) John Barnes, Dick Morrissey, (middle) in Yorkshire. Amiable, devoted, (January 22), the Ant Law Quintet scheduled Latin Jazz Festival in knowledgeable about modern Martin Taylor, Dave Green, Brian Lemon, (front) Allan Ganley, Roy Williams, Humphrey Lyttelton. deceptively hard-working and (February 5), Alan Barnes + 11 RONNIE’S IN Holborn, PizzaExpress Live’s jazz jazz in Britain would have little Dick Morrissey’s biggest fan, Alec (26) and Andrew McCormack DECEMBER programme has been shelved, hesitation in saying he was one King played and recorded over He was recognised early as That confident maturity showed ran the club from 1987 to 2004, Solo and Trio (March 5), with the Though the format shows some certainly for three months. Even of the finest alto saxophonists the years with a galaxy of US a technically amazing bebop in all his subsequent music. commissioned several original likes of Clark Tracey and Fergus changes, in particular earlier before the announcement of the this country has produced, and stars: Milt Jackson, Elvin Jones, soloist. He kept all that virtuosity suites and saw the club awarded McCreadie lined up for later in performance times, Ronnie second lockdown, PizzaExpress among the best in the world. As Philly Joe Jones, Zoot Sims and but, from the 1990s, added a Peter suffered plenty of ill- the Parliamentary Jazz Award for the year. Scott’s Club’s programme is announced the suspension of I write this in September, the Anita O’Day are just a few of more reflective side, as well as health. He was a sensitive man Best Club. www.sheffieldjazz.org.uk steadily building towards its events until, at least, March. full obituaries are mainly still many he worked with. In Paris, a greater concern with musical and his personal life, detailed in pre-virus dimensions. December There appears to be no specific to appear, but there has been a he played with the legendary structure and texture learned his autobiography Flying High, Wakefield Jazz itself continues, if 606 RETURNS TO is the time for Christmas with reopening policy, but it’s to be huge outpouring of appreciation Bud Powell. But he didn’t put from Bartok’s compositional was complicated, to say the in a reduced form at the moment. LIVE PERFORMANCE the Ronnie Scott’s All Stars (3-5, hoped that one of the capital’s on the internet of Peter’s work, down roots in US culture. He techniques. He became a least. For many years he was Having restarted the scheduled The 606 Club in London, having 10-12), Soft Machine (6) Motown major jazz venues will be back in as well as many reminiscences didn’t try to build a career composer himself, not just a a heroin addict, not helped by programme in October, the club kept active with livestreaming, and More…with Natalie Williams’ action in a Spring return to of him as a person – usually there. And he rejected an offer creator of good jazz tunes (which destructive influences from – like everywhere else – had to returns to a more conventional Soul Family (7-9, 15-17) Ronnie near-normality. stressing his modesty, gentleness to join Ray Charles’ orchestra he had long been) but someone some other musicians. When abandon it in November and now programme in December, Scott’s Blues Explosion Quintet and kindness, alongside his (a band he loved) permanently, who wrote an opera, and also a my wife and I knew him through plans to suspend it after one final Government restrictions (13-14), Ray Gelato and the PizzaExpress jazz venues formidable musical talent. because it would have required five-part suite, Janus, which he the last two decades of his life pre-Christmas gig: Dave Newton/ permitting. Hard bop saxist Dan Giants (18-23), Liane Carroll’s throughout the country are relocation to the US. recorded with his jazz quartet he often seemed terribly frail, Liz Fletcher Duo on December Reinstein celebrates 18 years Cold Turkey (26-27), Ronnie suffering similarly, most sadly I wrote to Myers in case he had and the Lyric Quartet in 1997. but kept on performing, often 4. Plans to resume in 2021 have of the 606 on December 10, Scott’s Jazz Chamber Orchestra the Maidstone restaurant, not heard the sad news. ‘Yes, Peter emerged as a musician in Unlike very many attempts to when he was in pain, and stayed yet to finalised, but are likely to having first played there as a (28-29) and Joe Stilgoe (30). where the Music Room has I heard,’ he wrote back. ‘Peter the era when British modern jazz draw on both jazz and classical full of ambition to expand his involve local groups until the medical student, now returning Lunch shows are back on the been a staple of local life for was a good guy, but I’m just players looked to the US for their idioms, King’s methods did not musical horizons. Northway situation stabilises. as a distinguished professor of agenda, too, with the likes of Tina 30 years. The restaurant has not intimately knowledgeable models. But, although he started compromise either. He wrote for Publications, run by my wife Ann, www.wakefieldjazz.org eye surgery, after an educational May/James Pearson (6), Simon closed permanently, apparently about him nor passionate about out as a confirmed bopper in the the string quartet in a way that published his autobiography in profile alternating Berklee with Spillett Quartet (13) and Joanna for non-COVID-related his playing… Takes nothing Charlie Parker mode, there was made it support, inspire and give 2011. It is a searingly honest Eden/Enrico Tomasso (27) reasons. The explanation is away from his gifts, just that I always something in his musical freedom to the jazz soloists. book, which reflects Peter’s Tel.: 020 7352 5953 that the need for structural never felt a soulful bond.’ The personality that was going to strange mix of vulnerability and www.606club.co.uk work and refurbishment made comment says a lot, not just flower into a distinctiveness Maybe Marc Myers had only determination, the intensity with re-opening after the first about jazz experience being a pulling him towards European heard King’s pre-1990s albums, which he approached almost lockdown uneconomical. very subjective thing, but perhaps influences. He became better where just sometimes he does everything in life, his total lack www.pizzaexpresslive.com also about cultural distance. known on the Continent than indeed sound, as Marc suggested of boastfulness, and perhaps his in the US and, while older Brits to me, ‘a little too rushed’; bewilderment that he somehow Although King travelled a lot, like Tubby Hayes and Ronnie a bit too frenetic, as though survived the dark times in his he pursued his career mainly Scott yearned for US recognition he is trying to put absolutely helter-skelter career. His wife in Britain and made his best measured against the standard of everything into his solos, often Linda who died in 2007 was an recordings here. But he had the best American improvisers, at breakneck speed and using essential support for many years. many firm friends and admirers Peter began to move in a all his dazzling technique. But in the US. Among musicians different direction. Increasingly, his 1995 album Tamburello, It is our great fortune that they included, notably, fellow from the 1990s, he drew on followed by Lush Life (1999) despite all the ups and downs, altoist Phil Woods with whom influences from European and, above all, Janus (issued in Peter King, who lived to the his style is sometimes compared 20th century classical music – 2006) showed a striking musical age of 80, managed to leave a (although they are easily especially Bartok, his favourite vision that had been latent wonderful legacy on record distinguishable) and Benny composer – which in no way all along but, enriched by his that will gradually gain ever Golson who wrote the preface interfered with the power and Bartok studies, had finally found wider appreciation in the Gwyneth for King’s autobiography. And conviction of his jazz playing. the right means of expression. international jazz world. Herbert 8 THE JAZZ RAG THE JAZZ RAG 9 BBC YOUNG JAZZ MUSICIAN BBC YOUNG JAZZ MUSICIAN

The BBC Young Jazz Musician Deschanel Gordon really takes the term ‘young’ The five finalists had been chosen literally, with this year’s Final from a pool of 25 in the Semi- consisting of five musicians Final, judged by Zoe Rahman, aged between 18 and 22. As it Tim Garland and Byron Wallen. happened, this year’s winner was For the Final the requirement the oldest competitor, Deschanel was to perform a 15-minute Gordon, a pianist from Hackney set, including at least one in London, a recent graduate composition or arrangement of of Trinity Laban and already to their own, in front of a judging be enjoyed widely on Youtube panel of Nubya Garcia, Orphy playing sets in Lockdown streams Robinson and Guy Barker. from such places as the 606 Club and Kansas Smitty’s. The BBC Young Jazz Musician event, which takes place every Of the finalists, the most two years, is part of a stable of familiar to Jazz Rag readers Young Musician competitions, and was saxophonist Alex Clarke Paul Bullock, BBC Young Musician whose stay at Birmingham Executive Editor, commented, Conservatoire was rather ‘It is a source of particular joy brief, preferring as she does at this time to showcase these to gig, mainly round the special young performers and ‘We were there for two days, the previous three have gone Midlands and North West, provide BBC audiences with a rehearsing on Thursday and on to the anticipated success. in a variety of styles and in chance to hear their music. BBC Friday, and that was really good Alexander Bone (2014) no longer some pretty exalted company, Young Musician, in all its forms, because we all got on so well. plays with Jam Experiment (the most recently a livestreamed is by definition about the future.’ We didn’t feel competitive group now re-christened Bonzai) quintet session with Alan True enough, but we thought Jazz because we were all so different and he has diversified away from Barnes from the Birmingham, Rag readers would also enjoy in style we couldn’t really be jazz to some extent. He works Sandwell and Westside Festival. the viewpoint of an outstanding compared – there were no as much as arranger/composer/ young player with whose work losers, we all felt like winners. producer as saxophonist, but The Final at Cadogan Hall – many are already familiar. What I was a bit apprehensive that anyone who can point to two socially distanced, of course was it like for Alex Clarke? the Final itself might be a bit Proms appearances and work – took place as part of the flat with no audience, but it with the likes of Nile Rodgers EFG London Jazz Festival on Absolutely fabulous, apparently! was terrific. Given current and Kylie Minogue must be November 14 and was broadcast Her enthusiasm for the event, circumstances, just the social doing something right! on BBC4 on November her fellow-competitors, the interaction was wonderful.’ 22, presented by YolanDa rhythm section, even the Oddly Alexandra Ridout (2016) Brown. Joining Deschanel and process of making a television Alex’s three song set consisted has made the same number of OUT NOW ON Alex, and accompanied by programme, is total. For those of her arrangements of Lullaby of Proms appearances and leads her Nikki Yeoh and Michael and interested in taking part in the Leaves and In Your Own Sweet own successful quintet as well Mark Mondesir, were three two years time, the process Way and an original based on the as being in demand for countless other musicians, all currently involves an application with chords of After You’ve Gone. Of different jazz ensembles. The studying at conservatoire. video (in her case, two videos, course she admits she felt some onward progress of Xhosa Saxophonist Matt Carmichael one of gigs, one recorded in her disappointment at not winning, Cole (2018) has been slowed from Glasgow is a student at bedroom during Lockdown) but her praise for Deschanel by the fact that nine months the Royal Conservatoire of and, apparently, quite a long wait. Gordon seems genuine and of the two years since he won Scotland, guitarist Ralph Porrett When things started to happen, unforced: ‘He finished with Round have been taken out for live from Telford is at Guildhall they happened at speed. She was Midnight which was brilliant.’ performance, but he is already and the youngest of the five, summoned to the Semi-Final, an established name in jazz 18-year-old bassist Kielan then within two weeks it was The great bonus is the television circles, working with the likes of Sheard from Hertfordshire, Cadogan Hall and the Final. exposure. Alex is actually Jay Phelps and Soweto Kinch. has just joined Trinity Laban. a remarkably well known performer for a 20-year-old, Most interesting of all – certainly but even so there will have to Alex, Matt, Ralph and Kielan – been plenty of club owners and turn to page 6 of this magazine festival directors watching BBC and check out who won the Best Wolfgang Lakerschmid/Chet Baker: The Kaleidoscope Quintet: 4 who will be noting her name – Instrumentalist in the Scottish Quintet Session 1979 Dancing On The Edge together with those of Deschanel Jazz Awards – Fergus McCreadie, Gordon, Matt Carmichael, a non-winning Finalist in the BBC DT8018 DT9079 A continuation of Lackerschmid’s great A striking live recording that showcases Ralph Porritt and Kielan Sheard Young Jazz Musician as recently adventure with one of the greatest trumpet the talents of saxophone legends Dave – for that happy time when as 2018! As Alex says, there’s a players in the history of the art form Liebman and Joe Lovano normal jazz activity returns. winner, but there are no losers!

The BBC Young Jazz Musician is Available from all good record stores and Distributed certainly influential on careers. in the UK by Deschanel is only the fourth www.dottimerecords.com Alex Clarke winner of the competition and

10 THE JAZZ RAG THE JAZZ RAG 11 SUPERBLY SWINGING SUPERBLY SWINGING

until Dick noticed a cocktail summer, several creatures were than I did. There were a couple of demands that Dick delivers a SUPERBLY SWINGING shaker behind the bar. The lower, spotted moving about in the Mick Pyne compositions to play second solo on I got a Girl to his glass portion of the object was saxophone, seemingly enjoying with tough harmonic sequences obvious delight. ALAN BARNES continues our series about great musicians of the Golden Age of British jazz – virtually pint sized and a price the combination of Guinness which he negotiated with ease. the much-missed tenor saxophonist DICK MORRISSEY. to fill it was negotiated. The bar residue and the warm damp. He also taught me Bluesology by Throughout the 90’s, Dick put up owner found several of these Milt Jackson that day, a head that a brave fight against the cancer shakers in a back room and soon Returning to the UK, he made I still play on gigs. which eventually put him in a musical language. The clarinet guitarist Jim Mullen, then cooling ask others, including horn a trend was established amongst his home in Deal, Kent but he wheelchair and took his life at has never been a natural bebop his heels after leaving popular players, what they fancied playing the locals of drinking pints of kept a barge in Little Venice to In 1991 we played a quintet gig the age of 60. He continued instrument, with cross fingering band Kokomo, to be involved. and would go along with their the black liquid in this fashion. accommodate him on London at the Swanage Jazz Festival and with occasional performances complexities and difficulties The two musicians instantly suggestions, changes and chosen Anyone who has witnessed one dates. Boat maintenance was I gained first-hand knowledge of at his local pub in Deal where, with being heard in the lower found they had a natural way keys. Even some great players of Dick’s opening solos at a not high on the list of priorities his amiable and generous way of making light of his poor health, register. Any serious attempt of phrasing and playing unisons will want to include their own performance will attest to how and he was awoken one day putting a set together. The Sonny he would always play with his to move into the modern jazz together that was almost well practised material and set well this method worked for him. with the news that the boat had Rollins composition Airegin came old fire, often with his son Jasper world would require a change uncanny. Dick was very interested routines when they are being In Jim Mullen’s words, the rest of sunk along with its generator. up and he described how tough it on drums. His final performance of instrument. in producing a Crusaders presented as the visiting star. the musicians were ‘drawn like Fortunately, he wasn’t on board had been for him, as a young man, was at the Astor Theatre in Deal type album and this recording, Dick was always more interested iron filings to magnet’ to his beat and he managed to sell the re- to have to follow Tubby Hayes with the re-formed Morrissey Just how quickly Dick grasped released as Up, set out the band’s in bringing out the best in all and his immaculate time. He had floated vessel but, typically, didn’t on that sequence.: ‘He went Mullen band. He sent postcards the mechanics of the saxophone policy of playing contemporary the players on the stand. He an ability to make those around realise the value of the generator through it like a knife through to musicians who had played at and the stylistic subtleties of feels without sacrificing any of presumed everyone was trying as him raise their game and to make until it was pointed out by pianist butter, as if he were just playing his many benefit concerts. One the music can be heard on his the jazz content. There followed hard as possible to play well and every gig special. Johnny Burch rather too late. the blues.’ About an hour later, read, in describing his illness, ‘I first album It’s Morrissey Man!, an exciting six week residency disapproved strongly of others he sailed through the chords just just can’t seem to shake off this recorded in 1961 when he at Mickell’s in New York. The who were critical of those not However, Dick could have a As a retreat he had a modest as he’d described and I began devilish thing.’ was still 20 years old. His style word soon got around and the coming up to par on the stand. slightly cavalier attitude to his place in Portugal, shared with to understand how he’d felt all is already perfectly formed list of celebrity sitters-in during schedule. He did have a diary, his brother, where he enjoyed those years ago. Dick was stylistically incredibly and he delivers a confident, their sojourn includes Steve Local rhythm sections in those but seldom looked at it. His peace and solitude and a different flexible. All of his playing seemed Saxophonists Peter King, Don accomplished and swaggering Gadd, David Sanborn, George days could be a challenge and devoted friend, fan and driver approach to life, once describing Dick remained modest about all to come from the same deep Weller and Dick Morrissey debut. His huge sound is at times Benson and, every night for a Dick would tell the story of (he never drove) Sally Haser also how precious water was in his achievements, even denying well, be it hard-bop, jazz-rock, were all born in South London reminiscent of Sonny Rollins week, the Brecker Brothers the night fate dealt him an had another diary she held for the hot climate, and how any it was him playing tenor on the funk or pop. His commitment to in 1940 and all began their or Johnny Griffin with Stanley who amazed both the leaders undertaker with a long white him so the odd confusion was, left from washing would go on Ridley Scott movie Blade Runner whatever music he was playing musical careers as clarinetists Turrentine overtones in the with their abilities to instantly beard on piano, a van driver perhaps, inevitable. the plants. despite musicians assuring him at the time was total and he had in traditional Jazz bands. I once phrasing. His mastery of all the assimilate the unfamiliar material. on bass, the local butcher it was instantly recognisable as an ability to break down barriers asked Don about his transition to genres, hard-bop, calypso, blues In various incarnations the hugely on drums and no P.A. They One night the Morrissey Mullen A couple of happy personal him. He eventually remembered and communicate directly to his the tenor saxophone. and ballads, sounds like the popular Morrissey-Mullen band eventually by, torturous process, band, by this time travelling memories: and conceded that he had audiences – he was universally inspired outpourings of a much continued until 1988, including got a set list together and took with two vans to accommodate done a session for Vangelis, the loved. His superb sense of swing, ‘Dick Morrissey and I went to more experienced man. This is a long residency at the Half to the stage. Jim Mullen has musicians, equipment and a sound In the mid 80’s, Dick was booked composer of the soundtrack. huge sound and ability to make the West End to buy our first beyond precocious and it’s no Moon in Putney where punters described Dick as ‘England’s man, pulled up at the Concorde to deputise for Tommy Whittle everyone feel good mark him out tenors on the same day. A month surprise that Tubby Hayes began had to be shoe-horned into the greatest opening batsman’ and Club in Eastleigh. The club was in in a band we had: Straight Eight. Great moments in his recording as one of the finest of players. later I heard him on a gig and he to actively encourage him. By packed room. Later on, the two following his first solo could be total darkness and there was no He maintained he wasn’t a sight career include a cameo could play it and I couldn’t. That 1966, he was ranking second leaders played in a more straight a daunting prospect for the most evidence of anyone being on the reader and asked for the parts performance in Dotheboys Hall in Michael Brecker summed it was the difference.’ to Tubby in the Melody Maker ahead setting in Our Band, led by accomplished player. This night, premises. Dick, who had taken and the recording beforehand. Dankworth’s What the Dickens! up perfectly: tenor poll. Martin Drew. however, nobody fancied soloing the booking, woke up in the On the gig I noticed that he suite where he holds his own This coming from one of the at all, on anything, in either back of one of the vans, viewed wasn’t even looking at the parts, withTony Coe, Peter King, Bobby ‘Dick had a direct line from the great individual voices on the Between his recording debut Any musician who played with set. Afterwards the drummer the scene and commented, ‘Ah, but had the whole thing down. Wellins and Tubby Hayes. There heart to the horn.’ instrument gives some indication and the mid 70’s Dick had a Dick at any stage of his career observed, almost in triumph, to perhaps it’s next month then.’ I had one of those ‘You really is a lovely moment on the LP of just how natural a player Dick nine month residency in India, will have happy memories the exhausted saxophonist: ‘Not must start and get it together’ Jimmy Witherspoon at the Bull’s Alan would like to thank Morrissey was. It was as if he and led his own quartet with Harry of the occasion and similar your night, tonight, was it?’ Other diary clashes were moments as I realised that he Head where the singer (not Jim Mullen for his help in the tenor saxophone were made South recording three albums, experiences to share. He was amicably resolved, but financial knew the music much better always the easiest man to please) preparing this article. for each other and were just had residencies at Ronnie Scott’s always completely absorbed in Wherever he was and whoever considerations didn’t seem to be waiting to meet that day in the and the Bull’s Head, toured with the moment and in the music, he was playing with, Dick had part of any decisions made. Dick with U.S. tenor Selmer shop, 114-116 Charing Jimmy Witherspoon and Jack both when playing or cheering on the same warm up routine. He star Teddy Edwards Cross Road. He did play flute and McDuff, played, intriguingly, for a other’s efforts. He consistently would find a quiet couple of Dick’s tenor looked as if it had soprano saxophone at various short period with the Ted Heath made a genuine emotional pubs or bars and have two or spent time at the bottom of times in his later life, but it is band, was a member of the connection with his audience, three of pints of Guinness on an ocean. Many saxophonists on the tenor that he developed Animals big band and, in 1969, through subtle, tasteful and his own, arriving at the gig no have horns which have lost into, and became recognised as, a formed the jazz-rock band If with musical means rather than by any earlier than ten minutes before their lacquer and as a result world class musician. guitarist Terry Smith and fellow kind of grandstanding or playing the downbeat. If the band needed get some green verdigris reeds man Dave Quincy. He to the gallery. Any photo taken to be guided through parts or growing on their surfaces. Dick’s He not only changed his relocated to Sweden and toured of him playing the saxophone routines, that was someone instrument took this to new instrument that day, but also Europe, the U.S. and Canada captures his total involvement. else’s job. Socialising happened levels. He wasn’t one of those his whole musical direction. with the band, a staggering His enthusiasm was infectious – in the interval and often for players who meticulously clean Whilst still playing clarinet, he seventeen times. this was not a man to consider extended periods afterwards, the instrument out after each had joined the Buck Clayton- the option of coasting. The but not before. No food was performance and so his shade of inspired Gus Galbraith band In 1975 at the instigation consistency and high standard of taken before the gig. Even in New green was more livid than most where he came under the direct of Average White Band his every performance brings to York, he found a bar, Fitzpatrick’s, and elastic bands were often a influence of Peter King. King had saxophonists Malcolm ‘Molly’ mind, and rivals, that of another serving his favourite brew on feature, replacing broken rusted already moved on to the alto Duncan and Roger Ball, both great tenorist, Zoot Sims. draft, which was a rarity in those springs. One day during his New and by careful analysis of Charlie fans of Morrissey, Atlantic days. However, the small dimpled York residency, when he was Parker recordings had become records offered Dick a showcase Never one to carry sheaths of glasses it was being served in staying in a brownstone walk-up astonishingly adept at the new recording in New York. He asked music around, he would always proved most unsatisfactory in the sweltering humidity of the

12 THE JAZZ RAG THE JAZZ RAG 13 FRENCH BOOGIE STAR FRENCH BOOGIE STAR

what he is about comes in his the rhythm and technique of FRENCH BOOGIE STAR comments about his approach to boogie, but using a different boogie woogie: scale and different harmonies. Among the many disappointments caused by the coronavirus pandemic, British fans Another example: I like to play a missed the opportunity to hear BEN TOURY at the postponed Birmingham, Sandwell and ‘Boogie woogie is not a dead traditional boogie structure, with Westside Jazz Festival in July. RON SIMPSON profiles a remarkable and versatile pianist. music. A lot of people are playing a turnover stolen from Chopin the same licks from 1925 and – and it’s surprisingly good! (My classical music) and try to mix more than 15 in number. Ben’s that’s all – the book is closed. band thinks I’m mad to do that!) them in. A lot of musicians did versatility goes beyond styles of This magnificent music deserves the same and created new music music: even at this early age he more in my opinion. ‘I don’t know if I’m adding style: James Brown, Ray Charles, was playing drums and harmonica something, but I’m searching. Jimi Hendrix…’ on stage in addition to his main ‘I want to keep this music alive, The priority is the music, not instrument, the piano. evolving. Let’s try to play it with me. If you are trying to change Benjamin Toury was born in another background rhythm something, it’s not because you La Chatre in central France By now the absence of formal maybe or mix this shuffle rhythm dislike it, it’s because you believe on January 20th, 1982, and his teaching had become a policy with a classical scale. Boogie it can be different or even better. musical education (none of it decision, prompted by the belief woogie is a powerful music style formal) began when he was four that a teacher would distort his The Benjamin Toury Duo, still including (improbably enough) and a unique piano technique. For ‘The most important thing is to or five years old. His father was way of playing. Anyway at that Ben and his father, was different one in the Emir’s Palace in instance, I composed a jazz song respect the music.’ a blues musician/singer, heavily age he had no plans to be a in style, confined just to piano Abu Dhabi! named African Smoke, transposing influenced by John Lee Hooker, professional: in interviews he said and drums, without the multi- a boogie ostinato bass, keeping www.bentoury.com who performed with his brother he wanted to become a stuntman instrumentalism of the Good Ben is always open to new from about 1959. Toury, senior, or, at worst, a Formula 1 driver. Ol’ Boogie. This was the group ventures and new styles, but – like his son self-taught, played Viewers of YouTube, enjoying that started making waves with paradoxically – remains true to guitar, drums and harmonica – Ben’s dare-devil, high-risk the French jazz establishment, early influences. The Ben Toury no piano. The piano came into strategy as a pianist may feel that notably pianists Siegfried Kessler, Corporation has recorded young Ben’s musical universe his ambitions have not changed Fabrice Eulry (who still advises prolifically in more contemporary when he began to dabble with a that much! his ‘young boogie competitor’ style, but in 2013 Ben went back small keyboard while his father with his career) and the great to boogie woogie and recorded was performing onstage or in the In fact, spending weekdays in the Claude Bolling. Wild Boogie-Woogie Vol. 1, to be studio – and what began with classroom and weekends and followed two years later by the blues soon spread to a much holidays in smoky bars brought A further development occurred a second volume. Volume 3, wider range of music. Ben early success, as a composer when they added the English focussing on boogie dance, is on as well as a pianist. One of his double bassist Nick Whewell the way. For anyone typing in ‘Ben ‘Nobody knows why I chose boogie pieces with the offbeat whose background in classical Toury’ on YouTube he is pre- piano. We guess it was because title of Virtuous City (‘extremely Russian music gave a new eminently a spectacular boogie- I was bored, so I started to fast’, Ben comments disarmingly) direction to Ben Toury’s music. woogie pianist, one who has play on the keyboard and I was was a particular favourite Since then, for the next 20 spent part of the enforced lay-off able to pick up the notes from and Ben remembers that in years, new directions have been developing teaching techniques blues discs and reproduce them November 1993 an American what his career has been about: for boogie woogie piano. on my keyboard. When I was guitarist joined them for that triumphs at classical festivals, ten I had an electronic piano number and several others addition of two saxes to form Typically in 2019 Ben released a and I developed a passion for before encouraging Ben to keep the Ben Toury Corporation, new album, Siberian Piano, based It wouldn’t quite have been Ben ‘Classical meets boogie woogie boogie woogie. to his style of playing. That was replacement of the saxes on classical compositions, but he Toury’s first appearance in the piano’. So what does Ben have to the occasion when the 11-year- by a jazz guitarist to make also took blues and boogie back UK – a few years ago he played say about the different styles of ‘Why boogie woogie? Well, at old pianist played five numbers the Corporation a quartet, home to the States by playing the Sandwich Jazz Festival – but, music he plays? home there was always music with Alvin Lee of Ten Years After. programming more of Ben’s Cincinnati Blues Society and the compared with his international playing and I always loved three vocals, adding a front line of three Bloomington Boogie Festival. touring, ranging from the USA ‘When I’m alone, I’m more free of the LPs in particular: two were By the age of 15 Ben had to form the Ben Toury Machine. to Russia, British audiences have to play what I want, so I can, for by Memphis Slim, one of them recorded two CDs and Sponsorship by the prestigious So Ben fuses tradition with been relatively deprived. His example, play real traditional live at Les Trois Maillets in Paris, performed more than 200 piano company, Pleyel, brought originality, even exploration. UK fans are more likely to have boogie woogie. When I’m with and the other Old Time Shuffle shows. The Good Ol’ Boogie a clutch of prestigious gigs, Perhaps the best summary of encountered him on YouTube my band, it’s a real show we by the wonderful Lloyd Glenn. I show was now frequently heard where his videos total several are giving, with lots of energy. guess I’ve been sensitive to the at major events in France such million views. Our repertoire is mainly built sound of the piano since I was as the Printemps de Bourges. on my compositions and a few a child. Later I discovered other His biography describes the SUBSCRIBE TO THE JAZZ RAG So what is special about Ben covers from the 1950s, but really pianists such as Jerry Lee Lewis, year 2000 as a ‘turning point’ Toury? Let’s start with that different from the originals. I like Art Tatum and Phineas Newborn.’ in Benjamin’s life, though the versatility. Many of us first to call it heavy Rhythm ‘n’ Blues events of that year were hardly SIX EDITIONS MAILED DIRECT FOR encountered him on Youtube as because it’s like boogie woogie Though his public performances unexpected given the successes a boogie woogie pianist with as mixed with modern rhythm and have been few recently owing to of his teenage years. At the £17.50 TO ANY UK ADDRESS much originality as virtuosity. His fat guitar solos. It’s like Full Metal the pandemic, Ben clocked up age of 18, having obtained his biography defines the style of Boogie Woogie. his 2,500th performance in 2020. baccalaureate, he became a Overseas rates: Europe £24, Rest of The World £29 his band as ‘a heavy and modern Since he is only 38, this suggests professional musician and Rhythm ‘n’ Blues’ and refers to ‘I like to mix different musical an early start – and that’s exactly moved to Paris. At the same ‘a subtle mix of classical and influences to see the result. I’m what he got! In 1993 at the time he disbanded the Good Cheques payable to Big Bear Music. Send to: Arabic-sounding scales’. Indeed, self-taught coming from blues age of 11 he formed the Good Ol’ Boogie duo, immediately Jazz Rag Subscriptions, PO Box 944, Birmingham, England B16 8UT the most recent Youtube video I and boogie so I play in those Ol’ Boogie duo with his father, replacing it with another Photo by Merlin Daleman found when starting this article styles, but sometimes I pick up playing blues standards and with the same personnel! To pay by credit or debit card, visit www.thejazzrag.com in early October was entitled some riffs of other music (I like Ben’s own compositions, already or phone 0121 454 7020

14 THE JAZZ RAG THE JAZZ RAG 15 50 BY LOUIS ARMSTRONG 50 BY LOUIS ARMSTRONG

piece has a happily exhibitionistic 32) Ole Miss – July 12, 1954 50 BY LOUIS ARMSTRONG solo by Armstrong; how many – From the Satch Plays W.C. straight times does he hit the Handy album, Armstrong and his by Scott Yanow same high note during his solo? It All-Stars romp throughout the gives one an example of how he joyful piece. For this article, I sought to do 5) Cornet Chop Suey – Feb. 26, excited audiences. the impossible and possibly 1926 – An example of flawless 33) St. Louis Blues – July irrational. I guess I could blame virtuosity that must have amazed 25) Jubilee – Jan. 12, 1938 – 13, 1954 – Louis Armstrong Ricky Riccardi, Louis Armstrong’s other trumpeters. After Armstrong performed this recorded Handy’s St. Louis biographer, who a few years ago Hoagy Carmichael song in the Blues with Bessie Smith in 1925 said that he was compiling a 6) Wild Man Blues – May 7, otherwise forgettable film Every and with his big band in 1929, list of Armstrong’s 50 greatest 1927 – Armstrong’s dramatic Day’s A Holiday, he owned it, but 1933 and 1934. However none recordings. I never did see the breaks during the first chorus of soon discarded it. No one else compare to this nine-minute list, but thought that it was an this piece cannot be topped. adopted it for long because they version which is extraordinary between classical music and hears this, it is impossible not interesting idea. Now, knowing could not top his version. in every way including the long Dixieland with the inspired to smile. full well that there are many 7) Potato Head Blues – May melody statement, the humorous Armstrong, Young and Hall more than 50 great recordings 10, 1927 – One of the most 26) I Double Dare You – Jan. singing, Trummy Young’s amazing Bernstein. 47) A Kiss To Build A Dream (individual songs rather than popular of Louis Armstrong’s 13, 1938 – It is strange that this boisterous trombone, and every On – Apr. 18, 1964 – Louis full albums) by the most famous early recordings, topped off by reality, he simplified his trumpet 19) Star Dust – Nov. 4, 1931 – song (first recorded by Woody note that Satch plays. 41) Stompin’ At The Savoy – Armstrong began performing and influential of all jazz artists, his blazing stop-time chorus. playing a little and emphasized his Originally this Hoagy Carmichael Herman in 1937) did not catch July 23, 1957 – Louis Armstrong this ballad in 1950 (it was in the I have nevertheless plunged singing a bit, but never lost the gem was a medium-fast dance on. Armstrong’s singing and 34) Basin Street Blues – Jan. made three full albums with Ella movie The Strip) and never lost ahead with my own list which 8) Struttin’ With Some ability to spontaneously create band number. Isham Jones slowed trumpet playing is heard very 21, 1955 – Armstrong loved to Fitzgerald. This uptempo romp his affection for the song. is in chronological order and Barbecue – Dec. 9, 1927 – While musical magic. This is one of it down in 1930 and Armstrong much in its prime even if the start Basin Street as a ballad and gets a bit crazy with plenty of ad- covers a 45 year period. Only Armstrong played this song many many former pop songs that he immortalized it, even while record was not a hit. then, after a drum break, have libbing and a brief but explosive 48) Jeepers Creepers – Apr. two songs are listed twice and, times over the next 40 years, this turned into a jazz standard. playing around with the melody it swing hard. This is one of the trumpet outburst. 18, 1964 – From the Hello yes, I know that I left out What A version has a perfect solo chorus, and the words. 27) Down In Honky Tonk Town better versions. Dolly album, this version has Wonderful World! one with a beginning, middle and 13) Ain’t Misbehavin’ – July – May 27, 1940 – Armstrong and 42) Rockin’ Chair – July 6, one of Armstrong’s last great end. Was it improvised on the 19, 1929 – In 1929 there were 20) Home – Jan. 27, 1932 – Bechet had a one-time reunion 35) Honeysuckle Rose – Apr. 1958 – While Armstrong teamed trumpet solos. 1) Cake Walkin’ Babies From spot or worked out in advance, eight other recordings of the Fats While Louis Armstrong’s big in 1940 and this was the hottest 27, 1955 – A highlight of the Satch up with other singers through Home – Jan. 8, 1925 – While and why did he never repeat Waller classic before Armstrong band recordings of 1929-31 number from their last encounter. Plays Fats album, Velma Middleton the years on this humorous 49) Blue Yodel No. 9 – Late Armstrong made his first this solo? got to it, but his version is the are generally quite rewarding, takes one of her better vocals but often-touching piece, Jack 1970 – Louis Armstrong’s health recordings in 1923 with King one that is remembered. his 1932-33 sessions were 28) Back O’ Town Blues – before the leader’s trumpet Teagarden was the perfect foil. gradually declined after 1965 Oliver’s Creole Jazz Band and 9) Hotter Than That – Dec. sometimes subpar due to the May 17, 1947 – In 1947 the makes it hot. They had a reunion at the 1958 and he was barely active in made a major impact during his 13, 1927 – Living up to its title, 14) Black And Blue – July 22, erratic playing of his sidemen. trumpeter took a chance, broke Newport Jazz Festival, resulting 1969. However he came back period with Fletcher Henderson’s this performance has mutually 1929 – A protest song against The heartwarming Home is an up his big band, and formed Louis 36) Mack The Knife – Sept. in this version that was filmed for in 1970 and even began playing orchestra, his solos in both inspiring interplay between Satch racism in 1929? This may have exception and he puts plenty of Armstrong’s All-Stars. It resulted 28, 1955 – Louis Armstrong’s Jazz on a Summer’s Day. trumpet again later in the year. settings were generally brief. In and guitarist Lonnie Johnson. been the first one ever recorded, feeling into the lyrics and theme. in a much smaller payroll, musical hit is such a departure from He appeared on the Johnny Cash contrast, one can only imagine and it is certainly one of the most flexibility, and his unparalleled this morbid song’s origin that it 43) Avalon – May 24, 1960 – In television show and collaborated what listeners thought when they 10) West End Blues – June 28, effective and quietly emotional. 21) Hustlin’ and Bustlin’ For popularity as he became a can be enlightening to compare 1959 Louis Armstrong had a with the singer on a revival of first heard his playing on Cake 1928 – Armstrong’s recordings Baby – Jan. 26, 1933 – This is an constant world traveller for the two. heart attack that put him out Blue Yodel No. 9 which he had Walkin’ Babies From Home which with his Savoy Ballroom Five 15) When You’re Smiling – overlooked song that would not the rest of his life. Back O’ of action for a few months. He recorded with country pioneer found him battling Sidney Bechet. in 1928 found him at his most Sept. 11, 1929 – While many of be recorded again (other than by Town Blues (from his famous 37) Indiana – Oct. 30, 1955 – made a full comeback and joyfully Jimmy Rodgers in 1930. Look for advanced, playing off the equally Armstrong’s early recordings Ruby Braff in 1955) until Marty Town Hall concert) is full of his The exciting set solo developed hits very high notes during this this heartwarming performance 2) Careless Love – May 26, 1925 avant-garde ideas of pianist Earl are full of hyper-excitement, he Grosz dug it out in 1986. Based homespun wisdom. by Armstrong over several years performance with the Dukes of on You Tube. – Armstrong’s interplay with Hines. West End Blues was Satch’s shows remarkable restraint on on this version, it should have it served as the perfect opener Dixieland. Bessie Smith (the accurately- personal favorite of all of his this song, building up the tension become a standard. 29) Jack-Armstrong Blues – (after his theme) to nearly every 50) Sleepy Time Down titled Empress of the Blues) is recordings and it is universally and suspense as he plays the June 10, 1947 – Louis Armstrong performance. 44) Drop Me Off In Harlem South – Every version – Louis both tasteful and assertive. considered his masterpiece, from melody fairly straight but in the 22) Dinah – Oct. 21, 1933 – This and Jack Teagarden had a perfect – Apr. 4, 1961 – While it is Armstrong’s theme song from the stunning opening cadenza upper register. is one of three numbers on this musical partnership, bringing out 38) Tin Roof Blues – Oct. unfortunate that Armstrong 1931 on, he performed this song 3) Heebie Jeebies – Feb. 26, (which Charlie Parker quoted list that is taken from a film. Louis the best in each other. This is 30, 1955 – The passion never recorded with the Duke a countless number of times 1926 – Louis Armstrong’s Hot in full during a live broadcast 16) Dear Old Southland – Apr. Armstrong performed Dinah their finest joint recording with displayed by the frontline of Ellington Orchestra, Duke did through the years, always with his Five and Hot Seven recordings on an unrelated song) and the 5, 1930 – While his duet with many times in the 1930s including the closing trumpet solo being Armstrong, Trummy Young make a double-album in which typical warmth. of 1926-27 forever changed jazz atmospheric wordless singing pianist Buck Washington is not as for a remarkable three song Satch’s best of the 1940s. and clarinetist Edmond Hall is he sat in with the All-Stars. This from an ensemble-oriented music to the remarkable final chorus. competitive as Weather Bird with miniset filmed in Copenhagen. remarkable during this slow and is a fine Ellington song that Scott Yanow has always to one featuring brilliant soloists, This performance should be Hines, it is filled with dramatic His scatting and superb trumpet 30) Someday You’ll Be Sorry- burning version. Satch otherwise never seems to considered Louis Armstrong none hotter than Satch. His scat- memorized by all jazz musicians trumpet playing. solo are still exciting to see today. June 10, 1947 – Armstrong have performed. to be his favourite musician. singing on Heebie Jeebies may occasionally wrote songs 39) Struttin’ With Some Scott can be reached for have been preceded on record 11) Weather Bird – Dec. 5, 17) I’m A Ding Dong Daddy – 23) On The Sunny Side Of The throughout his career. This is his Barbecue – June 1, 1956 – 45) Summer Song – Sept. 13, liner notes, bios, press by others including Gene ‘The 1928 – The one duet recording July 21, 1930 – Dazzling scatting Street – Nov. 7, 1934 – While best-known original. Completely different than his 1961 – At the 1961 Monterey releases, reviews and other Ragtime King’ Greene back in by Armstrong and Hines. They (after singing ‘I dun forgot in an off-period during part of 1927 recording, Louis Armstrong Jazz Festival, Louis Armstrong interesting assignments at 1911, but it resulted in scatting challenge each other throughout the words’) and a perfectly 1933-35 when his trumpet chops 31) La Vie En Rose – June 26, had developed a new solo and sang and acted in the Dave [email protected]. catching on. and play with time without losing constructed trumpet solo that were worn out and he was living 1950 – Satch had two parallel ensemble part for this piece. Even Brubeck show The Real a beat. builds and builds. in Europe, Armstrong only had recording careers in the 1950s, though it became predictable, it Ambassadors. Other than the Please email us with your 4) Come Back Sweet Papa – one overseas recording session. with his All-Stars and as a was still always exciting to hear. album that was made, the show favourite tracks not on Feb. 22, 1926 – A wonderful song 12)) I Can’t Give You Anything 18) Shine – Mar. 9, 1931 – The This magnificent version of On single who often recorded with was not staged again for 50 Scott’s list. The reaction and superior melodic improvising But Love – Mar. 5, 1929 – During words may not be politically The Sunny Side Of The Street was orchestras. This offbeat recording 40) St. Louis Blues – July 14, years. Satch puts plenty of honest in the Jazz Rag office was, by Armstrong. It is strange that 1929-46, Armstrong mostly correct but this song has very the highpoint. with an orchestra (and soon 1956 – Performed with Leonard feeling into the Brubeck ballad. ‘What, no Mahogany Hall this song did not stay in his recorded with big bands and viable chord changes that played nightly with the All-Stars) Bernstein and the New York Stomp?’, but Scott said it repertoire for long. was accused by some in the jazz Armstrong takes full advantage of 24) Swing That Music – May finds him interpreting the Edith Philharmonic (and filmed), this 46) Hello Dolly – Dec. 3, 1963 – came 51st! world of going ‘commercial’. In during his stirring solo. 16, 1936 – The joyous uptempo Piaf classic in his own way. is a very memorable meeting No matter how many times one

16 THE JAZZ RAG THE JAZZ RAG 17 ROY WILLIAMS M.B.E. ROY WILLIAMS M.B.E. ROY WILLIAMS M.B.E. BORN SALFORD, MARCH 7, 1937 Roy has played with Photo by Derek Evans such stars as Buddy Tate, Ruby Braff, Doc Cheatham, Bud Freeman, the Harlem Jazz & Blues Band and many others, including (appropriately enough) The World’s Greatest Jazz Band.

‘Not every player combines the qualities of supreme creativity with open friendliness to all humanity, but the great Roy Williams does so with ease and our jazz world is infinitely the richer for it.’ Since 1987 Roy Williams Digby Fairweather has picked up well over 20 British Jazz Awards for Trombone.

Top: ROY with Gene ‘The Mighty Flea’ Connors at the first Birmingham Jazz Festival[1985].

Above: Drummin’ Man on tour somewhere in Germany : Bruce Adams, Alan Barnes,ROY, Len Skeat, Peter York,Brian Above: British Jazz Award winners in Dee, Val Wiseman and Birmingham : ROY, Dave Shepherd, Kenny Baker, Pascal Michaux. Martin Taylor [rear].Allan Ganley, Len Skeat, John Barnes, Peter King, Tommy Whittle and Left: On the road with Brian Lemon[front]. Lady Sings The Blues : Jim Douglas, Len Skeat,Al Right: At Birmingham’s Grand Hotel : ROY, Gay, Val Wiseman, Brian Humphrey Lyttelton, Allan Ganley, Tommy Lemon,ROY, Digby Whittle, Bruce Turner, Randy Colville. Fairweather, Eddie Taylor.

18 THE JAZZ RAG THE JAZZ RAG 19 REFLECTING DREAMS REFLECTING DREAMS

Photos by Per Morten The music of Live Reflections and dreamy way, touching the REFLECTING DREAMS Abrahamsen contains both rich sonorities and listener as pure music.’ a typically Scandinavian sense of MARILYN MAZUR explains to RON SIMPSON what the band FUTURE SONG means to her and space. The dreams of the opening A quick tour of Marilyn Mazur’s how the newly issued Stunt CD, Live Reflections, looks back on 25 years of the band’s life. intent of Future Song are there website reveals an obviously alongside aggressive percussion, restless talent. She lists eight Marilyn Mazur is usually The dream has indeed lasted with the naked human sounds ‘For the start of Future Song I so I ask about contrast: groups which she leads, though described as a Danish well, but in recent years has and in this way Future Song kept composed seven ‘Dreams’, each ‘I play – and compose – in a very inevitably not all are active at percussionist/composer, but been more intermittent. Marilyn up with the sound of the new with its own dynamic quality intuitive way. I start somewhere any one time, much attention in reality she is rather more Mazur has, between times, led Millennium, although still focusing and each featuring one of the and see where it leads me to. currently focussing on Shamania, international than that. Born in groups such as the Primi Band on the warm human aspects musicians. First Dream links 1990 I like music to have contrasts a 10-piece all-female band which New York of Polish and African- and Shamania, spent several years of music.’ to 2015.’ and many different shades and often features an improvising American descent, she moved with the Jan Garbarek Group colours. Poetic beauty and dancer. Despite the coronavirus, to Denmark at the age of six. and collected many top awards, So that’s the 2015 Future Song, What about Marilyn Mazur’s own wild energy!’ she remains remarkably active in Most of her career has been including the Jazzpar and Ben with electronics in the hands approach to music? Generally live performance, the variety of spent there, but by no means all Webster prizes. Future Song of Tone Aase and Eivind Aarset, she identifies as a percussionist, Aina Kemanis, originally, and groups – whether led by her or of it. In 1985 she took part in continued, with changes, until but also an added horn. After though on her website the Tone Aase, more recently, are someone else or co-operative – the recording of Aura in which 2009 – and now Stunt Records’ trumpeter Nils Petter Molvaer term ‘drummer’ also appears. key members of Future Song, as striking as the number of gigs. Palle in which Palle Mikkelborg Live Reflections is a retrospective was in the original band and Of course a drummer is a but Marilyn Mazur’s approach to However, it’s clear that Future paid tribute to Miles Davis. Miles which filters three periods saxophonist Hans Ulrik in the percussionist, but few use the writing for the human voice is Song – which she refers to as himself was present and shortly of Future Song through the 2008 version, they team up term – and, of course, Mazur also somewhat unusual, though once ‘my beloved Future Song’ in the afterwards Marilyn was invited to perspective of 2020. Essentially together in 2015 for tracks from includes a drummer in the line-up again she claims that it’s not a CD booklet – holds a particular join his band and she toured the the tracks are live recordings two live sessions: at Copenhagen of Future Song. deliberate decision on her part: place in her affections as the world with Miles, Wayne Shorter of a 2015 reunion mixed and Jazzhouse and Bodo Jazz Open. band she formed when re- and Gil Evans until 1989. mastered this year by Audun But how did Marilyn Mazur, who ‘Besides being strongly into a world view through her and adventure into the music. I ‘On this album there are no starting her career in Denmark. Kleive and Sven Andreen: ‘they produced the album herself, composing music, I actually music. When she talks about definitely compose for specific lyrics. This wasn’t a conscious Live Reflections, she believes, does When she returned to her have done their best in building decide on the two archive tracks? started with piano and dancing, composition, her method seems musicians. Sometimes the music choice; it just ended up like that. exactly that: reflect the impact of Danish base, she immediately a strong sound picture from the performing with the Creative flexible and open to the influence simply arises from a mood, vision I love the sound of the human the band’s live performances. formed the group Future Song, slightly chaotic live recordings. ‘I have always been very happy Dance Theatre as a teenager, of chance: or vibration, other times I work voice which gives the music a with Aina Kemanis (voice), I feel that these mixes have with the first Future Song and then drums and percussion more focused on creating a true human closeness, both as a www.marilynmazur.com Elvira Plenar (keyboards), Nils re-created the magic of the recordings. Our first CD became my true instrument. I ‘Through the years I’ve kept project from certain ideas. I don’t melody-carrying instrument and Petter Molvaer (trumpet), Klavs band’s live playing.’ Added to didn’t have room for the tune have always found both drums writing new music for Future have one specific method, but I as an improvising soloist. When Hovman (bass) and Audun Kleive these are one track each from Reflections so for this ‘anniversary’ and percussion are important Song to challenge the group am very inspired by nature and the song is without words, the (drums). What prompted the the original studio recording of release I really wanted to include to me. Perhaps I feel most and bring even more freedom by instruments.’ voice speaks in a more abstract creation of this new band? the band in 1990 and from the this never-released tune so the fulfilled at the drum kit, that Molde Jazz Festival of 2008. So, as original group would have a part. gives a lot of power to shape the ‘Very inspired by my years with well as a coherent album (what musical dynamics of the band, Miles Davis, I wished to create Marilyn calls ‘a whole story of ‘2008 was an important year for but I am drawn to the broad a new band with musical soul its own’), we have a snapshot of the new version of Future Song, sound spectrum of multiple mates, each member with their the development of Future Song. as was my residency at Molde percussion. So from my point of own strong voice, yet all able to Kleive and Hovman (Marilyn’s Jazz Festival, so I also wanted view I am equally a drummer, a unite into a joint expression. I husband) have been constants, this group to have a part on the percussionist and a composer.’ thought of the project as a dream but the band has enlarged new album. I found Vinterstykke of a future where people have slightly and made more use – which then was brand new Certainly I get the feeling that developed an empathic/telepathic of electronics: and played live for the first she is more than equally a way of close communication time – was a fine addition to the composer. Clearly the years with and understanding rather than ‘In 1992 Future Song did a special celebration concerts.’ Miles Davis, while rewarding and just developing their technology. project in Tonsberg, Norway, with exciting, became frustrating when The size of Future Song is large a local choir and four dancers: The element of uniting then and she spent night after night playing enough to have many sound Dreamfog Mountain which is on now that runs through the album someone else’s compositions. colours in its palette, but small Live Reflections was written for also surfaces in the inclusion of Her account of forming Future enough to be a flexible and this project. For this occasion First Dream, recorded in 2015: Song tells of a need to create spontaneous unit. we added Elvind Aarset to the band and it was so nice to have ‘In 1989 I also missed creating his soundscapes that he became and playing my own music a regular member after that. This which was very different way electronics came naturally from the sort of music Miles’ into the largely acoustic sound band played in the later 80s. of Future Song, although it was I felt much closer to Miles’ still a very organic, improvising 70s music and its mysteries. and live-creating music form. In Loving a more collective way 2008 the wonderful Aina Kemanis of playing together with space stopped singing and touring. It for everyone at the same time, I was very important for me to used my instincts to gather some find a new singer and I stumbled of my favourite musicians, many upon the exciting Norwegian, of them Scandinavian, for this Tone Aase, who works a lot grand and long-lasting dream.’ with electronics in her voice. So, without it being a deliberate choice, the electronics caught up

20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

for drug dealing and addiction. why he was so revered. All four of a time; he talks a lot, even Purposely sparse arrangements by Oscar Peterson on piano, CD REVIEWS Safely through and clean, he albums feature Heath pieces that creates impromptu portraits afford space for considered Ray Brown on bass and Connie had then embarked on periods have become standards, each on the second CD of two of improvisation. Beats & Pieces’ Kay at the drums. Although of exemplary creativity and it’s has a glittering line-up, with the his audience members, before pianist Richard Jones, bassist Seth presenting largely the same four Riverside albums from this Adderley brothers, Clark Terry, duetting briefly with fellow- Bennett and sometime Beats & material in mono and stereo, the immediate post-prison period Freddie Hubbard, and Cedar pianist Yaron Herman, also Pieces’ drummer Johnny Hunter music comes from two separate that Avid have collected here. Walton and more, all caught at plucked from the audience, share South’s desire to respect performances, only one of which their mid-career hard bop best. and then tackling eight of the material without stifling was recorded at the Opera Thumper was his first album his own Children’s Songs. their own creative impulse. House, the second emanating as leader (made while he was PETER VACHER from The Shrine Auditorium. on probation) and it’s followed Streets away from a conventional The spirituals will be known The performances were here by Really Big!, The Quota and jazz album, this is Corea, the to all: Nobody Knows (perhaps recorded within a month of Triple Threat, these dating from ‘consummately expressive player recalling Paul Robeson’s each other and it is interesting November 1959 through to with a complex intellectual memorable recording), Steal to compare the individual January 1962 and teaming Heath stance’, as Morton and Cook Away, the title track By and By, performances. The Shrine offers JIMMY HEATH as both player and composer once described him. Unusual, Go Down, Moses and Deep River. a bonus in the form of Yesterdays; with many of the very best distinctive, different: one of the A brief interlude is positioned with a group such as this FOUR CLASSIC ALBUMS talents of the day, not least most significant jazz musicians between the first two tracks with satisfaction is guaranteed. his brothers, bassist Percy and of our day having fun. the album’s total playing time Avid Jazz AMSC1375 2 drummer Albert aka ‘Tootie’. approaching the hour mark. Jazz Samba from 1962 proved CDs 76.37 / 76.01 PETER VACHER to be one of his most popular From the off, with For Minors The quartet’s empathetic releases. This reportedly When the tenor-saxophonist Only, written, incidentally, while interplay focuses upon fine surprised Getz who, whilst and composer Jimmy Heath he was in jail, it’s Heath’s gift for CHICK COREA detail rather than bold, brassy liking the music, felt that it was died last January aged 93, it writing memorable themes and solo statements. A subtle a modest effort compared to seemed as if he was the last his flair for voicing a three-man CHICK COREA PLAYS swing time sensibility surfaces the major artistic achievement of the great boppers to go. front-line as if were altogether from time to time and for the of Focus (from 1961) which had Only Sonny Rollins and Lou larger that impresses, this further Concord CJA00284 2 listener with an interest in a lesser commercial appeal. The Donaldson have outlived him, exemplified in the 10-piece Really CDs 58.09 / 53.53 current developments, By and matching of Getz with guitarist and both are now retired. Big! session, with the stirring By is well worth checking out. Charlie Byrd for this small group Picture of Heath as its standout. Now 79, Corea’s public recital was inspired but later Here was a musician who had appearances are audience- RUSSELL CORBETT lead to unhappiness on Byrd’s been leading bands since the Add to this his virile, passionate pleasing affairs, as is evident part as Getz refused to share 1940s and who had suffered tenor playing, albeit with a hint from this double-CD of with him the Grammy award for many vicissitudes along the way, of his boyhood friend Coltrane’s ‘selections from a few recent GRAHAM SOUTH Desafinado, the opening track on not least several spells in jail approach, and it’s easy to see (solo) concerts’. None of the QUARTET the album. locations are identified nor are dates shown; suffice to say BY AND BY Big Band Bossa Nova, also from that the piano sound is superb, 1962, is an ideal companion piece the audience response effusive, Efpi Records EFPI FPO32 58:28 containing music from Jobim and whereas the booklet, which Bonfa. The big attraction is the is a compendium of colour Graham South is a mainstay of chance to hear the compositions photographs taken, presumably, Manchester’s contemporary and arrangements of a young at the concerts themselves, jazz scene. As a student in the Gary McFarland. is pretty useless. Oh well. city, trumpeter South developed lasting friendships and musical STAN GETZ ALAN MUSSON The premise on the first CD of associations. A founding member this pairing, as Corea explains in of Ben Cottrell’s acclaimed FOUR CLASSIC ALBUMS: his rather chatty announcements, Beats & Pieces Big Band, South’s FOURTH SET is to consider connections many other commitments where, say, his improvisation on (Article XI, Johnny Hunter Avid Jazz AMSC1369 2 CDs a classical composition or on a Quartet, Manchester Jazz 76:50/67:05 single standard song suggests an Collective) precluded, until affinity to a friendly companion now, recording and releasing The albums here are Stan Getz piece. So Bill Evans’ Waltz For an album as a band leader. and J.J. Johnson - At the Opera Debby leads on to Desafinado by House, Chicago (stereo) Stan Getz Jobim before segueing to Chopin South was commissioned and J.J. Johnson At the Opera and Scriabin, and Mozart’s Piano to arrange the five African House (mono), Stan Getz – Jazz Sonata in F morphs into Someone American spirituals central to Samba and Stan Getz – Big Band To Watch Over Me before A Child of Our Time and present Bossa Nova. DJANGO BATES Scarlatti suggests Yesterdays and a complementary performance Monk relates to Stevie Wonder, alongside a staging of Michael These albums will be well-known TENACITY each improvisation offered Tippett’s oratorio at the 2018 to most readers; however, for as a single musical entity. Southwell Music Festival. By and those unfamiliar with his work, Lost Marble LM009 53:10 By was recorded in April 2019 this package makes a welcome The energy is palpable, the and, in this year of the pandemic, introduction to the music of Django Bates first came to playing bravura, its range and a CD finally sees the light of day. Stan Getz. prominence as a member of mastery quite astonishing, Loose Tubes. The freewheeling not to say spectacular. Corea, South reimagined Tippett’s The first two releases date from jazz orchestra enjoyed huge clearly, was having a whale five pieces for his quartet. 1957. The leaders are supported popularity during the 1980s, since

22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

when the composer/pianist has French organ composers of the pianists we find here. Piano, gently syncopating, and were the musicians listed above, excitement and spontaneity gone on to work on many other of the late 19th century, Again he deserves huge credit muted trumpet fashion between but don’t expect long solo forays of the days of early jazz. projects, winning the prestigious maybe, or Faust’s Estonian for overcoming considerable them a quite breathtaking Dream from these jazz luminaries. Jazzpar Prize along the way. compatriot Arvo Pärt – even logistical difficulties involved in A Little Dream of Me, one of those Side 1 (12 tracks) features the Mussorgsky’s Great Gate of Kiev. getting together with musicians eternal wonders from the early In Afro-Cuban music it was cream of the first flowering of Bates’ trio - Petter Eldh, double from throughout Europe and thirties. It’s a rare piece of salon always the ensembles that Machito’s bands of the 1940s and bass, Peter Bruun, drums - Organ is composed for organ, beyond - as well, not least, on sophistication that even Cuff counted and apart from the Side 2 traces the progression recently recorded an album three reeds, three brass and – the extremely high quality of might not have envisioned in his redoubtable Howard McGhee, of Afro-Cuban into the Afro- with the Norrbotten Big Band most importantly – the acoustic the recordings. Since he supplies robust Barry ‘Kid’ Martyn days. who seems to have taken to Cubop of the Fifties of which celebrating the music of Charlie of St. Nicholas’ Church in Tallinn, no sleeve notes, we can only the new music like a duck to Dizzy Gillespie was the notable Parker. Tenacity’s ten tracks were the wonderful sound of the King conjecture how he does it. ANDREW LIDDLE water, and the ever adaptable champion and this compilation recorded in Sweden and mixed of Instruments reverberating Flip Phillips, the other big of 40 of the best tracks of this and mastered in London. Four through the 13th century church, All seven pianists, Bernd THE DIME NOTES CUFF BILLETT names are largely absorbed progressive time is a real treat. reimagined Charlie Parker tracks matching slow-moving blocks Lhotzky, Louis Mazetier, AND TONY PYKE into the wild collective whole. As we expect, the music is raw are central to the project: Ah Leu of sound with the wind sextet. Luca Filastro, Chris Hopkins, DAYLIGHT SAVIN’ and constantly full on, relentlessly Cha, Donna Lee, Confirmation and The basis for the album was a Rossano Sportiello, Harry LIVE IN THE UK I think what may have attracted overpowering. The sections all a joyous My Little Suede Shoes are piece for organ and electronics Kanters and Alain Barrabes, Lejazzetal Records those jazz celebrities was the have their functions; the saxes complex yet accessible, capturing entitled Stroma composed showcase their bravura talents LJCD23 47:33 Jazz Crusade JCCD3083 71:00 passion and flamboyance of provide the melody, the rhythm the essence of the bebop icon. for Estonian organist Ulla on a couple of tracks each. this new combination, perhaps, sections chatter away underneath, Krigul and here rearranged for Clearly they devotedly share a Guitarist Dave Kelbie’s Lejazzetal Upbeat continue to re-issue reminding them of the same on a mass of percussive devices, The Norrbotten Big Band conventional instruments and spiritual home of Harlem in the label has an enviable track record Jazz Crusade’s back catalogue (directed by Walter Brolund) divided into three segments Twenties, but collectively they of releasing consistently good, and this, featuring two giants rose to the challenge when spread through the album. demonstrate the sheer range if not excellent, recordings. of the traditional scene, is presented with Bates’ and diversity of stride-playing. The Dime Notes’ latest album certainly worth another spin. demanding charts. A sense of Krigul is again – splendidly – maintains the standard. Daylight MACHITO WITH fun permeates the work and the organist, with Emanuele Their left hands make a self- Savin’ features Kelbie himself Cuff Billett first took his hot CHARLIE PARKER, Bates’ composition We Are Not Maniscalco taking over for conscious art form of avoiding in the engine room alongside trumpet to New Orleans in 1963 FLIP PHILLIPS, Lost, We Are Simply Finding Our the remaining six tracks. Faust the simple repetitive oompah- recent recruit Louis Thomas and moved freely in the company HOWARD MCGHEE, Way, suggests a musician who creates magical sonorities – oompah, that familiar if still playing double bass, and the of George Lewis, Louis Nelson BUDDY RICH, MILT recently turned 60 retains an Jonatan Ahlbom’s tuba resonating impressive stretching from show-stopping clarinet-piano and a galaxy of indigenous JACKSON, HARRY impish sense of humour. Tenacity in the depths – and the music chord to single-note bass line of pairing of David Horniblow revivalists. A couple of decades BELAFONTE. is highly recommended. has an irresistible timeless lesser players. Their academy- and Andrew Oliver. later he was rubbing shoulders quality reminiscent of the cool trained digits race across the and exchanging riffs with such as COLLECTION 1941-52 RUSSELL CORBETT mysticism of Arvo Pärt. Is this treble keys, fast and frenetic, In 2018 Horniblow and Oliver Bud Freeman, Peanuts Hucko, Al a particularly Estonian quality? creating much more complex set themselves the task of Casey and Bill Coleman, having Acrobat Music ADDCD3354 I’ve no idea, but I do know that patterns even than many of the learning all of Jelly Roll Morton’s widened the range of his playing. 2 C Ds 72:20/72:41 this is a fine album with a rather acknowledged early masters. compositions; The Complete Some might call it a cultural shift. tenuous connection to jazz. Morton Project, also available In this country we were first Filastro’s Handful of Keys, for on Lejazzetal, was the result. After many years and two spells introduced to Latin American RON SIMPSON example, might even give the The Dime Notes’ liking for with Ken Colyer, Tony Pyke music through a flock of films original a run for its money. some of the lesser-known tunes toured widely and was clarinet of made in the 1940s and featuring Jitterbug Waltz, another Fats of the 1920s and 30s led to choice for many notable bands, Xavier Cugat and his rather Waller composition, is Jelly Roll Morton’s Pep making most of which were recognisably anodyne version of Brazilian sometimes tackled by modernists the cut on the new album. New Orleans in style. music. The real passion and fire of at breakneck finger-busting speed Latin America was not to arrive as a sort of party piece. Kanters’s Whereas Morton recorded the This recording session in 2002 until the 1950s: it came from version is more temperate and tune as a solo piece, the Dime finds them now a pair of mellow Cuba and it was Afro-Cuban Jazz. MARIA FAUST richer in improvisation. Chris Notes have arranged it as a sophisticates - backed by Alan SACRUM FACERE Hopkins, from New Jersey - stomping set closer. Three other Dandy, on piano, Andy Lawrence, The major protagonist was not a million miles from the Morton numbers - Grandpa’s string bass, and trombonist- the singer and maraca-wielding ORGAN fountainhead - introduces new Spells, Fickle Fay Creep and Why - turned-drummer Johnny Baker, Machito or, to give him his full and invigorating rhythms to take their place on the 12-song three well-travelled and most name, Francesco Raul Gutierrez Stunt Records When I Grow Too Old To Dream, CD. Perry Bradford supplies accomplished musicians. Grillo who, together with his STUCD20072 39.25 GUILLAUME delightfully slipping in a couple the title track and the Dime musical director, Mario Bauza, NOUAUX of cheeky little asides. Notes’ take on Duke Ellington’s For the most part, they play created a new type of music If I don’t wholeheartedly Jubilee Stomp is exceptional. mid-tempo with only occasional fusing big band jazz arrangements recommend this original and GUILLAUME NOUAUX & The prolific Nouaux, with fusillades of spontaneous fire. with the rhythms and percussion evocative album in a jazz THE STRIDE PIANO KINGS a discography approaching David Horniblow’s quicksilver Pyke’s smooth, fluid, lean-toned of Cuban music. It had been publication, the clue is in Jan a century, the majority self- clarinet is a delight, Andrew tenor intoxicates - albeit a a marriage coming for a long Sneum’s helpful note: ‘Even Self-released GN2020 53: 28 produced, deservedly received Oliver’s piano playing stands maturely controlled and well- time and a natural blending though Maria Faust has been the coveted Hot Club de comparison with the very best mannered experience - as they of two styles of music which labelled a “jazz musician”… This CD, featuring the cream France Prix Spécial, in 2019, of them and in forming an swing across some lovely old had been running in parallel. she cannot be categorised by… of current international jazz for his clarinet album. Similar alliance with the Kelbie-Thomas tunes like Pagan Love Song, I’m in genre labels.’ So, although there stride pianists, is put together honours no doubt lie ahead for rhythm section, Daylight Savin’ is a the Mood for Love, When I Grow It immediately caught on with are explorative improvised solos by Guillame Nouaux, who this polished pianistic gem. contender for album of the year. Too Old to Dream. Brisk and the more progressive jazz from Ned Ferm on tenor sax, plays resourceful drums on all bristling renditions of Weary musicians, some of whom, like Tobias Wiklund on trumpet tracks. It’s not long since he ANDREW LIDDLE RUSSELL CORBETT Blues, Rip ‘Em Up Joe and Baby the peripatetic tenorist Brew and Faust herself on alto sax, successfully masterminded a Face vary mood and measure, Moore, spent most of their I was more often reminded of similar project with The Clarinet allowing Cuff to extend himself. careers in these innovative bands. classical models: the superb Kings, which also featured some Drawn to the Afro-Cuban mix

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creating a relentless underpinning to the point, they are at one in a forthright lead capable of ‘dream’ in relation to the music Early in his career his wanderlust in 1953 jamming away with Brazilian Fantasy. Is it too fanciful What is there to say about Louis and constant switching of their determination to swing muted subtlety at times, and, of Future Song and three of and his dangerous temper meant his old buddy from the Blue to suggest the modern composer Jordan that we don’t already rhythms and tempos but never and to explore these pieces when driven by Pointon’s the nine originals that make that he was often in the wrong Note days, Vic Dickenson. is attempting for Latin American know? His songs took a new losing the place, and above with alacrity and coherence. rhythmic trombone and the up the album include the word place at the wrong time and music what Gershwin did for lease of life with the stage show this controlled cacophony, the So, no tenor battles here, more uninhibited drumming of Bryan ‘dream’ in the title. So Gong- he seems to have missed out RON SIMPSON American? D’Rivera turned Five Guys Named Moe and here brass punch out their fierce a case of catch as catch can Hetherington, he lifts the roof Pri, the opening track, begins on the infinite possibilities of his back on Castro’s Cuba in they follow each other like old and screaming dissonances. between the two of them. on numbers such as Moose with a solitary flute in a spacy the 1930s, his only extended 1981 but his music ever recalls friends: Choo Choo Ch’Boogie, Is You March and Over in the Gloryland. acoustic, gradually joined by regular employment in the rather the sinuous swirling rhythms Is or Is You Ain’t My Baby, Caldonia, Favourites? Too many to mention, They open with an upbeat number other instruments and especially stodgy Noble Sissle Orchestra. of his country of birth. Ain’t Nobody Here but Us Chickens but I must cite the arrangement of of their own, Fourth Dimension As with Ken Colyer and, indeed, electronic effects, all finally As a result this fine collection and the rest. It’s impossible not Caravan (as you have never heard which jumps in, tenors alternating many New Orleans bands, fading to a dream-like ending. of 48 tracks is a medley of a Certainly the unusual to enjoy Louis Jordan: the tight it before) and Tanga, a combustible ahead of Harvey’s crisp solo, just Bill Brunskill had a taste for Though Subwaygroove breaks the whole lot of small groups put juxtaposition of composers little band, the down-home wit performance. Included, too, is the one of many. Their We’ll Forget sentimental old songs and the mood with insistent percussion together for recordings – far works very well. We hear in the of the lyrics, Jordan’s incisively celebrated Afro-Cuban Jazz Suite. March is in ¾ and moves along opener, Girl of My Dreams, taken building powerfully, we are too many to mention individually Second and to a lesser extent in swinging alto, his droll singing, well as does their ballad version of at just the right tempo, put a soon back in the atmospheric in a review of this length. Blue, Gershwin’s exploration of with its occasional excursions This is a veritable feast for the Spring Can Really Hang You Up The smile on my face that one or arrhythmic world of dreams, Latin rhythms that he would later into lyrical balladry, farmyard ears. You will hear nothing more Most in an elegant arrangement. two stodgy slower numbers Tone Aase’s electronics-enhanced The 1932 New Orleans feature in the Cuban Overture impressions and cod-Caribbean. exciting than this, in a long time. couldn’t erase. Les Allen’s clarinet, vocals on The Dreamcatcher Feetwarmers are represented - which in turn find echoes in I especially liked the down-home somewhat pallid for my taste, especially effective. by a couple of dynamic tracks, WAYNE D’Rivera’s pulsing cadences. And this excellent collection JOHN MARTIN groove on Buddy Johnson’s Save complements Brunskill’s trumpet Tommy Ladnier in fine form MARSHALL & WDR teams him with some fine guests: Your Love For Me and Dexter nicely and is appealingly lyrical Live Reflections is very much on Sweetie Dear followed by FUNKHAUSORCHESTER Listeners will instantly recognise Bing Crosby, Ella Fitzgerald (three Gordon’s yomping Hanky Panky. on Someday Sweetheart, and the conceived as a unit, despite the Bechet’s coruscating soprano in the Brazilian Fantasy, D’Rivera’s tracks) and Louis Armstrong. whole thing is a joyous reminder 25 year time-lag in recording, sax on Maple Leaf Rag. Then, BORN TO PLAY GERSHWIN setting of Antônio Carlos Jobim’s The few post-1947 tracks are PETER VACHER of the jazz – uncomplicated, but and the placing of the 1990 track, from the late 1930s onwards, a Corcovado (Quiet Nights of Quiet among the best on the album. not unskilful – that kept the folk Reflections, is shrewdly done. The string of tracks show Bechet’s WDR 8553007 73:51 Stars), a bossa nova that Stan Getz With an augmented trumpet of Kingston and Thornton Heath Holey is a decidedly challenging power and melodic invention at transmuted into a Jazz standard. section Saturday Night Fish Fry, happy for two generations. track, 12 minutes long and its best, usually in distinguished Pianist Wayne Marshall, chief to me the quintessential Jordan created from fragments of sound, company prepared to stand up conductor of the Cologne ANDREW LIDDLE song, follows a cute take on RON SIMPSON then, in a total change of mood, to his tendency to dominate. Funkhausorchester, has a long Baby, It’s Cold Outside with Ella, Reflections bursts on us with association with Gershwin then both Louises combine Elvira Plenar’s keyboards and Here are Summertime, Blue which considerably predates gloriously on You Rascal, You. other-worldly vocals from Aina Note’s first release, one track his acclaimed solo album, A Kemanis, then develops a pattern apiece from Jelly Roll Morton’s Gershwin Songbook. In the dual RON SIMPSON JUDITH & DAVE of heavily rhythmic repetition. 1939 New Orleans Jazzmen Previnesque role of musician and O’HIGGINS The 2008 track, Vinterstykke, is (a splendid High Society with dirigent he has also completed an appropriately atmospheric Albert Nicholas) and Bechet’s a masterly compilation of HIS ‘N’ HERS closer with echoes of the sound 1940 match-up with Louis Gershwin’s complete output for BILL BRUNSKILL’S world of the opening Gong-Pri. Armstrong, and – to my ears piano and orchestra with the Ubuntu UBU0066 45.28 JAZZMEN best of all – three tracks from Aalborg Symphony Orchestra. RON SIMPSON the wonderful Bechet/Spanier Husband-and-wife instrumental WHATEVER HAPPENED Big Four, a perfect partnership, This latest release allows us to teams are by no means usual in TO BILL BRUNSKILL? subtle and swinging by turn. hear something approaching a LOUIS JORDAN & jazz; so, let’s applaud this two- MARILYN MAZUR’S definitive version of Gershwin’s HIS TYMPANY FIVE tenor outing by Mr and Mrs. Upbeat URCD307 64.04 FUTURE SONG Other Blue Note sessions follow, Second Rhapsody, perhaps a O’Higgins. Dave is one of our usually with Art Hodes on piano, more coherent work than the CHOO CHOO most prominent solo players, This takes you back – to New LIVE REFLECTIONS the best of them Bechet duetting Rhapsody in Blue, and the one CH’BOOGIE 1939-1950 known for his own projects Orleans, I suppose, for some with Albert Nicholas in 1946, the composer himself regarded CHET BAKER but also as a key member of the tunes and the general Stunt Records STUCD the final one a romp through I’ve the more highly of the two. Both Retrospective RTR 4374 78.52 of Darius Brubeck’s touring style, but more particularly to 20082 56.45 Found a New Baby with Wild Bill pieces exist in different versions, SALT PEANUTS quartet whereas Mrs O’Higgins the mid-1980s when George Davison in 1949. A parallel set Gershwin being an endless The majority of the tracks here is less often heard, principally Melly presented a television When percussionist Marilyn of recordings for Victor include reviser of his own material, and come from the years 1945- Sleepy Night Records because by day, she works as a documentary of the same Mazur returned to Denmark various line-ups of Feetwarmers Marshall – born in Oldham in 1947 when Louis Jordan & His SNRCD021 79.30 forensic pathologist and also a name. To those of us outside after her stint with Miles Davis, (Charlie Shavers magnificent 1961 – resists the temptation Tympany Five couldn’t stop graphic artist. Indeed, the neat London, Bill Brunskill appeared she formed the band Future SIDNEY BECHET in three 1941 tracks) and such to improvise overmuch, as many having hits: 11 of the 15 R&B Baker’s band played Salt Peanuts, cover design here is hers. as a rather elusive figure, but in Song, at that time a six-piece with surprises as a compelling Trio have done quite legitimately Number 1s on the CD come a Cologne club for a week in May fact he was a local government trumpet the only horn and the PETITE FLEUR 1923-1953 recording of Strange Fruit. following Gershwin’s wont. from this period. At this time 1981, as part of their European For this March 2020 debut worker in the East End who, as human voice used instrumentally the original line-up (Jordan’s alto tour. Lord’s discography shows album, they chose a top trio a trumpeter, led a band with a in wordless vocals. Live Reflections Retrospective RTS 4372: In 1949 Bechet moved to Paris It is impossible not to be brought supported by trumpet, tenor, that the German Circle label as accompanists, with pianist devoted following in London mainly features tracks from a 2CDs, 78.39/79.34 and here we find him romping to a pitch of excitement by piano, bass and drums) was issued sets taped at the club on Graham Harvey plus bassist pubs for some 50 years. 2015 reunion of the band by through Margie with a quartet Marshall’s bravura playing before enlarged by Carl Hogan’s electric the 21st, 23rd & 24th May and Jeremy Brown and drummer which time electronics played Back in 1919 Sidney Bechet powered by ex-pat drummer Cologne radio’s mighty orchestra, guitar and the hints of rock’n’roll this is from the 23rd and 24th Josh Morrison. Tenor duos Mike Pointon, who produced a large part in its music and was probably the first jazz Kenny Clarke, trotting out not least when he fires off in to come were becoming clearer. May so presumably collared abound in jazz and always seem this album as well as playing Nils Petter Molvaer’s trumpet musician to gain the attention the Gallic charm on the title the Second the famous hammer Most significantly, in those years from those Circle releases. to work well; more so when the trombone on the 1976 session was joined by Hans Ulrik on of the mainstream music public, track and the always catchy blows that had the composer the piano chair was taken by players are as compatible and as (100 Club), gets it right in reeds. However, the album also with the conductor Ernest Le Marchand de Poissons, and at one time considering the the redoubtable Wild Bill Davis, As was his habit, Baker enlisted technically assured as this pair. his notes: ‘unpretentious’ includes one track each from Ansermet’s acclaim for him as sneaking over to London to name Rhapsody In Rivets. later famous for the glorious his band as he went along; this and ‘authentic’, he says, and 1990 and 2008 (both previously ‘an artist of genius’. Thereafter, record illegally with Humph. For good measure, and not in Count Basie arrangement version adds US trumpeter John Perhaps unsurprisingly, there’s a draws attention to the band’s unreleased) to give a composite though recognised as one of the This collection of 48 tracks total contrast, the maestro also of April in Paris and already Eardley, then a Cologne resident, similarity in their tonal approach ‘rugged drive’. Bill Brunskill picture of Future Song. giants of jazz, his career rather (with barely a dud) ends with extends his repertoire to include responsible for many of the playing flugelhorn, plus altoist and improvisational style; more was essentially a hot player, Mazur often uses the word proceeded by fits and starts. him on tour in the States excerpts from Paquito D’Rivera’s Tympany Five arrangements. Bob Mover, a regular Baker

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associate, and young Chicagoan have normally taken place at the astonishing voice of Ottilie rousing closer, The Old Grey Mare: somewhat akin to the highly- which make the altoist’s case is here for all to see and hear pianist Dennis Luxion with a local town’s convivial Dancing Slipper Patterson, the greatest blues huge fun, with raggedly raucous praised Desmond-Jim Hall for being so much more than a in this priceless compilation rhythm section, whose drummer Ballroom but, because a Barber singer this country (Northern vocals, roaring solos and Mick collaborations from way back. Californian sensation. of genuine (no hype) vintage didn’t survive opening night. visit warranted a bigger venue, it Ireland) has ever produced. Pyne’s piano driving the band Take Darn That Dream, at ballad jazz rarities. No review of this was recorded, instead, in a larger Go on. Cheer yourself up. relentlessly. It’s rather surprising, tempo, Neale’s exploration Indeed, the playlist of the former compass could possibly do Luxion, who is still around and hall by the Dancing Slipper’s given that Humph was not a thorough but never flustered, the has him reinventing the classic justice to a collection so diverse is interviewed for the booklet, in-house recording engineer, Alan JOHN MARTIN man for labels, that the band ideas well-formed and thoughtful, modern jazz songbook of Parker, and astir with interest as this. teamed up with Baker while he Gilmour and the recording has all was termed ‘traditional’ – and Bernstein similarly on point. Gillespie, Monk, Silver and co. was in Europe and speaks of his the advantages and disadvantages Christie, Pyne and Green get in the company of a coterie of The track list would say so pleasure at working with Baker of a live club session. a chance to bely that title on a They duet on Midnight Sun, each LA-based notables under the much more, indicate Fletcher and Mover. If the trumpeter thoughtful 10-minute excursion intent on mining the harmonies direction of Marty Paich, for Henderson giving way to Wingy is almost ethereal at times, First, the benefits; there is a into Gone with the Wind. for felicitous outcomes. Horace which he also dusts down his Manone, Joe Venuti preceding the certainly Miles-ian in his tonal great atmosphere and the Silver’s perky Split Kick has a tenor and clarinet. Duke, Blue Steele being followed HOUSE OF THE melancholy, Mover is positive performances are boosted by The live atmosphere is infectious: boppish feel and they take it by King Oliver. Upbeat are to BLACK GARDENIA and fluent in post-Bird fashion. that. The band is in top form and odd problems of sound balance first as a harmonised line, the For once, there is absolutely no be complimented for putting produce 24 hard-driving tracks are negligible compared to the tempo up, as Neale unfurls qualification whatsoever in calling together this cavalcade, this THE NEW LOWDOWN The rhythm section, or what with scarcely a pause for breath. party mood and wild enthusiasm her stock of neat ideas. an album a classic. + Eleven is drive past of jazz floats freighted remains of it, is reticent, but of the Conway Hall crowd. exactly that. Only slightly further with genius, greats from the Self-released 59:06 the front-liners combine well The choice of repertoire is And so it goes throughout behind is Gettin’ Together, his golden age of 1924-36. What on something familiar like Lady adventurous, blues, gospel, RON SIMPSON the eleven tracks, nothing 1960 sequel to the earlier Meets insights into the freewheeling, The House of the Black Gardenia Bird, even if the rest of the originals and Kurt Weill. The HUMPHREY cliché-ridden or trite, Neale The Rhythm Section, on which he borderless, raceless progress is a nine piece outfit based material is quite varied. Resonant recruitment of Ian Wheeler LYTTELTON AND and Bernstein clearly at ease shakes hands with the engine of the developing music (early in Newcastle upon Tyne. At Emotion has Eardley rewardingly at that time was an inspired HIS TRADITIONAL in each other’s company, the room trio of the 1960 Miles Jazz, the Charleston, Harlem, times difficult to categorise, prominent and there’s some decision and his clarinet, alto JAZZ BAND quartet on song all the way. Davis Quintet – Red Garland, emergent Swing, Swing), which perhaps the band’s publicity supple alto from Mover. and harmonica broadened Good for Ubuntu in picking Paul Chambers and Jimmy Cobb. we now often remember best best describes the sound - the colour, sound and the CONWAY HALL up this previously unreleased Trumpeter Conte Candoli also through popular standards! ‘viper jazz’, ‘dirty blues’ and Recording quality is adequate repertoire of the band. REVISITED 1969 2016 collaboration. pulls up a chair. How good to find unknown ‘infectious swing rhythms’. and while Baker is sometimes material, genre prototypes and tentative, there are bursts of He also brought a new energy to Upbeat URCD305 76.27 PETER VACHER In sum, this is a collection alternative arrangements. Nine of thirteen tracks are animation, viz Ray’s Idea which what was already a very energetic brimming with riches, one made credited to composers within has some of his most engaged crew. His ensemble playing is Humphrey Lyttelton was all the more appealing for its Eddie Lang’s Walking The Dog the ensemble: the song writing playing of the set, the lines massively assertive and his solos always the most open-minded budget price and almost absurdly is a well-oiled vehicle for Andy partnership of Neil Hopper unfurling cleverly ahead of the are distinctive and assured. of musicians, ready to pursue generous playing time. Go get! Secrest to emerge from Bix’s (string bass/sousaphone) and ensemble interjections. Baker’s adventurous new tracks, but ALLISON NEALE shadow, keep company with Elise Rana (washboard/vocals) discography is packed with Pat Halcox on trumpet was a somehow never discarding the SIMON SPILLETT Hoagy on piano, compete with contributes six compositions, chance ‘live’ recordings and musician incapable of playing a past. On the 21st anniversary QUIETLY THERE some wacky bass-slapping Rana and drummer Kit Haigh air-shots; this is no better or wrong note. His Berigan-styled of his first band he returned from Mike Trafficante. Even contribute two numbers and worse than most of them. intro to Barber’s original tune, It’s to a favourite venue of the Ubuntu UBU0062 62.12 the most ardent Ellingtonian Michael Littlefield (guitar/ The Truth, is sublime. What a loss 1950s with an eclectic group may not have heard this banjo/vocals) supplies a down PETER VACHER he is to the British Jazz scene! of musicians: Wally Fawkes and I have already listed this recently discovered take on home country blues. The Keith Christie were stars of recording in my Top Ten albums Tishomingo, featuring, gloriously, original compositions compare Chris is in his usual Humph’s early bands, though of 2020 in another place, which Tricky Sam, Bubber Miley favourably with four other swashbuckling form, displaying Christie had since pursued a may serve as an endorsement of ART PEPPER and, newly recruited, Barney numbers drawn from disparate the same enthusiasm for the rather different musical course. its quality. Its title Quietly There Bigard and Johnny Hodges. sources including Tin Pan Alley, music which he has loved since Like Christie, Mick Pyne and sums up both Neale’s essentially FOUR CLASSIC ALBUMS: the world of street corner jug he was a schoolboy, and which Dave Green were not obvious unhurried, quite decorous SECOND SET It may well be Red Nichols on bands and traditional blues. still consumes his life today. ‘traditional’ choices; drummer approach to the alto, and her Al Steele’s Singing the Blues, Pete Staples and Charlie slightly underground reputation Avid Jazz AMSC1373 recorded in 1929 a couple of Graveyard Shift (Haigh/Rana) If I have any reservations it is Bentley on banjo (apparently on the scene at large. Never one 78.11/81.02 VARIOUS ARTISTS years after Bix immortalised and Kansas Joe McCoy’s Weed with the rhythm section which a late addition) were less well to shout from the roof-tops, it. It’s got more than a hint of Smoker’s Dream (the album’s sounds rigid by today’s standards known Manchester jazzmen. she has built a reputation for You’d be hard put to find a better VINTAGE JAZZ RARITIES, Red’s colouration: he was with closing track) inhabit a twenties’ but was what seemed perfectly sure-footed jazz improvisation encapsulation of the first phase 1924-36 FROM THE JOHN Brunswick at the time though, netherworld, Hopper and adequate for that time. From the opening Fidgety Feet that places her among our best of the career of the headliner on R.T. DAVIES ARCHIVES alas, no personnel are listed. Rana’s Big Big Man references CHRIS BARBER’S you know you’re in for a happy practitioners on the instrument. this, the latest taste of Art Pepper The latest recording, cut in a recently departed divisive JAZZ BAND & Although we must be grateful to hour and a quarter, Humph’s on Avid. Upbeat URCD304 60:49 1936, is of the Carolina Cotton character from the world stage, OTTILIE PATTERSON Alan Gilmour for this valuable lead imperious, Dave Green and All of this, and more, is clear Pickers, featuring William ‘Cat’ and Haigh’s 2020 vocal on Tell record of this expanding era in Pete Staples building irresistible from this excellent session, Bracketed by Surf Ride, collating John R.T. Davies: his name is Anderson - who later joined Liza ‘bout Me (Haigh/Rana) THE ALAN GILMOUR TAPES British Traditional jazz, on, what momentum. Cakewalkin’ Babies which teams her with visiting a clutch of 78rpm singles for enough to authenticate the Ellington - riffing exuberantly could have been a hit in 1920. was homemade equipment, the from Home is similarly fiery US guitarist Peter Bernstein the Savoy label from the early worth of this CD, compel the across Charleston Swing. Lake Records LACD963 circumstances of trying to get a and the first of two of those in a piano-less quartet 1950s, including such classic West cognoscenti to buy it. Although The rhythm section is convincing 2 C Ds 44:19/42:01 live performance exactly right are fondly remembered Lyttelton/ bolstered by bassist Dave Coast signatures as Chilli Pepper R.T. died in 2004, his memory Mike Pointon in his hugely on small group Kansas City often formidable. I feel that the Fawkes two-clarinet jobs. Green and Steve Brown on and Susie the Poodle, and Smack burns bright not least in his informative sleeve notes calls swing numbers with Littlefield Paul Adams at Lake Records has balance of the front line wavers drums. Excellent company in Up, a moody 1960 quintet date own recordings with such as R.T. ‘a true friend of Jazz’. in Freddie Green mode and been down in the vaults again a little from time to time, but The second is a Mezzrow/ every way, you could say. that finds the leader embracing Crane River, Mick Mulligan, Cy Sixteen years after his death, the guitarist demonstrates his and has come up with this club does not detract from the sheer Bechet number that became a the bang-up-to-date material of Laurie and Sandy Brown, not this CD may well extend his versatility playing a mean blues on performance by the Barber enjoyment of a club gig and a speciality of the 1950s Lyttelton And so it proves, Neale’s Ornette Coleman no less, the forgetting a close involvement circle of boon companions. his own composition Ain’t It Hard. Band of 1961 in Nottingham. glimpse of that moment in time. band, Out of the Gallion. Despite seemingly fragile Paul middle of this double CD set with Temperance Seven. The occasion was the 20th The two discs are worth Humph’s dismissal of nostalgia Desmond-cum-Art Pepper includes two further recorded His legacy as an indefatigable, ANDREW LIDDLE The House of the Black Gardenia Anniversary of the Nottingham the price if it is only to hear in his notes, it’s there in force alto sound blending perfectly triumphs in Art Pepper + Eleven insatiable, unappeasable on stage, engaging an audience, Rhythm Club and this would again, on six tracks, the with Out of the Gallion and the with Bernstein’s limpid guitar, and Gettin’ Together, both of collector of rare jazz material is something to behold: Rana’s

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dead-eye stare, Hopper’s comprising a younger generation. Forgotten by me, Mike Daniels’ considered to be the best and the occasion, this one being Tenement Jazz Band detached indifference, the horns Four of the five Tenements are Delta Jazzmen make a real worked together until the early Christmas. In the spirit of riffing and soloing as dancers, thirtysomethings and they are impact with a spirited, but 1960s. Mac Duncan (trombone), seasonal amplitude, this is the full enticed by the irresistible more than a match for a plethora disciplined, Stomp Off, Let’s Go Ian Wheeler (clarinet), Ray Foxley ‘Concert Orchestra’. They have, rhythm, take to the floor. This of grizzled old jazzers treading from 1951 and four years later (piano), John Bastable (banjo), moreover, fulfilled a long-held debut recording goes some the jazz club/pub circuit. Roy Crimmins’ nonchalant ease Ron Ward (bass) and Colin ambition, adding what Capitol way in recreating the live gig on trombone stands out on Bowden (drums) performed Records in the 1950s was fond experience. The New Lowdown, The Tenements dig into the music Alex Welsh’s Wild Man Blues a collection of classic material of calling a ‘chordophonic chorus’ recorded in Thropton, rural of the pioneers: concise solos, before John Barnes, still in including Aunt Hagar’s Blues, - the 15-strong City String Northumberland, is available precise yet relaxed ensemble Manchester, delivers a lovely Muskrat Ramble, and, a little Ensemble, no less. in CD, digital download and playing, trumpeter Charles poised trio version of Blue Room. unusually, Peanut Vendor. limited edition vinyl format from ‘Chuck’ Deerness, a fine lead Together, they achieve a full the band’s Bandcamp page. player flanked by mischievous Unexpected pairings team Colyer’s music was inspired and warm sound, lush and trombonist Paddy Darley and George Chisholm with Kenny by the likes of Bunk Johnson relaxed, swinging and swaying RUSSELL CORBETT recent recruit Steven Feast, Ball in a 1958 all-star band, and George Lewis and musical prettily across a varied seasonal reeds, ably supported by John George Melly singing Old expertise came second to the programme, which unsurprisingly Youngs (guitar and banjo) and Fashioned Love with Acker Bilk’s expression of an exuberant brings to mind a marriage of string bassist Doug Kemp. It all band (no verse – shame on spirit and mistakes were seen as sweet Big Band and Nelson adds up to an album which will you, George!) and Bruce Turner preferable to playing it straight. Riddle, performed in Capitol delight the Tenement Jazz Band’s joining Sandy Brown in gloriously The release will be of interest Studios, the ceremony conducted loyal following and win the contrasted clarinet styles on to Colyer completists although by, say, Gordon Jenkins. Mike Paul- Edinburgh based outfit a host of Blues for Bechet – all of them it appears that it consists of Smith is a declared admirer of new admirers. excellent in different ways. material that has previously been Riddle and some of the polished released on the Dinamite Label. arrangements here are distinctly Photo by Merlin Daleman ANDREW LIDDLE Two barely remembered bands The recorded sound is adequate reminiscent of those he did for, from 1960 make us regret their for the time period. An added among others, Sinatra and Nat comparative lack of recorded bonus is the comprehensive CD King Cole. waltzing all the way to the final moody, broody Sugar Rum Cherry, This is a band, with a broad material: Dave Carey’s swinging booklet notes provided by Ray chestnut roasting, The Christmas the off-beat Ellington-Strayhorn appeal, who to some extent TENEMENT JAZZ seven-piece and – a total Foxley who provides personal The Most Wonderful Time of the Song, which King Cole liked so reworking of Tchaikovsky’s move into new territory by BAND surprise – Pete Ridge wowing insights into both the music and Year gets us off on the sleigh much he recorded four times. Sugar Plum Fairy party piece. The featuring original arrangements the crowd at The Golden Slipper. the circumstances surrounding ride in full Andy Williams’ style, full-on brass in Christmas in New - particularly for the four TENEMENT JAZZ BAND And, finally, there’s a fascinating its recording. Callum Gillies’s vocals augmented Jazz fans will warm to the Orleans and some expressive vocalists - rather than faithfully GOES SOUTH glimpse of the Lyttelton band by a Hollywood choir. The tone poignant tenor of Alex Western- trumpet solos throughout are transcribing the classics. in transition, a 1957 Tiger Rag Due to ill heath Colyer ceased is set for a very smooth ride Smith, particularly on the most most welcome. Self released 47:21 with Tony Coe’s clarinet finding bandleading in 1972 and through a winter wonderland, potent track, a marvellously ANDREW LIDDLE new ways to work through Nick concentrated on a solo career, Formed in the early part of 2018, La Rocca’s ancient flagwaver. working on into the 1980s; he within six months the Tenement died in 1988. It’s gratifying to see Jazz Band recorded an eight VARIOUS ARTISTS RON SIMPSON that his music lives on more than track, EP-length album titled New 30 years after his death. Available To Order Now Orleans Wiggle. The Edinburgh BRITISH TRADITIONAL based band made frequent raids JAZZ AT A TANGENT If you are a fan of classic New south of the border armed with VOL. 10 Orleans jazz you will find plenty numerous copies of the album, to enjoy here. selling many of them along the Lake Records LACD362: 77.45 DON’T WORRY way. The young five piece outfit ALAN MUSSON appealed to a young swing dance This final volume of Jazz at a crowd and hardcore New Orleans Tangent is subtitled ‘Rarities and jazz enthusiasts alike. A new album Hidden Gems’ and lives up to ’BOUT THE BEAR would surely follow, this time of its name. There are 23 tracks long player dimensions. by 22 bands (Chris Barber The inside story of 60 years in the music business sneaks in twice by making an The Tenements’ new album extra appearance with Ottilie KEN COLYER’S duly materialised. Tenement Jazz Patterson) and only six have been JAZZMEN Band Goes South comprises 12 issued previously. It’s impossible tracks spanning a total playing in a review like this to cover all LIVE AT MANCHESTER FREE ‘Fascinating and hugely time of some 47 minutes. the material, but it’s essential TRADE HALL 1959 Recorded live on the road at listening for anyone interested entertaining’ several unspecified locations in British traditional jazz in the Upbeat Jazz URCD306 65:45 – RnR Magazine during February and March decades after the war – the DOWN FOR THE this year prior to lockdown, actual time-span is 1944 to 1962. Trumpeter and cornetist Ken COUNT Goes South will find favour with Colyer devoted himself to ‘Teeming with insight and the more mature jazz fan who Things kick off with Freddie performing the music of New SWING INTO CHRISTMAS will have heard the material Mirfield and his Garbage Men Orleans. His first high profile countless times down the years in the days before they became engagement was with the Crane Down For The Count Records: anecdote’ – Just Jazz (Milenburg Joys, Barataria, At a my favourite comedy band – River Jazz Band in 1949. DFTC005 67:47 Georgia Camp Meeting and Weary not great jazz, but fine work Blues) and, what’s more, cannot from Freddy Randall and an There had been various Down For The Count, the RRP £17.95 AVAILABLE FROM ALL GOOD BOOKSELLERS AND DIRECT FROM BIG BEAR MUSIC fail to be impressed with the early appearance by the young incarnations of the Jazzmen, Basie-inspired swing outfit, Order your copy from www.bigbearmusic.com / 0121 454 7020 musicianship of a band largely clarinettist Johnny Dankworth. but this grouping is generally comes in different sizes to suit

30 THE JAZZ RAG THE JAZZ RAG 31 Hastings was the best street Ross, The Harmonica Boss as OUT NOW ON BIG BEAR RECORDS in town, opined Florida-born well as touring and recording Arthur Phelps, better known as part of American Blues HENRY’S BLUESLETTER Chick Willis – Things I Used To Do as Blind Blake and sometimes Legends ’74 and appearing on as Blind Arthur. several Big Bear compilation albums, including Don’t Worry The undisputed Boss of ‘Bout The Bear. Detroit Blues was John Lee Henry’s Blueshouse THE STOOP DOWN MAN Hooker, who came from Other Hastings Street regulars the fertile Blues territory who toured and recorded Chick Willis was the cousin taste that the single never of Clarksdale, Mississippi. with Big Bear included the THE BACK-STORY of Chuck Willis who, in his made it onto any radio playlist His former sideman Eddie terrific pianist and singer short lifetime, achieved – but still sold in excess of In 1968 I rented the upstairs room at The Crown, a pub Guitar Burns and the wildly Boogie Woogie Red, originally massive success through his 3 million copies. Reflecting adjacent to Birmingham New Street Station, declared eccentric one man blues band from Rayville, Louisiana, records on Okeh and Atlantic, his years working a carnival that Tuesdays Is Bluesdays and named the venture Dr. Ross both came from guitarist and singer Baby including Number Ones on show, luring passers-by Henry’s Blueshouse. that state, from Belzoni and Boy Warren from Lake the Billboard Rhythm & Blues to come in and see the Tunica respectively. Providence, Louisiana and chart for C.C. Rider in 1957 entertainment, his single, Henry was a particularly glamorous Afghan Hound of the enigmatic Washboard and What am I Living For? in Mother Fuyer, in the same my acquaintance. While John Lee Hooker was Willie who was born in Bullock 1958, the year he died during year showed no improvement certainly the biggest name to County, Alabama in 1906 or in surgery at the peak of his in keeping on the right side of Henry’s could never be accused of being smart, but the emerge from the city, it would Columbus, Georgia in 1909. career. Variously described respectable society! smallish room had a good stage and a terrific atmosphere. ‘A fabulous collection of blues and R&B that only be right to remember There is some confusion as ‘The Sheikh of Shake’ and The man who wrote Elvis Presley’s first hit, That’s Alright echoes the early Chicago scene…a totally Big Maceo Merriweather, over this, but not over his ‘The King of the Stroll’, Chuck After recording for Ichiban unreserved recommendation’ Now Mama, Arthur Big Boy Crudup, performed in the early who was considered to be real name which is William was Blues box office, hosting Records throughout the Graham Munn, Blues in Britain days, to be followed by Lightnin’ Slim, Eddie Guitar Burns, one of the greatest blues Paden Hensley. a weekly TV show in Atlanta 1980s and 1990s, Chick came Son House, Champion Jack Dupree and other American piano players of the 1940s. where he introduced such over to the UK and featured ‘This album is no nonsense blues all the way, Blues legends. British bands included the emerging Status His tough, two-handed style The influence of the blues guests as Ray Charles and at the Birmingham Jazz there is not a poor track’ Quo, Rory Gallagher, Jethro Tull, Thin Lizzy – and a young influenced most blues pianists of Black Bottom on the Sam Cooke. Festival where he became Norman Darwen, Blues & Rhythm Birmingham blues band called Earth. Their name changed in the era following World development of an entire a star attraction. At the end to Black Sabbath, I became their manager, took them to War II, including Otis Spann, generation of Motown soul When his cousin, Chick Willis, of what turned out to be their first two hit albums and first hit single and closed Johnny Jones and Eddie musicians is clear, but sadly born Robert Lee Willis in his last tour we took Chick Henry’s to go on the road with them. AVAILABLE TO STREAM AND DOWNLOAD Boyd. Maceo’s biggest hit the Hastings area was Cabaniss, Georgia, in 1934, into the Chipping Norton NOW ON ALL MAJOR PLATFORMS was Worried Life Blues, now demolished in the 1960s finished his US military service Recording Studio and over After a brief break of some 50 years, we reopened Henry’s, a standard in the repertoire of and all that remains today in the early 1950s, he went on two sweaty August days cut now at The Bulls Head, in March 2019 and things were many blues piano players. is a Michigan Historical Site the road with Chuck, acting as the album, Things I Used to going swimmingly, until COVID hit and we had to close a marker on what was the tour manager and chauffeur, Do, the title remembering year later. To keep the pot boiling until we can re-open, we Birmingham’s Big Bear intersection of St. Antoine and honing his guitar technique his early influence, Guitar Detroit Black bottom produced a weekly newsletter – on Tuesdays, of course. Records developed a Adams Avenue. – and making contacts. He Slim. Chick and the band We’ve had fun digging back into those early Blues - it Black Bottom was a by racially discriminatory productive relationship with won a talent contest at The were on fire, coming fresh wouldn’t be right not to share it. predominantly black housing to neighbourhoods the blues fraternity of Detroit. A combination of earlier Magnolia Ballroom in Atlanta from on-the-road gigs. Tony neighbourhood in Detroit, such as the Lower East Side’s The first Big Bear Eurotour race riots where US troops in 1956 which led to his first Ashton (responsible for one JIM SIMPSON Michigan. A lot of folk wrongly Hastings and St. Antoine was with singer, harmonica were deployed, politics, recording, the single You’re of the best ever singles, believe that it got its name Streets, names which were player and guitarist Eddie racial tension and inner-city Mine on Ebb Records. Chick’s Resurrection Shuffle by from the African-American to become legends in the Burns who we toured several housing issues provided the main guitar influence was Ashton, Gardner and Dyke) community that developed Blues lexicon. times during the 1970s, excuse to completely clear Mississippi-born Guitar Slim played piano and organ, there in the 20th century, recording two feature albums the area for redevelopment, who also influenced Buddy Roger Inniss was on bass and but the name was coined Joe Von Battle operated Bottle Up and Go and Detroit destroying what had been one Guy, Albert Collins, Frank Sticky Wicket on drums. by early French settlers in the famous record store at Blackbottom. He also toured of American’s most important Zappa and Jimi Hendrix. recognition of the dark fertile 3530 Hastings that carried and recorded with our centres of black urban culture. Hendrix recorded Slim’s The album lay in the Big Bear soil found there. his name. Joe also recorded American Blues Legends ’75 The Things I Used to Do, vaults until this year when all scores of bluesmen in his and appeared once at Henry’s JIM SIMPSON as did Stevie Ray Vaughan. music business ground to a By the early 1930s, The technically limited and Blueshouse with Lightnin’ Coincidentally both Chick’s halt thanks to COVID. This Black Bottom, along with makeshift studio at the back Slim and Whispering Smith influences, Chuck and Slim, enabled us to sift through our Dr. Ross the adjacent Paradise Valley, of his store, including John backed by The Shuffling had drink problems and both unreleased recordings which had become the hustling Lee Hooker, Jackie Wilson Hungarians who were, in fact, died at the age of 32. led to the discovery of this and bustling Detroit centre and a fourteen year old Aretha an augmented version of blues gem. Initially released of black entertainment with Franklin, while the majestic Moseley’s Tea & Symphony. After the death of Chuck online, it is now receiving nightclubs, theatres, blues World Heavyweight Boxing Willis, Chick played with enthusiastic reviews. and jazz bars, cabarets, Champion, Joe Louis, part- Doctor Ross The Harmonica The King of the Slide Guitar, restaurants and gambling owned The Brown Bomber Boss was another Big Bear Elmore James, staying with Sadly Chick is no longer joints, along with a high level Chicken Shack on Hastings. regular, recording the album him throughout the 1960s, around to enjoy his success, of poverty and crime. Live at Montreux, where and appeared in the movies, having died on December 7th, Artists such as Billie Holiday, one side of the vinyl album Petey Wheatstraw and 2013, in Forsyth, Georgia, not It had all started with Count Basie, Sam Cooke, Ella featured the only recording The Buddy Holly Story. He far from where he was born cars. The prospect of Fitzgerald and Duke Ellington where he played with other recorded for Atco and other 79 years earlier. paid employment inspired appeared regularly in Paradise musicians, in this case the labels, enjoying a jukebox thousands of African Valley while the Reverend Muddy Waters rhythm section hit with Stoop Down, Baby, Americans to leave the C.L. Franklin, father of Aretha, of Lafayette Leake, Louis Let Your Daddy See, a song southern states and join the established his New Bethel and David Myers and Freddy with lyrics of such dubious great migration north. Arriving Baptist Church on Hastings. Below. He also recorded a Photo by Alan Johnson in Detroit, they were confined ‘When I got to Detroit, solo studio album Doctor 32 THE JAZZ RAG THE JAZZ RAG 33 BOOK REVIEWS

BOOK REVIEWS provides an oblique and partial A fair number picture jazz stars being ahead of the curve on ??? history of jazz in this period. in action – Miles and Bird at integration (borne out by some SITTIN’ IN the Three Deuces, for instance of the audience pics), but finds Gold settles on a city, gives a – and handbills offer mouth- plenty of cases of blacks in the JEFF GOLD fairly brief, but perceptive and watering programmes, notably kitchen, as it were, providing well researched, account of its a Birdland double page spread entertainment for their so-called Harper Design, large jazz life, then moves on to a filled with such names as Dinah superiors. He always asks the format hardback, 978 0 few paragraphs in turn on each Washington, Dizzy Gillespie, question in a series of extended 06 291470 5, £30.00 of its main clubs illustrated by Charlie Parker and Count interviews with the likes of well-chosen period photographs, Basie. Menus are an unending Sonny Rollins. Dan Morgenstern, £30 is not a giveaway price the largest number of which fascination: what you could get Jewish, born in Germany in 1929, for a book, but it’s terrific are the souvenir photographs for a dollar, even at classy joints! immigrating to the States in value for Sittin’ In, a beautifully taken at the clubs and marketed 1947, offers particularly shrewd curated volume, though in special folders. Many are of Accounts of cities and clubs insights on this, as on most things. perhaps something of a niche unknown club-goers, in their are convincing factual accounts, subject. Jeff Gold’s concept fashions and demeanour a but also with entertaining I have only one doubt about is simultaneously simple and glimpse into a lost world, some and revealing anecdotes: a fair this superb book. Should New ambitious, to record the jazz are mementoes of memorable number of the best Kansas York take up 100 of 250 pages? clubs of the 1940s and 1950s nights such as fans sharing a City tales surface in two The entries for Chicago and in major American cities via table with Louis Armstrong and pages. The famous clubs are Kansas City, for instance, are photographs, menus, flyers and ever-smiling Velma Middleton at here, of course, but some disappointingly short. No doubt other ephemera. As such he also Joe’s DeLuxe Club in Chicago. delightful obscurities, too, my Jeff Gold would say, correctly, that favourite the Turkish Embassy in their great days as jazz centres Washington, DC, where Ahmet were in the 1930s. But the same and Nesuhi Ertegun lived with is so of several New York clubs, their ambassador father in notably the Cotton Club which pre-Atlantic days. There they closed in 1940 and gets a four- are in 1943 with Lester Young, page spread – but it’s still great Red Allen, J.C. Higginbotham, to see the programme for the Art Hodes and many more. 1932 Cotton Club Parade with the Cab Calloway Orchestra, Much is factual, but Gold’s speciality acts from such as the viewpoint is omnipresent, Four Blazers and the Nicholas especially in the admirable Brothers and songs from Ted insistence on identifying the Koehler and Harold Arlen. stance of the club on racial The Turkish Embassy, Washington, 1943: J.C. integration. He convincingly RON SIMPSON Higginbotham and Art Hodes in the centre argues the case for jazz clubs

PEGGY LEE: A success with Why Don’t You singer her own radio show I’m a Woman and their Grammy CENTURY OF SONG Do Right? and the subsequent presenting and performing Award winning Is That All There Is? appearance in the film Stage with an impressive network orchestrated by Randy Newman TISH ONEY Door Canteen which established of celebrity guests. A further and considered a masterpiece. Lee as a solo recording artist. series in tribute to American Roman & Littlefield hardback songwriters offered a platform To summarise, Oney reminds 978-1-5381-2847-3, £22.95 Her successful songwriting to lesser known writers and us that Lee was a true pioneer, partnership with husband, Lee’s own creative genius as a deftly navigating her way through Released to coincide with the guitarist Dave Barbour, is well lyricist was by now in demand a male dominated industry and centenary of the singer’s birth, documented along with her for film music, notably Duke not afraid to champion royalty this finely tuned appraisal of impressive twenty-three year Ellington’s theme for Anatomy rights for fellow songwriters. Peggy Lee’s prolific career is contract with Capitol Records. of a Murder, the Joan Crawford She set herself high standards, totally absorbing. Her legacy The early hits came thick and film Johnny Guitar and Disney’s overseeing all aspects of studio to American popular music fast, I Don’t Know Enough About animated classic Lady and the production to achieve the best is presented here in such You, It’s A Good Day and the Tramp with Lee’s voice featured possible results and in live meticulous detail I found myself popular Mañana which apparently on He’s a Tramp and in her performance she directed the pausing to seek out certain upset the Hispanic community menacing portrayal of the cats whole presentation, from timings tracks from my collection to offended by Lee’s exaggerated on The Siamese Cat Song. and tempos to stage lighting. pick out the little subtleties and portrayal of their character. inflections the author refers to! On screen her appearance in In essence, she was a caring and It even produced lawsuits The Jazz Singer was superseded spiritual woman as her family, Award winning singer, composer claiming copyright infringement; in 1955 by her dramatic friends and colleagues attest. and arranger with a doctorate in all unproven and abandoned. performance in Pete Kelly’s Blues The author’s Peggy Lee Project, jazz, Tish Oney’s multi-talented Marital problems and a heavy earning her an Oscar nomination. a musical show produced with credentials certainly add weight work schedule eventually Her recording output alone was guitarist John Chiodini, who to this well researched study of took their toll and the phenomenal, all catalogued here worked with Lee and writes an artist she genuinely admires. couple divorced in 1951. including the superb album Black the foreword to this book, is She examines Lee’s invaluable Coffee produced on the Decca certainly a fitting tribute. apprenticeship with Benny Lee’s golden era is studied in label and her collaborations with Goodman, their chart topping depth with CBS offering the writing team Leiber & Stoller on VAL WISEMAN

34 THE JAZZ RAG