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Home , Alex Welsh, Art Themen, Black Lion Records, Dave Green (musician), John Barnes (musician), Julian Joseph

September 2020 A brand-new podcast about Brighton’s vibrant scene Listen now on any podcast app or visit brightonjazzsafari.com 4 : 16 Scene RIP

18 Live Stream Reviews 7 Jazz News

8 A Tribute to Gerry Higgins 22 Album Reviews

11 Jazz Essentials 33 Listings

12 Interview: Sultan Stevenson 36 Pete Recommends...

Click on the blue SJM logo at the bottom of Cover: Sultan Stevenson by Lisa Wormsley each page to return This Page: Harry Pope performing with Jackson Mathod by Lisa Wormsley to the contents page. Simon Spillett

Peter King, Rest In Peace

In honour of saxophonist Peter one of the finest Great King, who passed away on 23rd Britain has ever produced - in any August, we print an appreciation of idiom. him written last year. I first heard Peter play in, I guess, the very late 1980s. BBC-2 screened At the risk of prompting hours of a concert by 's big band debate, for my money the man in the from the Bath festival. Seated in a foreground of this photograph is section also including undoubtedly 'The Greatest Alto and , the forty- Saxophonist (currently) in Jazz'. something Peter was Period. You may disagree, as indeed undemonstrative, his alto thrust he himself might do too. After all, his squarely out front, his eyes rarely world-class musical gifts go hand-in- showing any sort of reaction to his hand with a persona at once self- fellow players. But it was his own effacing and naturally modest. Don't solo feature that grabbed my let him tell you different though: he's teenaged ears, a brooding, sardonic the real deal and always has been. yet utterly lyrical account of Duke No argument. Ellington's In A Sentimental Mood, He is, of course, Peter King, a which, even back then as a gawky cornerstone of the UK jazz scene for kid, brought a lump to my throat. It sixty years and, again in my opinion, wasn't just the notes though -

4 SJM September 2020 glorious though they were - it was And when he played! The sound something else, the magic - perfectly matched across the alto's indefinable sound of a personality entire range - the lines that curled come alive in musical form. through the chords beneath them I knew nothing about Peter at all and which would suddenly spiral at this point but this one solo had away to a held, heart-wrenching given a little window into what made choice of note, the phrasing that sat him tick: the precise mind, the ability nano-second perfect at any tempo. to harness emotions and not get all Who could possibly better this? 'Shirley Bassey' about it, maybe even After that night, I hunted down the melancholy of what I later as much PK on record as I could, learned had been a horrendously quickly learning that, like other British tough life. The camera cut in close as jazzmen of his generation, many of he played, so close as to catch his his finest moments were scattered ravaged acne-scarred skin. You could throughout albums led by others. sense that beneath the surface calm, There was an epic 'Come Sunday' he'd been through it all. with Stan Tracey, tracks with Julian It wasn't until the mid-1990s Joseph, even a tango tempo solo with that I heard him live, again as one of and, to my ears the the string of high-calibre guests most moving of all, an uncredited who'd appear at The Cross Keys in cameo on 's The Marlow. I remember watching him Summer Knows. Spine-tingling, it still arrive, clad all in black, his raises the hairs on my neck. voluminous overcoat almost trailing The first time I got to share a to the ground. Before the gig began stage with Peter was in 2001. I'd he sat at a small table, alone, joined the band of a vainglorious smoking and sipping occasionally at amatuer drummer who thought a black coffee. His alto laid before himself the UK's equivalent to Buddy him, its silver neck twisted sideways Rich. He'd got the lot: the huge white to point at the ceiling. drum kit, the towel on the floor tom, Unlike the other gigs I'd been to the patter at the mic, everything, in at the Keys there wasn't the usual bit short, but the genius of his of casual banter between punters inspiration. Peter was our guest and and performer. Peter sat on his own, as I stood beside him in this unlikely looking deep in thought. Instinctively, setting his gifts were even more nobody approached him. And yet, I profoundly apparent. couldn't take my eyes off him. If I'd To be honest, I remember very known the word at the time I'd have little of the music we played together called this 'gravitas'. The only thing that night - I was painfully raw and ill I'd ever seen like this before - albeit prepared - but two things stand out. removed and fictional - was Dexter One was Peter's stop-you-in-your- Gordon in the movie'Round Midnight. tracks solo version of Lush Life; the As much mythic being as . other is a non-musical memory. The sense that here was something - Seated in the poorly lit side room of someone - truly special. the venue Peter was having difficulty

SJM September 2020 5 myself about. The last time I saw him was just such a night. It was a Friday afternoon when I got the call. Peter had a gig in South East and wasn't feeling up to it. Would I cover? I headed down through the turgid Friday evening traffic only to find Peter had arrived after all. The rhythm section started off the evening and Peter and I sat almost silently together in the club's kitchen, our makeshift Green Room. He was in great discomfort and wasn't sure he'd be able to make the whole set. reading a food menu. He asked me if Could I come on if he wanted a I could tell him what was on offer breather? and so there I was, seated beside my But, up on the stand, he came idol...'there's a blackcurrant alive, that singing tone and those cheesecake, a sticky toffee pudding, daredevil improvised lines all the apple pie...'. Bizarre but all part of a more remarkable coming from a man memorable night. so clearly unwell. For most of the Years later, Peter and I played night I sat alone in the kitchen, together in other, far more conducive, listening rather than watching. And circumstances. He guested with my when he closed with what was the quartet at venues from Gillingham to fastest version I'd ever heard of Just Southend, we both appeared One Of Those Things it was like together on the same bill at Marlow hearing a 21 year old in the adjacent (how's that for full-circle?) room rather than the aged, pained and he was in the sax section of the figure I'd been sitting next toa big band I fronted at the Brecon Jazz couple of hours earlier. But that's Festival in 2009. Every time he Peter for you. delivered pure musical magic. At 21 he was already close to I can't claim to have got to know perfect. In his late seventies he's Peter well but the times we've spent perfection and then some. together have been consistently Like I said 'world's greatest'. illuminating. Performance insights and anecdotes always come hand-in- Another part of our jazz hand with ever increasing health landscape has changed forever. worries. Indeed, over the past few Farewell to Peter King. Master years Peter has pulled out of a few saxophonist, world class improviser, a gigs we've been booked on, beset by man for whom life was rarely easy a catalogue of medical misfortunes. but who enriched the lives of Sometimes, I've been HIS dep, countless others through his musical something I really do have to pinch gift. Rest in Peace.

6 SJM September 2020 Jazz News

New Generation Jazz Cinematic Live The Brunswick New Generation Jazz launched their new Hove pub and music venue The Brunswick series of live recordings with trumpeter have launched a Sunday lunchtime live Jackson Mathod (above) on Thursday 27th session hosted by guitarist Paul Richards August. (pictured). The first pilot performance was Later streams will include Yadasofi, Sultan on Sunday 30th August. Performances are Stevenson, SUDO and Mark Kavuma’s outside in the garden and booking via The Banger Factory Octet. The performances Brunswick is recommended. will be available via theirwebsite and Facebook page.

Picnic In The Park New Generation Jazz Live Weekender Jazz musicians from the Brighton area Brighton’s New Generation Jazz and Jazz recently gathered outdoors in St. Ann’s South have joined forces to host a live Well Gardens, with many performing for weekender with four bands from the South the first time since coronavirus restrictions Coast performing a 40 minute set of were lifted. original material, filmed at The Ropetackle Saturday 22nd August saw performers that in Shoreham. Thursday 3rd September sees included Sam Carelse & Jason Henson with Barnacles perform. Friday 4th will be guests, plus Don Benjamin’s band Battuta’s vocalist Abi Flynn, Saturday 5th will be Return (pictured above). Howes3 (pictured above) with Mark Edwards’ Cloggz performing on Sunday 6th.

SJM September 2020 7 A tribute to Gerry Higgins Gerry (Gerard) Higgins, born Salford, 2 January 1940, died Hove, 10 August 2020

Gerry Higgins, who has died of and Roy Williams on trombone, Alex cancer, worked with some of the Welsh had one of the best biggest names in jazz, from mainstream bands in the country and Stephane Grappelli to American stars it was much in demand to like trumpeter Henry and accompany visiting American artists. homegrown talent like guitarist Diz December that year was Disley. For nearly a quarter of a particularly busy. The band embarked century Gerry’s bass playing was a on a nationwide tour with the mainstay of the Sussex jazz scene. American cornet player Wild Bill Gerry, who grew up in Salford, Davison. Wild Bill and the band made came to London in the early 1960s. a live recording in Manchester In 1966 he joined the (marred by an out of tune piano). band, replacing , who The following week they were back in had left the band to join Tubby a recording studio in London to cut a Hayes. With on reeds second album. Shortly after that they

8 SJM September 2020 recorded a session for the BBC2 Royal as he was at a jazz club. One television show,. function that was etched on his The stint with Alex Welsh was memory was the Guild of Television followed by two world cruises on the Producers’ Awards ceremony at the P&O liner Canberra with Dick Dorchester Hotel on 14 February Charlesworth’s band. Gerry and Dick 1969. The presenter, the comedian became lifelong friends, a friendship Kenneth Horne, dropped dead on founded on mutual respect for each stage in front of the cameras. The other’s musicianship and their deep event was cut from the broadcast enjoyment of a libation. programme. Or two. Like many musicians, Back in London, Gerry also taught music. Gerry with his clear This led to a day job in intonation and the late 1970s at a encyclopaedic knowledge secondary school in of the repertoire, was Hounslow, teaching not much in demand, playing just music but science as East-End pubs and West- well. Gerry also ran a End nightclubs. It was a small extracurricular busy time for musicians. scheme for helping Years later, recalls disadvantaged kids. A clarinettist Terry Ede, they lifelong cricket fan, Gerry were in the Strand. “When we were and a clique of fellow musicians young,” said Gerry, “in this stretch including John Barnes, were between Aldwych and Trafalgar members of the MCC and often to be Square there used to be 17 found in the Long Room at Lords. nightclubs, all with quartets and In the late 1980s he went on a quintets. You could make a good lengthy tour of Scandinavia as part living in those clubs just doing deps.” of June “Pepper” Harris’s I first worked with Gerry in international trio, culminating in a gig January 1969, at a pub called the in Helsinki, which was broadcast by Vulcan on the Isle of Dogs. Don Finnish television in January 1988. Cook, the drummer on that gig, Back in London Gerry joined the Hot remembers: “Gerry was very good at Club of London, with guitarist Denny reading a room. I learnt a lot from Wright and the violinist Johnny Van him.” It was an important talent. Derrick. The group was one of the Gerry kept a shrewd eye on the headline acts at the Ealing Jazz audience, to see what kind of Festival of 1990 and 1991. numbers went down well, or if there Gerry was a regular at Ealing and was a punch-up brewing, which in 1996 he was back with a group wasn’t that uncommon in the East that included two old friends: Mike End, as well as the all-important task Piggott on and Nils Solberg on of clocking what the management guitar. That year Gerry moved down was up to. to Brighton and Hove. For many All musicians at the time played years he was the bandleader at the commercial gigs to supplement their up-market Havana restaurant in Duke income from jazz and with his vast Street, initially with the singer-pianist experience Gerry was equally at Ann Odell and later with the home playing a tea dance at the Café Websterish tenor player Norman

SJM September 2020 9 Evans. He rang me with the news: “The Gerry was a pioneer of afternoon game’s up,” he said. jazz, running a gig at the Albion in Hove. After the pub closed for Mick Hamer refurbishment in 2016, we needed another venue. At the suggestion of a friend we dropped into the Paris Select Discography House one afternoon. The pub was empty. We had a chat with the Wild Bill Davison with Alex Welsh and manager. Gerry’s pitch was His Band straightforward: “We can fill this pub Lake Records – LACD279 on a Monday afternoon,” said Gerry. Wild Bill Davison, cornet, with Alex Her glance was one of utter disbelief, Welsh, trumpet, John Barnes, reeds, but with little to lose she said, “all Roy Williams, trombone, Fred Hunt, right, I’ll give you a trial”. piano, Jim Douglas, guitar, Lennie Come Monday the Paris House Hastings, drums and Gerry Higgins. was packed, to hear a trio fronted by Recorded in Manchester, 4 Nils Solberg. The single barman was December 1966 overwhelmed and had to send out for reinforcements, such was the thirst Wild Bill Davison! of the audience. Gerry and I went Fontana (E)TL5413. back the next day to see about a Same personnel. regular gig. “Regular?” said the Recorded in London, 12 December manager. “I want you here every 1966 Monday afternoon. And what’s more I’ll increase your money.” Hearing BBC2 series Jazz Goes to College, that phrase unprompted was a first. Same personnel. Over the years the Paris House Recorded in London, December went from strength to strength, with 1966, broadcast, 2 Jan 1967 trios fronted by Mike Piggott, Nils Solberg, the lovely London tenor June “Pepper” Harris, with Keith Hall, player Al Nicholls and cornet player drums, and Gerry Higgins. Andy Woon. The audience became Recorded Helsinki January 1988, part of our extended family. “The https://www.youtube.com/ Paris House is one of my least watch?v=kW40xhA6dfk profitable gigs. But it is the most pleasurable,” says Al Nicholls. The Hot Club Of London Gerry was a master of the Moonshine – MSC01 distinctive style of defensive humour Denny Wright with Johnny Van that musicians have perfected. In the Derrick, violin, Rob Seaman, guitar autumn of 2017 he was diagnosed and Gerry Higgins. with bowel cancer and had the Cassette issued 1992 tumour cut out along with part of his colon. “Now,” said Gerry, “I’ve got a semicolon.” After the operation he was back on top form and the medics pronounced him clear. But sadly in May the cancer returned and had spread. Nothing could be done.

10SJM September 2020 Jazz Essentials The London Collection (Black Lion)

On 14 November 1971 Thelonious Monk finished up a gruelling two- month, thirty-venue world tour with George Wein’s Giants of Jazz – , , Kai Winding, Al McKibbon, Art Blakey – with a final gig at London’s Victoria Theatre. The next night, Monk went into the Chappell Recording Studios at 50 New Bond Street for an impromptu session for . For When picking an essential Monk, the first three hours he played alone, most people will choose the seminal but was then joined by bassist Blue Note recordings – his first as McKibbon and drummer Blakey for a leader – from the late 1940s, or his further three-hour trio set. In total, live recordings with in 21 different songs in various takes the late 1950s, or indeed the were recorded, all but five his own glorious solo sessions on Essential compositions, as he was fed up with Jazz and Columbia between 1954– playing Gillespie’s music on tour. 68. But to my ears, these mature Apparently, the accompanying coterie pieces are the best, for here is Monk of critics called out in a contemplative, reflective mood requests, which Monk played or working through each piece with ignored as he chose. nevertheless a surprising ingenuity. Best of all is the nine-plus minute Significantly, these were to be Monk’s solo Chordially that opened final recordings. And this was almost proceedings, Monk investigating his final performance, too, for by the what the Chappell piano was capable start of 1972 his misdiagnosed of while experimenting with unknown mental condition – possibly bipolar chord densities and possible disorder, or schizophrenia – rendered melodies. him virtually catatonic. He had barely spoken more than two words for the The music of these extraordinary whole of the Giants of Jazz Tour. In recordings can be found on three 1973 he retreated to the care of his Black Lion CDs – hunt them out in patron, Baroness Nica de the bargain racks – and as part of a Koenigswarter – an offspring of the now hard-to-find Mosaic box set immensely rich English Rothschild including Monk’s Vogue recordings. family – with her piano, which he Volume One is all solo, Volume Two is never played, and her 60 or so cats the trio, Volume Three a mix of both. in Weehawken, New Jersey, and was Check them out. rarely seen or heard of again until his death in February 1982. Simon Adams

SJM September 2020 11 Pianist Sultan Stevenson spoke to Charlie Anderson ahead of his appearance on New Generation Jazz Cinematic Live. Photo by Lisa Wormsley

How did you first get into music? and I’ve been heavily I started playing piano about the age involved in Tomorrow’s Warriors and of 9 or so. I was already inspired to people like Peter Edwards, Binker learn from my dad. He’s a massive Golding and Alex Davis who really jazz fan. He would always play helped me come up as a young records of people like Wynton musician. They’ve just been very, Marsalis, , Dizzy very open and very nurturing to me Gillespie and people. At that time, and my artistry. So I owe a lot, just to when I was young, it never really those people, and to my family as interested me as such, but I took an well. interest in it once I started learning piano. So I learnt piano and I actually Where did you grow up? turned out to really, really like it, I grew up in Tottenham, North especially by the time I was in London. I’ve pretty much lived there secondary school. When I was about my whole life. It’s sometimes quite a 15 I started getting into jazz heavily, challenging environment, because it’s and obviously my dad loved that very urban and it’s not the best of because that’s his music. Maybe he’d places. It has its downfalls: a high always envisioned me as a jazz crime rate, for example. It’s musician so he really helped me to sometimes a quite dangerous place find my feet and find my voice. Asa to be honest. It feeds into my music. I jazz pianist I learnt from people like feel these struggles. I really challenge

12SJM September 2020 myself to include this philosophy of Hall, Scott Stroman, and all these growing up in this environment, really wonderful people. Just in the within my music. I think I owe where I first year alone I’ve learned so, so live and where I’ve grown up. It’s much. done a lot for my music. How have things been impacted by You’re currently studying at the the coronavirus pandemic? Guildhall? It’s been quite challenging but I Yes. I study at the Guildhall and I’ve predicted that it would be quite a few just finished my first year so I’m months just by myself. Obviously I going on to my second year in wasn’t able to play with other September. The main thing there is musicians or work in the same just studying the music and practice. manner that I would normally. But right at this moment I’m working I think my proudest achievement in on my trio album. I’m putting this whole period is releasing a together some material and writing single. Just over a month ago I tunes that could be on the album. released a tune called To Be Seen. What that aims to do is to set me up It’s something that I wrote during the and establish me as an upcoming lockdown period. It was all put jazz pianist. It’s a band that I really, together independently so I wrote all really trust. The bass player and the the music out, and all the musical drummer, I know what they sound ideas, then I presented it to my like and they’re really comfortable in players, and I got them to record that musical setting. their parts independently, in their homes. Then they sent it back to me How did you find your first year at and I put it all together to make the Guildhall? Was it a bit of a surprise single. What I really wanted to do or did it meet your expectations? was simulate the band, the in-person Overall I would say that it was kind experience of playing music and of what I expected. There were a few playing jazz. Obviously it’s very, very surprises, obviously, in terms of the hard to recreate the setting of live environment and how enriching it is spontaneous improvisation when to be around people that have you’re by yourself. But I believe I’ve roughly the same artistic vision as done pretty well at trying to simulate you, are very driven and really want it and I think that goes towards the to play this music and make success of the single. That’s really something themselves, which I really my proudest achievement of this like. But overall I really enjoyed it. It’s whole ‘lockdown season’. kind of what I’ve always been looking for, since sixth form and Do you have any plans for the secondary school. Other jazz future? institutions that I’ve been to, like Right now, at this current moment in Saturday schools and summer camps time I don’t really have any plans to that’s all really cool but to just be in make albums after this first album, that environment every single day but I would be quite interested in and have really, really good teachers. exploring other music and if I was I’m fortunate to have lessons off of going to have a body of work, such people like (a former as an album or an EP, it would Jazz Messenger), Barry Green, Stuart probably be an exploration of some

SJM September 2020 13 other kind of music. I’m really a musician, especially a jazz interested in English folk music, neo- musician, I think it’s important that , avant-garde one concerns oneself with the kind such as , , of cognitive artistic vision. Pharoah Sanders and . If I If something happened, say I broke was to create another album it would my hand, then the really deep artistic probably be something extremely vision that I have could still be different to this album that I’m explored through something other creating right now. than music. This is something that I try to bring outside of music. For Tell us about example, literature some of the other and reading really projects that good books by you’ve worked on. really good writers, That’s always reading history something that I and being clued try to do, play up on the different other people’s histories: the music. Yadasofi is history of the a really incredible Persian empire or band, with Middle the history of the Eastern and Israeli African American music fused with people, the history African American jazz. It’s been quite of Africa, the Irish people, . All a new experience because I've never of this feeds into the artist and really been exposed to Middle enriches the artist. It enriches my Eastern music so to me it’s been a compositional process. Without my massive learning curve, learning how love of books and my love of history to negotiate the boundaries of these I would be a far less developed two musics. because all of this feeds I’m also part of several straight into the artist. ahead jazz bands and I’ve been a At the ground level you have the jazz part of different avant-garde/free pianist, above that you have being a jazz bands. That’s another side of pianist, above that is being a the music that I really love. It’s just so musician. Above that you have an rich. To go on stage and literally have artist, and above that you have a no idea what you’re going to do and human being. I think it’s crucial that be able to converse with other we really enrich ourselves as human musicians on that kind of level. beings and artists, in order for that to Playing in a musical situation where I seep into those deeper levels of may have little or no experience, being a jazz musician. that’s something that I really like to Photo by Lisa Wormsley do. https://www.instagram.com/ sultan.stevenson/ Are there any things outside of music that you’re interested in? I’m quite an avid tennis fan. I really love tennis. I like several sports. I’m into athletics and running. But being

14SJM September 2020

Big Band Scene

Patrick Billingham

I had hoped to report on a big Many bands appear to be on band gig. Terry Pack’s Bonsai Trees permanent hold. Distancing were scheduled to play at the measures mean that even rehearsals Brighton Open Air Theatre last are out of the question, especially as month. Sadly the weather intervened. many musicians are uneasy about The crowd who had stayed were getting together in confined spaces. entertained by Rob Leake’s Fat I fear that it might be 2022, the Tuesday 2nd Line Band who played year after next, before there is any brilliantly in the rain. After their set possibility of resuming anything like was completed, the audience normal activity. The latest statistical indicated that they were desperate to dodge, at the time of writing, has cut hear more music. So a band which the official death toll from Covid-19 could best be described as Terry by 5000, by introducing an arbitrary Pack’s Cuttings; Charlotte Glasson, 28 day limit from a positive test. Andy Pickett, Tarik Mecci and Terry This, of course, has the effect of himself, performed a 75 minutes making it appear that the numbers improvised set includingCantaloupe are steadily declining, and that the Island, All , Tenor Madness, pandemic is in retreat. Palimpsest and Jean Pierre, until the Whereas other, reliable, sources sun finally came out. Albeit Sunday suggest the true total for the UK is In The Park With Jazz, but not what around 15,000 higher than the pre- could, by any stretching of adjustment figure. In other words, the definitions, be considered as big true numbers are around 50% higher band. But as a hint of what might than the official ones. have been, included is a picture of Going past a local pharmacy Trees at a previous SITPWJ occasion. recently, I saw a notice implying that When the weather was kinder. free Covid-19 tests were available. On closer inspection, it turned out Meanwhile, the immediate future that only if you were experiencing for local big band activity looks bleak. certain symptoms such as high fever,

16SJM September 2020 Photo by Patrick Billingham

a persistent dry cough or loss of effective vaccines are under way. But taste or smell, you could call a when one is eventually found, will it particular number to arrange a test. be available to all on request or only In my view, the only way we can to those deemed of sufficient get back to a functioning big band importance to receive it? Will scene is by having regular weekly acquisition and distribution be by tests available to all at local centres, medical experts, or, as the case and by this I mean really local, like no seems to be, at present, by the more than ten minutes walk away, finance industry? not at some out of town centre accessible only by car. There is some faintly Next month: Back to big band encouraging news. A few local health matters proper, with reports and authorities have taken the initiative to suggestions about lockdown introduce testing and tracing by their activities. If there is any other own expert staff, rather than centrally information, perhaps about what by outsourcing companies run by various bands are planning for the friends of those in high places. immediate future, or feedback on this Companies whose staff, recruited at column, that you would like me to short notice, had an entire include in October’s Big Band Scene, afternoon’s internet training to please send it to me by Saturday become proficient at test and trace. 19th September. My email address is More encouraging news is that [email protected]. many parallel strands of research into

SJM September 2020 17 Live Stream Reviews

Yadasofi + The Scientists Negev, illustrated their melodic horn Monday 27th July, 2020 arrangements and their live version via Jazz In The Round…at Yours featured trombonist Will Helm, who utilised a variety of effects pedals to Jazz In The Round is well-known achieve dub-like echoes and chorus as a place to see emerging new effects. Saxophonist Ayodeji Ijishakin, artists alongside established ones although new to the ensemble, and Dave Wybrow and the team at proved to be an incredible asset The Cockpit have done outstanding performing an impassioned and work in showcasing new talent with searching solo. Similarly, trumpeter their Emergence Festival. Their Tommy Peach delivered a number of streaming event Jazz In The Round at rhythmically superb solos, with a Yours featured up and coming jazz keen sense of developing his group Yadasofi. Previously based in melodic material throughout. The Brighton they are now hoping to tune ended with an extended tour de make waves on the London jazz force drum solo from leader Nadav scene. Schneerson. Drummer Nadav Schneerson The penultimate tune of their set, composes and arranges all the Sheva (the Hebrew word for ‘seven’), material himself and their opening featured a solid bassline from bassist tune, Two Step, illustrated what George Richardson and an eloquent Yadasofi do best: driving bass lines solo from pianist Sultan Stevenson. and catchy melodic horn Yadasofi ended the set with arrangements that successfully blend another new piece, House of Pillars, jazz with Middle and Near Eastern named after the Tel Aviv jazz club music. Beit Haamudim, that featured an The second track,Stampede , energetic blend of klezmer and jazz evoked John Coltrane and featured and powerful solos from Peach and pianist Sultan Stevenson, someone Ijishakin. who has clearly absorbed the legacy By contrast The Scientists of McCoy Tyner and has a fluid weren’t entirely my thing, with soloing style. ethereal vocals accompanied by retro Yadasofi’s debut recording, 80s keyboard sounds with lots of

18SJM September 2020 reverb. This proved to be overly soporific and the accomplished rhythm team of Kevin Glasgow and Laurie Lowe seemed under challenged by the dream-like simplicity of the music.

Charlie Anderson

Yadasofi: Tommy Peach, trumpet; Ayodeji Ijishakin, ; Will Helm, trombone; Sultan Stevenson, piano; George Richardson, ; Nadav Schneerson, drums. The Scientists: Rouhangeze, vocals; Tomasz Bura, keyboards; Kevin Glasgow, bass guitar; Laurie Lowe, drums.

A brand-new podcast about Brighton’s vibrant jazz scene Listen now on any podcast app or visit brightonjazzsafari.com

SJM September 2020 19 Photo by Lisa Wormsley

Jackson Mathod Dalton, a number of the leading New Generation Jazz - The Cinematic bands on the scene were able to be Live Sessions filmed in brilliantly arranged stage Thursday 27th August, 2020 settings, the only thing missing being via Facebook and YouTube a live audience. These shows are now being released periodically on Many people will remember the organisation's YouTube channel packed houses at Brighton's Verdict and Facebook page. Jazz Club on the last Friday of every The first stream took place on month for the New Generation Jazz Thursday 27th August and featured a gigs, showcasing some of the very stellar quartet led by the sensational best new talent on the UK jazz trumpet player and vocalist Jackson scene. Unfortunately, that came to an Mathod. Born in 1991 and with a abrupt end with the emergence of musical education at The Guildhall the Covid-19 pandemic, and like School Of Music, Jackson has a clear nearly all other music venues The and precise sound on the amplified Verdict fell silent. The good news is horn, the lines were uncluttered that with help from The Arts Council throughout the band’s performance and the hard work of the NGJ of six numbers, all composed by the members, an excellent alternative has leader. He also proved to be a been found. During the first week of vocalist of note, delivering his July, The Ropetackle Arts Centre in carefully crafted and meaningful Shoreham became a temporary film lyrics in an engaging and forceful studio and under the direction of Oli manner. Overall, the band is very Corrigan and the centre's own Tom tight and groove-based with an

20SJM September 2020 James Beckwith, photo by Lisa Wormsley entirely optimistic sound, ideal for even Dumb People a reflection of the these times. Keyboard exponent American dream or nightmare, James Beckwith, who has also played continued to raise the spirits and with SEED Ensemble and Nubya contained an excellent piano solo. Garcia is an accomplished performer The Moon which followed was a over a wide variety of musical ballad, full of emotion containing genres, also leads his own band who some lilting trumpet, which could have recently released their own easily have come from in debut album Long Distance. His the fifties. The trumpet continued to performance on the night was key, be showcased on the melodic and both as a foil to the leader and the soul searching Spanish Vista, a song overall success of the set. The two in tribute to the American singer/ front-liners were superbly backed up songwriter D'Angelo almost reaching by the excellent pairing of Irishman majestic levels over the harmonious Eion Walsh on electric bass and backdrop of the rhythm section. Glasgow-born drummer Harry Pope, Melodic content, sensuality and ex of the fusion band Malika drama were the hallmarks of the Collective. closing piece Matador, a favourite of The thirty minute set was full of the leader's mother, and formed a both contrast and excitement, fitting conclusion to a performance opening in front of an eerie black and presentation that had succeeded background with atmospheric on every level. lighting. After a brief vocal based Place Of Love we were treated to the Jim Burlong fluid trumpet sound and poetic lyric of The Park a piece right at the edge Jackson Mathod, trumpet, vocals and of today's culture. A tune written synth; James Beckwith, keyboard; Eion during lockdown, but as yet to be Walsh, bass; Harry Pope, drums. titled either Hairway To Heaven or

SJM September 2020 21 Album Reviews

sound, sensitively handled by the band, but they really come into their own on the more uptempo numbers. Dave Jones is a terrific player who manages to avoid post-Pastorius clichés and establish a distinctive, quirkily offbeat voice on his instrument with an attractively growly tone, and he and Eric Ford negotiate the complex hits and breaks with aplomb - B Is For Blues is a great example of his groove, imagination and chops all working together in David Beebee harmony. Beebee’s own piano Planet B playing is assured and characterful: (Beeboss bbcd 2023) he loves dissonance, long fluent runs that veer in unexpected directions, David Beebee keeps up the chiming cross-rhythmic figures high formidable rate of production with up on the keyboard, and the this set of all-original material for occasional dash of bluesy phrasing. piano trio that showcases his original What Is This Thing Called Life finishes voice as a composer. The acoustic up with a Chick Corea-styled piano/bass guitar/drums trio set-up contemporary swing workout on the has been fruitfully explored by Michel reconfigured standard. With nine Wollny, and this set takes a similar densely written tracks over six course around the hinterlands of jazz minutes long, there’s plenty of music fusion, sophisticated funk and dark to get yourself lost in. Impressive. classically influenced harmony, with an extra dash of proggy rock thrown Eddie Myer in as well. Beebee’s compositions are impressive in their detail and the Available to download for free assurance with which he blends his (donations welcome) via Bandcamp ingredients - ‘Dark Matter’ mixes up here. tricky hits and unison runs over altered chords with a pulsating, David Beebee, piano; Dave Jones, ominous 16th note funk groove, bass; Eric Ford, drums. Planet B develops a similar vocabulary of hits and runs and adds some neat metric shifts as well, while Devil’s Kitchen boasts a lushly romantic intro that evokes Debussy by way of .Dappled Light is a pensive ballad that develops into a shimmering suspended filigree of

22SJM September 2020 groove; Money is indeed a cover of the famous Pink Floyd number that delivers an afro-beat flavoured kick in the pants to the gloomy proggers to terrific effect; Long Distance is a string-laden downbeat exploration with a faint Radiohead echo; SAAD uses a tanpura drone and heavy, accelerating backbeat to create a vibe somewhere between Byrne and Eno’s My Life In The Bush Of Ghosts and something by classic era Ozric Tentacles. Submotion Orchestra’s All James Beckwith Yours is a powerful closing statement Long Distance with Hitchcock returning to tear it up. (Bandcamp) There’s a wealth of great ideas here, confidently brought off, and delivered James Beckwith has cropped up with skill, aplomb, and a nice touch repeatedly as pianist of choice for a of humour, that makes this album range of intriguing projects by the terrific fun to listen to. likes of Nubya Garcia, Yazmin Lacey, Recommended. Judi Jackson, Alex Hitchcock, SEED Ensemble, Cherise Adams-Burnett Eddie Myer and others, as well as running his own fusiony trio project - this is his Available via Bandcamp here. debut proper, and it’s a big ambitious statement of contemporary fusion, James Beckwith - piano/Rhodes/ like an updated London-based Hammond organ/percussion/ descendant of Herbie Hancock’s synthesizer/synth bass/vocoder; Sunlight. Lead trackTopimpa has lush Zoe Kypri, vocals; Chelsea piano chords, hip beat-displacement Carmichael, tenor saxophone; Alex stabs, vocoder vocals from Beckwith Hitchcock, tenor saxophone; Joe blending with Zoe Kypri’s soulful Downard, bass/synth bass; AJ stylings, all coming together in a very Brinkman, synth bass; Harry Pope, assured, friendly drums/SPD; Will Harvey, Olivia blend of contemporary fusion.Retro Holland, Dan Oates, violin; Lizzie Machines has Pope pushing out Boyce, Pippa Bint, viola; Greg some super hip metric modulations Duggan, cello. under big Weather Report style chordal textures and Alex Hitchcock brings his own distinctive voice in the Wayne Shorter role: it’s a very impressive achievement that sits well alongside anything from the genre’s foremost practitioners. The whole record is laced with unexpected delights: With You has the under- represented Chelsea Carmicheal’s tenor sax over a late-night D&B

SJM September 2020 23 band and was replaced by the 29 year old Georgian who had been on the earliest Messengers recordings in 1954 before leading his own bands in the interim period. Alongside the tenor man was the new trumpet sensation of the day, Lee Morgan who had already come to fame for his stunning performance, a year earlier, aged only nineteen on John Coltrane's classic Blue Train album. Lee himself went on to produce his own classic The Art Blakey and Sidewinder in sixty three, before his Just Coolin' tragic death aged only thirty three, () some ten years later. The band was completed by the blues-drenched As all jazz lovers know, Art pianist Bobby Timmons, a prolific Blakey and the Jazz Messengers recording artist, who had two spells were at the very pinnacle of the with Art, was a proffered sideman for hard-bop movement for some thirty many other bands as well as finding five years from 1955 to 1990, time to make eighteen albums of his making well over seventy albums own during a brief but eventful during the period and carrying all career. Completing the rhythm before them. The hard driving and section was bassist Jymie Merritt, a enigmatic Pittsburgh drummer, born stalwart of the early messengers in 1919, became a catalyst for up line-ups who sadly passed away and coming young talent, very many recently aged 93. of which were to go on and become The album itself is standard triple "A" listers like Blakey himself. Messengers fare, that's to say it is Among the alumni were the likes of brilliant, dynamic, original , Lee Morgan, Johnny with few equals. There are six tunes Griffen, Kenny Dorham, Wayne over forty minutes, which was quite Shorter, Wynton Marsalis and very the norm' for an LP in the late fifties. many more. This album which was The first of three numbers written by recorded on 8th March 1959 Hank Mobley, Hipsippy Blues gets followed the famousMoanin' release things underway with the usual spine which was originally titled simplyArt tingling ensemble opening statement Blakey & The Jazz Messengers. Just that became a trade mark of many Coolin’ was not published at the time similar bands of the era. The simply because the record company composer takes the main solo, it’s Blue Note, one of no less than thirty swinging, purposeful and relaxed, as seven that Art was to appear on, much of the music is throughout. Lee preferred to issue a double live Morgan is the key man on the only session album from Birdland entitled standard piece, Close Your Jazz Corner Of The World recorded Eyes, which was perhaps the most just a month later, with very similar well-known song written by Bernice content. had just Petkere, a lady also known as ‘The vacated the saxophone chair in the Queen Of Tin Pan Alley’ and

24SJM September 2020 someone who deserved far more recognition than she received. The young trumpet genius was on top form on this, basking in the stature the critics were justifiably affording him at the time. Bobby Timmons was always the most engaging of pianists, particularly on ballads and mid-tempo jaunts such as his own soulful bluesQuick Trick, but we also find him in finger busting mood on the up tempo Jimerick, the only number that includes a solo from the leader; as you would expect, it is a Kutiman jaw dropping polyrhythmic journey, Wachaga the like of which was a cornerstone (Siyal Music) of the band's unique sound. Two further compositions from the pen of The name Kuitman may already Hank Mobley close the disc, the be familiar to some modern day more than usually complexM& music lovers, with a well established M with the composer’s full-on tenor and thriving career as well as many competing with Bobby Timmons’ off albums to his name, the Israeli the wall reply, and finally the title composer, musician, cut, Just Coolin' at nearly nine ethnomusicologist and producer minutes in length, giving members seems to be a musical figure that is the ideal opportunity to stretch out. always changing and searching to There is a strong melody line and a create musical expression in new distinctive groove to this, perhaps ways. Wachaga, the latest release heralding things to come and also from Kutiman is no exception to the the only bass solo by Jymie Merritt, artist’s already varied and dense whose playing on all tracks also back catalogue; it is full of new ideas provided a firm foundation for the and concepts and shows the soloists. In summary this is a very composer bringing the spotlight on welcome, if unexpected addition to the traditional music of the Wachaga the Messengers’ extensive people as well as bringing his own discography, plus an ideal musical element into the mix. Staying introduction for anyone who has not true to the spirit of ethnomusicology, yet fully experienced the Blakey much like the folk song collecting of magic. Bela Bartok and Hamza El Din, Kutiman made the journey to the Jim Burlong Wachaga nation who are a people based on the slopes of Mount Lee Morgan, trumpet; Hank Mobley, Kilimanjaro. Once there he set up tenor saxophone; Bobby Timmons, some handheld equipment and went piano; Jymie Merritt, bass; Art Blakey, about recording the music of this drums. unique culture. In these raw recordings of everyday musical happenings and traditions of the people of Wachaga we hear

SJM September 2020 25 traditional singing, percussion and the rhythm of native dances. But far from just being field recordings for the keen musicologist, Kutiman goes a step further by adding his own input to the already glowing sound. Diverse in musical texture, the music set around the recordings never fails to bring a surprise to the listener, from glistening electronic sweeps to outstanding instrumental arrangements, the composer/ producer really stretches his musical ambitions by taking what would have Jonny Mansfield been a standard documentation of a Portrait musical culture and arranging his (Outside In Music) own music alongside them to create something truly special. The whole This release truly deserves the title concept of the album, as well as the ‘solo album’ and perhaps sets the individual tracks, is carried out with standard by which all others should an obvious mastery of his craft and be judged as not only does Mansfield special care for the music. The final supply all the compositions and play result is brought forwards in such a all the instruments, he also recorded, way that the music and original mixed and mastered it all himself. As recordings never clash but support if that wasn’t enough, he did all of and complement each other from this in a single day, waking at 5am start to finish. The music moves on August 6th and releasing it via through many moods from Bandcamp at 12 on August 7th. If contemplative moments to instances you think you’ve been productive of pure joy. The composer's own over lockdown, perhaps you will now musical input is rich in colour and be thinking again. The question, of diversity and boasts a hefty number course, will be ‘but is it any good?’ of influences from electronic to and fortunately the answer will be a spiritual jazz and all that lies between yes for anyone who has ears for the two. The overall layout of the melodic contemporary instrumental album is also a fine feature with all music: jazz in the broadest scope. tracks carefully selected so that they Mansfield’s main axe is vibes, and his stand together nicely and give the four-mallet technique is formidable: whole listening experience the he’s also an excellent drummer, and feeling of a well planned and thought there are definite sounds of jazz out journey from start to finish. language in the vibes solo on Speak, but overall the emphasis is more on George Richardson mood and texture, as on the hypnotically chiming Guilt. The miniature study Choro makes plain the connection between the Brazilian form and the clear harmonic structures of Bach before briefly developing in a fascinatingly off-kilter

26SJM September 2020 direction - Sanctuary uses lush, the more acerbic, bittersweet Pepper. moody synth textures to paint a This record matches her with an muted sound picture, like an audio eminently sympathetic rhythm team: Rothko;Little Sunshine has an veteran UK bassist is the engagingly unaffected vocal, and ideal accompanist, sure and full- though a fruitful career as a singer toned, always on hand with the may not be indicated, the sincerity is perfect supportive note choice or unmistakeable and the results are subtle shift of feel, and his solos are uplifting. Clouds is a suitably masterpieces of understated nebulous closing track. An intriguing musicality, playing their part in the experiment into musical possibilities - ensemble so tactfully yet satisfyingly check it out. that other more prolix bassists seem obtrusively show-off by comparison. Eddie Myer Steve Brown is a frequent partner to Green on the mainstream scene and Available via Bandcamphere . their empathy and swing are impeccable. With their flawlessly Jonny Mansfield, vibraphone, drum kit, swinging backing, Neale is free to percussion, pandeiro, piano, Korg soar above, her unfailingly melodic Minilogue, Critter, Guitari Organelle, sense and thorough engagement vocals. with the harmony of the standard- based repertoire shining through in a deliberately understated, compellingly poised personality that never sounds trite even on such familiar material as Darn That Dream, delivered here in a bouncy waltz time. Completing the ensemble, New Yorker Peter Bernstein adds tasteful comping, carefully constructed solos delivered with a deliciously stringy tone, and exactly the right amount of space in all the right places: his intro to I Should Care is a small masterpiece in itself. Check out the solos on ’ 2 Degrees East 3 Degrees West for a lesson in how Allison Neale to deliver a swinging straight ahead Quietly There blues without degenerating into (Ubuntu UBU0062) cliche. Everyone is so in tune, so relaxed and yet so engaged with the Seattle-born Alison Neale has material, and so in command of their established an enviable reputation on technique in every aspect, from the UK jazz scene for her thorough articulation to tone to the sure assimilation of the melodic development of every solo: style associated with it’s rare that a jazz record so and , though her meltingly unapologetically mainstream is so full, sweet tone makes her presence satisfying to listen to, and so quietly lean more towards the former than compelling that you don’t want it to

SJM September 2020 27 end. guitar, double bass, drums and of course violin. Eddie Myer Immediately the sound is a fresh amalgam of various musical Allison Neale, alto sax; Peter influences, with precise and tasteful Bernstein, guitar; Dave Green, bass; rhythmic elements almost hinting on Steve Brown, drums. the unique rhythmic work found in the music of pianist Tigran Hamasyan. The overall atmosphere is at first light and bouncy, allowing the band to cook up some fluid musical chemistry whilst the violin delivers some haunting topline melodies and we are also treated to some beautiful soloing form both guitar and violin. As the music drives forwards the mood continues to change with it, going from light and airy to heavy dark fusion as the violin slams on the effects pedals and the band propels the listener into the innermost regions of space. The high energy is Tomoko Omura then taken back down to a gentler Branches, Vol. 1 atmosphere similar to before but with (Outside In Music) a different melancholic sense of motion that slowly brings us to the The violin has long been an final track of the album. One last time instrument that has found its way the energy is taken up a notch as the into almost every style of music band give it their all to bring the owing to its adaptability as an album to a close. The music itself instrument and its powerful definitely captures the feeling and expressive voice. However, its role in imagery of the folktales that brought jazz is often understated. While a about its creation and more so with vital part of the gypsy swing the imaginative compositions and ensemble, its appearance in arrangements present. One is taken mainstream and contemporary jazz on a journey from the forests and (with a few exceptions) is seldom to landscapes of Japan to the depths of be seen. Branches Vol. 1, the new the unknown. Tomoko Omura release by Japanese violinist and definitely has further opened up the composer Tomoko Omura takes the possibilities of the violin to a modern violin into the realms of audience in a way that is both contemporary fusion similar to the refreshing and exciting. As both innovations of French violinist Jean- performer and composer she is an Luc Ponty but does so with an outstanding figure in the field of undoubtable sense of originality and modern music. a sound that is entirely her own. The album features six tracks, each George Richardson inspired by Japanese folk stories and performed by an ensemble of piano, Tomoko Omura, violin; Jeff Miles,

28SJM September 2020 guitar; Glenn Zaleski, piano; Pablo the tracks, and inspired by poetry in Menares, bass; Jay Sawyer, drums. a couple. The six tracks are Sanzenin (inspired by Japanese Temple gardens); Stone Song; Look Up; Braided Together; Bluebird and finally The Sun Waited for Me. All but one of the tracks on both discs have lengthy improvised solos over a dense harmonic background. The exception being Stone Song,a whimsical piece with plenty of space. This album is best appreciated by repeated listening, preferably when relaxed with your favourite beverage.

Patrick Billingham

Maria Schneider Orchestra Data Lords (Artist Share) Purchase via ArtistShare here.

The composer-bandleader Maria Maria Schneider, composer, conductor; Schneider follows the likes of Stan Steve Wilson, alto and soprano sax, Kenton and in promoting , flute, alto flute; Dave Pietro, big band music as art. Her new alto sax, clarinet, flute, alto flute, double album, Data Lords, featuring piccolo; Rich Perry, tenor sax; Donny her 18 piece band, is inspired by McCaslin, tenor sax, flute; Scott perceived conflicting relationships Robinson, Bb,bass and contra-bass between the digital and natural clarinet, baritone sax, mason; Tony worlds. Reflecting the now and then Kadleck; trumpet, flugelhorn; Greg images of children left to their own Gisbert, trumpet, flugelhorn; Nadje devices, these being smart phones, Noordhuis, trumpet, flugelhorn; Mike tablets and X-boxes today, as Rodriguez, trumpet, flugelhorn; Keith opposed to wandering off for O’Quinn, trombone; Ryan Keberle, unsupervised play in the past. trombone; Marshall Gilkes, trombone; Disc 1, The Digital World, has an George Flynn, bass trombone; Gary almost overwhelming, driving, feel as Versace, accordion; Ben Monder, if we are controlled by our digital guitar; Frank Kimbrough, piano; Jay toys rather than the other way round. Anderson, bass; Johnathan Blake, The five tracks are:A World Lost; drums, percussion. Don’t Be Evil (the early motto of Google); CQ, CQ, Is Anyone There?; Sputnik, and the title trackData Lords. In contrast, Disc 2,Our Natural World, has a more relaxed, melodic feel. Helped, no doubt, by the presence of an accordion on some of

SJM September 2020 29 sensitive in support, his contributions throughout supremely musical - the compositional style has the kind of pastoral uplift you might associate with Jarrett or Metheny, touched with elements of folk and, on Passengers, some gospel flavours - it’s intriguing to hear the often knottily abstract Law bust out some soulful blues- inflected licks with such conviction, and repeat the trick on Big Feet. Little Feet is a solo feature for anyone who wants to bask in the warmth of the Tim Thornton Thornton tone and marvel at the Little One assurance with which he wields his (AMP Music and Records) considerable chops. Stone Lonergan is a perfect fit in terms of musicality Tim Thornton’s big sound, sure and language, and everything he intonation, and awesomely fleet does is charged with a real palpable fingered technique have become a emotional content that delivers some staple foundation of London’s jazz of the album’s most affecting scene, and his distinctive musical moments, as in his bravura solo on personality, at once powerful and the barnstorming Omage - a tune playful, has underpinned any number that simultaneously evokes the of projects at the straight-ahead end intensity of ‘spiritual jazz’ and a very of things, most notably tenorist Leo Brit jazz-rock sensibility. The record Richardson’s powerhouse -plus was inspired by Thornton’s outfit. This recording, his third under experience as a new father, and his own name, takes us in another judging by the joyful uplift emanating direction. His last solo outing,Back from this session it seems the And Forth was very much in the style sleepless nights have invigorated of a classic ECM piano trio, with rather than enervated him. Good job some diverse takes on classic too. repertoire alongside some adventurously free-wheeling Eddie Myer originals: this time the palette is expanded, with Ant Law’s clean- Available from AMP Music here. toned, incisive guitar and fluent, full- toned tenor sax from Riley Stone Tim Thornton, bass; Riley Stone Lonergan sharing out the solo duties Lonergan, tenor sax; Ant Law, guitar; with Thornton’s gorgeously rich bass, Chris Draper, drums; Rosanna Brandi, and vocalist Rosanna Brandi vocals. providing texture; the resulting blend, without keyboard chords to thicken the mix, sounds like a mix of interweaving voices, as on the dancing Chilean Pavilion where everyone trades phrases with joyous abandon. Chris Draper on drums is

30SJM September 2020 associate with jazz at all. Secondly, the venue or date for the performance remains unknown to most, or has not been revealed for some reason or other. We are told it was in the Eighties and as bass man Victor Bailey was with the group only from 1982 to 1986 that narrows it down. My guess of venue is The Hammersmith Odeon as it was then, but that's only speculation. No doubt all truths will be revealed when people purchase the CD and are able Weather Report to claim ‘I was there’. As for the Live in London recording itself, the music is highly (Angel Air Records SJPCD622) charged throughout in front of an enthusiastic crowd. There are no Alongside the bands show stoppers like Zawinul's of the Silent Way and Bitches Brew Birdland or Shorter's A Remark You era, Weather Report were the kings Made, but enough excitement and of the highly popular fusion genre of stunning virtuoso playing to keep jazz for many years, with only Chick things moving along for the best part Corea's Return To Forever running of an hour. The opener Corner them close. Led by the Austrian Pocket sets the scene; don't confuse keyboard wizard Joseph Zawinul and this one with the tune of the same boasting Wayne Shorter, one of the name written by Freddie Green for greatest saxophonists and the Basie band, it's a piece by the of modern times, leader that also appears on alongside the incomparable bass the Sportin' Life album of similar master Jaco Pastorius, they were well vintage. This one opens with the placed to rival Miles, and so they did. percussion instruments drawing the With the iconic albumsBlack Market listener in and preparing themselves and Heavy Weather in the mid for a tour de force from Wayne Seventies they were filling stadiums Shorter, lots of tension created by and festival fields across the globe the constant tempo changes and on a regular basis. The band’s career almost hypnotic meanderings from ran from 1971 to 1986 during the leader's keys, it's a magnificent which time they recorded eighteen piece. The major cut of the album official albums and three singles, follows, there's almost fifteen minutes were the subject of many ‘bootleg’ of music here, but no title, it is in fact recordings and topped the Downbeat labelled ‘Unknown’ on the album jazz album charts for five consecutive sleeve. It's mostly at the slowest of years. tempos with Joe painting an ever The Live In London session changing background to showcase recorded on this album is something Wayne on absolute top form, fully of a mystery. Firstly, Angel Air reminiscent of his days with Miles, Records, a label born in 1997 and alongside the ever changing recently purchased by The Store For conversations between Omar Hakim, Music company, is not one that many Mino Cinelu and Victor Bailey's

SJM September 2020 31 Weather Report electric bass. You could say that the the recorded part of the gig to a listening experience somewhat falls rather unusual close. The album is a away as the disc continues, but that very worthwhile catalogue addition would only be relative as the for Weather Report fans, particularly standard of the first twenty five for the two opening tracks, and will minutes is at such a staggering of course be vital for all completists height. Fast City has always been a of the band's music. crowd pleaser for the band; on this version bass man Bailey plays out of Jim Burlong his skin, bringing memories of the great Jaco to mind. However, the Joe Zawinul, keys; Wayne Shorter, overall soundscape becomes very tenor, soprano saxophone; Victor crowded, dominated by Rossy and Bailey, bass; Mino Cinelu, percussion; Hakim with keyboards and soprano Jose Rossy, percussion; Omar Hakim, wailing away with no let up. Clearly drums. many enjoyed it, the visual aspect would have helped, but in truth it is the only low point of the album. Where The Moon Goes is a lengthy and intriguing Joe Zawinul composition and here it is split into two parts that are separated by an eleven minuteDrum Solo, given its own track listing on the sleeve note. The piece is full of nuances, contrasts and group chanting, upbeat most of the way, with Wayne superb on soprano once again. It brought

32SJM September 2020 Listings

Live Performances

Every Sunday Paul Richards and Guests The Brunswick, Hove 11am - 1pm Free

The Verdict Jazz Bubbles with Julian Nicholas The Verdict, Brighton (in Dorset Gardens) 1-3pm £25 with roast

Harry’s Tricks The Pavilion Gardens, Brighton 3pm Free (donations welcome)

More details of outdoor performances and live streams can be found on our listings page: www.sussexjazzmag.com/listings

SJM September 2020 33 Live Stream Listings

Tuesday 1st September

Kate Williams & Georgia Mancio

8:30pm

Tickets £5 via Watermill Jazz

Thursday 3rd – Sunday 6th September

New Generation Jazz Cinematic Live Weekender

Starts 6pm, one 40 minute set, followed by an artist Q&A

Thursday 3rd Sept. Barnacles Friday 4th Sept. Abi Flynn Sat. 5th Sept. Howes3 Sun. 6th Sept. Cloggz

Free to view, via New Generation Jazz Facebook Live and YouTube

Wednesday 9th September

6pm

Details here

Tuesday 15th September

8:30pm Chris Ingham: Jazz In Film

Tickets £5 via Watermill Jazz

34SJM September 2020 Peter Martin

Regular Live Streams

Cecile McClorin Salvant, daily on her Facebook page

Chick Corea, daily on his Facebook page

Elsa Nilsson, on her YouTube channel

Emmet Cohen Trio, daily on Emmet's Facebook page

Fred Hersch, 6pm daily on his Facebook page

Joe Stilgoe, 1pm daily on his Facebook page

Liam Noble via his Twitch

Mike Pappenheim, Saturday evenings onhis Facebook page

Peter Martin, every Friday at midnight GMT, on his YouTube channel

Sam Carelse & Jason Henson, regularly onFacebook

Splash Point Jazz with Neal Richardson, check Splash Point website

Yoko Miwa, daily on her Facebook page

SJM September 2020 35 Pete Recommends...

Lucky Thompson 1950s Sessions in Paris Trio and Quintet 1956

As a student in the 1950s I collaborated with for began to explore contemporary jazz. a trio and quintet session in New The radio was a great resource. I York. The results were exceptional heard a lot of jazz from Paris. Lucky and I strongly recommend a listen to was spending a lot of time there and the trio tracks. Oscar Pettiford is on his new recordings impressed me. bass and he is joined by Keeter Betts Then a label called Ducretet- on guitar. Lucky is at his very best – Thompson issued two excellent 10 passionate, full of ideas and flowing inch LPs recorded in Paris by Zoot with wonderful freedom. A Lady’s Sims and Lucky Thompson. The Vanity on the chords of Body and session by Lucky is the first part of Soul, is outstanding, but Deep my choice for this month. He is Passion by the quintet reaches a teamed with trumpeter Emmett Berry similar standard. On some tracks and a French rhythm section with Lucky is heard on soprano. He was Henri Renault at the piano. If you one of the first players in the 50s to enjoy straight ahead revive this instrument. with power and imagination try The session with Emmett Berry tracks such as When Cool Night and is available on CD in the series Lucky’s trip with bass and drums Americans Swinging in Paris. I still only on Thin Ice. There is a short have my vinyl reissue of the Trio/ sample of his fine ballad playing Quintet session which is on a double when he contributesSophisticated album on ABC entitled Dancing Lady to the ballad medley. The whole Sunbeam. If you want to explore the session can easily be streamed or many sessions which Lucky recorded found on YouTube. in Paris they can all be found on My interest in Lucky grew and I YouTube. Good hunting, made a great discovery thanks to the American Forces Radio. Early in Peter Batten 1956, when Lucky had a brief spell with the Orchestra, he

36SJM September 2020 Sussex Jazz Magazine is a monthly magazine that covers jazz across the South Coast region. Sussex Jazz Magazine

Issue 104 September 2020

Editor Charlie Anderson

Sub-Editor & Photography Lisa Wormsley

Sign up to our free monthly newsletter: Contributors https://www.sussexjazzmag.com/signup Simon Adams Charlie Anderson Anya Arnold Peter Batten Patrick Billingham Jim Burlong Sam Carelse Eddie Myer Patricia Pascal George Richardson Gina Southgate Simon Spillett To subscribe to SJM: Lisa Wormsley https://www.sussexjazzmag.com/subscribe

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