ISSUE 162 SUMMER 2020 ANNIE ROSS UK £3.25

Photo by Merlin Daleman CONTENTS

Photo by Merlin Daleman ANNIE ROSS (1930-2020) The great British-born jazz singer remembered by VAL WISEMAN and DIGBY FAIRWEATHER (pages 12-13) THE 36TH BIRMINGHAM, SANDWELL 4 NEWS & WESTSIDE JAZZ FESTIVAL Birmingham Festival/TJCUK

OCTOBER 16TH TO 25TH 2020 7 WHAT I DID IN LOCKDOWN [POSTPONED FROM ORIGINAL JULY DATES] Musicians, promoters, writers 14 ED AND ELVIN JAZZ · BLUES · BEBOP · SWING Bicknell remembers Jones AND MORE 16 SETTING THE STANDARD CALLUM AU on his recent album LIVE AND ROCKING 18 60-PLUS YEARS OF JAZZ MORE THAN 90% FREE ADMISSION BRIAN DEE looks back 20 THE V-DISC STORY Told by SCOTT YANOW

22 THE LAST WHOOPEE! Celebrating the last of the comedy jazz bands

24 IT’S TRAD, GRANDAD! ANDREW LIDDLE on the Bible of Trad

FIND US ON FACEBOOK 26 I GET A KICK... The Jazz Rag now has its own Facebook page. with PAOLO FORNARA of the Jim Dandies For news of upcoming festivals, gigs and releases, features from the archives, competitions and who 26 REVIEWS knows what else, be sure to ‘like’ us. To find the Live/digital/ CDs page, simply enter ‘The Jazz Rag’ in the search bar at the top when logged into Facebook.

For more information and to join our mailing list, visit: THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BRITISH JAZZ AWARDS CANCELLED WWW.BIRMINGHAMJAZZFESTIVAL.COM Fax: 0121 454 9996 Email: [email protected] This is the time of year when Jazz Rag readers expect to have the opportunity to vote for the Jazz Oscars, the British Jazz Awards. Sadly this year’s event has Web: www.jazzrag.com Or contact: been cancelled. Though what is essentially an on-line operation could take place Phone: 0121 454 7020 email: [email protected] safely in the pandemic age, the organisers feel that the awards’ integrity would be Publisher / editor: Jim Simpson compromised: after all, the awards relate to voters’ reactions to performances in a Write: PO Box 944, Birmingham B16 8UT News / features: Ron Simpson single year, not existing reputations. Reviews editor: Nick Hart International editor: Yue Yang The official statement put it clearly: ‘To make an award in a year which gave pitifully Commercial Director: Tim Jennings few opportunities for musicians to perform would be a mockery of this well- Subscriptions & accounts: Nick Hart respected event.’ Designed by Nerys James Printed by Warwick Printing So, for the first time since Humphrey Lyttelton and Benny Green inaugurated the British Jazz Awards in 1987 with a splendid event in Birmingham’s Grand Hotel, the www.warwickprinting.co.uk awards take a sabbatical - back in 2021! © 2019 THE JAZZ RAG. All original material including advertising artwork remains the sole copyright of the Publisher and may not be reproduced without permission 2 THE JAZZ RAG THE JAZZ RAG 3 FROM JULY TO OCTOBER NEWS

FROM JULY TO OCTOBER Enrico Tomasso

As with all festivals in the UK This goes to the heart of one Jim Dandies scheduled for Spring and Summer, way that Birmingham 2020 will the 36th Birmingham, Sandwell be different from usual. Normally and Westside Jazz Festival didn’t a succession of European bands happen this year – except that, become firm festival favourites in a way, it did. The Virtual, but year on year – and it is sadly easy Remarkably Real, Jazz Festival see why, in planning a festival appeared daily between July 17 two months in advance there is and 26, the original dates of the little hope of programming bands Festival. Not only that, but the from, say, France or Spain. For Photo by DJC de la Haye Fergus McCreadie festival – in real, live, though all that, the European contingent possibly socially distanced, form is to be headed by the always is on for October 16-25. exciting Jim Dandies from Italy WHITLEY BAY year, after the customary features in this issue we report on the levels), harmonica, ukulele, conga and The Schwings from Lithuania. PLANS AHEAD on Lester, WKCR celebrates Vieux Carre Jazz Band resuming drums and mandolin. A couple of The Virtual Festival contained When our Lockdown edition Bird’s centenary with 120 hours its regular residency at the Sunday daytime concerts are also features that we associate With 60 events scheduled as Photo by Merlin Daleman was being prepared, we singled of programmes! The whole Holystone. On September 6 the scheduled: the Dime Notes in with the real thing such as against the customary 200- out the Mike Durham Classic feast of jazz runs from midnight band re-starts its series lunch- the Mancini Forum (Sept. 13) and photographic galleries, sketches plus and contingency plans events will be free, festival goers star Alex Clarke. Look out for Jazz Party (aka Whitley Bay on August 27 to midnight on time gigs at the Spanish City in pianist John Lenehan with The and cartoons, plus sessions and being developed for some will have the chance to jitterbug top instrumentalists Alan Barnes, Jazz Festival) as one of the few September 4. Whitley Bay. Roaring Twenties (20), old films stories from previous years. One performances being streamed and play the ukulele, though not Bruce Adams, Dave Newton, scheduled events still going www.wkcr.org and the music of Gershwin, Fats attractive element was the large into venues rather than staged at the same time, and jazz will Julian Marc Stringle and Art ahead. Sadly, as the Lockdown KEEP CALM – AND and the Duke, among others. number of friendly ‘missing you’ live, this will be a different occur in the most surprising Themen, singers Val Wiseman Jazz Rag was being printed, ANOTHER GIANT PLAY THAT CD! By October a fuller programme messages of good will, and a tune festival from usual – a one-off places, though not quite as many and Roy Forbes, and blues and/ the organisers bowed to the STEP Pitlochry is not generally thought is scheduled. Instrumental or two, from (mostly) young before the Birmingham, Sandwell as usual. The British musical or Americana from Tipitina, the inevitable and cancelled. As the As we move further in time of as a hotbed of jazz, but for workshops continue, with far musicians and groups from all and Westside Jazz Festival (as, contingent is full of festival Whiskey Brothers, Shufflepack, pandemic developed as a global from the classic jazz recordings many years it’s been home to more live events, including the over Europe who had enjoyed hopefully, with life in general) favourites, from the Festival Chickenbone John and Bob crisis, there was no hope for a and have the technical means Hep Records, responsible, among Fergus McCreadie Trio (14 – appearing at Birmingham over returns to normal in 2021. Patron Digby Fairweather (who Wilson/Honeyboy Hickling. festival whose 30-plus musicians to issue them in many different other things, for classy reissues Stage 2), Nearly Dan in the main the years and planned or hoped played the Festival Jam Session were drawn from the UK, five forms, a luxury market has of the finest big band and swing auditorium (17) and Joanna Eden to return in 2020. However, some things will be even before it was officially a www.birminghamjazzfestival.com European countries, Australia developed alongside the CDs music. At a time when many of us in daytime performance in the just as usual. At least 90% of festival) to young saxophone and (a sizeable contingent) the and downloads that just bring us are spending more time at home, Mancini Forum (18). November USA. The Classic Jazz Party as much music as possible. The Hep Records are offering many headliners include Elkie Brooks is not the sort of festival that 60th anniversary of the issue quality CDs ar bargain prices (12 and 14) and Clare Teal (20). works in an abbreviated (and on Atlantic of John Coltrane’s for Jazz Rag readers. Now is the www.stables.org non-international) form, so innovative and much-garlanded time to boost your collection of the positive course of action album, Giant Steps, is a pretty Buddy Rich or Benny Goodman CONCORDE JAZZ was to announce that, as good reason for a luxury reissue – and dip into a collection of YET TO TAKE OFF far as practicable, the same and in September Rhino provides Harlem groups of the 1930s, with Reports from Eastleigh’s musicians would perform the just that: the music re-mastered, such stars as Buster Bailey and Concorde Club are mixed. same programme at the Village original and newly written notes, Roy Eldridge and a few much less Jazz events (which the club has Hotel in Cobalt Business Park all sorts of ephemera, outtakes familiar names. promoted for over 60 years) on November 5-7, 2021. So galore. If the 60th Anniversary De www.hepjazz.com are only part of the mix and, Guy Fawkes Night next year Luxe Edition is not enough for as, for instance, the Ellington will see fireworks from such you, try the Super De Luxe, with SLOWLY Lodge hotel begins to return UK stars as Rico Tomasso, no fewer than 28 re-mastered RETURNING to normal and a modified Martin Litton, Spats Langham outtakes and alternative takes. Like Ronnie Scott’s whose programme of mainly tribute and local favourite Emma Fisk, early August live gig with Pete shows is scheduled for outdoor a host of Americans such as THE NEW NORMAL Long and Simon Spillett had performance, jazz to date plays Duke Heitger, Andy Schumm The EFG London Jazz Festival is to become closed doors at little part in the Concorde’s and Josh Duffee, musicians from due to be staged from November the last minute, the Stables at new normal. An appearance by Norway, Germany, Italy, France 13 to 22, despite the coronavirus Wavendon has shelved plans for the John Maddocks Jazzmen and Sweden – and a solitary pandemic, but it will take a August performances. However, on Bank Holiday Monday Antipodean, Michael McQuaid. rather different form from usual. as we go to press, there is afternoon is doubtless the sign of www.whitleybayjazzfest.com Details have not been announced activity planned for September. improvements to come. yet – not surprising as festival Enterprisingly the Stables has set www.theconcordeclub.com LET’S HEAR IT FOR organisers need to be light on up a series of workshops and WKCR-FM! their feet to adjust to changing courses in saxophone (at many WKCR-FM is a student-led circumstances – but London non-commercial radio station 2020 will go under the name based at Columbia University Living in Two Worlds and feature ANATOMY OF A MURDER COMPETITION in New York City. Every year both live and digital events. Congratulations to Mr Barry Shaw of Hornchurch who won the the station runs a weekend www.efglondonjazzfestival.org.uk competition for a copy of The Criterion Collection’s rerelease of of tribute programmes to classic Ellington-scored film Anatomy of a Murder. commemorate the coincidence COSTA DEL TYNE that the birthdays (not birth- The North East seems The answers to the questions posed last issue were that Black and dates, of course) of Lester Young particularly determined to Tan was Duke Ellington’s first film, while Saul Bass was responsible and Charlie Parker fall two days get back into the routine of for designing the striking publicity. apart at the end of August. This regular jazz events. Elsewhere

4 THE JAZZ RAG THE JAZZ RAG 5 CHANGING OF THE GUARD AT TJCUK WHAT I DID IN LOCKDOWN CHANGING OF THE GUARD AT TJCUK WHAT I DID IN LOCKDOWN

On August 10th a Press Release The story is really about two of Humph, Louis and John necessary for his organization It would be foolish to imagine that this is the end of lockdown, but, certainly in the UK, emerged, entitled, rather things. The most important is Dankworth) TJCUK came into to move forward smoothly. musicians are beginning to emerge blinking into the sunlight to play the occasional gig, their forbiddingly, ‘Jazz Charity Thinks the immense service that Digby being as a separate charity. Now first for maybe five months, and promoters and festival organisers are desperately consulting Business with New CEO.’ What Fairweather has given jazz in both organisations are, in Digby’s And there was the perfect it was telling us was that Digby this country; the other is the words, ‘better after the divorce’. candidate on the fourth diaries, wondering about how soon they can start filling them. It seemed a good time to take Fairweather was being replaced frequent incompatibility of the floor of the Beecroft: Mark stock and ask a selection of musicians, promoters and writers how they had spent lockdown so as CEO of The Jazz Centre UK creative spirit and the bureaucrat. Soon Digby was acquiring Kass has worked with the far and how they saw the future. by Mark Kass who runs the Hive Digby charitably suggests that additional space in Southend’s officers of Southend Borough Enterprise Centre in the same part of the problem is that he is Beecroft Gallery, setting up a Council for years. He is also Beecroft Gallery as TJCUK. Digby preoccupied with other things Jazz Heritage Centre, building a (former) Trustee of the We looked at rescheduling for that all the great musicians I remains as a Trustee of the centre (writing, of course, but mainly a team of 25 dedicated National Jazz Archive, directs October, but with venues not know are hanging in there! Take and becomes Creative Director. playing and practising trumpet), volunteers, showing jazz films, the East London Jazz Festival, able to run at full capacity we’ve care everyone. Given Digby’s unfailing devotion but really it’s the dichotomy staging concerts, helping editor and runs his own jazz radio now decided to postpone and to TJCUK, there has to be more between the enthusiast who Phillip Waterhouse to produce station. The perfect choice! hold the event next March. DIGBY FAIRWEATHER to this than meets the eye – and wants to get things done an excellent Newsletter and Trumpeter/bandleader/ there is, but anyone looking for and the controller who does generally developing the new It seems sad that, after his For myself, I was able to continue Creative Director TJCUK a palace revolution, a coup d’etat everything by the rule book. department. After a successful prodigious work on behalf of teaching my Bristol and Bath For me the result has been an by Mark Kass, can forget it. Digby National Lottery application all TJCUK, Digby has not felt able University students and I was enforced period of ‘off the road’ comes out with a bland, but Digby, remarkably, has set up two seemed set fair for progression to enjoy his position in a glorious grateful to also be involved in time – not altogether unwelcome totally sincere, statement: ‘I look national jazz bodies where there to the sort of comprehensive progress to CEO Emeritus, but some remote recording sessions. maybe – and perhaps for some forward to supporting my friend were none. The National Jazz national jazz centre that was let’s look on the bright side. At the start of lockdown I other performers too (opinions Mark Kass and feel sure that he Archive in Loughton, founded by Digby’s dream. But, even before Digby is able to concentrate Photo by Lance Liddle Abbie Finn Trio decided that I’d feel better about please?) who, like it or not, have will do a lot to take the project him in 1988, is now recognised the coronavirus blighted more on playing, including being stuck at home if I adopted had to park their cars, stow their forward over the years to come’. as our national research centre TJCUK just like everywhere fulfilling his record contact with the role of ‘amateur musician’ so charts and – hopefully - see the And in conversation he makes for the music and what is now else, he realised that all was Acrobat; TJCUK is firmly based, LANCE LIDDLE replying and saying, ‘We don’t do I’ve been learning the trumpet. I first few compensatory pounds it clear that he is very happy to ‘The Jazz Centre UK’ in the not well. To put it simply: with a new CEO, a great team Award-winning website, rap, hip-hop, punk, funk, skunk, practise 3-4 hours a day which, from the Government arrive in have Mark in place, at one point Beecroft Gallery actually began, after five years of protracted and canny Creative Director, for Bebop Spoken Here. junk,’ because we sometimes do! weirdly, feels more proactive their bank accounts. saying that, if they had advertised via Digby, as an annexe for the administrative differences - some when the world comes out of From a jazz point of view, Bebop than practising the guitar right nationally, he doubts if they would NJA to store their duplicate minor, some less so - with hibernation; and, best of all, Digby Spoken Here has been busier Last weekend (written on July 28) now although I do manage an The break has allowed me to go have found anyone as good. stocks. When Digby fell foul of several local authority officers, and Mark both have ambitious than ever – almost to breaking was good with the Abbie Finn hour or two to stop myself going on developing The Jazz Centre the NJA’s ‘collections policy’ Digby became aware that a projects for the centre which point! Whereas, in pre lockdown Trio playing an open air gig in the backwards! I’ve also had time to UK’s latest Heritage Lottery (over artefacts from the likes change of CEO had become remain, thus far, on the secret list. times we’d have maybe one or grounds of a Newcastle church. go through my large collection project called ‘Celebrating the two gigs to preview/review, now It was well-attended and the of vintage jazz biographies, essays 100 Club; bringing history to life’. there are countless livestreams band probably picked up more and criticism along with a LOT The 100 is the longest-running from all over the world! Some in donations than they do at the of listening to my vinyl collection music venue in the world, and of the American ones look very average pub/club gig! Fortunately, too. I’ve rediscovered so much our book called Ace of Clubs inviting, but because of time it was a warm and sunny day great music from King Oliver to telling its story from 1944 to differences I am usually in bed bookended by two cold and rainy King Crimson! 2020 in 34,000 words of oral by then. Quite often, if I do stay ones – who says that the power history and pictures is out this up, things don’t work out. Not of prayer doesn’t work? Well, my I’m starting to pick up some Autumn. I’ll keep you informed! that this is unusual. I watch a bookie for one! work for August and September lot of gigs on Facebook and, but all of it is either Switzerland Finishing our project has also frequently, I give up in despair at So, like all of us, I don’t know or Germany. I feel fortunate meant learning how to interview the infuriating stop/start freeze what the future holds but, as long that the 20 years I spent touring on Zoom; watching great big moments. YouTube seems to as there’s music … with Lillian Boutté enabled me bands (including saxophonist work better– just... to make connections outside Tom Smith’s) somehow playing DENNY ILETT the UK. together on-screen from single On top of all this, the CDs pile Guitarist/director Bristol rooms in their separate houses, up in the passage, the downloads Jazz and Blues Festival As for the future, who knows? and discovering Jamulus. This arrive every ten minutes and, At Bristol Jazz & Blues festival, we I have faith that we’ll get back new computer-app with only the occasionally, some of them are were forced to cancel our March to normal, but I’ve no idea how addition of an Ethernet cable jazz-related. I’ve long given up event which was heartbreaking. long that will take. I just hope to your PC (‘did that come

Digby Photo by Fairweather Bradley Pearce

Denny Ilett

6 THE JAZZ RAG THE JAZZ RAG 7 WHAT I DID IN LOCKDOWN WHAT I DID IN LOCKDOWN

Simon Spillett Claire Martin looking for more to write about. and concentrate on practising Debbie Jones Although I have not seen a live things I always felt I could do performance since late-February better, but could never find (I have used that spare time to time for. start writing what I hope will be my twelfth book), otherwise life Regarding the future. Just prior is still a nonstop jazz festival. to the lockdown I signed a new horn deal with Eclipse trumpets, In California, there has been a a British firm. Through this I resurgence of Covid due to the became the proud owner of a incompetent federal government beautiful long model cornet. This in the US, and the carelessness has inspired me to expand on my and selfishness of many who are Sweet and Hot show I did a few negligent about wearing masks. years ago, revisiting the music of Photo by But since I live in a rural area some the great cornet players of Merlin Daleman an hour outside of Hollywood yesteryear. I’m currently working and Santa Monica, it is easy on hopefully producing an album. outta me?’ as Louis would have On the plus side, I have been jazz audience. As for the impact CLAIRE MARTIN for me to avoid direct contact Alan Barnes is always writing, said!) allows jam sessions and writing a lot; three liner note on the economics, who knows? Award-winning singer Scott Yanow with people. I do not see the so I’m always trying out some Photo by rehearsals to be conducted on- commissions from Rhythm and Will smaller audiences mean At first I was still teaching a lot situation changing until at least of Alan’s music. There’s never a Merlin Daleman screen at home too with just a Blues Records (Don Rendell/ smaller fees? Is the ‘old’ model of of classes on Zoom as I teach at the past until they find a vaccine next year, and am resigned to shortage of music to practise. pair of headphones for company. Ian Carr, Ronnie Scott, The promoting gigs now completely IC Theatre school in Brighton, so for Covid-19. Singers especially a lack of festivals, concerts, Because of my grandchildren Spontaneous Music Ensemble), untenable? Who can say? As that was a huge learning curve. are getting it in the neck due to clubs and record stores to go I’ve become an expert on the to grasp the nettle and support It’s a new world alright! All we an online article on the impact someone who started his own Now I am doing 1-2-1 classes on our instrument, so sadly I can’t to. Fortunately my stereo and intricacies of playing Nellie The each other. need to know in Ira Gershwin’s of Social Distancing on live ‘club’ earlier this year (The Zoom and also I’ve been doing imagine how long it will take computer show no signs of Elephant and the Death March words (or very nearly) is, ‘How performance, some record Jazz Bunker in Chorleywood, some masterclasses/interviews to get us back to even anything old age, and I’ll never run out from Star Wars. Also serenading I for one have no intention of long will this be going on?’. reviews and – I’m very pleased Hertfordshire) I’ve experienced a via this medium. It’s not perfect, near the way it used to be. I try of exciting jazz to listen to and the cows on my daughter and giving up. How about it, Johnny Mercer? to say – a new book Upward, little of both sides of things and, but it’s been a lifesaver, I think, not to think about it as it’s quite write about. son-in-law’s farm. ‘Sunday, Monday (but hopefully Backwards and Free: A Journey Into as yet, have no idea whether the for many of us now that our live overwhelming to imagine how DEBBIE JONES not always…’ Jazz, a collection of essays on jazz rest of the planned programme work has all been cancelled. I’ve and when we will all get out of I’m just grateful that the Jazz Rag Frustration is a tough one to deal Singer in Tipitina/choir recordings that influenced me in for 2020 will go ahead. also started the Croydon Omelette this. Smaller clubs and gigs in is continuing as before. with as hanging out with your leader SIMON SPILLETT my teens. That kept me occupied. live on Facebook with co-host pubs which is our music’s life musical friends and colleagues is When lockdown began, it was Tenor saxophonist/ That and lots of listening This pandemic has forced us Pete Long which is a jazz show blood will be worst hit. It’s all BRUCE ADAMS a huge part of our life. It’s almost the day before Mother’s Day, jazz writer to albums. all to change and I’m not at all with clips of the greats combined so very sad; I hope we can all Jazz trumpeter as important as playing. You miss so we decided to video You Lockdown. The pluses and certain how my own future with our chat and some larks. We hang on. If someone had told me in mid- the constant exchange of ideas Are A Blessing and upload it minuses? Hmm? First, let’s get On the musical side, once I will pan out or indeed if I will have a competition every week March, that I would be spending and the humanity of playing with to Facebook, a dedication to the downside over with. I did returned to practising I found continue to be able to make and it’s starting to get a cult SCOTT YANOW my birthday in July walking round like-minded individuals. That’s why everyone that was missing their my last gig on March 8th and that my mind had become music my living. I really do hope following! It’s such fun as Pete Author of 11 jazz books a garden centre, I would have for me the constant recording mums. It all went well and gave us then following the government’s somewhat clearer with regard so. We’ve been told repeatedly is one of the funniest and most Unlike waiters, shoe salesmen, told them that they had taken with backing tracks and posting something to do for a few hours announcement of lockdown lost to the kind of things I want to that this crisis had been a great informed musicians I have ever airline personnel, or nearly leave of their senses. Well, how them on social media is not an on that first night (took a few 42 gigs, including my big band’s play in the future. I think the leveller. In theory yes but I met and it’s been a joy getting everyone else, I have been very wrong was I? option. I find that they’re only a takes - giggling, wrong lyrics, cat headlining appearance at the break actually did me some good; don’t see true parity in the it all together. It’s 9-10pm on fortunate to be able to continue tool, albeit a useful one, to help joining us)! Swanage Jazz Festival. without the constant pressure profession. That’s nothing new, Sunday night - tune in! my jazz journalist career as Jazz has always been the more keep you in shape, but not music, of weekly gigs I was able to take of course, but I’d hate anyone before. CDs still come out, precarious edge of the music or even a poor substitute. I’ve Then the week later, after having Some of those that remain in stock and identify my weaknesses to think that just because Luckily for me, the amazing artists still need liner notes and business up until now, but I find been fortunate to have spent a lots of requests for songs, we the diary up to the end of the and strengths. I’ve been playing a someone is an established ‘name’ arranger and musician Callum press releases, magazines want myself no worse placed than my lot of time over the past 35 years ventured into the strange world year (including a further big band lot of piano too, and I find that’s they’re impervious. Au released his epic orchestral/ reviews and articles, and the friends in the commercial sector. playing with some world class of Facebook live! Playing in our appearance at the Herts Jazz also been immeasurably helpful big band album in June so thanks music never stops, at least on Being a jazz musician prepares accompanists. People who could living room to no audience Festival) have also been scrubbed in focusing my mind. I also find it One further thing; I feel that to him I’ve had quite a bit of jazz recordings. While a few projects you for a lot. Kicks in the teeth make you surprise yourself. You did feel odd, but having people (as were the vast majority of my very relaxing. the way musicians interact with press coverage with reviews and got postponed, others have taken are usually at the top of the list. could say I’ve been spoiled. commenting and listening really teaching activities since March). one another has undergone it’s been a brilliant experience. their place and, amazingly enough, For my part, I’ve tried to treat made us feel like we weren’t I daren’t even calculate the My first gig back is at Ronnie both good and bad changes. I’ve been listening to the I am as busy as ever while always the lay off as a bit of a sabbatical I’m fortunate to live in a small alone at all. We had some great actual loss of earnings. I’m not Scott’s on August 3rd (some ‘Virtual’ performances were a American pianist Christian Sands jazz enclave with Alan Barnes, little sessions and even managed even sure I’ve taken on board comeback!) and a few other useful stopgap, of course, but I a lot and also to Chris Potter Simon Spillett, Tina May and the first few without waking the impact of such a blow but things are trickling in – gigs worry certain quarters of the and my dear friend Ian Shaw who Arnie Somogyi as neighbours, our 6 year old boy Zak up. We like every musician I’ve spoken with Pete Lemer, one with music business will see this as has a lovely album out called so I don’t have to travel far for also raised around £1000 for to over the past few months Tina May – but I’m treating a permanent modus operandi. I What’s New. words of wisdom, comfort or to our local hospital thanks to our I’m taking one day at a time. It’s everything with caution. I’m also fear a backlash against the be insulted. lovely fans. been the biggest psychological hoping that my autumn gigs will arts in general, following press For me there’s not much sign challenge I’ve ever known in still happen (including my big opinion that music is a non- of coming out of lockdown.I’ve I suspect that things will never Matt and Phred’s Manchester nearly 25 years as a professional band’s London debut at the 100 essential profession. We need done a streamed gig with Ian be quite the same regarding asked us to do a session for musician. Indeed, I didn’t even Club in November) but we’ll that like a hole in the head! Shaw from Ronnie’s and I do work. The only thing I feel is that them, and Zak decided that sleep pick up my saxophone for two have to see. I certainly can’t see have a few ‘might happens’ for jazz musicians never went into wasn’t an option - he’d seen straight months from March, the business – at my end of it at Like all musicians, I’ve got a 2020, but I’ve written the rest of our business for an easy life. I’m Justin setting up the equipment so demoralised did I feel. I’m any rate – returning to anything million and one observations the year off with regard to live hoping that we can weather the and decided there was no way he not alone; you’d be surprised like normal until next year. And to make about the current shows. We are all reeling from storm and leave a business for was missing out on all the fun. So how even the most positive and I really do fear that some ‘grass situation but as I said we can’t this virus. the next generation. This will we had to start a little late with outgoing of jazz performers have roots’ gigs may never return; you know anything for certain just take a huge effort from musicians Zak in his PJs and a tambourine! taken this enforced hiatus. only have to think of the age of a yet. Except maybe that jazz will I do think gigs ‘as we used to and promoters alike, and a lot It was a lot of fun, despite me whole swathe of the traditional survive somehow. know them’ will be a thing of Bruce Adams Photo by Bradley Pearce of mutual co-operation. We have stressing at him on occasion.

8 THE JAZZ RAG THE JAZZ RAG 9 WHAT I DID IN LOCKDOWN WHAT I DID IN LOCKDOWN

Despite my income dropping Mike Gordon Photo by Edinburgh Jazz drastically there have been some Merlin Daleman and Blues Festival good things.

I’ve caught up on sleep for the first time in decades and I don’t have a massive petrol bill every month. Regular healthy food helps, as does my policy of getting up as soon as I wake so I don’t start thinking about things.

Jerry Roche I’ve changed my views on Dave Newton Photo by Jim Simpson teaching via Zoom and Skype and have had really good Strange what you have to do in The lockdown was very hard in results with students via both. aim was to encourage support of Scarborough, there are already requests to record solo piano are going to be the most pressing these times! relation to having to change our I’ve purchased a microphone musicians who we realised were pockets of activity as people accompaniments for singers concerns for a few months to scheduled releases on the fly. This and audio interface and have really going to struggle over the negotiate the new normal. In the and saxophonists to sing and come I fear. I also have been running my choir was fairly easy for the Legends, played on a few tracks - most coming months. meantime we are keeping that play along to, but by the time via Zoom sessions. It’s interesting but contemporary artists like memorably for pianist Jeremy Wednesday 8.45pm slot alive in ‘Getdown’ (not his real name) PAULA DUNCAN as we can’t all sing live together, John Minnock, Nicole Zuraitis Monteiro’s birthday celebrations It was also an opportunity to people’s minds for when we hope had fallen asleep for the night, I Marketing Manager, but at least we can still learn new and Bret Reilly were extremely in Singapore and, for the Brecon share music by local musicians, to return to live jazz. was too tired to lift one finger let Edinburgh Jazz & Blues songs, see each other and have difficult. These artists have their Jazz website, with the Japanese many of whom regularly play at The Lockdown Club can be alone ten. Festival fun and sing. Zoom teaching is heart and soul in their release pianist Atsuko Shimada whom I’ve MIKE GORDON the club and to continue our visited at www.jazzlockdown.club After making the difficult, but also a new concept for me, but and to have to wait or reimagine never met. I’ve done workshops Scarborough Jazz Club and recently launched initiative of MAY Nothing happened. inevitable, decision to cancel it seems to work ok when the a project without performing live and talks for Watermill Jazz and Jazz Festival providing support slots for young DAVE NEWTON the 43rd Edinburgh Jazz & technology is nice to us! I’ve is painful. Our extraordinary PR Suffolk Jazz School, taken part When you’ve been putting on musicians in the area through Jazz pianist JUNE Relatively speaking, quite Blues Festival in April this year, been busy arranging choral music whiz Lydia Liebman handled the in Clark Tracey’s Jazz Lockdown live jazz 50 weeks of the year our New Jazz Generation FEBRUARY Eight nights playing a lot happened this month. A we wanted to offer audiences and I’ve also written a few bits fluid action with amazing aplomb. quizzes (fourth series currently for over 35 years you don’t just programme. In fact much of the at a festival in a five star hotel in very nice man from New Malden something to lift them in difficult and pieces for Tipitina. It’s very being recorded) and performed give up without a fight. Only one content of The Lockdown Club Tenerife with old friends and new. has given me loan of a rather times, and give the musicians hard to stay motivated as time I’ve been stacking projects virtual gigs for Birmingham week after closing our doors has been written by Dylan Riley, a Couldn’t have been a nicer start marvellous electric piano or (whose livelihoods have been is going on, and, as much as I’m up and have recently started Jazz, Greensands Jazz and the due to Covid-19 restrictions, 16 year old multi-instrumentalist to the year but for the arrival ‘Sootyphone’ as recently sadly put on hold) something to enjoying working virtually, it’s not back in the studio, working on Reform Club. Scarborough Jazz Club launched from Scarborough who has also of two unusual happenings. A departed Don Weller used to work towards. the same. the next Lackerschmid/Baker a new web presence – the featured in some of the video sandstorm blew in from Africa call it and I have to say it has with Coryell, Buster & Tony I try to keep in shape playing Lockdown Club. performances shared over which lasted three days and changed everything. Every day, I From July 23 to 26 July this I miss the rapport with an Williams, I’ve been working on with backing tracks on lockdown with such as local turned the air into a red soup can’t wait to play it. It’s like having year, we presented a variety audience, I miss the vibe of being Tristano Duo Sessions LP, signed Youtube - Graham Harvey and The idea of having a weekly jazz teenage jazz-funksters Purple and then the coronavirus flew in the Wigmore Hall in an upstairs of concerts, documentaries, on a stage, I miss working with The Kaleidoscope Quintet, Jeremy Brown have recorded DJ mix during lockdown and Cheesecake and the town’s Hip- from China and landed at a hotel bedroom. And then a gig came in. kid shows and even a quiz via other great musicians and feeding and scheduled a live recording some superb ones that I keeping the club alive in spirit Hop Jazz Jam. Occasional guest just up the road from us resulting A socially distanced Zoom affair our Facebook channel and our off them musically. I miss the featuring Dave Liebman & Joe strongly recommend. came from drummer, DJ and DJ mixes and archive footage in much talk of quarantine but with A Barnes Esq. and A Somogyi website. We learned a lot about festival fever that comes in the Lovano for November release. I’ll music educator Rowan Oliver, have completed the weekly thankfully, nothing more. A close for the Reform Club. Things felt the amount of work that needs summer, I miss meeting new fans. also be in the studio with Roni I’m also working on a new David and with help from local design editions which go live every encounter, I thought at the time, on the up and up for all of two to go into putting on a digital I miss everything about being a Ben-Hur for an early 2021 Dot Copperfield Suite for my octet - studio Electric Angel, quickly Wednesday at 8.45pm – the time but glad to get home where that days at least. No sooner than festival, and this will inform live musician (apart from setting Time Release. we still haven’t really played the grew into the idea of a weekly live music would usually start at sort of thing never happens. the new keyboard was wired conversations about process and up the PA). Jazz Portraits pieces that I wrote online magazine, also sharing the club. up for all things internet, the activity going forwards. I’ve been able to get some before lockdown, so I’ll have a lot links to some of the online jazz MARCH Felpham, Folkstone aforementioned ancient laptop It’s such a hard time for us all and reading in, Gonzo Girl by Cheryl of new music to present. content we hoped might spring This has been an opportunity to and Frampton, then two in (free with a pair of shoes in The feedback we received I know this time will pass, I just Della Pietra, Can’t Be Satisfied by up during lockdown. The primary explore new ground too. Can London (gigs that is) and the 2007) died in its sleep. Blessed commended us on the work, but wish it would hurry up and pass. Robert Gordon and I finished my There are some signs of getting a niche music like jazz reach rumours of a lockdown are with less memory than the fridge many expressed a wish for live Will things ever be the same as copy of Don’t Worry ‘Bout The Bear back to some kind of normal. Alan Barnes out to a wider audience online? suddenly announced as a reality apparently, it at least afforded me performance to return as soon as they were? Who knows? - I’m by Jim and Ron Simpson. Gigs are in the book in Guildford, Our visitor numbers suggest so and my last night out for twenty access to my recording software it was safe to do so. As impressed trying to stay positive. Whenever Norwich and Swindon and a with online listeners sometimes weeks was in the company of so for now it’s back to pen and as audiences were with the digital I’ve felt low in the past, Dr. I hope this doesn’t change the live stream from Norden Farm. double what we would see at the five other pianists playing at the paper, providing the dog hasn’t output, and the convenience of Gig has always been there to way I do business. I really enjoy Birmingham Jazz Festival is also a club – perhaps the DJ element, Steinway Festival at the Pizza eaten them. watching at home, there is no help out...... travelling and seeing my friends strong possibility in October. including guest mixes, and a Express in Soho. The mood was replacement for the experience in the UK, as well as France and more open-ended idea of what sombre to say the least but the JULY A gig came in and was of watching live in a venue with Dr Virtual Gig will have to make our office and all my friends in I can’t wait to get back to regular constitutes jazz have helped Dog and Duck was still open so then cancelled three hours later. an atmosphere and an audience. do for a little while longer. Bremen, Germany. performing – when it does spread the word. This gives us although we felt like the band on happen, I’ll keep on the on-line hope for the future and is food the Titanic, we at least had the AUGUST My first live stream However, there were several JERRY ROCHE ALAN BARNES teaching and even recording for thought about how we might comfort of knowing there was a gig with Adrian Cox, Denny comments from audience Executive at Dot Time Saxophonist/arranger/ from home, but for the real jazz package and promote the club in liferaft just round the corner. Ilett and Fergus Ireland. And members who hoped we Records composer experience, the musicians and the future, particularly to bolster that brings things up to date. continued some digital activity I am most grateful to have been Last March, all musicians had the listeners need to be interacting our loyal audience with some APRIL I started with good Teaching restarts at the newly even when we are allowed to able to spend more time with horrible experience of watching in the same (socially distanced if new faces. intentions and wrote a couple renamed Leeds Conservatoire in return to live performances. We my daughters, Mighty Quinn the diary gradually empty. necessary) place. of new pieces and recorded September; whether in person hope to return to live gigs as & Emerson. They have helped Will we be returning to live them onto my ancient laptop on online only time will tell. soon as we are able, but accept me immeasurably, keeping me However, most of us are adept at See you all on the other side. music any time soon? It is with some marvellous new However, I imagine that like most that we may need to support sane with lots of laughs, while staying positive and making the impossible to predict at the software I’d forgotten I had. other musicians I know and these with digital output for the they learned the difficulties of best of things. Photo by moment although in a town Then we got a dog. And that was anybody else in the arts for that foreseeable future. home schooling. Merlin Daleman with as strong a music scene as the end of that. I’d been getting matter, it’s food and shelter that

10 THE JAZZ RAG THE JAZZ RAG 11 ANNIE ROSS 1930-2020 ANNIE ROSS 1930-2020

very much mind changing cabins? ANNIE ROSS 1930-2020 Photo by I obliged, but was sadly aware Merlin Daleman that amid the multiple decks of VAL WISEMAN and DIGBY FAIRWEATHER pay tribute to ANNIE ROSS who died in New York our ship the likelihood of those City four days short of her 90th birthday – and recall their own close encounters with the chance meetings was now only a great jazz singer. few in a million. You never forget that special performing and then it was on to her last visit to Britain in 1959. actor John Thomson, who found But we did meet here and there, moment when you meet Annie’s Room. This former Lyons Visibly frail and painfully thin, she fame as the smarmy spoof jazz notably at an on-deck jam session someone whose talent you tea-room in Covent Garden was appeared on the TV show Chelsea presenter in The Fast Show. Nice! where Annie sat at the bar admire and respect and my first now the hippest jazz club in town at Nine. Seeing that performance nearby, sipping a lunchtime drink encounter with Annie Ross, run by Annie Ross. Born in Surrey in retrospect is all the more Sharing the bill with Annie at the in the sun. She liked my playing, singer, lyricist and actress who to Scottish vaudeville parents poignant knowing she died that Marbella Jazz Festival in 2005 she said, and we talked about died in July aged 89, was in a jazz and reared in Los Angeles by year. Annie too befriended Billie, was another special moment. Let’s Fly and about Johnny Mercer club in London back in the 1960s. her jazz-singing aunt, Ella Logan, depping for her when she was The first half featured Lady Sings who she remembered (as did Annie was already an established too ill to perform and nursing the Blues with an all star line-up many of his closest friends) as an I moved there in 1963 to join the star in plays, TV and musicals on her in her final days. of British Jazz Award winners adorable man and incomparable legendary Monty Sunshine and his both sides of the Atlantic. But it which included Bruce Adams, songwriter, but a ‘bad drunk’. In band, a move I often described as was Annie Ross the jazz singer Some 30 years passed before I who recalled growing up round the ship’s cinema we were asked stepping out of a black and white I was eager to see. Still only in caught up with Annie again. Now the corner from Annie’s family to co-introduce a showing of movie into glorious technicolour! her early thirties, she had earned based in New York, she was in Glasgow! Annie was the star Clint Eastwood’s movie about London was certainly the place a formidable reputation as one touring the UK and appearing of the show and, although the Charlie Parker called Bird. Annie to be seen and heard with its part of Lambert, Hendricks & in the then Birmingham arm of vocal gymnastics were no longer had been close friends with both rich diversity of creative talent Ross, the sensational jazz vocal Ronnie Scott’s. By now I was featured, she still retained all the Parker and (especially) Dizzy jostling for pole position and my trio who had transformed the paying my own tribute to Billie subtle inflections that only an with other of my interviews) haunting solo outing on Buck before in Lionel Hampton’s big and – having lived in the fast lane self appointed guide around town concept of vocalese into an art- Holiday in the show Lady Sings artist of her calibre can convey. it was perhaps a pity that I Clayton’s Fiesta in Blue from Sing band. Its trumpet section (as of their personal circles – was was none other than British form. Annie’s solo performance the Blues which gave us plenty hadn’t made that plainer. There a Song; the extraordinary almost Annie loved to recall) had been unlikely to be greatly impressed Blues Queen, Beryl Bryden! I was no less impressive. Like a to talk about! It was good to The last time we met was in New were subjects it was best to mouse-pitch altissimo notes that completed by Clifford Brown and by their recreation in what was her replacement in Monty’s true jazzer, she took risks and the hear her, too. There was a lively York in 2006. She was performing avoid of course: her affair with concluded the album’s final track Quincy Jones and Wardell Gray’s amounted to little more than a band. Larger than life and big on consummate ease of delivery on Saturday Night Fish Fry and a in a little club in Greenwich drummer Kenny Clarke in Avenue C which had inspired the recording of Farmer’s Market in Hollywood cartoon. personality, Beryl knew everyone. everything from torch songs to heart-stopping Lush Life and so Village. It reminded me of Annie’s 1949 which had produced a great Cleo Laine to aim for the January 1952 had co-featured Art breakneck tempos made a lasting it came as no surprise when in Room where we first met all son (Kenny Junior) and later sky and fly – all these were things Farmer before being transformed The last time I saw Annie was One particular evening, she took impression on me. 2002 Annie was presented with those years ago. The magic was another dangerous liaison with that rang through my auditory by Annie into one of her most in her last musical home, The me on a whistle-stop tour of a Lifetime Achievement Award still there and her legacy can comedian Lennie Bruce. I knew memory like chimes. celebrated vocalese tours-de force Metropolitan Room, a couple nightclubs to see some of her I discovered something else at the BT British Jazz Awards never be underestimated. Annie about the addictions (including just ten months later in October. of years ago in New York City. showbiz chums in action. We that night. Both singers were held in London’s Pizza on the Ross was the real deal. heroin) throughout her career After our BBC interview the By now I had met both of them At the Metropolitan, with her looked in on Peter Cook’s newly closely linked to Billie Holiday. Park. Presenting Annie’s award which, so it was said, broke up next time I saw her, a few years at the BBC but somehow the longterm supporters, pianist launched Establishment Club in Beryl had met her in Paris in was her friend Lionel Bart and I VAL WISEMAN Lambert Hendricks and Ross in later, was at a British Jazz Awards biggest celebrity visitors of Tardo Hammer, cornettist Soho and the Blue Angel where 1954 and had taken those iconic remember being humbly asked London in 1962 (to me her one- ceremony, hosted by one of her all seemed to have enclosed Warren Vache and their rhythm Noel Harrison, son of Rex, was dressing room shots of Billie on to be introduced to him by word reason was ‘egos’) .And lifelong champions Jim Simpson themselves in a world of their section, she sang to an adoring then there was her marriage and held at the now-legendary own and it seemed somehow salon of admirers; rusty-voiced to British actor Sean Lynch; a Pizza Express, 10 Dean Street, invasive to re-introduce myself. now (and with an occasional I must confess that – for once greatest jazz records of all time climbed on the concluding chord me); about Lambert Hendricks no-good whom she married London. This was at the time that Now of course I wish I had, but interruptive cough) but still – it wasn’t the eyes but the legs and hanging in the window of my of Down for the Count (track 3 and Ross (LHR) of course; about in 1963 and divorced in 1975; The Fast Show, starring Charlie it’s too late now. essaying everything from that had it. Annie Ross, perched local informal jazz record shop side 2 back in those vinyl days) her appearance as Rosie, Judy who died soon after, and whose Higson and Paul Whitehouse, profound ballads to bebop on an upright piano with the run by Harry Strauss. ‘Albums are kept me awake for the next Garland’s little sister in the sole contribution to her musical was the hit of television and – The next time I met her was on a fripperies including the Carroll- adoring gazes of Dave Lambert like children’, she said years later three nights of my weekend. 1943 movie Presenting Lily Mars heritage was playing jaw’s harp probably misguidedly – I decided big cruise for P and O organized Gillespie Ooh-Shoobee-Doobee and Jon Hendricks looking up but (just maybe) this was the When I met her years later on an - with Fay Bainter playing her on one track (Country Pie) of her to emcee the ceremony using by my friend, fellow-broadcaster vocally shared with Warren, her at her, was my introduction, one one of which Annie herself was interview mission for the BBC I mother Mrs Thornaway (‘She 1964 album (probably titled with many of the show’s most famous and bandleader, the clarinettist perfect straight-man. Afterwards Friday night after school, to la – if only by a semiquaver - most told her and she autographed my played everybody’s Mama!’, we a sprinkling of optimism) You and catchphrases; no doubt to Chris Walker. The cruise, on the we said hello and chatted briefly grande maitresse of vocalese and proud. Its music turned my head album ‘Dear Digby - Welcome to agreed); and there was brief talk Me, Baby. There were things I the tedium of actor-comedian Oriana was to feature myself amid a circle of friends, and I my photographic overture to around and the super-E concert insomnia. With much love! Annie.’ of Manhattan Transfer whose had yet to discover too; amongst John Thomson who among (with Chris’s Swingtet), a quintet asked if she had completed the Sing a Song of Basie; one of the to which Annie’s voice effortlessly 1985 album Vocalese had been, them her creation at the age others played the humorously- featuring trumpeter Bruce Adams, autobiography she spoke of Meeting her in person for the to my ears, a superbly-achieved of fourteen of a competition- obnoxious stripe-suited jazz The Best of British Jazz headed to an interviewer in 2003 (the first time that day in London, contribution to the heritage. winning song for Capitol Records club host on the show; who by Kenny Baker with Roy Willox, interview, like several of Annie’s Annie Ross with the first impression, for me, was Perhaps Annie hadn’t heard it, called Let’s Fly, a tune so appealing had heard all the lines several Don Lusher, Brian Lemon, Lennie Metropolitan performances, is on Val Wiseman the coiffured mop of striking but her reaction to mention of (and also harmonically daring!) million times before and who Bush and Jack Parnell - and Annie. Youtube). But she preferred not red hair topping a neat oval the group was (to put it nicely) that it would have graced was Jim’s guest of honour. More As guest player I was offered a to say and my phone-call later to face that was, by turn, smiling, muted; the right-hand side of Tadd Dameron and which was significant to me was that in a first-class four-berth cabin which friend Warren, offering to fly to questioning and occasionally her upper-lip semi-lifted in an recorded by her friend Johnny corner of the club were three just happened to be opposite my New York to help her complete somehow rueful as she pottered oft-seen moue that was, to put it Mercer with the Pied Pipers a more guests of indisputable heroine and happily unpacked, it, met with her courteous but round her kitchen-diner patiently frankly, sexy. I left the flat wishing year later in 1945. But of course, honour who probably were dreaming of three weeks of firm refusal. I hope they find a answering my questions. For we could have talked for longer there was Twisted (a story told so totally bemused by my new- accidental meetings. But it wasn’t manuscript nonetheless. Annie’s much of her life Annie commuted and feel sadder today that I was often that I may have avoided it); wave comedic references: the to be. Chris had brought on life flowed like a bloodline between the UK and the USA never offered a copy of our taped her cool recreation of Charleston legendary Lionel Bart (whose board a Swingtet member who through seven decades of central and if I remember correctly she conversation. But that was the Alley on the classic LHR album musicals had included the with his entire family had ended jazz history and the loss of her had been filming for Robert way the BBC did things. The Hottest New Group in Jazz incomparable Oliver, Blitz, Twang up billeted in a miniscule cabin story would be a genuine cause Altman’s 1992 Short Cuts movie. (decorated with the harmon- and more) sitting alongside in crew quarters; the last stop for the blues. We talked about the ‘rushes’ I already knew a lot about muted trumpet of a close friend Art Farmer and Annie who had past steerage. A rebellion had (‘dailies’ she tactfully corrected Annie and in retrospect (as Harry ‘Sweets’ Edison); the worked together over 40 years ensued and, Chris asked, would I DIGBY FAIRWEATHER

12 THE JAZZ RAG THE JAZZ RAG 13 ED AND ELVIN ED AND ELVIN

boo boo. It was a gay hotel and As we ate Elvin would make Elvin Jones ED AND ELVIN the two guys on reception who announcements. ‘Bass solo’ and could have been called Julian for 20 minutes we listened to ED BICKNELL is the former longtime manager of Dire Straits, Mark Knopfler, Gerry Rafferty, and Sandy but weren’t, obviously Jimmy Garrison thrumming Bryan Ferry and Scott Walker. Primarily a jazz fan and failed drummer, he was involved thought Brian and I were a his bass. with Ronnie Scott’s Jazz Club for many years as a ‘friend’ to the club in times of financial couple. Brian was oblivious much to my amusement, even when he The food was ridiculous, Nobu, need, consultant on artist bookings and advisor on the menu (studiously ignored). discovered a mirror on his ceiling. eat your heart out. After the meal Through the club he became a close friend of drummer ELVIN JONES and his wife Keiko. The next day we did a bit of we were ushered downstairs. Here is his story of that friendship. sightseeing, had lunch and were They had TWO apartments! invited for a Japanese dinner This one was full of racks of Every Friday Ronnie’s surviving One night in La Cap I decided it way to stop your arms and legs Brian didn’t. at Elvin and Keiko’s apartment Keiko’s clothes and, on shelves partner and club owner Pete was time to get over being a star from hurting. Are you jiving me?’ on Central Park West. Don’t against the wall sat at least 15 King, John Ellson who booked worshipper and engage him in When I introduced them Elvin let anybody tell you there’s no or 20 1960’s Gretsch drum kits many of the acts (unpaid), the conversation. ‘Grrrrrr!’ duly picked him up and Brian money in Jazz. There is and Keiko in every finish imaginable still club’s lawyer Wally Hauser soon started to turn purple. had found it. in their plastic bags, unplayed. (unpaid) and myself (definitely ‘Elvin, I know thousands of words He grinned again. Eventually I had to ask Elvin to Coming out from the wall were unpaid) would meet for dinner at have been written about this, but put him down. Elvin had just been given a test piles of K and Avedis Zildjian an Italian restaurant on Romilly when you developed your style Pete King chimed in. CD of the only live recording cymbals of all sizes. Street in Soho. Not a single with John Coltrane, was that We opened a bottle of wine. of A Love Supreme done at the Italian worked there. The owner- because you heard the music ‘I don’t faaackin believe it. I just Brian doesn’t drink, but no Antibes Jazz Festival in July 1965. ‘I used to endorse them,’ said cum-chef-cum-waiter-cum- that way or was it some kind don’t faaaaackin believe it.’ matter, after a few minutes it The studio recording by the Elvin by way of explanation, ‘they maitre’d came from Ealing and of accident?’ was as if we’d known each other John Coltrane Quartet which gave this stuff to me.’ Later on I the food was almost as bad as I went every night, every time he all our lives, he was that kind had been done in one day in asked Brian if he’d been thinking the club’s, but not quite – which Pathetic, just pathetic! I felt like a came, both sets. Keiko was also of guy. Pat La Barbera who was December 1964 is generally what I’d been thinking. Yes. Would is why we went there. male groupie and there’s nothing his roadie and set up his pink playing tenor and who’d been regarded as one of the all-time Elvin sell us a couple of kits? Of was way before the sexual assault moment and one of my most worse. champagne Yamaha kit and even lead saxophonist with Buddy Rich classic jazz recordings. While course we didn’t ask, it would allegations came out. prized possessions. Above the restaurant was a small tuned it every night. for many years came in. Another Keiko cooked Japanese lamb have been impolite and being brothel and if you went in the Elvin grinned. His white teeth lovely man and a ridiculous chops he put it on and cranked it British and guests in their home I remember dear Michael The musicians played a blistering wrong door you’d get more than flashed across his black face. He Sometimes John Ellson and I player. We were chatting and Pat up to eleven. that wasn’t going to happen, but Brecker, RIP, saying to Elvin in the set. Elvin sat there in a white a cannelloni. The place was full spoke in a low, soft growl. would take them to lunch. They suddenly played the intro to the I’ve often thought since that we afternoon, ‘What are we going kaftan, sweat streaming down his of Soho’s remaining gangsters, especially liked the Mirabelle, Rich arrangement of West Side As it thundered through the should just have been rude. to do?’ face as he BECAME his drums. a rather sad looking bunch, and ‘Well, when I came out of the then on Curzon Street. Obviously Story. In that tiny room his sound apartment there was a banging The whole thing was joyous, an ageing Danny La Rue was a army, I was playing in this band Elvin had no idea what I did and was enormous. Elvin burst out on the ceiling. The next day we went down ‘We’re gonna play,’ he responded, uplifting. frequent customer. in Detroit with Jimmy Forrest certainly had never heard of Dire laughing. It was so far away from to the Blue Note in Greenwich laughing and beaming. So no set and we had to play four hours a Straits, let alone Scott Walker. his style of jazz and yet it wasn’t, Elvin ignored it. The banging Village for the soundcheck. I list and certainly no rehearsal. Afterwards we went to say our Still, it didn’t matter, it was in La night. So I figured if I just threw Keiko, who was pretty sharp and it was all part of the same thing. continued, it was strangely asked Elvin if Brian could play his farewells. Suddenly he looked Cappanina that I became friends in the odd bass drum beat, my did all their business, cottoned on rhythmical. drums. Sure, no problem, so up Yamaha had made about a dozen tired. Frail. Exhausted. with Elvin Jones and his wife leg wouldn’t hurt so much. Then and filed that away. On their annual visit to Ronnie’s he got and we took many photos gold plated 10” snare drums in Keiko, as in friends, not music I thought, well, if I play like that in 2002, Keiko asked me if I’d help ‘Grrrrr! That’s Max Roach. of a grinning Brian not quite able his trademark champagne sparkle, I never saw him again. He died biz acquaintances. with my hands, my arms wouldn’t One time they were visiting I her organise a concert in New Asshole. Screw him.” Another to believe his luck. complete with a plaque giving May 18 2004 aged just 76. hurt, so that’s how it started.’ asked Brian Bennett, my best York to celebrate Elvin’s 75th huge smile. the date and occasion. Elvin had ‘So you’re telling me you play that mate and the Shadows drummer, birthday on September 9th. That evening we sat in the signed them inside the shell. I think of him pretty much every if he’d ever seen Elvin. He hadn’t Max Roach, one of the other dressing room as drummer after day, not just as the extraordinary Ed Bicknell so we went along. Would I? Give me a break, of great innovators on drums and drummer dropped by to pay Before the gig got underway I drummer he was, but as one of After the first set I got up. course I would. a leading figure of the bebop their respects and wish him a was astonished to hear Cosby the most inspiring, kind and funny movement, lived upstairs! Happy Birthday. When Cosby call out my name to go up people I’ve ever met. ‘Come on, let’s go and say hello.’ I was given the K Zildjian cymbal Apparently there was little love came in, Elvin blanked him. It was onto the stage where Elvin and Yamaha endorsers lists. I had lost between them. Elvin pushed obvious he didn’t like him and I presented me with one and It was a privilege to know him. Brian didn’t budge. to cold call my drumming heroes the volume to twelve, like a jazz thought Cosby was an asshole. gave me THE hug. Unusually I and more. Spinal Tap. Arrogant and self-obsessed. This nearly passed out. A very proud ‘I can’t meet HIM,’ he said, ‘I just can’t.’ He was obviously ‘Hello, is that Mr Cobb? (Jimmy flummoxed by the performance, Cobb), you don’t know me, but...’ as any drummer would be. Michael Shrieve from Santana. SUBSCRIBE TO THE JAZZ RAG ‘Well, I’m going. Come on, Louis Bellson. Jack de Johnette. he’s great.’ Bill Stewart. Victor Lewis. Numerous others. They all came. SIX EDITIONS MAILED DIRECT FOR So we went off to the so-called Keiko arranged for some other dressing room, really a cupboard guests, Wynton Marsalis, Michael £17.50 TO ANY UK ADDRESS behind the stage. Brecker and Bill Cosby as host. Yes. That Bill Cosby. Overseas rates: Europe £24, Rest of The World £29 Elvin was a big man. At least 6’ 2” with huge hands. His party Somehow Brian got us a deal piece when you met him was to on Concorde and off we went. Cheques payable to Big Bear Music. Send to: give you a hug and lift you off the We checked into a hotel off Jazz Rag Subscriptions, PO Box 944, Birmingham, England B16 8UT ground. I was used to this. I knew Union Square. As soon as we got Photo by Merlin Daleman how to hold my breath and for to the front desk I realised my To pay by credit or debit card, visit www.thejazzrag.com how long. travel agent had made a slight or phone 0121 454 7020

14 THE JAZZ RAG THE JAZZ RAG 15 SETTING THE STANDARD SETTING THE STANDARD

different character.’ orchestra was another member the same discrimination. Some Andy’s playing and it’s been great SETTING THE STANDARD The element of choice became of the trombonists’ union, 40 string players were involved to sit next to him in various especially precise in the matter of Mark Nightingale: and the choice of leader was trombone sections over the CALLUM AU tells RON SIMPSON of the choices involved in making Songs and Stories, his soloists. Whilst trombonist Andy obviously crucial. John Mills years. My two favourite overall excellent new album with CLAIRE MARTIN. Wood and alto saxist Sam Mayne ‘I sat in the control booth while is leader of the John Wilson tracks are I Never Went Away and combined solo features with a Mark conducted. I wanted Orchestra and involved in all I Concentrate on You. The former produced. I first started working repertoire and recording and place in the regular big band, to hear everything that was kinds of film projects and he is was a new song to me that I have with her in Matt Skelton’s mixing engineers. Having this sort Callum matched a series of guest going on in the orchestra really described by Callum as ‘one of really grown to love and I am Hollywood Romance project with of freedom allows for a huge soloists with individual songs: clearly. It’s easy to get lost in the the best violinists I have ever still amazed at the orchestra’s the Tippett Quartet and it struck amount of creativity and lets me performance when conducting heard. His warmth of both rich sound, particularly the solo me that she is really wonderful try things that I would otherwise ‘I really wanted to feature some and, given that we only had six sound and character make him moments from Jane Marshall at telling the story of a song in a have been unable to do.’ of the jazz musicians who have hours in the studio with the full the perfect concertmaster (cor anglais), Richard Watkins heartfelt way. As an interpreter inspired me with their playing. It’s forces, I wanted to be a bit more for a project like this.’ Equally (horn) and Karen Jones (flute). of popular song she’s in a class of So let’s look at the choices really nice to write with specific forensic. For the big band bits we important, John is the leader of The latter was inspired by the her own. that Callum made. First the soloists in mind – as I know didn’t need a conductor – it’s all the previously mentioned Tippett Pat Metheny Group and I wrote repertoire. His attempt at what their playing is like through in tempo – so it was easy enough String Quartet, the other three the arrangement specifically with ‘We chose the repertoire the difficult task of defining a many years of listening to (and, in for me to play in the section – in members of which came on Nadim Teimoori’s sound in mind. together over a few weeks of standard gives a pointer to the some cases, playing with) them, part to save myself a session fee!’ board as section principals, giving Nadim is a rare genius –and I back and forth via email. Once album’s title: it’s easy for me to imagine how a sense of unity. don’t say that lightly.’ we had a long list of up to 25 their contribution will fit into the The meticulous planning titles, we got together round a ‘Any good piece of music needs overall picture.’ extended to the personnel of Then there is the man whom Ask the conventional ‘What piano to narrow it down some to be melodically, harmonically the two aggregations, largely Callum describes as ‘just as next?’ question of any jazz more. We wanted a nice mix of and rhythmically interesting and Most arrangers would be happy distinct, although a few versatile important as Claire or me in musician at the moment and light and shade and a balance memorable. But that isn’t enough to have the brilliant Scots performers such as Andy Wood, the creative process’, Louis you are liable to get a tale of of different moods and feelings. to turn a song into a great trumpeter Ryan Quigley or saxist Simon Marsh and drummer Dowdeswell, co-producer of postponements and cancellations. Claire introduced me to a couple standard. I believe a truly great Freddie Gavita (‘my friend and Matt Skelton show up in both. the album and one of Callum’s Callum certainly has plenty of songs which were new to me: standard tells a story, both in its colleague from the Ronnie Scott’s What intrigued me was that the closest collaborators since they on the stocks for when the The Night We Called it a Day and musical structure and its lyrical Jazz Orchestra whom I always woodwind section of the full were together in NYJO in 2011: music scene returns to life: a I Never Went Away. Claire knew pathos. An arrangement done find inspirational’) as trumpet orchestra is stuffed with jazz possible tour of Songs and Stories the latter from her connection well highlights and complements soloist. Callum casts both of players: Howard McGill, Pete ‘Aside from playing exciting and with Claire; an album launch with its composer Richard these elements.’ them in different songs, Ryan in Long and, of course, Simon Marsh swinging lead trumpet in the anniversary gig at Cadogan Rodney Bennett.’ You And the Night and the Music, – another calculated choice by big band, he put a tremendous Hall on June 19, 2021; Louis With a fair number of the songs Freddie in Pure Imagination. Also Callum Au: amount of time and effort Dowdeswell’s second big band So that’s one essential choice being established favourites and on the solo roster are Nadim in mixing the audio with a CD, Callum’s arrangements all (and, given the results, a totally Callum’s devotion to classic Teimoori (‘my favourite tenor ‘The jazz musicians are more perfectionist’s eye for detail and written, waiting for the studio successful one), but what of singer-and-orchestra albums, saxophonist in the world – no comfortable with playing I couldn’t have made the record to become a safe place again; a It’s refreshing to find a highly a standard if only a few singers Callum’s initial decision? What an interesting problem appears: exaggeration! – since we were multiple instruments to a without him.’ recording by Callum’s quintet regarded young jazz arranger record it? And the selection sort of an album did he set out how do you present a song that in NYJO together’) and Andy very high standard than the with James Davison, with the coming out firmly on the side here ranges from evergreens to make? Part of the inspiration is so closely identified with one Martin (‘a Los Angeles-based jazz classical musicians are, so, when Callum is unashamedly (and original recording sessions of melody and enjoyment. Thus such as Stars Fell on Alabama via was the fact that many of his arrangement that it seems to trombonist whose playing has I needed all of flutes, clarinets understandably) delighted with inevitably cancelled. Callum Au, talking of the reaction great songs less well known than favourite albums are what he have become part of the song always been the high-water mark and saxophones, they were a how Songs and Stories turned out to his acclaimed album, Songs and they should be (I Concentrate calls ‘large-scale orchestral jazz itself – Nelson Riddle’s take on for me’). natural choice.’ and happy to single out parts that Not one to succumb to Stories, on Stunt Records: on You, for instance) to songs projects with vocalist’, though The Folks who Live on the Hill for give him particular joy, starting lockdown inertia, however, which Callum admits to not one suspects that the likes of Peggy Lee, for instance? The attentive reader will Laying down eight tracks in six with a generous comment on a Callum has been working on a ‘I’ve been really pleased with knowing before preparing for this Frank Sinatra might have found have noticed that there hours requires the ability to fellow-trombonist: new series of big band playalongs the reaction to the album so recording. Claire Martin sings on his terminology too near ‘with ‘The way I dealt with this for are two trombone soloists, switch instantly, I guess! with Louis Dowdeswell, with the far – I’m glad people are enjoying all the tracks, accompanied by a vocal refrain’ to be tolerable! In that particular song was by very neither of them Callum Au. ‘My favourite moment on the first batch are due for release in it. There is a tendency in some sizeable string-heavy orchestra fact Callum’s respect for the role deliberately changing the style, He had two different roles Callum’s experience in a range album is Andy Wood’s trombone September/October. modern jazz circles for people (five tracks), an orthodox jazz big of the singer is obvious from his omitting the rhythm section within the orchestra and big of musical settings helped him solo on I Get Along Without to look askance at the sort of band (three) or both (three). comments on Claire, but it’s true entirely and cutting down the band tracks. Conducting the choose classical musicians with You Very Well. I’m a huge fan of www.callumaumusic.com music that has a broader popular that his love of the big orchestral orchestral forces to just strings, appeal – I feel that this is a great This is a project that has taken sound is central to this project: piano and horn. Restrictions Photo by shame – albums like Here’s to Life some two years from Callum’s breed creativity and I naturally Nadja von Massow (Shirley Horn), Only the Lonely original conception to album ‘I have always felt that the write different things with a (Frank Sinatra) and Both Sides release – and, as he tells me orchestra is the musical ensemble smaller ensemble. Now (Joni Mitchell) are some about it, it’s clear that the with the most emotional weight of the greatest works of art in creation of it has all been about – the range of textures and ‘More generally I find there jazz music. I suppose I’d want choices. The key choice – of timbres you have to work with is are two ways to go: lean into people to see this in a similar singer and close collaborator – second to none.’ the version everybody knows light, serious art music with was not difficult: with overt references or go in jazz at its core, but not enough Callum’s prior arranging the opposite direction and do to be inscrutable to all but the ‘Claire Martin was my first choice experience stretches from big something completely different. dedicated jazz acolyte.’ as singer and I was thrilled when band jazz to pop and classical, but Vince Mendoza’s take on At Last she agreed to be involved. I spoke this one was to be unique in a for Joni Mitchell is fascinating: his Songs and Stories consists of to her at the very beginning and special way: intro is taken directly from the eleven performances of what she has been an enthusiastic famous string intro to Etta James’ I may loosely call ‘standards’, and active partner-in-crime ever ‘The main way that this is soulful 12/8 version of the tune, something I always find difficult since. Of course she needs no different is that I had complete but reharmonised and scored for to define – is a wonderful song introduction as one of the finest creative control and could a cold, distant woodwind section from, say, the 1930s or 1950s jazz singers the UK has ever handpick the musicians, which gives it a completely

16 THE JAZZ RAG THE JAZZ RAG 17 60-PLUS YEARS OF JAZZ – AND MUCH ELSE! 60-PLUS YEARS OF JAZZ – AND MUCH ELSE!

Delmar from this time right up Brian’s work, songwriting: the then under the direction of Don ‘I am well aware that being an 60-PLUS YEARS OF JAZZ – AND MUCH ELSE! until four years ago and we did 2000 Doz solo CD, It’s Always Lusher. In 2000 Avid recorded all-rounder meant that I never lots of stints at Ronnie Scott’s, Like This, consists entirely of his the Farewell Concert of the appeared in the jazz polls at the In November 2019 the Melody Maker New Star of 1960 finally called an end to a 63-year usually quartets with such as own compositions. band, with a line-up packed with diehards don’t recognise you as career in music. In the latest of our features paying tribute to a great generation of British jazz Duncan Lamont and Jim Mullen. legendary big band musicians the real deal.’ stars, RON SIMPSON looks back on pianist BRIAN DEE’s career. ‘Over my time I worked with What does Brian have to say of from across the decades. Ted For all that he has no regrets many American musicians who the art of accompaniment and of Heath’s glory days were probably about branching out into so many 1960 and 1976 (a George came to this country, more than the allied skill of performing in the 1950s and coincidentally areas of music, having come up Brian with Alan Barnes Chisholm album with John 50, and I have great memories a duo? Brian was also on hand when against the artificial barriers of Horler on piano and Brian of the likes of Benny Carter, Kenny Baker’s Dozen – the the music establishment early in on organ) are barren of jazz Ben Webster, our own Victor ‘I loved accompanying right from inspiration via the radio to so his career: performances, except for a 1962 Feldman, Zoot Sims, Lockjaw my early days when we used many jazz fans in that decade – BBC session with Graham Bond Davis, Mark Murphy, Peggy Lee to listen to, and copy, the men was revived in 1993, for the first ‘I can remember well in the late and the Jazz Five rhythm section. and many more. One or two of who were great accompanists time as a live working band. The 1950s wanting to go to Trinity Not that he was underemployed the lesser names could act up and soloists in their own right, Big Bear CD, The Boss is Home, College once a week, paying in those years – anything but! sometimes, but we were well men like Tommy Flanagan, Hank captures live the excitement to learn technique, and, having – simply that his celebrated prepared for most of it.’ Jones and my own influence, of another great band which passed the ear test with flying versatility was working overtime. Wynton Kelly. It’s a matter of included several of the musicians colours, being rejected because When the Establishment closed His first mention of Elaine taste, supporting and feeding the (including Lusher himself) who I put jazz and dance music as after 18 months, Brian worked all Delmar prompts consideration of soloist or singer – there’s no featured with the Heath Band my interest. over the country as accompanist one outstanding feature of Brian’s difference, they’re both voices, seven years later – plus the for Lita Roza, the accomplished accomplishments, his work as though you maybe need a touch bandleader who had prompted ‘I have loved all the different ex-Ted Heath singer who was accompanist. During their long more modification in a duo Brian to go professional 33 years genres of music I have played in unfortunate to be best known and successful association Elaine set-up. I’ve done several duo before, Vic Ash. The most recent hundreds of functions, sessions for her Number 1 hit, How Much and Brian recorded four albums, recordings, one with the late example of Brian’s assurance and broadcasts, and of course is that Doggie in the Window?. No most recently in 2005 on Joy great Duncan Lamont and one in a big band setting came with the music I love most is jazz. I am doubt to Brian’s relief, she hated Records, but his discography also with Bruce Adams.’ Duncan Lamont’s jazz settings of sure that being an all-rounder the song and would never sing it features albums with Barbara his own music for the children’s improved my jazz playing and, in live performance. Throughout Jay, Rosemary Squires, Maxine Around about 1990 Brian, who television series, Mr. Benn, with if I’d played solely jazz, I’d have Brian Dee made a huge impact Couriers. Malcolm Cecil was the Dudley asked me to lead the trio his career Brian has rubbed Daniels and Tina May. Then had been sadly under-recorded another all-star aggregation become stale. early in his musical career. He bassist, Bill Eyden the best known opposite his. He would play after shoulders with jazz royalty, there is his association with Val in a jazz context for over two featuring Kenny Wheeler, for was born in 1936 and, even with of a succession of drummers, finishing the evening performance but it was a surprise to me to Wiseman, for many years as decades, came out with a series Jellymould Jazz. Connoisseurs of ‘I feel my generation had one the distraction of two years and the pianist was Brian Dee. of Beyond the Fringe.’ discover his connection with the part of her Lady Sings the Blues of striking albums including two the ‘they just don’t get it’ school advantage over today’s players National Service in the RAF, Not only that, but in 1960 the real thing: band and to be heard on a live on Spotlite that teamed Brian’s of reviewing should take a look in that we were not musically he was an established figure in unimaginatively named Jazz Five A word of explanation to readers recording, Laughing at Life on Big trio (with Bobby Worth and at the reviews on Amazon where educated in colleges, so we all British jazz circles by the time got to tour with Miles Davis, a of less than a certain age. Beyond ‘After my stint with Lita I did a Bear, but also in another venture Mario Castronari) with two ***** comments nestle alongside sounded different. I could tell the 60s came around: man not easily impressed, who the Fringe was one of the beacons show called Sweet Charity which that broke down conventional outstanding front lines, one led by * and ** complaints that it who it was just by the sound. apparently liked the band. of the satire boom of the 1960s, got my reading up to speed, so jazz boundaries. Val, as an Don Rendell, the other a superb doesn’t sound like the original! While today’s players are amazing ‘When I came out of National a revue with four Oxbridge gradually I got into session work. enthusiast for the Bronte sisters, sextet under the name Perfect technically, harmonically and Service in 1956 I started going The Jazz Five’s album for Tempo types who went on to become Doing sessions and jingles was put together a programme, Pitch, with Peter King, Dick So that’s Brian Dee whose reading-wise, it would seem round sitting in at various clubs. was the first recording of Brian’s legends of the entertainment lucrative, but could be nerve- entitled Keeping the Flame Alive, Morrissey and Jim Mullen. Tipping mastery of so many of the harder to achieve a distinctive I met a vibes player, Lennie Best, career. I’m not going to attempt industry: Jonathan Miller, dignified wracking as you never knew of their poems and her lyrics the Scales was reissued in 2008 facets of jazz piano continued voice of their own.’ and we formed a quartet in the a full discography as he appeared by opera productions and a in advance what was coming on situations and characters and is well worth tracking down. throughout 60-plus years. Now style of the MJQ. Although we in so many unexpected or knighthood, Alan Bennett, now up. I also worked for a society in the books. Brian Dee wrote we have to ask the question: why, And finally? were semi-pros we began to untraceable settings – would safely installed as a National bandleader, Confrey Phillips, and and played the music – which Through the 1990s Brian was a after the Melody Maker readers get gigs in the London clubs and you believe playing harmonium Treasure, Peter Cook, anarchic it was not unusual to see the brings us to another aspect of member of the Ted Heath Band, displayed their discernment ‘Last year I decided that I’d done also broadcasts with the BBC. or organ on Elton John’s first humourist and backer of Private Queen and other royals three in 1960, have awards eluded enough: most of my colleagues So I became known to all the four albums, for instance? The Eye, and Dudley Moore, similarly or four times a week at various Brian Dee has been the go-to piano player for both Big Bear him? He didn’t really go along weren’t around any more and to top players. One day I received a jazzier end of his recording anarchic humourist and unlikely stately home functions.’ Records and the Birmingham Jazz Festival for more than 25 years. with my theory that, for much have 63 years in the music game phone call from Pete King who output is varied enough in all Hollywood star. He has long been the first name on the team sheet for the festival, of his career, he was such an was fantastic. I’m a very lucky said, ‘Ronnie and I are opening conscience, from solo and trio In the 1970s and 1980s the forming a Rolls Royce house rhythm section with bassist Len Skeat outstanding accompanist that too man: I did all the things I wanted a new club – would you like to albums to major big band dates ‘Dudley was a marvellous jazz jazz quota in Brian’s date-sheet and drummer Malcolm Garrett – much to the delight of many an many people thought of him as to do in my career and now I come and play there?’ to small groups with the finest player, hard-swinging in the style remained prolific. While he was American and British jazz star. just that and no more. can do a lot of listening in my British players to a particular of Oscar Peterson and Erroll playing in studio orchestras retirement!’ Thus Brian was in at the start of much lauded talent of Brian’s, Garner. I used to do an early stint accompanying such great jazz Brian held down the piano chair in Val Wiseman’s Billie Holiday His theory certainly carries Ronnie Scott’s in Gerrard Street accompanist to many of the best upstairs in the restaurant and one fellow-travellers as Bing Crosby, tribute, Lady Sings the Blues, for many years, his ballad duos with Val some weight: Photos by Merlin Daleman and embarked on almost exactly singers of the time – of which night a man came in and sat right Fred Astaire and Johnny Mercer, always a highlight of the show, and, when Pete York and I decided 60 years as a full-time musician. more later. next to the stage. When I looked the small group engagements to put together a tribute to Gene Krupa, again our first call was to This opened the door in time to down, I saw it was the great took in regular broadcasts (hard Brian. There’s a record release imminent of Drummin’ Man which working with many of the great That Tempo album was the only Erroll Garner himself. He was though it is to believe today) as rocks along splendidly, but listen to Brian’s playing on the ballad I’ve American jazz soloists and also official recording by the Jazz Five, Dudley’s idol and he had no idea well as club engagements: Got a Crush on You featuring, again, Val Wiseman – impeccable, text- an unexpected early brush with but it’s possible to pursue BBC Erroll was in the club. Later, when book stuff on how to accompany a jazz singer. I’ve lost count of the fame. Tenor saxist/clarinettist Vic Jazz Club sessions from 1960-61 Dudley was playing, Erroll walked ‘At the time I was very involved number of times a singer has expressed gratitude that we booked Ash and baritone saxist Harry which were issued on Acrobat. into the room. Dudley’s mouth in doing broadcasts for BBC Brian into the piano chair. Klein were only about 30 at the Then once again two chaps had opened in astonishment and the Radio 2 with my trio and various time, but they had been mixing it the idea of starting a club: music sped up immediately. It was singers three or four times a A master of big band piano, a formidable exponent of bebop – with the best for some 10 years a wonderful moment.’ week. Through till Two, Music till the complete, all-round, never repetitive, always melodic, ever and they decided to form a band ‘In 1962 Peter Cook and Dudley Midnight and The Early Show were surprising jazz piano player – Brian Dee. Brian with Jim Douglas, that would take on the mantle Moore opened a club in Soho If we look at Brian Dee’s some of the shows we would Val Wiseman, Alan of the recently disbanded Jazz called the Establishment and discography, the years between appear on. I worked with Elaine Jim Simpson, Big Bear Music. Barnes and Len Skeat

18 THE JAZZ RAG THE JAZZ RAG 19 THE V-DISC STORY THE V-DISC STORY

Hoagy Carmichael (in his fake English accent) by the V-disc programme, covering THE V-DISC STORY Freeman: For Musicians Only the entire span of the project. and The Latest Thing In Hot Jazz Among the many who are heard by SCOTT YANOW (which is listed as being by “Eight from are Benny Goodman, Duke Squares and a Critic”). Ellington, Woody Herman, Benny Billy Butterfield Basie and Tommy Dorsey were like Andre Kostelanetz. It gives Carter, several jam sessions, a off commercial records for nearly one a good idea of what the Volume 2: The Big Bands has few military jazz bands, Louis 2½ years. Fortunately all three popular music world sounded swinging numbers by the big Armstrong, Bob Crosby, Art of those orchestras plus many like, particularly during 1943-45. bands of Jimmie Lunceford, Louis Tatum, Peggy Lee, Frank Sinatra, others made V-Discs that decades Prima, Cab Calloway, Jess Stacy and (in 1949) Randy Brooks. later helped to fill in the gap. The V-Disc programme was quite (It’s Only A Paper Moon from There are only a few duplicates popular among servicemen and it his very short-lived orchestra), with the other sets. There were 905 V-Discs in all was continued for several years Sam Donahue, Jimmy Dorsey, and they fall into three different past the end of World War II. Buddy Rich, Stan Kenton, and When coupled with commercial categories. At first, many of the Although it might have seemed the service band 17 Skymen Of recordings, surviving radio releases were just reissues of a bit pointless during 1946-47 The 718th. Volume 3: The Girls may broadcasts, transcriptions earlier studio sessions although when commercial recordings not seem all that promising with made for radio airplay, and live a few contained previously were readily available both in such vocalists as Martha Tilton, concerts, V-Discs add to the huge unreleased alternate takes. the U.S. and overseas, V-Discs Jo Stafford, Monica Lewis and musical legacy of the mid-1940s. continued to be released on a Dinah Shore being featured along While not all of the 905 discs are Some of the other V-Discs regular basis. with Ella Fitzgerald, June Christy, filled with essential sounds, the were taken from radio shows, and Kay Starr, but in most cases V-Discs contain many surprises rehearsals for the programmes, A second recording strike which of achieving that rather dubious V-Disc Play-Fellows on Beyond The the singers are joined by top jazz and quite a bit of delightful film sound tracks, or excerpts lasted from January 1, 1948, until goal. An arrest or two was made Blue Horizon, Hoagy Carmichael soloists of the mid-1940s. Billy music. It certainly would have from live concerts including the December 14 of that year (the of V-Disc collectors in the early singing his heated Billy-a-Dick, Butterfield, Yank Lawson, Charlie been a major crime if they had 1944 Esquire Jazz Poll concert Union wanted record companies 1950s and many of the discs were groups ranging from Bunk Shavers and Joe Venuti keep been destroyed. and Duke Ellington’s November to pay a percentage of sales to a destroyed along the way, but Johnson to Stan Kenton, and things consistently stimulating. 1946 performance at Carnegie union fund to help pay musicians virtually all of the performances appearances by Paul Robeson, Scott Yanow, who was not V-Discs have a unique place in the United States and that they Hall. Most significant was the for giving free concerts) was survived; the Library of Congress Josh White, Perry Como (backed Released in more recent times is around yet during the V-Disc jazz and music history. During the were purely for the ears and fact that the vast majority of the less complete than the first has a complete collection. It took by Benny Goodman), and even the four-CD set Les Disques De era, has heard nearly all of early days of World War II, record the enjoyment of the fighting V-Discs comprised new studio one. Charlie Parker recorded many years before more than a Ethel Merman. La Victoire 1943-1949 from the them. He can be reached labels were generally happy men. When the programme sessions. Some of those were Parker’s Mood in 1948 and other few began to be reissued. Fremeaux & Associates label in for liner notes, bios, press to send their latest releases ended, all of the recordings and early versions of what would underground recordings were The RST label out of Austria France. The 92 selections stretch releases, reviews and other overseas to the American the masters were supposed to be popular recordings by top made. Despite the continuation Finally, starting in the 1980s, many put out three CDs that contain beyond jazz at times and give interesting assignments at servicemen fighting in Europe. be destroyed. swing bands. of the programme, V-Discs were of the more worthy recordings some of the most rewarding jazz one an excellent overview of [email protected]. The problem is that around 80% considered less essential during have been made available on a V-Discs. Volume 1: The Combos of the 78s, which were made of The problem with 78s being Both black and white bands this strike. U.S. servicemen were variety of CDs although there is particularly recommended. easily breakable shellac, arrived easily breakable was also solved. were represented and many no longer at war and they could are some hot performances that Featured along the way are damaged and were useless. Rather than being 10-inch discs arrangements that might not easily purchase 78s from the have not reappeared yet. While Hoagy Carmichael (singing and made out of shellac, V-Discs otherwise have been recorded previous year. there is no coherent reissue piano playing on his Riverboat Another major problem was that were made out of less fragile were documented. And programme of all of the jazz- Shuffle), the two Lennie Tristano on July 31, 1942, the American plastic and were 12-inches in because all of the record labels While V-Discs from 1944 covered oriented V-discs, several worthy numbers, the King Cole Trio, Federation of Musicians went on size. Instead of being limited to participated, stars who might the current music scene well, CDs contain some of the best Joe Marsala, Roy Eldridge, Will a recording strike. The musicians around three minutes a side, not otherwise have had a chance there were almost no bop jazz performances, a few of which Bradley (Basin Street Boogie), led by the Union president a V-Disc could hold up to six to record together during the recordings on the 1945-49 I will mention here. Connie Boswell (Way Down James C. Petrillo, were angry minutes of music. era were able to jam in combos V-Discs other than accordionist Yonder In New Orleans), and because they were not being paid without having to worry about Joe Mooney’s odd version of The four-CD Time/Life Music various all-star jams with Charlie any royalties for records sold Sometimes there were two label contracts. Tea For Two, two early numbers box called The Songs That Went Shavers, Bobby Hackett, Jack to jukeboxes. songs per side while, in other by Lennie Tristano, a few titles To War – WWII 50th Anniversary Teagarden, Trummy Young and cases, the musicians had more of The V-Discs featured the top big by Boyd Raeburn’s orchestra, Collector’s Edition came out in Don Byas. The emergence of the V-Disc an opportunity to stretch out, bands of the period (including and two obscure Tadd Dameron 1992 and can be found online. (victory disc) programme helped performing for 4-5 minutes. In Ellington, Basie, Benny Goodman, recordings that featured singer Most of the 79 performances Most memorable are three with both complicated situations. addition, in a charming touch, Glenn Miller’s Army Air Force Kay Penton. Charlie Parker, are jazz or swing-oriented with numbers led by tenor- Recordings were needed for the many of the V-Discs began with Band, Tommy Dorsey, Jimmy Dizzy Gillespie, Bud Powell and a few departures. The recordings saxophonist Bud Freeman which world-weary and battle-hardened a spoken introduction, often Dorsey, Les Brown, Charlie Thelonious Monk did not make include Jo Stafford with Billy contain explosive trumpet playing servicemen, serving as a brief from the bandleader, wishing the Barnet, and Harry James), all-star any V-discs and the programme Butterfield’s hot combo on Blue from Yank Lawson. Two start out relief from the fighting. After servicemen well. small groups which ranged from was still emphasizing singers and Moon, Martha Tilton and her with very funny monologues much negotiation, it was decided heated Dixieland to modern swing groups up until its end. that special recordings would be The V-Disc programme outlived swing, small pianist or guitar made, free of charge, and sent both the recording strike and led groups (including the King It all stopped in May 1949. By to the men in the military. The World War II. The strike of Cole Trio and many titles by then, 8 million V-Discs had been record labels agreed to allow Union musicians was pretty Les Paul’s Trio), vocalists (Bing produced resulting in around their artists to record V-Discs, complete until the Decca label in Crosby and Frank Sinatra made 2,000 songs during the 5½ year and Petrillo agreed that the September 1943 and Capitol the many V-Discs) covering a wide programme. After the V-Disc Union musicians could record following month settled with the range of genres, long-forgotten programme was discontinued, for free. Union. Columbia and RCA Victor, but sometimes quite talented all of the recordings (8 million!) who had most of the best-known performers, country music, some were supposed to be destroyed. The main stipulations were that artists, would not settle until blues, classical (including Igor these special recordings would November 1944 so bands such Stravinsky), novelties and comedy, The FBI and the U.S. Provost not be sold or distributed in as those of Duke Ellington, Count easy-listening, and pure schlock Marshall’s office were in charge Peggy Lee

20 THE JAZZ RAG THE JAZZ RAG 21 THE LAST WHOOPEE! THE LAST WHOOPEE!

The breakaways went out under disarmingly, ‘I drove the van to THE LAST WHOOPEE! the name of Bill Posters Will Russia and back which was a trek, be Band and eventually played but interesting.’ A well-known RON SIMPSON belatedly marks the passing of the last of the comedy jazz bands, their last gig shortly before story has Bob spending days BOB KERR AND HIS WHOOPEE BAND. the Whoopees. negotiating seas and frontiers and finally arriving at a club in St. ‘Geoff Stephens had a hit and a Fortunately it’s easy enough to Petersburg to be told he was on band name, but he didn’t have see what the various eras of the in an hour! a band. Henri Harrison was a Whoopee Band were up to by drummer and a great friend I checking on Youtube. Probably ‘Normally I drove to most gigs had played with on and off since the best example – because home and abroad with the I was 18 and Geoff asked us to the most extensive – is 80 gear’ (and the Whoopees had form a band. We stepped in and it minutes of the band at the Half decidedly more ‘gear’ – props took off. After a tour with Dusty Moon in Putney from 1990. The and costumes – than most bands) Springfield and a few spots on all-action seven-piece (in later ‘and flew the band abroad via Top of the Pops we were whisked years it slimmed down to five the cheap airlines as it saved off to America. The first gig was or six) romps through a varied money and I just loved driving. I on the Ed Sullivan Show and programme, with appropriate learned a good deal of German then it was off to Las Vegas. Our a major part of the Whoopees’ caused the next shift in the hats for each number: ‘Flying as we travelled there so much; first live gig was at the Tropicana appeal, it’s perhaps not surprising band’s fortunes. Things being hats!’, shouts Bob – literally true also my French got a bit better Hotel sharing the bill with that television and film figured a bit slack, Bob had agreed to as he hurls an appropriate hat after a three-month tour of George Shearing and his band.’ largely in the band’s output in Neil Innes’ request to return to to each band member before French theatres.’ the 1970s. A long-time associate the Bonzos for a few gigs, only Me and Jane on a Plane. Cocktails By the time Bob’s American and fan of the band was Bob to find most of his own band for Two recalls the Master, Spike The achievements of Bob the adventure was over the New Godfrey, one of the country’s disappearing from view: Jones, with some outstanding Driver only come into focus Vaudeville Band had toured leading animators who is best gargling, and Leslie Sarony’s Jollity when you read the list of 15 most of the USA and Canada, remembered generally for ‘They wanted to take over the Farm brings memories of the countries the band toured to, Photo by appeared on Dean Martin’s children’s television’s Roobarb and Whoopees, so it was a bit of a Bonzos, but only the Whoopee including Iceland and the Faroe Merlin Daleman television show and shared bills Henry’s Cat, but who inspired a coup. They took all the props, Band could dish up a hot version Islands – how do you drive a van with an assortment of great generation of animators, notably etc., and started their own band, of Royal Garden Blues in House of to the Faroe Islands? It all began round about 1942 Professor” Percival on sax and jazz, but at the same time the names: the Beach Boys, the Buddy Richard Williams of Who Killed telling people the Whoopees Windsor masks (Bob as Queen when the percussionist with clarinet, Spats Langham on fact that their first single release Rich Orchestra, Bob Dylan, the Roger Rabbit fame – also a jazz had packed in and they were Mum) or explode Tiger Rag so So was that gig in 2018 the end the highly respectable John banjo and guitar, Richard White was Masculine Women, Feminine Who. So the New Vaudeville cornetist and leader of Dick’s doing the gigs. I heard about wildly. It’s worth mentioning of the era? It is tempting to think Scott Trotter Orchestra (Bing’s on piano, Malcolm Sked on Men places them firmly as part Band became international stars Six. The band had their own this and thought to myself, “I’m that they do melody, too not – and we would love to hear accompanists on White Christmas, sousaphone and bass guitar and of the growing taste for parody and the Bonzos didn’t do too television shows in Germany, not packing it in. I started the (occasionally): the horse-play on of some rollicking comedy jazz no less) had his first hit under me on the rest. Probably one of of 1920s jazz and popular song. badly out of the split either: they Austria and France as well as Whoopee Band and I’m the Spread a Little Happiness never band operating successfully – but his own name. Der Fuehrer’s Face our best gigs for a while and a The most popular exponents of did make the move towards the UK. In addition to acting only one who can finish it.” distracts from the music which is I fear such is the case. I believe launched a decade and a half of fitting end.’ the genre were The Temperance rock and in 1968 they came up in films by Bob Godfrey and Fortunately two of the guys, ex- as sweet as it should be. the Bonzos are still technically musical depreciation by Spike Seven and Bob played briefly with with their biggest hit, I’m the recording the soundtracks, the Bonzo Vernon Dudley Bowhay- active in their fourth or fifth Jones’ City Slickers and a world- That brief quotation points up them before joining The Bonzo Urban Spaceman. Whoopees appeared in two Nowell and Frank Tomes, a So there they were from the incarnation, but their 2019 wide boom for comedy jazz. two of the most notable features Dog Doo Dah Band who brought feature films in the mid-1970s fine sousaphone player, stayed reconstituted band of 1983 appearances seem merely to of the Whoopee Band. They a rather more subversive and While the rest of the New which can be tracked down on with me and I sorted out new to retirement in 2018, touring have been in court in a dispute Here in Britain the foremost might have been exceedingly silly anarchic spirit to the style. Vaudeville Band stayed on in the Youtube. Despite the presence musicians and never looked back. ‘all over Europe and beyond’, over trademarks – more schisms, comedy bands were Dr. Crock at times, but musical standards States, when the major tours of Barry Humphries and Terry- Soon we were working all over wherever ‘beyond’ may be – more splits! and his Crackpots, Sid Millward were high and that final line-up It’s odd that the cheerful and started to peter out, Bob headed Thomas Side by Side is a run-of- Europe and beyond.’ Russia, I guess. As Bob remarks and his Nitwits and Freddie included highly respected names joy-bringing music of the for home to create a band in the-mill comedy, but the story Mirfield’s Garbage Men, the from the jazz scene. (That has Bonzo/Whoopees clan has so his own version of the crazy of two rival night-clubs gives jazziest of them all, developed been a common feature of the often been accompanied by comedy style: ample room for songs from the out of a straight jazz band and best comedy jazz bands – Spike split and schism. The first of Whoopees, Mud, the Rubettes, including, for a time, the likes Jones and Miles Davis even used these occurred in 1967 and ‘I felt it was time for me to start Mac and Katie Kissoon, Desmond of Freddie Randall and Johnny the same trombonist, Frank ended up being beneficial to all my own band. I wanted it to be Dekker and many others. Never (as he then was) Dankworth. Rehak!) And that simple phrase, parties. There were two main a sort of straight/comedy band Too Young to Rock is a similar Mirfield died in Southend-on-Sea ‘and me on the rest’, reminds elements involved: the Bonzos, if there was such a thing. I was excuse for musical acts such as in 1974 – let’s hope he’s suitably us of Bob Kerr’s astonishing tiring of comparisons with the always impressed by Spike Jones the Whoopees to strut their stuff. honoured by the Jazz Centre UK range of instruments. We might Temperance Seven, were thinking as he always used great musicians, – Digby, we need to be told! associate him with a hot trumpet of shifting more towards rock so I got down to picking good And what was their stuff? The or cornet lead, but he also played than jazz and a songwriter called musicians and forming my band’s publicity referred to Quite possibly, it all came to euphonium, trombone, baritone Geoff Stephens had a hit with a Whoopee Band. Our first gig ‘unashamed nostalgia, honest fun an end on April 9th, 2018, at and soprano saxes, guitar and catchy melody called Winchester was on television for the BBC in and great entertainment’ and a the Irish Centre Jazz Club, banjo – all self-taught! Cathedral recorded with studio 1967. It was all about American German newspaper settled for Basingstoke, when Bob Kerr, musicians under the name ‘The Presidents. We had to play and a cross between Spike Jones, having developed cancer (now, Bob began in the early 1960s New Vaudeville Band’. Bob Kerr’s sing the Presidents’ campaign the Marx Brothers and Monty happily, cured) and having driven playing trumpet with such bands version of events makes it sound songs – “I like Ike” and that sort Python. The band’s motto, wholly more van miles across Europe as the Savannah City Jazz Band all so simple, but it ended up of thing.’ engaging if mathematically than anyone should have to, in Luton, then, on moving to with a worldwide number 1 hit unsound, was ‘100% music + decided it was time to quit. It was London, he joined Spencer’s and Bob getting the opportunity More than a band, the Whoopees 100% fun = 200% entertainment’. a good send-off! Washboard Kings on baritone to sing through a megaphone were at the heart of show- sax and second trumpet. on possibly the most famous business from the start. It’s no The strange mix of comradeship ‘It was a packed house and I Spencer’s had a reputation for American television show of coincidence that Bob joined and divisiveness in the world had a great band: John “The authentic performances of 1920s the time: Actors Equity! Visual fun being of the Bonzos and ex-Bonzos Whoopees in St. Petersburg

22 THE JAZZ RAG THE JAZZ RAG 23 IT’S TRAD, GRANDAD IT’S TRAD, GRANDAD

enough to be presented to the feeling it is restricting and giving deal of Roy Williams … [and] judgement, it becomes crystal IT’S TRAD, GRANDAD Queen Mother, we can have a false impression. Anyone who … it wouldn’t really surprise clear that the Trad Boom, so no fear about his standing and, has ever met Chris will not be me if he eventually … became a called, was merely a manifestation ANDREW LIDDLE looks back indeed, his band had just been surprised to hear his slightly modernist.’ Banjoist Hugh Rainey of Tin Pan Alley, rather than a voted by New Musical Express pedantic alternative: ‘creative is perceptively singled out for his radical alternative to it. In this Kenny Ball pulse, is happy to put them decline in popularity. The majority readers as ‘top trad group of jazz … in the traditional idiom’. brilliance and great promise. respect, we ought not to be straight.. ‘It looks as though the of the book is given over to 1961, with a clear lead of 2,000 Matthew goes on perceptively to surprised it came and went like sixties may well come to be three bands that had just topped points over its nearest rival.’ describe Chris’s entrepreneurial Finally, Matthew touches a shooting star. Like many and labelled the ten years of Trad,’ is the BBC’s 1961 popularity poll, Royal patronage only just trumps instincts, his ‘brilliance at on televised Jazz and his indeed most manufactured pop his confident opening assertion. Kenny Ball’s, Acker Bilk’s and the mass popularity in establishing mathematics’ and his ‘built-in involvement with the short- cults it lasted only until the next As far as he is concerned, this Temperance Seven. The last- bona fides. slide-rule’. One suspects that this lived and well-named Trad Fad, craze came along. is the music synonymous with named sneak into the pantheon might be euphemism for saying preening himself for having been ‘present day entertainment’. by some sleight of hand: they are That nearest rival happens to Chris knows his own value and the original compère for the Its demise had nothing to do not Trad, but Trad enthusiasts be Kenny Ball, and his radio drives a hard bargain - slightly only television programme to with the intrinsic merits of its He was monumentally wrong on like them. In later chapters, he appearance on Sunday morning’s surprising from a man so ‘quiet feature nothing but Trad. The set, music. It had run its course and two counts but could, perhaps, speaks of ‘the big six’, to which Easy Beat was apparently the and unassuming’. designed by Cephas Howerd, was eclipsed in the popular no more have predicted the are admitted Chris Barber, subject of much discussion in of the Temperance Seven, was consciousness by something new, arrival of twanging foursomes Terry Lightfoot and Alex Welsh. Reith-redolent BBC corridors. It There is some suggestion that ‘clean, modern and spacious, as which I forebear to mention. The than we might have spotted Two more tipped for the big seems Jazz was fine for Saturdays Matthew does not entirely far removed as possible from real traditional jazz had been Covid on the horizon. The time are Bob Wallis’s Storyville but, well, Sundays were different. revere this man, for all Chris’s many a jazz cellar’. To maintain played in rhythm clubs from the Trad Mad, by Brian Matthew, is that was beginning to goggle popularity of rock’n’roll (‘the Jazzmen and Dick Charlesworth’s Matthew is happy to expatiate acknowledged devotion to Jazz. visual interest professional late 1940s onwards and is still a book I bought and devoured the eyes of cinema-goers. And simplest thud and crash form of City Gents. on his own role in persuading He comes across, in the modern dancers were employed. The alive in our jazz clubs. So good in its year of publication, 1961, Chas McDevitt’s big hit, a Skiffle beat music’) had, indeed, waned, the assistant head of the Light parlance, as something of a audience was by invitation only is it that it has survived without which has been on my shelves sensation, provides the sound but it would never go away for Ken Colyer’s name crops Programme, Jim Davidson, to give control freak and tight-fisted to and there were ‘no beatniks significant changes in style unread for years. It makes track. I loved that record, its the next sixty years. Alas, as up occasionally but slightly it a try. Initially ‘with appropriate boot, adding up restaurant bills in and no weirdies.’ Jeans were or substance. fascinating reading about pop poignant lyrics and infectious pop music, Trad did. In fact its dismissively - as ‘that stalwart of caution’ Kenny Ball was booked advance and correcting mistakes. impermissible; girls had to wear music at its precise moment in rhythms, but it was Lonnie mainstream course barely had New Orleans purists’. Late in the for a four-week trial. After making Greed rears its ugly head, in fact. skirts. It does get even more Trad fads for Trad-mad Trad time. In these changed days I Donegan’s Rock Island Line, more than eighteenth months to day, he adds: ‘There can scarcely a ‘colossal impact’, he had his ‘As far as eating goes, Chris takes patronising: ‘the great unwashed, dads was commercially inspired have returned to it to review it around Christmas 1955, that had run. Matthew was writing at both be a jazz man of note whose first big hit with Samantha and the cake, and not only that, but with their bizarre clothes and off- and embraced by two types of retrospectively with the clarity first awoken my interest and I’d its zenith and apogee. career has not been influenced was kept on for the next seven as many other courses as any beat habits,’ to be found in jazz people: those who are always of hindsight and the certain wager that of the girl who sat at some point by Colyer’ – yet in months. ‘It’s ridiculous, Dad,’ was restaurant is capable of serving. clubs, were excluded. into the latest thing and quickly knowledge of where it was in front of me and a generation For page after page Matthew total the Guv’nor is afforded no Kenny’s verdict, blown away by At meal times he really comes tire; and those who developed a perceptive and where it was, alas, of Trad Jazz lovers, who make writes with utter conviction more than five lines when Jackie not being able to find a jazz club into his own, and it is then that The producer, Johnny Stewert, genuine love for it and stuck with badly wrong. up the grey audience in our about Trad’s never-ending appeal, Lynn, for example, a glamorous big enough to accommodate his alcoholic indulgence becomes declared himself to be on a it. The real stout oaks of their jazz clubs. linking its enduring success to the and largely forgotten vocalist his fans. apparent.’ Apparently Chris has a mission ‘to prove to detractors generation, not blown about by Culturally, it represents where fact that Jazz had already been with Dick Charlesworth, gets naughty taste for white wine, too, that it is a most entertaining every modish breeze, still listen my love of jazz first began and It was a natural process, it around for at least fifty years. He three pages, about the same There is almost the sense that and sometimes, amusingly, ‘gets to form of music, which does not to it and those still able attend it where it is rooted even if I have seemed, to go from Skiffle was, intriguingly, both very wrong coverage as Ottilie Patterson. all this might get out of hand and the giggly stage.’ Who would have have to be presented in dirt and in their clubs. This second group subsequently travelled much in its to Trad. and totally right. The music would a word of caution is interjected. thought it! discomfort’. He is quoted as were never ‘Trad mad’ but simply realms of gold, and many goodly survive for the minority, as our Did jazzmen at the time Such was the popularity of the saying: ‘I have built a clean, bright intoxicated, body and soul, by styles and syncopations heard. Matthew writes about Trad as Trad Jazz clubs attest, but not really refer to each other and music that the very label ‘Trad’ in In a book full of incidental set and I want it filled with clean jazz’s heady brilliance. Having It is difficult to convince people an immense popular musical for the many who tuned into everyone else as ‘Dad’? Many do some quarters was ‘sufficient in comments, many of them trivial bright people who enjoy jazz’. once had a taste of it, they could who were not around in the phenomenon, an established his programmes. in this book including Acker, ‘a itself to mean success for many and transitory, one of the most never give it up. 1950s and early ’60s how popular fact which is here to stay. Even gentleman-farmer’, who seems bands playing very bad jazz … far-sighted is reserved for Trad Fad was not long lived. such music was among teenagers. allowing he is writing uncritically It’s a slim book, 125 pages, with incapable of addressing anyone offensive to the ear’. The message trombonist, Roy Williams, about Let’s hope they can return soon, There was an immensely pretty for very largely a teenage only eight chapters, written in otherwise. Acker receives high seems clear: it’s much safer, all 24 at the time and working with Reading the book again after post-Covid. girl who sat in front of me in audience, his book, for all its a light conversational tone. I praise for rehearsing thoroughly round, to stay with radio Jazz and Mike Peters: ‘ I firmly believe so many years and now in class at school who gave me a naive misreading of the future, remember the author best as a and being uncompromisingly self- keep buying the records. we are going to hear a great possession of some critical flash of Humph’s smiling teeth actually is a hugely important radio disc jockey with a warm critical. We learn how meticulous and gleaming trumpet every time historical document. It offers sunny voice who hosted Saturday he is in keeping detailed The Temperance Seven have a she lifted the lid of her desk. a fascinating insight into the Club, compulsory listening for records of the band’s repertoire whole chapter to themselves Acker Bilk’s Yes, Trad was pop although pop cultural zeitgeist of the period me before I set off early to the ‘annotated with such necessary and in spite of being treated for Paramount was not Trad, but a mixture of it, betwixt rock’n’roll and Beat(les’) football in the afternoon. A sunny information as the duration and the most part as a novelty act, Jazz Band rock’n’roll and Tin Pan Alley. music briefly occupied by Trad disposition is confirmed in his tempo of each number’. On creating their own eccentric Jazz and how much the BBC writing, even shining though the the stand, however, it is Colin ‘myth’ and ‘odyssey’ (presumably ‘Freight train … freight train … and, therefore, the country was occasional clouds of morality Smith, the trumpeter with ‘a what today would be called going so fast …’ still under the prescriptive and gathering overhead. Though he phenomenal memory’, who calls ‘image’), at heart they are sincere proscriptive moral influence of was no different from other the key and the order of solos. musicians ‘who will remain a top I can hear it now, in memory, Lord Reith, former Director record-spinners in that he moved attraction for a very long time’. so many years later. Freight Train General of the BBC. on and embraced other styles Writing in a period with a At least that was true in part. was the song of the summer throughout a long career, it different moral compass from of 1957, never off the wireless, ‘Nowadays the pendulum has seems clear that he did have a that of the present, Matthew feels Chris Barber is lumped in a heard coming out of doors swung away from Rock,’ he deeply sincere love of Jazz and an obligation to mention Acker’s chapter with ‘three of the best’, and windows, filtering through writes, by which he means was very knowledgeable about court martial and dishonourable although rated by many Jazz fans the neighbours’ walls or being rock’n’roll. He says, cleverly, that the contemporary scene, less so discharge from the forces and as ‘not only the most popular but sung by passing strangers. For lots of people thought this was about the music’s history. brief imprisonment. It seems that by far the best band in Britain.’ me, 1957 is the one summer I the time for calypso to take this blot is somehow effaced, Chris is not apparently the sort remember, musically, in almost over but, no, they were very Usually when he tips someone however, by his subsequent of chap to call anyone ‘Dad’ and, every detail, like a film shot in the much mistaken. He, in the music for success, he is about right, appearance at a Royal Variety it slightly amuses the author, that sort of ‘glorious technicolour’ business, with his finger on the notwithstanding the music’s performance. If he is good he loathes the very word ‘Trad’,

24 THE JAZZ RAG THE JAZZ RAG 25 I GET A KICK OUT OF… / LIVE REVIEW CHICK WILLIS REVISITED

Photo by I GET A KICK OUT OF… Merlin Daleman PAOLO FORNARA, pianist with The Jim Dandies, answers the questions

What track or album turned me discover one of my main you on to jazz? musical influences: at the time It was 1987 and I was 11. I Lil Johnson was accompanied on remember that day as if it was the piano by Black Bob Hudson, yesterday. I bought that album whose real name and identity are almost by mistake, without still unknown today. even knowing who the musician was. I went home and put it on What was the best jazz record player and my musical performance you’ve ever life completely changed. That seen? musician was Professor Longhair The Bill Murray Experience with and the album was Rock’n’Roll Jessy Carolina at the Main Street Gumbo on the Dancing Cat Museum, White River Junction, Records label. Vermont on 19/06/2010.

What was the first jazz gig What’s your favourite jazz Photo by you went to? release (new or reissue) from Merlin Daleman Keith Jarrett in Venice at Teatro the last 12 months? Piano rolls were one of the Hailing from Bassano del La Fenice in 2006. Tuba Skinny - Quarantine Album: CHICK WILLIS REVISITED Unreleased B-Sides teaching tools I used most at Grappa in northern Italy, The What is your favourite jazz the beginning of my career and Jim Dandies are fast making One thing that has emerged during lockdown is the realisation that album and why? If you could meet one jazz they were the only way to really waves on the European festival looking back is more certain than looking forward in 2020. When Lil Johnson - The Complete musician, living or dead, who understand the original piano circuit. Their album, The Big Bear Records revisited its archive of previously unreleased Recorded Works in Chronological would it be and why? playing style. Blythe was one of Hottest Girl in Town, is set for material, an album by Georgia bluesman Chick Willis stood out. Order - Volume 1. Pianist Jimmy Blythe (May 20, the earliest boogie-woogie pianist release on Big Bear Records in Recorded in 1997 with a top-class British band (Tony Ashton, Roger It is actually a collection of all the 1901 – June 14, 1931). He to be recorded. His hit Chicago October this year. Inniss and Sticky Wicket), Things I Used to Do was soon available in recordings of Lil Johnson in the was the first pianist I started Stomp was recorded in 1924 for digital form, with a CD (hopefully) to follow. period from 1929 to 1936. For studying, listening to piano rolls Paramount Records in Chicago. me it is a very important album and recordings. Blythe’s style was a mix of stride Blues authority Stuart Constable is in no doubt of the importance of this because it is the album that made piano at its finest, boogie woogie and classic blues. release 23 years on.

Chick dug into the blues just as its audience was changing. The device watching musicians in down it and just about every strange times familiar numbers new generation of black American fans preferred the soul and VIEUX CARRE funk of James Brown, Motown and Atlantic, but the world’s newly JAZZMEN action was the ‘new thing’. The other venue on the planet. Pete proved to be reassuring; Way platform - Facebook/YouTube/ Deuchar formed the Vieux Carré Down Yonder in New Orleans, Bye, empowered and rebellious white students were finding their other - was where it was at as in 1954. The sextet became an Bye Blues, Ace in the Hole and The righteous identity through rock and roll, blues-driven rock and the THE HOLYSTONE, blues itself. NEWCASTLE, 9TH AUGUST your favourite musician invited instant hit and has remained World is Waiting for a Sunrise were 2020 you to log on, sit back and enjoy popular to this day. Some of the but four of many tunes played a virtual performance. band’s loyal following fondly recall across two sets. So Chick, the Kings (B.B., Freddie and Albert), Buddy Guy and the early days; it remained to be countless other guitar-toting blues players found themselves to be This year the phrase ‘live stream’ big stars on the college and club circuits across the US and Europe. has entered the jazz lexicon. Some live streams were good, seen how many of them would The Vieux Carré’s frontline of the some very good. Some were be prepared to venture out into McBriarty brothers - Jim, clarinet And for many American blues artistes, the road to Europe was built In lockdown - five months and by the Big Bear himself, Jim Simpson. counting - the online, virtual plagued by bouts of buffering. the strange, brave new world and vocals, Lawrence, trombone A bout of buffering provided an of 2020. - was bolstered by award-winning jazz gig has become the ‘new In all, Jim fixed four tours of the UK and Europe for Chick, but it normal’. We’ve given up on, excuse to go to the bar (kitchen) trumpeter Ray Harley, up from to open another bottle. Band leader Brian Bennett Darlington for the day. The engine wasn’t till the last trip in 1997 that they got time to put Chick in a perhaps forgotten about, the live studio with a cooking band. gig experience. arrived in good time to oversee room boys - Messrs Bennett, The live stream culture could matters. Arrowed flooring banjo and guitar, Bill Colledge, be here to stay but the live gig directed gig-goers around the bass and singing drummer Fred This album was recorded in two sweaty days in August 1997 at Predictions of the end of the the Chipping Norton Studios run by Richard and Mike Vernon. jazz world as we knew it seemed experience hasn’t quite taken Holystone’s sun-drenched beer Thompson - stoked the fires its last breath. Word got out garden as the Vieux Carré boys as the band cruised down the It’s a swinging celebration of the sly, soulful blues that Chick put plausible with festivals, jazz club out there for almost 60 years. The band was fresh from gigs in dates and residencies cancelling that a socially distanced gig was set-up under an awning. Tyne Mississippi. in the offing. Yes, a real, live gig! Birmingham, enough to knock off a few corners and tighten things left, right and centre. Musicians up without choking them. Everyone knew what they had to do. stared into the financial abyss, The Holystone pub on Whitley The novelty of table service The Holystone’s publican couldn’t venues likewise. The gig-goer Road near Newcastle upon Tyne proved popular although the have been other than delighted at re-opened in July, keen to impress prohibition of ritually going to the turn out. Some in attendance Here you have thirteen tracks captured in one or two takes, as resorted to dusting off vinyl and live as you could possibly get outside a raucous club. And there’s CD collections. upon its clientele that it was the bar hit home. Some things had been shielding for weeks on ‘Covid-secure’. that we take for granted will end, but they weren’t about to that hallmark Big Bear sound, which is the real sound of the band, unfiltered by studio processes, fresh and direct to your ears. Some expressed surprise: I’d be somewhat different for the miss this day, in its own small way, The pub happily played host to foreseeable future. One thing an historic day. forgotten about that one. I haven’t Chick Willis sang the blues with joy, teasing, laughing and heard it in years! Then word the Vieux Carré Jazzmen’s weekly that hasn’t changed is the Vieux (Thursday lunchtime) residency Carré’s brand of New Orleans RUSSELL CORBETT occasionally shedding a sentimental tear. Always, he entertained. Just got out that sitting in front listen to this. of a PC/laptop/tablet/other until the pandemic closed and Dixieland jazz. In these

26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

Although the piano is the orchestra and the big band? broadcasts, uniquely, reached the CD REVIEWS dominant presence, bassist Take Cole Porter’s I Concentrate entire nation. Jasper Somsen and drummer on You, with a quite delicious EJ Strickland are collaborators, repeated orchestral motif, Martin Coon, born in 1894, was first rather than just backup musicians, tumultuous and a peach of a exposed to black music in emphasising that this is a trio. tenor solo from Nadim Teimoori Lexington, where he heard dock They are joined on three tracks or You and the Night with high workers singing spirituals, saw by KJ Denhert, the kind of note trumpet from Ryan Quigley them dancing to their rhythms. singer which American black over a Latin beat. Sanders, born in 1896 in the state churches seem to produce by the of Kansas, had a natural talent hundreds. She is a fine example Coon-Sanders Original So many delights; eleven tracks, for piano. of that tradition. Nighthawk Orchestra 82 musicians, all up on their toes. A triumph for all concerned. A chance meeting saw them form Music for grown ups. No one played quite like him. small groups or soaring over a singing duo, and after the Great True, there’s a lot of Earl Hines, an ensemble. PETER VACHER War they formed their own LYNNE ARRIALE JOHN MARTIN also born in the Burgh, about him, dance band and enjoyed a decade TRIO WITH K J but the rest is pure originality. What she had yet to do, until of enormous popularity until DENHERT On these swinging tracks, we this marvellous opportunity Coon’s premature death. find him scatting, bopping, making came along, was to record with CHIMES OF FREEDOM with the bossa nova groove, big a big band. More to the point Their drivingly syncopated right hand striking octaves on perhaps, not only to record take on After You’ve Gone, cut in Challenge Records CRY3494 the off-beat, left punching ever- with a big band but also with a December 1929, is a fine track, 45.56 changing sequences of rhythm, full orchestra. but Paul Whiteman’s version in crossing over, punctuating October, with Bing, Joe Venuti It seems that since she won the melody, emphasising it, That all of this has been and Eddie Lang, is vastly superior, the Great American Jazz Piano occasionally suspending it. accomplished via the arranging much closer to Jazz. This in a Competition back in 1993 The Shadow of Your Smile is a thing miracle that is Callum Au is even nutshell is why the big guy, known Lynne Arriale has been hiding in of expressive beauty; Autumn more noteworthy. Callum is a to some white audiences as ‘The plain sight. By this I mean that, Leaves is just heart-stopping; freelance trombonist, schooled THE COON- King of Jazz’, is still remembered despite this remarkable musician ERROLL GARNER Blue Moon will touch your soul in NYJO for seven years – he SANDERS ORIGINAL whilst Coon-Sanders are largely producing an impressive number - and More will make you want joined when he was fifteen – and NIGHTHAWK forgotten. Of course, King Louis’s of albums (this is her 17th) THAT’S MY KICK to conga. Passing Through, his a regular with every kind of big ORCHESTRA version, made in December, 1929, she hasn’t really attracted the own composition, fairly swings band ever since, notably those makes you instantly conscious of attention she, and her distinctive Octave Remastered Series along and is the nearest thing fronted by Peter Long at Ronnie COLLECTION 1921-32 white jazz’s limitations. talent, have deserved. 07 39 :55 on the CD to the sort of easy- Scott’s and beyond. What those listening salon sophistication that outside that circle might not have Acrobat ACTRC9098 ANDREW LIDDLE Arriale has shared the stage This is the seventh in the Octave Columbia had demanded. Just realised until now is that he is 3 CDs, 72.34/73.04/71.43 with such talents as Tommy (monthly) series of re-mastered when you think it’s heading for a an arranger of peerless quality, Flanagan, Ray Bryant, Monty Erroll Garner material. It marks comfortable ending, it stops dead. as adept at punching out a big Acrobat present 69 beautifully- Alexander and Hank Jones, the exceptional occasion the Erroll Garner always surprises. band backing for Martin as he is restored tracks from The Coon- amongst others, where she great pianist stepped back into Being in the presence of giving her the lushest of string- Sanders Original Nighthawk has made no concessions. She the recording studio for the radiant genius is exhilarating, based backgrounds. Orchestra, almost their entire has collected many awards and first time in about five years, sometimes unsettling. oeuvre from the pre-electric drawn copious praise, her albums during which period he had been Pure Imagination sets the mood days of 1921 to the relative consistently showing up in best far from inactive, bringing out ANDREW LIDDLE so ably, a brass chorale preceding sophistication of 1932. of recommendations. Yet real recordings of live concerts. Martin’s entry, sotto voce over fame has eluded her. First, we must commend the minimal rhythm, the orchestral The first Depression to the scope of the series: 12 albums backdrop subtle as Freddie worst of the Great Depression This album takes Martin Luther from the last two decades of Gavita’s sublime trumpet rides as a period can only be called the King as its inspiration and racial Garner’s relatively short but over the strings. Let’s Get Lost ‘Roaring Twenties’ for one reason: equality as its goal. ‘Luminous’ prodigious career, prime years, follows, taken as an up-tempo Dr Jazz had discovered a vaccine CARSTEN MEINERT is the word to describe this in which after his parting of the romp with Riddle-like big band for the pandemic. Everything Is graceful salute. The pianist ways with Columbia, he fully and bravura and is the perfect Hotsy-Totsy Now, of 1925, is a MUSICTRAIN REVISITED: brings a classical discipline and most creatively expressed himself contrast, Martin at her best, great driving jazzy number could THE REMIX & MORE a strong sense of dynamics to with RCA. guest US trombonist Andy Martin start a party in a morgue. Yes Sir! these ten tracks: seven originals, (no relation) contributing an That’s My Baby! is an enormous Stunt Records STUCD20022 one gospel song, the Paul Simon Recorded in April and November, improvisation of glorious quality. invitation to get up and strut. 64:00 song American Tune and Dylan’s 1966, these 12 tracks, laid down They are typical of the mood- Chimes of Freedom which dictates in the company of kindred spirits, If that were not enough, local lifting potency of this concoction Saxophonist Carsten Meinert the theme. Milt Hilton on bass, José Mangual CALLUM AU / trombone star Andy Wood of black jazz, vaudeville and the formed C M Music Train in the on various forms of percussion, CLAIRE MARTIN comes in with a fine solo too on residue of ragtime syncopation late 1960s and the music, which The mood is, by turns, reflective, guitarist Art Ryerson, drummer I Get Along, Martin handling the that was the uber-popular dance was composed by Meinert, has its passionate, sad and always George Jenkins, in many ways SONGS AND STORIES lyric with the kind of yearning music of its day. roots in the jazz of that period, intensely musical. Her touch represent the Pittsburgh-born intensity that serves it well. but was also forward looking. is firm: ringing. Her technique pianist’s genius at its most Stunt Records STUCD 20062 I’m tempted to focus most on Jazz in its various kinds took the The 16-piece group, including no is faultless and each tune is unbridled, freewheeling and 46.35 the quality of the solos which world by storm and this band, led less than four drummers plus treated with a vigorous invention. joyous. Every few bars he grunts adorn these songs, but then by drummer Carleton Coon and additional percussion, was already This is jazz piano at its most in sheer joy of the vibe, especially Martin needs little introduction again, it’s Martin’s singing that pianist Joe Sanders, was among experimenting with what would compassionate. – it seems - on the songs he, here. She’s an award-winning UK deserves the plaudits. Or should the most influential, because later be termed ‘world music’. himself, has composed. vocalist, at ease singing jazz with it just be the writing for both the from 1922 onwards their nightly

28 THE JAZZ RAG THE JAZZ RAG 29 ON RECORD REVIEWS

The lengthy opening track San name in Chicago via a lengthy awe-struck by the artistry of perhaps his inclusion here is not If the sound quality is excellent Sebastian has a distinctly Basque residency at the Pershing Lounge someone somehow firing off so incongruous as it might at the playing is typical of Davis’ tinge. The spectre of free jazz also located on 64th and Cottage these crazy wonderful high notes first seem. live sets of the era - a shifting looms large, especially on Before Grove in the city’s South side. with such control. Much of it, melange of eight beat rhythms, Sunrise. The group also flirts with Already a trio leader of some unfortunately, is over my head. No concert by a Barber Band of surplus percussion, some squally the then fashionable fusion of renown, by 1958 he had settled this vintage would be complete saxophone from Gary Bartz and rock with jazz on C M Music Train. on Israel Crosby as his bassist ANDREW LIDDLE without the inclusion of Ottilie the leader himself spending as The influence of Miles Davis can and Vernel Fournier from New Patterson who provides much time depressing a wah- be felt on the modal This Time. Orleans on drums. fine vocals on three tracks. wah pedal as he does depressing Comprehensive booklet notes this writer. Viewed from 2020, it is hard to Once the local Argo label was and contemporary photography imagine that this Danish group persuaded to record the trio makes for an indispensable Were all this ‘you had to be was, at the time ground-breaking live, Jamal’s fortunes changed, LASSE LINDGREN release for Barber aficionados. there’ stoned-out, pot and in its originality. However, the if not overnight then pretty pills pretence not enough, the influences of then contemporary soon thereafter. The album that LASSE LINDGREN ALAN MUSSON production values on this record masters such as Charles Mingus emerged At The Pershing Vol 1, really take the biscuit. With a and Gil Evans can also be heard. whose eight tracks open CD1 in Sleepy Night Records booklet inlay so badly cut that this collection, went to number SNRCD014 72:17 it hardly fits the CD tray (and The original tapes for the album 3 in the Billboard ‘Hot 100’ and printed on what appears to be may have been lost when the stayed in the chart for two years. Lasse Lindgren, born in 1962 home printer grade paper) and recording studio burned down, Poinciana from the session was in Gothenburg, Sweden, is a CHRIS BARBER’S an anonymous quote appended but more recently a tape with released as a single and again graduate of the Royal College of JAZZ BAND to the rear inlay that’ll have your some extra takes has surfaced. did extraordinarily well, in effect Music, Stockholm. He has played blood boiling if you have even These are included here together becoming Jamal’s signature piece. lead trumpet with a variety of BACK IN COPENHAGEN the most rudimentary grasp of with the original pieces restored Scandinavian big bands and is 1961 English grammar (‘Miles your and enhanced. As will be evident, Jamal’s piano one of Jazz’s great polymaths, a the man!’ sic.) we’re deep into Miles Davis style moved away from the busy, writer, composer, bandleader and Lake Records LACD360 dilettante territory here. This is certainly challenging almost tumultuous approach of lecturer in one dynamic package. lockdown. Five tracks (four of music. It will appeal to the a Bud Powell towards a more The title of this recording makes Miles’ completists may well them Beraha’s compositions) more adventurous reader of spare, spacious manner which In his acknowledgements he it clear that this is not the MILES DAVIS welcome it, but I’m with Philip feature George Crowley’s this magazine. What does come intrigued many of his peers, speaks of this CD as a ‘project’. Barber Band’s first appearance Larkin on this sort of stuff; tenor saxophone, clarinet and across is the raw intensity and Miles Davis famously more than Both kicking off and signing off in Copenhagen. Indeed, an THE LOST SEPTET ‘Muzak-like chicka-chikka-boom- electronics, Alcyona Mick’s passion of this young generation most when he instructed his with the moody melancholia earlier album was released in chick’ as he once wrote of piano and drummer Tim Giles of musicians fearlessly exploring pianist Red Garland to take note of Nature Boy, plus the pictures 1960 by Denis Preston on his Sleepy Night Records Bitches’ Brew. Buy Birth of the Cool with additional percussion new ground. of Jamal’s use of space. None of Lasse, trumpet in hand, Lansdowne Jazz Series. There SNRCD020 2 CDs 51.04/50.15 or Kind of Blue instead. and electronics. Beraha’s of these 57 tracks is overlong, communing with nature in is no duplication of material instrumentation is listed as As with all Stunt releases, this each performance is cleverly Norway’s idyllic Romsdalen valley, here which seems to be mostly I suppose I’d better come SIMON SPILLETT ‘voice, electronics, singing bowl’. is a quality product with a structured, Crosby and Fournier might suggest something vaguely standard fare from the Barber clean from the off; I’m patently The common denominator is 24-page booklet including rare dovetailing perfectly with their hinterlandish, overflowing with repertoire of the time. the wrong man for reviewing electronics and ‘voice’ rather photographs and an informative leader on the way to becoming natural sensibility. this album. than ‘vocals’ will come as no essay from the leader. The album one of the most celebrated piano Having said that, some surprises surprise to the reader familiar JESPER THILO is available on CD and LP as a trios in all of jazz. That’s not exactly the mood are included. Some of the tunes, The Miles Davis I like, you see, with Beraha’s work. QUARTET limited edition. that rolls through some amazing Shine, for instance, had apparently is the doyen of acoustic jazz, Of course these tracks swing and arrangements, striking a variety never been recorded on a the ceaseless trendsetter who This Let Me Out Records album SWING IS THE THING ALAN MUSSON if it’s Erroll Garner’s style that of tempi, on these 14 tracks, commercially available album. created a series of LP-sized bears the catalogue number sometimes comes to mind, that’s disparate in style, ranging from Alongside the familiar Isle of Capri stepping stones into jazz’s future CD001 which is a clear indication Stunt Records STUCD 19142: fine. Jamal is subtle, harmonically a funky Watermelon Man to a and Stevedore Stomp we get King over a remarkable decade-long that Beraha considers Lucid 66.50 canny and never less than moody tinkling Eleanor Rigby, Kong and Rent Room Blues, which run between 1955 and the mid- Dreams to be a cherished project intriguing while Fournier brings a from the Maynard Fergusonesque seem to have only ever been in Sixties. And I’m not ashamed and the label is a vehicle to get Veteran Danish tenor sax star street-wise kick to Poinciana that Maria to ABBA’s virtually the band’s repertoire in 1961. to admit my failing at not the music out there. is a splendidly uncomplicated influenced many other players. unrecognisable Gimme! Gimme! appreciating his 1968-onwards player, technically assured, direct, Gimme! (A Man After Midnight). This album marked only the ‘plugging in’, a move which, BRIGITTE BERAHA Comparison with Norma melodically inventive and not Unsurprisingly there was a second recorded appearance of despite the trumpeter himself Winstone is unavoidable and given to extravagant gestures follow-up album taken the next Common to them all is Lassi’s Ian Wheeler on clarinet and alto admitting it was caused in part by LUCID DREAMS Beraha has expressed admiration and elaborately long solos. To me night also from the Pershing virtuosic trumpeting, the strobe saxophone, with the frontline his losing ground to rock figures for the doyen of contemporary he is very much of the school (released as Vol 2) and Acrobat glow of white heat bravura of being completed by regular band like Jimi Hendrix, some still Let Me Out LMOCD001 40:21 British jazz singing. The album’s of Zoot, though apparently he have helpfully combined the his salvos of straight eighths. His member Pat Halcox on trumpet, maintain was the next great leap five tracks, the first of which is himself cites as his heroes Don Pershing pair with two more high-wailing pitch transports alongside Barber. The recording forward. Me, I think it’s the tail Brigitte Beraha’s new album is The Meaning of the Blues (Bobby Byas, Ben Webster, Coleman AHMAD JAMAL made by the trio at the Spotlite the listener to an agitated is also notable for including wagging the dog. her first as leader in more than Troup, composer/Leah Worth, Hawkins and Lester Young – Club in Washington, also in 1958, mental state very far removed Malcolm Cecil, depping on bass a decade. A resumé boasting lyrics), don’t attempt to impress nothing wrong there, then! AT THE PERSHING AND together with other recordings from Scandinavian folklore and for the incapacitated Dick Smith. This new release, from 1971, is performances with an array of with a display of pyrotechnics, OTHER ‘LIVE’ RECORDINGS from New York and the 1959 totally at odds with the ethnic- more of the same. And forget familiar names as disparate as although each member of the Swing is the Thing was recorded 1958-59 Newport Festival. style floral woven jacket of the Cecil started out as a confirmed all the attention-grabbing Alan Barnes, Tim Garland, Kim quartet is more than capable of live, without an audience, but maestro pictured on the cover. modernist and was a member ‘lost’ nonsense. This is a radio Macari and Kenny Wheeler frightening the horses. Rather, equally without edits or any kind Acrobat ACTRC9094 3 CDs Often reissued but seldom so of the Jazz Couriers and broadcast from a not particularly makes it difficult to pigeonhole this recording of a shade over of trickery, and it sounds it, fresh 75.22/73.06/73.59 completely, this is essential music. The bonus track of Ferguson’s worked regularly with tenor noteworthy European tour, not the Italian-born British vocalist. forty minutes’ duration is an and with a natural blend within Fine booklet too. big hit, Rocky, probably tells us as saxophonist Dick Morrissey. a previously unknown Dead exercise in controlled dynamics the quartet. Most of the material Pianist Ahmad Jamal (formerly much as we need to know about Later, however, he was in the Sea Scroll! Lucid Dreams was recorded in enveloped in an ethereal mist. is familiar, but not hackneyed, Fritz Jones) emanated originally PETER VACHER who taught Lasse to fly right. original line-up for Alexis January with gigs to follow only with Thilo’s love of the Great from Pittsburgh but made his One cannot help but be rendered Korner’s Blues Incorporated, so to be derailed by the pandemic RUSSELL CORBETT American Songbook evident. The

30 THE JAZZ RAG THE JAZZ RAG 31 ON RECORD REVIEWS

Webster influence is strongest on the first rehearsal, thereafter Andrew Oliver a band of his own choosing, Verve releases: Bird and Diz, seven years. During his sojourn the ballads, notably a delicious re- the quartet went piano-less, As always with Avid releases, the all the compositions are his, Charlie Parker Big Band, Charlie on this side of the Atlantic some working of I Can’t Get Started and trumpeter Baker combining with sleeve-notes from the original and the record label, unlike his Parker With Strings, Charlie Parker of the pianist’s many concert a warmly evocative Embraceable baritone star Mulligan, with just albums are reproduced in the previous affiliation Prestige, Quartet, Charlie Parker Plays appearances, not least recent You. A re-phrased I Want to be bass and drums for company and CD booklet, but perhaps a actively worked with the artist Cole Porter. online lockdown sessions, were Happy and Rosetta are among the stayed that way. little annoyingly for some, due to make the whole a package. noted for a distinct absence of up-tempo swingers. to space limitations and data The second is that on this album Certainly a mixed bag with sheet music in front of the man As Cook and Morton put it, it accuracy full details of exactly all the harmonic wonders the the small group sessions the from Portland, Oregon. It appears Pianist Soren Kristiansen, bassist is ranked now as ‘one of the who played on which tracks is tenorist had shoehorned into most satisfying, the initial Oliver is in possession of a Daniel Franck and drummer epochal jazz groups even if it had omitted. This undoubtedly will countless conventional blowing collaboration with Dizzy Gillespie photographic memory. Frands Rifbjerg are a tight no such aspirations, formed for not spoil the listener’s enjoyment sessions at last sat within a and Thelonious Monk from unit and also get liberal solo nothing more than a gig at the of an absorbing collection bespoke framework. 1949-50 certainly revealing Known primarily as a student space. Dizzy Gillespie’s Woody Haig club’ in Los Angeles. of performances. the empathy between the two of the pioneering practitioners ‘n’ You is pretty much a drum Moving on from the slightly The end result is a record not protagonists, even if the presence of jazz and blues piano, there feature, precise, inventive and tentative music-making of their ALAN MUSSON only of immense import to jazz of Buddy Rich on drums seems is a lesser known side to the controlled, and Franck follows initial get-together, the Baker- background information – and history, it’s also one of the best incongruous now. Parker still youthful American’s work. As in the Scandinavian tradition of Mulligan rapport developed via the colourfully bizarre collage- programmed, most consistently sounds supremely radical, almost a member of the Kora Band melodic bass soloists by taking their live performances and style cover illustrations – serve enjoyable and enduringly engaging unfathomable in his creativity, operating at the contemporary the lead on Oscar Pettiford’s studio sessions becoming ever to ramp up the expectation of of all Coltrane’s albums. It wasn’t Dizzy panting to keep up. end of the jazz spectrum our Swinging till the Girls Come Home. more intuitive. the unusual. Rosendal is a jazz his debut LP, of course, and yet pianist demonstrated a thorough Kristiansen fines down his pianist, but is also known for in many ways it plays as if it This was Monk’s only studio understanding of current normal two-handed style to Their interplay can seem like his work with his folk group, might be. session with Parker. Visa, the developments during a 2015 introduce the album’s closer, a kind of cool polyphony, the Trio Mio. The trio is joined on final track, is from an altogether tour of Britain. All this leads Splanky, with a touch of Basie. instrumental lines interweaving, this album by the experimental The sound (and it’s been different date, not noted in the one to conclude Oliver is a He is heard in rather more the sparsity of the rhythm big band, The Orchestra, under beautifully remastered too) really album notes, with the raucous virtuoso musician. florid vein on the only track that support grounding the ensemble Nikolai Bogelund – and, for a does capture a moment: that of Tommy Turk on trombone. doesn’t really seem to fit, Nature perfectly. It also earned the final twist, Rosendal’s sources of Coltrane seizing his, and how. The Big Band album offers No Local Stops comprises no Boy, a touch of Thilo clarinet, quartet a degree of popularity inspiration include the music of Add in a whole disc’s worth little reference to Bird’s bebop fewer than 18 tracks; 15 solo then a rather otherworldly well beyond the narrow confines the island of Fano in his home T-BONE WALKER of alternative takes and some inclinations, with the orchestra piano pieces, three in duo form vocal from Rebecca Thilo of jazz hipsterdom, with pieces country of Denmark and – it JOHN COLTRANE fetching period memorabilia and augmented by strings, lushly with vintage percussion specialist Farholt with sympathetic piano like Bernie’s Tune, Line for Lyons, could hardly be more different – FIVE CLASSIC ALBUMS you have a winner of a reissue. scored. Even so, Bird rides Nicholas D Ball. The ragtime and accompaniment – something Walkin’ Shoes and Makin’ Whoopee Bela Horizonte in Brazil. GIANT STEPS (DELUXE If you’ve never heard it before – through, quite spectacularly, as he stride pianists of the 1920s and of an oddity on a thoroughly almost attaining pop song status. Avid Roots AMSC1359 2CDs EDITION) or even if you have – don’t ignore had done throughout the earlier 1930s made concise statements recommendable album of jazz in So how does it come out? 76:45 & 78:52 this new incarnation. With Strings album. Engaging as due to the limitations of the the great tradition. Timeless, a tribute to the Surprisingly accessible, though Atlantic R2625106 How I envy those encountering it these sessions are, it’s the quartet recording process and on this exceptional musicianship of certainly Rosendal’s use of the Each new release from Avid is 2 CDs 37.22/40.02 for the first time. recordings that matter most, 2019-2020 recording Oliver takes RON SIMPSON the co-leaders but above all, orchestra is far from the concept useful as either an introduction with Bird at full tilt and the right a leaf out of their book. Brevity is this is music that’s a delight to of sixteen men swinging – there to a performer who one is Released sixty years ago SIMON SPILLETT companions alongside. the watchword across all tracks hear. Overly familiar to some are far too many shifts of rhythm unfamiliar with or as a career last January, and given a nice with running times ranging from maybe, but a joy for newcomers for that. His writing for the retrospective. In this case, anniversary revamp by Warner It’s far from clear that Avid have 2 minutes 22 seconds (Jimmy to discover. sections of The Orchestra is although Walker is certainly Music Group, Giant Steps is an sorted out all the necessary Blythe’s Five O’clock Stomp) to highly ingenious: he loves setting known to me, he wasn’t someone album no true jazz fan can ignore. session details correctly but even an extended workout (Jelly Roll PETER VACHER extremes of pitch against each whose work I was familiar with. This new 2-CD edition tells so, much of this music is priceless Morton’s Creepy Feeling) clocking other, often in rhythmically The recordings here date from its whole story too, right from and the opportunity to acquire it in at 5 minutes 41 seconds. contrasted patterns. His writing between 1953 and 1961. Classics the rejected early stabs at the should not be missed. for the woodwind (so little in Jazz sees Walker singing alone title track and Naima (with the The title track is Willie ‘The use is made of saxes that sax with his guitar. Sings the Blues young Cedar Walton on piano) PETER VACHER Lion’ Smith’s, which, as Oliver section seems inappropriate) dates from 1959 and includes through to a scholarly reappraisal points out in his liner notes, is particularly striking, with eleven accompanists in a variety by noted Coltrane authority the composer never recorded. clarinets, bass clarinets and of line-ups. T-Bone Blues from the Ashley Kahn, which takes in the Seger Ellis’ Sentimental Blues is an flutes to the fore. Solos tend same year lists nine accompanists opinions of several generations example of the Texas school of THE GERRY to be short, but there are fine including Plas Johnson on tenor of saxophonists impacted by the CHARLIE PARKER blues piano, Arthur Schutt’s Piano MULLIGAN / CHET contributions from trombone sax and Barney Kessel on guitar. album, from veteran Archie Shepp Puzzle dazzles, James P Johnson’s BAKER and guitar. to new noise Shabaka Hutchings. FIVE CLASSIC ALBUMS Carolina Shout makes the cut, As on the previous albums, much perhaps for no other reason than THE COLLECTION 1952-53 I actually found the more of the material is credited to Some see the album as the end Avid AMSC1364 it is one of the enduring piano folk-aligned tracks the most Walker. Singing the Blues again has game of bebop, Giant Steps itself 2 CDs 78.00/80.56 pieces, and the inclusion of six Acrobat ADDCCD3339 2 CDs PETER ROSENDAL enjoyable parts of an attractive a larger aggregation with Eddie signalling the ultimate destination Jelly Roll Morton compositions 72.38/72.48 WITH THE album. Hu Hej Hummel I AE Vand ‘Lockjaw’ Davis listed amongst for time/changes playing. Others In many ways, Parker’s best suggests Oliver has yet to tire ORCHESTRA & TRIO begins with folky fiddle before a some of the lesser-known look at it as the beginning of recordings are beyond comment of the music by the man who If the merit of Acrobat’s new MIO mazy orchestral deconstruction; accompanists. There is more Coltrane blossoming into his now; as with the Armstrong Hot claimed to have invented jazz. celebration of the classic Geddefiskeren is a lilting melody variety to the performances own true self – a manifesto of his Fives, Morton’s Red Hot Peppers, ANDREW OLIVER This Rivermont release should Mulligan-Baker association is that TRICKSTER for the trio before the entry and a greater mix of composers contemporary wares, as it were. the Benny Goodman small be in the collection of every it is offered at a knock-down of sympathetic orchestral credited. I Get So Weary dates groups and Ellington’s 1940s NO LOCAL STOPS jazz fan and it is worth noting price then so be it, but the truth Stunt STUCD 19152: 42.38 harmonies; after the complexities from 1961 and shares a similarly A couple of truths are universally output, they form part of the the excellent cover art is by is that this much-admired and of The Trickster, the trio, with large-scale personnel to some agreed upon. The first, that this great fabric of jazz development. Rivermont BSW-2253 61:04 Nicholas D Ball. often reissued music is a kind of With a CD entitled Trickster added flute, concludes with an of the earlier offerings. It’s was the start of albums that truly These five albums date from exercise in small-scale modern one is entitled to expect the infectious dance piece, Dieselvals. notable here that the repertoire had Coltrane’s ‘sound’ (as Ben Norman Granz’s supervision Earlier this year Andrew Oliver RUSSELL CORBETT jazz perfection. Although pianist unexpected – and Peter Rosendal comes from a far wider roster Ratliff had it in his book Coltrane: of Parker’s recordings and first bade farewell to Britain having Jimmy Rowles joined them for doesn’t disappoint. All the RON SIMPSON of composers. The Story of A Sound). There was appeared as Mercury, Clef or lived and worked in London for

32 THE JAZZ RAG THE JAZZ RAG 33 THE UNIVERSITY OF LOUIS ARMSTRONG THE UNIVERSITY OF LOUIS ARMSTRONG POST LOCKDOWN SPECIAL PETER VACHER on campus BIG BEAR RECORDS CD OFFER

In Jazz Rag 150, we wrote strap lines proudly assert, Clearer sound, sharper definition more to the point, to appreciate EXCLUSIVELY FOR READERS OF THE JAZZ RAG about the arch exponent of they offer ‘Advanced Transfer of each instrument’s contribution the additional treasures that have ALL CDS £8 EACH OR THREE FOR £16 INCLUDING P&P deep-down re-mastering, Dave Technology’ giving ‘Remarkable and the chance to again assess lain hidden deep in the grooves, Bennett, and his new series of Sound Quality’ and ‘High Grade the extraordinary burgeoning these now plumbed by Mr. reissues published under this 78 Sound’. of the young Armstrong’s talent. Lederman’s ‘miraculous’ cartridge generic heading. The initial pair of After all, for many of us ,or at and Dave’s manipulation of it. releases covered the King Oliver As Dave makes clear, he has least those in my generation, band in 1923 and the famed achieved these exceptional these recordings, issued on Take Cake Walking Babies From Hot Five recordings of 1925-26 results through the use of 78rpm breakable shellac, were Home by the Red Onion Jazz respectively and were eye- ‘Peter Ledermann’s miraculous often our pathway into the music. Babies, the second-ever 78 JAZZ CITY UK VOLUME 2: THE JAM SESSIONS opening, not to say revelatory, in Soundsmith Strain Gauge We knew them off by heart and recording that I bought – the their sound quality. cartridge’, an imposing piece played them over and over. first had been Jelly Roll’s of kit which I know produces Smokehouse Blues – and now to Howard McCrary Various Artists Various Artists Lady Sings Potato Head Now Bennett has taken the exquisite outcomes but has also I remember the trumpeter hear it again, brought blinking Armstrong story a stage further made a substantial dent in the Al Fairweather telling me that in to the full Bennett-prompted Moments Like This Jazz City UK Volume 2 Jazz City UK Volume 1 The Blues Jazz Band with the Hot Five & Seven of Bennett bank balance. Add in the he and Sandy Brown would daylight, is quite breathtaking: Laughing at Life Stompin’ Around 1927-1928 (HQ Disc HQ 04) additional restoration and noise whistle the respective cornet Armstrong wonderfully crisp and more Oliver recordings, removal skills of Martin Haskell and clarinet parts of the Hot and assertive, Sidney Bechet at coupled with the complete Red and the provision of the original Fives as they walked to the Royal his most potent, the two rivals Onion Jazz Babies and Clarence 78s from specialist collectors, High School in Edinburgh every going at it hammer and tongs, the Williams’ Blue Five sides, all from plus the input of other noted morning and we know where ensembles positively leaping out 1923-1925 (HQ Discs HQ 05). Armstrong authorities, and it can that led them. Quite frankly, it’s of the speakers. Even the vocal be seen these releases represent not for me to argue the merit chorus by Hunter and Todd is Each CD comes in a neat an unparalleled example of of these pieces of music: they reinvigorated. And that’s just one clear plastic case, with full collective sonic enterprise. represent the building blocks not track from the 52 on offer via data, the inlays adorned with only of Armstrong’s formative this pair of HQ discs. contemporary photographs, More to the point, their brilliance but are the very stuff of Buy direct from Dave Bennett via Remi Harris Trio Tipitina King Pleasure & Nomy Rosenberg Django’s Castle advertisements and label shots, appearance adds valuably to early jazz itself. [email protected] and join the artwork skillfully devised and the listening experience and Just to revisit these sides is to Louis’ University! Ninick Taking Care of The Biscuit Boys Nomy Rosenberg Trio with Bruce Adams executed by the redoubtable to our better understanding of recall the impact they had on Business Live At Last Swing Hotel du Vin Anne Bennett. As the on-cover the musical interplay involved. tyro enthusiasts like me, but

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